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Tonight tonight tonight (whoa-oh)

Just as an experiment, I am posting now — before I see the show — to see what kind of preconceptions I have about the performance and how my experience tonight will be different. Or similar. I’ve seen the picture from the Walker brochure frequently over the past week because it is sitting on a [...]

Just as an experiment, I am posting now — before I see the show — to see what kind of preconceptions I have about the performance and how my experience tonight will be different. Or similar.

I’ve seen the picture from the Walker brochure frequently over the past week because it is sitting on a table in my kitchen (not The Kitchen) and I remember a relative close-up of faces, hands and arms in what looks a little like a tussle. But I am also remembering this is dance or dance-based, so I’m guessing there won’t be actual fighting. Also there was something in the written material about sports and Merce Cunnigham. The sports reference did nothing to excite me, given my predilection for non-sport sedentary events. I think there was something about the name “David,” but that may be the name of the artist or group.

Sheesh. Okay. I have virtually no recall. Can’t even remember the name of the show.

Oh, and there are Rugby stripes on the shirts.

The sports thing sticks in my head because it is something that does not make me want to see the show. And I have nothing against sports in principle, just as a personal preference I find participating and watching them kind of boring. Questions about funding for a sports stadium will bring out a slightly different response, but let’s not go there.

So this thing is at the Walker, at the McGuire, both of which I am pretty familiar with. But given that I know I’m not seeing a dog fight or watching paint dry, this doesn’t say much.

Until tonight then…

Woe is Wampler

I’m feeling very emperor’s new clothes here. Er. . . that was dull. Irritating. Condescending. Adolescent. I’m sorry, that’s not a terribly nice way to begin. But the gloves are off, aren’t they? In my experience (Friday) the “plants” were not nearly so obvious as in that NY review Galen pointed us to (thanks, Galen). [...]

I’m feeling very emperor’s new clothes here. Er. . . that was dull. Irritating. Condescending. Adolescent. I’m sorry, that’s not a terribly nice way to begin. But the gloves are off, aren’t they?

In my experience (Friday) the “plants” were not nearly so obvious as in that NY review Galen pointed us to (thanks, Galen). The people behind me chattered non-stop and sang along, causing me to move halfway through, and there was some more misbehavior, but it only reached the level of annoyance/confusion. Since I came in three minutes before the show began and lost my program in the move, I never read the text. Oops. Perhaps that invalidates my entire comment. . .

Let me start over. What did Wampler want from the audience? What did she want to happen to us? We were all stirred up by the plants around us–some to imitation of their energy, some to irritation. So then we find out they were plants and feel, I don’t know, like chumps? Justified? Manipulated? Alienated? It’s not too hard to confuse, manipulate, or alienate, so I can’t see that as an achievement.

Clearly I’m getting nowhere in this response. I just don’t understand what Wampler wanted. In the continuing saga of performer-audience relations, her apparent level of frustration with the audience is. . . well, unreasonable? People have a limited range of things they are willing to do in public. They have their self-respect, they have their manners. Are these such bad things?

Start over (again). Perhaps this was meant to be cathartic and judgment free. Something for everybody: hate for the haters and love for the lovers, something to feel, to get into. That’s the most generous interpretation I can come up with. But even so. . .

People just aren’t that simple. Even audience members.

“IT HAS COME TO THIS” (strikethrough) “PERFORMANCE”

I know I live under a log, but even so sometimes a tiny bit of the outside world filters in and I don’t remember any hype about this show. Which is fine with me because I have a tortured relationship with pre-show information. I hate to hear anything about a movie before I go see [...]

I know I live under a log, but even so sometimes a tiny bit of the outside world filters in and I don’t remember any hype about this show. Which is fine with me because I have a tortured relationship with pre-show information.

I hate to hear anything about a movie before I go see it. I am regularly disappointed by the relationship between program/advertising material and performance, usually because the material colors my expectations in an unhelpful shade. To say nothing of the injustice of having to create a blurb and press release months before knowing what the performance will be. (Just some of my innumerable weaknesses.)

All of which is a way to begin with the front of the program for this puppy. Beginning with “1906 die bruke” there’s the list of art world monikers in lower case and chronological order, interspersed with the performance’s title (or maybe it was the preamble) in all capitals ending in 2006 with “PERFORMANCE“. (I had trouble getting the strikethrough into the title of this post.)

So this is what I was thinking: it’s nice to see something that appears to take into consideration the long work of people dealing with representation and its place in the world. As if art was something that didn’t need to be defended. As if art had its own history, culture, economy, social institutions, practices, discourses, etc. that are simultaneously as independent and as engaged with the world as the practices of medicine, economics, architecture, agriculture, etc. are. In other words, as if the way so many relate to art as external, peripheral, irrelevant, misguided, elitist, self-indulgent, or ignorant was just plain wrong.

I also thought, in my smalltown Minnesota way, “What chutzpah.” Or hubris, maybe. As if this performance was the culmination of a century-long process. But in a way it’s inevitably true, as it is for any contemporary work no matter how thoughtless or badly done. And this of course points out the weaknesses of the whole idea of historical progress. Which in turn is tied into the notion of “career” and any associated endpoint.

So with that as my preamble, I will mention that I liked the depiction of creative work among those of us whose personalities fluctuate between the petty dictator and the under-appreciated laborer. And the necessary interdependence of these perspectives — creation of pop songs and performance works aren’t all that different in abstract essentials from the daily of work of “real” jobs. (As those of us who work a “day” job to survive know from experience.)

Following the formal device of the creation of something and to its presentation was a comforting storyline, particularly so when its a pop song. (And it was catchy, although hearing any three notes over and over for an hour is bound to make them stick in your head — not until I went to Cub afterwards for some groceries (shopping without the kids! Freedom!) and had one of those 70s pop song pummeled in.)

I also liked the use of projection and material used so well by Shimon Attie and others. There’s something exciting that happens when you project images of material on the material itself. And of course the smoke/fog shifts from clarifying to dispersing to obscuring the image.

There was a lingering whiff of self-righteousness in the relationship between the creator and the audience (there she was, two rows in front of me with her headset, now she’s onstage adjusting the positions of the instruments, now the show is over and she moves downstage with a crew member, watching the audience). She was an advisor on Sarah Michelson’s Daylight (Minneapolis), and the two works seem to share an investigation of audience/performer power relations that assumes audiences know little to nothing about their expectations, role, power, etc. which ends up being condescending.

In general this was the most interesting thing I’ve seen there this year in part because it was aware of its own history and practices, in part because it didn’t hesitate to be entertaining as well as thoughtful, and despite a sometimes condescending or hubristic attitude.

There were also the writings inside the program which for me worked like parallel, or distinct, lines of thought with the performance — and were also something to read when things got dull. Thanks!

Look at Claude, Look at Tino

Interestingly I find myself agreeing with Claude’s strangle hold on information about this performance. The enigma of the experience was essential for me. The clarity and the music were also essential. It felt like a simple show. Not simple to execute but simply stated. If you really need to know what happens, there are spoiler [...]

Interestingly I find myself agreeing with Claude’s strangle hold on information about this performance. The enigma of the experience was essential for me. The clarity and the music were also essential. It felt like a simple show. Not simple to execute but simply stated.

If you really need to know what happens, there are spoiler reviews out there:

www.brooklynrail.org/2006/12/dance/claude-wamplers-strike

I don’t recommend reading it. Maybe afterwards. Maybe not. I bet you’ll get it on the night and like it or not.

What you should read is this blog entry. For me, it is related to Claude’s piece last night (plus I’ve really been enjoying Tino Sehgal’s pieces):

blogs.walkerart.org/visualarts/2007/12/20/tino-sehgal-doesnt-sense/

Career Ending Virtuosity

Everything you’ve heard/read about Claude Wampler’s show at the Walker is true. Or not. You’ll have to see it to believe it. Did the performance begin at the bar when a man told me he was wearing Brittany Spear’s perfume? I am still smelling it.

Everything you’ve heard/read about Claude Wampler’s show at the Walker is true.

Or not.

You’ll have to see it to believe it.

Did the performance begin at the bar when a man told me he was wearing Brittany Spear’s perfume?

I am still smelling it.

Mondays with Merce

The New York Times reports that, starting next month, the Merce Cunningham Dance Company will show Mondays With Merce, an online video program featuring weekly episodes of the choreographer’s Monday class, on its Web site. As theTimes reports: The program has three major components. First, there will be 26 episodes online beginning in September. Each [...]

The New York Times reports that, starting next month, the Merce Cunningham Dance Company will show Mondays With Merce, an online video program featuring weekly episodes of the choreographer’s Monday class, on its Web site. As theTimes reports:

The program has three major components. First, there will be 26 episodes online beginning in September. Each will include 30 to 40 minutes of technique class, edited and supplemented with interviews with Mr. Cunningham, collaborators like the artists Jasper Johns and Robert Rauschenberg and some of the original dancers from the pieces, and archival material. The episodes will show the inspiration for dances and reveal the threads that link one work to another.

“ If the company is performing Ocean,’ which is based on the circle,” said Nancy Dalva, a dance historian who will be directing these edited episodes, “ we can go get archival footage of Beach Birds,’ which has the same circle in it, and show the same Matisse poster, which Merce saw in his dentist’s office before he made the dance.”

Cunningham and his entire troupe are performing Ocean Sept. 11-13 inside a granite quarry just outside of St. Cloud, Minn.

Andy Palacio 1960-2008 – He is resting with the ancestors

PRESS RELEASE Belizean Musician Andy Palacio Passes Away After Heart Attack and Stroke January 19, 2008 – Andy Palacio, an iconic musician and cultural activist in his native Belize and impassioned spokesperson for the Garifuna people of Central America, was declared dead tonight at 9pm Belize time due to a massive and extensive stroke to [...]

PRESS RELEASE

Belizean Musician Andy Palacio Passes Away After Heart Attack and Stroke

January 19, 2008 – Andy Palacio, an iconic musician and cultural activist in his native Belize and impassioned spokesperson for the Garifuna people of Central America, was declared dead tonight at 9pm Belize time due to a massive and extensive stroke to the brain, a heart attack and respiratory failure due to the previous two conditions.

Palacio, 47, started feeling poorly last week and eventually visited a doctor with complaints of dizziness and blurred vision. On the 16th of January, he began experiencing seizures and was rushed to a hospital in Belmopan, Belize and then on to another hospital in Belize City. At this point, most people were hopeful Palacio would recover.

On January 17th, Palacio’s condition worsened and he began experiencing more seizures. He was placed on an air ambulance to Chicago where he was expected to get treatment at one of the premier neurological facilities in the country. En route to Chicago, the plane stopped in Mobile, Alabama to clear immigration. At that point, Palacio was unconscious and it was determined that he was too ill to continue on the flight to Chicago. He was rushed to a hospital in Mobile, and placed on life support. There, doctors determined that the damage to his brain function was severe, and that his chances of recovery were slim. On January 18th, his family requested that he be flown back to Belize so that he might die in his homeland.

A national hero in Belize for his popular music and advocacy of Garifuna language and culture, news of Palacio’s condition sent shockwaves through the community. At 5pm today, a public service was held in Belize City for Palacio as people prayed for his recovery. Ceremonies were also held by Garifuna spiritual leaders in an effort to help with the situation. Belize is in the midst of a heated election, but the local news was entirely dominated by Palacio’s health crisis.

The reaction has also been strong around the world. Until the recent turn of events, the past year had been one of tremendous accomplishment for Palacio as his album Wtina, which was released at the beginning of 2007, had become one of the most critically acclaimed recordings of the year in any genre. Perhaps the most unanimously revered world music album in recent memory, Wtina appeared on dozens of Best of the Year lists in major media outlets around the globe and was roundly praised in glowing terms.

In 2007, Palacio was named a UNESCO Artist for Peace and won the prestigious WOMEX Award. Wtina was also nominated for the BBC Radio 3 World Music Awards. At home in Belize, the international success of Wtina has sparked a revival of Garifuna music, as young musicians have become inspired by Palacio’s example. Even in the days since Palacio’s health crisis began, the accolades have continued to pour in for his work.

That Palacio has been struck down at a moment of such international acclaim only increases the sense of shock and tragedy felt at his sudden and untimely death.

Andy Palacio will be honored with an official state funeral. A massive tribute concert is planned in Belize City on Friday, January 25th.

Friends and supporters are invited to post messages in memory of Andy Palacio to his MySpace page as well as to the blog of his international record label Cumbancha .

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ANDY PALACIO’S BIOGRAPHY

Andy Palacio was not only the most popular musician in Belize, he was also a serious music and cultural activist with a deep commitment to preserving his unique Garifuna culture. Long a leading proponent of Garifuna popular music and a tireless advocate for the maintenance of the Garifuna language and traditions, Palacio recently achieved international acclaim for his work as a recording and performing artist thanks to the critical success of his early 2007 album Wtina.

Andy Vivien Palacio was born in the small coastal village of Barranco, Belize on December 2, 1960. Palacio grew up listening to traditional Garifuna music as well as imported sounds coming over the radio from neighboring Honduras, Guatemala, the Caribbean and the United States. “ Music was always a part of daily life,” said Palacio, “ It was the soundtrack that we lived to.” Along with some of his peers, he joined local bands even while in high school and began developing his own voice, performing covers of popular Caribbean and Top 40 songs.

However, it was while working with a literacy project on Nicaragua’s Atlantic Coast in 1980 and discovering that the Garifuna language and culture was steadily dying in that country, that a strong cultural awareness took hold and his approach to music became more defined. “ I saw what had happened to my people in Nicaragua. The cultural erosion I saw there deeply affected my outlook,” he said in late 2006, “ and I definitely had to react to that reality.” His reaction took the form of diving deeper into the language and rhythms of the Garifuna, a unique cultural blend of West African and Indigenous Carib and Arawak Indian language and heritage. “ It was a conscious strategy. I felt that music was an excellent medium to preserve the culture. I saw it as a way of maintaining cultural pride and self esteem, especially in young people.”

Palacio became a leading figure in a growing renaissance of young Garifuna intellectuals who were writing poetry and songs in their native language. He saw the emergence of an upbeat, popular dance form based on Garifuna rhythms that became known as punta rock and enthusiastically took part in developing the form. Andy began performing his own songs and gained stature as a musician and energetic Garifuna artist. In 1987, he was able to hone his skills after being invited to work in England with Cultural Partnerships Limited, a community arts organization. Returning home to Belize with new skills and a four track recording system, he helped found Sunrise, an organization dedicated to preserving, documenting and distributing Belizean music. While his academic background and self-scholarship allowed for his on-going documentation of Garifuna culture through lyrics and music, it is his exuberance as a performer that has helped earn him worldwide recognition.

Palacio also brought his passion for Garifuna culture into the public sector. In December 2004, Palacio was appointed Cultural Ambassador and Deputy Administrator of the National Institute of Culture and History of Belize.

About five years ago, Belizean producer Ivan Duran, Palacio’s longtime collaborator and founder of the local label Stonetree Records, convinced Palacio that he should focus on less commercial forms of Garifuna music and look more deeply into its soul and roots. Duran and Palacio set out to create an all-star, multi-generational ensemble of some of the best Garifuna musicians from Guatemala, Honduras and Belize. The Garifuna Collective unites elder statesmen such as legendary Garifuna composer Paul Nabor, with up-and-coming voices of the new generation such as Aurelio Martinez from Honduras and Adrien Martinez from Belize. Rather then focusing solely on danceable styles like punta rock, the Collective explores the more soulful side of Garifuna music, such as the Latin-influenced paranda, and the sacred dg, punta and gunjei rhythms.

Palacio and Duran embarked on the production of Wtina, an album that would come to redefine modern Garifuna music and become one of the most critically-acclaimed world music releases of 2007. The initial recording sessions for this exceptional album took place over a 4-month period in an improvised studio inside a thatch-roofed cabin by the sea in the small village of Hopkins, Belize. It was an informal environment, where the musicians spent many hours playing together late into the night, honing the arrangements of the songs that would eventually end up on this album. While the traditions provided the inspiration, the musicians also added contemporary elements that helped give the songs relevance to their modern context. After the sessions, Ivan Duran worked tirelessly back at his studio to craft what is surely the pinnacle of Garifuna music production to date.

Wtina, which was released at the beginning of 2007, became one of the most critically acclaimed recordings of the year in any genre. Perhaps the most unanimously revered world music album in recent memory, Wtina appeared on dozens of Best of the Year lists in major media outlets around the globe and was roundly praised in glowing terms. These best-of lists put an exclamation point on what had been an incredible year for Andy Palacio and the worldwide recognition of Garifuna music. In November, 2007, Palacio became the first Caribbean and Central American artist to be designated awas named a UNESCO Artist for Peace. He received the prestigious WOMEX Award in October, 2007 which was co-awarded to Ivan Duran. In September, 2007 Palacio was conferred the Order of Meritorious Service by the Prime Minister of Belize. Wtina was also nominated for the influential BBC Radio 3 World Music Awards. At home in Belize, the international success of Wtina has sparked a revival of Garifuna music, as young musicians have become inspired by Palacio’s example.

Particularly in My heart and Head

Go TEAM! Hooray for a wonderful show and for not taking things so seriously, avoiding pretension. It’s probably going to be boring reading about mostly good things but I think there’s plenty to discuss or think about other than “Was it good?” and “Did you like it?” and you can go to Lightsey Darst’s review [...]

Go TEAM! Hooray for a wonderful show and for not taking things so seriously, avoiding pretension. It’s probably going to be boring reading about mostly good things but I think there’s plenty to discuss or think about other than “Was it good?” and “Did you like it?” and you can go to Lightsey Darst’s review for the heated back-and-forth.

I definitely recommend seeing it (one more performance on Saturday).

Only just a bit unedited, perhaps, this play warmed me to the bones on a cold bitter night here in the heartland. Talented performers, very pleasing soundscore, sets that leave room for the imagination and movement, and, get this, a really good post show discussion. Director Rachel Chavkin was present.

Me liked the blood, of course, and the crazy, collaged accent (Scottish/Cockney/Australian/Ali G) by Todd (aka Frank Boyd) in the Christmas Carol section. I loved recalling the Twilight Zone snow globe episode and things I haven’t heard since I was a kid in Vermont: “Jesum Crow!” (see, Penny Freeh–I’m not making that up!); that Kennedy accent (even thought the actor looked more like Nixon); “I’ll punch you in the neck!”; “Have you been good?” and fundamental Christianity. One line I didn’t hear as a kid caught my ear: “‘The Rapture!’ In stores 06/06……..”

The Rapture. Not a common topic. I thought it was given a pretty interesting treatment, though you could spend your whole life contemplating whether you could ever be good enough to be part of “Jesus’s army” or even his “second best army” (the ones that might get taken up once they’ve tried a little harder). There are days when I still wish I would be abducted by aliens, I mean embraced by the rapture. Calgon, take me away.

Not much more to say except that mind did wander once or twice to a Twin Cities cast. I’ll write it out later so as not to put any ideas into Saturday night’s audience.

Enjoy the rapture.

Ask The Team a question:

I really enjoyed the moment where Sarah told us we could ask her a question. I didn’t ask one, but I have some now. So, what would you ask Sarah and The Team? Seriously you can ask anything.

I really enjoyed the moment where Sarah told us we could ask her a question. I didn’t ask one, but I have some now.

So, what would you ask Sarah and The Team? Seriously you can ask anything.

The TEAM: hmm

On the way out I told a friend that I just don’t think I have the gene to enjoy this kind of performance. That’s how it feels to me. Plenty of people in the audience loved the show, but I was left with the feeling I’d been watching an improv exercise–performed by a group of [...]

On the way out I told a friend that I just don’t think I have the gene to enjoy this kind of performance. That’s how it feels to me. Plenty of people in the audience loved the show, but I was left with the feeling I’d been watching an improv exercise–performed by a group of talented and enthusiastic people, no doubt, but still. . . I just didn’t see that anything happened here. The older sister did at last get to kiss a girl, but for a born-again that certainly wouldn’t be the end of it, and we didn’t see the end of it. All I could glean of overall shape is that the performance opened and closed with explosions.

I wonder about the “heartland” the TEAM presents here. Those kids weren’t recognizably Midwestern–at least, they didn’t exhibit any of the characteristics that I’ve come to know as Midwestern in the seven years I’ve been living here. Instead, they were just garden-variety hicks, the sort careless persons might imagine living anywhere in the US. In fact they rather reminded me of the stereotyped versions of Southerners that Midwesterners so love to put on. So at one level this performance read as a pretty easy skewering of some straw folks: the Midwestern born-agains, relentlessly ignorant, cloaking their own desires under religious or patriotic language, shopping at Walmart, etc.

Then again, the kids had their moments of nobility, and the Northeastern adults seemed pretty flawed themselves. I don’t know quite what the TEAM are up to here, or how it’s supposed to work on us. It didn’t work on me, at any rate.

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