Authenticity and art on the Internet

This is my comment on Charisse Baldoria's blogpost:
Flamenco Hoy: Authentic or Artificial?

Charisse asks:

For something to be authentic, does it have to be 'pure'?

My reply:

What is 'pure'?

Whether it be in art or science, authenticity, authorship and provenience have always been problematized by academics - to this very day,

imagine. But patience, as it has proven itself a friend, has taught me to deal with their academic fuddy-duddyness and foibles.

We are right now witnessing the postmodern phenomenon of an Internet which, not incidentally, grew out of a 'purely' military application; and which, through the tweaking curiosity of a few creative individuals, could not be contained in the originally intended plan.

Cultural memes that continually create and self-replicate, mutating and evolving often in unpredictable ways, flow in this ever-present virtual space. "Pure" only persists in the minds of "purists", as an ossified category. Ástor Piazzolla shocked the tango-purists in his day.

As for authenticity, and questo vale for any species of art, what or who is to be the judge?

Is Piazzolla's Fuga y Misterio authentic? Does it even matter?



An ear that is keen discerns the flow of authenticity in "carriers of the voice", the particularities of form and medium notwithstanding - song, dance, theater, film, e cosi' via. In pre-modern societies – and probably those premoderns with a well-developed writing system are not excepted – this "voice" is passed on though oral transmission. As Grace Nono in her book The Shared Voice reminds us,

"One must find one's own voice, while acknowledging that, in the oralist context, voice is never really exclusively one's own. It is equally shared by others who have informed or inspired it."

The Internet is characterized by this tribalness, aesthetically and ethically, in the making of art. Like waves of the ocean, it is hard to tell where one wave ends and where another begins. Information, and complex layered information such as is found in art, comes through-us.

And the path of self-replication and mutation of cultural memes can be traced geometrically, less as a spiral curve inscribed in a cylinder, and rather resembling a spiral curve inscribed in a cone – never tracing out the same diameter twice. (Remind me to supply illustrations → after i take my 1/3 rest)


Piazzolla: Fuga Y Misterio http://youtu.be/i53PKYzkZOQ

Question on Authenticity in art by Charisse Baldoria

Today, I am reposting classical pianist, travel junkie and Latin music blogger Charisse Baldoria's "'Flamenco Hoy': Authentic or Artificial?" for educational purposes.
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REVIEW: 'Flamenco Hoy': Authentic or Artificial?
Originally posted here February 25, 2011

For something to be authentic, does it have to be ‘pure?’

"Flamenco Hoy" ("Flamenco Today"), a live showcase of flamenco music and dance, was presented at the New York City Center from February 16-20. Directed by Carlos Saura, famed Spanish film director of flamenco-inspired movies, the touring show made its U.S. premiere, presenting flamenco in various incarnations and guises–Arabic, Jewish, and gypsy; African and South American; ballet and folk dance; pop and jazz.

In his New York Times review, dance critic Alastair Macaulay said the show presented the trappings rather than essence of flamenco and was basically inauthentic.

But what did he expect?

Is 'pure' flamenco what you'd be coming to see anyway? Taking cues from the venue, director, and musical director, one would instantly recognize that <[lp]Flamenco Hoy> was meant to be cinematic, theatrical, and jazzy, with ballet as a cornerstone. And with, supposedly, flamenco at its soul.

Sinuous silhouettes on a tangerine screen, synchronized group dancing, a flamenco ballet skit on the daily life of a dance company playing to the Boccherini fandango — theatrical, yes. Besides, the venue, a large modern theater, felt more like a /tablao/ (a theatrical flamenco dance show for a big audience) than a /peña/ (an intimate flamenco club).

In Saura’s film Flamenco (1995), choreographers Antonio Gades and Cristina Hoyos were flamenco ballet dancers, much like Flamenco Hoy’s Nani Paños and Rafael Estévez. Gades, who started as a classical dancer and Hoyos a flamenco dancer, met in the middle.

But the Saura theatricality and predilection for flamenco ballet was the wrapper, not the gift. Flamenco’s Holy Trinity of song, guitar, and dance; the tragedy, the festivity; the rhythmic, harmonic, and melodic essence–are somehow held sacred.

Rooted in the Andalusian gypsy tradition, singers Rubio de Pruna and Blas Córdoba imploded into cante jondo (deep song) despair with their traditional renditions of the seguiriyas and martinete. In the bulerías, the dancers’ spontaneous flair, and guitarist Antonio Rey’s inventive syncopations communicated its traditional festive complexity – even as it featured the piano, bass, and flute, not your typical flamenco instruments. Not a surprise, as "a bulería can swallow anything."

In flamenco nuevo fashion, there was musical director/flamenco pianist Chano Domínguez' “Let There be Light” with traditional flamenco singing caught in a brilliant dialogue with the saxophone, echoing, embellishing, reinforcing, contradicting each other in the weaving melismas of flamenco and jazz. There was his pensive "Melancolía por malagueñas" for flamenco singer and piano. There was his “Call of the Earth” for flute, cello, and piano which I myself want to play. (See VIDEO: Flamenco on the Piano)

And then there was the zambra, an hommage to Manolo Caracol, with Domínguez' rhythmic inventions and Estévez’ high-strung zapateado (flamenco tap-dancing) virtuosity starting off in a playful banter, gaining momentum together, and exploding in perfect synchronicity.

Duende or angel (spirit), as flamenco performers believe, ’possesses’, and binds together present and past.

Seen in its history as well as today, flamenco transforms, yet can become more and more itself. Drawing nourishment from its roots and raising its branches out to the world, Flamenco Hoy - flamenco today - seems to be in good health.
[post.end]

permalink: http://mylatinworld.wordpress.com/2011/02/25/review-flamenco-hoy-authentic-or-artificial
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In the next post, my comments on the above.

Duets 1 - Laura Pausini y Phil Collins

I'm studying vocal duets.

Here is a video featuring Laura Pausini and Phil Collins performing Separate Lives, posted some while back by YouTube user Mariale2007Argentina.




Notice how Laura, singing the mezzo-soprano part, tempers her power in order to be in sync with Phil's part (which takes the lead here), not drowning out his voice. This is a very good example of control by Laura Pausini throughout the performance.

Separate Lives... a song infused with the bitterness of broken relationships.

Jesus on retaliation in Matthew 5:39

Today, I'm reposting a snippet from actor / singer / wife / mommy / writer / traveler / foodie and RH advocate Lea Salonga's blog, about Jesus' teaching on retaliation, including two of the comments made in reaction to her post. The two comments had opposing views on the meaning and interpretation of the rabbi's teaching. When you read them later on, take a pause, and ask yourself which view makes more sense to you.

But first, here's what Lea had to say:

In the New International Version (En) of Matthew's gospel, in the fifth chapter, Jesus is recorded as saying:

[38] You have heard that it was said, "Eye for eye, and tooth for tooth." [39] But I tell you, do not resist an evil person. If anyone slaps you on the right cheek, turn to them the other cheek also.

Something to think about...
Written by Lea Salonga
Last updated Monday 07 February 2011 | 23:28
Not too long ago I saw a documentary about Jesus, and one of the sections struck me... apparently, in Matthew 5:3-9 [corrected - 5:39], Jesus is quoted as saying that if we are struck on the right cheek, to turn the other one to him also. The explanation given on the documentary was one that showed Jesus not as a proponent and peace and love, but of not wanting to be treated like a slave or second-class citizen.
Think of it this way... let's just say most everyone was right-handed, which meant that if you were struck on the right cheek, you were struck by the back of the right hand. The gesture is demeaning and insulting, and is only administered by one intending to put another in his or her place. By a husband to a wife; master to slave. To turn your other cheek is to demand that you be struck as an equal, and not as a subordinate, and back in the day, that just wasn't done. In short, Jesus said, "Don't let anyone demean you."
In today's parlance, Jesus said, "Don't let anyone make you his bitch."
Niiiiiiiiiiiiiiiiiiiiiiiiiiice.
I like that although Jesus teaches us all about unconditional love, He wasn't always a nice guy. Awesome.

Lea's Twitter: @msleasalonga
Carl's Twitter: @mettanewsagency

Comment #6:

An attack on punitive Judaic justice - posted by Teki on 2011-02-26 | 02:15

The entirety of Matthew 5 was actually Jesus' way of going against traditional but harsh Judaic ordinances prescribing what is called "lex taliones" (the law of retaliation). 
In Judaic times, pecuniary fines were imposed depending on the level of injury: a) striking with hands shut warrants paying a "shekel"; b) smiting the face with a double fist or using the palm of one's hands to strike a cheek imposes 200 "zuzim"; c) but if one uses the back of a hand to strike a cheek, the fine is 400 "zuzim". (Back of the hand strikes on the right cheek was considered a greater reproach.) 
Matthew 5:39 and its preceding and subsequent passages is not about being meek. Jesus was giving people "tips" about seeking grievance against injuries with the intent to fully secure justice without the need for revenge.

Comment #3:

turning the other cheek - posted by dfftan 2011-02-14 | 01:00

Hi Leah, I'm a long time fan. Regarding this passage which is from Matt 5:39, the meaning is actually the reverse of what you understand it to be. Forget left handed or right handed. The key to understanding is reading the passage 5 verses before and after it. If you do, you will see that it really means accepting the suffering. Go further to verse 44 it says, Love your enemies and pray for those who persecute you. This verse is about Love. If anyone has questions still, please email at info@defensoresfidei.com. God bless all...

What do you think? Was Jesus a prophet of social equality as much as he was a preacher of compassion and "unconditional" love?

Demanding Mind: Human Evolution

<iframe width="560" height="315" src="http://www.youtube.com/embed/fGsk6EmufxM" frameborder="0" allowfullscreen></iframe>

Demanding Mind by LPAC Basement Team, uploaded by laroucheyouth on 17 Sep 2011

In the video Demanding Mind, which takes up American geologist James Dwight Dana's elaboration of the concept of cephalization, the developments of the bodily structure and the (progressively becoming central) nervous system, producer and narrator Liona Fan Chiang poses a challenge to the viewers, asking us whether the reaching of a "maximum state, as expressed by humans," indicated the height of evolution. (11:51)


She threw the following questions: "Is this extreme centralization and control of our senses the ultimate purpose of this whole process, and is therefore evolution driving toward an end to evolution? Are we to be the ultimate sensual being? Or is this whole process yet a means to an end?" (12:00)


And here:
"This development leads us to a slightly disturbing implication. If the process of cephalization has reached a peak in the human form, does that mean that evolution into higher states has also reached its limit?" (5:33)


And here as well:
"While continuing in the same direction as demanded by mind, the emergence of mankind has marked the emergence of a species whose means of evolution has superseded change in physical form. Thought there's no doubt that, as we gain new senses, physical changes, especially in internal organization, will continue." (16:09)


I respond:
Contrary to the suggestion and preoccupation circling among those who think that human evolution may have halted, and similarly contrary to those who speculate with trepidation on the prospects of devolution, I posit that this evolutionary process is continuing. The next step has already been taken, albeit incipiently, in the form of cybernetics, robotics, and cyborgs. I suggest you check out the website of professor Kevin Warwick, if you haven't yet. Here he unveils the story of how he became the world's first cyborg in a ground breaking set of scientific experiments (and he's the guy who implanted a chip inside his arm). He presents very interesting questions, such as, "Can we use technology to upgrade humans?" http://www.kevinwarwick.com/index.asp


At this point, I believe that the Basement team and myself are in consonance on this matter of continuing human evolution, as Liona already mentioned in 16:09 (aha, play it again..) I suggest we look at the shift from a carbon-based organism to a silicon-based, or combined carbon-silicon based organism. (And of course, I would love to hear their thoughts on what I posted.)

Because

Please visit the website of the Filipino Freethinkers ~ the largest and most active group of non-believers and progressive believers in the Philippines.

http://filipinofreethinkers.org

We spearhead the fight for the passage of the Reproductive Health Bill, for responsible parenthood, and population development.

We advocate freedom of religion and freedom from religion for all.

We believe that every human being has the same rights regardless of race, religion, sex, and sexual orientation.

We promote critical thinking and the scientific method.

The featured content is excellently organized and occasionally thought-provoking ;-)

Music as a great social project

It was in 2008 that I first heard about El Sistema, or Social Action for Music. Its offical name is Fundación del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela (FESNOJIV) — Venezuela's national network of youth and children’s orchestras. It was founded by musician and economist José Antonio Abreu in 1975, and has been fully financed by the government since 1977.

Watch this video:

El Sistema oversees Venezuela's 125 youth orchestras and the instrumental training programmes that make them possible. Abreu has navigated the program for the past 35 years through ten different administrations, flourishing under both the presidents of the 1980s and the leftist administration of Hugo Chávez. Combining political shrewdness with religious devotion, Abreu has dedicated himself to a utopian dream in which an orchestra represents the ideal society, and the sooner a child is nurtured in that environment, the better for all. (Wikipedia)

This is music as social development. The maestro’s mission was to systematize music education and to promote the collective practice of music through symphony orchestras and choruses in order to help children and young people in achieving their full potential and acquiring values that favor their growth and have a positive impact on their lives in society. Envisioning an organization committed to social development through an innovative and hope-instilling music education program, distinguished by its excellence and for having a positive impact on the communities where it is implemented. Many of the communities impacted were poor communities, as was shown in the movie Tocar y Luchar.

Music allows human beings to access their spirituality, empowering them, and making each one of us more human.

As P-Noy starts his second year in office, and for the sake of this country, it would be a good thing to model our development after the Venezuelan model. Someone should whisper that into his ear.

language bridges and barriers

this morning I had the opportunity to attend a breakfast meeting of the ISACC, the Institute for Studies in Asian Church and Culture. It was very informal and was brainstorming for the most part.

after the main agenda had been laid out and the meeting was adjourned, I noticed Dr. Melba Maggay broaching an interesting topic to a foreign ISACC member who was present. They were talking about the fact that English and not Filipino is the language used by Filipino intellectuals, and Melba was explaining why and how that came to be and how English persists as the idiom of the intelligentsia.

pinoy readers reading online or the old-skool newspaper will find intellectuals of such diverse political persuasions as Randy David, Bernie Villegas, Alex Magno, and other thinkers equal to the task, writing in the English sites and papers. The Filipino tabloids are viewed as crass ephemeral, unsophisticated. Melba also shared her perception that English was "the main language of reflection". For my part I felt that I didn't know whether to agree or disagree with her statement.

we also see a language divide in the churches (both Catholic and Protestant), which hold separate Tagalog and English services.

the real dilemma comes in the fact that, in the Philippines, for highly technical subjects such as nursing, medicine, computing, and calculus, English is still the preferred (and the only) medium for textbooks, teaching materials, communication, etc.

this goes back to the tradition of the Thomasites.

the Thomasites were a group of about 500 pioneer American teachers sent by the United States government to the Philippines to teach basic education and to train Filipino teachers. Arriving aboard the USS Thomas on August 12, 1901, they established a new public school system. Although the Philippines had a public school system since 1863, when a Spanish decree first introduced public elementary education in the Philippines, the Thomasites expanded and improved the public school system, and switched to English as the medium of instruction.

on the other hand, Filipino (first spelled "Pilipino") was constructed as the new national language in the Commonwealth period by the Surian ng Wikang Pambansa. The Surian was composed of President Quezon and six other members from various ethnic groups. Tagalog, due to its extensive literary tradition, was selected as the basis but words from other Philippine languages (Cebuano, Hiligaynon, Ilokano) were also included.

the obvious impact of globalization notwithstanding -- honest reflection is required of us and we should ask ourselves why when we talk to our friends in the vernacular, we use only the colloquial vernacular and we have difficulty speaking in straight Filipino.

what does it mean for the Filipinos to identify themselves in the sense of being a “modern” nation-state, all the more when they seem to have lost the capacity to express themselves purely in their native tongue?

that is not the question.

what the problem is-- is that for the young generation now coming up in life there are so many niches, and innumerable ways of expressing themselves. But sadly, there is no single language that unites them.