We Who Believe in Freedom

This semester I've been sitting in on classes in Photoshop, television production, and video editing.  It's been interesting to be working so much on visual skills, particularly since I am typically so immersed in the world of words.  In my teaching, in my scholarship, and even blogging, I'm very verbally oriented.  To be sure, I have my visual side, as well, in my textile and photography work, but I am generally less well-versed in visual storytelling than in verbal storytelling.  So it's been a terrific opportunity to grow and develop some new skills (although quite a steep learning curve, as well!).

Our most recent video editing project involved creating a music video using still photographs using Adobe Premiere Pro.  I struggled for a while to develop an idea for the project.  I knew that I wanted to do something around the history of social activism movements, but I couldn't identify the right music.  I spent some time researching songs until I rediscovered a song I used to listen to years ago.  At that point, the vision for the video really came together.  Then I spent endless hours looking for suitable photos online (they had to be topically relevant, visually compelling, and sized large enough).  Thank goodness for the Library of Congress online database!  That was a rich trove of terrific images.  Of course, then I had to make choices about which photos to use (I gathered more than I needed) and in what order, as well as creating movement through the piece.  My first draft was good, but Q noted that the movement across photos was less continuous and smooth.  So I tweaked it to create more consistency in the movement across photos, which I think improved the flow of the video.  I spent another day looking for the source information for the photos (trying to find the name of the photographer, etc.), so I could give appropriate credit.  (Have you noticed how often websites use a photo without any information on its source?)

So it took about two weeks of work, but I learned a lot from the project, both in terms of working within Adobe Premiere Pro and visual storytelling more broadly.  I'm also fairly pleased with the final product.  Enjoy!

Malá Strana and Hradčany (Prague, Czech Republic)

John Lennon Wall

After our lengthy perusal of the Musaion, we walked through Malá Strana (the Little Quarter or Lesser Town). We saw more beautiful buildings, including the Czech Museum of Music, among others, before we found our way to the John Lennon Wall.

After John Lennon was murdered in 1980, an image of him was painted on this wall (across from the French embassy), along with political graffiti and Beatles lyrics. The secret police kept whitewashing the wall, but the graffiti was always replenished. (Not only was John Lennon a pacifist hero for many young people, but most Western pop music was banned by the communists -- some Czech musicians were arrested for playing Western pop music.)

After the Velvet Revolution in 1989, much of the original graffiti was lost to weathering and additional graffiti, but now visiting tourists have contributed their own political messages and other graffiti.

Yes, the guitarist was playing a Beatles tune. And yes, we gave him some coin. :-)

Working

I'm a big fan of musicals, and one I have been listening to recently is Working by Stephen Schwartz, based on the book of the same name by Studs Terkel.  I saw a campus production of Working in college, and immediately fell in love with the show.  A friend gave me a bootleg audiotape of the Broadway album and I listened to the music over and over.  The Broadway cast album did come out on CD, but seemingly only in a limited run; even used copies of the CD are pretty pricey.  I was finally able to find a used copy of the CD for a not-too-outrageous price, and I've had great fun reconnecting with the songs. 

The power of stillness

One of the lessons I have learned from dance is the importance of stillness.  Beginning dancers often assume that one must be continuously in motion -- keep moving, keep moving, fill up the music.  But constant motion is wearying to watch and gives the viewer no time to rest.  Of course, pauses do more than just give the audience a breather.  Stillness provides a frame for motion.  When the dancer stops moving, it serves to accent the previous move -- it lets the viewer know that something important just happened.  Even the most spectacular move will not be appreciated by the audience unless they are given time to absorb it and the pause that lets them know how amazing it was (think of the "ta-da!" moment, for example).  Dance also needs stillness for structure, just as language uses punctuation to break the continuous stream of words into meaningful units.  Similarly, we use pauses and changing tempos to create phrasing in dance. 

But these moments of stillness are challenging.  As one of those people who can become uncomfortable with silence, I tend to want to fill up every moment with sound and action.  Pauses create anxiety in many dancers, because they worry that the audience will get bored.  We tend to think of stillness as an absence -- without movement, nothing is going on.  Nothing could be further from the truth.  When executed well, the pause is filled with meaning: with the memory of movement and the anticipation of movement, with the persona of the performer, with the connection between performer and audience.  The quiet moments require that we have confidence in ourselves -- confidence that we alone, without the distraction of movement, have a strong enough presence to compel the viewer's interest.  In this way, stillness requires that we make ourselves vulnerable; stripping off the cloak of our dance technique and putting aside our bag of tricks, we expose our self, the self we embody for performance, to the audience. 

This excerpt from George Balanchine's ballet, Apollo, uses moments of stillness to create tension and heighten emotion, as well as to highlight beautiful poses.
 

In this piece by the spectacular dance company Momix, stillness is essential for the illusion of defying gravity.  Tension is created as we wonder whether the dancers will be able to hold their position.  We are able to focus on the one dancer who is moving because all of the other dancers are immobile.  Notice, too, the moment at about 1:30 when the dancers hold a new position for a long moment, and the audience applauds.  This is the the "ta-da!" moment I mentioned earlier.  Later in the piece, moments of stillness highlight particular poses and shapes created by the dancers. 


In life, as in dance, I want to keep moving, striving, doing.  I don't like to just sit still and do nothing.  But I'm coming to realize that we all have (or should have) pauses in life, when we are not doing, but merely being.  While they may feel unproductive, these moments give us a chance to reflect on the past and envision the future, as well as to fully experience the present.  Of course, just as in dance, there are more and less effective uses of stillness -- we need to fill these pauses with meaning, not just hang around doing nothing.  If you find your life overfull of activity, perhaps it is time to cultivate moments of quietude.  If you find yourself in a prolonged pause, make it a meaningful one and recognize that sometimes it is all right just to be, suspended between moments of doing.  I suspect I will always enjoy action best, but I'm learning to appreciate the value of purposeful inactivity.  Perhaps someday I can learn to live as comfortably in stillness as I do in motion, even if only for a moment, when I am my only audience.

Cease and desist

Dear Brain,

I hope this letter finds you well.  I would like to begin by thanking you for the excellent service you have thus far provided.  I have had little cause for dissatisfaction over these many years and have come to rely on you for everything from motor control to memory (although I must say your performance in the memory department has been rather spotty at times).  Whenever I have needed you, you were there. 

It is, therefore, with a heavy heart that I must register my current complaint.  It must seem to you a rather trivial matter, given your otherwise exemplary performance.  Indeed, I have tried my utmost to simply ignore the problem and hoped that you would resolve it spontaneously.  But my patience has been stretched to its breaking point.  I have reached the limits of my goodwill and cannot turn a blind eye to such egregious behavior on your part. 

I have endured more than a month of near-constant replay of the same tune.  It is more than I can bear.  True, there have been moments, even whole days, during which I was not plagued by the endlessly repeating musical loop.  But just when I think it is over, when I hope to be truly free of this torture, I find myself whistling the refrain under my breath.  I have done everything I know to end this cycle.  I can find nothing -- no other music, no mental trick  -- to successfully expunge this earworm.  I even attempted to replace one song loop with another to no avail.  I must, therefore, respectfully ask you to take immediate action to end your musical barrage.

It wouldn't be so bad if the music were more complex or varied.  There are some songs I could happily listen to every day.  Frankly, what bothers me most is the sheer inanity of your choice.  I ask you, honestly, who wouldn't be irritated by incessant replay of the theme song from I Dream of Jeannie -- a show I haven't seen for at least a decade, and one which at best is silly and might more accurately be described as puerile.  I mean, really -- I'm not asking for high-brow classical music, but this is just embarrassing. What are you trying to communicate to me?  Am I supposed to dress up in chiffon and live in a bottle, devote myself to servile submission to my "master" -- or are you just encouraging me to watch more television?  I cannot decode the message, if any, that is being conveyed, and I have had enough. 

As of receipt of this letter, I demand that you cease and desist your musical assault.  Prompt action on your part will ensure that no punitive action will be taken against you.  Should you fail to respond in a timely manner, I am prepared to settle this matter formally in court.  I deeply regret the necessity of this letter, but you have left me little recourse.  I hope that we can resolve this amicably and return to the mutually satisfactory relationship we have had in the past. 

Sincerely,

Deborah C. Stearns, Ph.D.

Weird (musical?) instrument

I heard on Wait Wait Don't Tell Me about this early pre-cursor to the Muppaphone . . .the Pig Organ. From Everything2.com:

The Pig Organ was another such combination of Louis' two loves. 17th-century writer Nathaniel Wanley describes it better than I ever could: "The Abbot of Baigne, a man of great wit, and who had the art of inventing new musical instruments, being in the service of Louis XI, king of France, was ordered by that prince to get him a concert of swine's voices, thinking it impossible. The abbot was not surprised, but asked for money for the performance, which was immediately delivered him; and he wrought a thing as singular as ever was seen. For out of a great number of hogs, of several ages, which he got together, and placed under a tent or pavillion, covered with velvet, before which he had a table of wood, painted, with a certain number of hogs, he made an organical instrument, and as he played upon the said keys, with little spikes which pricked the hogs he made them cry in such order and consonance, as highly delighted the king and all his company." In the mid-19th century, this idea was resurrected by the inventor of the so-called Porco-Forte instrument, which pinched the tails of pigs to elicit their squeals.

I still like the Muppaphone better.

Amazing talent

If you've never seen Bobby McFerrin's version of the Wizard of Oz, you should.

Music video of the week

My new favorite song -- Bollywood rocks!

Hamster dance RULES!

Ok, this is a fabulous video of the Hamster Dance . . . go check it out!

What would you do if you were brave?

Listening to music I haven't heard in a while, a song by the Four Bitchin' Babes which has a refrain of, "What would I do today if I were brave?"

If I Were Brave
Jane Stanfield, Jimmy Scott

What would I do if I knew
that I could not fail?
If I believed would the wind
always fill up my sail?
How far would I go, what could I achieve
Trusting the hero in me?

If I were brave I'd walk the razor's edge
Where fools and dreamers dare to tread
And never lose faith
even when losing my way
What step would I take today if I were brave?

...
If I refused to listen to the voice of fear
Would the voice of courage whisper in my ear?
What would I do today if I were brave?

This assumes, I guess, that you aren't already brave (big assumption) and that fear is a substantial barrier to one or more of your actions. I actually think that my biggest barrier is time, not fear, but fear is relevant, too.

Where fear is a barrier...
If I were brave(r), I'd make more art. I'm afraid of making the "wrong" choices and wasting my (sometimes irreplaceable) supplies.
I'd probably publish more -- getting those negative peer reviews and rejection notices really makes it hard for me to persist in submitting the work.
I would be faster at completing a variety of tasks if the anxiety were removed; I do find that worries about doing something "wrong" makes it harder to finish tasks in a timely way.

Where fear doesn't deter me...
I'm not generally afraid of speaking out and expressing my opinion, unless I don't think I have enough knowledge to formulate an informed stance. I've never had a significant fear of public speaking (which is good, since I do it all day for my job!).
Although I'm usually nervous before performing, I don't let that stop me from singing, acting, or dancing in public performances.
I've never been deterred from asking someone out by fear of rejection (at least that I can remember). Right, Q? :)

Well, what would you do if you today were brave?

Latests....

Latest movie: Donnie Darko. It's a bizarre film, a compelling film, a disturbing film, a strangely intense film...I'm drawn to it over and over, and I keep finding more symbolism and more details of the film every time I see it. It's definitely one of those films that gets better every time you watch it; the first time it just seemed weird and disturbing, but further viewings and hearing the commentaries really made it clear how tightly-plotted and filmed it is. Cool film.

Latest technology: I am the proud owner of an iPod! Q got me the iPod as a gift to celebrate the completion of my summer semester of teaching -- yay! It took a little doing to get the thing working...for some reason, the menu was in Japanese, and of course, I couldn't change it, because I can't read Japanese...but we did finally get it working, and I love it! I can't wait to put most or all of my favorite music on it and make new playlists for dance workouts and classes.

Latest gig: Sunday I danced in a fundraiser for another dancer. I wore a new dress -- turquoise with gold and silver beading -- a Madame Abla original. Fun gig, but it was really HOT!

Latest realization: Tuesdays this semester are long days -- first class at 11am and last class ends at 9:10pm. Teaching stamina is definitely in order. ;)