Think differently Archives - Page 3 of 11

Supporting Creativity Pt. 1

Several years ago I was in a beautiful position. As the chair of a small fine arts department in an urban independent school I was able to push, pull, advocate, and influence. The faculty around me were supportive. The administration was trusting. Our budget was enough and our facility gave us room to grow.

Times like these you learn to live. Again and again we would consider our methods and how well we served the students, the mission of the school, the faculty, and one another. We were open and looking for ways to make everything meaningful and memorable for our students. One gaping hole in our curriculum was dance.

Now everyone knows that there are standards for dance and that they are never fulfilled for many reasons. If you can imagine that, historically, arts programs are the first to be cut you can trust me that dance may not be an area that even gets onto the schedule. How could we make this work? Another challenge is that the certification process for K12 dance is essentially a technical certification–categorized with shop classes and the like. Earning the certification is one thing, maintaining it is nearly impossible. For this reason, many dancers and dance educators do not even bother. As an independent school, this was no real concern but this meant, from a practical standpoint, that there is no significant pool of dance educators to draw from in the same way that you may be able to tap into student teachers or practicum students in other content areas.

Having been a co-founder of a NYC dance company and having worked with professional dance companies in 5, 6, 7, or 8 past lives, I knew a little bit about the field. I knew that dancers had a few things in common. One of those things was a love of available space–often the more austere and forgotten the better–and a need for space. My company used to rehearse in a Julliard studio on odd weekends when classroom reserves were thin. We rehearsed in loft bedrooms with furniture stacked on end. We rehearsed in performance spaces like PS 2 in between performances of popular theatre programs, in church basements, and in performance venues–they thought we were performing but we ran it like a rehearsal.

The final frontier.

Our students needed opportunities to express themselves creatively.
Dancers needs space. We had space. I started searching. Alphabetically.

Miller Rothlein–then Miro Dance Theatre–was the first company who had a functioning web presence, a functioning phone number, and a functioning director who answered it. I told them what I had in mind. We have space and you have dance. We want to share. And that, as they say, was the beginning of something beautiful.

Years later, we reminisce on the amazing work they have done with our students.
It is nothing less than beautiful.

This year, at their annual fundraiser, two of their first students will be presenting a duet.
Seniors. Going where no man has gone before.

Please take the time to support

the seed, the soil, the water,

the care, the shoot, and the growth.

Click here to sustain creative expression

On Dance

For the last few years I have served as the president of the board of directors for a dance company in Philadelphia. I am often asked how I became involved in dance. Some ask not knowing about my life as a musician, performer, and composer. Some ask knowing me only as a musician.

In my third year of college I was asked by a friend of a friend if I would be willing to play for a dance performance. They needed the guitar part of Susanne Vega’s Song of Sand and wondered if I could learn it and play it live on stage with them. It seemed like a simple enough request and I obliged as we were all friendly and what else did I have to do? This experience became like many of my experiences in dance. Dance begins with an invitation.

We rehearsed a few times. Most of the work was done without me as I learned the tune as was on the record. The evening of the performance came and I was asked to remove my shoes. This was a matter of fact due to the marley flooring but it was not explained to me that way. It was explained as a manner of stepping into the dance space. I will not say ‘sacred ground’ but ground, no less. Lights dimmed and bodies rushed. The buzz of audience behind the thin muslin curtain. Funny that I remember the audience being behind the curtain as if they were to perform for us somehow.

We began, that is, I began and was taken with the movement to my playing. With my playing. This was not moving to a flat line but to a pulse. It became immediately clear that this was necessary. I describe nearly every experience in dance as my having tunnel vision. It is not so much that I become alone as an observer but that periphery disappears.

Such a powerful expression. It does, with intent, what you assume individuals are doing all the time–part of the reason that you may watch people at all. As you approach one another. As you speak. When you mention a sensitive subject. Strong words.

Dance purposely speaks through motion. If observation is how we interpret the intentions of those around us, then dance closes the emotional gap that exists between verbal communication and the physical tell that is telegraphed to us.

Make no mistake.

Dance is saying something.

To you.

Becoming Nobody

Online chess. Brazilian Jiu Jitsu. It is a stretch to say that I like losing but I consider myself game. Gamey? Gamer. Willing. Much more willing to lose than not to play. Grow or at least have the experience. That will pave the way one pebble at a time.

So often you will hear in a conversation or read in a blog or social media outlet that someone considers themselves a “lifelong learner.” I wonder what they are learning? In my informal survey of these statements, it is typically a statement about one’s willingness to improve or change their current skills. Is that not what everyone does or is expected to do? Formally, I would enjoy gaining more information about genuine levels of objective growth and change rather than anecdotes about life-changing events and decisions that “really moved (institution X) forward.

As one who enjoys martial arts, I look at all areas of my life to reveal my training partner. It changes by day and by context but the function is the same. By working together, each one has the goal of improving their skill and they cannot do it alone. Regardless of your training partner, you can only have one competitor. Self. Choose how much practice takes place, quality of food, level of hydration, and intensity of work. Make the decision to be present. Aware.

Before I step onto the mats I determine my attitude and I am sure that it influences who obliges when I offer to pair up for a session of training. So many would love to say that “any given Sunday” I may win a match or lose a match; have an up day or a down day. That is not the case. My training session begins the night before when I decide to get a decent night’s sleep and moves forward with decisions throughout the day. There are not many decisions to be made. There is one. Then another one.

Me and Relson — Mugging for the camera with Relson Gracie

Watching the documentary “Bobby Fischer Against the World,” I heard David Shenk saying that there were 40,000 moves on a chess board after the first move. If you know anything about chess, you know that this is inaccurate. From both a mathematical standpoint as we as a meaningful standpoint, it is inaccurate. The only one with thousands of moves before them in a chess match is a fool.

Every decision made through the day determines an analog success or failure on the mat that evening. However you may score it. We all score it somehow. That is how we measure growth. I will not pretend to be one of the “all for fun” types. I will not claim to be a technician or analyst of the game but I know this–there are necessary and sufficient conditions in order to achieve growth and most of them depend on me.

Become nobody. Be humble. Serve. Give. Leave your ego at the door. I will take it one step further…maybe several steps. Those decisions that you make all week determine the type of training partner you will be for someone and reciprocally, they will then be for you. Rather than simply preparing yourself to respond and react, prepare yourself to be your best for someone else.

Who you callin’ a MOOC?!

My first job out of college was at a classical record store. It was one of the best record stores in the city–hands down. That includes rock stores. By standards of stock, we were unmatched. The store manager was a composer who had studied with Maxwell Davies and the assistant manager was a mean fiddle and bouzouki player who recruited me into his celtic rock band, The Hooligans. We had fun. The store had some basic tenets. We were open every day from 9am until midnight. No matter what. We had–in stock–every record in print and often several records that were out of print. It was a haven on South Street in Philadelphia. You know. Where all the hippies meet.

It was around that time that digital audio tape was still around. Digital cassettes were new and already fading. Laserdiscs were still being bought and sold (for good reason). Super Audio Compact Discs were becoming the rage for the audiophile set. It was a growing set.

People wanted def. Hi def. They mos def wanted as much def as you could get. They paid for it, too.

A typical new release cd was selling for $14.99. That’s $16.04 after the (formerly) 7% sales tax. On sale it would be $11.99 ($12.83). Yes, I still remember 7% of most retail price points–do not even mess with me. Super audio compact discs (SACD) were selling at above $20 which was a stretch for a lot of consumers. Most were around $22.99 which after tax is pushing $25 and pushing a lot of people away from the idea of high definition.

There are some things that you need to understand about the recording process–or any creation process–in order to understand why these quality standards were, in many ways, a farce. That is not to say that there was any deception. But there was surely a misperception. The misperception that a SACD of George Szell’s famous Beethoven Symphonies may sound like they were recorded using today’s technology–noiseless, bright and alive. Often times, it was just the opposite. These super-recordings often emphasized the faults of recordings or the editing process was very recognizable. The end result in the early digital age of music left us longing for our vinyl records and tube amplifiers.

Many failed to read the disclosure statements and the labels on the backs of cds. I do not even know if they are still there. We ‘in the industry’ knew the ages of the recordings and the quality of recordings from experience, Schwann or Peterson’s guides, or from complaints heard when a recording was returned. Overall, you got what you paid for. That $7.99 Great Performances on Sony? Yes. It is a great performance. A great performance that sounds like someone in the percussion section is frying up some sausages. You see a perfect 24-bit digital copy of an analog recording is only as good as the original recording quality.

Cut to: MP3s, file sharing, portable digital players, voila! the iPod.

Apple taught us an important lesson.

file size is more important than sound quality.

Any engineer, mechanic, electrician, or team leader will tell you the same thing. You set your tolerances based on the weakest of the components. Back in the SACD 80’s, you would be well set to have a noiseless digital recording playing through your hand-wired amplifier and playing through your active crossover full range of home speakers in a room with an integrated bass trap. It would be lovely. Someone asks you to keep it down and you plug in a $9.99 pair of COBY headphones from Funk-O-Mart and you have broken the chain. All of those other components cannot shine. The same would be said of any other link in that file chain being compromised.

We lowered our high definition standards in the name of fashion and convenience. Portability was also pretty cheap. Easy access was worth it. Chip away. File sharing? Don’t mind if I do. 8-bit? No that’s too low. You Tube? Oh look, video. Chip away. We have enormous televisions and we opt to watch screens inches wide that make videos look really sharp. Chip away, chip away.

So why do I bring this up and what does it reveal? We sacrifice a lot for many reasons. We make a series of decisions that influence the types of options and the types of decisions that follow. Eventually, hopefully, we raise our eyes and look around. We see where we are and realize that we are far off from the road we began. Take inventory. Is this the quality that you expect from yourself and from others? Are the sacrifices in one area worth the gain in another?

If not, what’re you? Some kind of mook? mooc?