Brian Moran

The beginning of listening

Extradition Series summer concert confronts silence

By CHARLES ROSE

I once heard a joke about the 20th century philosopher and problematic figure Martin Heidegger: he once spent four hours opening and closing the door to his office at the University of Freiburg, trying to understand the action that we all take for granted in all its subtleties. This story is a lie that some cheeky undergrad came up with while struggling through Being and Time, but the joke still points to the crux of phenomenology and its massive influence on artists through this last century. 

Musically, we can trace this perspective to John Cage and his study of Zen Buddhism and the I Ching. Cage’s music demands an entirely new approach to listening that throws out the window all the lavish harmony and rhythms of classical music in favor of the subtleties of individual sounds. Much like his contemporary in the visual arts Mark Rothko, Cage (as well as Morton Feldman and others) sought to tear away all the unnecessary information from music, leaving only the subtle textures and noises within notes and chords that would otherwise fly by unnoticed. The influence of these composers looms over most contemporary experimental music, and the Extradition Series summer concert in July was no exception.

Extradition is a performing series created within Oregon’s Creative Music Guild, a collective of local musicians dedicated to performing improvisational and experimental music. Extradition takes their artistic inspiration from Fluxus and the music of composers like Cage, Feldman, and Pauline Oliveros, and their concerts reveal the subtleties in sounds we hear all the time. The five pieces they showcased at their July 27 concert at Performance Works NW were among the most challenging performances I’ve ever heard live, requiring an intense form of listening that pulled me into the smallest details of every sound while giving space for quiet contemplation. In tight quarters with no more than forty people, I felt like I was participating in a group meditation, with the performers becoming our yogis (dressed in all black rather than orange). 

Matt Hannafin performs Alvin Lucier's 'The Silver Fox' at Extradition's summer concert. Photo by Glenn Sogge.
Percussionist and Extradition Series curator Matt Hannafin performs Alvin Lucier’s ‘The Silver Fox’ at Extradition’s summer concert. Photo by Glenn Sogge.

Continues…

July: Dancing after dark

Oregon's summer dance season takes to the open air and starry nights with salsa, silent disco, and even a few indoor shows

The international Silent Disco movement: Next stop Tillikum Bridge on July 4.

We’re heading outside this month for much of our dance intake, enjoying performances under the stars—although in some cases, we are the performers; you might find us dancing under the fireworks along the Tilikum Bridge as part of the July 4th HeatBeat Silent Disco. We’ll be drinking in new and veteran talent, too, some of it homegrown, the rest of it from well beyond our city limits. Isn’t this time of year delicious?


International and cultural dance styles


Dancing on the roof with Son Latino, June 2018. Next stop: Gateway Discovery Park Plaza.


Salsa in the Park
Son Latino/Portland Parks and Recreation
6 to 8 p.m., July 20
Gateway Discovery Park Plaza, 10520 N.E. Halsey St.

You may have met up with Son Latino around town, maybe at a Norse Hall Salsa Sunday or one of those Rooftop Salsa nights: the Latin dance and event company stages performances and hosts weekly and monthly dance socials as well as classes and workshops. If you’re not yet a confirmed salsero, however, this evening should be a friendly, low-pressure introduction to Latin dance. Founders Rosi and Leo, veterans of salsa congresses up and down the West Coast, perform first, to show us how it’s done, then teach introductory salsa, bachata and merengue lessons in the park, accompanied by a DJ. A community dance follows: two-left-footers are welcome, and you don’t need to bring a partner. Pack a picnic and make a night of it.

Continues…