By this point in time, you have researched a local artist, interviewed him/her about his/her work, done a freewrite of your observations and reflections of the interview, and typed up your notes. Now, you are ready to begin the process of writing a profile of the artist.
What is a profile?
A profile serves as an introduction to an artist, providing the reader with insight to the artist’s life and/or work and communicating what is unique, interesting, or compelling about the individual.
What makes a good profile?
A well-written profile draws the reader in by painting a portrait with words. It shows rather than tells about the artist by incorporating precise observations about the artist’s behavior, his/her work, working environment, and working process to make the reader feel as if he/she were there. It sparks the reader’s curiosity about and engagement with the artist. The language is active and descriptive.
Direct quotations from the artist can make a profile come alive. A person’s words provide a direct experience of the individual, and help to convey personality and temperament as well as point of view.
As a baseline, the information in the profile must be accurate. But it must go further. It must be well-informed, providing greater depth than what someone could learn by simply reading the artist’s biography. It should offer context for comprehending the artist’s work.
Where do I start?
First, reflect on the experience of the reader, who may be learning about this artist for the first time. What characterizes this artist’s work? What is essential to know in order to grasp it? Jot down notes.
Next, review your notes from the interview. What did the artist have to say that was particularly insightful or compelling? What discoveries and realizations did you experience in the course of your interview? What did you learn that was new or surprising? Flag or otherwise highlight noteworthy quotations and telling details.
Based on what you’ve learned about the artist and your personal interview, consider what kind of story you have to tell. (Did the individual share his/her philosophy of art? tell you his/her life story? offer advice about how to get started in the business? inspire you to explore your own artistic practice with greater commitment?) Do you want to share a blow-by-blow account of your interview, or an overview of the artist’s career and philosophy? Do you want to focus on one performance/exhibition/concert/piece by the artist, or his/her whole oeuvre? What do you have to offer to the discussion of this artist’s work that hasn’t already been said? Jot down notes.
How do I get rolling?
Once you’ve determined (at least for now) what kind of story you have to tell, start writing.
Freewrite. Cut loose. Tell the story as it comes to you. Find the flow of words, images, and ideas. (Anne Lamott, author of Bird by Bird: Some Instructions on Writing and Life, refers to this stage as “the shitty first draft.” Don’t worry about making it perfect. Don’t worry about making a mess. What matters is that you get your ideas written down. Then, later, you will go back and build on your best ideas and cut away what doesn’t work.)
What’s the next step?
Read your freewrite. Find what’s valuable in it and flag those sections. Now you’re ready to rewrite and structure the story.
Lead off with an eye-catching quotation from the artist, a vivid description of the individual, or a sharply observed description of the artist’s work space. Your first paragraph should grab the reader’s attention.
Take your reader through your story, step by step. Include telling details, concrete images, and direct quotations to illustrate your points. (Show, don’t tell.)
Bring the piece to a conclusion when the story is done. (Length is less important that substance.)
Now that I’ve written a draft, aren’t I done?
You’ve really just gotten started. Read your profile aloud. Does it flow? Is it clear? Does it communicate a vivid sense of the artist? Note elements you’d like to change, sentences you need to sharpen, ideas you’d like to clarify or amplify.
Double-check your facts. Read your profile with a questioning spirit, clocking everything that you need to verify (spelling, names, places, dates, etc.). Go back over your notes from the interview, consult your research, and (if necessary) contact the artist for verification.
Revise your draft until you’re satisfied with it. Proofread and make corrections.
Now that I’ve got a revised draft, I’m done, right?
Nope. Now you need perspective. Share your profile with another student or a tutor in the Writing Center. Invite feedback and listen to responses.
Revise as needed. Carefully proofread and make corrections.
What else is needed to prepare the draft for class?
Type your profile, double-spaced with one-inch margins. At the top of the page, write your name, the date, “Seattle Arts Ecology,” and “Artist Profile.” Proofread for spelling mistakes, grammar errors, typos, etc. Make corrections as needed.
Save a copy of the paper on your computer, and print a copy to bring to class.
Due Dates
· Write first draft of artist profile by Friday, October 19
· Revise artist profile and prepare class presentation by Monday, October 22
Monday, October 15, 2007
Live Theatre Week
In celebration of Live Theatre Week in Seattle (through Sunday), many local theatres are offering backstage tours, workshops, and other events. For more information, visit: http://seattletimes.nwsource.com/html/entertainment/2003947762_livetheatre15.html
Sunday, October 14, 2007
Trimpin
I enjoyed reading about Trimpin's exhibits and how he has come up with innovative ways of using sound in an artistic context. Although I have never actually seen Trimpin's work, Wagonfeld was effective in conveying the effect that Trimpin has on his viewer simply by admitting defeat when trying to describe his work. She says: "Imagine a toddler banging a wooden spoon against bowls and pots while fans whir and water drips. Multiply the complexity by thousands and square it tenfold. OK, forget it. It cannot be assessed by mere mortal minds."
peter boal
This article was more difficult for me to feel like I was getting information from, since I know close to nothing about the differences between classical and modern ballet to begin with. It's impressive that Mr. Boal has had such a far-reaching impact on the progression of modern ballet, yet it is hard for me to know the effects as I am unfamiliar with what this means.
Artopian Seattle
It was interesting reading this article because not since I came to Seattle did I realize how much art exists in this city. It is interesting that other cities seem to get more attention and media coverage than others for their artistic endeavors, and having the awareness now of just how creative and progressive the Seattle art scene is -from fine art to theater to music-it is curious to me that I hear so little about it when I am outside of it. This article seemed to have the same sentiment as well as a hope for the future of Seattle and how it is recognized for its culture.
Thursday, October 11, 2007
Check out this short KBTC documentary on Trimpin
Video DescriptionKBTC is Public Television for western Washington, the local production Full Focus looks at the life of the art of Trimpin . Writer / Producer Daniel Kopec; Videographer / Editor Michael Peters |
Copyright © 2007 YouTube, Inc.
Trimpin
I wish I wish I WISH! that I could see his exhibit. Its hard to forget a name like Trimpin though so I hope to one day see(hear/experience) his work in person. Listening to the descriptions of his installments, being that they combine visual and artistic elements with music, it reminded me a lot of the Blueman Group when I was able to see them live in Las Vegas. I thought that they were just a strange advertising gimmick for Pentium but they're actually amazing artists who do similar work by intregrating visual art displays with physical comedy and theatrical elements and of course they're percussive and melodic music. I would be curious to know if there are any connections between the performers and Trimpin in their training or study.
An article; describing the uplifting values of sound, intertwined with factual information on some guy I don't know. I myself would take a bat to those instruments, obtaining the optimal experience of vandalism to musical 'pinyatahs'. I hated the author's writing style, not pessimistic enough to be real.
Wednesday, October 10, 2007
Artopian Seattle and Trimpin' World
-- As a side note, I find myself very much satisfied and intrigued by the way the two different author's wrote in these articles.
Artopian Seattle
As Jacob has written about the way this author wrote, I like how it wasn't too 'unrealistic or extravagant.' It would be an interesting world if the world revolved around art as described in this article. I really like how the writer also allowed us to feel as if we had a say about the topic and that just because she wrote it and published it wasn't a done deal and something to keep untouched. Also how she gave her contact information. It just seemed friendly and open to new ideas.
Trimpin's World
I give props to the author of this article, I don't think there could be a better writer to describe and create vivid images of Trimpin's work by words as Judy Wagonfield has done here. Although I would like to experience Trimpin's work first hand to draw my conclusion, I think that I will be impressed by his unique style and actually become entranced and willing to stay at a museum. From my past experiences at museums, I noticed that they bore me very much. However, since attending this class, that has changed a little.
Overall, I like how Trimpin incorporated sound, music, rhythm, science, and engineering into his artwork.
Artopian Seattle
As Jacob has written about the way this author wrote, I like how it wasn't too 'unrealistic or extravagant.' It would be an interesting world if the world revolved around art as described in this article. I really like how the writer also allowed us to feel as if we had a say about the topic and that just because she wrote it and published it wasn't a done deal and something to keep untouched. Also how she gave her contact information. It just seemed friendly and open to new ideas.
Trimpin's World
I give props to the author of this article, I don't think there could be a better writer to describe and create vivid images of Trimpin's work by words as Judy Wagonfield has done here. Although I would like to experience Trimpin's work first hand to draw my conclusion, I think that I will be impressed by his unique style and actually become entranced and willing to stay at a museum. From my past experiences at museums, I noticed that they bore me very much. However, since attending this class, that has changed a little.
Overall, I like how Trimpin incorporated sound, music, rhythm, science, and engineering into his artwork.
Trimpin
I thought that this article was really cool to read about and made me want to go see it but I dont know what much else to write about. But one thing that stood out to me was the statement at the very beginning when he said "I dont understand how young people can listen to music and study" I totally disagree with that i cant study with out music and not just quite kind I have to listen to fast paced music. Any ways yeah I really want to see this and push the shoes around...yeah awesome.
Sound Artist
Thats a cool way of making music. Its interesting that he never records it so you have to be there in person. Sounds interesting but im not sure if i would attend, not really my type of art form.
It should be "Trippin"...
I found this article to be quite confusing, seeing as its entirely about sound. Its the same as trying to describe a dance...it can never fully be felt, because that is why they danced it in the first place. Because it isnt SUPPOSED to be said, therefore trying to say it goes against the whole point. On the other hand, describing how something sounds is quite difficult, though I praise the author on a worthy attempt.
O NO!!!! IT DIED AGAIN
Well this was a intresting artical on music/art i got good picture of what hell was talking about but i missing so much more like he says in the artical. To understand it i need to feel and hear his art in person then i could write something better but can't really write anything yet sorry.
Why my hamster died yesterday...
Yes, I wanted an interesting title. Plus, Robbie egged me on. He likes hamsters. He does. So, the sound artical art thinga ma jig. It was an intereting read. I felt like a lot of it was missed though...it's just so hard to describe something as complex as sound, especially when it's an artists exhibit as extreme as this guys. There are some visuals that are definitely cool though, like the dancing and pounding clogs. I'm sad he doesn't record his work. I would like to see some online...but I guess it's a good thing, because it forces the work to be experienced, not just watched and heard.
"Thee is mad, boy!"
-Beneatha, Raisin in the Sun
"Thee is mad, boy!"
-Beneatha, Raisin in the Sun
Trimpin
THIS article was awesome. It was written so freely and expressively. There were so many wonderful images and great descriptions of Trimpin's music. Plus, the music and "exhibit"-type way of showcasing it sounds amazing. Reading this article really made me interested in researching where I can go see and hear Trimpin's work. I especially liked the dancing clogs. :)
Dance
Ummmm... this article was really hard for me to read and understand simply because nothing was explained. I am not familiar with the dancers written about and their styles and without that information, the article wasn't comprehendable to me.
rad mr.trimpin =]
trimpin, trimpin, trimpin.
the name itself sounds like something coming out of a musical instrament.
so, i couldn't realy visualize the art work through the writers discription.
and i really couldn't understand the article.
so what did this 18 year old college stdent with a laptop do?
i youtube'd that trick.
cool ish man.
i think the thing that intrigues me about this eccentric kind of art is that fact taht i've never seen ((or experienced)) something like that before. it's so not the norm that i can see it's appeal.
trimpin is kind of an inspiration to me.
he's the kind of artist that take risks to produce something great.
sure, it is considered a genre that people specialize in, but it it's still pretty out there.
i love that.
the fact that he's putting something out there that not a lot of people know about.
then there's the great art lovers
like beth sellars. she gives the artist an opportunity to show her stuff,
and also gives the public an opportunity to view the works.
gee, i need a person like that,
someone to give me an opportunity to show off my work.
gee i need an agent.
hehe.
-romeo
***ohh...and by the way...
robbie's only kinda lame now =]
hi robbie!
the name itself sounds like something coming out of a musical instrament.
so, i couldn't realy visualize the art work through the writers discription.
and i really couldn't understand the article.
so what did this 18 year old college stdent with a laptop do?
i youtube'd that trick.
cool ish man.
i think the thing that intrigues me about this eccentric kind of art is that fact taht i've never seen ((or experienced)) something like that before. it's so not the norm that i can see it's appeal.
trimpin is kind of an inspiration to me.
he's the kind of artist that take risks to produce something great.
sure, it is considered a genre that people specialize in, but it it's still pretty out there.
i love that.
the fact that he's putting something out there that not a lot of people know about.
then there's the great art lovers
like beth sellars. she gives the artist an opportunity to show her stuff,
and also gives the public an opportunity to view the works.
gee, i need a person like that,
someone to give me an opportunity to show off my work.
gee i need an agent.
hehe.
-romeo
***ohh...and by the way...
robbie's only kinda lame now =]
hi robbie!
deffinetly my kind of art!
I would really love to experience some of Trimpin's "sound sculpture!" It really challenges the viewer/listener to let go of any preconceived notion of what art or music can be. I have long appreciated so called "noise music," holding the belief that music is just sound that conveys ideas. Trimpin seems to have taken this philosophy and ran with it. I would be very interested to hear more about Jean Tinguely and these other kinetic artists.
I am deffinetly in agreement that this was more of an artist profile than the article of Peter Boal. Although it doesn't provide as much factual information about where he came from, I feel like I have a better idea of who he is.
Overall, a very intriguing article.
I am deffinetly in agreement that this was more of an artist profile than the article of Peter Boal. Although it doesn't provide as much factual information about where he came from, I feel like I have a better idea of who he is.
Overall, a very intriguing article.
Tuesday, October 9, 2007
Peter Boal
I think its a very benificial thing for the culure in a community, or large city like Seattle, to have an outside influence come into power as an artistic director or such positions to bring new life and new ideas from other places, unfamiliar to the population. I mentioned the example in class though, when similar situations can be abused and have a negative effect. However, from what I know of Peter Boal's goals and sights for the Pacific Northwest Ballet Company I definitely support him in his work and hope to see more revolutionists try to make a difference in the culture of cities in America.
Dancing, singing, humming, and Whirring
So I feel like I would absolutely love this kind of artwork, kinetic. It seems like it would be perfect for actors in the sense that we are observant and take in the details, maybe not of inatimate objects, but it's good practice. We actually have to use all of our senses and do what our impulses tell us when watching the art of Trimpin, which to me, seems amazing. "Trimpin's work explores unique and contemporary integration of sound, space, and movement," which is EXACTLY what we theater majors are working on in our first year in Acting. I love it!
This seems to me more of an artist profile than the one on Paul Boal. It describes in detail his work, has quotes by him INSIDE the article, and I hear his name more often than his influences' names :-). This was an easy read into a form of art I didn't know existed, but now would love to see.
This seems to me more of an artist profile than the one on Paul Boal. It describes in detail his work, has quotes by him INSIDE the article, and I hear his name more often than his influences' names :-). This was an easy read into a form of art I didn't know existed, but now would love to see.
Blog Blog Blog
I have the night off from work! Its been awhile though so here we go... BLOG BLOG BLOG:
I want to start off by saying that my last blog about The Real West Marginal Way was inaccurate. I did feel the way I said about not liking the piece really but in class when we talked about the different imagery and phrases the author used I realized that it was a pretty well written story. I think it is interesting though that for some reason I didn't remember that from the first reading.
Sweet Home
I want to just highlight a sentence that stood out to me: "The word community is often used as a euphimism for poor neighborhoods and small towns." When I read this I instantly thought of a few examples when I had heard someone use this word with another, more negative, meaning. Discussing this piece in class made me give thought on what I consider to be "home".
My sense of home is actually a place rather than a sense or feeling. For me Home is still grounded in Tucson. Thats where I am familiar with things and thats where I think I would feel at home. But as people were sharing thier thoughts I came to realize that the memory that I have of home and the memory that I'm anxious to have restored in reality again, will never come back to me. That memory of home is contained, ideal and unchanging. When actually, Home is changing and updating everyday. The way I remember home is four months ago, before I left, and it depresses me a little to think, when I go back in two months it will not feel like "my home". And it never will feel that way again.
From Kobe to Broadway
I thought that it was really nice to know that Cornish is known and respected even outside of the country for its programs. Its also really encouraging to hear that this Cornish alumn worked hard to attend Cornish, while attending Cornish and after Cornish and was able to make it to Broadway (somewhere that many of the theatre major students would probably like to end up in time.) It proves that it can be done! We just have to keep working hard... forever.
Artopian Seattle
I loved the tone and structure of this piece! I think that the article did a good job of saying 'all of this would (or could) happen if...' without getting too unrealistic or extravegant. I don't know a lot about the art scene or about galleries in Seattle but it all sounded very legit and rational yet it isn't truth. It was a rhetorical persuasive article that didn't try to make you feel bad about any of it and the structure of saying 'This is what we'd all like to have but don't' and then saying "This, of course, is not the reality." convinces you of the great things that could happen before you have a chance to be put off by any sort of plea or guilt trip.
I want to start off by saying that my last blog about The Real West Marginal Way was inaccurate. I did feel the way I said about not liking the piece really but in class when we talked about the different imagery and phrases the author used I realized that it was a pretty well written story. I think it is interesting though that for some reason I didn't remember that from the first reading.
Sweet Home
I want to just highlight a sentence that stood out to me: "The word community is often used as a euphimism for poor neighborhoods and small towns." When I read this I instantly thought of a few examples when I had heard someone use this word with another, more negative, meaning. Discussing this piece in class made me give thought on what I consider to be "home".
My sense of home is actually a place rather than a sense or feeling. For me Home is still grounded in Tucson. Thats where I am familiar with things and thats where I think I would feel at home. But as people were sharing thier thoughts I came to realize that the memory that I have of home and the memory that I'm anxious to have restored in reality again, will never come back to me. That memory of home is contained, ideal and unchanging. When actually, Home is changing and updating everyday. The way I remember home is four months ago, before I left, and it depresses me a little to think, when I go back in two months it will not feel like "my home". And it never will feel that way again.
From Kobe to Broadway
I thought that it was really nice to know that Cornish is known and respected even outside of the country for its programs. Its also really encouraging to hear that this Cornish alumn worked hard to attend Cornish, while attending Cornish and after Cornish and was able to make it to Broadway (somewhere that many of the theatre major students would probably like to end up in time.) It proves that it can be done! We just have to keep working hard... forever.
Artopian Seattle
I loved the tone and structure of this piece! I think that the article did a good job of saying 'all of this would (or could) happen if...' without getting too unrealistic or extravegant. I don't know a lot about the art scene or about galleries in Seattle but it all sounded very legit and rational yet it isn't truth. It was a rhetorical persuasive article that didn't try to make you feel bad about any of it and the structure of saying 'This is what we'd all like to have but don't' and then saying "This, of course, is not the reality." convinces you of the great things that could happen before you have a chance to be put off by any sort of plea or guilt trip.
Home -- Blog Makeup
Thankfully, due to the author's eloquence and well researched and fully explained train of thought, as well as her unbiased and academic exploration of the definition of home in a variety of contexts and pointed lack of personal opinion, leaves me with nothing to argue or criticize, but certainly left me to wonder when I truly considered home 'home.'
In times of crisis, it's easy to discover 'home,' no matter which definition you choose. For me, home was discovered in my freshman year of college in Southern California. Home is culture. Home is family.
In times of crisis, it's easy to discover 'home,' no matter which definition you choose. For me, home was discovered in my freshman year of college in Southern California. Home is culture. Home is family.
The Last Big Six -- Makeup Blog
The "Last Big Six" article by Matthew Kangas is an excellent history of how the arts really started to emerge as a recognized national market--though the apparent fact that Seattle's art galleries accept 'craft' as much as art was upsetting to me.
First of all, I believe it is unfair of the gallery owner and the author to imply that art, or should I say 'craft,' forms, which apparently include glass blowing and ceramics, as somehow less respectable than "fine arts." In actuality, their continued definition of "fine arts," which includes artitsts such as Hilda Morris and Jacob Lawrence, is anothere statement which makes me cringe. Are these modern works of abstraction considered "fine" because of public adoration? Market price? Or perhaps their conceptual innovation? ... or maybe the traditional nature of their chosen mediums? To me "fine arts" are not based on any of these factors. It is a term which describes either a broad artistic field, like music or dance, or a very narrow and specific classification of art which forms the foundations of these broad arts categories, pieces which demonstrate extreme technical excellence and sublime aesthetic appeal--pieces which are the manifestation of the pinnacle of said fine art form. That being said, I do not believe the term 'fine arts' should apply to the artists highlighted in the article.
One thing I did like however, was that Kangas chooses to conclude on a positive note, expressing his op[timism and vision for the Seattle art communitiy's future, and, upon learning about all the hard work, dedication, and initiative which created this culture, I agree with Kangas, the Seattle arts community has nowhere to go but up.
First of all, I believe it is unfair of the gallery owner and the author to imply that art, or should I say 'craft,' forms, which apparently include glass blowing and ceramics, as somehow less respectable than "fine arts." In actuality, their continued definition of "fine arts," which includes artitsts such as Hilda Morris and Jacob Lawrence, is anothere statement which makes me cringe. Are these modern works of abstraction considered "fine" because of public adoration? Market price? Or perhaps their conceptual innovation? ... or maybe the traditional nature of their chosen mediums? To me "fine arts" are not based on any of these factors. It is a term which describes either a broad artistic field, like music or dance, or a very narrow and specific classification of art which forms the foundations of these broad arts categories, pieces which demonstrate extreme technical excellence and sublime aesthetic appeal--pieces which are the manifestation of the pinnacle of said fine art form. That being said, I do not believe the term 'fine arts' should apply to the artists highlighted in the article.
One thing I did like however, was that Kangas chooses to conclude on a positive note, expressing his op[timism and vision for the Seattle art communitiy's future, and, upon learning about all the hard work, dedication, and initiative which created this culture, I agree with Kangas, the Seattle arts community has nowhere to go but up.
Kobe
It's nice to read such an inspirational story. It's wonderful to know that each and every field can be approached from a variety of different ways, and that Cornish can help no matter which approach one chooses.
Trimpin as a Rolemodel to Artists
I was sad when I looked at the date of this article and found it was from last year. After reading this article, I want to see this man’s work!
Also, Trimpin is an incredible role model for all of us artists. Instead of being upset that people just push a button and then walk away from all of his hard work, Trimpin actually decided to change his exhibit to ensure his audience would stay to watch. I feel like most artists I know would take the viewer’s apathy as personal insult and shrug their shoulders at a lost cause or destroy their creation in a fit of rage. Kudos to someone who does neither of the above and ALSO manages to alter their piece to counteract an apathetic generation.
Also, Trimpin is an incredible role model for all of us artists. Instead of being upset that people just push a button and then walk away from all of his hard work, Trimpin actually decided to change his exhibit to ensure his audience would stay to watch. I feel like most artists I know would take the viewer’s apathy as personal insult and shrug their shoulders at a lost cause or destroy their creation in a fit of rage. Kudos to someone who does neither of the above and ALSO manages to alter their piece to counteract an apathetic generation.
Bravo Peter Boal...
First of all, I would like to say that I hate Peter Boal. While Seattle may have been a little behind the times with regard to Balanchine’s choreography, Seattle audiences were never screaming for more…which is probably why Kent Stowell and Francia Russell’s one night of Balanchine was limited to just that: one night out of their entire season. As I remember, Pre-Peter Boal, I was always excited to go to the Ballet. ‘Is it Cinderella? Is it Carmina Burana?’ who knows. It could be anything, but always something entertaining with classical dancing and beautiful costumes. Now, when my dad tells me we have a ballet on Sunday, I already know it’s Balanchine. Why? Because now it’s always Balanchine.
I groan aloud, and my dad takes this as a sign that I no longer want to be a part of this family’s ballet outing. I hurriedly explain that it’s because I know it’s another all-Balanchine performance. He actually tries to argue it with me, “No, it couldn’t be. There’s just no way.” Obviously, that Saturday, he was proven wrong. How many times can I sit through Jewels without banging my head on the wall? I was never a fan of Balanchine in the first place, and now, thanks to Peter Boal’s tenacity, my family, after subscribing to PNB for over a decade, will now cease their support because going to the ballet is no longer about beauty or technique.
Oh, and did I mention that Peter Boal refuses cast the best and most beautiful long-time PNB dancers like Olivier, Poretta, Stanko, in favor of the SAB immigrants he’s ushered here? He promises them that they will be stars and makes them principals as soon as they make the switch. Where does this put all of our hardworking soloist and corps dancers who have been working to earn those positions? In his own words when contrasting the two companies, SAB works you so hard that you wear your stage makeup to a 5 o’clock rehearsal so that you’ll be ready to be onstage by 7 the same night whereas apparently at PNB, the dancers cry if they don’t get their tea break, it’s little wonder that so many New York dancers are flocking our way, pushing old favorites out of the spotlight. Things have been getting so hard for the PNB principals that many are now moving away, Cristophe Marvaal for example. How many more of our true Seattle dancers will have to suffer at Boal’s hand? Thankfully, after this year, I won’t have to watch. Bravo, Peter Boal. Bravo.
I groan aloud, and my dad takes this as a sign that I no longer want to be a part of this family’s ballet outing. I hurriedly explain that it’s because I know it’s another all-Balanchine performance. He actually tries to argue it with me, “No, it couldn’t be. There’s just no way.” Obviously, that Saturday, he was proven wrong. How many times can I sit through Jewels without banging my head on the wall? I was never a fan of Balanchine in the first place, and now, thanks to Peter Boal’s tenacity, my family, after subscribing to PNB for over a decade, will now cease their support because going to the ballet is no longer about beauty or technique.
Oh, and did I mention that Peter Boal refuses cast the best and most beautiful long-time PNB dancers like Olivier, Poretta, Stanko, in favor of the SAB immigrants he’s ushered here? He promises them that they will be stars and makes them principals as soon as they make the switch. Where does this put all of our hardworking soloist and corps dancers who have been working to earn those positions? In his own words when contrasting the two companies, SAB works you so hard that you wear your stage makeup to a 5 o’clock rehearsal so that you’ll be ready to be onstage by 7 the same night whereas apparently at PNB, the dancers cry if they don’t get their tea break, it’s little wonder that so many New York dancers are flocking our way, pushing old favorites out of the spotlight. Things have been getting so hard for the PNB principals that many are now moving away, Cristophe Marvaal for example. How many more of our true Seattle dancers will have to suffer at Boal’s hand? Thankfully, after this year, I won’t have to watch. Bravo, Peter Boal. Bravo.
Monday, October 8, 2007
BALANCHINE: MASTER OF THE DANCE
By the time of his death on April 30, 1983, George Balanchine had created over 400 works and was recognized as a 20th-century master alongside Picasso and Stravinsky. Here is the story of how the man born Georg Melitonovitch Balanchivadze in St. Petersburg, Russia in 1904 went on to become the artistic director and primary choreographer of the New York City Ballet.The man who would one day rank among the greatest choreographers in the history of ballet came to the United States in late 1933 following an early career throughout Europe. His trip came at the invitation of Lincoln Kirstein, a Boston born dance connoisseur whose dream it was to establish an American school of ballet and company equivalent to those in Europe.
The first result of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in early 1934. It later became known as the premier American ballet academy and breeding ground for the New York City Ballet, which Balanchine and Kirstein were to establish together after 14 more years, in 1948. Balanchine’s first ballet in this country was "Serenade," set to music by Tchaikovsky, which was premiered outdoors on the estate of a friend near White Plains, New York, as a workshop performance by students of the school.
The first result of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in early 1934. It later became known as the premier American ballet academy and breeding ground for the New York City Ballet, which Balanchine and Kirstein were to establish together after 14 more years, in 1948. Balanchine’s first ballet in this country was "Serenade," set to music by Tchaikovsky, which was premiered outdoors on the estate of a friend near White Plains, New York, as a workshop performance by students of the school.
In 1935, Balanchine and Kirstein set up a touring company of dancers from the school and called it the American Ballet. That same year the Metropolitan Opera invited the company to become its resident ballet, with Balanchine as the Met’s ballet master. On October 11, 1948, Morton Baum, chairman of the City Center finance committee, saw Ballet Society, formed two years earlier by Balanchine and Kirstein, in a City Center Theater program that included "Orpheus," "Serenade" and "Symphony in C" (a ballet Balanchine had created for the Paris Opera Ballet under the title "Le Palais de Cristal" the previous year).
Baum was so impressed that he negotiated to have the company join the City Center municipal complex. Balanchine’s talents had found a permanent home. That home was to become known as New York City Ballet and Balanchine would serve as its artistic director until his death in 1983.
With a company initially strapped for cash, Balanchine eschewed elaborate costumes and sets and presented his dancers in practice clothes, an innovation he continued to use for selected ballets long after money was no longer an issue. Among the “practice-clothes ballets” in the Balanchine repertory: "Agon," "Episodes," "Ivesiana," "Kammermusic No. 2," and more than 20 Stravinsky/ Balanchine collaborations.
At this time, he also choreographed "The Nutcracker," New York City Ballet’s first full-length ballet and an enduring popular success. Although it took a long while for New York City Ballet to become a popular company, by the time Lincoln Center for the Performing Arts opened in 1964, Balanchine’s reputation was established and he was ready to reach a larger audience on a larger stage.
To many observers who followed New York City Ballet through the lean years, the opulent and elaborate productions that began to emerge at the New York State Theater must have seemed out of character. For those, however, who realized that Balanchine had dreamed of creating for America what the Maryinsky had been for Russia, the development was perfectly logical, and ballets such as "Don Quixote," "Union Jack," "Jewels," and "Vienna Waltzes" soon followed.
The legacy left by Balanchine when he died remains as profound as it is extensive.
Peter Boal
For a dancer, his career is truly amazing. As chris has said before me, Peter Boal's career span is the dream of all professional dancers. And I truly agree with the boxed quote at the end of the article: It doesn't make nay sense to have a dance audience that says, " We only go to On The Boards" or "We only go to the PNB' or "We only go to Meany." I want audiences to support all of the dance in Seattle. - I hope more people feel the same way as Peter Boal does, because we as artists or part of the community can not be selective of what or where we support. Because art is all the same.
Peter Boal
This man in my opinion has the dream career span, for a dancer. To be at the hight of your career then to move to a creative director position is a dream. I hope to do some of the same with my acting career. I want to act for several decades then begin to direct as well, and even later in life I would like to be an artistic director so I can put together an amazing place for drama.
Sunday, October 7, 2007
Kobe to Broadway
Mikiko's story was incredible and inspiring. It was so interesting to hear about a Cornish student coming from such a far away place as Japan in order to pursue their dreams and artistic endeavors. I was also touched by what Mari London called Mikiko's "naivete", because it is so rare that someone has a strong enough will to go for something combined with the faith do go through with it, disregarding the odds that may be against them.
Sweet Home
This made me consider my own idea of home and prompted me to question what the true meaning of home is, realizing that it means something so different for everyone. After reading Sweet Home, I reflected alot on the different forms that security and comfort can take, whether it be a physical location or a single person. One quote that especially struck me was Louise Erdrich's quote in which she compares the inhabitants of urban environments to "hunter gatherers" and the context that bounds us together, specifically brands that have been made infamous and more than just the companies they represent. Although I agreed with her in the sense that our culture puts an excessive amount of stock in these symbols, I did not agree with this bold generalization that these symbols make up the context for who we are and where we live.
Question for Chris
Hi Chris,
I have a question about what is supposed to be read by Monday, October 8th. Are we supposed to read Artopian Seattle and Profile: Peter Boal? Did we skip one? I'm not sure, so if you could clear that up, that would be great.
-Stacy
I have a question about what is supposed to be read by Monday, October 8th. Are we supposed to read Artopian Seattle and Profile: Peter Boal? Did we skip one? I'm not sure, so if you could clear that up, that would be great.
-Stacy
Friday, October 5, 2007
Ten Tips for a Better Interview
International Center for Journalists, www.icfj.org, October 2, 2007
1. Be prepared. Research the subject you are reporting about and the person you are interviewing. Your source will appreciate your effort, and you will be able to skip questions that could be answered by an assistant, book, or document. Make sure your tape recorder has batteries that work. Bring an extra tape as well as pens and notebook.
2. Set the expectations for the interview right up front. Be sure your subject understands the purpose of your interview (this will help keep the conversation on track).
3. Be on time. By beginning and ending the interview on time, you express your respect for your interviewee.
4. Be observant. Observe details of the place and of your interviewee; this can add color to your story. If you are interviewing people in their home or office, be sure to get a good look around and note what you see. For example, they may have some old photos that show them in a more personal light. You may start an interview with assumptions about a person and leave with a completely different impression. Talk to colleagues or friends of your source to get a bigger picture.
5. Be polite. Establish a polite rapport and a level of comfort for the interviewee.
1. Be prepared. Research the subject you are reporting about and the person you are interviewing. Your source will appreciate your effort, and you will be able to skip questions that could be answered by an assistant, book, or document. Make sure your tape recorder has batteries that work. Bring an extra tape as well as pens and notebook.
2. Set the expectations for the interview right up front. Be sure your subject understands the purpose of your interview (this will help keep the conversation on track).
3. Be on time. By beginning and ending the interview on time, you express your respect for your interviewee.
4. Be observant. Observe details of the place and of your interviewee; this can add color to your story. If you are interviewing people in their home or office, be sure to get a good look around and note what you see. For example, they may have some old photos that show them in a more personal light. You may start an interview with assumptions about a person and leave with a completely different impression. Talk to colleagues or friends of your source to get a bigger picture.
5. Be polite. Establish a polite rapport and a level of comfort for the interviewee.
6. Listen. Focus on your subject and listen carefully to what he/she has to say rather than thinking about your next question.
7. Don’t be afraid to interrupt when you don’t understand. One reason you are conducting this interview is to explain the subject to your readers. If your interviewee uses language only his/her peers would understand, politely interrupt and ask for further explanation. Never be embarrassed about not knowing something.
8. Maintain eye contact. While taking notes and/or recording the interview, maintain as much eye contact as possible. Try taking abbreviated notes, looking down only once in a while, so you can focus on your interviewee. This will make the interview more conversational.
8. Maintain eye contact. While taking notes and/or recording the interview, maintain as much eye contact as possible. Try taking abbreviated notes, looking down only once in a while, so you can focus on your interviewee. This will make the interview more conversational.
9. Before you leave... ask your source if there is anything that you might have forgotten to ask. Perhaps the interviewee is burning to tell you useful information, but you did not even think to ask that question. Ask for a contact number or e-mail address and a good time to call with follow-up questions. Thank your source for spending time talking with you before you leave.
10. Review your notes right after the interview. Don’t wait to review your notes. Go over them right away, while everything is fresh in your mind.
10. Review your notes right after the interview. Don’t wait to review your notes. Go over them right away, while everything is fresh in your mind.
Wednesday, October 3, 2007
Kobe to Broadway
This article was inspiring, she was able to focus on her goal and make it happen. No matter how many times she was told no she kept trying and made it into Cornish. With her passion she could do anything and I think that is amazing.
Kobe to Broadway
I like how this shows that if you have enough passion to pursue your art form it can take you to the top of your carrier. It also shows that we are all in the right place to start are artistic carriers here at Cornish. It's reinforcement for me, to remind myself that I came here to pursue my dream of being an actor. If I'm not willing to throw 100% of myself at it why bother. I can't believe where all here.
Sweet Home and Mikiko's Story
Sweet Home
For the reading on Sweet Home, overall I thought that all these articles about life-place and what we call home is beneficial by opening our eyes to our personal issues, experiences, and becoming more aware of what's happening in our lives if we weren't already. Honestly, having these readings and then having our discussions about them in class have made me perceptive and observing of what has been happening in my life. I keep acknowledging that everything that I might have considered in one way with one opinion is changing and shifting to a new definition. I already knew this, but it didn't really register in my mind until I began to really analyze passages in the articles we have read and relating to my life.
Mikiko's Story
I really found myself admiring her passion, bravery, and dedication to accomplish her dreams and amazed at how she overcame the hardship having a language barrier and being foreign in Seattle. The article outlines her in my mind to be logical, smart, and a person with a good head on her shoulders. Being foreign and coming to America in pursuit of your dream career is not an easy thing to do, a person has to be extremely disciplined and great and taking care of themselves and what they need. Her success is truly the prime example of working hard to get what you want. Enduring college for just a slight portion of your life can give you a lifetime of happiness and success in the long run. That's what I always remind myself.
For the reading on Sweet Home, overall I thought that all these articles about life-place and what we call home is beneficial by opening our eyes to our personal issues, experiences, and becoming more aware of what's happening in our lives if we weren't already. Honestly, having these readings and then having our discussions about them in class have made me perceptive and observing of what has been happening in my life. I keep acknowledging that everything that I might have considered in one way with one opinion is changing and shifting to a new definition. I already knew this, but it didn't really register in my mind until I began to really analyze passages in the articles we have read and relating to my life.
Mikiko's Story
I really found myself admiring her passion, bravery, and dedication to accomplish her dreams and amazed at how she overcame the hardship having a language barrier and being foreign in Seattle. The article outlines her in my mind to be logical, smart, and a person with a good head on her shoulders. Being foreign and coming to America in pursuit of your dream career is not an easy thing to do, a person has to be extremely disciplined and great and taking care of themselves and what they need. Her success is truly the prime example of working hard to get what you want. Enduring college for just a slight portion of your life can give you a lifetime of happiness and success in the long run. That's what I always remind myself.
From Olympia to Broadway: The Romeo Story
This has to be one of the few inspirational pieces we've read so far. I think we all click with this article because this is the story we all want to make for ourselves. Go to school for the thing we love. Get a job for the thing we love. Finally, be known for the thing we love. Even with her language barrier, Mikiko Suzuki still succeed in her field. In a way, we all have some barrier keeping us from pursuing what we love. Whether it be money, a disability, or even a lack of support. From Mikiko's story we see that perseverance can et us through it.
Yeah, yeah, cliche I know.
But it's what we were feeling when we read this article in one way or another.
By the way, Robbie's lame =]
-romeo
Yeah, yeah, cliche I know.
But it's what we were feeling when we read this article in one way or another.
By the way, Robbie's lame =]
-romeo
From kobe to broadway
Reading this gave me inspiration to be better in my field of work. Just reading about Mikiko's journey from Japan to New York to Seattle the determination of her is incredible. Her struggles with the English language and trying to get into Cornish is just wow taking three times to get in and dealing with the frist two years of sturgling with English. I have some of the same problem i have a money problem instead of a language, i can only take out up to $25,000 in student loans and that is the limit with my co signer and then i don't have one anymore and it is going to be a big deal to keep it under that for my 4 years hear but i know i can over come that. I only need the concertation of Mikiko to get through these years.
***** I LOVE ROMEO******
***** I LOVE ROMEO******
Home Sweet Home
I'm not really sure what to say about this article. Our discussion on Monday really cut deep as I am moving out of the house I've lived my whole life in on Friday. I think that home is a passionate feeling I get when I feel safe, loved, and comfortable. It's interesting for me to note that when I'm at my house I don't always feel like I'm home simply because I don't feel those specific qualities at all times. "Home" is undoubtedly different for everyone and it will be interesting for me to see if I will feel "home" in my new apartment.
Mikiko
Wow, it was really amazing to read about the courage and drive Mikiko had! And it was so inspiring to me that she was able to work on Light in the Piazza. Very impressive. Her language boundaries didn't stop her and that is a HUGE boundary. To me, this article gave me hope to not let the small stuff get me down in my work toward improving my discipline because other people have much bigger issues to overcome.
Artopia and Artopia Speaks - Quick Comments
I found this article to be incredibly helpful for giving me a arts checklist for places to visit or revisit in the city. I'm happy that most of the interview answers were positive and based on things that the interviewees were grateful for instead of how hard life is in the arts or how their work goes unappreciated by the population because of lack of arts education, etc. It's not like those negative aspects, mostly highlighted through the actual article, aren't true; everyone knows about the artist's plight...and that's the problem. When articles like this come out, I think it actually negatively impacts the art world. Maybe a few of the points will stick (the quote about the mixed pros and cons about charity auctions was especially memorable to me), but generally, even though I'm an artist who must deal with the same problems, I tend to roll my eyes, turn down the volume and try to chill out. In fact, articles that just complain about how the world isn't doing enough for artists would be like a group of Fred Hutchinson doctors creating a commercial blaming America's citizens for getting cancer in the first place; point being--you know what you're getting into when you decide to do what you love, and for better or for worse, for financial gain or no, one has to proactively fix one's problems. When I watch tv, I see ads or news stories on the incredible advancements in medicine (which is, unfortunately, also largely underfunded), I feel excited and want to stand up and donate or join a marathon or support them in some manner because they are targeting and advertising the public. Conversely, I see relatively little in the way of encouraging the public to attend galleries, museums or private showings...and while it may be beneath artists to band together to make advertisements appealing to the general public, it would certainly attract a larger crowd than giant theses of complaint ever will. Truth be told, no matter what they say, I believe that art really does demand a certain level of education--not the kind you learn in school or from one's monetary value, but rather a baseline level of manners and etiquette of how one should behave. I think that proactively targeting the public would draw a crowd that artists simply could never tolerate. People who yell at, touch, or thow things at their creations. Artists would prefer to complain and whine than have to EVER deal with that.
Anyway, the thing I felt was lacking with the interviews was a classically trained interviewee. That being said, I am going to be a person of my word and not just sit here complaining. I’ll answer all of these questions as the missing link.
Which local artist do you feel is the most underappreciated? Why?
I would have to say Juliette Aristides. She’s an incredible artist who has even published her own amazing book. She’s worshipped among all the classical artists yet completely and totally ignored in the Seattle Arts scene? How can someone who has hoards of artists signed up on a mile long waiting list to be among her elite group of students really only deserve a ‘huh?’ anywhere else in the Seattle arts community?
What is your favorite local art space? Why?
I love the Frye Art Museum. They are always bringing interesting and exciting exhibits to Seattle while maintaining an incredible collection that you can really feel close to. When I go there to look at the Bougereau paintings, I truly feel like I could do anything. It’s personal enough and quiet enough that you actually can feel a rush of inspiration…instead of a sterile hush that I feel in other galleries and museums.
What is the most interesting new trend in the Seattle art scene?
I would have to say the revitalization of classical art, thanks to Gary Faigin and Pamela Belyea. Thanks to all of their hard work starting and running the Seattle Realist Academy (later the Seattle Academy of Fine Art, now the Gage Academy of Fine Art), artists like me can finally have a chance to learn like the old masters.
Also, the rise in free teen programs is incredible. I think that the art community is finally realizing that if they don’t provide a decent art education for the next generation, there may not be a next generation! Gage, SAM, and other institutions now offer free classes with free supplies which allows anyone, no matter financial background to learn art techniques and history, as well as become part of a thriving new art community.
What’s the most worrisome new trend in local art?
The idea that if its representational, it’s bad. So what if it’s representational, it doesn’t mean that a piece isn’t conceptually strong, just as it doesn’t mean that a piece is technically strong either.
What’s your most and least favorite piece of public art in Seattle? Why?
My favorite piece is the whale fins at the Seattle Center. Because they’re around many large scale pieces of public pieces of art, they often get ignored, but when I see those giant fins poking their way out of the grass or over the heads of dancing hippies, I can’t help but smile. They also tell a Native American Story, but I’ll leave you to research that J Things are never as fun if they’re just given to you.
My least favorite piece of art is the Calder Eagle. I think it’s ugly and I have no idea why it attracts so much attention. In fact, none of the curves complete themselves, and I can’t find anything aesthetically redeeming in it. I feel like it’s the emperor’s new piece of art of sorts. If you’re not saying it’s incredible, you get the label of a fool, but nobody can really quite tell you why. So what. Label me fool. I hate it.
Anyway, the thing I felt was lacking with the interviews was a classically trained interviewee. That being said, I am going to be a person of my word and not just sit here complaining. I’ll answer all of these questions as the missing link.
Which local artist do you feel is the most underappreciated? Why?
I would have to say Juliette Aristides. She’s an incredible artist who has even published her own amazing book. She’s worshipped among all the classical artists yet completely and totally ignored in the Seattle Arts scene? How can someone who has hoards of artists signed up on a mile long waiting list to be among her elite group of students really only deserve a ‘huh?’ anywhere else in the Seattle arts community?
What is your favorite local art space? Why?
I love the Frye Art Museum. They are always bringing interesting and exciting exhibits to Seattle while maintaining an incredible collection that you can really feel close to. When I go there to look at the Bougereau paintings, I truly feel like I could do anything. It’s personal enough and quiet enough that you actually can feel a rush of inspiration…instead of a sterile hush that I feel in other galleries and museums.
What is the most interesting new trend in the Seattle art scene?
I would have to say the revitalization of classical art, thanks to Gary Faigin and Pamela Belyea. Thanks to all of their hard work starting and running the Seattle Realist Academy (later the Seattle Academy of Fine Art, now the Gage Academy of Fine Art), artists like me can finally have a chance to learn like the old masters.
Also, the rise in free teen programs is incredible. I think that the art community is finally realizing that if they don’t provide a decent art education for the next generation, there may not be a next generation! Gage, SAM, and other institutions now offer free classes with free supplies which allows anyone, no matter financial background to learn art techniques and history, as well as become part of a thriving new art community.
What’s the most worrisome new trend in local art?
The idea that if its representational, it’s bad. So what if it’s representational, it doesn’t mean that a piece isn’t conceptually strong, just as it doesn’t mean that a piece is technically strong either.
What’s your most and least favorite piece of public art in Seattle? Why?
My favorite piece is the whale fins at the Seattle Center. Because they’re around many large scale pieces of public pieces of art, they often get ignored, but when I see those giant fins poking their way out of the grass or over the heads of dancing hippies, I can’t help but smile. They also tell a Native American Story, but I’ll leave you to research that J Things are never as fun if they’re just given to you.
My least favorite piece of art is the Calder Eagle. I think it’s ugly and I have no idea why it attracts so much attention. In fact, none of the curves complete themselves, and I can’t find anything aesthetically redeeming in it. I feel like it’s the emperor’s new piece of art of sorts. If you’re not saying it’s incredible, you get the label of a fool, but nobody can really quite tell you why. So what. Label me fool. I hate it.
From Kobe to Broadway
How cool is it to hear about someone who went to Cornish and now is affiliated with Broadway and Lincoln Center! Especially someone who was rejected twice before being accepted. This story is a story of determintion and the percevierance that Mikiko shows. The fact that she had to take multiple years of ESL to simply apply to Cornish was inspiring to me! Reading stories of former students and the success that they have achieved through their schooling here gives me excitement and hope for my future as an aspiring dancer. I can relate to Mikiko's wanting to attend a smaller with no graduate students, so that he opportunities to participate as an undergraduate would be increased! Mikiko also is someone who knows exactly what they want and have their entire future planned out ahead of time. I am one of those people as well, where I can list everything Ive wanted to be since the age of 6! Never was there a time where I didnt know who I was or what I wanted to become, and since age 10, it has always been a dancer. Having been born in the United States, I am already one step ahead of Mikiko, now all I need to do is mirror her strong will and determination and I have a chance at Broadway too...
Tuesday, October 2, 2007
Miki-ki-ki-ko SUUUUUUUUzuuukiii!
The Light in the PiazzaI really like her name...thus the title. Wow. It was awesome to hear of someone who had graduated from Cornish who was not Brendan Fraser. Mikiko was so determined, and it was interesting to see the road that she took to get where she is now. I loved the picture of her going to go see The Barber of Seville when she was 14 and completely being dazzled by the theatre. It was kind of like my experience when I was 7, and saw my first play at the Pasadena Playhouse. My first play was Peter Pan. I was totally dazzled. I love how theatre speaks to everyone, even if it's in another language. I also loved how Mikiko didn't give up when she kept hitting road blocks. She was persistent in her endeavor to learn more about her craft, and became more rich through her experience. It was also nice to see how Cornish supported Mikiko in her journey. It makes me realize how fortunate I am to be at Cornish, and how I have a great support system of artists to work with.
Ideas of Home
Home changes, illusions change, people change. Lucy R. Lippard has many questions in her article Sweet Home, such as “What if there are people with memories but no one to transmit them to? Are their memories invalidate by being unspoken?” and “Having been lost, or displaced from their own history are they ready to adopt those of others, or at the very least are receptive to their stories?”
Lippard asks some questions in her writing like whether hardworking individuals in a poor community can be left out because of the majority. I suppose there is more to being a good neighbor than the image of the ideal good neighbor.
It does seem true that one can be homesick for places they have never been.
There were many interesting ideas throughout the article though I’ll admit that some of them are over my head, like the notion of tribalism mentioned on page 35 in the first paragraph. I am not sure I understood what a symbolic code meant in that context.
Some meanings of the word home were pleasant to hear. The griote is an intriguing image that seems to sweep the reader off into a fantastic world, Although for some home is the street itself: it’s a terrible thought to think of, a slab of cardboard over a heating grat
It was interesting to hear that the American Indians consider the eagle on flagpoles to be spiritual.
And of course anyplace can be the center of the world.
Home changes, illusions change, people change. Lucy R. Lippard has many questions in her article Sweet Home, such as “What if there are people with memories but no one to transmit them to? Are their memories invalidate by being unspoken?” and “Having been lost, or displaced from their own history are they ready to adopt those of others, or at the very least are receptive to their stories?”
Lippard asks some questions in her writing like whether hardworking individuals in a poor community can be left out because of the majority. I suppose there is more to being a good neighbor than the image of the ideal good neighbor.
It does seem true that one can be homesick for places they have never been.
There were many interesting ideas throughout the article though I’ll admit that some of them are over my head, like the notion of tribalism mentioned on page 35 in the first paragraph. I am not sure I understood what a symbolic code meant in that context.
Some meanings of the word home were pleasant to hear. The griote is an intriguing image that seems to sweep the reader off into a fantastic world, Although for some home is the street itself: it’s a terrible thought to think of, a slab of cardboard over a heating grat
It was interesting to hear that the American Indians consider the eagle on flagpoles to be spiritual.
And of course anyplace can be the center of the world.
Concert October 7 at Town Hall
MARCEL KHALIFE AND AL MAYADINE ENSEMBLE
TOWN HALL SEATTLE, SUNDAY, OCTOBER 7 AT 8 PM
Marcel Khalifé, one of the Arab world’s most influential performer and composer of music for stage and screen, brings his renowned Al Mayadine Ensemble to Town Hall Seattle on October 7 at 8 pm. They will perform "Tagasim," a new suite inspired by the words of fabled Palestinian poet Mahmoud Darwish, along with favorites from his repertoire blending the sounds of East and West.
Khalifé’s work is firmly rooted in the classical and folk traditions of the Middle East blended with Western influences, such as the use of piano. A champion of freedom of expression and human rights, Khalifé was recognized by the United Nations as an "Artist for Peace" in 2005.
Presented by Town Hall and the Arab Center of Washington with the collaboration of Culture Theory.
Advance tickets are $26/$24 Town Hall members, seniors & students at www.brownpapertickets.com or 800/838-3006. $28/26 at the door.
TOWN HALL SEATTLE, SUNDAY, OCTOBER 7 AT 8 PM
Marcel Khalifé, one of the Arab world’s most influential performer and composer of music for stage and screen, brings his renowned Al Mayadine Ensemble to Town Hall Seattle on October 7 at 8 pm. They will perform "Tagasim," a new suite inspired by the words of fabled Palestinian poet Mahmoud Darwish, along with favorites from his repertoire blending the sounds of East and West.
Khalifé’s work is firmly rooted in the classical and folk traditions of the Middle East blended with Western influences, such as the use of piano. A champion of freedom of expression and human rights, Khalifé was recognized by the United Nations as an "Artist for Peace" in 2005.
Presented by Town Hall and the Arab Center of Washington with the collaboration of Culture Theory.
Advance tickets are $26/$24 Town Hall members, seniors & students at www.brownpapertickets.com or 800/838-3006. $28/26 at the door.
Improv comedy Night at the Moore
Seattle Theatre Group
PRESENTS
THE MOORE 100
IMPROV COMEDY NIGHT
A LIVE THEATRE WEEK EVENT
October 15, 2007, 7:30 pm-9:00 pm
The Moore TheatreLocal comedy actors from Jet City Improv, Unexpected Productions and UW's "The Collective" perform energetic improvisations based on themes from 100 years of performing arts evolution at The Moore Theatre. Emceed by Christian Swenson (local improviser), audience members will provide suggestions that help set-up lively scenarios for historical performances from Vaudeville and modern dance to alternative rock. Historic Moore Theatre tours and reception following the performance.http://www.themoore.com/artists/?artist=640
PRESENTS
THE MOORE 100
IMPROV COMEDY NIGHT
A LIVE THEATRE WEEK EVENT
October 15, 2007, 7:30 pm-9:00 pm
The Moore TheatreLocal comedy actors from Jet City Improv, Unexpected Productions and UW's "The Collective" perform energetic improvisations based on themes from 100 years of performing arts evolution at The Moore Theatre. Emceed by Christian Swenson (local improviser), audience members will provide suggestions that help set-up lively scenarios for historical performances from Vaudeville and modern dance to alternative rock. Historic Moore Theatre tours and reception following the performance.http://www.themoore.com/artists/?artist=640
Monday, October 1, 2007
City of Arts
Seattle Mayor Greg NickelsInterview by Jeffrey Hirsch
Photography by Jennifer Richard
Just ahead of the fifth annual Mayor's Arts Awards ceremony, part of the festivities kicking off the Bumbershoot Festival, Mayor Greg Nickels sat down for an exclusive interview with Inside Encore. Here are some of Mayor Nickels' thoughts on what powerhouse arts and culture mean to Seattle.
Just ahead of the fifth annual Mayor's Arts Awards ceremony, part of the festivities kicking off the Bumbershoot Festival, Mayor Greg Nickels sat down for an exclusive interview with Inside Encore. Here are some of Mayor Nickels' thoughts on what powerhouse arts and culture mean to Seattle.
Encore: What are your early recollections of experiences with the arts?
Greg Nickels: When I was kid I attended Junior Programs, which eventually morphed into the Seattle Children's Theatre. Performances were where the Intiman is now; back then it was the Seattle Rep. But my favorite story comes from my wife's upbringing. She grew up in Ellensburg. In junior high school the class came over to the Rep and saw Richard II with Richard Chamberlain starring. As a result, she's had a life-long crush on Richard Chamberlain. Shortly after I became mayor we were having dinner with Peter Donnelly and she shared that story with him. Of course Peter was the one who brought that production to the Rep and it really was a watershed in many ways for Seattle theatre. It clearly was for her as a young girl growing up in a small town in Eastern Washington; that opportunity was great. But then to be able to complete the circle and talk to the fellow who made it happen and thank him: that was pretty special.
Encore: How do you define creativity?
Nickels: Creativity exhibits itself in many different ways. I think I have sparks of it in the political realm, but I don't have it in terms of artistic expression. So when I see someone who is able to really demonstrate that kind of creativity, whether it's in the visual arts or performing arts, it's really awe-inspiring. It makes me wonder: Where does that come from? Seattle, in many ways, is a very creative place - not just in the arts, but also in terms of the economy and the impact we've had on the world - really far out of scale with our size. It's hard to define, but creativity is one of the things that helps Seattle lead in so many different areas.
Encore: It's widely accepted that the arts are an important part of every great city. But why is that so?
Nickels: You need it all. One of the things about a great city is that it has a diversity of people and activities - things to be engaged with or involved in. The arts inspire and motivate and captivate the imagination in a way that then allows you to go into your own field - whether it's politics or building a great airplane or writing software - and to excel. It's that kind of force.
Encore: How have the arts had an impact on the way that Seattle is perceived by outsiders?
Nickels: It's interesting to track. We're one of the top five arts destinations in the country, according to American Style Magazine. I'll be interested to see how the Olympic Sculpture Park and the expanded SAM affect that ranking. We're right up there with Chicago, San Francisco and Boston as a center for arts and culture.
Encore: How have the arts had an impact on the way that Seattle is perceived by outsiders?
Nickels: It's interesting to track. We're one of the top five arts destinations in the country, according to American Style Magazine. I'll be interested to see how the Olympic Sculpture Park and the expanded SAM affect that ranking. We're right up there with Chicago, San Francisco and Boston as a center for arts and culture.
Encore: How does this perception benefit the city?
Nickels: In a number of ways. When you're trying to attract top talent, one of the things people look for is a vibrant, dynamic city. That includes the arts and cultural life of the city. The arts in Seattle make it easier to get people to come here to contribute their talents to our city. And it certainly helps in terms of the bottom line: tourists and people who live here contributing dollars to our economy by participating in the arts. That helps me to balance my budget and provide for the arts - and for many other important services.
Encore: How important are the arts to Seattle's economic prosperity?
Nickels: We track that. Arts and culture add one-third of a billion dollars a year to the Seattle economy. That's a lot of activity. We lead the nation in the number of arts-related jobs per capita. It really is a driving force in our economy.
Encore: Why do you think that is? Why is this an arts center?
Nickels: It has to do with the kind of people who choose to live here. Very creative people, whether they're in the business of designing and building the best airplanes in the world or writing the most powerful software in the world or figuring out how to charge people three dollars for a fifty-cent cup of coffee. They demand and support a very active and dynamic artistic community.
Encore: What can people do to support the arts and benefit from them in their lives?
Nickels: Seattle citizens do an amazing job of supporting the arts, whether as voters in funding the building of Benaroya Hall and McCaw Hall; or as private citizens contributing to various artistic organizations; or by attending exhibitions and performances - coming to First Thursday in Pioneer Square and enjoying that great community celebration. There are many ways for people to become engaged with the arts. People do and we flourish as a result.
Encore: If you were to challenge people to do a little more, where would that be?
Nickels: I have a special fondness for smaller community arts organizations. I would urge people to look for an arts organization near where they live. They'll find opportunities to roll up their sleeves and make a huge difference with their time and energy.
Encore: Tell us about the Mayor's Office of Arts & Cultural Affairs.
Nickels: When I became mayor it was known as the Seattle Arts Commission. We still have the commission, but I wanted to broaden the mission of the office. There's so much to our cultural life - some of the heritage activities, for example, that help us to remember why we got to where we are. The Office of Arts & Cultural Affairs is an advocate. It's a bridge between arts organizations and my office. It helps me to be aware of what's going on and how we can be most supportive of the arts.
Encore: How do you work with the Arts Commission?
Nickels: It's an advisory group. I've worked hard to appoint really outstanding commissioners. We've done some very good outreach to broaden the representation on the commission. I think that's been very successful. As citizens, they're able to advocate in a way that staff can't. We have good internal conversations, but there are times when I make a decision and staff's got to fall in line. The commissioners can be a little more assertive when they think that there is a policy or funding issue that needs to be addressed.
Encore: What's an example?
Nickels: When I first came in as mayor, we were going through a recession. Boeing was in the process of laying off 30,000 people in our region. I was cutting the city budget every place I could, including for the arts. I made a promise that when we recovered economically, I would restore those dollars. The Arts Commission was very good at reminding me of that promise, which was absolutely fair. And I kept my promise.
Encore: This is the fifth year of the Mayor's Arts Awards. How did the program start?
Nickels: I'm a history buff. Bumbershoot originally was the Mayor's Arts Festival. But over the years, the city stopped providing major financial support to Bumbershoot. I wanted to reconnect the city and this premiere festival that we have every Labor Day. So I challenged the office to help find a way to do that and the Mayor's Arts Awards - as part of the festivities kicking off Bumbershoot - was one of the recommendations. There's real buzz about the program now. This year we had some 200 nominees and they really represent the length and breadth of the artistic community in our city.
Encore: Why is it important to honor local artists in this way?
Nickels: For one thing, it's an awful lot of fun. Over five years I've had a chance to meet a wide variety of folks who have, often in very humble and unsung ways, made a huge difference in the life of our community. It's appropriate to recognize folks for excellence, particularly when they otherwise might not be recognized. People might not know that they exist, that they have done such wonderful things. It's a nice chance to be able to highlight that and, as a city, to brag a little bit.
Encore: In 2009, you become president of the U.S. Conference of Mayors. Will you be an advocate for the arts?
Nickels: Absolutely. The Conference already recognizes the arts and their importance in the life of the city. We have arts awards that have been made to a number of cities. I will continue that. And I'll find a "Seattle way" to expand upon it as well.
Encore: How important is arts education?
Nickels: It's very important. Years ago, arts education kind of fell off the table at the Seattle Public Schools and we've been working to try and put it back front and center. During the selection process for the new superintendent and during campaigns for school board members we try and highlight the arts as an important part of the basic education mission of the Seattle Public Schools.
Encore: What's your thinking on public art?
Nickels: Seattle has been a leader in public art. The 1% for Art program that was developed here thirty or forty years ago has been picked up in cities all across the country. It really enlivens civic life. When you see a city facility that has artwork built right into it, which was thought about from the very concept that led to the facility's design, it just makes it a more special place for the people of Seattle to enjoy.
Encore: Are you going to Bumbershoot?
Nickels: Yes. My wife is from Ellensburg and the Ellensburg Rodeo is the same weekend as Bumbershoot. So during the early years of our marriage, we'd visit her parents and go to the rodeo. I didn't know that much about Bumbershoot until my kids started to grow up. As soon as the insert in the paper was available, they would grab it and mark what they wanted to see. That's when I started to think about the idea that this was the city's first arts festival - originally the Mayor's Arts Festival. How do we take this energy and excitement I saw in my kids and share it more broadly? So yes, we will be going to Bumbershoot. I'm about to go online now and look at who's coming.
You're invited!
Please join us!
For an invited dress rehearsal of
MURDERERS
by Jeffrey Hatcher
directed by Steven Dietz
with Mark Anders, Sarah Rudinoff, and Joan Porter Hollander
Wednesday, October 3, 7:30 pm
Leo K Theatre
(Seattle Repertory Theatre - 155 Mercer Street - Seattle Center)
Enter through the main lobby doors at 155 Mercer Street; tell the usher that you’re here for the dress rehearsal.
FREE
No late seating, please arrive by 7:15 pm.
The performance is about 90 minutes long, no intermission.
For an invited dress rehearsal of
MURDERERS
by Jeffrey Hatcher
directed by Steven Dietz
with Mark Anders, Sarah Rudinoff, and Joan Porter Hollander
Wednesday, October 3, 7:30 pm
Leo K Theatre
(Seattle Repertory Theatre - 155 Mercer Street - Seattle Center)
Enter through the main lobby doors at 155 Mercer Street; tell the usher that you’re here for the dress rehearsal.
FREE
No late seating, please arrive by 7:15 pm.
The performance is about 90 minutes long, no intermission.
When I read through this reading I was really inspired through the life of Mikiko. She had to jump through so many barrels to get to were she is today. If she would have quit trying when she knew she had to speak english she would not be close to succesful as she is today. I took a few years of spanish and it frustrated me to no end, I hated every minute of learning a foreign language. I could not imagine the struggle she must have went through to go to Cornish. And all because she wanted to do something she had a passion for. It is really great that she kept reaching for her goals even if they were far away. Going to school here this year, money is a big issue and it is something that really sets me back. I can only imagine how much money she had to spend on Cornish and then Yale. It is amazing that something like that didn't set her back from doing something she really wanted. Also not knowing if you are going to get a good job right out of college, that is something that worries me. You can't set aside things like that and dwell on them when you are reaching for goals. You have to just go for it, its better than having a job that you hate doing.
Home is where the Heart is...
As most people have been posting, home is the city of Tucson. It is where I grew up, though never in one "place" absolultely. We moved a lot when I was a child and therefore, home was where ever we made it, or could afford it. Home is where my roots are. I wasn't born in Tucson, but like I said, it's where I grew up.
"Home changes. Illusions change. People change. Time moves on." This is my current situation. I have moved away from my home, and now I am trying to make a home away from home. My illusions are now with the home I left and I will be changing drastically while I'm away, as are my sisters and my mother. Time NEVER stops, and that's what sucks sometimes or is tricky, because this is what causes people to change inevitably, but of course with other influences.
"Home is where one starts from....we shall not cease from exploration, and at the end of all our exploring, will be to arrrive where we started, and know the place for the first time."
"Home is at once more intimate and more isolated than place."
"Anyplace can be the center of the world."
The main idea of this piece as I understood it, is the fact that the last quote portrays, that home, or our "center" is wherever we put it, with our surroundings in our peripherials. We can make our center wherever we are, or we can keep it as one and explore our peripherials, which is what the majority of us do I think, and have a temporary center.
Overall, I enjoyed this piece more than any of the ones we have read already. I felt I could relate and understand it more.
"Home changes. Illusions change. People change. Time moves on." This is my current situation. I have moved away from my home, and now I am trying to make a home away from home. My illusions are now with the home I left and I will be changing drastically while I'm away, as are my sisters and my mother. Time NEVER stops, and that's what sucks sometimes or is tricky, because this is what causes people to change inevitably, but of course with other influences.
"Home is where one starts from....we shall not cease from exploration, and at the end of all our exploring, will be to arrrive where we started, and know the place for the first time."
"Home is at once more intimate and more isolated than place."
"Anyplace can be the center of the world."
The main idea of this piece as I understood it, is the fact that the last quote portrays, that home, or our "center" is wherever we put it, with our surroundings in our peripherials. We can make our center wherever we are, or we can keep it as one and explore our peripherials, which is what the majority of us do I think, and have a temporary center.
Overall, I enjoyed this piece more than any of the ones we have read already. I felt I could relate and understand it more.
From Kobe to Broadway
It's a little bit depressing that we don't have any Performance Production majors to truly appreciate this! Not that everyone else can't appreciate it, but you know what I mean.
I had no idea that the set designers were responsible for the actual building of the sets. It makes sense now, I mean, it would be hard to design a set without having a vast knowledge of how to make the components work in the physical world.
It's incredible that she was able to persevere through the language barrier. My best friend's family moved here from Hong Kong when she was three, and her parents both speak halting, heavily accented English. When she would talk about how her parents wanted whoever she married to be Chinese, I thought they were being overly traditional and a little racist. But one day I started talking about how sometimes it was awkward for me to be with her family, because her parents always spoke Chinese unless they were speaking directly to me. After talking for a while, I realized that it wasn't necessarily that her parents wanted her future husband to be Chinese, just to speak Chinese so that they could be comfortable and themselves around him, and not have to be self-conscious about their English or worry about understanding his. I guess my point is, it's hard enough to move from far away, especially a foreign country, and throw yourself into college, but when you throw in the language barrier, it seems impossible. Mikiko's achievements are huge by any standards, but what she had to go through to get where she is today makes them so much more astounding.
I had no idea that the set designers were responsible for the actual building of the sets. It makes sense now, I mean, it would be hard to design a set without having a vast knowledge of how to make the components work in the physical world.
It's incredible that she was able to persevere through the language barrier. My best friend's family moved here from Hong Kong when she was three, and her parents both speak halting, heavily accented English. When she would talk about how her parents wanted whoever she married to be Chinese, I thought they were being overly traditional and a little racist. But one day I started talking about how sometimes it was awkward for me to be with her family, because her parents always spoke Chinese unless they were speaking directly to me. After talking for a while, I realized that it wasn't necessarily that her parents wanted her future husband to be Chinese, just to speak Chinese so that they could be comfortable and themselves around him, and not have to be self-conscious about their English or worry about understanding his. I guess my point is, it's hard enough to move from far away, especially a foreign country, and throw yourself into college, but when you throw in the language barrier, it seems impossible. Mikiko's achievements are huge by any standards, but what she had to go through to get where she is today makes them so much more astounding.
Wednesday, September 26, 2007
Sweet home
For me I don’t really feel like I have the same idea as a home as most people. A home for most people I think is with family in your house a place where you’re loved but this is not me at all I don’t feel that way and don’t know why. For me a home is with my close friends people who let me be who I truly am and like me for what I am who love me and support me In any way they could. So I guess I get my artistic inspirations from them who I am come from my friends and they make me who I am this day this moment in time and for ever more as meet new people who can mold me a bit more each day.
Seattle Artist Interview & Profile
1. Identify a professional artist in Seattle—someone outside the Cornish community—that you are interested in learning more about. The person may be from your own artistic discipline or from another. (Make use of your Cornish resources by consulting your teachers, your department chair, and other faculty members for advice and referrals.)
2. Contact the artist and ask if they’re willing to participate in an interview about their life and work as an artist. (Keep trying until you find someone who is willing to participate.)
3. Make an appointment to interview him/her for about 30 minutes. (A day or two before the interview, call or email to confirm.)
4. Before the interview:
· Find out basic information about the individual’s artistic work by exploring the resources available in the Cornish library, visiting the artist’s website, and/or searching online (google.com, seattletimes.com, seattle-pi.com, seattleweekly.com, thestranger.com, etc.).
· Prepare a list of interview questions. Your questions should be open-ended (i.e., asking for more than a yes/no response). Consider asking about the artist’s working process, influences, artistic values, what inspires them, how they survive, how living in Seattle plays a role in their work, etc. (Come up with questions about topics that are of genuine interest to you.)
· Consider whether to record the conversation, simply take notes, or do both. Choose the approach that will allow you to be most present in the conversation. (If you plan to record, be sure to ask permission and double-check your equipment ahead of time.)
· A day or two before the interview, remind the artist of the appointment by phone or email.
5. At the interview:
· Be respectful of the artist’s time—begin and end the interview punctually.
· Ask questions and listen actively to the responses. Ask follow-up questions, if appropriate.
· Ask the individual if they have any advice they would offer to young artists just getting started in the field.
· Thank the artist for participating.
6. After the interview:
. Send the artist a thank you note.
. Freewrite your observations and reflections on the interview as soon as possible, preferably immediately afterwards.
. Type up your notes from the interview. If you taped it, listen to the recording and transcribe key quotations.
. Review your notes and consider what is most important for you to share about the artist. What perspective can you offer? What did you learn that was of particular interest? What does a person need to know in order to have a feeling for the artist's work?
7. Write a profile (2-3 pages) of the artist and his/her work.
. Include key quotations from your interview with the artist.
. Make use of vivid details and specific concrete images to communicate a sense of the artist and his/her work.
· Double-check the facts by referring back to your notes from the interview, consulting your research, or contacting the artist for verification.
· Read your profile aloud. Does it flow? Is it clear? Does it communicate a vivid sense of the artist? Revise as needed.
· Share your profile with another student or a tutor in the Writing Center. Invite feedback and listen to responses. Revise as needed.
· Type your profile, double-spaced with one-inch margins. At the top of the page, write your name, the date, “Seattle Arts Ecology,” and “Artist Profile.” Proofread for spelling mistakes, grammar errors, typos, etc. Make corrections as needed.
· Save a copy of the paper on your computer, and print a copy to bring to class.
8. Prepare a presentation about the artist based on your profile (5-7 minutes). Include visual images or other elements that will help to convey a sense of the artist’s work.
Due Dates
· Identify the artist you plan to interview by Friday, September 28
· Schedule the interview by Wednesday, October 3
· Preliminary research on the artist by Friday, October 5
· Develop interview questions by Monday, October 8
· Complete interview by Friday, October 12
· Write up notes from interview by Monday, October 15
· Write first draft of artist profile by Friday, October 19
· Revise artist profile and prepare class presentation by Monday, October 22
Home sweet home.
The idea of home is a complicated subject but for me my orignal home will always be my grandmothers house during my childhood. The smells, the look, and the sound, are not what made up my place called home. It was not the actual location but rather the people, my grandparents that made that place home for me. So I would say that home for me, is where love is strongest and you can freely be yourself. For that reason I feel that my grandparents represent home for me. But every person can have their own idea of home and it is intresting to hear what others feel their home's are. Past present of future.
Tuesday, September 25, 2007
Sweet Home
We have been talking about home, or place, and I think it's interesting how so many people have different takes on what home and place is. This article brought a lot of my own personal experiences to mind. The other day I was sitting with my friend Catherine, and her roomate Ryan called his friend. I overheard some of the conversation, and there was something that Ryan said that I found interesting. Ryan's friend asked him where he was, and Ryan said "I'm not at home, I'm at my house." Ryan's friend then asked him what he meant, and Ryan said, "Home is where my parents are, where I came from. My house is just my house, so I'm at my house." There was a difference, in Ryan's eyes. on what a house and a home were, and if they existed in the same place as one. Ryan had decided to have a feeling of place, and not a feeling of home, for Seattle. He did have a feeling for what was his real home was, and that was where he first originated. The article Sweet Home also speaks of community. I really enjoyed it.
Monday, September 24, 2007
Class Cancelled Today (Monday)
Sorry to have to cancel class today (Monday), but I'm not feeling well. We will meet at the usual time on Wednesday.
Please bring your revised memoir with you to Wednesday's class.
Also, please read “Sweet Home” from The Lure of the Local by Lucy R. Lippard in course reader, and post your response on the course blog.
And start thinking about a professional artist in Seattle that you would be interested in interviewing. We will discuss the interview project on Wednesday.
Chris
Seattle Modern Dance: The Legacy of Bill Evans
Sunday, September 30th, 2007, 1:00-4:00 pm
Free and Open to the Public
On The Boards
100 West Roy Street, Seattle
Combining live performance and video with a panel discussion, “Seattle Modern Dance: the Legacy of Bill Evans” will explore Evans’ approach to dance-making and trace his profound influence on the development of Seattle modern dance. Panelists will include several members of the original Bill Evans Dance Company, including Bill Evans, Wade Madsen, Shirley Jenkins and Debbie Poulsen to name a few. In addition to facilitating the panel, dance critic Sandi Kurtz will present a lecture on the history of modern dance in Seattle. Photographs of the Bill Evans Dance Company and an interactive display of Evans’ influence on Seattle modern dance will be exhibited in the lobby. A reception with refreshments will be provided mid afternoon. The symposium is free and open to the public. Please call the Cornish events line at 206-726-5011 or visit http://www.ontheboards.org/ for more information.
Free and Open to the Public
On The Boards
100 West Roy Street, Seattle
Combining live performance and video with a panel discussion, “Seattle Modern Dance: the Legacy of Bill Evans” will explore Evans’ approach to dance-making and trace his profound influence on the development of Seattle modern dance. Panelists will include several members of the original Bill Evans Dance Company, including Bill Evans, Wade Madsen, Shirley Jenkins and Debbie Poulsen to name a few. In addition to facilitating the panel, dance critic Sandi Kurtz will present a lecture on the history of modern dance in Seattle. Photographs of the Bill Evans Dance Company and an interactive display of Evans’ influence on Seattle modern dance will be exhibited in the lobby. A reception with refreshments will be provided mid afternoon. The symposium is free and open to the public. Please call the Cornish events line at 206-726-5011 or visit http://www.ontheboards.org/ for more information.
The Big Six O' Seattle Art Dealers
I find it really interesting to read about little things in present history that I've lived through, but didn't know about. I didn't know that Seattle had such a prospering art district. The article we read directly links to the field trip we had last Friday. I loved being surrounded by all of the various galleries that were in Pioneer Square. I remember reading about how 9/11 had affected the economy, and how the art dealers said that it directly affected how much art people were buying. People were buying less art, and this reminded me of Hugo's comment about people drowning thier pets during the Depression. It seems like some people don't consider art a necessity when times are hard, or they can't afford it, just like when people couldn't afford to keep thier pets. I thought it was interesting that something like this happened again in the Seattle area.
I also thought the importance that the art dealers put on PLACE was interesting. They talked about the importance of finding the right location to have thier art galleries, and how about fixing up Pioneer Square brought more business to thier galleries. It made sense that the surroundings be nice. People like to look at art, and then invest in the surrounding area by going out and eating lunch, or getting a cup of coffee. This makes people want to stay longer, thus spending more time in the galleries. It's the circle of art!
-Stacy
I also thought the importance that the art dealers put on PLACE was interesting. They talked about the importance of finding the right location to have thier art galleries, and how about fixing up Pioneer Square brought more business to thier galleries. It made sense that the surroundings be nice. People like to look at art, and then invest in the surrounding area by going out and eating lunch, or getting a cup of coffee. This makes people want to stay longer, thus spending more time in the galleries. It's the circle of art!
-Stacy
Friday, September 21, 2007
As a visual artist, I thought it was really interesting to read about some of the most important people in today's local art community. I thought it was really awesome that the galleries would have an exibit or two of well selling artists, but that there also seemed to be an emphasis on emerging and new artists.
Although I have yet to check out the "first Thurdays" gallery walk, I think it's an great idea, it makes the galleries seem a lot more accesable to the public, because it can definately be daunting to walk into a gallery and be the only one there and get that "I know you don't have enough money to buy a tenth of one of these pieces so what are you doing here." look from the assistant.
Although I have yet to check out the "first Thurdays" gallery walk, I think it's an great idea, it makes the galleries seem a lot more accesable to the public, because it can definately be daunting to walk into a gallery and be the only one there and get that "I know you don't have enough money to buy a tenth of one of these pieces so what are you doing here." look from the assistant.
The Big Six
Something that really struck me while reading the article was that the art scene has been suffering ever since 9/11 and the fall of the economy. I was aware of both these issues, yet never connected them to the suffering art world! It makes a great deal of sense that it would result in that fashion though...I also believe that the increasing use of technology in place of everyday things is contributing to the fall of the art scene because people are allowing themselves to be destracted with their newly acquired "toys" while narrowing their creative minds and focusing solely on the procedures that the computer will allow them to make. My hope is that people will soon realize that technology can only make you so happy and take you so far, and them comes YOU making the effort to actually go somewhere and do something. Though technology can aid in inhancing art, it cannot create it and it certainly cannot appreciate it.
Wednesday, September 19, 2007
Golden Age on the Oily River?
I loved "The Real West Marginal Way" by Richard Hugo. Finally, an autobiographical account of the true, if subversive, virtues of the 'less civilized' versus the technological 'advantages' of urban living. I feel that all too often Romantics source fictional texts such as Huxley's Brave New World, Bradbury's Fahrenheit 451, or even Fitzgerald's The Great Gatsby to prove their beliefs as Truth, but as these are all works of fiction, the papers only carry merit among the philosophical or literary communities. Though these works are integral to opening people's eyes to the atrocities of humankind's infinite march of innovation, even Ovid's revolutionary "Four Ages," detailing the gradual downfall of man through subsequent evolutionary changes, cannot truly be considered a primary source in this ongoing debate. On one side of the argument are those supporting the growth of our technology, knowledge, and cultures to encourage further advancement to reach our full potential. Conversely, those arguing for Nature state that progress is regress; all progress eventually takes us further away from our true place on the planet by robbing us of our carefree innocence, aimless meandering, and sense of community, if only through shared common experiences. With each consecutive innovation comes the correlating disintegration of all peace and happiness, as well as, if not more importantly, the gradual annihilation of the delicate symbiotic relationship between ourselves and our natural environment. These novels have such a strong following, due, in part, to the extreme juxtaposition of the plentiful pastoral landscapes and unknowing happiness of the hunter-gatherer inhabitants with the filth, rot, and crime of a "civilized" world.
I find it interesting to note however that Hugo begins his essay with the poverty, filth, cultural anomalies, and social inequalities which describe the lower class community in which he spent his youth. He begins by describing the geography of the West Seattle area, and then chooses to contrast his hometown in which one "felt debasement [with its] loud belching steel mill, the oily, slow river, the immigrants hanging on to their old ways" instead of conforming to the American ideal, and the "Indians getting drunk" with the organized and decadent suburban lifestyle of West Seattle. Despite his critical description, Hugo admits that he felt a certain sense of the exotic about the many foreign immigrants in his hometown and even that "the community [...] always seemed beautiful." Understandably, to the curiosity and innocence of childhood, the cultural backwardness and physical dilapidation of their community is nothing compared to the "middle class paradise" of West Seattle where "the streets were paved, the homes elegant, and the girls far more desirable." The bloated dead bodies of animals floating lazily with the polluted brown swells of the river speak of disease, rot, and, perhaps, irrational practices of the uneducated mind. When confronted with such images on a regular bases, the affluence and technology of the suburbs would seem ideal. However, as argued by all of the regressionalists, the natural dirt and grime that 'civilized society' abhors is Real and True, untouched innocence of the Earth offering asylum from the sterile and meaningless existence of those swept up in the tide of progress. Those that live in the city abide by unspoken and unmentioned rules of their society, the days sectioned off in to school, work, and social time, all of which are activities bearing no relevance to ones immediate survival on Earth. It is here, of course, that other non-essential characteristics appear, such as the strong emphasis on proper manners, etiquette, and attire. People are individuals unto themselves and therefore personally responsible to uphold the social norms and maneuver within the ever tightening bars of society's expectations. Conversely, in a community struggling for survival, regardless of its diversity or seemingly disjointed communication, life experiences are always shared, whether it means struggling financially
to be cont
I find it interesting to note however that Hugo begins his essay with the poverty, filth, cultural anomalies, and social inequalities which describe the lower class community in which he spent his youth. He begins by describing the geography of the West Seattle area, and then chooses to contrast his hometown in which one "felt debasement [with its] loud belching steel mill, the oily, slow river, the immigrants hanging on to their old ways" instead of conforming to the American ideal, and the "Indians getting drunk" with the organized and decadent suburban lifestyle of West Seattle. Despite his critical description, Hugo admits that he felt a certain sense of the exotic about the many foreign immigrants in his hometown and even that "the community [...] always seemed beautiful." Understandably, to the curiosity and innocence of childhood, the cultural backwardness and physical dilapidation of their community is nothing compared to the "middle class paradise" of West Seattle where "the streets were paved, the homes elegant, and the girls far more desirable." The bloated dead bodies of animals floating lazily with the polluted brown swells of the river speak of disease, rot, and, perhaps, irrational practices of the uneducated mind. When confronted with such images on a regular bases, the affluence and technology of the suburbs would seem ideal. However, as argued by all of the regressionalists, the natural dirt and grime that 'civilized society' abhors is Real and True, untouched innocence of the Earth offering asylum from the sterile and meaningless existence of those swept up in the tide of progress. Those that live in the city abide by unspoken and unmentioned rules of their society, the days sectioned off in to school, work, and social time, all of which are activities bearing no relevance to ones immediate survival on Earth. It is here, of course, that other non-essential characteristics appear, such as the strong emphasis on proper manners, etiquette, and attire. People are individuals unto themselves and therefore personally responsible to uphold the social norms and maneuver within the ever tightening bars of society's expectations. Conversely, in a community struggling for survival, regardless of its diversity or seemingly disjointed communication, life experiences are always shared, whether it means struggling financially
to be cont
Tuesday, September 18, 2007
Response: the real west marginal way
I found his explanation of where he came from very interesting, and it was clear how this essay correlated with our memoir project. I liked the poems as his way of describing what the people were like and how the environment affected their habits, routines and behavior. It was also interesting that, although he spent most of the essay concentrating on his observations of other people and their surroundings in west Seattle, I was able to gauge hoe this location shaped Hugo’s outlook and also his poetry.
Monday, September 17, 2007
Memoir (First Draft due Wednesday 9/19)
Great work today on the "I am from . . ." poems! (And particular thanks to Hannah and Romeo for reading theirs aloud in class.) Please save the poems for your portfolio.
Here's the memoir assignment for Wednesday:
Identify an event from your experience that you consider “life-changing.” It doesn’t matter whether the experience was funny, sad, embarrassing, infuriating, enlightening, profound, joyous, or silly. What matters is that it was significant to you in some way, and that it represents a turning point—as a result of that experience, something in you changed.
Revisit the experience in your imagination. Make notes about the sensory details you can recall. (Where were you? What specific sights, smells, tastes, sounds, and textures were part of the experience? What were some of the words spoken? etc.)
Freewrite a description your life-changing experience, including as many specific sensory details as possible to illustrate what happened.
Read what you’ve written and circle, underline, or otherwise mark the ideas that are most compelling, the examples that are most vivid, the word choices you like, the ideas you would like to expand on.
Using your freewrite as the basis, write a short personal narrative (1½ - 2 pages) describing your life-changing experience. Try to make your reader feel the way you do about the experience without telling your reader how to feel.
Read what you’ve written and evaluate:
· Does your narrative evoke the essence of the experience?
· Are your word choices vivid?
· Have you made use of telling sensory details?
Revise as needed.
Save a copy of the paper on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Memoir, First Draft.”)
Here's the memoir assignment for Wednesday:
Identify an event from your experience that you consider “life-changing.” It doesn’t matter whether the experience was funny, sad, embarrassing, infuriating, enlightening, profound, joyous, or silly. What matters is that it was significant to you in some way, and that it represents a turning point—as a result of that experience, something in you changed.
Revisit the experience in your imagination. Make notes about the sensory details you can recall. (Where were you? What specific sights, smells, tastes, sounds, and textures were part of the experience? What were some of the words spoken? etc.)
Freewrite a description your life-changing experience, including as many specific sensory details as possible to illustrate what happened.
Read what you’ve written and circle, underline, or otherwise mark the ideas that are most compelling, the examples that are most vivid, the word choices you like, the ideas you would like to expand on.
Using your freewrite as the basis, write a short personal narrative (1½ - 2 pages) describing your life-changing experience. Try to make your reader feel the way you do about the experience without telling your reader how to feel.
Read what you’ve written and evaluate:
· Does your narrative evoke the essence of the experience?
· Are your word choices vivid?
· Have you made use of telling sensory details?
Revise as needed.
Save a copy of the paper on your computer, and print a copy to bring to class. (Your paper should be double-spaced, with one-inch margins. At the top of the page, please include your name, the date, “Seattle Arts Ecology,” and “Memoir, First Draft.”)
MFA in English?
In the brief description of the author of this piece that preceeds the actual text, it mentioned that he recieved a BFA and an MFA for English at various institutes and that set me up for a good read. I assumed that it would at least be more intriguing than the reading assignment before this. It was more intriguing. But only slightly.
From the way he starts out in the beginnig, and probably just the title, you can assume this will be a recollection of experiences in a place and for the most part thats what it was. His life there growing up, little unique details about the place. Some of those detials even brought emotions and reactions out of me. Things like the bloated dogs with bags of bricks tied to them. JEEZE. But regardless of these things, a lot of the time I found myself asking "why is he writing this?", "what, more specifically, is this about?", "why am I reading this?" even. I think that it was the tone of the piece that made me feel this way.
His voice and fluency reminded me of a teacher who was just telling a story to kill time, on the fly, at the end of class. There was nothing incredibly striking about his word choice and there was no dramatic arc of any sort to the tone in his voice. And I kept thinking about his Master's degree in english and wondering why I wasn't more inthralled or even impressed by his writing.
I will say though that I didn't entirely dislike the piece. I did actually enjoy it and it shows what those little details can bring to a piece. Especially when I, having lived no where in the Northwest, can appreciate them but not relate to them.
From the way he starts out in the beginnig, and probably just the title, you can assume this will be a recollection of experiences in a place and for the most part thats what it was. His life there growing up, little unique details about the place. Some of those detials even brought emotions and reactions out of me. Things like the bloated dogs with bags of bricks tied to them. JEEZE. But regardless of these things, a lot of the time I found myself asking "why is he writing this?", "what, more specifically, is this about?", "why am I reading this?" even. I think that it was the tone of the piece that made me feel this way.
His voice and fluency reminded me of a teacher who was just telling a story to kill time, on the fly, at the end of class. There was nothing incredibly striking about his word choice and there was no dramatic arc of any sort to the tone in his voice. And I kept thinking about his Master's degree in english and wondering why I wasn't more inthralled or even impressed by his writing.
I will say though that I didn't entirely dislike the piece. I did actually enjoy it and it shows what those little details can bring to a piece. Especially when I, having lived no where in the Northwest, can appreciate them but not relate to them.
It is now my turn to be baffled on how to respond to a reading. I thought that the fact that he explained the history behind the poetry was helpful in understanding what the poems were about, but it was hard for me to concentrate on his words. I don't know exactly where he is talking about in the reading, but I've heard things about those places so I guess I had SOME concept on them. But yeah, I don't really know what exactly I'm supposed to say here...I guess I got a little bored reading it so I don't have much to say...LAME!
Richard Hugo!
At first I had a difficult time understanding the author's way of writing. However, reading further into the chapter, I began to adapt to Richard Hugo's style of poem writing and imagined a voice speaking. For some reason, I enjoyed reading Hugo's poems perhaps a lot more than any other that I have thus far in my lifetime. It is also a help that he decribed everything and the story behind each verse, painting a vivid picture of Seattle that time period; a big contrast to the last reading we had! I would say that my favorite parts of this reading was when he decribed how life was in Seattle at a time when immigration and poverty was everywhere.
Richard Hugo
After reading Richard Hugos poems really liked the way he described the environment around him the mood he set was really cool it reminded me of being in a abounded city especially the poem between the bridges i loved the line
“here a cracked brown hump
of knuckle caved a robbers skull.
That cut fruit is for Salvic booze.
Im not sure what it means but it paints a very descriptive image in my head. Another thing i like about this chapter is how it goes from poetry to story its a really cool transition and something i have never read before.
“here a cracked brown hump
of knuckle caved a robbers skull.
That cut fruit is for Salvic booze.
Im not sure what it means but it paints a very descriptive image in my head. Another thing i like about this chapter is how it goes from poetry to story its a really cool transition and something i have never read before.
"i hate making titles for things"
YAY for last minute posts!
This reading assignment really made me think of the importance of all that we're told to think about in class. In writing his autobiography, Richard Hugo lets the reader know the meaning and I guess the stories behind his poems. He really delves into his own history, his own life’s stories to produce his work. This puts into perspective why we’ll be writing our own memoirs, to, I guess in a way, know and understand our stories and try to use that to affect our art. I’ve kind of stated this before but this proves that the things that happen around us really does produce the end product in all of our chosen art forms. Another thing it helped me realize was important was how Chris always tells us to observe everything around us. Even the most minute detail in any situation can spark something big, like the fact that Greeks in his town didn’t trust the banks, so they kept all of their money at home. He used that one fact to produce the last stanza in his poem Between the Bridges.
*(side note…I’m in the library looking out of the window to the other side of the street. There’s a fire truck parked beside the building with four fire-dudes just leaning on the truck sippin’ on some Starbucks. Sorry….just looks funny, I thought I’d share =]
….ohh snap!!!
I just noticed that was kind of an observation! Shucks! ))
This was an interesting reading 1) because it was way easier to understand compared to the last one, 2) it really helped me to understand that Chris is trying to develop us as artist and not just talking all the time and 3) it was easier to understand compared to the last one.
In conclusion…
Listen to Chris
-romeo
This reading assignment really made me think of the importance of all that we're told to think about in class. In writing his autobiography, Richard Hugo lets the reader know the meaning and I guess the stories behind his poems. He really delves into his own history, his own life’s stories to produce his work. This puts into perspective why we’ll be writing our own memoirs, to, I guess in a way, know and understand our stories and try to use that to affect our art. I’ve kind of stated this before but this proves that the things that happen around us really does produce the end product in all of our chosen art forms. Another thing it helped me realize was important was how Chris always tells us to observe everything around us. Even the most minute detail in any situation can spark something big, like the fact that Greeks in his town didn’t trust the banks, so they kept all of their money at home. He used that one fact to produce the last stanza in his poem Between the Bridges.
*(side note…I’m in the library looking out of the window to the other side of the street. There’s a fire truck parked beside the building with four fire-dudes just leaning on the truck sippin’ on some Starbucks. Sorry….just looks funny, I thought I’d share =]
….ohh snap!!!
I just noticed that was kind of an observation! Shucks! ))
This was an interesting reading 1) because it was way easier to understand compared to the last one, 2) it really helped me to understand that Chris is trying to develop us as artist and not just talking all the time and 3) it was easier to understand compared to the last one.
In conclusion…
Listen to Chris
-romeo
the Real West Marginal Way
I enjoyed reading this one compared to the last one. I like how he tells you his life story the history behind the poetry what were his interpretations behind them. His poems bring you back to where he was during the great depression, like how he describes West Seattle in the old days, it was not a district but it is an ideal place to be. To be there and accepted there you had to be a better person. From what I’ve heard this day’s West Seattle is not anymore the ideal place to be anymore. It is amazing how so many things change from the last 40-60 years.
The Ways of Thinking.
I always enjoy seeing the different perspectives of writers. It's funny how two people can go the same place and have a different experience all together. I like the way he explains his neighborhood in the diff rent poems. However I think I would have preferred not to know about where the poems came from. It leaves it more open to interpretation if there is no explanation. On the other had the connection to our city is nice to see. I also like the way he paints his pictures. Very clear explanations of his thoughts on what people are doing around his neighborhood, private or public. I like the detail about what drinks people are making and what types of people are hanging out where. On a side note I have to agree with the author's notion that everything moves north. I always thought the same thing about the world.
Sunday, September 16, 2007
A Poet's Autobiography
In Hugo's poems, he represents himself through his environment. I found the poem "No Bells to Believe" very interesting, especially after reading the trains of thought that went into it. The tone of the poem seems to be drawn from the stereotypical Washington weather. "The wild rain rings... You must accept the ringing like the day."
Hugo seems to be saying that, just as life in Seattle doesn't stop for the rain, if you come upon troubled times, you must accept them as you do the rising and the setting of the sun, and continue to move on. He uses the reference of Mad Sam's death as a foil for this. His watery grave was homage to the mother of the drowned Indian boy who called him home for dinner every night for years after he had died.
Hugo seems to be saying that, just as life in Seattle doesn't stop for the rain, if you come upon troubled times, you must accept them as you do the rising and the setting of the sun, and continue to move on. He uses the reference of Mad Sam's death as a foil for this. His watery grave was homage to the mother of the drowned Indian boy who called him home for dinner every night for years after he had died.
The Real West Marginal Way: A Poets Autobiography
Ive never really liked poetry, but i liked his as well as the autobiography because I could understand it. What he wrote was what he meant it was like you had to decipher it. I could picture everything he meant as I read it and was familiar to where he was talking about. I liked how when he wrote he went to the river, it makes sense to me going to a place like that where it is peaceful, not in the crazy area he lived in at the time. He was still able to go there, reflect and write poetry about his home and life. He is a great writer/poet and I enjoyed reading it.
Richard Huuuuuugooooo
I really like this artical because it was written from a poet's point of view, and I like to write poems. Often we don't get to look into the poets mind directly and see what influenced a certiain poem, but from reading this chapter, I got to do that. It was really interesting to read about what old Seattle use to look like. It was also interesting to see how the Depression affected the people of Seattle during the 30's and 40's. Now I understand how a place can shape an artist and thier work. I was sad when Hugo mentioned the drowned dogs in the Duwamish River. It just showed how desperate people got when they were in poverty during the Depression. I also thought that Hugo's poem reflected Seattle perfectly during the time. It was nice to see a glimpse of Seattle through poetry, and through the mind of a poet.
-Stacy Gilbert, on Callan's posting name
-Stacy Gilbert, on Callan's posting name
The Real West Marginal Way
I, as well, recognized many of the places that Hugo mentioned and it was fun to be able to picture the places that the author was describing, and picture them vividly. There were some things that i found startling, like the drowning of the dogs furing the Great Depression due to a lack of funds for food and the fact that the boys fished through the porta-potty instead of the lake becase it made no difference. This author really painted a better picture of what living during the Depression was like because he used those personal ad very real images (much like the table of rice cookers and pictures of naked women in the wood-knots of the cabin walls). These images bring the reader to the setting, as if they are actually there and sharing a more intimate experience that if you were to simply relay the play-by-play of the story. The story reminded me of the time I went fishing on the Puget Sound with a former boyfriend of mine, and we couldnt catch any crabs, so we ended up coming home with a few useless cod and a dogfish that looked like a mini shark that wanted to eat us for dinner. For future advice, never catch dogfish...they dont taste so great on a burger.
The Real West Marginal Way
Though I do live in West Seattle... I did recognize a couple of places the author mentioned, but not all of them. At first it was confusing what the author was trying to do with this peice but then i realized that he would share experiences then showed the poem, or the other way around. It takes me a long time to really understand peotry but in this case, it came a little easier because he explained it. I could really feel like I was catually there in his childhood memories because he worded it with such detail and I really felt like I was there to witness it all. I really enjoyed this reading.
The Real West Marginal Way
I really enjoyed this autobiography! At times it was hard to follow because the writer would jump from subject to subject. It was very interesting to see how he translated his childhood memories into his poems. I loved all the strange little details he incorporated into his poems, like the part about the Greeks who distrusted banks and kept huge amounts of cash in their homes. The part about people killing their pets because they could not afford to feed them was extremely disturbing. I thought it was funny that’s he talks about West Seattle like It was the best place on earth, I’ve been to West Seattle and it alright but I would not say it’s one of the nicer places in Seattle, Queen Anne is my favorite. I have read many poems but I have never read poems and the author’s explanation at the same time, it’s so much easier to grasp what they were saying in their poems.
Subscribe to:
Posts (Atom)
