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June 25, 2009

What It Takes/What I'm Taking

Sydney

Final Equipment check and test before heading up to Darwin in the morning.

Here’s the picture of my equipment case.

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And the list follows- all but 7 items listed below are in the case and in this picture. There will be a prize direct from Arnhem Land for anyone who can name those 7 items! (Unless there are hundreds of you, in which case I’ll hold a lottery):

The “Big” Stuff

  • Shure FP33 Field Mixer (Huge thanks to Shure for their invaluable support of this project)
  • Korg MR1000 High Definition Field Recorder
  • Apple MacBook Pro (and charger)
  • Edirol FA101 Audio Capture
  • AudioTechnica M50 Headphones
  • Seven Star 100W step down converter
  • Furman SS6block power conditioner
  • Gtech mini 250G hard drive
  • Samsung Acer dual band cell phone (and charger)
  • Glasses (!)
  • Wesco Heavy duty luggage cart 

Microphones

  • Shure VP88 stereo microphone
  • Shure SM11 Lavalier microphones (2)
  • Shure VP64 microphones (2) 

Cables, Adapters and Batteries

  • 18 in. 1/4 to XLR (2) – to connect recorder to mixer
  • 3ft. XLRs for mics (2)
  • 18 in. 5 pin stereo to dual XLR (for VP88)
  • 1 ft. USB A/mini (for Gtech)
  • 1 ft. USB dual connect A/A A/mini (just in case)
  • 1 ft. Firewire (for Edirol)
  • Sonnet Firewire 400/800 adapter (for Edirol)
  • 2 ft USB A/B (for connecting computer to printer, if necessary)
  • MAC DVI/VGA adapter (because it’s small and you never know)
  • Ipod USB
  • 6 in. 1/4 signal splitter (in case of dubbing needs)
  • 6 in. mini signal splitter (dubbing again)
  • 2 ft. mini stereo/RCA (dubbing again)
  • 6ft. CAT5 ethernet cable (to stay connected to the world whenever possible)
  • 1 Toslink/mini
  • XLR to 1/4 adapters (2)
  • 1/4 to RCA adapters (2)
  • 3 prong US/Australian outlet adapters (2)
  • 2 prong US/Australian outlet adapters (5)
  • MAC charger outlet adapters
  • Standard 3 prong adapters (3)
  • Sanyo Enoloop AA rechargables (18 – for recorder – 2 full sets + 2 extras)
  • 9V 250ma rechargables (4 – for FP33 – 2 full sets)
  • 9V alkalines (4 – as safeties)
  • 6V lithiums (5 – for VP88)
  • Eneloop Chargers (2 for charging 8 batteries at a time)
  • Powerex Stealth Charger (for charging 4 9V batteries at a time)
  • 2 spare fuses each for mixer and recorder

The “Little” Stuff

  • Ipod Chromatic and earbuds
  • Olympus D520 zoom camera
  • MacBook rescue disks
  • 8 in. mini bungies (8)
  • small needlenose pliers
  • mini flathead and Phillips screwdrivers
  • mini maglight (+ spare bulbs)
  • 3-power mini magnifying glass
  • toothpaste & spare toothbrush
  • spoon
  • 1 pound of Oren’s Beowolf blend espresso (ground)
  • mini stovetop espresso pot
  • mechanical pencils, leads, erasers
  • extra pens
  • international driver’s license
  • folder containing all travel information & visas etc.
  • photocopy of  driver’s license and passport
  • Celsius to Fahrenheit conversion table
  • Philip Levine poem – “What Work Is”
  • Japanese language study books

June 22, 2009

To Cook a Turtle

Still in Canberra

Today I finished my research at AIATSIS. I did 5 full days of listening to Dalabon, Jawoyn and Mayali music, language and cultural samples recorded over the past 50 years by linguists, anthropologists and a missionary or two. I also met with two of the people who created a portion of those recordings to get a primer on what I should expect upon arrival in Arnhem Land. The listening (and watching of videos) is as you might expect – it’s long, somewhat repetitive and only very occasionally really enthralling. I can tell you that I now have a good idea of the proper way to cook a turtle in the shell over an open fire and a deep respect for anyone who can keep straight the endless terminology for defining family relationships in the Dalabon language (one linguist spent more than 4 hours on the topic – no I’m not going to attempt an explanation here). 

After finishing the day with a review of the permissions rules and pricing schemes for use of AIATSIS recordings I walked out to what had turned into a really lovely day. I’d woken up this Monday morning to pea soup fog, a deep chill and a very wet  bike seat. So the sight of the sun making friends with the clouds was extremely heartening. So heartening in fact that “Red” and I decided to head out on a little explore. You know the kind I mean - a Winnie-the-Pooh style explore. The kind of explore WtP usually took with Roo. The kind that inspired all of his best poems. The kind you take when you’re not really certain where you’re going, but you’re absolutely certain that you’re going somewhere. For Pooh this generally means ending up at the home of a friend eating “hunny”. For me it meant taking off around the shores of Lake Burley Griffin.

Now you would think it might actually be impossible to get lost while following the shore of a lake on a well-maintained bike path, and “lost” is probably too strong a word, but I did in fact end up going off trail for a bit. Which turned out to be a happy accident. Because as I muscled my way through the ruts and mud, right there in the soggy little field between the drainage ditch and the highway, was big old, tremendously endearing kangaroo. My first. I can now confirm that they are not, in fact, a mythical creature. This one looked at me with such lovely curious eyes I just wanted to run over and give him a hug and a gentle little noogie (no, I’m not that stupid – but I wanted to).

Tomorrow, other than packing and putting some time in on my horn , is a free day. I’m thinking of exploring one of the many large nature reserves that surround Canberra. Wednesday, I head to Sydney where I’ll attend a couple of concerts in the Liquid Architecture series (more about that once I’ve had the experience) and meetings with Australian composers, musicians and academics. Then Friday it’s up to Darwin, where the real adventures begin.

June 15, 2009

Movin' on up country - to Canberra

June 15

Yesterday was another long travel day (though nothing compared to getting here in the first place). I took an 8 hour train/bus from Melbourne, despite the availability of insanely cheap airfares, in order get a sense of the Australian countryside. The countryside didn’t disappoint, although the train stuck mostly to agricultural areas –  I can confirm with great certainty that there are a lot of sheep and cows between Melbourne and Canberra.

More about Canberra in a moment. First though, there were some definite highlights to my second week in Melbourne. At the top of the list would have to be a performance by violist Erkki Veltheim at the Make It Up Club on Tuesday night. The Make It Up Club is a long running weekly improv gig that features short sets by 3 separate acts (if you’re in Melbourne, I’ll be playing a set there with Adam Simmons and Eugene Ughetti on July 14th and another at the Horse Bazaar the next night). 

Erkki is an accomplished violist whose performance credits include the Berlin Philharmonic and Melbourne Symphony. On this particular evening he carefully set up a bass drum and snare with foot pedals and two large cymbals hung perpendicular to the floor directly across from one another just about at head level. He tied a metal striker to the end of his viola, then unceremoniously gaffed a microphone to his face and lit into an extended one man heavy metal, feedback laced shred, complete with unintelligible  lyrics, thrashing, epileptic spasmodica and one thrown viola worthy of enduring YouTube fame (if only it had been filmed!).

Another highlight would have to be a powerful Australian film called Samson & Delilah by aboriginal director Wallace Thornton. It recently won the Camera d’Or at Cannes. S & D, which contains almost no speaking parts, focuses on the lives of two contemporary aboriginal teenagers who are destined to be married simply because they are the only people of the same age in their town, or any near town for that matter. Their "town" is an illustration of everything that's ever gone wrong with public policy concerning the aborigines (which is pretty much everything in the view of this film). The short telling is that S & D begin their life together by discovering that there is no place for them in the only world they know. The life that waits for them in their town is a monotonous and depressing sort of non-life, but when they run away together to the whitefella’s world they can't even navigate the simplest of interactions and end up being just as consumed by white society as their own. I won’t go through the entire film, but will reassure you that there’s an absolute star turn by a kindly, far from completely sane, but completely endearing homeless man (the only sustained speaking role) and a bona fide happy ending.

Otherwise, this week I’ve seen quite a bit of extraordinary aboriginal art (and Euro-Australian art for that matter), taken in another Speak Percussion concert, met a wide swath of Melbourne musicians, heard a local band or two, drunk a fair quantity of quite nice espresso and tried a few more local beers (I promise to do a full critique of Australian beer after I’ve done a more thorough survey).

Here’s the more about Canberra I promised – Canberra has a widely agreed upon reputation for being… well. Boring. No, I mean, really really boring. It is clear, as I had been profusely and passionately warned by pretty much Australian who I told of my travel plans, that after 8pm you can indeed do ten push-ups in the middle of any of the busiest streets here without being run over by anything worse than a possum.

That being said, my first 24 hours here have been quite lovely. I started my day today with a crisp 4k walk down to AIATSIS to begin my language research. AIATSIS – Australian Institute of Aboriginal and Torres Straits Islanders Studies – home to an extensive audio visual archive. AIATSIS is a fantastic modern facility located directly next to the Australian National Museum on the Acton Peninsula, with views of Lake Burley Griffin (I’ll post a picture in the next day or two). The staff was brilliant and helpful, ready for me, accommodating, friendly and interested. As expected, most of the material that I reviewed will not be directly useful to me and a large amount of material has not been archived yet (meaning it won’t be available, even for listening), but I was able to get well acquainted with the basic sound of Dalabon and did find one really stunning example of gorgeous sounding narratives dating back to the 60’s.

While the AIATSIS staff took their lunch break (meaning I had to take a break and go away for a while) I made a run up to the ReCyclery – a local non-profit that does pretty much what you’d expect. There I was able to care of all my transportation needs for the next couple of weeks. For a fraction of the cost of renting a bike, let alone a car, Minky (the proprietor) provided me with a perfectly serviceable mountain bike. It’s red, in case you care. The 21 gears are overkill in light of the extreme lack of hills in Canberra (I’ve used two so far), but it’s the kind of waste I won’t feel guilty about.  So if you’re in Canberra and you’re in the market for a perfectly serviceable, 21 speed mountain bike, I’ll have one available for about $50 in 9 days. It’s red.

My only disappointment so far? I haven’t seen a single kangaroo. Do they really exist? 

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red bike outside AIATSIS at the end of a long day of listening to Dalabon and Jawoyn

June 11, 2009

Music (and other things) in Melbourne, AU

I’ve been in Melbourne for a week now (it's June 8), So I figure it’s time I give a few impressions.

First things first. For those of you in the Northern Hemisphere, we’re fast approaching the Aussie Winter. Don’t be alarmed. It doesn’t in any way resemble Winter in a place like New York or, god forbid, Chicago. The temperature goes down to about 8 C (45 F) each evening and up to  around 15 C (60 F) most days – folks here think it’s quite cold and unbearable. The only thing that I’ve found a bit surprising about it is the penchant I seem to have for traveling to places where the sun doesn’t shine. This time of year in Melbourne is noteworthy for it’s overcast skies and rain. And of course it will be the shortest day of the year here in just a couple of weeks. So it’s getting dark by about 5pm. It doesn’t seem quite fair to me considering the long and unusually cool Spring we had in New York.

Melbourne really is quite a wonderful city. Very cosmopolitan, very modern, very international. Easy to get around , clean, architecturally interesting, friendly and civilized (but not too much so, if you know what I mean).

For these first two weeks I’m residing quite comfortably as a “Visiting Academic” at Trinity College at the University of Melbourne. Think Hogwarts in miniature – a nicely appointed enclave of late 19th century stone buildings, with steep roofs wrapped around small gardens and brick paths. The cafeteria is indeed a series of room length tables with a single long table across the raised front for the faculty. Yes – the walls are crowded all around with the portraits of the college’s past Wardens and Chaplains. None have actually spoken to me yet. I’ve been spending my afternoon’s practicing my horn and writing in a lovely stone cottage called Sharwood House – more portraits, cabinets of 19th century china and, more importantly, a grand piano. (I’ve included some pictures)

Despite the distraction of a nasty little throat and ear infection (I've been truly obsessed with trying to get the fluid to drain from my left ear following all of my flights) this week has been all about seeing and meeting local musicians. My first down under performance featured the always surprising extreme instrumentalist Adam Simmons. In this solo show Adam packed in a total of something like 21 instruments including Tibetan meditation balls, motion glow toys, every flavor of sax, most of clarinet, shakuhachi, etc. – my favorite: the Serbian Fujara  (pronounced fu-WHA-ra) shepherd’s flute.

I’ve seen two separate programs by the decidedly forward looking Speak Percussion. The first fell neatly into the realm of the experimental, with Warren Burt providing a gently droning electronic underpinning from behind his computer in the corner while the 3 Speak percussionists responded improvisatorially  to a series of visual art graphic scores by Catherine Schieve, including a 60 foot, room length canvas called  The Blue Line. The instrument selection ranged from a rack of 12 or 14 gongs at one end of the “score” to small melodicas (you know – those toy like recorder/keyboard/harmonica hybrids) to a beach of small stones at the finish, with a broad mix of more or less traditional instruments in the middle. The concert was presented in the Melbourne Recital Center’s “Salon”, which appropriately enough, features part of the early graphic score of Percy Granger, “Free Music No.2” etched in bas-relief around the walls of the hall. To give a proper sense of things – the canvas (literally) for “The Blue Line” was hung, draped really, about 8 or 10 feet above the heads of the performer, who moved through the space from one set of instruments to another, following the path of  the score. About 2/3 of the way along the canvas swooped down to the floor. By the end, very close to the rear exit of the Salon, the music knelt to manipulate the stones, which resided directly on the canvas itself. The second Speak Percussion concert I heard was a beautifully programmed homage to American post-modernists (I’m using this term literally here – not as an indication of genre – no need for theoretical nit-picking please), which rightly began with an early Cage piece, touched on conceptual works of Steve Reich and Alvin Lucier, and featured larger works by Elliott Carter and James Tenney.

Finally – in between moderate doses of surprisingly good espresso (thanks in no small part to a large Italian population) and predictably excellent local wines, I’ve been working hard to make sure all of my arrangements for the study and research part of the trip are in good order. Don’t know what I’m talking about? Ok – I’ll catch you up.

Next Sunday I’ll be catching the train up to Canberra  - Capital of Australia, planned city, not unlike Washington DC, except that Canberra was built because it seems the moderately prideful residents of Melbourne and Sydney couldn’t agree on any existing city to name as capital. I’m very much looking forward to what should be a gorgeously scenic trip. I’m going to Canberra because it’s home to the national archives of aboriginal audiovisual materials, among other things of less interest to me and very likely of no interest to you.

After 10 days in Canberra, I’ll be making a quick stop in Sydney, then heading to the “top” of Australia for a 2 week field recording expedition in Arnhem Land (the Australian Aboriginal homeland). I’ll include a map in one of my next postings.

For the file of eerily-fortuitous occurrences, last night at dinner (yes at Hogwarts, under the watchful eyes of the wardens, et al) I sat next to Sally Anne. Sally Anne is an aboriginal woman currently attending medical school at Uni Melbourne, as they call it. Of course we got to talking. “Oh you’re going to Arnhem Land? Where abouts?… Ohh, the Northern part? Where abouts? Oh, Katherine, eh? Well I know Katherine.” Sally Anne was born and raised in Katherine where she worked for years as the area nurse. Rather than go into detail, I’ll just say that she’s been a font of useful information and hints about how to prepare for my time up north.

More soon – stay tuned.

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A view through the garden to Sharwood.

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Perfectly cozy, don't you think?

June 07, 2009

Some Thoughts on Culture, Language and Art

Since beginning my endangered languages project (remember, that’s why I’m here in Australia now), two critical questions have arisen that I think require consideration.

The first is a question that’s pervasive when dealing with native or aboriginal peoples – that of cultural respect & integrity. The second, simply put, is why art? Why music?

First a quick, elementary primer on the nature of the Earth as an environmental system (don’t worry; the point of this will be obvious enough by the end). The Earth, spinning wildly, hurtling through space, wrapped in layer upon layer of atmosphere, is a closed system. In short, this means that nothing (save what we shoot out into space in a rocket) is lost. Nothing. The Earth contains almost precisely the same set of materials now that it contained prior to the emergence of life and the evolution of man. A fair portion of these materials are constantly in motion or transition - being consumed, transformed into a different state, pulled apart or combined, dumped into the ocean and dispersed into the atmosphere. But none of it is lost. When we speak of a shortage of water, there is not necessarily significantly less water within the ecosphere than at any other time in the history of the Earth. There’s less water than what we believe we need in the places where we believe we need it. For example the human body contains a relatively fixed quantity of water at any given time. There are something like a billion more human bodies on the planet now than when I was born. Which means there’s an awful lot of water currently residing in those extra billion human bodies, that one can presume was more available to the general populace not so long ago. That water will eventually be returned to the Earth, in one form or another, sooner or later. Similarly, there are not any more or less atoms of oxygen, but a significantly larger proportion of them may be attached to carbon molecules in ways that are not beneficial to human beings. I’m sure you get the idea.

However, the ecology of human culture is not a closed system. Cultures are lost. Contrary to the whispers of our collective pride, human development is not a constant. Human history is littered with ironic examples of technologies that were "hundreds of years ahead of their time" and of social systems that  remain  utterly mysterious to us still today.  There is no ocean or soil capable of filtering the detritus of the these societies and returning it to the system in a new or useful or enduring way. It is in no way like the evaporation and redistribution of water through cycles of rain. The things that we as humans perceive as our contribution to this Earth are made of far more fragile stuff than water and dirt, carbon and hydrogen. There are no layers of atmosphere assuring the balance and maintenance of cultural resources and no gravitational force to assure their eventual return. When cultures evaporate, their elements simply float off as though into space. 

Language is the purest, most dynamic and pervasive indicator of cultural identity, especially among native and aboriginal peoples who don’t share that language with other, distinct cultures. A living language remains always in a state of change, while flawlessly embodying entire histories. New events, people and experiences engender new words and expressions and sounds. In some cases these histories span only a matter of two or three generations. In others they encompass the entire existence of the culture. Language illustrates the nature of a culture’s every value and mode of interaction. It is central to our ability to effectively engage with our environment and our society. It determines, in many cases, how we think, how we conceive of time and space, numbers and human relations.

And from a completely objective and uncomprehending perspective, spoken language is utterly beautiful.

From the point of view of the composer (in this case, me), language is the single instance of sound unified with the activity of the brain. While the average person requires years of study and practice to carefully tune the simplest cluster of notes (why don’t we call it a chord), almost all people can recognize the subtlest inflection in a question laced with sarcasm. While even the most sensitively trained ears may have difficulty picking out the timbre of a single violin among many, any mother will recognize the cry of her own child in the midst of a crowded playground. The ear is the most sensitive of our senses, capable of separating, isolating and identifying frequencies and timbres, even when presented in combination with other similar frequencies and timbres. Our eyes on the other hand, are relatively clumsy by comparison. We cannot look at a sample of paint, or anything else for that matter and determine precisely the frequencies of elements or colors that were mixed to create it, no matter how much training or practice we have. 

The subtlety of language, and our ability to perceive those subtleties remains the single most impressive universal skill of the human race. I know, I know. Broad sweeping statement. And of course it’s not an entirely universal skill. [My apologies to the deaf community. Please know that I would kill to have any of the unique  skills you possess!] But I defy you to come up with any other widely held human ability that comes remotely close. We practice the skill of hearing and executing language almost every waking hour from the time we are in the womb. And we do not cease that practice – ever! And by the way – the sound palettes we traditionally associate with music, the scales, melodies and rhythms are rigid and blunt by comparison, despite the spectacularly diverse, creative and beautiful ways that composers and performers have found to utilize them.

In my mind, the languages of the world are a natural resource. They are a resource which is being consumed at a greater rate than any other, whether physical or cultural. The world community will lose close to 3000 languages in our children’s lifetime. No, there's no misplaced zero at the end of that number. Nearly half of the world’s diversity of culture will, at the very least, be severely compromised. At the worst, it will disappear. And, the example of Hebrew notwithstanding, these languages will very likely not coalesce in the heavens and return to us in a nourishing summer shower.

So what of my questions?

Cultural respect and integrity?  This is the hard one. There are radically differing views on the place and use of items of cultural identity even within each native/aboriginal community, let alone among academics and other outside interested parties. There are elders with a desire to save or restore both culture and language, there are others who see maintenance of “old ways” as an obstruction to future economic opportunity, there are those who seek a balance between the two, and there are limitless variations on these sentiments ranging from apathy to militancy. There are those who take a scientific view and, with care taken not to influence the future of the community, seek to develop an archaeological record of it. There are those who believe that the only means of preserving the integrity of a culture is to isolate it and allow it to follow a natural course, whether good, bad or indifferent. As far as I can tell from my limited experience and reasonably extensive reading, no individual sector has achieved a unity of purpose or practice. Perhaps that’s a good thing. One hopes that it means there continues to be lively discussion.

As an artist though, I find all of these questions to be essentially political in nature. And I am far less interested in the politics of the issue than I am in the humanity. In my view, it’s the job of artists to interpret their environment, their world, their mind, their thoughts in such a way that captures, as perfectly as their ability allows, a moment in history, a sliver of the human condition, a piece of truth, a subtle beauty that the average person has neither the time nor opportunity to otherwise witness.

The music that I’ll write for this project, will not presume to "represent" the communities who’s languages I record –  I don’t believe that there’s truth or integrity in that sort of arrogance. My process is focused on the exploration of the extraordinary subtleties of human language, on the development of musical palettes never heard before and the introduction of uniquely intimate and personalized approaches to performance and musical communication. In the end these pieces will aspire to be a celebration of the frailty of the sound of a story and an acknowledgement of the ongoing consumption of this most fragile resource.

June 02, 2009

The Longest Day

May 29th

2 am. Finished packing with reasonable confidence that all the necessities would be traveling with me.

5:15 am. Time to crawl out of bed, grab a cup of coffee and head out to JFK (airport)

9 am. Miraculously, no hassles checking in. As always I’ve made friends at the security check while showing of my trombone and explaining each item in my case full of electronics. Flight to LA takes off on time.

I vowed to myself that I’d begin blogging 50 days in advance of my departure. There was so much going on, so much that needed to be done, arranged, confirmed, fixed, raised, tracked, prepared, planned, bought, said, learned. It seemed to me that the whole process might be of interest. (you’ll tell me if I’m wrong?) That was April 8th. Daily study of Japanese was a priority. I had finally managed semi-regular practice on my horn. I was beginning the process of arranging my housing in Australia (you didn’t know? – if you’re just catching up, I’ll be spending the next 7 weeks in Australia and the following 5 months in Japan to focus on writing the four pieces that will make up my endangered languages project).

It was around that time (50 days ago) that the nature of this project became entirely plain to me. Experience tells me that some projects fall into your lap, pay for themselves, are written without angst or anxiety, performed flawlessly and seemingly without rehearsal, then get on with their rich and lengthy performance lives with nary a backward glance. This is not one of those projects.

This is the type of artistic endeavor that will be stained, perhaps quite literally, with equal parts sweat and blood (type A+ in case anyone needs to know), spit and drool, tears and wine and curses and coffee (which at least does not require a healthy level of masochism to be enjoyed). It is the kind of project that requires an unwavering confidence in the quality of the idea and an equally unwavering adherence to the integrity of the process. Because there is absolutely no part that is going to be easy.  I know that this was probably quite obvious to others long ago, but if you know me a on daily basis, you know that I tend to ignore such facts once a project is begun.

Today marks almost exactly 3 years since I ordered the UNESCO Atlas of Endangered Languages in order to gauge the viability of a nascent idea developed at the request of New York cellist, Tomas Ulrich (on whom all future blame should rest). If you’ve followed this blog or my web page at all, you may know a bit of what’s happened since. Travel, performances, grants and composer prizes, endless study and preparations. If you check back, I’ll try to fill in the gaps over the next several weeks.

Meanwhile - 20 days ago, having completed more than 5 chapters of Japanese lessons, almost $5000 in fundraising, several hundred emails (I don’t want to think about how many went unanswered), arduous crash courses in the Japanese approach to public and private education (for my 12 yr old daughter) and the Australian University academic calendar (no gigs to be had there in June!), I vowed to begin the blogging 30 days in advance of my departure. As you know, that didn’t happen either.

So I stopped vowing and stuck to keeping pace with the necessary preparations, creating dozens of lists and trying in vain to cross off more items than I was adding on a daily basis. You may note the difficulty I’m having giving up the whole “list” habit.

Which brings us to right now (Friday May 29, 2:26 pm PST). I’m sitting at LAX airport on the first of many long layovers. Today it’s 9 hours, with an additional 2 in Auckland, New Zealand tomorrow morning. If there are no delays (ha!) I’ll land in Melbourne on Sunday May 31 at 8:30am LIGT. I’ll leave the math to you.

By the time I land at Narita Airport in Tokyo on July 20th I’ll have completed 9 flight legs ranging from an hour and a half to 14 hours and will have endured 38 hours and 25 minutes of layovers. All to say – I’ll have no excuse for not keeping up with this blog. I’ll have made stays in Melbourne, Canberra, Sydney, Darwin and Katherine and will have covered as much ground through the outback of Arnhem Land as vehicles and stamina allow. So please check back for updates, news, stories, adventures, reviews and anything else I can find of interest to write about. I make no vows or promises, but hope to make additions 2 to 3 times a week for the next 7 months (the length of my travel). When I head up to Arnhem Land (the Australian Aboriginal homeland) I’ll try to write every day, but there will likely be a delay before those segments are posted.

Don’t be afraid to post comments or questions!

February 10, 2009

Shame on you Senator Charles Schumer

Ok, ok - so it's been forever since I've posted. I've come to the conclusion that the bloggers who are able to keep up with their posts probably just have way too much time on their hands. I'll be making an effort to catch up an keep a regular posting schedule again over the next few weeks (I know - promises promises)

Speaking of promises. Charles Schumer promised to represent the needs and interests of the people of New York State, however this past week he voted in support of the Coburn Amendment, which would specifically exclude the arts from the stimulus package currently being considered by Congress. The Coburn Amendment considers the arts to be a privilege on the same level as golf courses, casinos and stadiums. The "Coburn" of the Coburn Amendment is a senator from Oklahoma. I'm going to give him some latitude here and assume that the general lack of support for the arts in Oklahoma has created a spiral effect that has wiped the state of all but the most elitist expressions of what the arts can be. That sort of elitism is not my experience or my expression of art. However I give no latitude to my own Senator, Charles Schumer. He ought to know better and he ought to be fighting tooth and nail to educate his peers in the Senate as to the overwhelmingly populist and positive effects that the arts can have on a community. What follows is a letter that I posted to Senator Schumer's website. When posting to his website, you are required to choose a topic from a list that you will presumably be addressing in your post. The arts is not among the topic selections. I encourage you all to find out how your senators voted on the Coburn Amendment and to hold them accountable, loudly and publicly, for their actions in the coming days.

"Shame on you Senator Schumer for not even including the arts as a topic for discussion on this web page! Shame on you for supporting the Coburn Amendment, which will not end the employment of the musicians of the New York Philharmonic - but it will take the legions of musicians who have decided to make New York their home OUT OF THE SCHOOLS and AWAY FROM OUR CHILDREN. They are not employees of schools - they are employees of all the organizations that the Coburn Amendment will cut off from help in these terrible times. Children who participate in the arts do better in school. Period. But public schools in our times do not have the capacity, staff or organizational mechanisms to raise the funds or provide the support necessary to implement such programs on their own. Especially schools who serve the neediest of our children. However concert halls, theater and museums do. Because they EMPLOY education specialists. They EMPLOY teaching artists. They train those teaching artists and they seek out opportunities for them to serve the children of this city in places where even the Department of Education seems to have given up. Perhaps those days are coming to an end though. Perhaps the time when the pervasive altruistic efforts of the arts community to provide peace, education and opportunity to the throw-away children of our society is finished. Perhaps Senator Charles Schumer has bargained away one of the few shining lights in the otherwise desperate lives of the poor children of New York City."

October 05, 2008

La Push - Day 5

Have I mentioned that it rains here? The sun hasn’t been out since it got lost in the fog on Thursday. The locals tell me that it may find it’s way out again sometime next Spring right after the worst of the storms and wind provides enough repair work to keep folks busy for the summer.

On Friday I was successful in speaking with Porky and he was at least somewhat successful in speaking a bit of Quileute with me. Porky will be 86 in December and is well-known now for his failing memory. He’s a lively old gentleman, as betrayed by a constant twitch in his legs, darting glances, and a self-deprecating sense of humor. I was taken to see Porky by one of his daughters, a woman in her 40’s, with four school-aged children who’s not shy about sharing the challenges and despair of her life on the reservation. We met after her weekly English class at the offices of the tribal council. Although all of the students speak only English, the classes are given to help local people improve their speaking and writing skills, and hopefully by extension, their advancement prospects in their jobs. On the drive she told me that she had lost a grown son to a car accident just this past year, that she’d grown up in poverty, but never imagined she would live in poverty as an adult or not be able to adequately provide for her children. She has a decent job that she’s held long term, but recently came under a new, younger supervisor who’s lack of positive encouragement causes her great stress. She was especially gloomy about the prospects of any man ever having an interest in a woman her age with four children and no money.

Her sister lives in “Quileute Heights”, a tidy two block sub-division of small, boxy, nearly identical and similarly aging, cape-cod style houses that sit on a hill behind the new and modern Akalat tribal center which serves as a school to 26 teens and home to Indian basketball tournaments in it's nicely appointed gym. I met Porky at the next to last house on the left on Ba-yak lane.

One of the key phrases showing up in my taping sessions so far is “I can’t remember, because I’m so old now”.  Porky was able to tell me at least a little bit about some of the traditional Quileute stories – most of them seem to have been designed to frighten the children for the sake of keeping them safe in a wilderness area. Think Grimm’s Fairy tales. For example, the one that clearly had the deepest lasting impact on Porky was about a witch who would steal children, put pitch in their eyes to blind them and carry them away in the back-pack basket normally used for carrying wood. He also commented that he doesn’t see her (the witch) anymore now that he’s gotten so old. Or maybe because the village has changed

Friday morning I visited with the high school students. We talked about music, being a composer, life in New York, the world, travel, the uniqueness of the Quileute language – you get the idea. It was a small group of students (8 or 10). It wasn’t clear to me where the rest of the 26 were that morning and I didn’t ask. However all of the students who were there expressed the desire to go to college  and most were reasonably engaged in the conversation (ok – 2 fell asleep, but I have to admit that I didn’t come prepared to entertain and I definitely don’t hold it against them).

I spent much of the rest of Friday trying to discern whether I was going to have any chance of meeting up with Charlotte and Leta – by all accounts the two most fluent remaining speakers of the Quileute language. At 5:30, after several walks from one end of the rez to the other, a couple dozen unanswered phone calls, a few discouraging conversations and the news that most of the people I’d hoped to get help from were out of town for the weekend, I left the tribal office feeling that it simply was not going to happen and contemplating which day to head to Seattle.

As I came outside I met up with Tony, the Quileute fish and game warden, and his wife Anne. I’d run into Tony several times over the course of the day, but hadn’t actually been introduced yet. We joked a bit about the lost-looking white guy who was following him around and I shared about my efforts to find Charlotte and Leta. To which Anne replied in a quick, matter of fact tone: “Oh, they’re down at the basket-weavers conference in Quinault. I think my dad’s going down there tomorrow…”

Ohhhh-kay – from there on out the conversation was a flurry of phone numbers, trying to keep nicknames and familial relationships straight (hopeless task), and advice on how to know when Jiggs (Anne’s father) was pulling your leg or not. Anne seems to have the phone number of every tribal member memorized, so I was left scrambling for my notepad and a pen that works. In the end, I managed to reach Jiggs and arrange a ride with his daughter and grandson to finally go see Charlotte and Leta.

Saturday morning I piled in the car, made all the introductions and promptly fell asleep for the entire two hour ride. If you’ve read my earlier entries, you know that insomnia is sometimes an issue for me – and so far on this trip I’ve been going to sleep on local time and waking up on New York time, which has brought me down to about four hours of sleep per night. It seems that all I needed was a fast moving car in dicey weather on a treacherous road, but I was sorry to miss the towns along the way, with colorful names such as Queets and Humptulip.

The Northwest Native American Indian Basket Weavers annual gathering was held this year at the Quinault reservation casino. It’s a very new facility with a large open conference room (home to the gathering), a gaming room of equal size filled with row upon row of slots and a line of craps and black-jack tables down the center, a snack bar, an upscale restaurant, a small sports bar and a much smaller sushi bar. I can say with great certainty that I’ll never understand the lure of a casino.

Charlotte and Leta  were at a table somewhere among the maze of hundreds of basket weavers, all seated at round banquet tables working their hands and fingers through cedar strips and bear grass and raffia and many other materials that I couldn’t identify and don’t remember the names of. Leta Shale was one of the “featured weavers”. Her baskets are highly crafted, uniquely designed and prized by collectors. Leta is 80 years old, but seems much younger. She has black curly hair and large, powerful, black rimmed glasses and a razor sharp wit. When I met her, she immediately informed me that her rate for such services is $1500 per hour. Naturally, if I needed to take pictures the price would go up significantly - modeling is extra. And if I wanted her in a bathing suit that would require some further negotiations. She always wears a bikini.

Charlotte Kalama was the “Honorary Weaver” for the conference. She is among the most highly recognized basket weavers of the Northwest. Her baskets are brilliant and colorful. Her designs are both traditional and innovative. Her baskets are part of the collections of museums across the US and in Europe. Who knew? (not me).

Charlotte is 86 years old. Although she’s still mobile, she has arthritis that tends to keep her from  weaving anymore and causes her to use a wheelchair much of the time. Charlotte is a tiny, dear woman, just a bit over 4 feet tall, but clearly never to be taken lightly. A riveter at the Seattle shipyards during WWII, Charlotte learned both basket weaving and the Quileute language from her grandmother when she was a little girl. Both Charlotte and Leta are devout Shakers and both have been ministers and leaders of the Shaker church in their communities.

The big discovery I made as I spent the majority of the day with these two very lovely ladies was that there are no remaining Quileute speakers who are truly fluent in the language. Each of the people who I’ve spoken to are facile with those portions of the language that they still use (Leta did teach me a few words and insisted that I pronounced them all badly), but none of them is able to converse freely in Quileute, even on familiar subjects. That said, I was very honored to spend time with Charlotte and Leta and was pleased with the recordings I was able to capture: Charlotte praying in Quileute, Leta singing her Quaker hymns while she prepared strips of cedar bark for weaving.

My time with the Quileute is nearing it’s end. On Sunday I’ll meet again with Porky to see if he can remember all the words to the Quileute “drunk” song and tell me a bit more about his life. On Monday morning I’ll spend more time at the school sorting through their archive of audio recordings. Monday afternoon I head back to Seattle.

Side note for all the Twilight fans who’ve been bored reading about my language project – I’ve asked around a bit about the location of Jacob Black’s house in hopes of learning more about their family, but have been told that  “it isn’t wise to go poking around about such things”. I’ve never been one to care too much about what’s wise and what’s not though………

KenP

Here's Porky on a smoking break following a rousing rendition of the Quileute drunk song.

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Here are the ever-charming Charlotte and Leta sharing a laugh, almost certainly at my expense.

October 02, 2008

La Push - Day 3

The day began today with the news that “Aunt Pearl” was being taken to Seattle Harbor View Hospital via helicopter. No news yet, but the preliminary outlook wasn’t good. As far as I’ve been able to determine today, there are four remaining native speakers of the Quileute language and Pearl is one of them. They are all well into their 80’s. Two of four are not currently living in La Push, although they are just down the road a piece. It seems that there are a few others who learned the language as adults and speak it relatively well, but I’m not clear yet on just how well they speak it or who they might practice it with.

I’m hoping to be able to get together later on today (which probably means tomorrow) with “Porky”, the last native speaker currently in town. Everyone here has a nickname, so it can be challenging figuring out who you’re talking to or about at times. Today has also been productive in that calls are being made to see if the other two native speakers can be brought up to La Push to chatter away in Quileute for me (I understand that they speak with one another in Quileute when they don’t want anyone around them to know what they’re saying). I’m also looking forward to recording the meeting of the drum group this evening, although I’ll need to be rather sensitive to the wishes of all of the members, as some of the “family” songs are considered to be sacred and secret and cannot be shared outside of the Quileute community.

Last of the “interesting” news today, is my discovery that the Shaker religion has been a deeply rooted part of the Quileute community, at least since the mid 1800’s. The Shaker services here are held only at night, a tradition which began when the religion was repressed for suspected “devil worship” and forced to go on in secret. Services will begin in the evening and go on until morning for several nights in a row. Of the greatest interest to me is the discovery that the shaker hymns at these services are sung in the Quileute language, using traditional bells and foot-stomping as the only means of accompaniment. I’m waiting to hear whether any services will take place this weekend, otherwise there will be a multi-community shaker gathering here just before I head back to New York, so I’ll definitely have an opportunity to witness and document some of this phenomenon.

Continued…

Thursday morning – rain today. Not a surprise. Yesterday the dense fog coming in off the water only threatened to invade, creeping up close enough to hide Ak-A-Lat  and make the boats coming in seem like they were emerging from some alien spirit realm. It would lift for a time then try to sneak back in. Today it’s found it’s courage. The fog is zippered right up to the shore and the rain is coming down in big, heavy drops.

I’m still hurrying up and waiting for my opportunity to meet and record Porky. I’m expecting to meet with his daughter shortly to plan a time, although I’m finding that planning a time to do things can be a  formality without consequences. Meanwhile I’ve taken a look at the Quileute school’s video and cassette collection and will be helping to devise a realistic plan for archiving those materials – hundreds of hours of cassettes and videos recorded over the past 40 years (!!), stored unceremoniously in cardboard boxes. I believe that these mostly consist of tribal elders teaching the children about the tribal traditions and culture. I’m very concerned that this work may be or have already been lost. 

Keep checking back - I'll be adding some pictures soon.

LaPush1
Here's a view of the town, with the school in the foreground

October 01, 2008

La Push Day 1 - The Language Project Update

So my travels have begun. La Push Washington. Home of the Quileute peoples. Fishermen. Sealers and whalers. Boat builders. Descended from wolves. And of course, speakers of the Quileute language. Quileute is a language unrelated to any other, which contains no nasal sounds and is spoken with the tongue between the teeth a great deal of the time (not unlike Sylvester the cat). Quileute is a language that will also soon be extinct. Its not that there’s no record of the language or that no memory of its existence will remain, but only the most elderly Quileute are native speakers. Soon there will be no one left who learned and used the language in their home as children. It will cease to be a living language.

It was a beautiful day in La Push when I arrived on Monday afternoon. As I drove through the densely forested valleys of the Olympic Mountains heading toward Forks, I could feel the temperature inching it’s way up from the upper 50’s around the shores of the icy and deeply mysterious Crescent Lake to the low 80’s by the time I rolled past the Lonesome River store – La Push’s only store, a nicely appointed convenience mart with a traditional cedar front adorned with carved pictures of fish and whales in the distinctive Northwest Native American style and the correlating Quileute words spelled out next to them.

Yes, La Push is predictably small, a vibrant mix of small houses and trailers set on narrow plots in various states of repair and disrepair, many surrounded by boats and motors and vehicles ranging from bikes and Big Wheels to ATVs to cars of every age and state and dogs of a similar variety. Others are neat and clean and surrounded by flower gardens and brown picket fences. There is no division or discernable order to their arrangement – the neatest and cleanest shares a fence with the least maintained. Taken together, it's a picture of gritty charm.

But development and progress are also apparent everywhere you look or walk, with newer buildings such as the tribal office and the school along the main street, as well as a brand new hotel and cabins and an RV park under construction as part of the Oceanside Resort. Along the waterfront there’s  a small, but seemingly active fishery, a charming diner with stunning views of the bay, a post office, a marina and a Coast Guard Station. But the draw here is not the architecture. It’s the ocean.

The Quileute have occupied this spit of land, the Westernmost on the Olympic Peninsula, for thousands of years (really!) – the shoreline is shaped by a series of wide coves or bays. The town sits on a “corner” of land facing two of these coves, one of which is protected by a large natural breakwater and tall butte-like, tree-topped islets. When I say tall – I mean breathtaking. Up to 160 feet in the case of Ak-A-Lat or James Isle, where tribal elders were traditionally taken after their death and placed in their canoes in the tops of the trees to be delivered to the gods. The breakwaters are covered in stone and course grasses and huge pieces of driftwood. Entire trees in most cases, bleached by sun and water, stripped and polished and impressive. The resort faces the widest of these bays, which lacks such a breakwater, meaning it has a sandy beach and a view out to sea and a virtual wall of tree-sized driftwood at the high water mark, barring access to anyone unwilling to climb or wend their way through the natural maze.

Although sunny days can be rare around here (La Push is only a few miles from the Hoh Rainforest and receives about 115 inches of rain a year), Monday was spectacular and the views were glorious.

It turned out that I had my wires crossed with the Quileute leadership and wasn’t expected until Tuesday– so I did my best to make the most of it and spent some time in the evening recording the sound of the surf roaring in to the beach. I needed to test my equipment and my set-up and besides, it was unusually clear and moonless, so the stars and Venus and the Milky Way were putting on a show that I didn’t want to miss.

Tuesday (which is actually day 2) I was able to meet with the tribal council, but not much else. Life moves slowly here, schedules are somewhat fluid. This evening I meet with the school administrators. Tomorrow evening I attend a drum group. In between I hope to be able to track down a few of the elders and get some of the more serious work of the trip set in motion.

A side note to all the teenage girls who may be reading – I have not met any boys names Edward Black or any girls named Bella. I’m not aware of having come across any werewolves or any vampires, however I’ve been told that I would be unlikely to recognize it if I had. If I discover anything even slightly suspicious, you’ll be the first to know.

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Here's a view of First Beach from the far West end - the driftwood detritus gets larger as you move up the beach. At the far end many of the washed up tree trunks have diameters of over 8 foot.