Georgia's Trenton Arts Council is sponsoring an event on September 11th called “Happenings.”  Developing a multicultural event like “Happenings” is a more ambitious project than we’ve ever attempted.

Initially, the idea was to have a storytelling event. From there, the concept enlarged. It's an evening of diverse art performances that cross most performance categories.  Musicians, vocalists, storytellers, poets, and dancers have accepted the invitation.  Most of the performers are improvisers, or strongly influenced by improvisation.  

Should the cultural focus be on Caution or consciousness? The issue had been resolved in earlier conversations.  There was no hesitation in planning. We were interested in the edge. We did not comply with the fear that people would be offended. We presumed that what the audience would want is an honest exploration of the forms and ideas, rather than a careful adherence to supposed beliefs. A flamboyant honesty, rather than a flabby caution, we presumed, is what the audience would most appreciate. We all agreed that a compromising caution did not, in fact, build an audience. 

The issue of definition continually erupted at preparatory meetings. Primarily, we needed to define for ourselves what character of event we were willing to expend energy to create. We also had to consider what kind of an event would generate audience interest. We decided that exploring edges and definition were the primary responsibilities of artists. Rather than orient toward the commercial and entrepreneurial aspect of being artists, or performers, we felt that there was a serious lack of deeper investigation.

Few of the many art events actually focus on this aspect of the arts. We also realized that an audience is more likely to be interested in something that explores meaning rather than a carefully crafted entertain-ment dictated by the arts council. 

The broad definitions of performance reflected by the diverse artists are another strength.  Juxtapositions create definition, particularly when they are unexpected, as much as each performance is definition.

Differing grounding histories among the performers rather than a unified theme is a strength. The context will influence how each performer is seen/understood. Each artist becomes a part of the entire event. 

The September 11 date was chosen initially because it was an available date in the fall. We did not consider the history of 9/11 as an aspect of the event, but that has become impossibility. The date resonates strongly among people and we have been asked repeatedly if our event is commemorative. We have begun explaining that it is a celebration of life. Rather than dwelling on the darkness of 9/11, it is a rejection of those fears. None of the performers have been asked to acknowledge that date. The elements that shape "Happenings" are constantly shifting, and will continue to shift, until that date. My perception of the event is influenced by every element that becomes involved. The event is defining itself. 

Historically, happenings were outgrowths of painters' needs in the 60's, as though performances burst off the canvases. They were completely exploratory. We adopted that word as a means of referencing that energy and focus. When asked by various people what a happening is, I could explain that a happening is what happened.  

The more structured sense of the event's meaning is coming from the artists and the nature of their work.  On September 11th, the event will have defined itself. It will have happened. 

As we began inviting performance artists to the event, I noticed a discrepancy between what was emerging and what I expected. I had thought of the avant garde as an energy striking against the stifling greater society. I expected a ‘Howl’ like anguish. That is not what is emerging. There's a strong thread of a spiritual character. Most of the performances are and graceful and refreshing. Although there is a political thread intertwining the whole, the central focus seems to grow from spiritual traditions. There is an ease these performers have within a general community that exceeds any previous avant garde. There is a populist base rather than a railing against the narrowness of popular culture. The performers radiate a sense of a broad community base rather than an elite of artists performing for each other. 

"Happening" will be fun. A complete and updated list of all the performers is at www.Trentonartscouncil.org.  Once there, press the "Happenings" button.

ARTISTS' COMMENTS

Artist Jill Burton: 

I suppose it is fair to say I am exploring the intersections of free improv, performance art and energy healing.
 
It has always been quite a challenge for me to find the right language to talk about what I do.  Around 20 years ago, I realized what I was actually doing with my improvised performances was hooking into the vibrational energy in the room--my own energy, that of the audience and of the room itself--and using my voice and movement to play with that energy and move it around.  I had long considered the energy body to be part of a person's voice; I began to perceive blockages, pattterns and movements in the vibrational energy surrounding my students.  I realized I was actually doing healing work, and I began studying various energy work modalities and incorporating those ideas into my performance and teaching.
 
I experimented with calling it Performance Healing or  Energy Art.  I'm still not sure what to call it.  When I was 50 years old, I took a trip to Alaska.  I was on a small ship cruising the shockingly beautiful Inner Passage of Southeast Alaska.  The first day, in Glacier Bay, I felt powerful frequencies being activated in my body in ways that I had never felt before. I knew I had to spend more time in that frequency.  I move to Sitka, Alaska and for six years, I had the enormous privilege of working with two Tlingit storyteller/shamans.

It has not become any clearer to me, intellectually, what I am doing with my improv performance energy.  I am still finding ways to define and describe the work.  I don't seem to fit any category, but am always on the edge, going deeper and deeper into chaos and order.

Artist Rich Curtis:

I am an interdisciplinary artist that explores a range of historical and cultural references. I commonly use my voice as a primary medium for performance and sound compositions. My interest is in exploring the limits of the human voice and finding ways of incorporating vocal sound with a range of incidental or environmental sounds. I perform various material from written texts to scripted non-verbal sounds to free-improvised extended vocal techniques. For the Happenings festival I will be presenting a series of short compositions of original work as well as historical Dada sound poems.

Artist Sydney Roberts:

NADA is a relatively new group that will join HAPPENINGS in Rising Fawn. Kirtan is a call and response form of yoga--a devotional meditation on the names of God that is set to music and allows for much improvisation as the spirit moves the participants. We have a sitar, harmonium, 4 drummers, and vocalists and we sing in Sanskrit. 

The words are easy to learn--mostly it is repetition of a mantra. There is no story or drama in the songs. It is a simple and moving form of connection. We sing, the audience repeats what we sang.

"Kirtan is singing of God's name with feeling. Such singing and prayer has a benign effect on both the physical and subtle bodies. It is an excellent method of soothing the nerves and directing emotions to a positive goal."- Swami Sivananda