Cello Blues

Well, I have to admit that I have not been practicing my cracked cello as much as I should have.  However, I did practice it yesterday and today so hopefully this trend will continue.  I decided to do something different today: I brought my cracked cello outside to the backyard to practice.  

It was better than being in a stuffy house on this gorgeous day.  I took this photo of it with my daughter’s greyhound, Lacy, who was keeping me company out there.  As I write this it occurs to me that dogs and cellos have a few things in common: they both like to lie around but if you play with them they come to life.  Now, I don't want you to think I am not taking good care of my cracked cello.  I have learned that the best way to store a cellos is on its side.  My music teacher does it.

My practice session consists of three things.  First, I practice the scales, starting with the low C, which is the lowest string, when played open.  I play the scale up and down with my fingers several times before I pick up the bow.  It sounds pretty good. Then I pick up the bow and play the scales up and down several times.  It sounds pretty bad, kind of screechy.  You see the bow has to be perpendicular to the strings at all times.  This is a little tough to do, but easy to tell if you are not doing it right because you can hear the difference.  So there is a bit of trial and error you have to get through to get it right.  But, I am pretty proud that at least I always remember to loosen the bow after each practice.

Then there are 2 songs I practice.  The first is Ode To Joy by Beethoven.  I picked it because it is a classical tune that I already know by ear, even though after a few times it is pretty boring.  But, since I already play both guitar and bass, the fingering comes very easy for me, especially if it is a song I already know.  The other song I practice is Hallelujah by Leonard Cohen.  I heard a cellist play this at a Boston Pops concert a few weeks ago and it was mesmerizing.  I play it with my fingers first, which again sounds pretty good and then I pick up the bow and the screechiness (not a real word) ensues. But I persevere, because -- I know I will get better, if I stay with it.

That’s all I have to do: stay – with – it.  And I will.

Promoting Discourse By Community Arts-Making

One of the unique aspects of community arts-making that appeals to me is the opportunity presented for reflection and discourse, which can lead to learning.   In Transformative Learning: Theory to Practice, Jack Mezirow (1997) suggests that, “becoming critically reflective of one’s own assumptions is the key to transforming one’s taken-for-granted frame of reference, an indispensible dimension of learning for adapting to change” (p. 9).  He goes on to describe the situations that can be created by an educator to promote effective discourse.   As I read this, it occurred to me that some of these ideal conditions of discourse described by Mezirow can be equally effective at promoting discourse through community arts-making.

Free From Coercion with Equal opportunity to Participate

I attended several Brazilian sarau’s during the past several years, which are informal art-making gatherings often held in homes, that may involve music, dance, storytelling, as well as presentations of visual art or found objects.  I was invited to my first sarau by a classmate in Collaborative Symposium – Community Arts Making at Lesley University several years ago.  An appealing aspect of a sarau is that participation in the art-making is voluntary and there is no pressure to perform.  At the sarau’s I attended, participants who chose not to perform were as deeply engaged as everyone else and appreciated being invited to participate even though they chose not to.  The image above shows the tragic and comedic masks of the theatre, the palette of the artist and the note of the musician, above the words, Sarau de Artes & Cultura.

Having Full Information.
Community arts-making events often include an ‘awareness or promotion’ component, providing both art and information at the same time.  For example, in April the Fitchburg Cultural Council hosted an open mike for musicians and vocalists at a local restaurant.  During the event, council members made several announcements explaining how to apply for LCC grants and handed out materials that described the programs and services offered by the council.  In fact, I learned later that the purpose of the event was in fact to promote the work of the council and clarify how easy it is to apply for a grant.  Of course, having full information also implies having access to conflicting points of view depending on the situation.

Empathetic and Willing to Listen

Another great community art making event I participated in was the CityHeArt Art Show, which is an annual visual art show and sale by clients of local social services which, support homeless individuals.  Many of these organizations have implemented art-making programs for their homeless clients and this public event is designed to showcase their client’s talents and provide a source of revenue for them based on the sale of their artwork.  I volunteered as a musician at this event and it opened my eyes to not only the talents of the artists, but also to their personalities, to their ways of art-making and being.  I saw them appreciate each other’s art.  This event promoted empathy for this marginalized group by just ‘being an art show. ’ The event organizers made the decision with some of their marketing materials not to promote the event as a homeless art show for this very reason – as one organizer explained it to me, "They are artists and deserve to be treated as such."  The image at the right shows one of the musicians, Mallory Cormier, viewing the handmade, colorful fabric artwork being bresented for sale.

References

Mezirow, J. "Transformative Learning: Theory to Practice." New Directions for Adult and Continuing Education. 1997, 74 (Summer), (5-12).

Internship Seminar - Community Arts

This blog, labeled as, Internship Seminar - Community Arts, contains my reflections from the readings, discussion and participation in this course, offered at Lesley University, from June - August, 2012.

June 11, 2012

In Images of Relationship, Carol Gilligan (1982) calls upon two opposite relational perspectives, the ethic of justice and the ethic of care to provide a lens through which she examines the moral basis for decision-making by two 6^th grade students.   At the risk of oversimplifying, the ethic of justice is presented as an impersonal but logical perspective utilized by the male student to resolve a hypothetical moral dilemma while the ethic of care is presented as the perspective utilized by the female student, which relies upon the context of the situation, the relationships that connect the parties  and the communication that  connects them together.

In my work as a community arts practitioner, I have embraced the ethics of care perspective because I have witnessed the power of relationships and interpersonal connections that motivate and sustain individuals to dedicate themselves to issues, causes and projects that are important to them.  I believe that people can accomplish amazing things while overcoming formidable obstacles because of the support they derive from their relationships and connections with others.  Problems are resolved through unselfish actions and by individuals taking ownership of the problem.  A case in point.

Several years ago, when Cornerstone Performing Arts Center was faced with fiscal uncertainty due to low attendance at our performance events, we launched a successful “Pay What You Can” program, which accomplished two goals: it made our performances accessible to anyone who wanted to attend and it resulted in increased revenue from those who had the means to give more.   “Pay What You Can” is an expression of the ethics of care perspective because it leveled the playing field by providing access to every community member; no one was left out.   However, it also sent the message to the entire community that Cornerstone recognized that everyone’s situation is different and by doing so, it valued the uniqueness among city residents.  One can argue that the process of valuing the community’s collective uniqueness embraced the perspective of the ethics of justice, which no doubt appealed to many of our audience members.

The Summer of My Cracked Cello

The summer of my cracked cello started at ten o’clock in morning on Friday, June 8, 2012, when I drove into the driveway of  my cello teacher, who I will refer to as June to preserve her identity.  As I shut off my car engine, I could hear the faint sounds of a cello and I could barely see the outline of June's head, bent slightly and framed through opaque curtains, which adorned the window directly in front of the driveway.  June met me at the door and welcomed me into her ‘music room’, which contained two guitars, many paintings, a large floor to ceiling book shelf containing numerous books, a music stand and a view of two idyllic ponds, though a broad, sliding door.  I learned that her music room used to be a garage. 

A bit of background information here.  I am an experienced acoustic guitarist and bass guitarist, having formed and played in more than several ensembles during the past 30 years.  I have performed at bars, community events, nonprofit organizations, public parks, private parties and the occasional wedding.  I obtained the cello several years ago from my daughter’s teenaged friend, who urged me to trade her one of my bass guitars for it.  It has sat idle for more than 7 years and I recently decided I would make a serious attempt to learn how to learn how to play it this summer.  I have always wanted to play my acoustic guitar accompanied by a cellist but I have been unable to find a cellist interested in doing so.  Therefore, I decided to try my hand at the cello.  My goal is to perform several songs with an acoustic guitarist at a public performance before the end of 2012.

June is a delightful woman, a professor at a local university, who came highly recommended by a fellow artist and community volunteer. Her website describes her impressive experience as a musician and teacher and her many affiliations with music organizations in central Massachusetts.  Her gracious and friendly manner put me immediately at ease and she set about familiarizing me with the instrument; describing its construction, how to hold it, and how to position myself.  She picked up my cello and frowned when she saw the large crack in the front of the body, “Oh, this is not good,” she explained.  “The tension of the strings will most likely cause this crack to grow and it is located very close to the sound post,” which I learned is the area of the greatest stress.  This was unfortunate news, however the cello would be suitable for the time being.  June set about tuning my cello to her cello, which was lying on its side on the floor. We moved on to the lesson.

June picked up her cello and directed me to follow her lead.  Together, we plucked the four open strings, four times each, beginning with the highest string, the A string.  She named the notes of the four strings for me as we pulled them with our index fingers, from highest to lowest: A, D, G and C.  The sound of two cellos, being carefully plucked in that room, was quietly enchanting.  I believe I fell in love with my cracked cello at that moment.  As I pulled the strings, I could feel the vibrations in my chest and my legs, which were supporting the cello.  I could feel the texture of the strings in the tips of my fingers.  We moved on to the bow; how to hold it, how to move it, how to rock the body gently from side to side counter the push-pull of the bow. 

As the lesson came to a close, we discussed practice exercises and potential material.  We made plans to meet in about 2 months, when she would return from a summer trip.  As I returned to my car, she noticed the tattoo on my inner arm.  “A G clef,” she said as she pointed at it and smiled.  I returned her smile and placed my cracked cello in the front seat of my car, ready to begin our journey together.