(MUSIC)
>>> THANK YOU FOR JOINING US ON
"AT ISSUE."
I AM H. WAYNE WILSON.
AT THE END OF THE MAIN HALLWAY
AT THE PEORIA COUNTY JUVENILE
DETENTION CENTER, THERE IS A
LARGE MURAL.
IT IS A PAINTING OF A POND.
THERE IS A BIG FROG IN THE
MIDDLE OF THE POND.
AND IT IS THERE FOR A REASON.
WE KNOW FROM EXPERIENCE THAT
YOUNG PEOPLE ARE HIGHLY
INFLUENCED BY THE ARTS. AND IN
THIS PARTICULAR CASE, THAT MURAL
HAS MADE IMPROVEMENTS IN THE
LET'S CALL IT THE PERFORMANCE OF
THOSE JUVENILES WHO ARE AT THE
DETENTION CENTER.
THEY HAVE DONE BETTER IN THEIR
SCHOOL WORK, AND IT IS A CALMING
INFLUENCE IN THE DETENTION
CENTER.
AND TO FURTHER DISCUSS THE
IMPACT OF ART IN EVERYONE'S
LIFE, ESPECIALLY AT THIS TIME OF
YEAR, I HAVE ASKED THREE LEADING
ARTISTS OF CENTRAL ILLINOIS TO
JOIN ME FOR THE CONVERSATION.
FIRST LET ME INTRODUCE TO YOU
LONNIE STEWART.
LONNIE IS A SCULPTOR AND PAINTER
WHO HAS STUDIOS IN CHARLESTON,
SOUTH CAROLINA, AND IN PEORIA,
AND HAS DONE WORK ALL OVER THE
WORLD.
THANK YOU FOR JOINING US.
>> THANK YOU FOR HAVING ME.
>> ALSO WITH US IS KEVIN
STEIN.
KEVIN IS -- CHECK THAT, WAS THE
POET LAUREATE FOR THE STATE OF
ILLINOIS FOR 14 YEARS HE WAS THE
POET LAUREATE.
HE IS NOW RETIRED FROM THAT
POSITION AND YOU ARE NOW RETIRED
FROM BRADLEY UNIVERSITY.
>> THAT'S CORRECT.
>> WE THANK YOU FOR JOINING US.
HAPPY TO BE HERE. AND ALSO WITH
US IS GEORGE STELLUTO. GEORGE
IS MUSIC DIRECTOR FOR THE PEORIA
SYMPHONY ORCHESTRA.
HE IS ALSO THE ASSOCIATE
CONDUCTOR FOR RAVINIA, AND HE IS
A MEMBER OF JULLIARD SCHOOL.
THANK YOU FOR BEING WITH US.
>> THANK YOU.
>>I MENTIONED THE MURAL AT THE
PEORIA COUNTY JUVENILE DETENTION
CENTER AND THE IMPACT IT HAD ON
THOSE YOUNG PEOPLE.
SO I'D LIKE TO HEAR FROM EACH OF
YOU WHAT YOUR THOUGHTS ARE ON,
IN YOUR PARTICULAR DISCIPLINE,
WHAT IMPACT YOU THINK ART HAS,
NOT JUST ON YOUNG PEOPLE, BUT IN
LIFE IN GENERAL.
GEORGE, WHY DON'T YOU START US.
>> WELL, FOR ME, THE IMPACT OF
THE ARTS OCCUR ACROSS A SPECTRUM
OF YOUR OWN DEVELOPMENT,
YOURSELF, YOUR COMMUNITY, AND
THE ECONOMY OF A COMMUNITY.
THERE IS ALL KIND OF RESEARCH
NOW THAT SHOWS THAT THIS IS
THESE THREE THINGS ARE REALLY
IMPACTED BY THE ARTS IN A
HEALTHY COMMUNITY.
BUT THE FIRST THING I THINK
ABOUT WHEN I THINK ABOUT WHAT
ART MEANS TO ME, IT REQUIRES
REFLECTION AND IT REQUIRES AN
INTERACTION BETWEEN A CREATOR
AND A RECEIVER.
AND SO CREATOR HAS TO REFLECT IN
ORDER TO CREATE, AND A RECEIVER
HAS TO REFLECT IN ORDER TO
CREATE MEANING FOR THEMSELVES.
SO THAT'S KIND -- THAT'S KIND OF
WHERE I SEE IT, IF YOU WILL.
>> SO THERE MIGHT NOT BE ART IF
I DIDN'T RECEIVE --
>> YES.
>> THE MUSIC.
>> YES, THERE IS ACTUALLY SOME
PHILOSOPHERS THAT HAVE SAID THAT
IT IS KIND OF A MULTI-LEGGED
STRUCTURE, IF YOU WILL, THE KIND
OF REAL ART WHERE IT ACTUALLY
EXISTS THAT I CAN CREATE
SOMETHING, BUT IF YOU DON'T
RECEIVE IT OR YOU DON'T EVEN
UNDERSTAND IT OR TRY TO, IT
REALLY DOESN'T COME INTO AN
EXISTENCE.
SO IT IS KIND OF ONTOLOGICAL
THEORY OF ART, BUT IT IS AN
INTERESTING ONE THAT I THINK
KIND OF MAKES ME THINK A LOT
ABOUT THE IMPORTANCE OF WHAT I
AM DOING FOR THE PEOPLE THAT ARE
HEARING THE MUSIC.
>> AS A POET, KEVIN, DO YOU --
POETRY IS NOT AT THE FOREFRONT
OF OUR DAILY THOUGHT.
SO HOW DO YOU CREATE SO THAT WE
CAN RECEIVE WHEN IT COMES TO
POETRY?
>> WELL, OF COURSE, THAT'S ANY
ARTIST'S GREATEST CHALLENGE HOW
TO MAKE A PERSONAL ART THAT HAS
INTERPERSONAL RELATIONS AND
CONNECTIONS.
I THINK AS EARLY AS 8 BC HORACE
LAID IT OUT PRETTY WELL FOR A
POET IN HIS ARS POETICA.
HE TALKED ABOUT A READER AND
TALKED ABOUT A WRITER AND HE PUT
THE POEM RIGHT IN THE MIDDLE.
AND ALL THREE MUST BE THERE FOR
THAT ART TO EXIST.
I'D LIKE TO THINK OF IT THIS WAY
THAT A COOKIE IS PROBABLY NOT A
COOKIE UNTIL IT IS EATEN, AND A
POEM IS NOT A POEM UNTIL IT IS
READ.
I THINK THE SAME WITH A MUSIC,
WITH SCULPTURE, WITH PAINTING,
THE ENJOYMENT OF THAT, THE
ENGAGEMENT OF THAT.
BECAUSE IT IS AN EXPERIENCE, AN
AESTHETIC EXPERIENCE THAT ONE
RECREATES IN ENGAGING THAT ART.
>> LET ME ASK
I REMEMBER VISITING WITH YOU OUT
AT YOUR HOUSE.
I HAD READ THE POEM THAT YOU
WERE GOING TO READ, I
INTERPRETED IT IN A CERTAIN
CAPACITY, AND I ASKED YOU FOR
VIDEO PURPOSES, I SAID WOULD YOU
PLEASE READ THIS POEM.
AND YOU READ IT DIFFERENTLY, AND
I AM SITTING THERE GOING, I HAVE
GOT A LITTLE DIFFERENT MEANING
FROM IT BECAUSE OF YOU READING
IT AS OPPOSED TO ME READING IT.
MAYBE THAT'S BECAUSE YOU READ IT
OUT LOUD, AND I READ IT
SILENTLY.
BUT PERFORMANCE COUNTS.
>> POEM IS AT ROOT PERFORMATIVE.
IT'S ROOTS ARE IN THE MEASURE OF
SONG AND DANCE.
IT IS ABSOLUTELY PERFORMATIVE.
FOR ME, IT TAKES INDEED A LOT OF
PRACTICE THAT PERFECT IT.
IT IS NOT SOMETHING THAT YOU
DASH OUT.
AND POETRY, REMEMBER, EARLY ON,
YOU PUBLISHED A POEM IN ANCIENT
ROME WHEN YOU READ IT ALOUD TO A
GROUP OF PEOPLE IN PUBLIC, IN
THE FORUM.
THAT WAS PUBLICATION WHEN IT WAS
SHARED AND PUBLICLY PERFORMED.
I AGREE WITH THAT NOTION.
POETRY AND ARTS HAVE A PUBLIC
FUNCTION AND A PUBLIC ROLE THAT
IS KEY.
IT IS IN MANY WAYS REVIVIFYING
FOR THE COMMUNITY TO ENGAGE WITH
ART ON A DAILY BASIS.
NOW THERE IS A POETRY WEB SITE,
TITLED "POETRY DAILY."
IT GETS WELL OVER 3 OR 400,000
HITS A DAY.
NOW WHETHER IF IT COULD BE
200 MILLION, IT MIGHT BE A
BETTER THING.
BUT THERE IS THE NEED TO ENGAGE
THE PUBLIC WITH A VERY PRIVATE
OR PERSONAL ART FORM.
>> MAYBE YOU CAN START TWEETING
SOME POETRY.
>> (LAUGHING) 140 CHARACTERS.
>> I THINK THEY EXPANDED IT,
ISN'T IT 280.
>> AN OPUS.
(LAUGHING)
>> THAT'S RIGHT.
LONNIE, KEVIN MENTIONED THAT YOU
HAVE TO PRESENT IT, AND THERE
WAS A TIME WHEN WE DID IT
PUBLICLY.
NOW SOME OF YOUR SCULPTURE WORK
IS ON PUBLIC DISPLAY, THE EAGLE
OUT AT THE SHOPS AT GRAND
PRAIRIE FOR INSTANCE.
>> I HAVE SEVERAL ON DISPLAY I
THINK AROUND THIS AREA, RIGHT.
AND IT IS VALUABLE FOR AN ARTIST
TO RECEIVE RECOGNITION FOR HIS
WORK AND PARTICULARLY IF IT IS
POPULAR, YOU KNOW.
BUT -- AND IT DOESN'T REALLY
HAVE TO BE POPULAR IN A POSITIVE
WAY AS LONG AS IT IS LOOKED AT
AND FELT.
I MEAN THERE HAS TO BE AN
EMOTIONAL RESPONSE FOR THE
ARTIST TO BE SATISFIED WITH THE
VIEWING, PUBLIC VIEWING.
BUT I THINK THAT A LOT OF PEOPLE
THINK ART HAS TO BE PLEASANTLY
RECEIVED, AND I DON'T THINK
THAT'S TRUE AT ALL.
I THINK AS LONG -- AND AN
ARTIST--
I FEEL AN ARTIST'S PURPOSE IS TO
CREATE HIS EXPERIENCES WITH LIFE
AND LOOK AT EGON SCHIELE. IT IS
ABSOLUTELY IMPORTANT TO RECORD
WHAT YOU FEEL AROUND YOU, AND
THAT CAN START AT A VERY EARLY
AGE.
I FEEL AN ARTIST'S PURPOSE IS
RECORD LIFE FROM BIRTH TO DEATH.
AND THAT CAN BE BEAUTIFUL.
THAT CAN BE SERENE.
THAT CAN BE HORRIFYING, WHATEVER
IT IS.
IT IS NOT NECESSARILY THE
RECEIVER PERCEIVES IT AS ARTIST
BECAUSE OFTEN IT IS NOT THAT
CASE.
BUT THE ARTIST HAS TO BE TRUE TO
HIMSELF IF HE REALLY PRODUCES
WORK THAT IS SUCCESSFUL.
>> HOW IMPORTANT IS IT THAT IN
CITY OF PEORIA, WE NOW HAVE A
SCULPTURE WALK DOWN WASHINGTON?
>> I THINK IT IS WONDERFUL.
I THINK IT IS VERY IMPORTANT,
AND I WISH WE COULD SEE MORE OF
THAT IN EVERY CITY.
FIRST OF ALL, THE ARTIST -- WE
HAVE SOME REALLY WONDERFUL
ARTISTS AROUND HERE, AND NOW
THEY ARE EXPOSED.
OTHERWISE, THEY ARE JUST IN THE
STUDIO, AND IT IS SAD.
THERE HAS TO BE MUCH MORE OF
THAT.
>> WHAT ABOUT STREET MUSICIANS.
WOULD THAT APPLY?
WE DON'T SEE TOO MANY IN PEORIA,
BUT IN NEW YORK YOU WOULD HAVE
THAT EXPERIENCE.
>>IT APPLIES BECAUSE I HAVE DONE
CONDUCTING DOWN IN SAO PAULO,
BRAZIL.
THEY HAVE WHAT THEY CALL CHOROS
OR CHOROS LITTLE STREET GROUPS
THAT PERFORM.
AND, YOU KNOW, YOU TALK ABOUT
THEIR EXPERIENCES, YOU LOOK AT A
COMPOSER LIKE VILLO LOBOS, AND
HE GREW UP THERE.
AND SO A LOT OF HIS MUSIC
INCORPORATES THE EXPERIENCES OF
THE CHOROS ON THE STREETS.
AND IT IS OFTEN THE CASE THAT
THE RESPONSE OF THE PUBLIC --
AND I DON'T MEAN CRITICS. I MEAN
THE PUBLIC, THE HONEST RESPONSE
TO ART IS OFTEN SOMETHING THAT
INSPIRES THE ARTIST FURTHER.
AND I THINK WITH VILLO LOBOS
CERTAINLY THAT WAS THE CASE.
>> ONE OF THE THINGS IN DOING A
LITTLE BIT OF RESEARCH ON THIS
ISSUE, I FOUND THAT MANY PEOPLE
REFERRED TO ART AS A REPOSITORY
OF A SOCIETY'S MEMORY.
SO, KEVIN, IN TERMS OF POETRY,
WE CAN LOOK BACK AT GREEK
POETRY.
WE CAN LOOK BACK AT ROMAN
POETRY, AND IT IS A REFLECTION
OF THEIR LIFESTYLE ALMOST.
>>IT IS A CONNECTION, A HUMAN
CONNECTION.
OVER CENTURIES, OVER IONS, OVER
DIFFERENCES, REAL AND IMAGINED
IN CULTURE, AND THAT'S THE
SUSTAINING ELEMENT.
THE ANCIENT TO GREEK WORD FOR
POETRY
POESIES TRANSLATES "TO MAKE."
IN THE RENAISSANCE, POECY WAS
EXACT DUPLICATE FOR MAKERS.
SO ARTISTS ARE MAKERS, AND THEY
MAKE THINGS OF THE WORLD THEIR
RESPONSE TO THE WORLD. SOME OF
THAT IS KNOWN.
YOU KNOW WHAT YOU ARE DOING,
OTHER TIMES YOU DON'T KNOW WHAT
IT IS YOU ARE DOING.
AND SOMETIMES THAT'S A HAPPY
RESULT, AND OTHER TIMES IT IS A
BACK-AT-IT AGAIN.
I THINK THE POINT THAT LONNIE
MADE, I DON'T WANT TO LET IT
DROP IS THAT POETRY AND ARTS,
MUSIC, SCULPTURE PAINTING, IS
MEANT TO BE DISRUPTIVE,
BEAUTIFULLY DISRUPTIVE IN SOME
CASES, OTHER TIMES IN DISRUPTIVE
IN MORE UNGST FILLED WAY IF YOU
WILL.
ARTISTS ARE SUPPOSED TO TAKE YOU
OUT OF YOURSELF AND JOIN YOU
WITH SOMETHING LARGER AND
BIGGER.
FOR ME, THAT'S THE EXCITING PART
OF IT.
OFTEN AFTER A DAY OR MORNING OF
WRITING, I FEEL I RESURFACE WHEN
I COME UP TO GET A GLASS OF
ORANGE JUICE FOR EXAMPLE.
>> THAT'S AN INTERESTING
POINT -- IGNORE THE NOISE.
(LAUGHING) THAT WAS ONE OF THOSE
INTERRUPTIONS THAT JUST --
>> DISRUPTIVE.
>> DISRUPTIVE.
>> PERFORMANCE ART.
(LAUGHING).
>> APPROPRIATELY TIMED.
SO TO KEVIN'S POINT OF WE FIND
TIME TO READ THE POEM OR TO TAKE
IN THE SCULPTURE, TO LISTEN TO
THE MUSIC.
ARE WE IN TOO MUCH OF A RUSH
TODAY?
>> WE ARE IN TOO MUCH OF A RUSH
BECAUSE THE ART -- INTERACTION
WITH ART REQUIRES REFLECTIVE, A
REFLECTIVE TIME, BOTH AND WHEN
YOU ARE RECEIVING AND EVEN AFTER
TO DO WHAT I CALL FINDING
YOURSELF IN THE ARTWORK.
AND, YOU KNOW, WE ARE SO RUSHED
AND WE ARE SO IN A HURRY, THAT
WE ARE -- WE ARE IN DANGER OF
LOSING THAT ASPECT OF OUR LIVES
WHICH I THINK IS ALSO VERY
IMPORTANT FOR JUST, YOU KNOW,
REFLECTION AT THE END OF THE DAY
THAT HELPS YOU MAKE SENSE OF
YOUR LIFE.
I WANT TO KIND OF TELL A LITTLE
QUICK STORY ABOUT IN THAT WHEN I
WAS IN AUDITIONING FOR GRADUATE
SCHOOL, I WAS IN NEW HAVEN,
CONNECTICUT, AND I HAD DONE MY
AUDITION, AND I WENT TO THIS
LOCAL PIZZA PLACE, AND I SAT
DOWN.
IT WAS CROWDED LIKE YOU COULDN'T
BELIEVE, AND SO THIS
CONSTRUCTION WORKER COMES UP AND
THERE IS ONLY ONE CHAIR LEFT AND
IT IS AT MY TABLE.
HE WAS ALL DIRTY AND EVERYTHING.
HE SITS DOWN AT MY TABLE AND HE
SEES MY VIOLIN CASE.
HE SAYS, HE STARTS GOING INTO A
MONOLOGUE ABOUT BEETHOVEN'S
FIFTH SYMPHONY AND HIS DIRTY
CLOTHES AND THICK ACCENT.
HE IS LIKE, YEAH, I HEARD THAT
BEETHOVEN FIFTH SYMPHONY.
I THINK THAT GUY REALLY
STRUGGLED, BUT HE KEPT WITH IT
AND HE TRIUMPHED.
IF I WOULD HAVE SEEN THIS GUY ON
THE STREET, I WOULD HAVE CROSSED
TO THE OTHER SIDE OF THE STREET.
WHEN HE GOT UP AND LEFT, I
REALIZED I JUST GOT SCHOOLED BY
SOMEBODY ABOUT WHAT THE ARTIST
BECAUSE HE TOTALLY FOUND HIMSELF
WITHIN THE ARTWORK.
AND I THOUGHT ISN'T THAT WHAT
BEETHOVEN WOULD WANT YOU TO DO.
JUST LITTLE MOMENT OF REFLECTION
THAT HE TOOK TO JUST SIT AND
LISTEN TO SOMETHING GAVE HIM A
NEW PERSPECTIVE.
>> IS THAT A STRUGGLE WHEN YOU
ARE WRITING, IN YOUR CASE,
KEVIN, YOU WRITE A POEM, THAT DO
YOU HAVE AN IDEA OF WHAT YOU
THINK THE MESSAGE IS FOR THE
READER OR IS IT "I WILL LET THEM
DECIDE"?
>> WELL, I DON'T THINK I KNOW
OFTEN.
WHEN I DO KNOW WHERE POEM IS
GOING, I DON'T FEEL THERE IS A
NEED TO PURSUE IT.
IT IS DONE.
IT IS FINISHED.
SO, FOR ME, ART AND THE MAKING
OF ART IS ALWAYS A GREAT VENTURE
IN DISCOVERY, ACT OF DISCOVERY.
AND IF I AM NOT AMAZED, BUT
FROST HAS A GREAT PHRASE IN THIS
REGARD, NO SURPRISE FOR THE
WRITER.
NO SURPRISE FOR THE READER.
I THINK FROST IS EXACTLY ON
TARGET THERE.
>> SO THAT WOULDN'T BE TOO GOOD?
>> (LAUGHING) WELL, A POEM THAT
DOESN'T HAVE A SURPRISE FOR THE
WRITER IS A BAD POEM, YEAH.
>> LONNIE, WHAT DO YOU THINK OF
WHEN YOU ARE AT LEAST PUTTING
THE MAQUETTE TOGETHER AND HOW
YOU WANT TO PORTRAY A PARTICULAR
INDIVIDUAL OR SCENE?
>> WELL, WHEN I AM WORKING ON A
MAQUETTE AS YOU SAY, FIRST OF
ALL, YOU HAVE TO LAY DOWN THE
FOUNDATION, AND THAT'S RESEARCH
AND IT IS AND INSPIRATION IS
VERY IMPORTANT.
AS I SAID EARLIER THIS
AFTERNOON, I THINK THE BASIS OF
ANY ARTIST IS INSPIRATION AND
RESEARCH.
AND IF YOU ARE NOT RECEIVING
THAT, THEN IT IS NOT GOING TO BE
WORTHWHILE TO PURSUE AND MUCH
LIKE WHAT YOU SAID, KEVIN.
AND I THINK THAT I PROBABLY HAVE
TO FEEL ALL OF THOSE THINGS
BEFORE I START A MAQUETTE.
I DON'T REALLY SKETCH MY WORK
FIRST.
I JUST START.
AND I START WITH CLAY.
I WORK A -- I FORMULATE ALL THAT
IN MY HEAD, AND THEN I JUST
START WELDING THE ARMATURE AND I
GO WITH THAT.
TEDDY ROOSEVELT AND I AM WORKING
ON THE HORSE.
HE WAS QUITE AN EQUESTRIAN, AND
I WANTED THE HORSE TO BE ALMOST
AS IMPORTANT, THE MOVEMENT OF
THE HORSE AS HIS -- AS THE
RIDER, AS TEDDY.
AND I THINK IT IS A CHALLENGE
WHICH YOU LOVE.
I REALLY DO.
AND I LOVE HIS EXPRESSIONS AND
WHO HE WAS.
I LOVED HIS POSTURE, AND I AM
SCULPTING HIM AT ONE POINT OF
HIS LIFE WHICH IS SOMETHING I
RARELY DO. WHEN I DID CARL
SANDBURG IN GALESBURG, I DIDN'T
REALLY WANT A PARTICULAR PERIOD
OF TIME, YOU KNOW, REPRESENTED.
I WANTED HIS ESSENCE. YOU CAN'T
REALLY LOOK AT HIM AND THINK
THAT IS, YOU KNOW, CARL SANDBURG
AT THE AGE OF XX.
SO IT IS IMPORTANT TO GET ALL OF
THAT IN YOUR HEAD BEFORE -- OR
AT LEAST FOR ME BEFORE I START.
>> SO IT IS AN EVOLUTIONARY
PROCESS?
>> IT IS DEFINITELY AN
EVOLUTIONARY PROCESS, YEAH.
>> HOW OFTEN DOES A POEM CHANGE
AS YOU WRITE IT.
>> IF ONE IS LUCKY.
IF ONE IS LUCKY.
I AGREE WITH LONNIE.
I DO A GREAT DEAL OF RESEARCH
AHEAD OF TIME ABOUT THE SLINKY.
INVENTION OF THE SLINKY.
I HAD TO DO A LOT OF READING
ABOUT THAT.
BUT I DIDN'T KNOW WHAT I THOUGHT
ABOUT WHAT I HAD LEARNED UNTIL I
BEGAN THE PROCESS OF MAKING THE
POEM.
AND THEN OVER TIME, OVER
REVISION, THE POEM OFTEN REVEALS
ITSELF TO YOU.
THAT'S WHAT I MEAN WHERE I DON'T
KNOW WHERE I AM GOING.
I KNOW WHAT I THINK MY CONSCIOUS
IDEAS ARE, BUT HOW THEY WILL
UNCONSCIOUSLY BLEND IS SOMETHING
THAT IS REVEALED IN THE PROCESS.
>> THAT'S FUNNY BECAUSE THAT'S
SOMETHING I DISCUSS WITH YOUNG
MUSICIANS A LOT WHEN WE ARE
LOOKING AT SCORES AND
EVERYTHING.
I SAY PEOPLE ARE GREAT AT
ANALYSIS OF TAKING IT APART, BUT
WHAT WE DO IS SYNTHESIS.
WE HAVE TO TAKE ALL THESE
COMPONENTS AND PUT THEM TOGETHER
INTO SOMETHING MEANINGFUL.
SO THAT'S -- I AM GLAD YOU SAID
THAT.
>> SO WHEN YOU ARE PREPARING FOR
A CONCERT, YOU WANT TO PRESENT A
PARTICULAR PIECE IN A PARTICULAR
WAY. IS THERE A PROCESS?
I SUPPOSE IT IS DIFFERENT EVERY
TIME, BUT IS THERE A MESSAGE YOU
WANT TO GET ACROSS THE TO THE
AUDIENCE, LAST TIME WE DID THIS
PARTICULAR SYMPHONY,
I DID THIS, AND NOW I WANT TO
PRESENT IT IN A TOTALLY
DIFFERENT WAY.
>>YEAH, IT IS A PROCESS, BUT IT
IS A PROCESS THAT TAKES PLACE
OVER YOUR ENTIRE LIFETIME.
SO IF I AM DOING A BRAHAM'S
SYMPHONY, AND THIS IS ANOTHER
THING I SAY TO STUDENTS, YOU CAN
CRAM ALL THE TECHNICAL ASPECTS
OF THE SYMPHONY INTO YOUR BRAIN,
BUT WHAT SHOULD HAPPEN OVER
PERIOD OF YOUR LIFETIME, EVERY
TIME YOU GO BACK TO IT, IT IS
LIKE COMING BACK TO VISIT AN OLD
FRIEND AND FINDING THINGS OUT
YOU DIDN'T KNOW ABOUT THEM.
WE GET TOGETHER AFTER TEN YEARS
AND SAID, I DIDN'T KNOW YOU
LIKED BASEBALL.
SO YOU DISCOVER THESE THINGS.
SO IT IS THE WAY THE SYNTHESIS
HAPPENS THAT SHOULD BE EVOLVING
BECAUSE THE TECHNICAL ASPECTS OF
THE SCORE DON'T CHANGE, SEE.
SO IT IS THE MEANING EVEN THAT
PERFORMER HAS TO CREATE THE
CHANGES.
>> LET ME ASK ALL THREE OF YOU,
IF YOU COULD--THIS MAY NOT BE AN
EASY DISCUSSION, BUT WHAT DO
CENTRAL ILLINOISIANS NEED TO DO
TO BETTER APPRECIATE MUSIC,
SCULPTURE, POETRY, NAME AN ART?
WHAT -- AS A CONSUMER OF ART,
HOW COULD I BETTER APPRECIATE
WHAT WE HAVE HERE IN CENTRAL
ILLINOIS AND BETTER APPRECIATE
POETRY?
>> KEEP YOUR HEAD UP.
KEEP YOUR EYES OPEN.
THERE IS A LOT GOING ON.
A TERRIFIC PERFORMANCE POETRY
SCENE HERE.
A LOT OF LIVELY YOUNG WRITERS,
AND FROM ALL RACES, ETHNIC AND
ECONOMIC BACKGROUNDS.
THEY ARE UPHOLDING THAT ROMAN
TRADITION OF PERFORMING IN
PUBLIC.
THERE IS A LOT OF ART, AND THERE
IS A LOT OF MUSIC AVAILABLE.
I AM ALWAYS JUST HUMORED BY MY
FRIENDS WHO SAY, WITH GREAT BACK
WATER OF PEORIA, AND THEY COME
HERE AND THEY ARE LIKE "THERE IS
STUFF TO DO" AND IT IS ARTISTIC.
I SUPPOSE KEEP ONES AYES OPEN.
NOTE THINGS, PAY ATTENTION TO
WHAT YOU SEE ON VARIOUS LIST
SERVES AND BOARDS AND ART
ORGANIZATIONS.
THERE IS A LOT GOING ON EVERY
FRIDAY NIGHT AND EVERY SATURDAY
IN PEORIA.
>> I MIGHT LEARN SOMETHING NEW.
I THINK ONE OF THE MAIN THINGS
WE HAVE TO DO IS FIGHT AS HARD
AS WE CAN TO GET ART BACK INTO
OUR SCHOOLS.
AND CURRICULUMS TO EXPOSE
CHILDREN TO ART AT EARLY AGES
WHERE THEY WOULDN'T HAVE BEEN.
IT IS VERY SAD TO SEE IT
DISINTEGRATE.
I THINK WE NEED IT.
>> AND I WOULD AGREE WITH HIM
AND TO ANSWER A YOUR QUESTION, I
WOULD SAY THAT JUST TO HAVE
COURAGE TO GO OUT AND EXPLORE,
AND NOT BE AFRAID, AND DON'T
FEEL LIKE, YOU KNOW, YOU DON'T
HAVE TO BE AN EXPERT TO GO TO
HEAR A GREAT SYMPHONY.
YOU DON'T HAVE TO BE AN EXPERT
TO GO SEE AN ART EXHIBIT OR READ
A POEM.
YOU ARE SUPPOSE TO DEVELOP WITH
IT.
THIS WHOLE POINT THAT LONNIE
MAKES ABOUT THE SCHOOL SYSTEM I
THINK IS INCREDIBLY IMPORTANT
BECAUSE ALL THE LATEST BRAIN
RESEARCH IS NOW SHOWING THAT
INTERACTION WITH THE ARTS, NOT
JUST AS YOU ARE DEVELOPING, BUT
AS THROUGH YOUR WHOLE LIFE AS
YOU ARE LIVING FOR JUST THE
MAINTENANCE OF THE WAY YOUR
BRAIN WORKS IS VERY HEALTHY AND
IMPORTANT.
AND ART CAN BE -- BY THE WAY, I
WENT TO THE MUSICAL INSTRUMENT
MUSEUM OUT IN PHOENIX.
>> GREAT.
>> IT IS A FABULOUS EXPERIENCE.
MUCH MORE ENLIGHTENING THAT I
EVER DREAMED.
BUT IT SHOWED ME SO MUCH ABOUT
THE DIFFERENT MUSIC AROUND THE
WORLD AND HOW PEOPLE APPROACH
MUSIC.
AND TO THAT POINT, LONNIE, YOU
ARE HAVING THE OPPORTUNITY TO GO
TO ZAMBIA.
>> RIGHT.
>> CAN YOU TELL US ABOUT THAT
AND HOW IMPORTANT IT IS TO BRING
THAT ARTWORK TO AMERICA.
>>IT IS VERY IMPORTANT.
THESE ARTISTS ARE EXTREMELY
TALENTED. WHEN I SAW THEIR
PORTFOLIOS, THEY HAVE PORTFOLIOS
REPRESENTING THEIR SCHOOL.
I WAS BLOWN AWAY JUST BLOWN AWAY
THEY ARE GOING TO TEACH ME MORE
THAN I AM GOING TO TEACH THEM.
I AM PROVIDING SOME VEHICLES FOR
THEM TO TRY NEW MEDIA.
AND THAT'S VERY EXCITING FOR ME,
AND TO KNOW THAT THEY ARE GOING
TO BE SHOWN IN NEW YORK. AND IT
IS WONDERFUL BECAUSE THE WORLD
WILL SEE THESE ARE CHILDREN,
KNOW, AND THEY ARE JUST
MARVELOUS.
AND I THINK, REALLY, HONESTLY,
THERE SHOULD BE MORE EXHIBITIONS
OF CHILDREN'S WORK BECAUSE
CHILDREN HAVE THE BEST
IMAGINATIONS AND FASCINATION,
AND INSPIRATION, AND IT IS GREAT
TO SEE, TO SEE THAT.
>> SO BROADEN OUR PERSPECTIVES
BY HAVING ART FROM YOUNG PEOPLE,
FROM HAVING ART FROM AFRICA AND
GO TO THE MUSICAL INSTRUMENT
MUSEUM.
I MEAN I WAS JUST STUNNED AT
WHAT IT MEANT TO ME.
REAL QUICK STORY.
YOU MAY NOT LIKE THIS, BUT THE
MOST IMPORTANT INSTRUMENT, BEST
KNOWN INSTRUMENT IN THE WORLD IS
INSIDE THIS CASE.
AND IT WAS EMPTY.
IT WAS THE AIR GUITAR.
(LAUGHING)
>> ACTUALLY, I DO LIKE THAT.
(LAUGHING)
>> BUT THAT IS A FORM OF ART.
REAL QUICKLY, THIS IS THE
HOLIDAY SEASON.
THE ROLE OF ART AT THIS TIME OF
YEAR, IS IT DIFFERENT THAN OTHER
TIMES?
>> I THINK WE THINK IT IS
DIFFERENT.
WE WELCOME IT AND WE ACCEPT IT
IN WAYS WE DON'T IN THE REST OF
THE YEAR.
WE GIVE OURSELVES OVER TO
NOSTALGIA THIS TIME OF YEAR.
WE GIVE OURSELVES LICENSE TO
BROOD ON THINGS.
WHAT INTERESTS ME A LOT OF
STUDIES, PSYCHOLOGICAL STUDIES
SHOW NOSTALGIA NOT ONLY CONNECTS
YOU TO THAT TIME, THAT MOMENT,
BUT IT AFFECTS THE CURRENT
MOMENT AND THE FUTURE.
FOR EXAMPLE, IF YOU THINK ABOUT
A LOVING GATHERING OF BUNCH OF
YOUR PALS IN THIS GROUP IT IS 20
YEARS AGO, RESEARCH HAS SHOWN IT
MAKES PEOPLE WANT TO MORE
ACTIVELY CREATE LOVING
RELATIONSHIPS, CIRCLES OF
FRIENDS IN THE MOMENT IN THE
FUTURE.
PART OF WHAT WE DO IS JUST
NOSTALGIA, HAS AN AFFECT ON THE
MOMENT.
>> GEORGE, MUSIC AT THIS TIME OF
YEAR.
>> WELL, IT IS FUNNY YOU MENTION
THIS BECAUSE WE ARE PROGRAMMING
A CONCERT CALLED "WINTER
DREAMS."
AND I WANTED TO DO A PROGRAM
THAT WASN'T HOLIDAY MUSIC SO TO
SPEAK, BUT WAS JUST THE KIND OF
IMPRESSION OF WINTER THROUGH THE
PRISM OF THE MINDS OF SOME GREAT
COMPOSERS.
THERE IS TCHAIKOVSKY, WAGNER,
VAUGHAN WILLIAMS.
SOME GRAVITATE TOWARDS HOLIDAYS,
AND SOME GRAVITATE TOWARDS THE
PHYSICAL QUALITY OF WINTER.
VIVALDI'S WINTER HE REPRESENTS
CHATTERING OF TEETH IN THE COLD.
SO I THINK IT IS IMPORTANT IN
THE HOLIDAYS, BUT I THINK IT
BECOMES AS KEVIN WAS SAYING, IT
JUST BECOMES OUR PERSPECTIVE IS
A LITTLE DIFFERENT.
>> AND ON THAT CHILLY NOTE, WE
WILL SAY THANK YOU TO GEORGE
STELLUTO WHO IS THE MUSIC
DIRECTOR FOR THE PEORIA SYMPHONY
ORCHESTRA, TO
LONNIE STEWART, PAINTER AND
SCULPTOR BASED IN CHARLESTON AND
PEORIA.
>>PRIMARILY PEORIA.
>> PRIMARILY PEORIA.
>> AND THANK YOU TO KEVIN STEIN
WHO IS RETIRED AFTER 14 YEARS,
ILLINOIS POET LAUREATE.
YOU WILL BE SHARING YOUR LIFE IN
BRECKENRIDGE AND WHERE NOW.
>> THAT'S CORRECT.
>>WELCOME TO RETIREMENT.
>> THANK YOU.
>> AND THANK YOU FOR JOINING US
ON THIS EDITION OF "AT ISSUE."
NEXT WEEK, IT IS CONGRESSMAN
DARIN LaHOOD WITH ALL THAT IS
HAPPENING IN WASHINGTON D.C.,
THIS SHOULD BE AN INTERESTING
PROGRAM.
PLEASE JOIN US NEXT TIME ON "AT
ISSUE."
(MUSIC)
Không có nhận xét nào:
Đăng nhận xét