Thursday, April 30, 2009

First thoughts (from the plane)

Looking backwards a few days....

This was written over the course of the all-night flight from JFK to Amman. Looking at it on Thursday just before 6pm, having been on the ground now for four days it seems already archaic, but the purpose of these writings is to share the experience, and this was a part of it.

4/26/09 (Sunday)
1:09am over the Atlantic.

The business day is starting in Amman while Washington’s late night lights are starting to go out. The business week in the Middle East is Sunday to Thursday, not Monday to Friday. On a day when practicing Christians are church-bound, I’ve been reading Darwish, the Palestinian poet whose writings have become a guide to me. I keep wondering how much I am missing in the translation, and worrying a bit how much that will be true of the entire time in the region. A colleague based in Jerusalem said to me on the phone a few days ago that “no matter how long she is based her she’ll always be the dumb American.” If that is true for her then I can only imagine how much I’ll miss of the nuance, the beauty, of the moments and events of the coming weeks.

Yet perhaps the metaphor, or example, of this lies, of all things, in photo voltaics. PV cells, the “active ingredient” in solar power, are inefficient. They capture 20 – 30% of available energy from sunlight. That’s one of the knocks on them. But that is that much more than they’d capture if they weren’t deployed at all, and the very fact of their use drives researchers to explore how to make them more efficient, less expensive and thus more widely utilized. If I capture only 20 – 30% of the available energy and information available to me in these next three weeks, that’s still that much more than I’d find were we not here at all.

The real question though is not in how much we take from this experience, but in how much we give back to it. How much, in the language of solar power, will we “give back to the grid?”
A tour is, or should be, different from a concert experience. In many ways, but one of them lies in this question of interactivity. We’ve worked hard not to have a “Holiday Inn” experience. Too often you hear travelers say, upon returning from an overseas (or domestic) experience, that they “went to the airport, got on a plane, spent X hours on a plane, got off a plane, went through customs, got in a charter bus, went to the (Holiday Inn) hotel, had meals in the hotel, meetings in the hotel, slept in the hotel, got back on the charter bus, returned to the airport, got on another plane and went home.” It all could have happened around the corner from home except for the expense, the jet lag, bad airline food and requirement that they spend much of their time in a airplane seat which could reasonably have been designed as a coercion device.
And with that I might as well try to coerce my body to sleep in said itty-bitty-teeny-tiny back row of the airplane seat. More to come.

4/26/09
6:07am. Over Italy.

My seat-mate, father of one with a second due in a month, works for the Jordanian government in non-proliferation. He is Jordanian/Brazillian and speaks English, Arabic, Spanish and Portuguese. His home is 20 minutes from the Mountain from which Moses looked into Israel. “You’ll like Jordan” he said to me some hours ago. “The people are very kind.”

One of the first acts of kindness in that way came simply and directly from him. As I was staring out the window at the lights below (probably of Nova Scotia given how few they were and how quickly they simply gave way to blackness) he tapped me on the shoulder and said “you must tell them that this is something they cannot do in the Middle East. It is considered very rude.” I looked where he pointed and found a pair of pointed bare feet propped up on the headrest of another passenger (albeit one of ours) a row in front of them. The physics of figuring out how to get one’s feet from under the seat to above it without breaking bones aside, it was one of those “uh-oh” moments. Granted this would be rude any and everywhere, but it reminded me simply that we have a lot to learn and that there will be many mistakes along the way. I hope that we’ll have many seat-mates on the journey who will point out that which is obviously a mistake but also that which would seem appropriate at home but is not in another land and in another culture. The great danger is always that people say nothing, assuming that you are either A) rude, B) disrespectful or C) both. Guidance matters.

My seat-mate is returning from his own “Holiday Inn” experience in the States. Five days on the ground in meetings somewhere in the South that took him two days to get to. Amman – JFK – Atlanta Hartsfield – Tennessee and then bus to a hotel. But he, and his delegation, are doing something very important – building communication and cooperation government-to-government with the Obama Administration with the idea of stopping the flow of nuclear materials before they get across borders and out into the open ocean. That level of forward deployment makes great sense, and its not surprising to hear that the Jordanian Government, of which I hear day in and day out so many good things, is a factor in it. And, given the geography, it’s essential.

He reminds me that my name, Paul, is an ancient one. In Arabic it is Paulus. It is this in Latin as well, and that, in turn, reminds me that we are touching down soon in the most ancient lands, the most important lands to a Westerner, in the world. Yes, China and many other places scattered around the globe are equally old, or older, but none bear the power, the history, of the Middle East, the fertile crescent and the Holy Land. This is the land of legend, the geography which defines to this day three great monotheistic cultures, all of which share a common origin. What is it to live 20 minutes from where Moses gazed into the Promised Land after 40 years in the desert? (my seat-mate was equally astonished to learn that I work 10 minutes from the Obama White House) What is it to live in a city where the ruins of Roman civilization and occupation are around the corner or under your feet? Christopher (our rehearsal director and resident choreographer whose dances play the pivotal role in our success here) and I were sitting a few weeks back in an enormous Starbucks in the bowels of the Empire State Building talking about the uniqueness of New York, or its palpable energy and of that sense, from the moment the train pulls into Penn Station (the ruins of Penn Station) that you are someplace electrified, charged the way the air is charged when lightning is at play in the sky. I wonder if the air in Jerusalem will feel different from all other air that way.

The Hashemite Kingdom of Jordan, under the Monarchy of King Abdullah, son of the late King Hussein, is wedged in between Iraq, Syria, Saudi Arabia, Israel and the Palestinian Territories. Talk about a hot seat. If you’d like a recipe for a country which should be at the nexus of instability it would seem to be this one. But its not, and it reminds me that it’s possible to create stability out of all the ingredients that could, and often should, lead to chaos. Jordan has escaped Lebanon’s fate, survived an astonishing influx of refugees from Iraq (2.5 million by some estimates), made peace with Israel, kept its standing in the Arab world and managed, despite being one of the most water-poor nations in the world, to become a destination point on so many levels.
How?

4/26/09
7:35am DC time. 2:35 Amman time. Over Albania.

I can see on the map projected above us, charting our destination, the city of Sarajevo. Of all the cities I have been in my life, that one lingers the most. While I might long to live in Venice, Sarajevo echoes through every day for me still, even two years after leaving it, and after only three days in it.

“You have no idea how many American boys died in Iraq,” my seat-mate said. “It has been terrible to watch this.” The War is still very much in the air, even on an airplane.

4/26/09
4:00pm Amman time.

Cyprus is in the distance, over the left wing and under a bank of clouds. Ahead, just at the horizon, is Israel. Passing the coastline you think of all the ships, all the caravans, all the people who have landed on those shores, or fallen short of landing on those shores, traversed those lands and sands, and the endless history that lies beneath the plane. We’re over Tel Aviv. It swirls around, less geometric than a typical American city. And then, in an instant, we’re above the West Bank. It’s impossible to describe how startling, and how sudden, the visual realization of how tiny a country is Israel. One moment you’re above the Mediterranean, and almost before you have taken in that you are above Israel you are out of it. And the landscape changes as suddenly, from flat to hilly, from marginally green to dusty brown. The Jordan Valley snakes into view, just slightly verdant, and the idea of crossing the Jordan comes back to mind. It seems a stream, not a river, tiny and trickling, not running. Great rivers in the States conjure up the Mississippi or the Snake, the pre-dammed (or damned) Colorado, even the Hudson. This is Rock Creek, yet it is a defining body in a defining region.

8 miles. There is a place where the Israel of 1947 is only 8 miles wide. In an airplane – a passenger jet flying at 500 miles an hour –¬ you pass over it in a minute. 60 seconds over an entire country. That’s the White House to Bethesda.

And then there is the desert.

From the first outreach show on Tuesday...

4/30

Despite being here now since Sunday, this is the first moment where a few seconds of downtime have coincided with access to the internet. So, briefly, we are waiting to head to the Childrens Museum (an incredible place) for a day of "Jungle Books." Sitting now in the van and getting ready to head out.....

Wednesday, April 22, 2009

The art of the tour (2)


The elegant poster from the US Embassy in Amman, Jordan highlighting CityDance's April 29 concert in Amman.

The art of the tour

The official Zakharef in Motion poster for the upcoming tour of Jordan. That's our own Giselle Alvarez in the main image....

70 hours

by Paul Gordon Emerson

We leave for Jordan in less than 70 hours.

The defining speech in American politics on the importance of the arts is on my mind in the days leading up to CityDance's departure for three weeks on tour in the Middle East. That speech, by John Fitzgerald Kennedy, is one I quote often. I take it as inspiration, as motivation and as a sign and signal that the right President can redefine America at home as well as abroad by his words and by the deeds those words inspire in his countrymen. We have a man in the White House, which is three blocks from our office in downtown DC, and which I walk past several times a week, who seems to have a similar commitment to that of JFK. It's a propitious moment to be stepping onto an airplane as a cultural ambassador, particularly when the disembarkation point is in perhaps the most historic place on Earth -- the Middle East, and cities that echo down the ages -- Jerusalem, Nazareth and modern day capitals Amman, Ramallah and Abu Dhabi.

Mr. Kennedy's speech, a eulogy to Robert Frost delivered at Amherst College in 1963 less than a month before his assassination, provided a platform for the President to speak to the meaning of the arts, set out fundamental tennents that should, and must, guide us today.

He said this, "I look forward to a great future for America, a future in which our country will match its military strength with our moral restraint, its wealth with our wisdom, its power with our purpose. I look forward to an America which will not be afraid of grace and beauty, which will protect the beauty of our natural environment, which will preserve the great old American houses and squares and parks of our national past, and which will build handsome and balanced cities for our future.

I look forward to an America which will reward achievement in the arts as we reward achievement in business or statecraft. I look forward to an America which will steadily raise the standards of artistic accomplishment and which will steadily enlarge cultural opportunities for all of our citizens. And I look forward to an America which commands respect throughout the world not only for its strength but for its civilization as well. And I look forward to a world which will be safe not only for democracy and diversity but also for personal distinction."

(The full text of the President's speech can be found here.)

As we prepare to touch down in the Middle East, these words remind me that art can speak in ways that politics cannot, that citizens of a country can represent that country through their dance, their music, their language and transcend what is "official" with what is human. They remind me that the President's dream "of an America which commands respect throughout the world not only for its strength but or its civilization as well, is in our hands now to realize in a part of the world as deeply politicized as any.

Over these next weeks this blog, sometimes through text, sometimes through video and music, will recount the outcomes and imaginings of the CityDance tour. I hope it will prove to be of value.

Tuesday, January 27, 2009

Muscle Memory

By Paul Gordon Emerson

When I woke this morning I found a note in my inbox from someone who means a great deal to me. It was a short note, just a line, for a memorial service for the man who had transformed her life in a way I'd never seen another do in the 20+ years we'd known each other. I don't know what the term of art would be -- friend, lover, companion, boyfriend - for their relationship.

He mattered.

His illness was brief, severe and terrifying. He left behind a rich reservoir of people who loved him and a lifetime of achievements unfinished yet of such texture that we who love nature and the world beyond our immediate geographic borders owe him a debt I was not even aware of until I read his obituary and then the words of friends, colleagues and loved ones who had found voice on a website devoted to his memory.

We met only a few times, this gentleman and I. But I remember his voice and the rough grace of hands used to the air equally as to the corridors of power. Gentle, compassionate and strong as those who know the meaning of each moment.

He died January 20th, Inauguration Day. I had no idea. Yet all through the day today I felt that handshake wrapping from the heel of my hand around the bones and skin and muscle. I wondered at the loss of it, of the hands that would miss that subtle yet profound embrace, and of the power of so simple a gesture, of the many who should so very much have the chance I had to take it in, to make it a part of themselves, to retain and refocus it into their understanding of the world. So simple a gesture but so resonant.

The memorial service came in the season's first snowstorm. Despite the challenges it presented for those attending I am sure it was in its way fitting, nature's salute to a fallen friend who at that moment would have loved nothing more I suspect than to be out in it, shallow though the idea of winter in Washington may be.

I was miles away, no more in the scheme of his life than any brief acquaintance should be. Yet all day I carried that handshake with me. It was a gift I didn't deserve, and one that I had no cognizance of receiving when it happened some years back. But this is the magic and the pain of being human. So much of depth happens while, as the song goes "we're busy making other plans." It is not till later that we understand that we're different in some small way than we were before a brief encounter. Those events, those experiences, rarely are about language. They go deeper than words. They become memory, but of a different sort than that which accounts for a phone number or a grocery list. They are physical memories, muscle memories. They linger in our tissue and ligaments, accesible through passion and that primal place we all posess but which dancers access every day to transform the linguistic into the physical.

Movers remember and are revealed to the world this way -- through muscle memory. That which we do on stage cannot be achieved by "thinking." The body and the non-verbal mind take the pilot's seat and we glide through dances, entwined with each other, with the music, with the moment, in a way you cannot understand if you don't dance. It's our gift and our state of grace. It's our language with ourselves and our companions, our embrace with the world.

The sun set on the day hours ago. Somewhere a person I barely knew is being mourned, loved, missed, celebrated and, I hope, knows in whatever way it is meant for us to know the love of those we have left behind, that his time here mattered.

Dancers pass the world on through movement. What we know we share by imparting a dance, a step, a moment and in so doing give over the essence of our experience to another. It is a private language in its way. But a handshake? That I can share. It's in my muscle memory now, this gentleman's handshake. A gift.

I believe we outlast our own short lives this way -- carried forward by those we touch, and that in this way we echo down the ages. Whether we are known by name or deed is not for us to decide. We change the world in the simple gesture, the quiet step under the lights and the handshake in the hall.

We are, in a way, the sum of our experiences, and those experiences are the sum of all those who came before, deep into a past we cannot know, but carry with us as surely as that handshake we have had and which, with the promise of tomorrow, will impart, and so begin the process anew.



Tuesday, January 20, 2009

A first look at "Last Look"

By Paul Gordon Emerson

There are a handful of masters of the art of modern dance. Theirs are the works that transformed the field, reshaped our understanding of the possible, stood the test of time to remain fresh. Among the handful of that handful is Paul Taylor. His career, both as a dancer and as a dancemaker, spans the great age of modern. He danced for Graham. His own canon (he calls it a collection) is 125 dances in a choreographic career of 54 years and counting. The almost endless number of awards and accolades are perhaps summed by the San Francisco Chronicle, which calls him "the world's greatest living dancemaker."

Mr. Taylor's work spans the whimsical and the wicked, the beautiful and the bizarre. Deep beauty lives side-by-side with deep inquiry into the human mind, spirit and soul. To take in an evening of Taylor is to be met by a mind always at work and in astonishing command of music and movement, pattern and purpose. He makes you laugh as easily as cry, and, most rare of all, takes on the darkest questions with an elegance and ferocity that avoids the enormous risk of cliché to reveal their truth s unselfconsciously. Of this subset, the inquiry into darkness, "Last Look" stands, as Jennifer Dunning of the New York Times wrote, "as th(e) most powerful and haunting of Taylor's works."

A post apocalyptic vision seems an odd work to take on the mantle of a masterpiece, but "Last Look" has attained this. The subject of a "Dance in America" special it retains its urgency even on the small screen. Live it unnerves as it empowers.

I first saw "Last Look" at a very different station in my life. As a defense and foreign policy analyst on Capitol Hill my days, nights and weekends were often completely consumed with the Cold War and the "long hard winter" which had endured throughout all my life and memory. Discussions of "throw weight" (meaning the ability of a nuclear missle to hurl warheads across the great expanse between Khazakstan and Washington, DC or Los Angeles) and yield, megatonage and blast radius, MIRVs and MARVs were as common for me over dinner as were those about the film at the Uptown. I was, at that time in the late 1980s a dabbler at best in dance. I dropped in and dropped out, and was far, far from the idea of dance as a career. "Last Look" was a cog in the wheel on the path to changing that. It changed, in an instant, my view of what was possible in dance. It was, in all ways, a "light bulb moment."

I remember distinctly sitting in the darkness of the Eisenhower Theater at the John F. Kennedy Center for the Performing Arts awaiting the second act of an evening with the Paul Taylor Dance Company. The score began in the darkness, elegant and giving little hint of the scene still unlit on the stage. And then, as the light grew, all I could think of was carnage, of that very thing all of us preoccupied with a nuclear exchange had, literally and figuratively, nightmares about. In the glint lay a mound of bodies, prostrate, heaped one atop the other and reflected in twisted and cantilevered array of mirrors that illuminated them and distended them all at once.

Over the course of the 20 minutes that ensued I wonder still if I took a breath. Horrified, entranced, compelled and conflicted, I thought perhaps that I had underestimated dance. For all the reading, all the intellectualizing, all the academic and legislative study I had undertaken in an attempt to make sense of, and in some small way make a contribution to, the demise of the nuclear era, I had never found in all those hours what the 20 minutes of "Last Look" had given. It had done so wordlessly and in a marriage of music, set and scene that seemed strangely, improbably perfect even as it was perfectly horrifying.

As I left the theater that night, face embedded in the program, I learned that Taylor himself was a Washingtonian transplanted to New York. I was a New Yorker transplanted to Washington. I remember walking home only because I forgot to hail a cab. Somewhere in that walk I also remember thinking "if I ever had a dance company of my own (which was simply out of the question) I'd want to share dances like "Last Look."

As CityDance has grown in these past few years the idea of "Last Look" has remained in my thoughts. In January of 2008, with a gifted cadre of dancers and a rehearsal director up to the task of staging a Taylor work, I wondered, finally, about actually asking Mr. Taylor for the honor of staging "Last Look." We were in New York as a part of the annual Arts Presenters Conference, and I asked Christopher Morgan, the aforementioned rehearsal director, if he would take a jump into the unknown and reach out to the Taylor organization.

I had no idea if we'd even get a reply.

(to be continued)


Saturday, January 17, 2009

Entangled part two

An additional set of images from Friday at the Lansburgh Theatre.
These are all from Christopher K. Morgan's "Ties That Bind."


Entangled part one


Heading into the second day of the Entangled run I thought I'd share a few images from yesterday. Rather than focus on the large sweep of the dances I shot more with mood in mind.

The first image is of Delphina Parenti in the world premiere of Kate Weare's "Scorched."
The second is Kathryn Pilkington in her solo "At Last" from Larry Keigwin's "Mattress Suite.