artichoke music

DanceWatch: Pandemic downs and ups

Everyone's course through this year of isolation has been different—and sometimes it leads to growth

At the beginning of the pandemic shutdowns last March, it was exciting to have EVERYTHING go online. Dance classes, performances, lectures, and community conversations were suddenly available at the touch of a button. 

In the past, as a dance artist, I’d felt like I was never in the right place at the right time to get what I needed to succeed in my dance career. It felt like I was living in the wrong place, wasn’t studying with and being seen by the right teachers, and was missing out on auditions and opportunities. I felt like I was always out of step. FOMO (fear of missing out) was real for me. This was significantly exacerbated when I decided to have a baby, which took me right out of the game. But not anymore, thanks to Covid-19. (I feel yucky saying that.) Because suddenly everything I ever wanted was online. 

But, as you all know now, it’s hard to go at it alone in our tiny houses month after month. As you also know, trying to get time and space alone to be creative in a house with other people is REALLY HARD.

I tried connecting to what was available online. Still, it couldn’t keep my attention, and the sheer volume of choices became overwhelming. 

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MusicWatch Weekly: Living traditions

A week of “world music” concerts

In the coming weeks, we’ll be running a series of essays exploring “living traditions” through the lens of several recent and upcoming concerts across a handful of genres and subgenres, most of which stray into the phantom zone of “world music.” To get you primed for that, we’d like to discuss what we mean by “living traditions”–and direct you to some upcoming concerts that will demonstrate our meaning while keeping your mind limber.

We love problematizing genre, and “world music” is one of our favorites–it’s one of those genre terms that means everything and nothing, like “classical.” You know exactly what I mean by “world music” (no doubt you’re already imagining sitars and gongs), but you probably also realize the contradiction in the term: which “world” are we talking about? Are Mozart and The Beatles not part of “the world?” Are Irish fiddle tunes “world music” or “folk music”–and why? And what makes Ravi Shankar and A.R. Rahman “world music,” exactly?

The label makes life easier for record stores, which have to put that stuff somewhere, and the truth is that “the west” does have quite an appetite for these global musics. But we westerners tend to fetishize these global musics as something other, something from elsewhere, perhaps something we’ve lost or forgotten in “our” musics. In some ways, we define “our” musics by their differences with musics from “other” cultures; such “exotic” features raise questions about what western music doesn’t do and generally isn’t comfortable with. Music theory nerds might consider the abolition of the augmented second and the centuries-long disintegration of tonality; all others might consider the relationship between “dance” and “folk” and “classical” and “popular” musics within the western tradition, and why they all seem so uneasy around each other.

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