Dr. SANDRO DERNINI: THE IMPORTANCE OF BEING PLEXUS

My adventure with Sandro began decades ago, when I encountered him as the doctoral student of my colleague Dr. David Ecker. Sandro came to NYU already in possession of a PhD in Biology, but he was engaged in the art of life, and all forces conspired in the 70s-90s as to make NYU the place where new interactive artists gathered to enshrine proactive art as the shaping energy of artists around the world. Sandro Dernini articulated a destiny that seemed to have its own efficacy. This personal covenant matched perfectly with David Ecker's commitment to phenomenology and qualitative research. It was David Ecker, who in the 1990s launched Navigating Global Cultures. It was in that context and energy of Sandro Dernini founding Plexus that a series of events unfolded which brought Sandro and myself back together in recent times. I created a video I DO NOT KNOW and submitted art to participate in Plexus celebration at the MACRO Museum of Modern Art on December 12, 2018.

Sandro writes of our initial collaborations and the necessity of charting a new course in the wake of COV-19 Pandemic:Within the collaboration on  Navigating Global Cultures between New York University and University of Cagliari,  in 1995, for the 100th Anniversary of the Guglielmo Marconi's discovery of the Radio, Plexus International was launched.
THE OPEN CALL FOR THE WELL BEING IN THE XXI CENTURY (21 September 1995, Cagliari, Sardinia, Italy)

WE ARE A SINGLE, INTERDEPENDENT, WORLD-WIDE SPECIE.

WHETHER WE LIKE IT OR NOT, WE ARE INTIMATELY BOUND UP WITH EACH OTHER AROUND EARTH.EAST AND WEST, NORTH AND SOUTH, OUR FATE IS LINKED TOGETHER.THUS A GLOBAL VIEW OF HUMAN HEALTH IS MORE ESSENTIAL NOW THEN EVEN BEFORE.”(Introductory statement by the Chairman of the 37th Assembly of the World Health Organization, on the Role of Universities for the Health for All, Geneva, 15 May 1984)

HEALTH is defined by the WHO (World Health Organization of the United Nations) as “a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity.”

In the light of the current Covid-19 crisis, more then even, there is a need for a change of route, from the disease to the well-being by not only thinking to manage this pandemic or the next ones  with vaccines but with a more complete state of well-being, as stated in the WHO definition of health.  Therefore, a more multidimensional cultural navigation  is needed for changing the current dominant paradigm of health as presence or absence of diseases or infirmity.  Let's collaborate all together for a new Well-Being World, to be launched  on Human Rights Day 2020, 10 December, with a global artists.

Extract From David Ecker's paper “Cultural Navigations”presented at the International Forum “The Well Being in the XXIst Century, held in Carloforte, Sardinia, Italy, in 1992.

The idea of a kind of “cultural navigation” arose out of this initial discussion, the notion that what was required of us was to re-think the significance of Columbus’s landing in the light of a new global awareness of interdependence.  Further meetings generated a veritable “fleet” of proposals.  One of these proposals, made by Dr. Sandro Dernini of Plexus International, is now reaching fruition, a Reconciliation Forum to address the question of what will constitute well-being in the 21st Century for all the inhabitants of the globe.   For many of us, the initial idea of cultural navigation led quickly to the question of cultural identity.  

The nutritional, social, ethical and economic aspects of well-being will undoubtedly receive critical attention in the proceedings of the Forum.  But surely the artistic and aesthetic dimensions of life as we live it must figure in any formulation of a comprehensive vision of well-being. 

The arts make visible our cultural identity and provide a direct measure of the vitality of the culture in which a particular art object or event is embedded.  It follows that the arts have a special role to play in relation to the well-being of the members of each of the cultures of the world.

For one organization represented here, ISALTA, it is not enough to document the arts in their cultural settings, but to take steps to enhance the arts and thus the quality of the lives people live.  The name of this intentional group states its purpose:  The International Society for the Advancement of Living Traditions in Art.  Historically,  artistic decline accompanies the loss of cultural identity.  The felt need to preserve the meaning of a tradition in modern life is directly proportional to the loss of spiritual and material well-being of the artists and artisans sustaining their own cultures. Western solutions to the world’s misery, suffering, and destruction have tended in the 20th Century to be technological and humanistic, whereas earlier they tended to be religious or political solutions.  In the name of science, human nature, or God, the assumption underlying these solutions is that they transcend culture and have universal efficacy.  In contrast, we believe that the very meaning of “doing good for others” is culture-bound, as is the word “art”.

Cultural crises, whether caused by natural or man-made, whether caused by forces from outside or within a particular culture, are ideally to be resolved on the terms set by the affected culture.  What this ideal suggests is that there should be no “privileged discourse” in multicultural exchanges.  Communication on both “inside” and “outside” understandings of issues affecting well-being in the 21st Century must be encouraged from all cultural perspectives.  

PLEXUS, as founded by Sandro has sustained many incarnations through world-wide initiatives. Perhaps one of the most recent undertakings was the world wide celebration of Human Rights Day, December 12, 2018.  With Plexus, Sandro with many colleagues, and especially David Ecker, established many living traditions and challenged past cultural inequities and crimes against humanity.

 MACRO is the equivalent of the Museum of Modern Art in New York, but maybe slightly higher rating for being more on the leading edge of arts movements and trends. It is an impressive structure that invites large scale installations, and PLEXUS represented a large scale installation of multiple artists as well as a connection with other sides via the Internet and projected as part of the happenings at MACRO. Human Right's Day as celebrated by PLEXUS was a collage of sight, sound, touch, and technology that unfolded in the spirit of a happening as those in attendance were treated to an abundance of simultaneous activities throughout the museum. Maestro Riccardo Santoboni with his magical trombone, often provided musical commentary as well as leading spontaneous parades through the space. Bodies entrapped in mummy-like encasings wandered through the space until they spontaneously erupted in breaking free of the shackles through dancing and celebrations as they moved from confinement to freedom.

Participating Artists in PLEXUS Human Rights Day at MACRO.

This celebration at MACRO was an extraordinary happening, not unlike those of earlier days when spontaneous eruptions of collaborating artists created unique events throughout New York City in unexpected places such as abandoned buildings, warehouses, theaters, and the Projects. This group photo is on the outside steps of MACRO around 9 p.m. as HUMAN RIGHTS DAY wound down to a close, having begun as a celebration 12 hours earlier, but even a day before December 12, as they installed their works throughout the museum. An almost infinite continuum or trail of artworks submitted to be archived by PLEXUS could be seen throughout the space, followed as a path through the other installations. To document, I made a video of my tracing the path through the museum, but as I walked came upon showings or happenings that were taking place by the many collaborating artists. In many ways, this visitors that came to witness the event became a part of the installation, so that in fact, everyone became a work of art as they shared this extraordinary moment in time. In this sense, everyone was a collaborator, an instigator and reveler in this spontaneous interaction of shimmering facets of activity.

This is why I felt compelled to not let this celebration go unnoticed. It seems more than coincidence that as I left IMPACT and started to chart a new course for my post NYU career, that independently I came up with ARC (ARTS RENAISSANCE COLLABORATIVE), as a new path to pursue and research all I learned in collaboration with faculty, staff, participants, and students during my time at New York University. How stunning a revelation to see the flag raised by PLEXUS as the ARK of WELL-BEING. How well this Ark serves the dedication to the ideas launched in the 90s for NAVIGATING GLOBAL CULTURES. My own sense of ARC, also saw the metaphor of a vessell, but in addition the sense that ARC represents connection, a span to the future and well-being, but also as energy, that spark that ignites a revolution of BEING and MEANING. In these troubling times, Sandro Dernini's quest to maintain PLEXUS as Arts Advocacy for Human Rights and Well-Being has kept the organization at the forefront of relevant metaphysical and spiritual inquiry.

DR. TED COONS' 90th YEAR FESTSCHRIFT

On March 7, 2020, Dr. Edgar Coons of New York University was honored at Ted Coons Festschrift was presented at the NYU King Juan Carlos I of Spain Center in honor of his 90th year. A Festchrift is a volume or archive compiled in a celebration as a tribute to a scholar, writer, artist or accomplished figure, producing materials consisting of articles, essays, presentations related to the honoree's work and career. 

As a pioneer in neuro research, Dr. Coons career has produced leading researchers and scholars who have uncovered new terrain with regard to the brain and its functions. He himself has produced many breakthrough studies, and his students have gone on to distinguish themseles as leaders in this field.

This celebration was on the eve of the Pandemic crisis. Even at this meeting, participants were touching elbows rather than shaking hands. The participants are too numerous to identify here, so I will contextualize it with how my relationship with this remarkable man led to me presenting at this celebration.

I was invited by Ted to be a Co-Sponsor for The First International Conference on MIND, BODY AND THE PERFORMING ARTS in 1985 as I was serving as Director and Chair of NYU Steinhardt's Music and Performing Arts. (At that time, the school was still known as the School of Education, then, School of Education, Health, Nursing, and Arts Performance (SEHNAP), and finally, Steinhardt.)
I had begun my career at NYU with first contact in 1968, and Ted had begun his career in the School of Arts and Sciences a few years earlier than that. The conference was the first of its kind and it made news, attracting a number of outstanding artists, educators, doctors, and researchers. It was a series of coincidences that led to my meeting Dr. Coons, and I was fortunate that these events led to establishing a life-long friendship that was often shared at NOHO STAR, a restaurant that was near NYU, populated by artists, writers, students, musicians, and celebrities. It no longer exists, and we shifted our times to LAYFETTE, a restaurant a block from the NOHO STAR.

Coincidences shape the future.It was on the basis of that Mind Body conference that I was invited to share the findings as part of Ted's 90th Year Festschift.  If it had not been for the conference, I likely would have never met Ted. I met Ted through a doctoral student who had come to our department to pursue a PhD in Music Performance. The PhD in Music Performance was one of the first programs I created when I joined NYU. I was brought to NYU by. Dr. Jerrold Ross who had been the president of the New York College of Music. While at Columbia University studying for my doctorate, I became the composition student of David Simon, who also happened to be the registar of the New York College of Music. David had been impressed by our conversations about higher education. He recommended me to Dr. Ross.  The PhD in Music Performance was the first of its kind, and it attracted extraordinary musicians who were also interested in the research.  One such student was John Kella, the principal violist for the Metropolitan Opera Orchestra. His registration in Ted's research class led to discussions that resulted in creating the conference and brought me into partnership with Ted Coons.

As we rode in a taxi up Sixth Avenue for a fundraising event for the festival, we discovered our mtual past.

TED: I don't know much about you. Where are you from?
JVG: You wouldn't know it. It's just a town in Texas.
TED: I might know. Where?
JVG: Amarillo...
TED: I know Amarillo. Did you know the Amarillo Conservatory of Music?
JVG: Yes.
TED: Did you study at the conservatory?
JVG: Yes.
TED: Well, I also studied at the conservatory. Did you study with Gladys Glenn?
JVG: Why, yes I did.
TED: I also studied with Gladys Glenn. Small world isn't it?

Because Ted is nine years my senior, I was in a different world from his. He was studying at the Conservatory in his teens, when I was just entering grade school, so our worlds never met. Yet, we shared a common background.

Ted's Festchrift was a true celebration, revealing the many layers of talents and achievements that have accrued over the illustrious years of his career.  It's impossible to report the full scope of presentations that were unveiled that day. The first presentation by Dr. Richard Young set the tone, as he reviewed Ted's remarkable career that launched the research careers of his many students, including Dr. Young himself. His point was that Ted's contributions are so vast and different, that anyone from the outside might view his work the way six blind men, in the familar proverbial story, tried to describe an elephant by just touching. After an entertaining and enlightening presentation, Dr. Young and his wife, Alice Zhu, presented Dr. Coons with an award that recognized him as a mentor, but as Ms. Zhu described, the word MENTOR does not do justice to a Chinese concept of the Teacher/Mentor/Spiritual Guide that the award represents. Even our cherished words of MAESTRO and MENSCH do not convey the cultural and spiritual import of the word.

This was a wonderful presentation and the conferring of the award set an appropriate tone for the ongoing celebration, as colleagues and former students and protegees paraded to the podium to honor Ted's extraordinary career as educator, adminstrator,  artist, writer, composer, and philosopher. Perhaps the only thing missing was Ted's recent stint as a Film Producer for his former student, Nathan Cutucci, the writer and director for IMPOSSIBLE MONSTERS, a film that while having mixed reviews, "marks an impressive debut effort"... "with quite a few engaging twists and turns."

Dr. George Smith, founder of IDSVA (Institute for Doctoral Studies in the Visual Arts) recently served as the first recipient of Professorship in New Philosophy, created through a generous to donation to IDSVA by Dr. Ted Coons to fund the position. Dr. Smith's book The Artist-Philosopher and New Philosophy maintains that Western Metaphysics has come "an end" as posited by Heidegger. What will emerge is the artist-philosopher who "poeticizes" new philosophy spanning arts in all forms and penetrating culture in all its locations. Dr. Smith recounted his experiences with Ted, and his energy, spontaneity and artistic sensibility. He has with him, Ted's English translation of a Rilke poem which he made for the purpose of setting the poem to music. He invites Ted to share his translation, and we were afforded a sensitive and spontaneous moment through his reading.

Former Protege and student, Dr. David Rosenboom, composer, researcher and the Richard Seaver Distinguished Chair in Music at CalArts and Dean of the Department presented his connection with Ted during the early days of The Electric Circus. I had met David as a young, pioneerng artist through a course I developed at NYU called EXPANDED MUSIC, and we visited the artist at his studio and tried to emulate some of his methods and techniques. David Rosenboom's presentation celebrated his relationship with Dr. Coons and also shared works that had been performed in a retrospective of David's prolific 50 years as a composer of new music and creator of countless new techniques in artistic collaboration and new ways of creating music, including ingenious use of bio-feedback in several contexts.

Among the presenters was Dr. Kathleen Riley, who received her PhD in Piano Performance in our department at NYU, while I was Director and Chair.  Kathleen was doing pioneering research using the Yamaha Disklavier technology to diagnose differences in interpretation of works, but ultimately to detect physical problems faced by pianists over the span of long careers.  Ted played an important role in the formative years of this research, providing her with space for her Yamaha Disklavier as well as advice and support for research projects. From this experience she developed an expertise in identifying what in many instances would be career-ending physical disorders, and providing remedies that saved and extended professional careers. She continues to build on these data through her INTENTION-The Power of the Heart.

 A moment of reflection as we conclude with Dr. Ted Coon's reading of his translation of Rilke's Poem Sonnet #9.

                                            Dr. Ted Coons Reads His Translation of Rilke Poem

DANCE PIONEER MEGAN MINTURN NAVIGATES A PANDEMIC

Megan Minturn is a colleague who has pioneered in what I have called the "otherness" of contemporary dance, a choreographer with courage and originality who uncovers the overlooked and ignored to become an advocate for those who have created something special, but no longer have a voice, or perhaps never did. 
 
I first became aware of Megan when with my colleague, Tom Beyer, we began to explore interactive distance collaboration that included simultaneous performance and improvisation between different locations. We used the internet to recruit dancers to take part in this collaborative improvisation. Megan responded and also recruited dancers to participate. Right from the first, these interactive collaborations were successful, and I was struck by Megan's openness and ability to creatively adjust within whatever parameters emerged to structure the moment. Everything was done within the span of a day from rehearsing to create materials in interacting with music, visual imagery, and movement to the moment of connecting to and responding to performers, technicians, and artists at other sites. Eventually, production planning to develop a theme and scenes was done through Internet over a few weeks with exchanges and connections to explore distance improvisation, collaboration, and coordination.

In my final years at NYU, we revived a course created for me in 1969 to introduce new technologies to Music Education which was called EXPANDED MUSIC: Its Impact on Music Education. We explored the works of artists that were performing at The Electric Circus. The course ran for about five years until I became so involved in creating new programs for the department. Then around 2010, we revived the course simply as EXPANDED MUSIC. Music became an entree to all the arts and technology---starting with music and expanding to include all the arts and technology. Because I noticed that musicians often did not seem comfortable in their bodies as they performed, I thought we should begin with movement and movement improvisation... (Expanded Movement as it were). I thought of Megan and asked if she would be willing to collaborate with me in the course, and the outcome was the creation of many memorable moments in the Provincetown Playhouse that were then applied in interactive productions with different locations, including Norway, Argentina, Ireland and others in NYU BlackBox Theatre and NYU LoeweTheatre.

Scenes from Minturn's Monopoly: The Landlord's Game (photo by Jeff Schultz Photography)

As Megan's career has unfolded, she has developed a process of collaborating with her dancers in creating new works that address cultural issues, such as Monopoly: The Landlord's Game, inspired by Lizzie Magie, who was the original creator of the game and obtained a patent in 1903 as The Landlord's Game that was intended to teach Henry George's of political economy applied to everyday economics. However, the game was circulated informally to many people, who kept changing and adding rules. Elizabeth's creation was co-opted by Charles Darrow in 1935, who with Parker Brothers also secured a patent for Monopoly. Parker Brothers purchased Elizabeth's patent for $500. She insisted that her game be published as she created it with no changes, so Parker Brothers continued to publish The Landlord's Game and Monopoly, but Elizabeth received no royalties or credit for Monopoly. Megan's use of this material uses the game pieces of Monopoly and an imagined space of the game board, and with creative and imaginative twists, explores the injustices of our current "game board rules"---as well as celebrating the creative brilliance of the game's originator, Elizabeth Magie.

As New York entered Lockdown for the COVID-19, I started checking with creative artists as to how the lockdown has affected their process and creative work. In Megan's words, here is how she is pursuing new collaborative work with her colleagues:

A recent NYTimes cover page commemorated the almost 100,000 lives lost in the United States due to the COVID-19 pandemic.  It listed the names and short phrases from the obituaries of 1,000 people, or 1% of the people who have passed away from the virus. With so much communal grief and loss, mourning is not only appropriate, but I believe it is needed.  Much has been written about the stages of grief, including that they do not occur in linear steps.  The pandemic has impacted us in different manners and to different extremes, on different days.  I attended a memorial on zoom for someone lost to the virus; a performance I had been preparing for over the course of two years was cancelled; I am attempting to teach dance virtually and miss the community of my students.  These types of loss are of different magnitudes; the loss of life is paramount.  The feeling of artistic loss, nevertheless, leaves an impact.  Fortunately, a community with whom I have collaborated continues to redefine and explore the possibilities of our work.

Tagged is a project that brings together artists from multiple disciplines to create an experience in totality.  Music, dance, and the visual arts converge in a shared conversation. The formal process began in 2019, though some of the conversations, choreographic phrases, and imaginings began much earlier. Our two performances in 2019 were at the Stand4 Gallery in Brooklyn.  We used both outdoor and indoor space, a formal gallery room, a hallway, and a nook.  The importance of these physical areas appears all the more pertinent during a pandemic in which space has been restricted, shifted, and due to being confined in it, stretched.  The dance and music during the actual performances were largely improvisational, yet the structure created through our shared, in-person dialogue allowed for this creative space.  It also created an organic path for us to follow as a collective. 

Much of this process was predicated upon our physical presence and connection with one another. 

 What felt previously like a singular process has now turned to processes.  We meet on Zoom calls, send one another choreographed moments via video, and work to build together. Yet I, personally, have struggled in my process without the synergy of our in-person dialogue, movement, and the co-creation of a vision. To get a pulse on this impression that the pandemic is affecting us differently, I asked my collaborators about how their work has been affected.  

Evan Joseph, the composer, has continued his work at home.  Due to the nature of his work, he is able to create and compose from home.  His collaborations with this project and those with filmmakers have continued.  He discussed how his work has largely remained consistent with that prior to the pandemic, though he has stints where he is more creative than others. Similarly, David Gitt found that his practice has kept him productive during this environment, partly as a means of staying sane.  Most of his works are not shared in inside spaces.  He hopes more visual artists willrespond to the pandemic by being more open to reclaiming spaces other than gallery and museum spaces.  Kelli Chapman, a dancer, discussed the difficulty of moving and creating at home.  She described how she associates the space of “home” with relaxation, cooking, and rest. Michelle Applebaum correspondingly described how she continues her exercise and yoga practices, but her dance practice was difficult to maintain during the first month of quarantine.  After this first month, though, she entered more into her creative brain and found ways to dance throughout the pandemic.  Personally, I struggle with dancing in my apartment.  While I am fortunate to have space to move, my floors are old and creaky.  My neighbors living on the floor below me complain about my walking, much less my dancing. 

While our processes have been affected differently, we are exploring possibilities for further collaboration and construction.  We continue to build through sharing materials online.  Dance phrases are being added upon by sending video sections of our work and creating based on what is shared.  We are also exploring the creation of a film with visual art being activated by musicians and dancers in the setting of Gowanus, Brooklyn.  We will create this following social distancing guidelines.  Without question, one of the most satisfying aspects of this project is the community of artists that is formed.  Together we share a process, but also our lives in the arts, with its difficulties and beauty.  

CHOE CONTEMPORARY DANCE COMPANY AT KENNEDY CENTER

On tour, Sang Cheul Choe's Contemporary Dance Company, was triumphant with its stunning performances at the KENNEDY CENTER FOR THE PERFORMING ARTS, on August 18, 2019. Under invitation of the Korean Cultural Center of Washington D.C., Choe's company performed CHAOS and LIAR, compelling works with visual, dramatic, and intellectual elements providing an expressive range of artistry and technique.

Two works were performed at Kennedy Center: Chaos and Liar. These remarkable works received a standing ovation, and you can see summary of the performance provided by the Korean Cultural Center.

CHAOS

CHAOS, strangely enough, is about order. Visually, the work seethes with tension between order and disorder... Beings glide around a central dominating figure, effortlessly. Artistically, it may seem risky to introduce such apparently effortless motion of self-propelled gliders in orbit, but the beauty of motion and tension created circling the central figure provides a sense of wonder and awe.... Alwin Nikolais had a similar effect in Pond, which I saw recreated in 2010 at NYU, but gliders were powered by the dancers. Chaos is a much more ambitious work than Pond, and the range of diverse movement which celebrates the human body is the exact opposite of Nikolais' work, where bodies disappear to conform to geometrical revelation of imagery and pattern. Chaos is a rich tapestry exploring order emerging from chaos, suggesting that from disorder emerges the need for structure and tradition. But it is also a celebration of the human anatomy, emerging from evolution as highly functional for self defense and coping with sources for food but also aesthetically attractive to insure the continuation of the species. But the order sought is not that of this world, but one fashioned from the fabric of fantasy, somewhere beyond reality, suggesting that chaos is out natural condition. Order comes from the imagination, achieved in a world beyond reality.

LIAR

LIAR is an intriguing work. The polarities of being attracted and repelled by the Liar are convincing and visually exciting.  The choreographer Jung-Hoon Kim achieves the level of a parable. The main figure emerges in the midst of a group of people, gesturing in such a way that they should follow him. He seems persuasive, but quite suddenly, he exits right, and immediately emerges again entering from the left. It is startling. Impossible. But we soon discover there are two identical figures, which one is authentic? Are they both liars?

The moving images that we link to in this Blog, are not video, but rather assembled live photos from iPhone, which provides another, different tool, for examining and understanding movement. The movement imagination is vigorous and spirited, and there is a strong narrative as to how we manage to deceive ourselves. The program notes state:

"We experience many constant lies and often view human conflict and division through the lens of unreasonable deceit. This dance work expresses the soul of youth, especially those who have experienced such conflict and anxiety as a result of an irrational society."

Choe & Company Honored by NYU

Following the performance at Kennedy Center, Choe brought his dancers to visit his Alma Mater, where he received his PhD. The Department of Music and Performing Arts with faculty from Dance, Music, and Music Technology celebrated Choe's work and provided an opportunity for his dancers to tour the facilities and studios where Choe attended for doctoral studies in the 90s.

Choe was greeted by the Director of Dance and Dance Education, Professor Deborah Damast, who provided an update of the profile of Dance at Steinhardt, while Dr. Elise Sobol greeted Choe and his dancers, as Director of Music Education. Professor Tom Beyer, Chief Systems Enigineer, greeted the visitors on behalf of Music Technology, and led a tour of the Dolan Recording Studios. It was such a treat to see Dr. Choe in the context of the Steinhardt Department of Music and the Performing Arts, especially since during his time at NYU, the department has continued to graduate an impressive array of artist educators.

Choe & Company Celebrated by Sylvia Wald & Po Kim Gallery

The next day, before the Choe Contemporary Dance Company would return to Korea, they were invited by the Director of the Sylvia Wald & Po Kim Gallery, Young Cho, to a tea ceremony in honor of Choe's dance company.  It was a happy coincidence that Technoimagination was installed at the gallery, introducing to New York the leading edge of media art in Korea, as part of the Korean Media Arts Festival 2019. Technoimagination was curated by Odelette Cho and Kyung Ran Joo, Director of FUSE Art Project.

Cho's Tea Ceremony honoring the dance company was inspiring, if only to witness how he managed to serve several pourings individually, even though there about 15 people in the room. Throughout the moments of that special occasion was the sense of reverence for life, and for art, and for honoring everyone's aspirations as artists. Young Cho is the founder of the Donghwa Foundation, and has been the source for inspiration as I have had some past association with activities of the Foundation. Serving as the Director of the Sylvia Wald & Po Kim Gallery, has enabled Mr. Cho and his wife Odelette Cho, to enrich the community and the cultural scene in NYC, but also throughout the world. 

What makes Sang-Chuel Choe's coming to Kennedy Center significant in my ongoing work of ARC and its focus on collaborative arts has been my personal connection with Dr. Sang-Chuel Choe. I had the privilege to serve as the Chair for his doctoral research at New York University and have followed his professional and academic career since his time at NYU in the 1990s.

Sang Cheul Choe's career is impressive, from his early days in Korea, to his study at NYU and his work as a choreographer in New York City, responding to a new energy in contemporary dance in NYC, as choreographers were exploring new media and evolving new techniques.

I, myself, was earnestly following the career of Erick Hawkins who was in the twilight of his career in the 90s, but I had discovered him when he visited Texas Tech University in 1959-60 and performed his work Geography at Noon, utilizing a new technique of Hawkins based on free flow with gravity. By the time Choe came to New Yorkin the 90s, dance was undergoing a transformation, and in my estimation was the leading edge of contemporary arts in influencing the direction of new work. I preferred dance concerts over new music concerts to get the pulse of new works and artists.

Choe's work detected this NYC new energy, and he was undergoing artistic change as he worked in a new environment. Returning to Korea, Choe incorporated new media as an essential factor in his choreography. He developed his own method, fusing video and dance as a highly integrated embodiment, while embracing new technology in the context of the human body. Choe still regards BLACK ANGEL as his best use of media technology.

During the years following his sray in NYC, Choe sent me video disks of major new works almost yearly, compiling an impressive repertory that rivals the innovative technological work of Alwin Nikolais, the contemporary choreographer of New York who incorporated technology to transform the stage and the dancer as constructions, blurring distinctions between body and space. Nikolais also composed his own electronic scores so that every element of his work departed from the conventional space and time of dance protocols.  As I followed Choe's work from a distance, I saw his work take on an edge as he harvested the potential of media and choreography to create an impressive array of new works, while continuing to explore and extend the expressive range of the human body.

As this Pandemic Lockdown of 2020 became a global experience, I contacted Dr. Choe to ask about the effect on his work.  Choe replied and provided a haunting excerpt of on-line choregraphy and dancing. He had turned his command of technology to teachng and choregraphing on-line.

Dr. Choe commented:

In the past few months, it was a time with a new daily life like I had never experienced, it was a little uncomfortable and awkward, but the dancers became accustomed little by little. 

During this pandemic, Korean performing arts tried to do something by switching to a new direction of Internet live broadcasting. But the limitation of the inspiration is that it is not the familiar method we have always been doing, and it takes getting used to.

I think a lot about how precious it was for me to have such a small pleasure in completing a dance piece in discussion with dancers. Now we have to communicate all of these things through a cold machine, and I think that it is our new challenge: to get used to the process little by little and make the cold machine warm.

As you know well, Korean people meet, eat, drink, get excited about small things, and love to do something together. However, the reality of such meeting has become a fear.
I asked my graduate students to make a choreograph without meeting each other. I would like to share it with you as a very good result comes out. Of course, it is still an initiating effort, but these are pure dancers who have never challenged this “cineography” ---it's called “Fear”.

 

Choe's online work with students creating choreography ("Fear")

                   Choe's online work with students creating choreography: FEAR.

BEATRIZ ALCAINE'S LA LUNA VISION

Gaudi's Casa Batlló

On a recent trip to Europe, I stopped in Madrid to catch up with my former student, Sonia Megias, a marvelous original poet of musical composition, whose scores are often a feast for the eyes as well as a festival of sound. She was a marvelous host, introducing me to the joys and madness of Madrid. I had mentioned I would like to take a day trip to Barcelona, and she accompanied me on the high-speed train connecting the two cities. The wonders of Barcelona were overwhelming, and my experience in roaming through the home Casa Batlló built by the architect and artist Antoni Gaudi is worth a separate description in a later entry. But after a scenic ride through Barcelona that was being whipped by severe wind gusts, we managed to end up at Gaudi's masterpiece, and Sonia had arranged for us to meet her friend, Beatriz, after we finished touring the house---a magnificent home built without blueprints, just Gaudi on the scene, directing everything to be sculpted and handmade on the spot. It was under the intoxication of this tour, that I met Beatriz, who was waiting for us outside the Gaudi House. It has started to rain lightly, so we ran to a nearby bar with outside seating and the cover of umbrellas. We managed to order drinks and a few small dishes, but the weather became more intense, and we finally sought refuge in a taxi that took us to a small coffee place Beatriz knew that was near the Train Station.

Beatriz, John, & Sonia at Train Station in Barcelona

Our conversation was magical, and I saw why Sonia had wanted us to meet. Beatriz was thinking about starting a business connected to wellness and well-being, and I told her of Jeju Island, where I had lived for awhile. 5000 years ago, the first Emperor of China sent an emissary, Seobul,  to Jeju in search of plants and animals that might provide the means to health and immortality. Seobul spend many years there, and found all manner of natural elements and plants to improve and extend life, and promote the general well-being of a people. I lived at the foot of a sacred mountain, Sanbangsan, and I could feel the spiritual energy emanating from that area.  This was the area where Seobul lived and pursued his research. I had thought of Jeju as being a home for an Institute for Arts Collaboration that sought to promote wellness and well-being.

Soon, it became time to catch the last train to Madrid. Beatriz was leaving also for a town nearby Barcelona. The rain stopped briefly, enough for us to hurry to our train, which returned to Madrid, arriving around 1 a.m.

During the train ride, I reflected on our conversation.  I learned that Beatriz had come to Spain from El Salvadore, where she had run a cafe, a hangout for artists and literati, La Luna Casa y Arte. This had become a haven for cultural and political exchange and collaboration.  Even then, I was planning a newsletter, and I was determined to learn more about Beariz's adventure and why it came to an end. But perhaps more importantly, the creative vortex of events that led to the establishment of this movement needed to be better known.

Caught up in crime and  events of San Salvador, Beatriz Alcaine's family lived in exile in Mexico, but in 1983, as she, at age 17, along with her younger sister, Isabel Cristina, visited their Grandmother, they were kidnapped by the government and brutally tortured. This became an international incident and the U.S. Government intervened to secure their release, but not without difficulty. Even today, El Salvador continues to be in the news, being the source of violent MS-13 Gangs nested in various locales in the United States committing violence and selling drugs. It was the renewal of violence that finally led to the closing of La Luna Casa y Arte in 2012 and escaping to Spain.

From 1979 to 1991, civil war raged in El Salvador. This was a time of extreme violence and devastation in El Salvador, and the young poet, Carolyn Forché had come to this country caught in the glare political controversy in the United States. Leonel Gómez Vides drove all the way from there, with his two daughters, to Forché's home in California.   Forché had not known Gómez, but he was a cousin of Claribel Alegría, a Salvadorian poet exiled in Spain, whose work Forché, had been translating, and whom she had visited in Mallorca.

In 1978, Forché traveled to El Salvadore on a Guggenheim Fellowship. She stayed in El Salvador with Beatriz's mother. From her experiences in the shattering miasma of cruelty and dismemberment, Forché published The Country Between Us in 1981, a powerful publication became that rarity: a book of poems that becomes a bestseller. These poems chronicle her experience in El Salvador and reinforce the conversation with Gómez when after describing the desperate situation of his country, Forché suggested he should get a journalist, someone with training to deal with the complexities of the country. He replied he wanted a poet.

Beatriz and her sister had been held hostage and tortured by the Salvadorian government. They were lucky to be released alive when the U.S. Government intervened. But what happen to Beatriz and her sister was an example of violence erupting as Gómez had prophesied to Forché "War is coming," and Forché recounts these epic moments in her recent book What You Have Heard Is True (Penguin Press, 2019.)
For a dozen years violence raged in the war that caused the flight of so many people, caught in the rage and cruelty of warring factions. It may be difficult to understand the depth of despair that prevailed, but this was countered by a sense of hope as exiles returned to El Salvadore, among them, Beatriz Alcain who had studied in France and had a rich history of performance and pursuit of the arts.
Bea, as she is known to all her friends, was searching for a way to establish a positive force for the arts. She had no money as family funds had been depleted by 12 years of civil war. When she returned to her country after the war, she had only the legacy of her family home, and the germ of an idea to create and establish a place for artists and musicians to renew their country through  collaboration to express a new era of creativity and freedom. It is only from the perspective of the sheer desperation of a country depleted of its resources, energy, and vision, that we can understand the emergence of a cultural phenomenon such as La Luna Casa y Arte.

Bea recalls:

With the advent of peace in El Salvador,  many exiles returned. One afternoon I was sitting all by myself in that house...and suddenly I had this daydream...I could see a piano...and then I could feel the music all over the house, and saw colors on the wall...and....yes... That is what I have to do... I ran to my friend, an architect, and a writer friend... it should be an enterprise... created with a multi-talent teamed ...a Composer came,  and a Photographer, and a Ballet Dancer who worked with women... and a Painter... they were from the right or left...but we gathered people from both sides... it was like many circles all interlocked.... these students became the artists ...we started with $7000 and I donated the house.... and then we continued for 21 years....

There was cultural arts fair planned, and we wanted to open during this fair... we created a temporary space... incredible space and recruited everyone.... a lot of people... started with a stamp of a new address... a very organic place... started as a cultural space at first. La Luna....feminine energies for San Salvador also... funny place to go...to go to the Moon......we were not the center...we were on the outside... we apparently were not cultural enough because the arts fair excluded La Luna House and Arts... our open space through time and imagination...

Many spaces for dance, music, workshops for kids... a bar and a kitchen...First night instead of the 40 expected, we were overwhelmed with more than 250....different ideologies meeting... it became a place of reconciliation and respect.... 21 years it lasted... we never received funds... we did it on our own.

We began the adventure of La Luna Casa y Arte in 1991.  It was a meeting ground of not only artists, writers and musicians of El Salvador, but also artists from around the world often visited and contributed to the cultural scene.  It was a time of hope and fulfillment. But after two decades, El Salvador slid back into the despair of a new tyranny of gang violence. 

In 2012, El Salvadore experienced widespread violence through highly organized gangs, and it was no longer safe for Beatriz to remain in the country as women were often the target of violence. She knew it was time to leave.

Beatriz carefully timed the closing of  La Luna Casa y Arte to coincide with the ending of the Mayan Calendar... December 21, 2012 completing a cycle of creativity, consilience and reconciliation unparalleled in the history of El Salvador, and special for all those who created and participated in that moment in time. 

MUSIVERSAL CEO ANDRÉ MIRANDA ANNOUNCES NEW INITIATIVE

CEO André Miranda has announced that Musiversal is developing a new platform that will be released on June 1st featuring a completely new branding and a much wider set of services beyond orchestra recording sessions. This is the next step as a managed marketplace and will allow music creators to hire and collaborate live with some of the best musicians, music producers and engineers.

staff at musiversal

Musiversal has curated and signed some of the top talent in LA and in other cities around the world and is opting for quality instead of quantity, a completely different strategy from other music production marketplaces. Coincidentally, Musiversal's 1-on-1 sessions were being developed before COVID and they are set up to be performed live over a zoom-call-type from the artist's home studio. The pandemic situation makes this solution particularly relevant now at this time where musicians jobs are being affects and new remote solutions are necessary. Musiversal also prides itself in its business model that aims to pay fairly to musicians while its shared session model makes prices for the consumer much more affordable than other alternatives.
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André in EXPANDED MUSIC

BACKGROUND INFORMATION

My relationship with André Miranda developed when he was in my experimental class at NYU.

It was my great fortune, a few years ago, to have had André Miranda in my newly revived EXPANDED MUSIC, an experimental class in movement, media, and collaboration using new technologies. The class focused on improvisation and Internet2 interactive performance ...we developed material through collaboration and improvisation to share scenes with Quilmes University in Argentina. This had been the first class I taught at New York University in 1969, and it had been especially created to integrate new technologies and media in the creating and production of music. It was revived in 2012 to explore new techniques and media.

As I began my new business of ARC ASSOCIATES, I planned to visit my former students in their countries as I hoped to network with their work as we sought to support Arts Collaboration initiatives on a global scale.


Among the first of NYU Alumni that I visited was André as I returned from a celebration of Human Rights Day with Sandro Dernini in Rome. I was delighted when André indicated he was at home in Lisbon and would welcome my visit. I had longed to return to Portugal where I had performed a multimedia festival with Colleagues in Porto.
But I was especially enthusiastic about reconnecting with André, since from the first day I met him, I was impressed and excited about his new ideas for the business of music. His enthusiasm and passion for pursuing innovative ideas for music business was a catalyst for my own thinking as I retired from NYU,  and started to work on building a network in international collaborative media artists.

André proved to be the perfect host, taking me to lunch and then tour the world famous MAAT (Museum of Art, Architecture and Technology).

Located in Lisbon beside the Targus River, MAAT's iconic structure defines the essence of what it curates for the 21st century, bringing together philosophy and architecture (a stunning installation of Wittgenstein, for example, while I was there), and rooms of old technology as objects of history and art, to the ecology of waste and its impact on our oceans... I can't think of any museum in the United States that provides as wide a range of converging disciplines as what I saw at MAAT---Lisbon should be proud.

FINDING THE FLOW...

POET'S PASSAGE Home Page

As I found structure to my process through enacting a way of dealing with Time, I discovered openings to old, abandoned passages of creative energy. It was a little like finding an old site on the Internet that I had forgotten about: POET'S PASSAGE. This is similar to other websites I created early in the days of the Internet as we entered a new century. It was designed so that  "travelers" would find their own paths by clicking on moving objects entering and leaving the site. I remember another based on Zen in the Art of Motorcycle Maintenance, but I couldn't find it, even though it might exist somewhere in cyberspace. And I think there was another site for a small group of students in IMPACT, who happened to be in my mentoring group on text and texting, but several computer crashes and disastrous data transfers have obliterated the location of this site that was secretly posted during one summer of IMPACT around 2014. Years passed, and I forgot these experiments. Stumbling on this old, unvisited site, reminded me of past noticings that found articulation in some past fabrication that was squirreled away in the labyrinth of time.

As I faced the dilemma of this Pandemic 2020 Lockdown, I was shackled by the debris of unfinished projects and creative ideas that had receded into the realm of the forgotten.  A number of elements had a numbing effect on my perspective:  the spontaneity of the past, and the immediacy of the moment were now tattered remnants of consciousness. My conscious awareness pursued expansion through the act of noticing. Our personal NOTICING is the singular dimension that we bring to the world through what we see, touch, feel, think and experience. Sharing our noticing contributes to the quality and quantity of the reality of the world. We share by creating. In the labyrinth of time we posit our awareness of our noticing.

Thus, we are all poets of the world's reality.  My personal experience is etched in the permanence of reality when I create a poem to disclose my singular noticing of a moment walking in a New England forest:

Sunlight, breaking through the leaves,

Spikes brilliant shafts into the ground,

Shimmering, transparent spires

Of some invisible kingdom.

Silence slips through the trees

Masquerading as the wind;

Imitating eloquent Eternity,

The shade, riddled by the light,

Accommodates a galaxy,

Enduring one silent moment

Some brief, forgotten day.

The COVID-19 crisis awakened within me an inner impasse of spiritual struggle. So many things, so many works, so many opportunities had vanished in the wake of my own inertia. This personal blockage had begun early on, well before the crisis of the Pandemic. In fact, my colleague's March visit for a project in Lived Experience as Research, was an attempt to revive creative energies that at one time seemed inexhaustible. Connecting with the Flow, seemed elusive, blocked by impediments of bewilderment and detachment.

I remember when I was about five-years old, sitting in the hallway, secretly listening to my sister, who was nine years older than me, as she played through works by Bach, Beethoven and Mozart in an impressive display of mastery and understanding. Later, when no one was around, I would find my way to the keyboard to improvise in the moment. I couldn't read music, but I felt the flow of music that emerged as sound from my fingers on the keys. From that time on, I could improvise endlessly, but also had a gift for remembering those improvisations.

Flow was brought to our attention through the work of Mihály Csíkszentmihályi in 1996, as an optimal psychological state emerging when deeply engrossed in an challenging activity  through immersion as concentrated focus on a task. This was something I was experiencing in 1941.

I bring attention to this, because today as I listened to a Rachmaninoff piece: Moments Musicaux Op.16 No.3., I went to the piano and improvised. Rachmoninoff's work had a special quality of a dissonant suspension which resolved upward, and inspired by that, I improvised a prelude based on a song I had composed a few years ago, but never wrote down.  It had that same kind of suspension with upward resolution.

Within the crisis of this pandemic, I open to new awareness, to a new sense of Flow where the moment connects with energies I thought were lost. I pick up the loose ends of projects abandoned from fears instilled that it is too late for me... the stories vacated... the lyrics of librettos and plays forsaken... I feel them flowing in a moment of marvelous mingling of miracles.

BEING ON TIME

Ultimately, we come face to face with Time, as I have explored in earlier Blogs: IT'S ABOUT TIME. Having been devastated by the effects of the Pandemic COV-19 Lockdown, I know I needed to find a way of of my depression and despair.  Symbolically, I linked my dilemma to a song THE WAY, by Neil Diamond. His songs often reflect his quest to find his identity in someone else, even though ultimately this ideal is about being true and honest with ourselves.  As I listen to this song, I was struck by its structure, each verse reaching a new plateau of insight and realization, then regrouping and continuing to reach new plateaus... finally culminating in "I need to find, I need to find, I need to find The way..."

Neil Diamond: The Way

NEIL DIAMOND: THE WAY
Even as I write this, I am guided by the structure of this song, which is a remarkable achievement in linking the sense of being on a quest and arriving at deliberate destinations along this journey. The essence of the song is the feeling of a solid underlying structure that becomes more and more profound as the foundation of the structure is established through tonal destinations. . The music and lyrics lead to different plateaus of awareness, establishing  a moment when there are no words, only the plaintiff guitar solo--- then resuming the journey, the quest for identity, for reaching for the next level of inquiry... and in the end finding a renewed dedication. The Way always leads to new destinations of awareness. As in life, the Quest is never fully resolved, as we continue to find our way through life.

Neil Diamond I AM I SAID

Inspired by this Bard from New York who began his career hawking his songs to publishers and artists in the famous Brill Building in NYC located at 1619 Broadway at 49th Street, I was inspired that maybe we had crossed paths because the Brill Building was where the printers were for printing scores prepared on onion skin. Many times, while at Columbia, I would go to the Brill Building to have score of songs and shows and operas printed. I remember the cacophony of songs spilling into the hallways from producers, publishers, and sometimes famous performers in search of new material. I think of this modern day troubadour, coming from his humble beginnings (Brooklyn Roads) to extraordinary fame (I AM... I SAID).  Contrast the contemplative performance after a long career (linked here) to his performance 40 years ago at a live concert in 1971 (I am I Said 1971)... as he became an icon for a generation---an extraordinary journey.

BEING AND TIME (Heiddeger's famous inquiry) has always been central to my own inquiry, but now, after my own ontological inquiry, it comes down to the practical structuring of time that can bring me into a new relationship with myself and Time. As I noted in earlier Blogs, I researched how various artists and innovators scheduled their day.

BEING ON TIME: After reflecting on my situation and need to notice and structure time so that it became the conduit for creating quality, responding to the Qualia existing only within our conscious awareness, I found a structure that inspired me while organizing my creative energy productively.

I am now into the second week of implementing this new schedule, and by strictly following this new schedule, I have broken free from the miasma of this government-imposed LOCKDOWN, and have produced more new work in a week than in the past two months.  I won't go into the details of the RITUAL, but I am indebted to Twyla Tharp for her suggestion that a Ritual establishes a context for the whole day.  Each day begins with a renewal. Each of us establishes our own ritual for starting the day, even if informally, such as the first cup of coffee, or thinking reflectively, or working out. My own Ritual is evolving. The above schedule is for my work day, Monday through Friday. The weekend is entirely free, more open-ended.

This most practical outcome of this new schedule is that I focus on Being On Time, each part of the schedule is like the various plateaus attained in Neil Diamond's song THE WAY. And like the song, there is no ending, only the ongoing quest for discovery, for uncovering emerging reality as the experience of growing awareness, articulated in concrete outcomes.

In the midst of establishing a business website, I created a dummy website that serves to illustrate the structure and process of the new site so that web developers would have a guide to how ARTS RENAISSANCE COLLABORATIVE might evolve in this brave post pandemic new world. For a glimpse of this dummy website, you can visit ARC, Arts Renaissance Collective at least temporarily, until the real thing comes along.

I am still discovering MY WAY. Somewhere there's a new song inside of me making its new way to the surface.