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Bassekou Kouyate and Ngoni Ba: April 10th at the Cedar

In 2003 I discovered Salif Keita’s perfect album Moffou, Damon Albarn’s Mali Music, and Ali Farka Toure all in the span of a couple of months. This opened the door for me to the wealth of music from Mali, and I’ve wanted a one-way ticket to Bamako ever since. The Walker will be bringing Malian [...]

In 2003 I discovered Salif Keita’s perfect album Moffou, Damon Albarn’s Mali Music, and Ali Farka Toure all in the span of a couple of months. This opened the door for me to the wealth of music from Mali, and I’ve wanted a one-way ticket to Bamako ever since.

The Walker will be bringing Malian rising star Bassekou Kouyate and his band Ngoni Ba—in a co-presentation with the Cedar Cultural Center—to the Cedar’s stage, next Saturday, April 10. Kouyate named his band, Ngoni Ba, after the ngoni, “an ancient traditional lute found throughout West Africa”, according to the World Music Institute; “Ngoni Ba is the first group built around the ngoni that also combines ngonis of different sizes” to make a full band sound. His music ranges from low-key desert blues (see video below) to something a little more amped.

The opportunity to see international musicians here in Minnesota is rare, and unfortunately, in the past year, the U.S. Citizens and Immigration Service has begun more restrictive policies in approving visas of touring artists. In other words, folks, this opportunity might not come around again soon.

Here’s a preview of what the show will have to offer:

The Bassekou Kouyate show is part of the Cedar’s “West Africa West Bank” concert series. The day after Kouyate’s show, Senegalese musician Baaba Maal will be performing, and on June 16, electric-funk band Tinariwen performs. These shows promise incredible musicianship and a unique opportunity to engage with the music of West Africa without an expensive (but probably worth it) ticket to Festival in the Desert.

Just for fun, here are links to my favorite tracks by the artists mentioned in this blog, plus a song by another great Malian group.

Tomorrow by Salif Keita (from the album Papa and the Ali Soundtrack)

Nabintou Diakite singing a capella from Damon Albarn’s Mali Music

Television by Baaba Maal (a collaboration with the Brazilian Girls)

Matadjem Yinmixan by Tinariwen

Sabali by Amadou and Mariam

Calling all Choreographers

Upcoming opportunities for MN Choreographers: 1. Momentum: New Dance Works 2011 We are pleased to announce the release of the Request for Proposals for Momentum: New Dance Works 2011. Momentum: New Dance Works 2011 is a partnership between Walker Art Center and the Southern Theater, with support from the Jerome Foundation. The series will run [...]

Upcoming opportunities for MN Choreographers:

1. Momentum: New Dance Works 2011
We are pleased to announce the release of the Request for Proposals for Momentum: New Dance Works 2011.

Momentum: New Dance Works 2011 is a partnership between Walker Art Center and the Southern Theater, with support from the Jerome Foundation. The series will run July 14-16 and July 21-23, 2011 at the Southern.

Purpose of Series: The Momentum dance series was created to promote the work of an exciting new generation of dance and dance-theater creators in Minnesota. The series enables innovative, under-recognized choreographers to have their work presented by the Walker Art Center and the Southern Theater as well as provide professional development opportunities facilitated by the co-presenters. Momentum seeks out applicants from a full range of styles, cultures, aesthetics, and approaches that represent contemporary dance in the world today.

For eligibility requirements, official guidelines with the complete RFP and application information, click here. Attend a public informational session on April 17 at 10:00 am at the Southern Theater to answer all your questions.

Applications due: Friday, May 7, 2010, by 4:00 pm to The Southern Theater

2. Choreographers’ Evening auditions
The Walker Art Center is pleased to present the 38th Annual Choreographers’ Evening, curated by Susana di Palma, November 27, 2010 at 7pm and 9:30pm.

SAVE THE DATE: Auditions will be held in the Walker Art Center’s McGuire Theater; July 29-31. We are not accepting audition requests right now but times will become available in early July. Check back after July 5th for specific dates and times.

Stories Left to Tell

Last night as the lights dimmed for the beginning of Spalding Gray: Stories Left to Tell, a man in front of me turned around said “Stop kicking my seat!” and abruptly flicked me off.  I was flabbergasted.  Anger and indignation welled up my spine. Then the show began. 90 plus minutes of tales written by [...]

Last night as the lights dimmed for the beginning of Spalding Gray: Stories Left to Tell, a man in front of me turned around said “Stop kicking my seat!” and abruptly flicked me off.  I was flabbergasted.  Anger and indignation welled up my spine.

Then the show began.

90 plus minutes of tales written by a genius storyteller.  It was a remembrance.  It was an honor to the spirit of the man.  It had some of the informality of a staged reading.  A few times I found myself staring at the back the head of the man who had flicked me off.  And in the end it also sent waves of emotion up my spine.

I knew Spalding killed himself in 2003.  I knew it was coming.  But when it arrived, told in the words of the man, I found it hard to breath.  My bodied tensed up.  It passed.  I released. Catharsis.  I was surprised to be so moved and forgave the man in front of me.  It wasn’t his fault.  I had been touching his chair with my foot, and he did me a favor.  He primed me for an emotional experience.

I also realized something about Spalding Gray.  He enters my body with his work.  But how?  Rhythm is a big part.  I can only imagine what it was like to see him perform live.  The added physicality would have amplified his genius writing.  I imagine it was transcendent.

Maybe I can imagine a ‘better’ Stories Left to Tell, maybe I lost focus at times, but ultimately this show has changed me.  That’s really what I ask for as an audience member and an artist.  My work will be different.  My storytelling might even improve!

Lost Origin

Tonight Stories Left to Tell opens its 3-night run in the McGuire Theater. Like “the structured unknown” Spalding Gray believed he was throwing himself into with every performance, each show this weekend has a featured guest, and a script (structure), but the “raw and unmediated thing-in-itself” still awaits. Stories Left to Tell is partly a [...]

Tonight Stories Left to Tell opens its 3-night run in the McGuire Theater. Like “the structured unknown” Spalding Gray believed he was throwing himself into with every performance, each show this weekend has a featured guest, and a script (structure), but the “raw and unmediated thing-in-itself” still awaits.

Stories Left to Tell is partly a re-assemblage of Gray’s words re-selected for performance. These selections were chosen by Gray’s wife, Kathleen Russo, who realized the lasting power of Gray-the-writer during a well-received reading of his Swimming to Cambodia after his death. Russo crafted from his body of work a new piece of theater, which we have a chance to see in the Twin Cities this weekend.

For each of Gray’s performances, he only had a sheet with simple keywords on it to remember which stories he wanted to tell. Without a script or memorized gestures, Gray saw every monologue he delivered as a fresh performance, a form of improv—something that he was reliving and re-experiencing along with the audience.

courtesy the Walker Art Center Archives

In the book Out of Character, Spalding Gray wrote, “Everyone that is remembering is always putting something together that is always not the original event. The origin is always lost to us forever.” He was writing about his memory-based process as a monologist, but it could just as easily be a prescient summary of the challenges Russo faced in creating Stories Left to Tell. Gray saw his transformation of memory into story, his “re-membering”, as a discernment of the “landmarks on the road from being to nonbeing”. What Stories Left to Tell achieves is a reversal of this road. With a cast of talented performers, Russo has taken us from the nonbeing– the lost origin of Spalding and his words– back to the existence of a living performance.

Also tonight, shortly before the show, the 2010 Spalding Gray Award-winner will be announced.

The Spalding Gray Award, in the words of last year’s press release for the Award, “supports gifted writer/performers who fully realize both aspects of Spalding’s legacy: who are fearless innovators of theatrical form and who reach into daily experience and create resonant, transcendent work that makes us all bigger, wider, wiser and, somehow, more than we were when we entered the theater.” The Award is presented jointly by PS 122, the Warhol, and the Walker. Previous recipients include Heather Woodbury (2006), National Theater of the United States of America (NTUSA) in 2007 (part of Out There 2009), and Radiohole in 2009 (part of Out There 2010).

We’ll let you know the 2010 recipient sometime over the weekend (check back for a comment on this blog post).

Spalding Gray – Revered and Reincarnate

I’ve read reviews of Spalding Gray: Stories Left To Tell and I’m still not completely sure what to expect.  No, I’m expecting to be surprised. The affection people have for Spalding Gray is almost overwhelming.  I first heard about his work during feedback sessions at Red Eye Collaborations seven years ago.  He seemed to be [...]

I’ve read reviews of Spalding Gray: Stories Left To Tell and I’m still not completely sure what to expect.  No, I’m expecting to be surprised.

The affection people have for Spalding Gray is almost overwhelming.  I first heard about his work during feedback sessions at Red Eye Collaborations seven years ago.  He seemed to be a one man institution surrounded by mystery.  Fellow artists told me his performances were extremely simple, usually seated behind a table with a glass of water, and extremely affecting.  He challenged theatrical conventions AND connected with audiences emotionally.   He was amazing.  They said it was such a tragedy when he died.

Eventually I saw some video of him (excerpt from the film of his famous show Swimming to Cambodia).  His physicality is striking:

[youtube]http://www.youtube.com/watch?v=v0iyLOIsyxs&feature=fvw[/youtube]

Gray seemed to be a touch point, an inspiration, a significant person.  The reverence I hear for Spalding Gray reminds me of the way people talked about Pina Bausch before I saw her work.  When I eventually saw her company perform in 2007 it was as if my artistic lineage had been revealed.  I saw my stylistic ancestor.  It was profound and had a purity that has changed the way I look at theater.

I wonder if this show will do something similar.

And I’m really intrigued by the pre-show tour with Kathleen Russo, Gray’s wife and creator of Stories Left to Tell, on Friday the 19th at 6:30.  Looking at art through the eyes of another is interesting.  How fascinating is looking at art through the remembered eyes of a legendary artist?

King For 2 Days: Day Two

My personal favorite moment was bassist Adam Linz’ soulful solo intro on the ballad “Church Clothes with Wallet Chain” – singing along Keith Jarrett style. yum. nice one, adam. He was having a blast.

Another great night of music in the McGuire – and while it was clearly another  night of Dave King music, it was quite a different experience from the night before, featuring three completely different groups: Golden Valley Is Now, The Gang Font, and The Dave King Trucking Company, the first and last of which were giving their premier performances.  This gave me a different sense of anticipation from the previous night, when I had already seen those groups before.

Again, I was very impressed by the program itself, – the way the evening flowed – starting out with the tight, electronics fueled  ”instrumental pop” of Golden Valley Is Now, a trio featuring King on acoustic and electronic drums, Reid Anderson (The Bad Plus) on electric bass & laptop, and Craig Taborn on rhodes and synthesizer keyboards and laptop.  Further setting apart the GVIN performance was the big screen video projections by Cristina Guadalupe, with specific video pieces set to certain songs, adding to the sense of each song’s personality.

Most striking for me was when King introduced a song by describing how these three childhood friends would get together as teenagers to play music at King’s house in Golden Valley, and now this past december, they did the same thing to prepare for this concert.  He then referenced 80s group Mike & The Mechanics (to audience laughter, though it wasn’t a joke) as the song began.  Immediately, the big screen was filled with gorgeous, jumpy, black & white film/video footage shot from a car driving through Golden Valley neighborhoods in a snowy winter. (shot by Reid’s wife). The combination of that backstory, with the footage of passing suburban winter scene houses, and the 80′s electro musical vibe, really created a rich sense of the three musicians, connected at such a formative age, coming back together for this joyous occasion to explore new (and old) ground artistically.  It hit close to home for me personally, having also grown up in MN and gotten rides from my parents to go play music in my friends basement – friends I still perform with today. There’s something very minnesota about the whole thing, and that moment really resonated for me, personally.

The videos offered lovely scene changes from tune to tune, and the last song, the breathtaking “The End of The World” when king left his drums for the treated grand piano – an eerie, haunting, vast expanse of a song, that like many king compositions, opened up through a hopeful twist, moving up and out to finish the set.  really, really beautiful. Another delectable McGuire moment.

The Gang Font then came on to bash in some heads with their heavy, mathy,  angular march, featuring Greg Norton, (Husker Du) on bass. The highlight for me was the section led by Erik Fratzke’s repeated circular guitar riff held down by King’s steady beat that kept landing in new places. That was some sick guitar playing. wow. (not that I’m surprised)

The Trucking Company has such a wide palette – both instrumentally and stylistically. And King chose the perfect song to introduce the set – the same song he played on MAKING MUSIC on thursday, though this time it opened up to be joined by his bandmates.  Sitting at the grand piano, alternating between the rootsy, bluesy, key- played progressions, and the more ethereal, mysterious, pixie dust string plucks – like a conversation between the two worlds – which was how he described the Trucking Co. project in general.  And the Trucking Co felt more like an orchestra than a band – even though it’s just a quartet. The way King has written for this ensemble is much more as an orchestral composer, it seemed to me, giving it its broad sensibilities.  At times, the Fratzke/Chris Speed dual lines reminded me of Scofield/ Lovano. Speed’s crazy “warbled” tone tricks were a nice added wrinkle.

My personal favorite moment was bassist Adam Linz’ soulful solo intro on the ballad “Church Clothes with Wallet Chain” – singing along Keith Jarrett style. yum. nice one, adam. He was having a blast.

the night ended with another all-star rousing rendition, joined by James Diers and Reid Anderson on vocals singing a broken down (and lifted up) version of the old country tune “Convoy”, which emily wouldn’t stop singing the rest of the night.

As another musician friend told me the next day, it was one of the most incredible, powerful couple o’ concerts we’d ever seen or heard. dave was exhausted afterwards, and bravo for such a well thought-out weekend of music. He’ll need to rest up, as the Bad PLus heads into the recording studio right away this week….

King For 2 Days: DAY ONE

Well, I thoroughly enjoyed the first night of Dave King’s 2-night extravaganza. King called it “a celebration of the idea of committing to a band” – the same theme of ensemble primacy that he emphasized last night at the Making Music chat. And it was apparent all night – the joy and ease with which [...]

Well, I thoroughly enjoyed the first night of Dave King’s 2-night extravaganza. King called it “a celebration of the idea of committing to a band” – the same theme of ensemble primacy that he emphasized last night at the Making Music chat. And it was apparent all night – the joy and ease with which everyone interacted musically, King’s wide smile, the intense focus they showed to each other’s playing. You could see how they were all listening to each other and everything with such intensity.

Tonight was classic King – exuberant performances, the widest range of musical dynamics, and hilarious comedy bits in between, keeping us engaged and shaking our heads. This has always been the way I’ve seen King present his work – a messianic intensity with comic relief. The video clips of him with his kids was classic, and brilliantly funny and absurd.

This was the type of show that really showcases the McGuire’s strengths as a concert hall – acoustic music heard with sublime clarity and resonance. Throughout the night, I marveled at how well I could hear everything and everyone – every last detail. Certainly, it’s a tribute to the players themselves, so acutely aware of space and tone – how and where they placed their notes – but the room was an exquisite vessel, giving perfect reflection and absorbtion to every blast, scratch, and flutter.

I was also impressed by the whole program – the pacing, the set order, the way the evening’s music unfolded – beginning with Buffalo Collision, the free jazz improvisational quartet – drawing us into their world of intense listening and spontaneous, intuitive creation. Particularly King and cellist Hank Roberts also add a real flair for gesture, their bodies convulsing and twisting out their notes and textures. The BC set set the tone for watching an ensemble interact and react and relate to each other – to build something collectively from nothing, but with so much trust and intention – playing as a quartet, but more often as trios and duets – players dropping out and listening, waiting for the right moment to add something. Particularly Ethan’s gorgeous comped extended chords that were laid in so delicately at perfect moments, shifting the weight and dispersing the intensity of the melodic lines of sax and cello.

“Sea Sun Spot Run” was classic Happy Apple – perfect juxtaposition of “out” times and angular rhythms with sweet, lullaby progressions – the volume pedal fade ins of the keyboard line…. And the swirling, swelling final crescendo of loops & samples fading out perfectly. Happy Apple’s dynamics have always been so powerful – pure magic – to bring an audience into the quietest, most intimate and minimalist moments before or after bashing your head in with some heavy whirlwind.

As the night went on, the songs got shorter – the bad plus tunes had very brief solo sections as did the bad apple tunes, but they were so solid – and each tune was reduced to its essence, and I think it really helped keep the energy up – it was a long show but it never felt like it.

It is so much fun to watch the Bad Apple play those ornette tunes. such gleeful abandon. such muscle. such finesse.

Wendy Lewis – her harmonies with Reid’s singing on What Reason Could I Give were an instrument on par with those surrounding her. I wanted more of her voice. Was hoping there was a second encore planned….but the length of the show was really perfect. It felt like not only a celebration of Dave King, but of our whole community – so many great players – on stage and in the audience – and so much influence and inspiration that has circulated through our music scene over the past couple decades. King spoke of the Walker’s role in his own development – exposing him to new worlds and sounds – and I know that for me personally, Happy Apple has been an immeasurable influence and inspiration – as players, composers, performers, and as people.

can’t wait for the second show….

DAVE KING on MAKING MUSIC

Last night, Dave King joined me for a special 5-Year Anniversary edition of the Making Music series, MAKING MUSIC 2.0. at the McGuire Theater at the Walker. Dave was my very first guest on the Making Music series, back in Feb 2005, and 5 years later he came back to preview his exciting weekend of [...]

Last night, Dave King joined me for a special 5-Year Anniversary edition of the Making Music series, MAKING MUSIC 2.0. at the McGuire Theater at the Walker. Dave was my very first guest on the Making Music series, back in Feb 2005, and 5 years later he came back to preview his exciting weekend of sold-out shows at the Walker, “King For Two Days”.

Making Music 2.0 is a chance for guest artists who’ve already been on the show to come back and discuss a specific current collaborative project – in this case, we focused on the two new groups premiering this weekend: Golden Valley Is Now and The Dave King Trucking Company. On our show 5 years ago, David talked about a dream project that he’d been trying to put together for years – a musical Trucking Company of Enlightenment – and now that vision is finally coming to fruition.

It was great to have Dave back on the show, and generous of him to give his time, as he’s in the middle of a frantic week of preparation for these shows. I told him at some point backstage, how I remembered how he’d told me years ago that he was done performing with 2 bands in the same night – it was probably after he’d done 12 RODS w/ Happy Apple, or F*K*G with Love-cars – some double bill and he was exhausted by it. It was too much. And now look at him. I reminded him of that conversation and he just shook his head, looking at the ground, a subtle grin. He said it had only hit him the day before, of just exactly what he’d gotten himself into. But despite being tired and frantic, Dave was incredibly articulate and thoughtful in our conversation, describing the various projects, and giving insights as to how they’re each unique, each giving him a new avenue of expression and artistic challenges.

One theme that came up repeatedly was how important the ensemble is in these groups – musicians who have committed to each other and to a project – in shaping that project’s personality and vitality. He was very eloquent in talking about the challenges of playing improvised music, but also the immense pleasure in creating at such an intense level with true masters.

Of course he was funny, too, as always. Check out the Walker TV high def video of the show and post your comments!

Celebrity guests grace McGuire stage

  Next week in the theatrical performance of Stories Left to Tell by Spalding Gray, comedian Louie Anderson, MPR newscaster Kerri Miller, and playwright and storyteller Kevin Kling will all take part in the performance which highlights Spalding Gray‘s work. The piece is performed by a five-person ensemble made up of some of downtown New York’s most accomplished writer/performers—including David Cale, Ain [...]

 

Ain Gordon in Stories Left to Tell

Next week in the theatrical performance of Stories Left to Tell by Spalding Gray, comedian Louie Anderson, MPR newscaster Kerri Miller, and playwright and storyteller Kevin Kling will all take part in the performance which highlights Spalding Gray‘s work.

The piece is performed by a five-person ensemble made up of some of downtown New York’s most accomplished writer/performers—including David CaleAin GordonJosh Lefkowitz, and Carmelita Tropicana—as well as a different local celebrity guest performer each evening.

Here is the Minneapolis line up:

Thursday, March 18 with Louie Anderson
Friday, March 19 with Kerri Miller
Saturday, March 20 with Kevin Kling

Celebrating the influential work and life of actor/writer Spalding Gray (1941–2004) and his irreverent storytelling style, Stories Left to Tell combines excerpts from both renowned and never-before-seen works that span the artist’s career and life. To read more about the performance at Walker Art Center or purchase tickets click here.

About the guest role:

The role that our  guest star will play each evening, which is called CAREER, includes stories about Spalding dealing with success and a certain amount of fame. This is the only role that enters later than the rest of the cast, who are present the whole time and represent Spalding’s life. The role acts as a wild card ride that happened to Spalding rather late in his life- the first CAREER story takes place in his early 40s. There’s a wonderful sort of layering because the guest star reading these stories also has had some experience with success and a certain kind of fame.

From Director of Stories Left to Tell, Lucy Sexton:

“When this was performed [in New York] regularly CAREER was  a rotating role, so the audience never knew exactly which ride CAREER was going to take you on. It was wonderful to see those CAREER stories transformed by each new person, whether it was a TV star, a writer, a radio personality, or a movie star Spalding had worked with during his actual career. So when the time came to tour the show, we were excited to bring along that element of surprise and the overlaying of the person onstage’s particular fame/career with Spalding’s. In addition to the outreach and integration with the local community that [is brought by the involvement of a local celebrity],  having the CAREER person be from the city we’re in has another bonus. It underlines one of the main messages of this show: Spalding’s work was great writing for the stage and as such can be done by a wide variety of performers. [This] has the possiblity of drawing new people to Spalding’s work, folks who might be coming to see an actor/writer/public personality that they’re familiar with even if they are not so familiar with Spalding.”

Louie Anderson

Louie Anderson was born March 24, 1953, in Minneapolis, raised in St. Paul and is an Emmy award winning comedian, actor, writer currently living and working in Los Angeles and Las Vegas. Anderson created the cartoon series Life with Louie and hosted the game show Family Feud from 1999-2002. Anderson recently published the book The F Word: How To Survive Your Family. He also wrote Goodbye Jumbo, Hello Cruel World. He on Comedy Central’s list of the 100 greatest standups of all time.

Kerri Miller

Every weekday, host Kerri Miller welcomes guests and audience members for lively, in-depth discussions of news events, issues, the arts and more on Minnesota Public Radio. Kerri Miller joined MPR in June 2004 as host of Minnesota Public Radio’s Midmorning and Talking Volumes, the joint book club of MPR, the Star Tribune and the Loft Literary Center. She has been a radio and television news reporter since 1981.

Kevin Kling, best known for his popular commentaries on National Public Radio’s All Things Considered and his storytelling stage shows like Tales from the Charred Underbelly of the Yule Log, delivers hilarious, often tender stories.  Kling’s autobiographical tales are as enchanting as they are true to life: hopping freight trains, getting hit by lightning, performing his banned play in Czechoslovakia, growing up in Minnesota, and eating things before knowing what they are.

Kevin Kling

Travel Diary: a whirlwind tour of performing arts in Indonesia

Last week I returned from a nine-day research trip to Indonesia—an incredibly rich, transformative experience with a jam-packed itinerary. I was one of 10 performing arts presenters, funders or organizers from the U.S. who traveled there to witness dozens of performances, both traditional and contemporary, and meet with artists and arts organizations. Organized by the [...]

Last week I returned from a nine-day research trip to Indonesia—an incredibly rich, transformative experience with a jam-packed itinerary. I was one of 10 performing arts presenters, funders or organizers from the U.S. who traveled there to witness dozens of performances, both traditional and contemporary, and meet with artists and arts organizations. Organized by the Asia Society (New York), the New England Foundation for the Arts (Boston), and the Kelola Foundation (Jakarta), the tour was as much about cultural exchange and the breaking down of misconceptions (on both U.S. and Indonesian sides) as it was an investigation into new artists and new forms. Asia Society’s Rachel Cooper, a trusted friend and colleague and an expert in Indonesia’s music and dance, was our expert guide.

A diverse, inspiring, sprawling country, Indonesia is more than 17, 000 islands spread over thousands of miles. So in traveling to Jakarta, Surakarta (Solo), Yogyakarta (Jogja) and Ubud, Bali, we only saw one sliver of it, but these places are viewed as something of a cultural corridor, if you will. (Ubud is home to Cudamani, who performed at the Walker last fall in collaboration with Ragamala Dance.) I had been planning my own research trip to this country, not just because of the vibrant arts presence, but also the remarkable conversation happening between traditional and contemporary work, and the fascinating, sometimes volatile mix of what Indonesia is today: Muslim and Hindu (and many other faiths), simultaneously traditional and post-modern, rural and urban.

Indonesia has layers of complex nuanced history, with wildly distinct regional differences but also unifying national elements. Both Bali and Java are noted for classical dance and gamelan traditions, so to witness firsthand the distinct differences between these approaches was fascinating. Beyond the stunning cultural traditions thousands of years old, we got a sense of how many artists are experimenting with contemporary dance, music and performance, making work that often draws deeply from the country’s rich traditions – and sometimes works consciously in opposition to them.

Yet the people of Java and Bali are, of course, also negotiating the realities of 21st-century urban life, one filled with millions of Facebook users, cell phones, pop and hip hop music, video downloads – and contemporary artists are incorporating these elements or their influences into their work. Each of the four cities I visited had seemingly vital scenes with young performers sharing their work with each other and their communities, people making new things without a lot of financial resources. One afternoon in Solo, we saw five contemporary dance artists each show us 20 minutes of their works, and our sense was that this was only a fraction of artists making new dance in Solo. Overall, we saw about 40 ensembles, from youth gamelan orchestras to experimental performance artists, to royal court classical dance to a kind of street theater done in a radical way (on a stage) for primarily young audiences. In addition, we were meeting with cultural organizations, new galleries and performance spaces, many of which had only started in last five years.

Being in each city for only one or two days was kind of heartbreaking; just as we were starting to grasp a feel for a place—the smell and sounds, the local concerns and cultural structures—we had to move on. It’s not just the art we saw, but the architecture and food, the homes and streetlife, that gave us the context to really feel rather than just watch or analyze the culture from the outside. Wherever we went, even where it seemed people were struggling financially, we were presented with full plates of food and drinks and warm welcomes—there seemed to be such a sincere and deeply rooted generosity and graciousness built into the national character. The trip was just another reminder of how essential it is for curators and programmers to travel and spend time in the countries that they plan to actively present work from; it offers a whole different view of artists and their work that you don’t get at international festivals. Granted, eight days was all too short for a country like Indonesia, but it was a good start, an introduction to draw on for the future.

Another striking thing was the amount of interest in and awareness of the U.S. there seemed to be – not just because we were visiting just weeks before President Obama’s visit. Many people wanted to know what Americans think of Indonesia and its people. There was a great deal of appreciation, and surprise, that ten arts leaders from the U.S. would take the time to come and learn a small amount about the arts in Indonesia; several major publications, including The Jakarta Post, the largest English language paper in Indonesia, interviewed us and followed each step of our trip. Indonesia is clearly interested in being seen, understood, and considered an important part art of the global arts community.

I look forward to staying in touch with artists and organizers I met and, I hope, continuing to invite Indonesian performing artists to the U. S. and Minnesota in the coming years.

Photos courtesy fellow traveler Margaret Lawrence, director of programming at Dartmouth College’s Hopkins Center.

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