Manifesto - Michelle Cheng

            John Cage played an undeniably significant role in challenging and reframing the definition of music.  He rejected the conventionally held idea that the basic elements of music – rhythm, harmony, melody, and duration, among others – are requirements of the form.  By his revised definition, music could include all instances of “organized sound”, effectively leaving duration (i.e. a finite amount of time) as the only necessary qualifying element.  In his essay, “On the Concept of Music,” Jerrold Levinson amends Cage’s all-encompassing definition by arguing that certain aural occurrences cannot be called music if they were not created with the intent of “aesthetic appreciation”.  He also makes a distinction between phenomena that we can retroactively apply musical concepts to and those we can truly label as musical.

            In reality, the desire to create something for the purpose of “aesthetic appreciation” should not automatically disqualify any type of organized sound, because this intent is secondary to its perceived meaning to the listener.  Even the most mundane of environmental sounds that one may not consider musical may be more significant or artistically valuable to someone else.  Therefore, defining what constitutes “aesthetic appreciation” for all listeners is futile because it is shaped by an individual’s experience and preferences.  By existence alone, any organized sound can technically be considered musical even if it cannot be analyzed like a more conventional example of music, so separating “real” music from other kinds of organized sound is unnecessary.  The now-problematic conventional classification of music is at least somewhat perpetuated by education: deeper knowledge of the academic side of music makes our personal definition of the form more established and possibly even restrictive.  Fortunately, the sheer diversity of organized sound at our disposal means that contrasting definitions of music can coexist.

            In terms of live musical performance, we tend to value the final artistic product more than the creative process itself, rather than giving equal acknowledgment to both.  Specifically, many listeners favor and expect perfection in a performance.  This tendency may be partially propagated by professional musical training, especially in classical music, where the student’s eventual goal is usually a perfect execution of a musical composition.  However, a performance devoid of errors is not always the most authentic or expressive one.  Fully live performances are the most authentic type in terms of artistic expression, followed by video and audio recordings of live performances and then edited non-live recordings.  Live performances are distinctive because the creation process of the final musical product is occurring in real time.

Comparatively, although the work being performed does not vary across these specific mediums, the artistic quality of the overall listener experience diminishes the further away one moves from the true live performance.  Studio recordings, the converse to live performance in this case, exist in a context of solitude because they are often experienced through individual listening, such as through headphones.  On the other hand, live performances are inherently a collective phenomenon, in which listeners engage in the artistic experience in a shared physical space.  Recordings of live performances, especially those with video, do not completely replicate the synergy of attending a live show, but are still valuable as artifacts of a spontaneous artistic occurrence.

 

Advances in recording and production technology have also contributed to our idealization of flawless performances.  This is especially prevalent in the realm of popular music, in which live performances sometimes consist of performers miming to studio recordings or versions pre-recorded especially for the occasion.  While there are situations that may require using a recording during a live show, such as harsh weather conditions, choosing this option ultimately defeats the purpose and integrity of live music.  Passing off performances that rely on recordings as live eliminates the opportunity for “one-time-only” idiosyncrasies – what listeners usually deem as imperfections as well as spontaneous alterations in artistic interpretation – of true live performance.

Miguel Gutierrez

Background 

Miguel Gutierrez is a “dance artist” based in Brooklyn who creates both solo work and productions with his ensemble, The Powerful People.  His works incorporate a variety of artistic media in addition to movement, including spoken word, sound effects, music of his own or other’s creation, and video projections.  Among Gutierrez’s earliest engagements was in San Francisco’s Joe Goode Performance Group.  Upon parting ways with Joe Goode in 1996, he relocated to New York City and took on a seven-year stint with the John Jasperse Company.  In 2001, he formed his own company, called The Powerful People, for an artist residency at the Ensemble Studio Theatre.

Creative philosophy

Gutierrez does not subscribe to the traditional definitions of dance, dancers, choreographers, and dance companies, preferring to call himself a “dance artist” rather than a choreographer because the former is less confining.  He views artistic collaborations as opportunities to expand the multi-disciplinary network of talent at his disposal.  In his work, movement plays a secondary role to the individuals performing the movements in question.

Along with several other innovative members of his field, Gutierrez is critical of the expectations of performers’ appearance and capabilities that are prevalent in the dance community.  As a response to this, he purposely selects collaborators with diverse backgrounds and physical characteristics with the goal of inspiring a change in the current standards.  He believes that an artist’s choice of performers outwardly reflects their values and ideals.

Miguel Gutierrez on the understanding and appreciation of “challenging” dance works: http://www.walkerart.org/magazine/2012/dance-senses-and-distrust-body

Themes explored in his work include:

·            Human vulnerability

·            Life and death/existence

·            Connection between body and mind

·            Challenging the relationship between artist and audience

Notable projects

·            freedom of information (2001) was a response to the September 11 attacks and resulting conflict between the US and Afghanistan.  The work consists of an improvised solo movement lasting 24 continuous hours in which Gutierrez was blindfolded and ear-plugged for the duration of the performance.  Combined with its setting in a confined space, the piece is an act of solidarity with the victims, communicating feelings of isolation, displacement, and crisis.  freedom of information was reprised in 2008, this time conceived as a national event which ideally included one participant located in every state to perform the act simultaneously.  Performers representing over 30 states volunteered to participate.

Blog documenting the process of freedom of information 2008 and compiling participants’ reflections: http://www.freedomofinformation2008.blogspot.com/

New York Times overview of freedom of information 2008: http://www.nytimes.com/2008/12/30/arts/dance/30prot.html?ref=claudia_la_rocco&_r=0

Gutierrez in "freedom of information"

 

·            DEEP (Death Electric Emo Protest) Aerobics is a so-called “absurdist” workout class that has been sporadically ongoing since 2007.  Fueled by Gutierrez’s curiosity about the emotional effects of physical activity, the event challenges participants to explore ideas of self-expression and self-consciousness in a group setting.  The classes have been held at venues and festivals such as the American Dance Festival in Durham, NC, the Velocity Dance Center in Seattle, WA, and the Politics of Ecstasy Festival in Berlin.

·            In 2000 or 2001, Gutierrez created several duets under the title “Tandemonium, one of which he set to the song “Deceptacon” by feminist punk band Le Tigre and performed with a former musical collaborator, Howard Robot (currently known as My Robot Friend).  Because Howard was not a professional dancer, Gutierrez made the dance routine simple enough for him to perform.  A media writer who had recently interviewed Le Tigre frontwoman Kathleen Hanna and had also seen a live performance of the dance routine introduced the two creative forces.  Upon this meeting, Le Tigre decided to record a version of the dance routine to use as their official music video for “Deceptacon.”

·            And lose the name of action, which premiered at the Walker Art Center in Minneapolis in September 2012, is a product of Gutierrez’s fascination with philosophy, mortality, and the relationship between body and mind.  Inspired in part by the 1967 Danish short film “The Perfect Human,” the piece includes video footage, spoken text, singing, and recorded sounds in addition to an ensemble of six dancers.  The piece was most recently performed at the Museum of Contemporary Art in Chicago.

Miguel Gutierrez and the Powerful People in "And lose the name of action," BAM Next Wave Festival (2012)

Our Manifestos: An Introduction

As budding arts managers, we must learn not only the business practices of an infinitely complicated not-for-profit sector - we must also consider and develop our own artistic principles. By taking the time to think about what “Art” really means to us, we were able to define our personal values – which will hopefully help us to make smarter, more well-informed programming choices in the future!

Taken as a whole, our Manifestos represent the view of a new generation of arts professionals:

We are audience-centric – we believe that the impact that our work has on the audience and the individual experiences that each audience member brings into viewing our work are of the utmost importance.  We do not disregard artistic quality - on the contrary, we hold the art to even higher standards. We want it to serve as a catalyst for emotion, a moral compass, and a binding force for communities.

Follow the links below to take a deeper look at our answers to the question: "What is Art?"

Kelsey Small believes that Art exists when it is used as a social and moralizing force for audiences responding to the work. Art connects audiences to new meaning and encourages them to shatter preconceived notions in exchange for innovative insight and reflection.

Rachael Wilkinson thinks that the idea that art has a higher Truth denies the life experiences and emotional contexts an audience brings to a work. She says Art is not meant to exist in a vacuum and that the audience must be taken into account if discussing this idea of Truth.

Eric Gerdts explores the ephemeral nature of live arts performances – does viewing a live performance diminish the impact on the viewer?

Jesse Montgomery argues that after a period of disjointed experimentation, composers are once again making full use of the orchestra.  The orchestra and the classical vocabulary still have more to say and explore, and are still one of the best instruments for conveying the full range of sounds and emotion.  

Rebecca Fink believes that while the performing arts do not necessarily require audiences to be considered works of art, they are heavily dependent on the viewer in almost every other way.  Regardless of the type of performing arts, audience has an impact on the creation of the work, the life span of that work, and the potential death of that work.

Michelle Cheng muses on the definition of music - it is a dynamic one, shaped by each individual listener's past experiences and exposure to sound. She argues that regardless of what one considers "music," true live performance is the most authentic manifestation of the form, due to the element of spontaneous creation, as well as the fact that process and product are occurring simultaneously.

Jessie Bower says that Art is the representation of knowledge within a deliberate context wherein the intention is for the result or action to be received as art. Art is recognized by the vocabulary that is used to create it. 

Audrey Kwong explores how music over the centuries has always been described as melody, harmony, and rhythm, and has evolved with the trends of the time. However, in order to continue to find it's place amongst the growing number of entertainment options, music, and specifically symphonic and chamber music is going to need to put a larger emphasis on community relevance.

Marissa Cinquanti asks whether art is still art when it is viewed on a screen from the comfort of a movie theater or the audience's own home.

Big Dance Theatre

By Rachael Wilkinson
February 24, 2013     

     To blend one art form with another is incredibly difficult, to do it well is nearly impossible, yet the dancers of Big Dance Theatre are critically acclaimed for accomplishing just that. Their unique style of storytelling blends dance, theater and visual effects to create performance art all their own.
 
     Big Dance Theatre (BDT) was founded in 1991 by Paul Lazar, Annie-B Parson, and Molly Hickok, as the three left Irondale theater company. The trio had been collaborating since 1983, and left to create a company to develop their own work. Lazar's theatre background and Parson's training as a choreographer led to the fascinating blend of dance and theatre that BDT is famous for. 

   

Manifesto - Jesse Montgomery

While I accept the possibility that the symphony orchestra may one day become a thing of the past, both as an art form and a major organization, I do not think that day is near.  I contend that the orchestra continues to be one of the best instruments for conveying the full range of sound and emotion, that the classical language still has room for expansion and experimentation, and that living composers are beginning to once again make full use of its capabilities. 

John Cage considered himself the “organizer of a succession of sounds”, and Claude Debussy stated, “Any sounds in any combination and in any succession are henceforth free to be used in a musical continuity”.  However, the most famous composers, Debussy included, have succeeded because of their ability to orchestrate, picking and choosing among 80 some musicians and countless notes to create a palate that moves an audience, not simply combining sounds at random.  A recent ballet performance I attended featured an arrangement of Debussy’s Clair de lune.  Debussy’s original haunting melody and flawless counterpoint aside, the orchestration and recording left me wanting more. The way this particular orchestrator selected instruments, and the lack of a live performance by a giant living organism lessened the art and the experience.  In the right hands, a simple melody, well known melody can either be heightened by orchestration, or in the wrong hands, diminished.

I bring up Cage and his methods to argue that all signs point to orchestral composers once again using the full capabilities of the orchestra to create relevant, accessible compositions and performances.  In concert halls and movie theaters alike, there is a nearly universal language when it comes to classical music, and nearly infinite possibilities for expansion.  If you are a composer with something to say, why not use the richest palate available, and a recognizable language? 

Whether it be Cage, Schoenberg, Webern, Subotnick or Glass, orchestral music (and classical music in general) experienced a period of experimentation in the last 100 years, using mathematical systems, random selection, electronics and bizarre instruments to create compositions.  Even as I finished my undergraduate degree in 2010, composition students were still bent on experimentation, using strange combinations of instruments, complex or nonexistent rhythms, and extensive silence and noise.  They were the product of a generation of composers that didn’t utilize the orchestra to its fullest potential, if at all, and didn’t build upon the groundwork previous composers had laid.

Moving forward, composers are once again beginning to focus on the capabilities of the orchestra, adding elements of Cage, Subotnick and Glass to the more innately pleasing (classical) sounds of Beethoven, Mahler and Debussy.   This focus on orchestration and the classical language is producing music that is lush, vibrant, energetic, and most importantly, accessible to orchestras and audiences alike.  A prime example of a composer reimagining the orchestra as a part of contemporary art and society is Mason Bates.  What I believe has made Bates so successful is that he is not attempting to reinvent the wheel.  Instead, he builds off of a predominately classical palate or vocabulary with subtle variations.  Bates uses the full range of the orchestra, and adds in elements that speak to both the past and the future of composition.  He might use Tibetan prayer bells, a sound more comfortable in the realm of Cage, combined with the computer-generated tones pioneered by Subotnick, all wrapped up in a Phillip Glass-esque groove.  Other times, he uses the string section as a percussion ensemble to replicate electronic sounds.  Bates can successfully combine different compositional elements into an orchestral work that distinctly sounds like music of this time and place, while not seeming very far from music composed hundreds of years ago. 

Emerging Leaders Introduction

The emerging dance leaders of the 21^st century are a varied group of individuals representing a spectrum of viewpoints about the future of dance. These dancers are poignant artists presenting an intriguing blend of personal storytelling, heightened relationships to music, cultural vitality and are redefining existing movement definitions.

Many of these dancers’ philosophies are rooted in the fusion of classical technique with new variations of individualized movement vocabulary.  George Balanchine a founding visionary of American ballet said, “There are no news steps, only new combinations.” This is evident in the next wave of dance leaders, as they create new styles and interpretation of movement based upon a foundation of shared terminology.

These new leaders are expanding the artistic boundaries of dance by incorporating a variety of visual mediums into their work. Visual projections, innovative stage settings and puppetry are some of the mixed mediums dancers are bringing to the forefront of their creative work. Some of the work is never even presented live; using film to transcend reality and offer a new dimension for watching dance. The dance leaders are also reinitiating the connection between dance and music. Music is no longer one supporting element of a dance production; it is becoming more prevalent as an equal component in the creation process.

Outlined below is a short synopsis of the emerging leaders our group chose to focus on, with links to a more thorough report of each artist. 

Beth Ratas is a contemporary and modern dancer, performer, choreographer and artist who lives and works in Pittsburgh, PA. Beth’s current preferred form of dance is improv and modern dance. She feels that to do improv, you have to understand your instincts, not question or judge them. (Jessica Bower)

Miguel Gutierrez is a “dance artist” based in Brooklyn who creates both solo work and productions with his ensemble, The Powerful People.  His works, which explore human vulnerability and the connection between body and mind, incorporate a variety of artistic media in addition to movement, including spoken word, sound effects, music of his own or other’s creation, and video projections. (Michelle Cheng)

Mirenka Cechova is a 30 year old native of the Czech Republic, whose work combines elements of mime and theater with dance to create a unique, modern style - one focused more on natural movement than traditional choreography. (Marissa Cinquanti)

Akram Khan Company is unique in their ability to take human themes and blend them into different cultural perspectives while still producing a work that is relatable to all audiences.  The inclusion of various cultural backgrounds, visual artists, and musicians further adds to the blending of traditional dance forms that creates an entirely fascinating performance. (Rebecca Fink)

Crystal Pite, a classically trained ballerina, is well known for integrating movement, original music, and rich visuals into Kidd Pivot (her own company) pieces. By fusing classic elements and the complexity and freedom of structured improvisation (Forsythe) Pite creates routines that are as varied as the different elements she employs. (Eric Gerdts)

In a Hulu web series, Christopher Scott and Harry Shum Jr., choreographers of the Legionof Extraordinary Dancers, have helped producer Jon Chu create a world of dance that is able to fuse together dance genres making each style accessible, engaging, and visually stimulating to dancers and non-dancers alike. (Audrey Kwong)

Justin Peck is a rising star in the ballet world, having choreographed three pieces for the New York City Ballet and been promoted to soloist with the company in the last year, all at age 25.  His style built upon exploring the classical vocabulary, and includes an emphasis on music, quick, athletic movements, and a democratic use of the ensemble and principals.  (Jesse Montgomery)

Kyle Abraham is an emerging choreographic visionary fusing ballet technique with urban hip hop influences. His work is often an autobiographical introspective of the social issues prevalent in our culture today. (Kelsey Small)

Big Dance Theater may have a unique style of storytelling, but ultimately their works rely on movement and the power of dance to express their strange tales of being tourists to many cultures. (Rachael Wilkinson)