Category Archives: Message from the Artist

Message from the Artists: Movement Art Is

Creating Love Heals All Wounds has been an amazing process and is a true embodiment of all the powerful work MAI has created in the last few years. The show tackles a range of potent issues — from environmental racism, systematic oppression, police brutality, and the many ideologies that keep humans from connecting to one another and the world around them. This work has been a transformative challenge for the cast and creators — we’ve not only had to develop the right movement language alongside the narrative, it was essential to face our own mental barriers and to thread those discoveries into the work. The vision of Love Heals All Wounds is to inspire audiences to look deeply within themselves in the hopes that together, we will carve pathways forward to creating real solutions for true healing.

—Jon Boogz

Love Heals All Wounds brings together an exceptional myriad of artistry. Mixing the incomparable words of Robin Sanders, original music by Jason Yang, Daniel Bernard Roumain and Chizzy, and an unparalleled mastery of street dance styles such as popping and Memphis Jookin, this collaborative work strives to bring awareness to important social and global issues and how they affect us all. Giving a one-of-a-kind experience through the inimitable lens of MAI, Love Heals All Wounds aspires to have positive social impact in communities around the world by uniquely using art as a tool to help inspire action and ultimately lead to positive, sustainable change.

—Lil Buck

Love Heals All Wounds By MOVEMENT ART IS featuring Jon Boogz & Lil Buck and special guests; Thu, May 23 at 8PM Royce Hall

Message from the Artist: Nico Muhly

Archives, Friends, Patterns is an evening of music written for friends. The first part of the evening focuses on the music of Philip Glass. Much of his early work was written for a core group of his friends, comprising woodwinds, keyboards, and voices. Having his own ensemble allowed him to explore musical processes which would be quite difficult to achieve with ensembles of strangers, and therefore, much of his music from the 70’s and early 80’s feels shimmeringly cosy: an ensemble of friends working as a community to make music. I’ve tried, here, to take some of Philip’s lesser-known works (taken from the film score Étoile Polaire, the epic Another Look at HarmonyMonsters of Grace, and the CIVIL warS, the last two collaborations with director Robert Wilson) and re-arrange them for an ensemble of my friends. Although the sonic language is different, the fundamental philosophy of collaboration and community music-making remains the same.

The second part of the evening has a more convoluted origin story. In the 1930’s, the Canadian composer and musicologist Colin McPhee went to Bali, and made transcriptions of gamelan music. He transformed this music — deeply compromised by the almost Colonial processes on which most ethnomusicology relies — into music for two pianos, which he and the composer Benjamin Britten recorded in Brooklyn in the 1940’s. McPhee’s transcriptions and other work deeply informed the musical language of Britten’s work in the 1960’s and 1970’s, particularly after a trip Britten and his partner, Peter Pears, took to Bali in 1957. Thomas Bartlett, one of my oldest friends and collaborators, shares an obsession with the McPhee & Britten recordings, heartbreakingly foxed and worn in their transfer to the digital format, and we decided to write a set of songs loosely based on them. These songs are, collectively, part of a project called Peter Pears; here, we present the songs interspersed with the aforementioned gamelan transcriptions.

The final part of the evening is the smallest and most personal: a collection of drone-based music, played by two friends I’ve known for the better part of two decades: violinist Lisa Liu and violist Nadia Sirota. My Drones cycle is simple: a combination of any instruments create a drone consisting, usually, of two notes, over which I wrote long lines, athletic activity, and lyrical episodes. The community comes together, makes a simple noise together, and one member steps out for reflection, movement, and action.

—Nico Muhly

Message from the Artist: Caetano Veloso

 

I have wanted to make music with my sons for a long time. When they were children, I always sang them to sleep. Moreno and Zeca liked it, while Tom used to ask me to stop. Although they took different paths, they each moved towards music at some point in their lives.

Singing with my family is like a celebration that fills me with happiness. I went on tour with Moreno some years ago and now we are joined by Zeca and Tom on this new concert called “Ofertório.” We will be performing some of our favorite songs like “Um Canto de Afoxé Para o Bloco do Ilê,” plus some contemporary music, as well as a selection of my songs chosen by my sons. For instance, “O Leãozinho,” a song often requested by other people’s sons, was a song my sons always liked to ask me to sing. We will play some of the hits from my career, and also music that is new to all four of us.

During our first talks, we thought about inviting other musicians to enrich the arrangements. But we decided to keep it to only us four on stage – acoustic and simple. I’m the one who only plays guitar. Moreno, Zeca, and Tom take turns on various instruments. It’s an intimate concert, born from my will of being happy. Having kids was the most important thing that happened in my adulthood. This concert is dedicated to their moms, to Cezar Mendes, and in memory of my mother. — Caetano

Message from the Artist: Lars Jan on Joan Didion’s The White Album

 

 

 

 

 

 

 

DIRECTOR’S NOTE

The dancing fools

And the watching fools

Are the same

So why not dance

— Awa-Odori Festival chant

I first encountered “The White Album” when I was 16 and full of anti-establishment zeal. I fell in love—admittedly a teenage love—with the cool remove, the collage, the word-to-word manufacture of the sentences, and with Joan Didion herself. That same year, I was lucky to see Roger Guenveur Smith’s brilliant solo performance A Huey P. Newton Story. Ever since, the Black Panthers, theater, revolution, and Didion have been tangled in my mind. There’s nothing like the art, the people, the movements that knock you out when you’re young and the brain is both awakening and pliable.

“The White Album” is the piece of writing to which I’ve returned most frequently. I’ve built my artistic identity around the double-edged truth of the first sentence, which has evolved in emphasis as I’ve aged: “We tell ourselves stories in order to live.” First, storytelling is living, is the workbench where meaning is honed. Second—and this is the sharper of the edges—stories are creative acts of self-delusion, coping mechanisms to get by.

I keep seeing a meme of a woman who clearly lived the Sixties holding a sign that reads, “I can’t believe I still have to protest this fucking shit.” I can’t believe it either. And then I realize that the story I’ve been telling myself, some variant of ‘things will bend toward justice if we help bend them,’ may be my longest-running delusion of all.

“If I could believe that going to a barricade would affect a man’s fate in the slightest,” Didion writes in “On the Morning After the Sixties,” another essay included in the 1979 White Album collection, “I would go to that barricade, and quite often I wish that I could, but it would be less than honest to say that I expect to happen upon such a happy ending.”

I’m grateful to Joan Didion for channeling her experience of the narrative’s fracture into words, for laying bare the near breakdown of her coping mechanisms and, thereby, crafting one of the most illuminating stories of all. I am humbled to have the opportunity to do this dance with Didion’s voice, to turn the monologue into a conversation.

Didion spends time in the essay with striking students at San Francisco State College. This group of anonymous young people has become an inspiration for me—it’s their voices I’ve been hearing and have most wanted to feature alongside Didion’s in this performative conversation. I’m referring not only to that particular group of students, but also to their legacy, when people form coalitions over shared grievances and go about the messy work of doing something about it.

In the spirit of my 16-year-old self, I remain a believer in the barricades, whatever form they take and wherever we may erect them. I hope to meet you there, armed with the power of a delusion well-sharpened.

—Lars Jan, March 2019

 

On Zakir Hussain and Masters of Percussion

 

Drumming crosses cultures and unites us in the dance of the heart. Zakir Hussain is not only the acknowledged master tabla player of that most sophisticated of the world’s musical heritages, the classical North Indian, but also a student of an astonishing array of percussion traditions.

Zakir Hussain’s Masters of Percussion, an outgrowth of Zakir’s duet tours with his late father, the legendary Ustad Allarakha, began their biennial appearances in 1996 to provide a platform for rarely heard rhythm traditions from India. Over time, the ensemble has expanded to include great drummers and percussionists from many world traditions, including jazz, as well as the occasional stringed instrument. 2019 will be the centennial year of Allarakha’s birth, so this will be a very special MOP tour.

2019 will see him joined by the peerless Eric Harland (Charles Lloyd, Sangam) on Western drums, and the Kerala Drummers from the Southwestern coast of India.

They will perform together and separately, and it will be awe-inspiring, because they really are Masters, and Zakir Hussain is a true maestro who can bring out the magic in everyone on the stage – and in the audience.

—Zakir Hussain’s Masters of Percussion

Performance Thu, Mar 28 at 8PM at Royce Hall 

Performance as a Life Science: Meredith Monk’s Cellular Songs

By Bonnie Marranca

Photo Credit: Julieta Cervantes

“As artists, we’re all contending with what to do at a time like this. I wanted to make a piece that can be seen as an alternative possibility of human behavior, where the values are cooperation, interdependence, and kindness, as an antidote to the values that are being propagated right now.” After a half-century as an influential figure in the creation of contemporary performance culture, Meredith Monk goes right to the heart of the challenge.

Her spare new work, Cellular Songs, is conceived for five women performers—Monk and her vocal ensemble consisting of Katie Geissinger, Allison Sniffin, Ellen Fisher, and Jo Stewart. Dressed in layers of white and beige-toned clothes, the women sing, dance, play the piano together, and lie on the floor, all the while modeling behavior of care, comfort, companionship, and collaboration. Glorious colors of sound arise from the intricate musical textures. The only words of the piece are in Monk’s song of wisdom, “Happy Woman.”

Bodies alone make the landscape. Cellular Songs inhabits its own special realm of music-theater in its soulful interweaving of music, theater, image, and movement. Monk describes her process in spatial terms: “Some of the pieces have much more dissonance and chromatic kind of harmonies, and the forms are almost like three-dimensional sculptures. Earlier, my music had much more to do with layering. Now you can almost see or hear the piece rotating as if it were a sculpture in space, though it’s just a musical form.” A visual architecture is built into its rigorous structure, which may look deceptively simple. The 75-minute work is scored for piano, keyboard, and violin and the shimmering chorus of women’s voices that animate the space.

The work of Monk as composer, performer, director, choreographer, and filmmaker has achieved a singular prominence in the world of performance. Her range extends from solo performance to site-specific works, from theater and opera to compositions for orchestra, chamber ensembles, and solo instruments. Monk’s sense of scale is equally versatile in works large and small, as varied as Quarry, Education of the Girlchild, Facing North, The Games, and the more recent mercy, impermanence, and Songs of Ascension. Starting with her own ecological consciousness and recent readings in medicine, she was drawn naturally to the dimensions of the cell. “The cell is the fundamental unit of life, but it can also reflect the fundamental units of the universe, so that it’s got this sense of us as part of a much bigger whole. I’ve become fascinated by their wit and their vibrancy. What is going on in the cell is so complex and it’s a real prototype of the possibility of what a society could be if you take those same principles and expand them.” Monk has always been interested in the reflective power of microcosm and macrocosm, a theme explored in her most recent music-theater offering, On Behalf of Nature (2013).

What is distinctive in the experience of Cellular Songs is to watch its ethical fundamentals unfold over time in the performance on multiple levels: structurally, musically, and thematically. A philosophic worldview is viscerally demonstrated in the way the performers use their bodies to generate a social world. The women literally breathe into the space, creating the feeling of radiance. If, for Monk, the cell is the fundamental unit of life, she also affirms her belief in the purity of perception: “Over the last 10 years I’ve had this impulse to boil down what I am doing to its essence. It is a very worthwhile thing to take on a theme that you can spend time contemplating, a theme that can never be answered and can only be hinted at and glimpsed. Literally, the process of making a piece is the process of contemplating something. To contemplate the ineffable is a wonderful way to spend your life.”

Art takes many forms to address global crises as a way of comprehending reality. Monk’s work has chosen a path different than the response that is a direct statement of conditions, following instead her Buddhist grounding in art as spiritual practice. Subtly, in recent years, she has been offering audiences a genre that has a certain luminosity and softness, emotion without sentimentality, sweetness along with the dissonance. Her work honors the human need for the feelings of joy and love and beauty. In the integrity of its regard, Cellular Songs is of this world but also beyond this world, like all poetic works of the imagination.

Bonnie Marranca is founding publisher and editor of the Obie-Award winning PAJ Publications and PAJ: A Journal of Performance and Art, which celebrated its 40th year in 2016. She has written or edited 15 books on theater and the arts. ©2017 Brooklyn Academy of Music, Inc. All rights reserved. 

Meredith Monk Cellular Songs Sat, Mar 2 at 8PM Royce Hall

Director’s Note: Carrie Mae Weems – Past Tense

 “The tears of the world are a constant quantity.” – Samuel Beckett

Any work begins with a vague notion, an angry itch, a throbbing at the edge of consciousness – something troubling that keeps you grasping, yearning, anxious. Day after day these feelings drive artists back into their studios, determined to hammer out nonsense on their keyboards until clarity of thought slowly takes shape. Past Tense began in just that way – with a deep desire to get at what was troubling me.

So, I began to write. I put to paper the simple words and phrases, images and elements, that moved around in my mind and yearned for a physical form to emerge and be shown to the world.

I am by no means a playwright. As a visual artist, working the last thirty-five years predominantly in photography and video, I approached this as I would any other project, starting with images and then building music, songs, and text around them. The outcome – Past Tense – is a performance that brings together some of the country’s most celebrated artists, poets, musicians and composers to explore the dynamic role of grace and its meaning in the pursuit of democracy.

There are only a handful of stories in the world; the difference often lies in the telling. After working on Past Tense for months it occurred to me that I was telling the story of Antigone, wherein an innocent man dies by unjustified means and his sister fights for the right to bury him honorably. But the wider community refuses her; her right to justice, and to peace, is denied.

Likewise, Past Tense examines the wider social implications of tensions at work in communities across America. These tensions are marked and defined by recent escalations in violence, the killings of young black men, the rise of nationalism and white supremacy, and the tragic events of the Emanuel Nine. These events and nationwide responses have been contextualized as a song cycle, and the piece incorporates music, song and spoken word interwoven with text, dance, photography and video projection to explore the dimensions of its theme.

In our context, grace functions as a sustaining metaphor and an overarching conceptual frame for a dynamic performance calling for new approaches to old questions. I prefer to work with artists who share a common language and have a visceral understanding of the collaborative process. So, from the beginning we started from a central place—a common but varied knowledge of the dark maze of life.

Past Tense includes works by poet Carl Hancock Rux and composer Craig Harris. They are joined by dancer David Parker and singers Alicia Hall Moran, Imani Uzuri and Eisa Davis, who bring a wealth of talent and nuance to the performance. What began as a gift to our first Black President quickly morphed into a series of profound reflections that critically engaged the tumultuous and remarkable time in which we now find ourselves—both tragic and liberating.

Message from the Artists: Jesmyn Ward & Mitchell Jackson

Jesmyn Ward & Mitchell Jackson in Conversation

It’s a privilege to share the stage with Mitch Jackson, who is the kind of person who can walk into a room and put the shyest, most socially awkward person at ease. Probably by making one laugh. That’s mostly what I do when we are in the same place: laugh.

I’ve known Mitch for seven or so years, and in that time, I’ve learned that not only is Mitch kind to wallflowers, he is also an insightful, brilliant writer and prose stylist, as evidenced in his latest, The Residue Years, which blesses the reader with revelation after revelation as Mitch explores everything from the prison industrial complex to addiction and the drug trade to sex work to emotional intimacy as he tells the story of what it was like to come of age in Portland.

Finally, he is also brave. Every time we meet, he says something that I perhaps thought but was never forthright enough to say aloud. In the end, I’m proud to be in his literary cohort, to work with him in this endeavor to write us into the public’s imagination, and I’m looking forward to laughing my way through this conversation, and perhaps stumbling across a revelation or two.

—JESMYN WARD

Gilles Deleuze asserts our identity is defined by difference, that we are able to conceive of who we are only as difference from who and what we are not. A writer’s voice is a means of communicating that difference, of proclaiming to the world (or at least a reader) there is but one of us—and we have something to say in a way only we can say it.

For historically subjugated groups especially, of which Jesmyn and I belong, a literary voice is often DuBoisian, a way of expressing, “two souls, two thoughts, two unreconciled strivings; two warring ideals.” A writer’s voice is also a response to cultural or political pressures, and can become a means of expressing their values as well as making visible elements of themselves that those in power try to erase or invalidate.

The talk will in part cover voice, which is to say our literary identity—how it evolved, how it reflects our personal and cultural experiences, our political ideals, and the place we call home.

—MITCHELL S. JACKSON

Jesmyn Ward & Mitchell Jackson in Conversation, Thu, Feb 7 at 8PM, Royce Hall, UCLA

Message from the Artist: Jérôme Bel on Gala

Photo by Josefina Tommasi

About the cast

What has always interested me about amateurs is their fragility, the fact that unlike professionals who become masters of their respective art forms, amateurs are defenceless. Amateur practice is based on the principle of pleasure, of desire. Every amateur is in the process of becoming, and will never become as accomplished as a
professional.

That momentum, that attempt, is without doubt one of the things in common with my own approach. As an artist I’m not seeking mastery of my tool, which is theatre. On the contrary, I endorse an experimental idea of theatre where each one of my works should lead me to something I do not master, even though that is not always the case.

A project consists of trying, attempting and exploring, rather than controlling or mastering, even if it means failing. As a spectator I always prefer seeing a show that takes risks over a successful piece that teaches me nothing new. For me the amateur dancer incarnates a certain idea of art that I am fiercely attached to. As Samuel Beckett said, “Try again. Fail again. Fail better”.

About the deconstruction of the institutional representation of dance

I must say that I’m starting to have a real problem with the representation of bodies in what is now called “contemporary dance”. I find it terribly standardized. In 99%of dance shows the dancers are between 20 and 35 years of age, are svelte, in great
shape and good-looking and even very beautiful. I find that extremely limiting for an art whose tool is the body.

There are all sorts of bodies, and I think all of them should be portrayed. It’s come to the point where contemporary dance produces an academicism to match that of classical dance. Judgement is of course another sinew of war that the status of the
amateur undermines, which delights me.

With judgement thus invalidated, what remains? What remains is the meaning of dance, what it signifies, what it expresses of the dancing individual (amateur or professional), what dance reveals of the individual that language cannot.

About body disparity and diversity

I’ve always thought that a dance company should reflect onstage a certain idea of the world. I mean the dance of modernity, the dance that began with Isadora Duncan, Nijinsky etc. It seems to me that major choreographers have continued in that vein, which is what I find interesting in the work of Pina Bausch, Maguy Marin, Yvonne
Rainer, Steve Paxton, Trisha Brown, Simone Forti, William Forsythe, Xavier Le Roy, Trajal Harrell, Boris Charmatz and Anne Teresa de Keersmaker.

In the historical moment that is ours, the work of choreographers should take into account the diversity of their societies, for the related social issues are absolutely gigantic.

About the value of all forms of dancing

Most certainly all forms of dance have worth and value, just as no human being is worth less than another. Allow me to quote the last sentence of Sartre’s The Words: “A whole man, made of all men, worth all of them, and any one of them worth him.” The equality that I am trying to produce among the different dancers of Gala is a meta equality, if I may say so, for Gala is based on the greatest possible diversity of its performers, thus allowing for an equality that is due to the singularity of each member in that community. It is because each one of them is unique that they suddenly become equal, worthy of the same interest; they are equal by unicity. Each one becomes a source of richness, considering that any otherness is a promise of richness for everyone else.

Message from the Artist: Nadia Sirota

What do you think of when you hear the word ‘composer’? I imagine most of us picture some sort of be-wigged gentleman who may or may not be Bach, Beethoven and Mozart all kind of swirled-up together. Either way, it’s a dude, it’s a bust, and it is scowling.

Luckily, real-life composers are fascinating and often not-dead! It takes a special kind of person to summon sound from silence, and tonight, we’ll sit down with two of my favorite sound-summoning humans, Caroline Shaw and Andrew Norman.

Growing up, Andrew Norman was a confident kid-composer, writing orchestra pieces for his middle school friends and getting written up in the local paper. But when Andrew went to college and discovered capital-m Modernism and atonal compositions, his confidence crumbled; how do you write music if you don’t really understand what music IS?

Caroline Shaw grew up playing the violin and singing in choirs, and while she always wrote music, she never thought of herself as a ‘composer,’ until one day she wrote a really fantastic thing for her vocal ensemble and won a Pulitzer Prize. All of a sudden Caroline was thrust into the compositional spotlight. So how does someone who never really identified as a composer grapple with composition’s fanciest accolade?

While (or possibly because) Caroline and Andrew have struggled with what it means to be a composer, they have both gone on to become major players in the classical music world, writing for some of the most impressive folks out there. What really blows me away, though, is that they are also a couple of the loveliest individuals I have ever met.

So tonight, we’re in luck: we get to see what makes these guys tick. And with the help of the fabulous ensemble Wild Up and conductor Christopher Rountree, we’ll witness some of the most stunning, most original, and most moving music I have ever heard.

Here’s the thing, these works are not sacred relics. The scores are not unimpeachably perfect, to be blindly obeyed, but something else entirely: human, vital and moving.

This is Living Music.

—Nadia Sirota