Minutes of Sacred Harp Singings

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Camp Fasola Session Ii (Youth Emphasis)

Camp Lee, Anniston, Alabama

June 30-July 3, 2008

Monday, June 30

Campers arrived Monday afternoon beginning at 4:00 p.m. to register for the youth session of camp. After optional swimming and a supper of baked chicken, rice, and green beans, David Ivey welcomed the assembled class and presented the schedule for the week. He introduced the counselors, teachers, and the campers themselves. This session had 114 full time campers plus eight teachers. Their ages ranged from 6 to 81 (t? b?), and they came from 18 states and England.

Class Singing. The church rang as the first nightly singing began. Leaders: David Ivey and Jeff Sheppard 313t; Lela Crowder 99; Rodney Ivey 540; Jesse Pearlman Karlsberg 492; Jordan Leigh Taylor 274t; Joanna Lampert 228; Jennifer Lee 142; Aldo Ceresa 182; Karen Ivey 371; Judy Caudle 329; John Plunkett 354t; Benjamin Bath 270; Jennifer Mosteller 457; Justin Squizzero 430; Rebecca Eldridge 324; Jackson Harcrow 277; Paige Gilbert and Cheyenne Ivey 128; Blake Sizemore 299; Will Allred 59; Ariella Perry 186; Nathan Rees 204; Virginia Eldridge 535; Lauren Bock 89; Alex Craig and Avalea Maxwell 97; Jeannette DePoy and Holly Mixon 87; Rachel Shavers 454; Ashton Rogers, Audra Village, and Fiona Nugent 282.

After the singing, Drew Smith concluded with a devotional on the theme of Ecclesiastes 12:1—“Remember your Creator in the days of your youth, before the days of trouble come and the years approach...” Drew encouraged the young people to learn more about their own history and culture, and their forebears in the tradition of Sacred Harp singing, and led 176b. After a prayer by Sam Sommers, the class was dismissed to the Ark for an ice cream social. Campers headed to their lodges at 9:45 p.m., and then went to bed by 11:00 p.m., excited for the first full day of singing and activities.

Tuesday, July 1

Some of the physically adventurous campers got up early to go on a hike at 7:00 a.m. Those who were more vocally adventurous gathered on the porch of the dining hall to sing from Lloyds Hymnal with Stephen Metcalf-Conte. All assembled for breakfast at 8:00 a.m., and started the day with plenty of biscuits, gravy, sausage, and grits.

The first lessons of the morning included Rudiments I/Youth I, taught by Judy Caudle and Tom Malone; Rudiments I/Youth II, taught by Richard DeLong; and Rudiments I/Young Adults, taught by Judy Hauff.

Rather than presenting her material as a lecture, Judy Hauff brought a list of pertinent topics, and then orchestrated the lively discussion that ensued. Some of the main themes that were discussed: A balance of parts is important in Sacred Harp singing, but not an equal balance. There need to be more male trebles, as the men and women singing the part together create a sound that is much richer than a simple female soprano part.

Some singings have a problem with too many women who sing alto and too few who sing lead. An alto section that is too loud will set off the balance of parts. It is important that the entire class understands how the key is set and how to keep from interfering. Everyone should silently listen while the keyer finds his pitch, and wait until he has sounded the opening notes to join in with the chord. Any noise, humming, or vocalized guessing at what the key might be are major distractions. Everyone in the class should be paying attention to the leader—hold your book up so you can see the music and the leader at the same time, and then watch carefully as they indicate whether or not to repeat, which verses to take, etc. Judy suggested that Sacred Harp is “genuine democracy,” which gives each of our singings its share of “colorful characters,” but emphasized that we need to respect everyone who sings even if they disagree with us on certain issues. Visitors to traditional singings might want to just listen for a while, focus on what exactly the local singers are doing that gives them their particular sound, and then try to emulate them. Remember, though, that learning to sing like the traditional singers also means listening carefully and not “adding more than was given.”

After a snack, campers had the option of going on the rock slide, canoeing, and fishing. Jeannette DePoy led a Pilate’s exercise class. Idy Kiser oversaw the crafts all week long—the first project was a cover for the songbook made out of different colors and patterns of duct tape. Those who were curious about composing songs went to an elective led by Tom Malone which he repeated from the first session of camp, on “Composition for Absolute Beginners.” Then, everyone assembled for lunch of hamburgers and french fries.

After lunch, Tom Malone led a class entitled “Genesis of the Southern Fuging Tune.” Tom began by explaining what a fugue is, and then discussed how this type of song was popular in New England in the Revolutionary period, but died out there by the early part of the 19th century. In the South, however, and in the Sacred Harp in particular, fugues continued to be written throughout the 19th and 20th centuries, and make up many of the most popular songs at singings to this day.

Tom spoke briefly about the evolution of the musical form as he asked for leaders to take the class through a chronological progression of fuging songs, beginning with the earliest Southern fugues, and ending with works by the most important early 20th century composers.

Leaders: Kelsey Sunderland 99; James Eldridge 441; Aldo Ceresa 432; Rodney Ivey 306; Lynne deBenedette 362; Tom Malone and Jeannette DePoy 371; Justin Squizzero 383; Jesse Pearlman Karlsberg 428; Judy Hauff 423; Micah Rogers and Tom Malone 402; Richard DeLong and Blake Sizemore 431; Reba Windom 434; Blake Sizemore and Benjamin Bath 112; Samuel Sommers 460; David Ivey and Tom Malone 316; Jeff Sheppard 318; Jennie Brown 426 (t? b?); Cassie Allen 430; Karen Swenson 302; Drew Smith 436; Jonathan Smith and Joanna Lampert 208; Jennifer Lee 336.

Following Tom’s class, everyone who wasn’t going to the next elective had the option of swimming, going on a hayride, playing dodgeball (youth under 12), going down the zip line, or just resting.

Those who were interested in keying attended an elective taught by David Ivey and Richard DeLong at the church. Richard began by relating that he learned to key out of necessity. It used to be very uncommon for more than one person in any given area to key the music, and when they passed away, new people would have to learn on the spur of the moment. One of the most important things he learned is that it is vital to key the songs where male trebles can reach the notes, because male trebles are an essential component of real Sacred Harp music.

David emphasized that listening is the best way to learn to key. Whenever you are at a singing, you can practice keying in your head (not out loud!) and compare the pitch you thought of with the one the keyer gives. Also, several good recordings include the keying at the beginning of each track. David talked about some of the challenges that come with pitching, and encouraged the class to never criticize people who key, as they are almost always the first ones to realize it if a key is off. Techniques for good keying—use a strong full voice to sound the tonic and the notes on which other parts begin. Make sure the notes you sound are good, round “Faws” and “Laws” not nasal “fuhs” and “luhs.” Work on being timely and unobtrusive with your keying, sound all the parts’ first notes, and end on the tenor’s opening note. It is important to remember that the keyer is serving at the pleasure of the leader, not the other way around. Be courteous and wait for the leader to get to the middle of the square and be on the right page before sounding the key. Though it is still uncommon in many areas, it is fine for women to key. Whenever experienced keyers talk about the keys of songs, they are referring only to “Sacred Harp keys,” not absolute pitch. When they talk about keying in F, they mean the sound appropriate for a Sacred Harp song in F, which is not the same as the note an F played on the piano would make.

Following a recess and afternoon snack, everyone split up between two lessons on leading. Richard DeLong taught one for the younger campers, and Shelbie Sheppard conducted one for the older teens and young adults at the camp, which was affectionately dubbed “Leading Boot Camp”!

Shelbie gave a few suggestions for leading well: good Sacred Harp leaders clearly beat the tempo and lead in the parts without drawing attention to themselves or putting on a show. Many people move more of their bodies than they should as they direct music, so try practicing leading in front of a full length mirror. Avoid stomping your feet, hunching down, or shuffling as you walk, and pay attention to the view from behind, as well, as that is what the altos are seeing. How you should dress and what you should do in the square is what you would you do in church, and that is not to act frivolous or cut up while others are worshipping. Students who volunteered got up one by one and led 155 while Shelbie gave them some constructive criticism, and Ben Bath got extremely good at keying that particular song by the end of the session!

Campers met for dinner and had an extra special treat listening to five songs performed by Blake Sizemore, Jackson Harcrow, Aura Spears, and Hannah Haynes, all students at Sylvania High School. Their quartet recently won first place in the Alabama state FFA competition, and it was obvious why as soon as they started singing! They treated everyone to a beautiful rendition of five very difficult songs, all done a capella.

Following some free time after dinner, everyone went down to the church for the second nightly singing. Leaders: Jeff Sheppard 32t; Ricky Harcrow 283; Aaron Wooten 203; Scott Ivey, Blake Sizemore, Drew Smith, and Jackson Harcrow 63; Susan Harcrow, Aura Spears, and Hannah Haynes 45t; Lynne deBenedette 455; Julianna Jett 30t; Bentley McGuire 240; Ariella Perry 146; Sarah West 324; Caleb Allred 47b; Judy Hauff 67; Shelby Castillo 99; B.J. Schnorenberg 82t; Lauren Hall and Aaron Wooten 448t; Sam Sommers 422; Kelsey Sunderland 272; Donna Bell 503; Virginia Eldridge 33b; Pam Nunn and Reba Dell Windom 269; Judy Caudle and Drew Smith 168; Idy Kiser 312b; Xaris Martinez 344; Corbin Rogers 61; Alex Makris 142; Jennie Brown 42.

After the singing, campers walked down to a bonfire, where Ben Bath led the evening devotional. He enjoined all to “pray for those who despitefully use you,” and to do things to help other people who are in need, regardless of who they are. He led 229 after quoting the lines, “What poor despised company of travelers are these?... They are of a royal line, all children of a king...” Sam Sommers closed with prayer. Those who remained sitting around the fire were entertained by some of the boys, led by Tony Kiser, with an amusing routine they called “ride the bus.” The boys then performed an expertly whistled version of 269. Afterward, campers headed to the Ark for refreshments, and then to bed, exhausted from a long and eventful day, but excited for lots more fun and learning to come!

Wednesday, July 2

The second full day of camp began early again for those who met to sing out of Lloyds Hymnal on the porch of the dining hall, and slightly later for others with a breakfast of bacon, eggs, and french toast.

The rudiments classes continued after breakfast. Richard DeLong’s Youth II class was surprised by a visit from Raymond Hamrick, who came to Camp Fasola for the first time. He told the class how pleased he was to see so many young people singing and leading very difficult songs, and then led 486. His presence all day Wednesday and Thursday was a real treat, and he autographed more than a few songbooks!

Judy Hauff led her class in a discussion about things that you should be aware of in order to be an educated singer. The first topic was repeating properly. Leaders need to pay extra attention to 280, 335, and 400 in order to execute the repeats correctly. 98 can be confusing because there are many rests within the song. The first ending is only a half measure and the repeat starts on beat 2. On 220, be careful about the pickup at the beginning—not on beat 2, but just before beat 1 of the second measure.

After a mid-morning snack, recreation options included the rock slide, canoeing, fishing, and the zip line. Idy Kiser organized the 1st Annual LaRue Allen Memorial toenail painting contest as a tribute to LaRue, the beloved singer and camp counselor who passed away unexpectedly August 2007. There was stiff competition among the many sets of remarkably painted nails, all of which were photographed and then displayed on computers in the dining hall so campers could vote on their favorite. The winner, who was announced on Thursday night at dinner, was Avalea Maxwell.

For those who were not painting toenails or getting theirs painted, Judy Hauff led a class on the principles of composition of dispersed harmony. An important aspect of dispersed harmony is that all four parts have individual lines, often quite melodic, that cross each other frequently. Each part should be both interesting and relatively easy to sing. When you compose music, avoid unusual intervals and confusing parts. In order to write good music in the Sacred Harp tradition, it is important to understand the characteristics of typical Sacred Harp songs. Study the good writers and try to emulate them. Note that older songs often center on gapped scales, especially in minor keys, where the 2nd and 6th scale degrees are less frequently used. Minimize the use of thirds in chords in both major and minor, and never write a third into the closing chord of a minor song—this never appears in the Sacred Harp. Raymond discussed the importance of finding a text that suitably reflects the music. He took two months to locate a text for Lloyd, which came from a book from 1785.

Everyone enjoyed fixing their own tacos, burritos, and nachos for lunch, and then they assembled on the lawn in front of the dining hall for the group photograph taken by camp photographer, Jonathan Smith.

Following lunch, John Plunkett facilitated a question and answer session with Raymond Hamrick. Raymond has always been interested in history. He wanted to know where the songs came from, so he began corresponding with George Pullen Jackson and learning about the history of the New England writers. Raymond has always had a particular affinity for William Billings’ music, which he feels is among the best ever written. In South Georgia, classes were taught to lead slowly by J. L. White. When Raymond began to sing in other areas in the 1950s and 60s, he noticed immediately that singers elsewhere went much faster than he was used to. It was much too fast, he felt. When the singers met to record the first Sacred Harp Publishing Company album, they listened to a few takes they had recorded and decided that in order to hear any of the words clearly, they would need to slow down the tempos. Marcus Cagle was an important influence on Raymond as a composer. Cagle felt that a song could be harmonized multiple ways—that there was no one perfect harmony for any particular melody. John Plunkett led 571.

Raymond instructed the class to move right along with 6/4 or 3/4 time, but 3/2 should go somewhat more slowly. Raymond has thought a lot about how the singing has changed and where it is headed. He considers Camp Fasola a great success, and he expressed his pleasure at seeing so many young people learning to sing so well. Ben Bath led 492.

Raymond was asked about his advice for younger people, and he said that they should know that there is a time and a place for everything. David Ivey closed the session by leading 347.

Following the discussion, campers got to choose between swimming, low ropes, hiking, resting, or staying in the church for an hour of singing from Raymond Hamrick’s “Georgian Harmony.”

John Plunkett gave some introductory remarks about how the Georgian Harmony came to be published. He and John Hollingsworth typeset all of the songs over the last several years, and various songs have been introduced at South Georgia singings since that time. The book was completed and debuted at a special singing this February.

Leaders: (note all songs are from the Georgian Harmony) John Plunkett 15; Tom Malone 72 (t? b?); Jesse Pearlman Karlsberg 26; Lela Crowder 19; Aldo Ceresa 63; Mike Spencer 9; Jane Spencer 66; Matt Hinton 18; Nathan Rees 12; Karen Swenson 65; Judy Hauff 82 (t? b?); Annie Grieshop 30 (t? b?); Darrel Swarens 34 (t? b?); Cassie Allen and Rodney Ivey 89; Chris Holley and Benjamin Bath 49 (t? b?); Alex Craig and Rebecca Eldridge 87; Benjamin Bath 80 (t? b?); Raymond Hamrick 54; John Plunkett 21.

Afternoon lessons included leading practice for the youth with Judy Caudle and Tom Malone; the second session of the Leading Boot Camp with Shelbie Sheppard; and “Rhythm, Time, and Tempo,” with David Ivey and Jeff Sheppard.

Jeff and David began by expressing their hope that this session would encourage leaders to give some thought to the tempo of the songs they lead. Songs can be led so fast that details of the notes, rhythms, accent, and words are lost, but they can also be led so slowly that it is impossible to accent or even enjoy the music. Jeff indicated that one of his major concerns with excessively quick tempos is that the class cannot accent properly, and newer singers cannot hear accenting well enough to learn it. Both agreed that there is no one speed that is perfect for each particular song, but that there is a range in which the song might go the best.

David remarked that there is no one “Southern” way of leading a song, as visitors sometimes assume, and remembered Raymond Hamrick’s earlier remark that tempo has been the single most divisive issue within the Sacred Harp community. David and Jeff talked about using the time signatures as a guide to tempos. Leaders should consult the rudiments, which position the various modes of time on a spectrum from slowest to fastest. Unless the leader wants the tempo changed, do not try to change it, regardless of how much you may disagree with their interpretation of the song. All of the parts, but basses especially, should be careful that they do not speed up on their entrances. Lastly, when there are time changes in a song, pay attention and vary the tempo of each section accordingly.

After the lessons, campers could choose between going on the zip line, playing dodgeball (12 and older), horseshoes, frisbee, basketball, or two different electives: “Keying Music,” with David Ivey and Richard DeLong, and a discussion about the film, “Awake My Soul,” with Matt and Erica Hinton.

David and Richard continued their class from the previous day and helped aspiring key-heisters practice songs they find difficult to pitch.

Matt and Erica spoke about how “Awake My Soul” began and was filmed.

Supper was roast beef, mashed potatoes, green beans, and delicious rolls, followed by some free time.

The third nightly singing got off to a great start with the older boys and their counselors singing 225b for the class. Leaders: David Ivey and Jeff Sheppard 92; Katherine Eldridge 335; James Nugent 362; Micah Rogers 57; Avalea Maxwell 282; Cheyenne Ivey, Paige Gilbert, and Justin Corbett 76b; Holly Mixon 354b; Grace Gilmore 59; Zach Craig and Justin Corbett 346; Keonta Adair and Jonathan Pendleton 388; Sheila Nugent 410t; Chris Holley 102; Briana Bean Hirsch and Keonta Adair 448t; Mike Spencer 499; Oliver Kindig-Stokes 425; Sam Sommers 412; Anna Hendrick 319; Karen Swenson 183; Darrell Swarens 542; Caleb Kiser 87; Carol Mosley 455.

The singing was followed by a devotional by Justin Squizzero, on “Help Me to Sing.” He read the lyrics to 376 and talked about how each line reflects an ideal to which we should aspire. We should remember that it is to Jesus, our “prophet, priest, and king,” that we should always look, but that as we bind ourselves to him in cords of love, we also bind ourselves to each other. Nathan Rees closed the devotional in prayer, and then campers headed back to the Ark for some free time and refreshments before bed.

Watching the basketball game that started up in the Ark, most everyone over the age of 20 was astounded at the amount of energy the young people still had left after such a full day! Then it was back to quarters at 9:45 p.m. and lights out at 11:00 p.m.

Thursday, July 3

Campers woke up and got ready for one last full day of classes and activities—those who were a little slower were greeted once again at the dining hall by the sweet sounds of Lloyd’s hymnal singing. After a hearty breakfast of pancakes, eggs, and sausage, everyone headed to their first classes, rudiments with Tom Malone and Judy Caudle, Richard DeLong, or Judy Hauff.

Richard DeLong encouraged the class to ask the older singers about how they used to sing and how things used to be different. Listen to old recordings, and try to make sure that we keep the tradition preserved in the way we sing. Students took a quiz on Sacred Harp trivia. Those with the highest scores from the younger and older youth groups won CDs from Morning Trumpet Recordings. The top scores in the two groups were B. J. Schnorenberg and Ben Bath. Richard then led the class in 146, and they took the parting hand.

Once again, Judy Hauff arranged her class as an open discussion among the participants. This time, they talked about some of their “pet peeves” having to do with singing, and thought about ways of addressing them. Some leaders are taking 3/4 and 3/2 songs at tempos that drag—the songs do not have to be very slow as the whole and half notes may imply to newer leaders. Some people feel very strongly about their leading styles, which are rooted in family and regional tradition. Raymond Hamrick emphasized that a leader should be a leader, not a follower.

Next up were swimming, zip line, and crafts, which were pin-on buttons and hemp necklaces.

Jesse Pearlman Karlsberg conducted an elective discussion of Sharing Personal Sacred Harp Experiences, which was a really enjoyable experience for everyone who participated. Raymond Hamrick aptly summed up the discussion when he said, “Sacred Harp is a way of life. It’s not only something you participate in.”

Lunch was a choice of fried chicken or catfish, and was followed by a class taught by Henry Johnson in the church on three part songs.

Though approximately 75% of the songs in the 1859 edition had no alto part, the alto has always been used, and not only in compositions from the North—songs like 434, 460, and others, were composed relatively early on in the South with alto parts. Apparently, however, neither B. F. White nor E. J. King ever wrote an alto part. Pressure to modernize music led to the addition of a large number of alto parts in the 1911 edition of the James book. The trend of adding alto parts continued through the 1991 revision, which has 26 three part songs, which make up 4% of the book. Henry had the class sing a number of songs with and without the alto part, demonstrating the changes the addition of the alto line makes to the chordal structure of the songs.

One unique aspect of Sacred Harp music that gives it its powerful sound is the prevalence of two note chords, often composed of open fifths. The addition of alto parts dilutes these chords and changes the sound of the music. On songs which were composed with four parts from the beginning, Henry said, the alto parts are consistently better, since they were not afterthoughts that could not fully participate in the melodic structure of the song. He led 480 to demonstrate this point.

Those who were up for more recreation had the choice of swimming and Pilates, and others headed to the church for an elective class with Tom Malone, on “The Unsung Marcus Cagle.”

In Raymond Hamrick’s papers at the Pitts Theology Library, Emory University, Tom Malone, Aldo Ceresa, and Jesse Pearlman Karlsberg found a number of songs by Marcus Cagle that he sent to Raymond for input during the last few years of his life. Tom typeset all the songs and invited members of the class to lead them, while he made remarks about Cagle’s life and musical style. The class was fortunate to include Raymond Hamrick himself, who had never heard the songs sung by a sizeable group, and who was delighted to have the opportunity some 40 years after he first saw the music.

Leaders: Nathan Rees “Tapley”; Karen Swenson “Seek the Old Path”; John Plunkett “Gladly Would My Eyes My Savior See”; Sam Sommers “Bethesda Pool”; Justin Squizzero “This Blind Man”; Tom Malone and Judy Caudle “Thou Art Needful”; Lauren Bock “My Cause Above”; Judy Hauff “Hope and Trust”; Jonathan Smith “Sweet Responses”; Lynne deBenedette “Redeeming Love”; Henry Johnson “Reminiscing on My Days of Yore”; Bentley McGuire “Raymond”; Aldo Ceresa “They Hear of Heaven”; Jesse Pearlman Karlsberg “Raise Me Higher”. Tom Malone closed by leading “Shining Angels”.

Bud and Sammy Oliver came down to share their delightful company, as well as their recipe for lemonade: 6 dozen lemons, 5 gallons of water, and 10 lbs. sugar. He and Sammy slice the lemons in thirds, press out the juice into the tub of water mixed with sugar, and then toss the lemon slices in on top. Make sure you have good water—it helps if it comes out from a rock like Bud’s does. Everyone enjoyed helping to squeeze the lemons and then drinking down all the lemonade while eating slices of watermelon.

Once they had as much lemonade as they could drink, some of the campers who still had energy left got one last chance at the zip line, canoeing, fishing, or dodgeball. Others headed to an elective discussion with David Ivey on the future of Camp Fasola, in which participants discussed pros and cons about the way the camp was organized this year, and brainstormed about possibilities for future years.

Everyone enjoyed spaghetti and meatballs, lasagna, and garlic bread for dinner, and were entertained by the “Anniston Ramblers” old time music band, which consisted of James Eldridge on guitar, Rebecca Eldridge and Corbin Rogers on fiddle, and Ben Bath on piano and spoons. After supper, some folks relaxed before the evening singing, and others were busy with a quick class in the Ark for the younger campers, staged for a TV cameraman from a local television station, who needed some footage of a singing school. Judy Caudle and Tom Malone happily obliged. The report, which also included scenes shot at the Independence Day singing the following day, aired on Birmingham’s ABC 33 (t? b?)/40.

The final evening singing started off with the older girls and their counselors performing an excellent rendition of “Welcome, Welcome, Every Guest,” 24t in the rudiments. The boys definitely have their work cut out for them for next year!

Leaders: Tom Malone and Judy Caudle 46; Holly Mixon 59; Zach Craig and Justin Corbett 384; Katherine Eldridge 354b; B.J. Schnorenberg 45t; Ashton Rogers 146; Katrina Rosser 478; James Nugent 355; Rebecca Gilmore 317; James Eldridge 186; Audrey Village and Fiona Nugent 209; Stephanie Metcalf-Conte 142; Ethan Corbett 325; Audrey Presnell and Shelbie Presnell 31b; Stuart Ivey and Jonathan Pendleton 282; Avalea Maxwell 160b; Declan Nugent 31t; Hannah Tate 454; Shelby Castillo and Casey Castillo 57; Caleb Allred 236; Alex Craig and Rebecca Eldridge 421; Oliver Kindig-Stokes 377; Micah Roberts 178; Michael Mosley 485; Tony, Andrew, and Caleb Kiser 457; Alex Makris, Heather Sutton, and Rachel Shavers 480; Stephanie Fida and Andrew Fida 288; Drew Smith, Bentley McGuire, and Jennifer Lee 385b; Jennifer Mosteller and Zebulon Ferguson 68t; Justin Squizzero and Liz Kiser 506; Jonathan Smith and Benjamin Bath 411; Corbin Rogers 335; Kelsey Sunderland, Ariella Perry, and Lauren Bock 203; Sarah West and Xaris Martinez 84; Anna Hendrick and Briana Bean Hirsch 318; Liz Cantrell, Stephen Metcalf-Conte, Jo Pendleton, and Georgianna Presnell 348b; Keonta Adair, Brittany McDade, and Rodney Ivey 56t; Annie Grieshop, Brian Maxwell, and Maggie Leonard 65.

Rachel Shavers gave the devotional, which was some recollections of her great-grandmother, Mrs. Maureen Brown, her influence in her life, how she always took her family to church, and to singing. She was a great example. She never criticized if you were doing something wrong, but gently helped you to get it right. Rachel then led the version of “Holy Manna” that her grandmother used to lead. Benjamin Bath gave the closing prayer.

After the singing, David Ivey presented the teachers and counselors with certificates of appreciation, and expressed his gratitude to everyone who helped to make Camp Fasola 2008 such a success. The counselors then presented each of their campers with certificates and everyone gave David a resounding round of applause for all his hard work. Everyone was allowed an extra half hour before bed since the singing started late.

Friday, July 4

Final camp activities on Friday were breakfast and packing up, but, fortunately, final goodbyes were delayed for a few hours since the Independence Day singing began at the church at 9:00 a.m. The final moments of camp were bittersweet—sad that it was already nearly over for another year, but happy to reflect on all the fun, learning, friendship, and inspiration that filled every moment!

SHMHA President—Jeff Sheppard; Camp Director—David Ivey; Historian/Secretary—Nathan Rees