Filling The Quiet Places

by:

Joe Patti

I was climbing a sea cliff this weekend when I noticed a lighthouse I had been looking for fairly close by. Even better, from my vantage, I noticed the trail that lead to the lighthouse as well. I descended and walked back to my car for water and sneakers (I know I am becoming more local because I am doing bizarre things like clambering up cliffs in sandals rather than “proper” shoes.)

As I was making my way across a field toward the trail, I had to walk over some loose chunks of basalt. Despite testing the stability of each rock, one tilted beneath me and I ended up scraping up my hand, knee and a good portion of my lower back. Undaunted, I pulled myself up, washed my wounds with my water bottle and continued on…until I saw a tour bus pull up and disgorge a horde of folks.

I have already established that I am rather anti-social so regular readers may not be surprised to read that human company stopped me where wounds dripping blood didn’t. It was more than that though.

We have all read or had experience with people with poor cell phone etiquette and that is annoying enough. But I have really come to believe of late that people are afraid to be alone with their own thoughts and feelings. I was over at the Kilauea volcano last Christmas and as my mother and I approached the awesome vista, a woman behind us pulled out her cell phone and related moment by moment to a friend.

Perhaps she was just being an idiot, but many incidents similar to that make me wonder if she and other people just don’t know how to process magnificent sights like that without the insulation of a television or computer screen. In order to cope with the swirling emotions they are experiencing, they need to distract themselves with technology.

There is a safety in movies and television. Even the roller coaster in an amusement park has all sorts of safety mechanisms. But you can walk right up to the edge of the Grand Canyon and there aren’t any safety rails (or at least there weren’t the last time I was there.) While it isn’t the mythical abyss staring back at you, it is pretty overwhelming and frightening to stand there with nothing but your own caution and restraint to keep you from falling in.

It makes me wonder if as many people have attention deficit disorder as seem to. It may be more the case that rather than deal with reality which brings creeping thoughts of economic, social, personal, spiritual, educational, etc., woes and concerns, people are seeking solace and distraction in phones, PDAs, computers, video games.

So what does this all mean to arts management? Why did I choose to categorize an entry that starts with a story about my bloody knee as Audience Relations rather than General Musings?

As I drove away from my hiking excursion, it occured to me that arts people trying to educate new and existing audiences about what they do not only have to instruct people about understanding their art form, they have to make them comfortable with the personal silence needed to process the experience.

The idea that you have to stop and think about a work probably seems self evident when you teach people what to look/listen for. But it may be a false assumption these days. In days of instant gratification, if you have taught someone to look at an artist’s use of light, he/she can deal with Rubens even if they had no previous exposure to Baroque art. However, if they come in contact with an artist who has no concern for use of light, the viewer, having no familiar point of reference may quickly pass by. Even if their teacher constantly used the phrase “what is the artist trying to do”, they may not stop to consider that question when faced with unfamiliar elements.

It may not be enough just to “teach a man to fish” anymore. Now you have to teach the person the critical thinking skills to recognize they are in a situation when the goal of getting fish from the water remains the same, but the fishing tool provided is not appropriate in this situation.

The bad news is, this probably will take a major shift in mindset and way of life rather than the intermittent interaction with the arts to achieve. (And that isn’t even acknowledging that this is even more to do with less funding available.) It has to be schools, arts people, Oprah and Dr. Phil and then some talking about it.

The good news is, recently groups have started to really advocate getting away from technology (but is it enough?) I have seen TV ads in the past week or so for the Take Me Fishing website and read an article about a book titled Last Child in the Woods: Saving Our Children From Nature-Deficit Disorder.

These efforts obviously don’t address contemplation of the arts directly, but do advocate activities where people have to spend quiet time with their thoughts (lets hope the lake has poor cell phone reception) and critical problem solving skills (like alternative routes that avoid crossing a field of jagged basalt) that allow people to formulate alternative criteria with which to assess a painting.

Wider Audience vs. Degraded Culture

by:

Joe Patti

Ah! Back from Vacation seeing my adorable nephew. I didn’t do much thinking about the arts at all during my visit, though I am quite convinced that my nephew’s drool patterns on my shirts are harbingers of his future genius in the visual arts.

Fortunately for me, a comment by a blog reader set me to contemplation upon my return so I am ready to write!

Indija Mahjoeddin, a randai scholar in Australia recently commented on an entry back in January on a Randai performance I had attended. I had essentially wondered if, for all the personal growth participation had accorded the students, would casting directors of Broadway and League of Regional Theatre venues see any value in that experience or would the students have been better off doing Chekhov?

Indija bemoans the fact that she has a hard time getting past the gatekeepers at theatres because randai is not avant garde enough for some, but not commercial enough for others.

In my email back to her, I basically pointed out the thorny problems with popularity. While appealing to a fringe audience doesn’t always pay the bills, there are some unsettling repercussions to having ethnic art forms become vogue.

When something becomes hot, people want to jump on the bandwagon and don’t want to spend the time to grasp the deeper significance of an art form. Instead they are satisfied with parroting the superficial aspects. Worse, there are people who sincerely wish to learn the true nature, but come in contact with instructors who are teaching the superficial elements.

I wasn’t in Hawai’i two days before I realized that Hollywood had done hula and Hawaiian culture a great disservice (I actually suspected that was the case before I arrived.)

Trying to maintain true to the cultural heritage of a group while trying to make a living wage educating the greater population about that culture has always been a narrow line to walk.

One of the strangest stories I have come across recently is an article that accuses popstar Gwen Stefani of exploiting a Japanese pop cultural trend. It is just difficult for me to see how a woman who borrows lyrics and music from Fiddler on the Roof for her songs is grossly misrepresenting a trend where Japanese girls dress in clothes from other times and cultures.

The unoriginal stealing from the unoriginal seems like a victimless crime as far as the principles are concerned (those who originated the music and styles they have appropriated might be another matter altogether.)

I’d be interested in hearing from anyone who has been able to successfully present cultural heritage without being, by and large, accused of exploiting that culture. Email me or comment below.

I’d also like to hear from anyone who might have some anecdotes about people who were accused of exploiting or undermining cultural elements only to later be praised as a great disseminator of the self-same material.

For instance, I have always wondered if Carl Stalling and Chuck Jones were vilified for belittling classical music by scoring Bugs Bunny cartoons with it. Today many people credit the cartoons as their first exposure to classical music and in some cases, the initiating incident in their love of the music.

Away For A Bit

by:

Joe Patti

I am off until about June 8 so that I may slavishly bestow affection upon my 4 month old nephew.

Come back then!

Now We Will Never Know

by:

Joe Patti

The cleaning of a virus on my computer while I was writing my entry yesterday apparently prevented me from posting it. In some sense it was fortuitous because I was posting a follow up to an earlier entry on the Honolulu Symphony’s new management structure.

At the time, most of what I knew about the situation was unsubstantiated gossip so I didn’t want to post details. Regrettably, most of what I had heard was true according to an article in the Honolulu Star-Bulletin that came out today.

Due to some conflict on the board, the woman who was going to be the new CEO resigned along with at least one board member. The consultant who suggested the formation of the CEO position was apparently offered the interim president position but has declined.

This whole situation is really a shame. It appears as if the CEO appointee had begun to approach the position with quite a bit of zeal, especially considering it was an unpaid position.

I would have personally been interested to see how the position worked out. I had stated my misgivings in my earlier entry and they were shared by some of the other arts administrators with whom I discussed the developments in the story. But I can’t imagine that the consultant, who was once the executive director of the San Francisco Symphony, would have suggested a management structure with the obvious flaws I feared it might have. It would have been interesting to see if his solution was viable.

One aspect of the story I didn’t quite like was the implication that people were perhaps using their large donations to get their way. Yes, it is true that people who give 1 million dollars wield a great deal of influence and might often remind people of that fact when things don’t go their way.

However, there is no explicit evidence that they did so in this case. It seems unfair that their actions are modified by the amount of money gave (X, who gave $Y did…) while poorer folks just plain take action. It just implies they only based their decisions on money invested while everyone else is motivated by other myriad reasons.