DEEP INTO THE NORTH COUNTRY WITH BASHŌ

From the first moment I learned of Haiku, I felt a connection with Matsuo Bashō, one of Japan's greatest authors. This Christmas I received a volume of Bashō's middle and late periods, if one can call them that, since it appears that his progression toward his rich mature style was steady and uninterrupted, even though it came at great personal sacrifice. The volume is The Narrow Road to the Deep North and Other Travel Sketches.

As was the practice of the time, a poet's work was created on journeys undertaken for the sake of creating.. I felt a parallel with the volume I received and Robert Pirsig's Zen in the Art of Motorcycle Maintenance.  This sensitive and thoughtful translation is by Nobuyuki Yuasa, and covers the major three journeys of Bashō.

Perhaps it is the notion of the journey that most attracted me, because I had not realized the context of Bashō's poetry before. From this reading I understand also that poetry was often a collaborative process. Disciples accompanying the master would contribute poems and often suggest lines to the master. But also there are deliberate sacrifices that must be made to undertake such journeys into a wilderness... usually by foot, but at times the terrain could be so challenging a horse would be necessary.

In my journeys, I have been aware of the spiritual quest that has always defined the issues of awareness and noticing. Listening and noticing---intimate encounters with being that provides glimpses into the nature of existence as we embrace appearances masquerading as reality.

In following Bashō's journey, I became aware that the haiku and at that time hokku, was an evolving form, and the 5-7-5 syllable form was not the only syllable structure prevalent. Nobuyuki Yuasa prefers the four-line form which seems to better fit the poems as written by Bashō. Especially since poems always appear in the context of prose passages.  Scholar and translator Yuasa comments:

First, the language of haiku, ...is based on colloquialism, and in my opinion, the closest approximation of natural conversational rhythm can be achieved in English by a four-line stanza rather than a constrained three-line stanza.

Bashō took his name from the tree of that name after one of his disciples presented him with a stock of a Bashō tree. A Bashō is a species of banana tree. Bashō remarked "I love the tree for its very uselessness."

As many who know me have observed I have given much thought to issues of madness, and making moments tangible and retrievable through poetry. Poetry is the essence of intense noticing. This seems to be confirmed by Bashō:

What is important is to keep our mind high in the world of true understanding, and returning to the world of our daily experience to seek therein the truth of beauty. No matter what we may be doing at a given moment, we must not forget that it has a bearing upon our everlasting self which is poetry.

In The Narrow Road to the Deep North, Bashō  undertakes a journey to what is regarded as the unknown forces of the universe in order to be the poetry that makes the world profoundly eloquent. Having composed a song this summer, "If This Be Madness", I wrote:

If this be madness,
It sets me free,
From all the sadness
That once was me.
But is it madness
To look with love
Beyond the limits
That we’re made of?
We each have madness
Somewhere inside…
 A touch of genius
From which we hide
Perhaps its madness
Or just naive
To want to live my life
As I believe…
And even now I hear
A distant song
I know it’s somewhere near
Where I belong
And even now I see
That I must go
There’s a different me
And there are worlds
I’ve yet to know!

What a revelation it was to come upon this poem by Bashō:

With a bit of madness in me,
Which is poetry... 

And so I seem to have come full circle as I continue my journey of 81 years, remembering that as a child, the essence of the world was its poetic presence.

DEATH OF A STAR

Going quietly into the night, NOHO STAR shuttered its doors forever on New Year's Eve, 2017. There was no fanfare, and the lack of public outcry was disappointing.

I learned of the proposed closing from Ted Coons, a colleague of mine at New York University over breakfast early in December. I was saddened that the owner George Schwarz's son had decided to close both neighborhood fixtures, NOHO STAR and TEMPLE BAR after more than 30 years in order to convert the building to rental property. George passed away December 14, 2016.

Adding to my dismay was that I was scheduled to leave Manhattan for Asia before the closing. I never heard if there was an appropriate wake to mourn the loss of the NoHo Star. I saw many celebrities there during my 30 plus years of using this landmark bistro as my true office, with countless meetings with students, meeting with colleagues, meeting with artists in planning sessions, Many a project was launched over breakfast, brunch, and dinner.

NoHo Star opened after I had been with NYU for about 17 years when NoHo Star opened at 330 LaFayette Street. I saw the transformation of the area south of  Houston Street into SoHo in the late 70s. Before that it was an industrial area filled witth factories and industrial sites, warehouses, and various tradesmen.

This was a block from where I lived, and I watched artists tranform the area by invading on the weekend and using factory spaces to perform and exhibit exper innovations in technology that were experimental artwork, much of it using technollogies begun in alliances with scientist and artists in the 60s in New York, It was a time of Happenings. Everything was free and in the moment. I remember wandering around the warehouses and coming upon works such as a darkened room filled with low and high frequencies and fluctuating projections on the wall. As I grew accustomed to the dark, I saw the artist on the floor hooked up to biofeedback.

I remember how quickly artists were replacing factories and warehouses with lofts and studios. Then, quite suddenly, the area was officially dubbed SOHO, and the area hurtled toward gentrification. Now all the artists have fled and what is left are upscale stores and businesses, with Apple occupying the old Post Office Building on Prince Street.

SoHo --- because it was South of Houston Street, but also it borrowed cachet from the area in London which was also Soho and known as an area for the music, theatre, film, the arts and the pornographic industry.

I always had the fantasy that when George Schwarz acquired the building just north of Houston Street, he dubbed his eatery The NoHo Star, and inspired the christening of those few blocks north of Houston as NoHo.

It is sad to witness the death of an era in NYC which was such a mecca that it drew so many artists from the midwest and around the world, including me. Unfortunately Manhattan has been captured by a strict business mentality where the arts have a place only if they are part of the establishment. The artists have left their strongholds of SoHo and Tribecca and headed to Brooklyn, where there appears to be a renaissance in all aspects of the arts. Yes, there is a revival of young artists in te Lower East of Manhattan that is gathering momentum, even though the city politics and institutions are rigged against them.

The closing of THE NOHO STAR is the dissolution of a giant star. In my small universe, NoHo Star was a massive star, perhaps its debris of a supernova will seed new generations from the many projects and ideas hat were created through casual and not-so-casual meetings of creative people discussing, creating, and launching new ideas over coffee, tea, and the tasty fare from morning on into the night.

CAMELLIA HILL: THE FLOWERING OF ADVENTURE

As it happened during the holidays, the Camiellias of Jeju were reaching their peak. It seemed appropriate to visit Camellia Hill, a wonderful theme park which, because of Jeju's temperate climate, is open year-round with different species of flowers peaking in the changing seasons. Arriving a few days before the New Year, we found the camellias in full bloom, white and red camellia trees lining our path as we wandered through  the thick growth to encounter many surprises along the way.

There were shops, coffee houses, green houses, statues, a Japanese garden, storybook characters and icons scattered throughout the terrain. As we walked I was

reminded of the 19th Century Parks in Europe and England designed deliberately as adventures. Paths would wander and then abruptly turn and you would unexpectedly see a waterfall towering above you. Central Park in New York City was originally designed using that concept. The surprises of Camellia Hill were similar, as the growing shrubs were so thick that many things were obscure until you would enter a clearing and there would be a Greenhouse thoughtfully laid out with many species of flowers and trees and even moss. 

Further on you might see a coffee house and restaurant and then  wander through a Japanese Garden, beautifully sculpted, coming upon an exquisite Japanese Bonsai Tree near a rock formation called Crouching Dragon. The garden invites meditation, maybe a place to return to when there are fewer people. The Crouching Dragon    seems to be sleeping. I noticed that the English sub-title beneath the Korean name was "Couching Dragon,"---a typo or merely descriptive of a lazy dragon in the afternoon sun? The afternoon unfolded like an adventure, perhaps emulating the great English Parks of the 19th Century.

Finally we found ourselves in front of an elegant greenhouse, and on further investigation discovered it to be a coffee house still decorated for the holidays and almost gleaming inside from the afternoon sunlight pouring through the glass.

Here we were in the midst of winter, but on an idyllic adventure that might be typical of a Spring day elsewhere. A few days later I would be waking to see a blanket of snow on the farmland outside my window.

RECONNAISSANCE ADVENTURE TO SUNRISE MOUNTAIN IN JEJU: SANGBANSANG

Just a short drive to the Jeju coast in Seogwipo is the mountain SangBanSang which was once the peak of Mount Halla and was separated by a cataclysmic event that caused it to land by the ocean. Because it was the peak of Korea's tallest mountain, it possesses a powerful energy and spiritual presence that inspired the founding of a revered Buddhist Temple, Sangbanggulsa Temple. 

 In a reconnaissance maneuver to scout the terrain before winter solstice, I journeyed with friends along the coast leading to SangBanSang, coming upon countless coffee houses and hangouts where any aspiring Hemingway would be honored to linger to observe and write unpretentious masterpieces of humanity encountering the world, inspired by the sun and sea, with a beautiful terrain so breathtaking that one can hardly believe the whole thing is not simply a fantasy. I resolved to sometime return to Zen Hideaway to resume the writing I used to do in the coffee houses of New York City.

Arriving at the foot of the mountain, we found a multilevel approach to Buddha and the Temple, and through some mysterious means found ourselves having tea with the Temple's Buddhist Monk who revealed an inspiring voice as he shared his chants with us.  His voice had such resonance and depth, and I felt as though we were touched by some ancient miracle as he brought the sound into our presence as though summoned from some cherished sanctuary.

All of this was just to see if, indeed, the stories about the mountain being the site of a sunrise vigil to welcome in the New Year were true. They were --- we will return to SangBanSang to welcome in the new year 2018.

WINTER SOLSTICE: LET'S FACE THE MUSIC

Apparently this will be my 81st winter solstice. One might think in all these years some of the mystery would be gone, but the mystery deepens. It deepens because there is no true repetition. The absence of repetition is something we seldom notice because we are so captivated by its illusion. Music delights us when we hear the refrain repeated.... the familiar returning. We scarcely notice the illusion that Time affords us. Each repetition is tempered by time. We are older, even thought it be seconds later, and that repetition invades time as a new entity, stamping the moment with its presence, even as we are shaped by the time that passes. Even though the earth is spinnng its predictable course around the sun, the sun is traveling around the galaxy and is in a new place. Time teeters on the edge of discovery, and we are in a different energy.

We also alter the moments by the space we occupy. Our changes may be subtle or dramatic, but they never repeat the past. As the human race, we share some vision of the future. We see a scintillating panorama of things to come...of machines obedient and serving us like slaves... of an increasing, never ending projection into a future where we control our destiny. But if we are to believe artifacts and remnants from the ancient earth, there were greater dynasties than ours that have vanished...
leaving behind faint echoes of civilizations that once flourished and have fallen to some cataclysmic ending.

Recently I listened to Diana Krall's "Let's Face The Music and Dance," a masterpiece in sound and interpretation.  I detected in the arrangement and improvisation more of an encounter with the universe, with entropy and with a moon that is widening its arc around the world until it spins out of earth's orbit to some distant destiny. There is a sense of cosmic inevitability about the arrangement that moves from a simple beginning to an ending that is like the running down of the cosmos...

Perhaps Irving Berlin meant this simple lyric would mask a deeper meaning... the law of entropy demands we pay the price of existing in time...so before our fling draws to a close, we will have to pay the piper, so to speak. There are no free rides....

Ms. Krall starts with a simple dance rhythm, nice and casual, but then a note of caution, a sustained string sound has a slight foreboding tone:

There may be trouble ahead,
but while there's moonlight and music and love and romance,
let's face the music and dance.

But we try to ignore those signs of impending disaster... the music is playing, and yes, we will have to pay for our putting off the inevitable, but this the time to celebrate while we can... let's get the most from this moment:

Before the fiddlers have fled,
before they ask us to pay the bill,
and while we still have the chance,
let's face the music and dance.

Reality interrupts the party... the universe is running down and the moon is pulling against the earth, intent to follow a different journey... the counter melody moves away from the main melody

Soon, we'll be without the moon,
humming a different toon,

Then the orchestra and improv become more complex in texture, and we hear a kind of wistful orchestra as we become aware that the end may be near:

And then, there may be tear drops to shed.

But we realize we have no control over the future or our destiny:

         So while there's moonlight and music and love and romance,

                 Let's face the music and dance.

        Soon, we'll be without the moon,
        humming a different toon,

        And then, there may be tear drops to shed.
       So while there's moonlight and music and love and romance,

                 Let's face the music and dance.

                           

                          Let's face the music and dance...

                                  Let's face the music and dance.              

                                         Let's face the music and dance...

                                                Let's face the music and... dance.
            

The repetition is incessant and sad, but also resigned to the beauty of the reality that reluctantly all things come to an end...  each repetition becomes fainter and fainter as the universe comes to its treacherous demise...suddenly Ms. Krall abruptly breaks the texture with an almost passionless utterance of "dance!" and the music seems to end teetering on the brink of chaos... a brilliant rendering starting simply and unraveling as time goes on in the song... music can be a comforting companion in a journey through Time.

REPETITION...  "Let's Face The Music and Dance" has been repeated many times over the years since Irving Berlin penned this song 81 years ago when I was born in 1936. All through those 80 trips around the sun, singers such as Nat King Cole, Ella Fitzgerald, and Frank Sinatra have charmed fans with their versions which voiced the reluctance of two lovers resigned to an unknown fate... and then the song repeated in a new era, wiser in the understanding of our place in the universe, Diana Krall reminds us that we should relish "our place in the sun" while we can... just Face The Music and Dance...

And so this solstice is our romance with humanity's journey with the sun and our hope that the sun will continue to sustain us for another season... a ritual since before Stonehenge and now in a few days on Sunrise Mountain on Jeju Island.

A POET'S WALK

Last October... as autumn ebbed away with slight invasions of winter... as a Saturday sun defined a golden afternoon, I meandered through Poet's Walk overlooking the Hudson River where Washington Irving once walked and is said to have been inspired by the distant Catskills to write Rip Van Winkle. It was a perfect autumnal evening with the waning sun settling in the west. Below, the Hudson detailed itself in elegant silence, and clouds interpreted the sky with glowing gestures of drifting calm.

Now in the waning hours of 2017, I walk along the beautiful vistas of Jeju Island, which erupted into being eons ago in the Yellow Sea. Looking north, I know the morning calm of mountains of Korea are somewhere beyond the horizon. To my right, Japan silently waits for my attention, and to my left the vast mystery of China calls me with a voice I remember when I was a child discovering that continent in my father's library.

In some way that I cannot understand, this island has emerged as the center of the universe and my mind leaps light years in all directions. What began as a poet's walk along the Hudson has become a greater walk among the stars. Perhaps the most elegant aspect of the island is the magnificent changing skies providing a panorama of changing cloud-formed constellations. I see the sun painting such bold, and sometimes delicate, streaks of light, igniting a spectrum of colors, never repeating and endlessly changing. At night, dwarfed by the surrounding oceans, the island glows in the moonlight and silence is the music of darkness. And in the silence I hear the music of myself.

AN ERA

Time has a way of continuing to unfold. It is the most compelling dimension we encounter. It is the consequence of of a moment of revelation in awareness ignited with a sense of IS-NESS. We have been trying to understand ourselves in relationship to Being and Time, Time and Being, (as Heidegger framed the dilemma twice in his life).

In eight decades, the procession of events has been defined somewhat angular on what I sensed as an upward trajectory. This metaphor is probably common to us all. Does the trajectory now tail off and curve back toward the earth, or does it continue and escape gravity, spiraling toward unknown destinies?

That is where I am today, as I look to know where Wyzard Ways now wanders, for I sense it more as a wandering than a zooming.  Free of the gravity of my past life, I now float freely toward some unknown destiny. The all sounds much too grand for what emerges as a quiet, more reflective drifting to new ways of BEING and MEANING. 

I look to being in a place where I can comprehend where I have been and what that may actually represent as experience, as a sense of reality. Language begins to fall short of discovery. 

ACKER AWARDS AT THEATRE 80 ST MARKS CELEBRATES THE AVANT GARDE

With noted Avantgarde-artist Clayton Patterson serving as Presenter, the 2017 Acker Awards Ceremony was warmly acclaimed by a packed audience of fellow artists and arts enthusiasts. It was more of a happening than a ceremony.  Initiated on the West Coast, and named after novelist Kathy Acker, the East Coast Acker Awards in 2013 was founded by Clayton as a means of documenting the extraordinary artistic activities in the lower east side of New York. Clayton champions and celebrates the leading edge of artistic development that has long been identified with the East Village.



As described on HOWL ARTS: (updated slightly)

The ACKER Awards were created by Alan Kaufman in San Francisco and Clayton Patterson in New York. Patterson and friends pay tribute to members of the avant-garde arts community who have made outstanding contributions in their discipline in defiance of convention, and to those who have served their fellow writers and artists in outstanding ways. The Acker Awards are named after novelist Kathy Acker, who in her life and work exemplified the risk-taking and uncompromising dedication that identifies the true avant-garde artist.

Each recipient receives a commemorative box that contains original art works and mementos created by some of the 40 winners. Each year the box,includes booklets, bios and  original works of art and ephemera. Previous boxes have contained a signed and numbered papier- mâche potato by Hapi Phace, a sculpture by Tom Otterness, a handmade book by Edgar Oliver, and other specially-created art works.

Flanking Clayton Patterson's stage presentation was the celebrated Phoebe Legere,  musician and multiform artist, serving as MC of this event that had elements of spontaneous combustion. The energy of the artists and the audience was palpable, immediate and free spirited.

The evening was laced with impromptu performances, witty and insightful comments from Phoebe and Clayton, with an air of celebration in understanding that this event helps create and maintain community among a wide range of arts and generations from young and aspiring to venerate veterans who have established identities and domains through many struggles and challenges.

Many in the audience were former winners of the Acker Awards, suggesting that Clayton Patterson's vision of establishing a strong sense of community through the awards has become manifest,  It is a monumental achievement to put together these awards, prepare the  commemorative boxes,  hire a hall, advertise and stage the event. Kudos to Clayton Patterson.

Even more impressive of this community of village artists is the diversity of practices, preferences, and artistic collaborations/creations spanning almost seven decades of explosive creativity. At one point when Lincoln Anderson and his work with The Villager was announced, Clayton took a moment to remind us that the Villager is on-line, and that its presence on the Internet makes it equal to all other publications in visibility. He noted that this publication is a record of the work of the community, urging that everyone add to the record by commenting on articles and postings.

This was an awards evening worth noting for the city, for the artists represented by these awards are carving out new terrain that resonates with change and the creation of new work.

ACKER RECIPIENTS 2017

COUNTESS ALEX ZAPAK, "POLITICAL NOTICE"
NANCY WOLFE  &  ETHAN MINSKER, "2016 VIDEO OF CEREMONY"
NATANIA NUNUBIZNEZ,  "CARTOON ILLUSTRATOR"
SARAH SCHULMAN, "ACTIVIST PLAYWRIGHT"
CARLITO CASTILLO, "ART & SCIENCE OF BOXING"
FRIDAY JONES, "TATTOOING"
MICHELLE MYLES, "TATTOOING"
MARI-CLAIRE CHARBA, "THEATER ACTOR"
MARILYN ROBERTS, "THEATER ACTOR"
BARBARA KAHN, "THEATER ACTOR"
LOIS KAGAN MINGUS, "THEATER ACTOR"
CHARLES SCHICK, "ART"
REGINA BARTKOFF, "ART"
FELICE ROSSER, "MUSIC"
CHERYL PYLE, "MUSIC"
EDEN BROWER & JOHN HENEGHAN, "MUSIC"
LINCOLN ANDERSON, "COMMUNITY MEDIA"
LUCKY LAWLER, "COMMUNITY MEDIA/ART"
CHARLES MINGUS 3RD, "ART"
THERESA BYRNES, "ART"
LESLIE LOWE, "ART"
VICTORIA ALEXANDER, "ART"
AGATHE SNOW, "ART"
ANTONY ZITO, "ART"
JANE DICKERSON, "ART"
ISTVAN KANTOR, "ART"
JENNIFER BLOWDRYER, "WRITER"
SHELLEY MARLOW, "WRITER"
MAGIE DOMINIC, "WRITER"
VERONICA VERA, "SEXUAL EVOLUTIONARY"
CANDIDA ROYALLE, "FEMNIST PORN GENRE"
TOYO TSUCHIYA, "PHOTOGRAPHY"
JACKIE RUDIN, "PHOTOGRAPHY"
MARY CAMPBELL & VIV VASSAR, "PERFORMANCE ART COLLECTIVE ORGANIZER"
WENDY SCRIPPS, "COMMUNITY SUPPORT"
CARTER EMMART, "SCIENCE"
COUNTESS ALEX, "TRANS MEDIA STORY TELLER"
ANNE HANAVAN, "VIDEO"
KEITH PATCHEL, "COMPOSER, PRODUCER"

YET ANOTHER RENAISSANCE...

Just when I thought that for me at eighty there were no more rebirths of imagination... no bursts of creativity, I am awaking to a new world and noticing the beautiful sounds, the beautiful moments that need to be stamped with the permanence of celebration by turning Time into an ally of preservation. We have the capacity to capture Time in the bottle of creation, transforming the moment into an enduring presence.

KEITH PATCHEL'S NEW OPERA PREMIERES AT MEDICINE SHOW THEATRE

Keith Patchel's new opus, The Plain of Jars, based on a novel by the same name, premiered at The Medicine Show Theatre December 10th. This performance was a significant cultural event that should be noticed and honored, if only for the spectacular talent involved in the production that was created from scratch over a 12 day period. If Rossini remarked that it takes "about 21 days to make an opera," making this new work sets a new record. Patchel's work defies classification, as it might be described as a docudrama, musical play, or opera.  Patchel's background as a film composer is evident  as he has created a tapestry where the music flows without interruption, sometimes as the dominant feature and other times as commentary on the scenes of intrigue, exploring the motives of political characters and agents involved in the bombing of Laos during the Vietnam War.

The "Plain of Jars" is a garden-of-eden-like place in Laos that was life sustaining  for Laotians, who led a simple, peaceful life until their homeland was used by the US to test new weapons and bombing strategies during the Vietnam War.

Besides the Laotians, the cast of characters includes JFK, played by Robert E. Turner, Nixon, portrayed by Timothy McCown Reynolds, LBJ acted by Jon L. Peacock, and Henry Kissinger, depicted by John Hayden. Patchel's treatment of the characters satirizes them in the light of their criminal and covert actions, with the exception of Kennedy regarded as the hope of change for the direction for the country. Turner's stately and passionate enactment of JFK provided a stark contrast to the political trio who plot the death of Kennedy. In addition to the rich diversity of these characters, two CIA cohorts (played by Sayaka Aiba and Clare Francesca) add to the scheming and deceit, playing a critical role in persuading the politicians to use the Vietnam War to test new weapons.

The Laotians are performed by Sayaka Aiba, Clare Francesca, Jialin Li, and Xi Yang, and their opening scene of the tranquility of the Laotian natives was serenely projected with their melodic lines interweaving and overlapping, shimmeringly mystical. 

The scene shifts to the White House with JFK and the political trio in which the killing of Kennedy to prevent the withdrawal of US troops from Vietnam establishes the symbolic presence of his spirit. Patchel's conception of having JFK portrayed an an African American is an inspired gesture and Robert E. Turner brings a sense of dignity and destiny to the role. It stands in stark contrast to a CIA-directed White House and State Department intent on using the "falling domino" theory as an excuse for the war.

The trio of conspirators, provided a bitingly satirical commentary, and each actor emerged sharply etched as a caricature deeply embedded in a personal grasp of the demeanor and rhetoric of politicians caught in the web of their own deceit. Timothy McCown Reynolds was brilliant in capturing the expressions and blustering mannerisms of Nixon. John Hayden's Kissinger was covertly evil in his quest for power and posterity, a stunning range of characterization. LBJ was indeed "with heavy heart" as possibly the most powerful and reckless of the trio, but traumatized by the enormity of his transgressions against America and Vietnam. Vietnam was a force that spiraled out of control and each response only made matters worse. Peacock's characterization was accurate, revealing a troubled LBJ who could not overcome his own tragic flaws.

There are two extraordinary scenes that seem to transcend the structure: a "Death Dance" danced by Robert Turner, Cantata Fan, and Sayaka Aiba, an eloquent gesture mourning the death of Laotians. This was a powerful moment, abstract but also immediate and irrevocable.

The concluding scene of the opera is the final aria of Gaia (Yang Xi), a powerful apotheosis of the Laotian pride whose survival in the world exacts a justice, a redemption for having endured the slaughter of innocence. The pride and purity of the Laotians remain untouched. The aria begins in the symbolic demise of Kissinger, Nixon and LBJ entombed in the giant Jars of the Plains. The music celebrates triumph of Laotians over evil. In many ways, the structure of the work is a series of climaxes, each surpassing the previous. Yang Xi's musical sensibility and strength of interpretive expression uses her remarkable voice to shape each nuance and climax demanded in this powerful and expressive aria.

Patchel's music unfolds as a continuous tapestry of sound embellished by live instruments performed by Kento Iwazaki (Koto), Cantata Fan (Pipa), Alan Gruber (violin), and the keyboard manned by the composer. Their presence as a substantive texture, provided an unfolding spontaneity.

Adding to the ambiance of the evening was the wonderful set created by Alexis Kandra, simple, but enriched with the nuance of an primeval space invaded by the technology of 20th Century war... the giant jars on the Plains ultimately serving to entomb Kissinger, Nixon, and Johnson, indicted for their crimes against humanity.

A highlight that must be noted is Clara Francesca's solo "This is the only war we've got..." Her performance was powerful, Brechtian, yet bitterly poignant, confirming the opera's pervasive tone as satire. Perhaps the strength of libretto is the tension between the gentle presence of the Laotians and the sharp, caustic satire enacted with such brilliant individuality by Reynolds, Peacock and Hayden. 

The Plain of Jars theatrical premiere created an unforgettable quality for New York City on December 10, and 11 by bringing to our attention a regrettable and shameful time in American history.  The opera focuses on the violence in Vietnam and the culpability of the United States. Even though video footage of the bombing and violence in Laos was included in scenes, the libretto did not explore the atmosphere in this country that was violent, explosive and cruel, with riots, demonstrations and killings of innocent protestors.

Patchel is to be commended on creating a work that reminds us that Time does not erase such moments, but elevates them to renewed significance as we discover new meaning ifrom events of the past.