Tag Archives: vieux farka toure

The Art of Intention

As a presenter of ephemeral art, we talk a lot about “purposeful intent,” and how it is the engine that drives our mission.

We started 2013 with that mission in full effect and have also been fortunate to spend this New Year surrounded by the purposeful intent of some truly astonishing artists.

Cheek by Jowl’s early-January performances of a 400-year-old and yet still utterly shocking work of English drama illuminated just how powerful intention can be. It is companies like Cheek by Jowl who keep ancient words and thoughts and language very much alive and give them shape and form. Classic theater texts like John Ford’s would not live on the way they do without the purposeful intent of artists like the performers, directors and crew of companies like Cheek by Jowl and we were honored to host the final performances of the ever-controversial “‘Tis Pity She’s a Whore.”

Avant-pop violinist Amadeus Leopold brought us a fascinatingly purposeful look at his own highly theatrical approach to classical music. In an oddly compelling blend of bondage gear and blood capsules, he confessed to “the murder of Hahn-Bin,” rising anew as the one-and-only Amadeus Leopold and treated us to a recital that straddled virtuosic skill and highly intentional imagery.Just two weeks ago, a tiny but by no means diminutive, force of nature blew through our lives as Meredith Monk and her acclaimed vocal ensemble prepared for the world premiere of her “On Behalf of Nature.” As the name implies, this deep, profound and meditative piece was incredibly purpose-driven. It is not in Monk’s nature to outright preach or create a work of abject activism. But there was a wistful sadness, and an elegiac longing in the intricately staged theatrical moments of “On Behalf of Nature,” deftly woven into the beautiful vocal and instrumental compositions. We were meant to leave that space ruminating on our own interpretation of our place in nature, our power as humans to either destroy or preserve it, our responsibility to it and to ourselves.

Leading up to the performances, Meredith re-visited the work she began with students last spring as CAP UCLA’s first resident artist, working with them to craft a subtle and highly-individualized pre-show installation that those students (and a few art-loving non-students!) performed in the courtyard of the Freud Playhouse prior to every showing of “On Behalf of Nature.” It was simultaneously conspicuous and understated in a way only Meredith could create and it set an incredibly appropriate tone for the audience before they even entered the theater.

Watching these students interact with Meredith Monk in those days before the performances, it was clear that part of her purpose as an artist is to pass along elements of her craft to a new generation, and it is clearly something that will echo long into their futures. These students and members of our campus community quite literally, as they rehearsed in uncharacteristically frigid Los Angeles temperatures, warmed to Meredith like moths to a flame.

I watched her sit within a circle of them as they rehearsed a brief vocal refrain, turning her head from one to another, smiling with approval and almost, it seemed to me, in blessing.

Meredith Monk performing “On Behalf of Nature” Freud Playhouse Jan. 18-20

It was a beautiful moment to witness and a beautiful one for the students involved to experience. But you don’t have to take it from me. Read first-hand from one student-participant’s perspective.

Just last weekend we were incredibly proud to be a home-away-from-home for Australia’s Back to Back Theatre, in the company’s first visit to Los Angeles. Their truly compelling and uniquely crafted original work “Ganesh Versus the Third Reich” was moving and stimulating as it challenged us to consider who has the right to tell a story and how.

These tireless storytellers approach the world from a different point of view. As performers with intellectual disabilities, their worldview often comes from a place of marginalization, and almost always from a sense of “otherness.” The actors and creators here last week were incredibly generous with our audience and our community, sharing their work and insight into their creative process with high school students from across Los Angeles, with students on this campus, and with our own audience Saturday night in a candid Q&A session. We were enthralled company’s bold creativity and intentional mission to set askew our own notions of power, stories and art itself.

It serves us to be intentionally set off our axis once in a while, I think. And many of our visiting artists did that in varied ways this month.

I will wind this long-windedness up with a closing thought about this Friday night, and a bit of a challenge.

Coming up Feb 1, is a concert from “the Hendrix of the Sahara,” Vieux Farka Touré who will perform in tribute to his legendary father Ali Farka Touré. LA’s own afrobeat collective Fool’s Gold opens the show.

Typically this would be just another amazing Royce Hall music moment from another amazing musician.
But, this Friday night serves another purpose–to shine a spotlight on the heartbreaking situation in Ali and Vieux’s homeland of Mali, where the rich culture of music and art came under attack by Islamic fundamentalists.

It’s an unfathomable situation, and one that has only recently started to improve, slowly. Still, it remains somewhat under the radar in U.S. media coverage and general public attention. But Mali matters.

Mali and its rich musical history matters to Fools Gold. The group has been greatly inspired by the artists and music from this part of the world, and is looking to help affected people in the area. They have partnered with an organization called African Sky, which sends humanitarian aid to Mali.

Come to Royce Hall Friday night, hear some amazing music both directly from and inspired by Mali, and check out the limited-edition T-shirts designed by the mission-driven design collective
Upperatus, which will be on sale at the Fool’s Gold merch table. Proceeds from the sale of these T-shirts will go to African Sky.

Many thanks to all of you who joined us for a January filled with artistic riches. And there is so much more to come. We hope to see you soon!

What are you NOT listening to?

That’s a weird question to ask right? I mean, how do you know what you’re not listening to? But as a music lover, do you ever wonder about all the great music you have yet to encounter? I know I do.

As we get ready for a season of great music here at UCLA Live, I’ve been digging around getting more informed on our lineup–which I admit, includes a wealth of artists I’ve not encountered before–educating myself on all that music I haven’t been listening to.

I found this article from last spring from NPR’s “All Songs Considered” program.

Music You Should Love But Don’t

The article specifically mentions a couple of artists UCLA Live has been proud to present, including the up-and-coming guitarist from Mali, Vieux Farka Touré, who is appearing here with blues legend Taj Mahal Oct. 22

This NPR piece also highlights Allen Toussaint, who was on the bill at UCLA Live last spring. What an amazing show that was. If you’re a music lover with varied tastes, you’ve probably encountered Toussaint’s influence  at some point– he’s written songs for or collaborated with just about everyone, including The Meters, Elvis Costello, The Rolling Stones, The Who, The Band, Paul McCartney, Aaron Neville, Dr. John, Jerry Garcia, Phish and so many others.

But if you caught him here at UCLA Live last season you were lucky. And, if you ever get the chance to see him perform live again, grab it.

Toussaint is incredibly slick, smooth as silk in person, and an gracefully warm and gifted presence on the stage, effortlessly sliding from storytelling to consummate vocals, his hands never missing a chance to caress music out of the keyboard in front of him.

Allen Toussaint at UCLA Live March 6, 2010

I had been loosely touched by Toussaint long before I ever really knew the man’s name, thanks to an old boyfriend who introduced me to The Meters, which has become a perennial favorite.

So now, I’m asking all our music lovers out there, how do YOU discover new music? And what do you love that you think everyone should be listening to?

What are the most trusted go-to sources that consistently inspire new music discovery for you? (Hopefully UCLA Live and other quality performing arts organizations are a part of that for you.)

For me, I have a handful of friends/music lovers in my life whose taste I trust so implicitly that I will listen to anything they tell me I should, no questions asked.  That’s not to say I like everything they like, but I never feel like I’ve wasted my time by checking out one of their recommendations.

Often I will listen to KCRW, especially “Morning Becomes Eclectic” with the day’s tracklist open on my computer. That way when I hear a song that makes me go “Oh wow, who was THAT?” I can make a note of it.

I’ve made a lot of pleasant new discoveries that way.

I’ve discovered my mind and soul are like super-absorbent sponges when it comes to music. I am built to consume as much as possible.

Tell us what we should be listening to! And, we’ll do our best to return the favor on stage in Royce Hall this year, I promise.