To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Walker Intern Mark Mahoney shares his perspective on Douglas R. Ewart’s recent Sound Horizon performance. Agree or disagree? Feel free to share your thoughts in comments!
Acclaimed local composer, improviser, and sculptor Douglas R. Ewart launched this year’s installment of the Walker’s Sound Horizon series with a far-reaching and engaging performance. Ewart’s variegated artistic practices and his propensity for finding interconnections between different media made him a natural choice for the series, which celebrates the intersection of sound, materiality, space, and community. He was joined by the similarly multifaceted Mankwe Ndosi (voice, poetry, and percussion) and Stephen Goldstein (laptops, various electronics and controllers), both longtime collaborators.
Ewart arrived at Walker Gallery Six with an impressive array of instruments both traditional and invented, among them an English horn, sopranino saxophone, and several crutches retrofitted with tiny bells. This assortment was not simply for show; Ewart’s remarkable command of these instruments opened up a vast spectrum of timbral possibilities. Goldstein proved a deft foil to these explorations, conjuring evocative textures that alternately complemented and challenged Ewart’s decisions.
The textural juxtaposition of Ewart’s acoustic instruments and Goldstein’s electronics could be read as a kind of trope, a transparent take on the motto of the Association for the Advancement of Creative Musicians (AACM), “Great Black Music: Ancient to the Future.” (Ewart served as the AACM’s president from 1979 to 1986.) Ewart’s expansive approach, however, soon complicated any reductive assumptions as to which sounds were ‘ancient’ and which belonged to the ‘future.’ When Mankwe Ndosi added her potently expressionistic vocals to the mix in the second set, the expanded palette allowed all three improvisers to stretch even further into realms of abstraction.
Walker Director Olga Viso and former Director Martin Friedman watched the affairs silently from within artist Goshka Macuga’s monumental tapestry, It Broke from Within. Twentieth-century art provocateurs Joseph Beuys and Marcel Duchamp sat elsewhere in the wall-sized image, and interposed were Tea Party protesters with signs such as, “We don’t want socialism, you arrogant Kenyan!” It would be difficult to imagine a more incongruous group of personages, yet all of them have affiliations with the Walker or the surrounding community. Macuga’s piece begged the question: what are the limits of “community”? It’s a question that seemed to animate much of what transpired Thursday night. The musicians sat at the center of this space, anchoring this improbable gathering as activity emanated outwards in all directions. The audience sat in an ad hoc semicircle around the artists. It was sometimes difficult to distinguish the audience from those who were merely passing by, further underscoring the question of community, of who was ‘in’ and who was ‘out.’
Ewart concluded the second set with an unexpected flourish, releasing a number of hand-made spinning tops onto the gallery floor. As the crowd watched, enraptured, the tops circled one another in a kind of cosmic choreography, eventually tipping over until only a single top remained: a blue sphere, eerily suspended, seemingly perfectly balanced upon its axis. The significance was difficult to miss.
When asked about his tops in an interview with Time Out Chicago, Ewart explained that tops “are magical, cosmic, mystical and beautiful.” The same set of adjectives could be applied to Ewart’s performance. Tops are imbued with further significance for Ewart because they help “to inveigle and instigate substantive engagement with families, diverse people and communities.”
This performance took place within the larger context of the Walker’s celebration of the AACM’s 50-year anniversary. Next week, AACM luminaries Muhal Richard Abrams, Henry Threadgill and Roscoe Mitchell will join Larry Gray in Jack DeJohnette’s Made In Chicago. Ewart shared his thoughts on that organization and recounted its impact on his artistic trajectory here.
Former AACM President George Lewis, a frequent collaborator of Ewart’s, has written, “In improvised music, the development of the improvisor is regarded as encompassing not only the formation of individual musical personality, but the harmonization of one’s musical personality with social environments, both actual and possible.”
Ewart’s Sound Horizon performance served as a welcome occasion to come together in celebration of these radically inventive artists in our midst, and, in so doing, to reflect on our community, actual and possible.