Hazel Sabas-Gower's "Green"

One of the things I have most enjoyed in the process of becoming familiar with ballet is the moment when ear and eye converge. The dancers invite me in for a synesthetic experience. Yes, the famous Balanchine quote: "see the music, hear the dance..." When I saw Hazel Sabas-Gower's "Green" premiered here in Carlisle last month I was immediately drawn in by the organic beauty of the dancers' movements. The dancing was tremendously expressive and the dancers were like living sculptures. This is a work that could be greatly appreciated photographically. (Go ahead, here are some examples: "Green.")  Yet, I never felt that the experience was synesthetic. The music by Bach seemed just right, but there was something about the way Ms Sabas-Gower choreographed the piece that made me feel the music was acting more like a canvas on which the dancers were painting. That is, the dancers were not illustrating the music, nor was the music narrating the dance. Rather, the music was like a landscape on which, or perhaps out of which, the dancers moved, themselves becoming the landscape. It was quite beautiful.
     Sometimes contemporary dance leaves me cold. It can be overly cerebral, much like abstract expressionist painting. As I was watching "Green" I did not have the sense I was being lectured at. The dance was not challenging the audience with the "do you get it?" pretentiousness that can make some contemporary art insufferable. What I did very much feel was an invitation to consider (reconsider?) our human condition with an open, expansive sensibility. I do feel awe, for example, when I see animals in wilderness settings. Those sightings can be quite special, but I don't suspect the feeling is mutual. How does a coyote experience beauty? It doesn't. What a privilege to be human! That's what I was feeling as I watched "Green."

The Mariinksy Ballet's "Giselle"

Giselle is another good example of how simple, uninteresting surface plots can offer adequate foundations for great art. Yesterday was my first exposure to this ballet and it did not disappoint. The Mariinsky Ballet (the Kirov in Soviet times) at the Kennedy Center. Splendid! Diana Vishneva danced the role of Giselle. I had seen videos of her dancing, so I was not in the least surprised at feeling astounded as I watched her performance. I was surprised, and quite moved, by the breath-taking beauty of the corps de ballet. The group of dancers who performed as wilis, those malignant spirits who torment men, were so beautiful as to be thoroughly implausible. The elegance of their rhythmic synchronization was dizzying. Further, how can mean-spirited ghosts possibly be the source of such beauty? Of course, the storyline is just romantic whimsy: peasant girl falls in love, then drops dead when true (noble) identity of object of love is revealed. That's Act I. In Act II, ghost of girl rises from the dead to try to spare love interest (who is sincerely repentant for his deception), from torments of wilis (the ghosts of women left hanging at the altar). (The wilis force the men to dance until they drop dead! But, the dancing! The dancing really does seem supernatural. Oh, and Maria Shirinkina and the young man with her whose name I don't remember. Their solos and pas de deux in the first act were outstanding! Incredible!

Big Dunce of 2011 #1: Bill Donohue

Bill Donohue, the bully from the Catholic League, seems to be pretty clueless when it comes to art. And the truth. Donohue got his hysteria machine going not too long ago over the case of David Wojnarowicz's video "A Fire in My Belly" at the National Portrait Gallery. The video has a brief scene showing some ants crawling over a crucifix. Unfortunately, the museum caved in to the pressure and censored itself, removing the video from the exhibit. Even worse, they apologized for the "offense". The story is summarized here. The video can be seen here. What would Donahue think about this 17th century painting by Juan de Valdés Leal? Although not easily visible in this reproduction, the decomposing body of the bishop is being merrily eaten by ants, maggots and other little creatures. Is this painting anti-Catholic? Of course not! (In fact, it graces the entrance to the church at the Hospital de la Caridad in Seville, Spain.) Western art has a rich vanitas tradition, and Wojnarowicz's work participates in it. The ants may also call to mind the work of Salvador Dalí, another catholic artist Donohue would unlikely approve of.

Wojnarowicz's video could be offensive to some sensitive souls, but there is a very simple solution: don't watch it. What a shame they gave in like that. Donohue ranted that taxpayers shouldn't have to fund "hate speech." First, it's patently absurd to consider "A Fire in My Belly" hate speech. Second, Donohue lies: the exhibit is privately funded. It's not costing taxpayers anything.

p.d. If you want further evidence of what a thoroughly repulsive character Donohue is, listen here to Donohue poo poo the report releasd last year on sexual abuse by Irish clergy. Truly beyond the pale.

Tahrir Square

The situation in Cairo is simultaneously hopeful and frightening. Mubarak has unleashed his thugs in an apparent effort to crush the rebellion. How the military will ultimately come down remains to be seen. I suspect many generals are weighting their loyalty to the regime. Where lies security? Control? There's a lot riding on the next few days. Mubarak will fall. I'm hopeful that efforts going on right now to intimidate and get rid of foreign journalists and human rights groups will fail. It's easy to see the power of social media--anyone with an internet connection and a twitter account can be a journalist.
Last night (and many nights) I find myself reflecting on the incomprehensible vastness of our universe. Literally mind-boggling. These thoughts often lead me back to the tired idea that in the grand scheme of things we really don't matter. Our insignificance is laughable. Perhaps. But this morning I found myself considering a contrasting idea: smallness is all we have. There is no "grand scheme." This is it. So people standing up for their dignity in Tahrir Square really does matter. The efforts of Egyptian State security to "blow up" civility in central Cairo should be more than enough for the Obama administration to make a more forceful public break with Mubarak. There is no future with him.

Applause

Have you ever wondered why we show our approval with applause in some situations but not others? For example, a little symbolic clapping is traditional at the end of a ballet class. It is decidedly not traditional at the end of an academic class (unless it's the last class of a course, in which case there may be applause). It's a curious phenomenon. In his weekly article in Diario Sur, Pedro Aparicio has some interesting observations on the growing mania for applause in contemporary Spanish culture. (He main topic is his need for the antidotal value of Emile Cioran's aphorisms.) Always witty, don Pedro describes Spain today as one immense ovation. There is a lot of truth to this: Spaniards applaud in church, in cemeteries, and they put an end to "moments of silence," often too soon, with enthusiastic applause. ("Moment of silence" in Spain, one of the very noisiest countries in the world, is a misnomer, a seemingly impossible abstraction. On the other hand, at least Spanish performers don't have that awful habit, often on display here, of asking for applause. I've observed this on numerous occasions during lectures and other kinds of performances. Earn it!)

In the U.S we are a little more restrained with applause. Recently I performed a fascinating experiment. A recent performance of The Nutcracker by the Central Pennsylvania Youth Ballet at Hershey Theatre included a pre-event talk by noted musicologist Truman Bullard. The topic was Tchaikovsky's score, but he spoke generally about the relationship between the music and choreography, between musician and dancer. He was accompanied by CPYB executive director Alan Hineline and associate artistic director Darla Hoover. Just to add a little levity to the session, I asked about the moment in the ballet when the Christmas tree magically grows. And grows and grows! I wanted to know if they thought it was appropriate for the audience to applaud. (I always feel a tremendous urge to clap when the music crescendos and the tree reaches its maximum splendor, but the audiences here rarely respond.) Darla Hoover jumped right in: oh yes! By all means applaud. And that's just what I did: when the moment came I applauded enthusiastically and the whole theater immediately followed my lead. Easy! Fun! For the evening performance the same thing. Then, during the Sunday show I decided not to applaud. Silence. And the tree did seem to me to offer a slight frown for that lack of enthusiasm. I guess most people just like to fall into applause without having to initiate it.

Applause is a wonderful thing, but indiscriminate, inauthentic applause is unfortunate, even grotesque and can make one feel, as the Spaniards would say, "second hand shame." Let's end this post like this.

Rude Teens

I've got plenty of un- scientific theories. The past couple of days I've been thinking some about ado- lescence. Two days ago I was in the car at around the time school starts in the morning. I come to a stop sign right by the entrance to the high school. After stopping I could have proceeded, but I saw a couple of kids approaching the crosswalk, so I waited and let them cross. They, of course, did not even pause or look at traffic, just cruised right across the street as if it were a seamless continuation of the sidewalk. Nor did they make any effort to look my way to acknowledge my little gesture of patience and courtesy. Nada. Yesterday I stopped to get gas and went inside to get some water. I offered an enthusiastic "thank you" to the teen-aged cashier. Not a word, not even a glance. No doubt adolescence is a stage in life when a huge amount of attention is paid to self. Teenagers can be extremely self-conscious. Egos are big. And often fragile. Peers are everything. Life would be nightmarish if all one's dealings were with the likes of these snot-faced ingrates I allude to. Nonetheless, not all teenagers are as inwardly directed, not to mention just plain rude, as the ones I've encountered this week. (Indeed, the majority of teenagers I come across are delightful kids, full of energy and good cheer!) And, let's not forget, adolescents certainly do not have a monopoly on bad manners. In any case, here's my thoroughly unscientific theory for today: some adolescents are not paying attention to the world around them. Their self-absorption "wins out" over other areas of emotional development and they consequently grow ever more frustrated. They fall deep into the hole of Self, condemning themselves to a lifetime of misery. For themselves and everyone around them. (I have no idea who the girl in the photo is-just an image that came up under "sullen teenagers." Hopefully just a bad moment.)

Reconsidering Gaudi's Sagrada Familia

An important characteristic of critical thinking is the ability and willingness to reconsider our own strongly held beliefs. This morning in El País there is an interesting example of this: the architect and designer Oscar Tusquests Blanca reconsiders his decades old opposition to the project to finish Antoni Gaudí's Sacred Family temple in Barcelona and offers a mea culpa. In the sixties Tusquests organized a manifesto in opposition to the effort to restart work on the now famous temple. The opposition was centered on the belief that many of Gaudi's plans and models had been destroyed during the Spanish Civil War and that respecting his vision for the monument would be impossible. In his essay Tusquests explains why he was wrong and why the world is fortunate his effort to halt the project failed. Of course, Tusquest's change of heart did not just happen intuitively. To the contrary, he learned that enough documentation was saved to understand quite well how Gaudí envisioned the temple's basic structure. It's an interesting article. The Sagrada Familia is, of course, a major tourist attraction in Barcelona. For me, Gaudí's occasional "dripping sand" style suggests the weight of gravity: we fall under the weight of the Cosmos. On the other hand, he does seem to like vertical lines that reach up towards the heavens. Tension! (In the image above, one of Tusquest's chair designs.)

Falling in the Milky Way

Let's imagine travel at very close to the speed of light. Let's say, for example, that your spaceship can reach a speed of 185,000 miles per second. You travel in the direction of the center of the Milky Way Galaxy, which is by some estimates about 25,000 light years away. So imagine that after six years of travel you start to feel a little claustrophobic. You decide to take a space walk. Unfortunately, you are a little absent minded and you forget your leash. Bye! You start to fall. My question is, which way are you falling? How can you describe direction in this scenario? Could you describe the direction as falling at such and such an angle in relation to the center of the galaxy?
Is it any better here on earth? That is, as we go about our lives, do we really know which way we're falling?

The End

This is it for "After a Year in Malaga," which was a continuation of "A Year in Malaga." 365 posts is a nice suggestive number. Time to change. My next post will be under a new title. Future posts will be less personal and perhaps more limited in scope. Stay tuned, and thanks for reading.

Which way from here?