December 7, 2016
I’m writing this one off the top of my head, no research, not a lot of links, etc., though I’ve written about the topic extensively in my book in progress.
A very young child appears on Idols or on YouTube and a talent is discovered. Take Jonathan, a three year old at the time the video of him was put online, ‘conducting’ a Beethoven symphony in the living room. It was hysterical, but also so fresh, so open and completely uninhibited. Picking his nose (gratefully most of that was cut out), and at the end, losing his balance and giggling uncontrollably on his back on the carpet as only a 3 year old can.
Couple of years later- Jonathan at 5 in a tux conducting a real orchestra, very serious.
First of all, a disclaimer here- in J’s case, I think there is a genuine desire to conduct, and the hunt for fame and money doesn’t seem to be the motivator. There is truly music singing in this kids veins. So please, if any of his relatives see this, don’t be offended. I’m sure he’s maintained a lot of his original purity.
I’m actually thinking less of him and more of the kids that appear on Idols, with their pushy parents, greedy for the recognition and money the kids talent can be used to gain.
What I’m trying to point out here is that important things get lost when what starts out as a gift gets turned into a commodity.
Having the ability to sing, conduct, dance, etc is a gift. It is connected to intimate internal values like life path and purpose. It needs time to develop and mature and become one’s own. Gifts are connected as well to the larger whole, our gifts are gifts to our community as well as for ourselves. In many non Western societies, the gift is how money and goods move around, and there are clear guidelines for how a gift is handled. Is it kept or passed on? Is it used up, is it used as a diplomatic gesture? There are myriad ways a gift travels and as many ways it influences what it comes in contact with. Gifts are powerful, they can awaken forces which contain the potential to incite or heal, to create or break connections, and more. They engage the imagination and call to unseen powers to participate in the giving and receiving.
In many folklore tales, hoarding a gift for one’s own enrichment is often the first step on a road to calamity. And we feel this- we know why when something for the the good of the community is appropriated for personal use, it is wrong.
Lewis Hyde says that every artist labours with a gift. He names 3 ways an artist and gift interact: first is the gift of talent the artist has; the second gift aspect is developing the talent and engaging in the creative process, the artist moves to a new place; and third, the result or product of this process is also a gift. Hyde acknowledges that each artist needs at some point to find out how to keep the qualities of the gift amidst the inevitable pressure of interacting with a purely commercial system.
When young Idols winners, or young, undeveloped art talents are pushed into the spotlight before the talent has matured, before the person himself is mature enough to understand the nature and application of their gift, then we all lose something precious. The artist and their work become links in the commodity chain, and the values change from giving, gifting, freedom of expression, taking risks, doing something for the love of it- to ‘What do I get for it?’ We all know what that looks like and there is really nothing new to learn from it. Same old same old buy and sell.
But next time you see a conductor lost in the spirit of the music, leading his orchestra to new heights, or an artist working on a project making urban wildlife habitats purely out of love for the animals, or anyone at all using their hands and skills for love and/or betterment of something, try to see what that does to you.
My experience every time is that it opens a place of generosity and inspiration in myself.
Isn’t that what we really need more of?
September 2, 2013
Still image from Doug Aitken’s project, Migration
I had some days to spend in Liverpool last November! It was cold and grey and wet, but that all changed when I walked into The Source, an installation at the Liverpool Tate. I entered a dark, round, thickly insulated space with about 10 huge video screens going around the outside wall. Each one contained a different interview with an artist (architect, musician, painter, conceptual artist etc.). The installation was by Doug Aitken, and like all his work I’ve seen since, it widened my perspectives on just what art is about right now and what it can do.
The Source, installation by Doug Aitken at the Liverpool Tate, 2012
His latest work is called Station to Station and is exciting. Starting in a few days, Americans, if they are lucky enough to live along the train tracks, can enjoy performances and exhibitions live, in cities strung across the country like so many beads along the train’s route.
Not the actual train, but an just to give the idea Source
From the site:
Organized by artist Doug Aitken, Station to Station will connect leading figures and underground creators from the worlds of art, music, food, literature, and film for a series of cultural interventions and site-specific happenings. The train, designed as a moving, kinetic light sculpture, will broadcast unique content and experiences to a global audience.
I love artists who blast apart my preconceptions about anything. This is such an ambitious and multifaceted project which is so much about what art is and can be about today. Doug Aitken is someone who is deeply passionate about creating and the creative process. His work is beautifully conceived, crafted, and carried out; he is generous about turning the spotlight on other artists; and he has an alive sense of wonder that is communicated through all he does.
Here is a little sample from one of the videos on the Station to Station site, the speaker (couldn’t find her name) tells us what art means to her city (the twin cities of Minneapolis/St Paul ), and I think captures the essence of the new directions the arts are taking everywhere:
It is a strong moment here…people believe things are possible, and that is a fertile place for art to flourish. But also there is a great love of doing things collectively. There’s this strong sense of communal pride and of wanting to gather together and make things happen, and obviously music and art are central to what makes people come together and appreciate culture, but also culture and nature, those two things come together I think.
She concludes by saying that the rich cultural base that now exists in Minneapolis/St Paul is a result of decades of culture being a central community value there.
Do go to the Station to Station site and have fun, like I did, clicking on all the different videos; they, like the one above are cameos of people and places individually inspiring- but awesome when seen together.
And check out Aitken’s site.
February 14, 2012
All photos by Rende Zoutewelle
Well, it is an all-consuming project. I do have a life….I think. But I basically wake up and go to sleep thinking about which flowers fit where, color balance, leaf size contrasts etc.
Rende’s photos have captured some of the atmosphere of the étalage (aka shop or oil painting studio) where I’m working on the instrument. It is a small space – not even enough to walk completely around the case. A new instrument like this needs to be kept at an even temperature and humidity to prevent drying out, so it is on the chilly side – about 15 degrees centigrade. I wrap up well before I go to ‘work’.
Despite that inconvenience, I do like having it all concentrated down here, the previous ones took over my entire attic studio. That meant I really couldn’t do anything else.
Johan said that with the sound board being painted, the instrument is starting to come alive.
As soon as it was brought here, I felt it already had a soul from the amazing amount of love and care that the builder, Matthias, had put into it, and from all the thought that had gone into it even before the case was built. Now that I’m adding my part, there is such a strong visual emphasis, it is hard to remember that
the real soul of this instrument lies in the sound it will make.
Anyway, it is a really cool project to be involved in. I have to slow down to paint each plant and animal portrait as if it were the only one. And one by one they are forming a whole painted songboard.
Definitely connected to the long tradition of songboard painting, and yet also belonging to the 21st century in the choices we’ve made, both visually and in content. For example, Johan had requests for various flowers and other elements to be included which are personal symbols connected to his own life. For a few people, beside the aesthetic quality, there will be added layers of meaning to the things painted on the instrument.
When it goes back to Germany at the end of the month, Matthias will make the keyboards (there are two) and attach the strings. And then it will be able to sing.