Bryan Anderson, LeAnne Howe response

I have been to the theatre a few dozen times so far in my life. Every time I have gone, I have seen one of three types of performances: a play, a musical, or a concert of sorts. I therefore was quite unsure what to expect from LeAnne Howe's one-woman show "Choctalking." 

Once the show began, I found myself in a sort of "active scan" mode trying to determine what particular part of the performance is the deciding point for me. This strategy, I realize now, really almost defeated the whole purpose of finding a moment. Possibly as a result of this constant scanning, I never really did have a deciding moment during the performance. Partially, though, I feel as though I never got the chance. The entire performance was only about one hour long, half of what I was subconsciously. I feel as though I was holding out for something, expecting it to occur later in the performance. 

I suppose since I did not have a particular deciding moment, I can only reflect on some of the smaller things that jumped out at me. The first thing that I noticed was her "acting attitude." She seemed tired, as though she had told her story so many times that she was almost at a point of questioning it. Whether this particular rhetorical feel was intentional or not, it definitely had an effect in how I perceived the performance. Whether this effect was positive or negative, I am honestly not entirely sure. 

The structure in which she told her various experiences was also something that I am ambivalent about. This stories taken as whole seemed rather interesting, but the constant jumping between them created a type of choas that did not work well for me. I kept having a problem where my mind would wander for a moment only to find that the performer had again changed stories. I noticed that she read from a text, and I feel like if I read the text rather than having seen it performed, the chaos factor would have been decreased. I suppose it also would have helped if I was just able to focus my mind on what was going on, which is obviously a fault of my own. 

I suppose the "best" moment for me was the ending scene when all the emotion was derived from each story and combined into a sigular boisterous culmination. Even this scene though seemed to have an aire of exhaustion similar to the one I mentioned in the beginning. Whether or not this was the attention, again, remains unknown.

Running and Chcotalking

LeAnne Howe’s one-woman show last Saturday, “Choctalking,” was alternately intriguing, confusing, riveting, and a hard-to-describe feeling of something missing - like a nearly complete jigsaw puzzle missing a vital piece. What stayed with me the most in the days after the performance was the idea of running. Howe was running from her religious schoolteacher, running after a woman in Gaza, running to help in the airport cafeteria in Oklahoma. These different episodes and many others followed each other out of sequence, as if Howe was “unstuck in time,” like Kurt Vonnegut’s Billy Pilgrim in Slaughterhouse Five. The vignettes returned over and over, becoming more ramified in each telling, reinforced with video clips and audio montages. These multimedia elements were some of the most successful. It’s difficult to make multimedia that adds to an artistic performance, instead of being a distraction.

Running is the main link in “Choctalking.” In the Q and A afterwards, Howe said it was her way into the work - that now, having finished it, she could finally stop running. That’s a powerful image. But the running seems to happen for different reasons at these different times in her life, and I’m not sure if it’s a powerful enough link to tie the whole performance together. I didn’t get the sense that the work made a unified, coherent statement: it felt instead like a bunch of vignettes unstuck in time, loosely tied together. Why did she jump in time from her childhood, to the Oklahoma diner, to Gaza? I was never entirely sure. At the end she burst out in a peroration - I can’t remember the exact words - against discrimination, of all kinds. Again, it’s loosely tied to her experiences as a young girl in the Oklahoma religious school, the Oklahoma airport diner, the people she met in Gaza. But I got the feeling that these things were all contingent - they happened because of the circumstances that Howe has encountered in her life - she was trying to make sense of these circumstances. And discrimination is too vast a subject, too indiscriminate in its crushing power, to be the main insight of these vignettes. She’s almost got it - I feel she’s getting close to the shape of her life - but it still feels to me as if she’s grasping for meaning, trying to force meaning out of the contingencies of life, instead of discovering it.

Life after the Speech Bubble

Ok, I'm putting myself out there by posting this...so I hope it makes sense!


A white speech bubble appeared on the projection screen. My ears followed the special effects sound as I looked up to dark wall. The word “What?” flashed before my eyes. Before I had time to find a meaning for “What?” the audience erupted in laughter. The characteristic silence of the audience was shattered. I sat more upright in my Studio Theatre seat.

My mind traveled backward in time as I tried to remember what I read in the program that was handed to me just forty-five minutes earlier. I wasn’t sure if LeAnne Howe’s Choctalking on Other Realities was a comedy because the beginning of the performance took a serious, narrative style.

I rejoined the audience with a few giggles. I wasn’t exactly sure why everyone else was laughing because I had been lost in thought for part of the performance. I was absorbing all of the multimedia aspects of the show from sound to lighting to the video projection. Professor Howe’s words made the show, but for me, at times her speech simply complemented the other elements illuminating the theatre.

The speech bubble reminded me of returning home for Christmas break this year to my family who had continued life without me. I secretly hoped I wouldn’t miss anything going on in our suburban town or within the walls of our four-bedroom home, but not all wishes come true. Life had continued on in the Whalley house for the past four months. At each family dinner, more “inside jokes” were revealed that caused both of my sisters to finish each other’s sentences and then laugh for the next five minutes. I tried to chime in but I couldn’t place that movie phrase, or piece of dialogue in any of my memories. “Oh Lauren, this happened at Papa’s birthday party…so everyone was gathered around the table…” I tuned out my sister’s attempt to include the college girl into the conversation.

LeAnne Howe’s experience as a citizen of the Choctaw Nation of Oklahoma could leave many people out of the loop and unable to relate but her fiction and this performance in particular was interesting because while I didn’t grasp each detail, I especially appreciated the “running” metaphor. Her show led my mind in directions that I hadn’t anticipated and I’m grateful for that. The “What?” made me go “WHAT?!” but I needed that to jolt my attention back to the Studio Theatre.

that VOICE reading

Just to confirm from the email Philip Graham sent earlier today - the VOICE reading series is not this evening, but instead February 27. So please write your 400-word post on Professor Howe's performance for Thursday's class. See you then!

Hello!

Hi everyone! I am very happy that I finally figured out how to post on this site. I am definitely technologically impared:) Well, my name is Maggie Sack, and I am from Elmhurst, Il. I am currently an English major, but I am also deciding to double major in creative writing. In high school, I was an editor for our school newspaper and was published in our literary magazine. Also, I was the captain of my cross country and track team. I am very excited about this class because I have great interest in artistic endevours! See you in class!

Dispatch assignment

In the spirit of Philip Graham's Dispatches from Lisbon, before next Thursday's class we'd like you to post here (or on paper) your impressions from either of the upcoming two events: LeAnne Howe's performance on Saturday night in KCPA's Studio Theatre, or next Tuesday's VOICE reading at KAM. These, like most evening events on campus, begin at 7:30 pm.

Keep your post short and focused, no more than 400 words. As Philip said, "the one moment in the piece that cuts; that delights; when you realize you’re about to fall asleep." Be open to things that resonate in your own life experience.

If you're ambitious, you can try to write both events, but keep in mind the 400 word count. Good luck!

LeAnne Howe on The Daily Show

In May 2007, The Daily Show featured a segment on Chief Illinwek featuring LeAnne Howe, the artist we'll see this Saturday.

The Daily Show With Jon StewartM - Th 11p / 10c

Trail of Cheers

Barack Obama Interview
John McCain Interview

Sarah Palin Video
Funny Election Video

Notes to Soothe the Savage Cells

Here's a link to an interesting article in the New York Times by a man fighting cancer, who lists and describes the music he's listening to.  He feels this is helping him cope with his health struggles.  An unusual range that includes Johnny Cash, Mastodon, Howlin' Wolf and Jeff Buckley.  Can art help us get better?  

About Bryan Anderson

Hello Everyone.

My name is Bryan Anderson. My first home is in Homer Glen, Illinois, which is situated southwest of Chicago, near Joliet.

From what I recall from my farthest memories, I have always held a deep interest in culture of virtually any kind. Whether the prominent minds of ancient Rome, or the destitute farmers of modern India, I house a longing to understand the countless perspectives that life has provided for on this planet.

This desire has manifested itself in my currently chosen major: Anthropology. This aspiration guided me to choose Anthropology in the same way that it guided me to partake in this class. FAA 199 seems as though it may be the perfect class for someone like me. From what has been presented thus far, it appears that this exploration will provide a relative microburst of invaluable perspectives facilitated through various means, a proverbial goldmine. Having said that, there really is no event in particular I would prefer to attend. Each experience, regardless of whether I enjoy it or not, will have value. 

I am reading this, and I realize that it is...flowery...and...self-indulgent. I apologize.

about me

Hello all,

My name is Luna Pierson. I was born in San Fransisco, California and moved to Urbana, Illinois when I was 10. Both of my parents were artists who introduced me to many kinds of art when I was young. I tried an art class in high school and realized I was not as gifted as my parents, but I still appreciate art to its fullest. I played saxophone and soccer for 4 years in highschool. My fathers side of the family lives in Europe where I go to visit almost every summer. This summer I visited Versaille which was one of the most spectacular sights Ive ever seen. I am in Landscape Architecture and hope to bring art and the earth together. I am very interested in the art shows, performances and the opera. Im probably the most excited about the circus just because it will make me feel like a kid again. I can't wait to see what this class shows me.

About Me

Hi everyone!  

My name is Lauren and I'm from Lake Forest, Illinois, which is a suburb north of Chicago. I'm an English major and I'm pretty excited about this blog because I haven't done one like this before. It is a nice change of pace from my formal paper assignments.

On that same note, I'm looking forward to this class because it is different from any class I have taken previously. In high school, I ran track and cross country and participated in a variety of clubs including Student Council and the newspaper. Currently, I'm an editorial intern for the Illio Yearbook...you might not have known that colleges have yearbooks, but we do! I am also a Food & Drink writer for Buzz magazine. I'm trying to figure out what I may want to do in the future with writing. Lastly, I joined a sorority last semester. So I'm keeping busy!

As I mentioned in class, I was never into drama, school plays but I don't mind public speaking. Although, that is not to say that I'm not interested in art and performances. I think it's a great opportunity to utilize what KCPA has to offer. The events I'm most interested in attending this semester are Cirque Eloize, as I'm sure most of you are as well, and the SITI performances. But I must admit, I have never been to the opera and so I'm anxious to attend one of the opera performances.

I think that's all I have to say about me and I hope I'm posting this to the right place...but I'm looking forward to a good semester!

Welcome to FAA 199!

We're going to try running this course as a blog this semester - each of you will be receiving an invitation to join the blog as a contributor. For your first post (due before Thursday's class), please write an introductory paragraph about yourself, where you're from, what is your major, etc. Also, please list any of the events we'll be going to this semester that you are especially interested in.

Welcome - we're looking forward to it!

Readings from three Lisbon dispatches

Read and be prepared to discuss, on Thursday, January 22nd:

"Let's Throw a Festival!"

"The Moon, Come to Earth"

"Chama-Me Ishmael"

Course Schedule

Tue 1/20 - class: short, introductory meeting; using Blogger (Most weeks we will meet only on Thursdays.)

Thur 1/22 - class: blogging and criticism; Philip Graham, Dispatches from Lisbon

Thur 1/29 - class: music criticism? tour KAM exhibit during class
6-8 pm, "Something That Happened Only Once," KAM, public opening reception

Sat 1/24 - 7:30 pm, LeAnne Howe, KCPA

Tue 1/27 - 3:30 pm, VOICE Reading Series, KAM

Thur 2/5 - class: discuss VOICE, LeAnne Howe
7:30 pm, Warhol Conversations, KAM

Thur 2/12 - class: discuss Warhol?
7:30 pm, Eve Ensler - Necessary Targets, KCPA;
7:30 pm, Steve Gornan/Fareed Haque duo, Sudden Sound (ST)

Tue 2/17 - 7:30 pm, New Music Ensemble, KCPA

Thur 2/19 - class: discuss New Music Ensemble
7:30 pm, Wolf Quartet, KCPA Great Hall
7:30 pm, Opera: Rappacinni's Daughter, KCPA Festival Theatre (through 2/22)

Thur, 2/26 - class: discuss Wolf Quartet, Opera

Tue, 3/3 - 7:30 pm, Cirque Eloize, KCPA (through 3/4)

Thur, 3/5 - class: discuss Cirque Eloize

Sat, 3/7 - 7:30 pm, Sinfonia da Camera, KCPA

Thur, 3/12 - class: discussion of Sinfonia concert

Fri, 3/13 - 7:30 pm, Mark Morris Dance, KCPA (through 3/14)

Sun, 3/15 - 3 pm, Aswat, KCPA

Tue, 3/17 - 7:30 pm, New Music Ensemble, KCPA

Thur, 3/19 - class: discuss Mark Morris, Aswat, NME

[Spring Break, 3/21 - 29]

Tue, 3/31 - Anna Deavere Smith, KCPA

Thur, 4/2 - class: intro to Jennifer Monson workshop
5:30 pm, Jennifer Monson workshop, KAM

Thur, 4/9 - class: Grand Theft Auto - tour and discuss KAM exhibit

Wed, 4/15 - 7:30 pm, Mariza, KCPA

Thur, 4/16 - class: discuss Mariza
7:30 pm, Pacifica Quartet, KCPA

Wed, 4/22 - 7:30 pm, Charles Rosen, KCPA (pianist/author)

Thur, 4/23 - class: discuss Rosen

Sat, 4/25 - 7:30 pm, SITI, "Under Construction" KCPA

Tue, 4/28 - 7:30 pm, SITI, "Who Do You Think You Are" KCPA Playhouse

Thur, 4/30 - class: discuss SITI (final class meeting)
7:30 pm, Opera: Hansel & Gretel, KCPA (through 5/2)

Course Syllabus

ART │ CREATIVITY │ DIVERSITY
FAA 199
SPRING SEMESTER 2009

Section C - Tuesday and Thursday, 2:00 - 3:20 p.m.
Collections Resource Laboratory, Krannert Art Museum

Professors:
Philip Graham, Creative Writing

241 English Building

333-2391

p-graham@illinois.edu

Office hours: Monday/Wednesday, 1-3 PM

Stephen Taylor, Music
Music Building 5042
333-3712
staylor7@illinois.edu
Office Hours: TBA

This course invites inquisitive students from all areas of the university to engage in conversations about diversity, the arts, and the creative process. The course will be structured around a series of artistic experiences – from new-media installations and experimental dance performances to classical music and opera. Students will attend performances and exhibitions; meet and interact with artists and performers; and examine the important issues and values associated with diversity and the creative process in the context of our lives and experiences. The subject matter of the course will range from high art to street art, tradition to experimentation, the familiar to the unfamiliar, the local to the global – all seen through the lens of the artistic experience. Prior knowledge of the arts is not required. The most valuable prerequisites for the course are intellectual curiosity and enthusiasm about the arts.

Admission to performances and exhibitions will be provided without charge to students enrolled in this course.

COURSE REQUIREMENTS

Attendance and Participation – Regular attendance and participation in classroom discussion will be critical to your success in this course. Attendance will be taken at every class meeting and required performance/exhibition. You will be allowed a total of two absences (excused or unexcused) for the semester; for each absence beyond that, three points will be deducted from your final grade.

Performances/Attendance and Ticket Policy – If you miss a performance/exhibition or in-class activity, you must make up that absence. Please consult with the professors within one week of the absence to find an acceptable alternative activity.

There are several optional events listed on the syllabus, and others will be announced throughout the semester. Optional events may be attended, and short response papers (2 pages) written, for extra credit. Two points will be added to your final grade for each extra paper written, with a maximum of 6 extra credit points awarded over the course of the semester.

For performances/events that take place outside of the regular class meeting time, the class will meet in the lobby of the Krannert Center for the Performing Arts (near the ticket desk) 15 minutes before the start of each performance. At that time, tickets will be distributed and we will share some final remarks about the upcoming performance. Please be aware that latecomers will not be allowed into the theater once a performance has begun; it is the responsibility of the student to arrive before the start of each performance.

Academic Integrity Policy – The university maintains a strict policy on academic integrity; it is expected that all work submitted will be original and your own. The complete policy is available online in the Code of Policies and Regulations Applying to All Students; ignorance of the policy is not an excuse for infractions against it.

Assignments – In addition to attendance and classroom participation, your grade will be based on a series of informal written assignments that express your impressions of the artistic experiences of the course. These are not research papers, but rather, will take the form of journal entries or personal reflections. The papers can take a wide variety of forms: prose, poetry, lists of ideas, etc., and should be crafted around your own observations or ideas about performances/events as they relate to the course conversation. They should not be simple synopses or reviews, but should contain insights that struck you, or reactions you had, while watching/viewing the activities and while discussing them in class.

These assignments, which must be approximately 3 pages (750-850 words) each, will be due every two weeks, and will be graded on your engagement with the materials and the ideas of the course. The written assignments will be due at the start of class on the dates noted below.

About the Classroom – The Collections Resource Laboratory (CRL) is a public space in the midst of the museum galleries. Please be respectful of other museum visitors and tours that may be happening in the nearby galleries. Backpacks, food, and drink are not allowed into the museum or the CRL. Notebooks and pens/pencils are allowed, and should be brought to each class meeting. Students must leave backpacks in one of the coin-operated lockers at either entrance to the museum. (Use of the lockers will require a quarter, which will be returned to you when you retrieve your bag after class.)

Your final grade will be determined by the following:

Written assignments 50%
Class participation 50%
Attendance (see policy, above)
Optional materials/extra credit (see policy, above)