Wednesday, July 31, 2013

Unforgettable


“Where words fail, music speaks.” 

― Hans Christian Andersen


Noted neurologist Dr. Oliver Sacks studies the impact of music on people who are dealing with the extreme challenges of neurological disease or injury, such as Alzheimer's and Parkinson's.
“Humans are uniquely able to produce and enjoy music—very few other animals can do so. But not only is music one of the fundamental ways we bond with each other, it literally shapes our brains. Perhaps this is so because musical activity involves many parts of the brain (emotional, motor, and cognitive areas), even more than we use for our other great human achievement, language. This is why it can be such an effective way to remember or to learn. It is no accident that we teach our youngest children with rhymes and songs. As anyone who can’t get an advertising jingle or a popular song out of their head knows, music burrows its way deep into the nervous system, so deep, in fact, that even when people suffer devastating neurological disease or injury, music is usually the last thing they lose.” — "Wired for Sound" by Dr. Oliver Sacks
NPR's Weekend Edition Saturday host Scott Simon's voice is warm and familiar to listeners across the country.  As a radio interviewer, he knows how to ask a great question and how to listen.  Simon attributes his respectful demeanor to his mother in this playful interview, “A Son, His Mom and a Story about a Dog”, which was recorded and shared to promote the 2012 National Day of Listening, a StoryCorp project which encouraged people to sit down with a loved one and record a meaningful conversation.  The StoryCorp website has a fantastic List of Great Questions for anyone looking to conduct an interview.

This week, attention has been paid to a beautiful conversation between Simon and his mother, which shared an extremely personal moment. Simon used Twitter to share his love and grief with 1.3 million followers, as his mother, Patricia Lyons Simon Newman entered the hospital on July 21, and passed away on July 29.  His account of their time together in the hospital, written in short lyrical bursts has led readers to think about good deaths and good lives, and caused people to pay notice in a new kind of storytelling.

"I don't know why people have responded so powerfully. I think this is obviously a singular event that not only has to do with the death of my mother and the universal experience that is for all of us really but I think that also has to do with the impossible to duplicate presence of my mother, who was a one and only. So I don't try and analyze that."

Simon and his mother sang together, and his tweets are sprinkled with references to songs that he and his mother sang together in the hospital, Que Sera Sera, We'll Meet Again.  

When Simon is interviewed on NPR's All Things Considered, he speaks about the outpouring of empathy that he has received from the millions of people following his rite of passage.
...it means a lot to our family because they all seem to say that they're not just saying, giving condolences to me as someone they know, but that something my mother said meant something to them. It's very gratifying. 
Host Audie Cornish asks if there is a song that they can play in tribute to his mother to close the interview, listeners can hear his loving voice break.
"She and I sang to each other a lot, in the ICU. I wish I could tell you it was grand opera. The song that kept popping up and we kept singing to each other, is Nat King Cole singing 'Unforgettable 'and I will hear that song again for the rest of my life and I bet I will sing it to my wife and sing it to my children. I will never hear that song without thinking of my mother.”




Tuesday, July 30, 2013

Progressive Lenses

The eyes are the windows to the soul 

— a proverb and some science

I went to my annual eye check up yesterday and learned that it’s time for progressive lenses!

Progressive lenses help you to see both far away and close up, all with the same pair of glasses.

A few years ago, this phoropter was made in cool colors like blue and orange.

This is a photo of the inside of my eye. The white spot is the retinal "cup" at the back of the eye, where the optic nerves go to the brain.

The optometrist can compare a new photo with one taken years ago to see if there are any changes to the inside of the eye.
   
Because I am getting progressive lenses, the centers of my lenses are marked to align with my pupils.

I used to wear contacts, but I had to stop because they were negatively impacting the health of my eyes.

My new glasses should be ready by the start of school!


Sunday, July 28, 2013

Mapping Out A Sky

Each summer, members of the Rooftop Art Committee meet to talk about the opportunities for arts learning that we see ahead, and we begin to identify the works of art for study that are available for community exploration.  We discuss possible themes that we hope our school community will enjoy exploring. Over the past 7 years, we have implemented these ideas and grown an arts education program known at Rooftop as "Art Is..."
Art Is... is a Rooftop art education program that uses works of art to provide an inexhaustible resource for exploration, reflection and understanding. The program actively engages students, supports learning across the curriculum, and builds critical thinking skills through “hands-on” art making, reflection and research.

Art Is... will bring works of art (music, dance, theater and visual art, with a focus on multicultural work) to all Rooftop students and develop partnerships between teachers, teaching artists, arts organizations and art parents to develop integrated, interdisciplinary curriculum that will support learning for all students.

Rooftop's Art Is... studies have framed areas of exploration, in hopes of helping the Rooftop school community to connect art and life with learning: 

Coming Together (2012-2013), Expression (2011-2012), Illumination (2010-2011), Innovation (2009-2010), Shaping Memory (2008-2009), Jazz (2007-2008), Asawa (2006-2007).

The choosing of the works of study is a purposeful act of curation. As we begin our eighth year of engaging the community through this model, we should note that we are now working in a time of great transition.  At the systemic level, the purposes, processes, challenges and successes of an educational system are being examined, and at the school site, new ways of teaching are being implemented. Of course, each new school year brings change as families and teachers enter and exit.

http://www.hbs.edu/pelp/framework.html
The SFUSD Strategic Plan Progress report puts forward this Theory of Change.
If we
• engage students, families and the community in this effort;
Then, every student who enrolls in our schools can achieve his or her maximum potential.
• deliver a rigorous core curriculum with high quality instruction and a results oriented equity mindset;
• invest in adult learning, leadership, and change; and
• engage students, families and the community in this effort;
Then, every student who enrolls in our schools can achieve his or her maximum potential.
This Theory of Change, created by the Harvard Business School, sets out to establish a formula for success with quantifiable educational outcomes. But what of the aspects of learning that are much harder to measure, and no less important to a life?

Important personal discoveries such as passion, wisdom, empathy and purpose.


ART IS A WINDOW

First Lady Claudia “Lady Bird” Johnson said, “Art is the window to man’s soul. Without it, he would never be able to see beyond his immediate world; nor could the world see the man within.”

After eight years of creating “Art Is...” studies, we have gathered quite a bit of information, resource materials and experience.  It’s a good time to take stock of things.  A letter written on September 11, 2006, when the program began, offered some thoughts about the role of the arts in shaping the soul of a community. 
When we make art, we leap without ever completely knowing how and where we will land. The detours, the myriad of choices, the surprises and the resulting illumination are the reasons why the arts can transform a life, or even a community.
Today, the works of art and the people who have come together to work are different, but hopefully, the passion and purpose for the art-making — the desire to transform the ordinary is still the same. 

With three weeks until the start of school, it’s time to go to the window and pull back the curtains.
Take a good look around and get started. Time to begin mapping out your slice of the sky.

Window to the Sky by seren*


Pausing on a Sunday

Chicago Shakespeare Theatre and The Art Institute of Chicago put together an unusual art-meets-life experience on an ordinary Sunday.

They removed some of the characters from a very familiar painting.

photo: Leo Burnett

Bit by bit,
Putting it together...
Piece by Piece-
Only way to make a work of art.
Every moment makes a contribution,
Every little detail plays a part.
Having just a vision's no solution,
Everything depends on execution:
Putting it together-
That's what counts!*


Some museum-goers noticed that there was something missing.


It's only new, though. for now,
And yesterday's forgotten.
Today it's all a matter of promotion,
But then —*

The event was dreamed up locally by Chicago ad agency Leo Burnett and shared globally via social media.

That is the state of the art, my friend,
That is the state of the art *

Drop by the Google Cultural Institute for a “State of the Art” view of La Grande Jatte.


*lyrics from “Putting It Together from Sondheim’s Sunday In the Park with George.

Saturday, July 27, 2013

A Magic Portal

TED is a nonprofit devoted to Ideas Worth Spreading. It started out (in 1984) as a conference bringing together people from three worlds: Technology, Entertainment, Design.

At TED's annual staff retreats, everyone has to get up and talk about something -- either about work, or about something interesting from their own lives. In fall of 2012, TED's Lisa Bu prepared a talk about her love of reading. The quiet, funny and efficient Content Distribution Manager brought down the house, with a story that was too good not to share. Lisa is the first TED staffer ever to be invited to speak on the mainstage at the TED Conference.

As a young girl of growing up in Hunan, China in the 1970's, Lisa had dreams of becoming a Chinese opera singer, but received little encouragement or support from the adults in her life to pursue her dream. Chinese Opera students start their acrobatic training from a very early age, and at the age of 15, Lisa knew that she had missed her window of opportunity.
My dream would never come true. I was afraid that for the rest of my life some second-class happiness would be the best I could hope for.
She was determined to find another dream. With no one around to teach her, Lisa realized that books could help her to discover who and what she wanted to be.


Lisa talks about comparative reading, gaining insight by reading books in pairs, a standard academic practice that she used in her job as a researcher. She began thinking about her reading in a new way.
“Compare and contrast gives scholars a more complete understanding of a topic.  So I thought, well, if comparative reading works for research, why not do it in daily life too?” 
She thoughtfully pairs the books that she reads using a kaleidoscope of criteria. She reads books about different people involved in the same event or she might read the same stories in different genres. She reads similar stories from different cultures, and she even reads in different languages.
“Books have given me a magic portal to connect with people of the past and the present. I know I shall never feel lonely or powerless again. Having a dream shattered really is nothing compared to what many others have suffered. I have come to believe that coming true is not the only purpose of a dream. Its most important purpose is to get us in touch with where dreams come from, where passion comes from, where happiness comes from.” 
The Common Core Reading Standards for Literature K-5, “Integration of Knowledge and Ideas” invites students to “compare and contrast” while reading.  

Will the grown ups remember that books and reading are a way for kids to discover dreams, passion and happiness?

Be sure to watch for the signs...


Friday, July 26, 2013

When I Grow Up

A scenic design model of Matilda The Musical by Tony-nominated designer Rob Howell.

Matilda The Musical tells the story of an extraordinary little girl who decides that her story is going to be an astonishing one, despite a bad beginning filled with rotten parents, a terrifying school and a vicious head mistress.

In Act Two, the children imagine what adulthood is like and sing “When I Grow Up.”


When I Grow Up

Music and Lyrics by Tim Minchin
Book by Dennis Kelly
Based on the book Matilda by Roald Dahl, with illustrations by Quentin Blake

When I grow up,
I will be tall enough to reach the branches
That I need to reach to climb the trees
You get to climb when you're grown up.

And when I grow up,
I will be smart enough to answer all
The questions that you need to know
The answers to before you're grown up.

And when I grow up,
I will eat sweets every day,
On the way to work, and I will
Go to bed late every night.
And I will wake up
When the sun comes up, and I
Will watch cartoons until my eyes go square,
And I won't care 'cause I'll be all grown up.

When I grow up (x 4)...
I will be strong enough to carry all
The heavy things you have to haul
Around with you when you're a grown up.

And
When I grow up (x 3)...
I will be brave enough to fight the creatures
That you have to fight beneath the bed
Each night to be a grown up.

And when I grow up,
I will have treats every day,
And I'll play with things that mum pretends
That mums don't think are fun.

And I will wake up
When the sun comes up and I
Will spend all day just lying in the sun.
And I won't burn 'cause I'll be all grown up.
When I grow up...

(Ms. Honey:)
When I grow up,
I will be brave enough to fight the creatures
That you have to fight beneath the bed
Each night to be a grown up.

When I grow up...

(Matilda:)
Just because you find that life's not fair, it
Doesn't mean that you just have to grin and bear it.
If you always take it on the chin and wear it, nothing will change.
Just because I find myself in this story,
It doesn't mean that everything is written for me.
If I think the ending is fixed already,
I might as well be saying I think that it's OK,
And that's not right!

— lyrics via themusicallyrics.com

Sing-A-Long with the “School Song”





As her classmates arrive with the usual nervousness of a child going to school for the first time, the older children do nothing to dispel their fears, instead warning them that even putting in effort there, is a waste of energy ("School Song").


Transferring Energy: The Journey of Matilda


The creators of Matilda talk about the show's origins at the Royal Shakespeare Company in London and the transfer of the show across the pond to Broadway — from Playbill, “The Journey of Matilda”

Noses Pressed against the Glass

Skye, Henry and Smudge at the Window



A nose is to be nosey with.


— from Ruth Krauss and Maurice Sendak's Open House for Butterflies




Thursday, July 25, 2013

I Was a Teenage Art Curator



Audrey Banks received more than 700 submissions from about 300 artists after putting out a request for submissions from artists ages 12 to 19. She put out the word through her Facebook event page, had high school students around the city post fliers, and contacted art teachers and youth programs at museums like the Museum of Modern Art and the Brooklyn Museum.

Banks was an intern at No Longer Empty, an organization that “takes empty lots, storefronts waiting to be rented out, and temporarily turns them into art galleries.” NLE Curatorial Lab ("NLE Lab") has a 12 week program that guides participants through six distinct phases:

1) Fundamentals of curating;
2) Historical and community based research;
3) Development of exhibition themes and selection of artists;
4) Creation and installation of the exhibition with all the supplementary materials;
5) Running the exhibition and public programming and
6) Evaluation and impact assessment.

*******

NURTUREart is dedicated to nurturing new contemporary art by providing exhibition opportunities and resources for emerging artists, curators and public school students. Check out their Flicker Photostream and PDF exhibition catalog.

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The Young Curators of the Montclair Art Museum in New Jersey offers an intensive 7 month excursion for high school juniors and seniors into the business of curating. Each participant took an in-depth look at one work of art.


John Baldessari (b. 1931)
"Two Unfinished Letters," 1992-3
Photolithograph
Ed. 60/80
Sheet: 31 ½ x 21 in.
33 ¾ x 23 ¼ x ½ in.
Gift of Beth and George Meredith
2005.23.1

*******


Curate This! is a student project directed by Sabatini Gallery associate curator, Betsy Roe at the Topeka Public Libary, for selected, area high school youth.

Students work with a curator to choose artwork from the Library’s permanent collection for exhibition in the front gallery (Hirschberg Gallery). They are also asked to create the text panels, write curator’s statements and work with our Communications & Marketing department on various marketing elements.

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The Urbano Project's Young Curators respond to a theme while working with staff to produce exhibitions and events in Boston.

Interactive media artist Alison Kotin and performance artist Risa Horn worked with students to explore their Boston neighborhoods, considering physical, social, and cultural boundaries between communities. Why do we only visit certain neighborhoods and never go to others? What does the city look like from the point of view of a visitor? What do you love or hate about your own neighborhood? Where do you feel safe? As we travel to many sites throughout the city, we are working collaboratively to create a large art installation, live performance projects, and a web-based interactive project.

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The Art Institute of Chicago's Curate IT offers students the chance to create their own exhibitions via the Digital Youth Network. Mary Erbach, Assistant Director, Interpretive Exhibitions and Family Programs, Art Institute of Chicago


How to Write A Label, Curation by the Art Institute of Chicago, Teen Programs.


The Open Windows of Science

“Even if the open windows of science at first make us shiver after the cozy indoor warmth of traditional humanizing myths, in the end the fresh air brings vigor, and the great spaces have a splendor of their own.”

Bertrand Russell, What I Believe, 1925

*******

Ten startlingly beautiful images of viruses, cells, and proteins — some more than 7 feet in diameter and others 7 feet square — greet people passing the David H. Koch Institute for Integrative Cancer Research in Kendall Square.
“These are windows into what we do,’’ said Robert Urban, executive director of the Koch, which will be dedicated today. “These are a storefront. You can imagine what’s going on here by looking through that window.’’

*******


When Volker Steger was given the assignment to take portraits of a dozen Nobel Prize winners in science, he decided to conduct an experiment. He asked the scientists to draw their award winning discoveries. 
“Nobody gets a prior warning. That is essential. I don’t want to get another Powerpoint presentation,” says Steger. “They come in, surprised by the lights and the setup. Then, I simply ask them to ‘make a drawing of what you got the Nobel Prize for.’”
Sir Timothy Hunt, the 2001 Nobel Prize winner in physiology or medicine, in his introduction to Sketches of Science, writes, ”There’s a playfulness about these portraits that’s quite beguiling, and unlike most official portraits of these distinguished people, there are hints that they don’t all take themselves that seriously, knowing very well that great discoveries result from a considerable degree of luck, as well as prepared minds.”

Sir Harold Kroto, 1996 Nobel Prize winner in chemistry.
Kroto and his colleagues earned the award for their discovery of fullerenes.
© Volker Steger
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The Blue Marble visits the Exploratorium

In museums, schools, and research facilities, scientists and artists are swapping methods to illuminate natural phenomena and solve global problems. 

— quotes from ARTnews “Under the Microscope” by Suzanne Muchnic 
“This pairing of art and science is sort of inevitable if you look at the whole history of modernism,” Nowlin adds. “You can follow the progression from painting as a frame or window through which you look into a fictional space, with the perspective shortened, to Mondrian and Malevich, when the painting was an object in real space. And that continued with Marcel Duchamp, Kurt Schwitters, Jasper Johns, Robert Rauschenberg, and Frank Stella. Not only was the painting an object on the wall, but the painting moved physically into real space. And science has always been about real space.”
— Stephen Nowlin, director of the Alyce de Roulet Williamson Gallery at Art Center College of Design
“They engage with ideas that are floating around, ways of thinking about in- formation, systems, and materials. At a certain point, that permeates into the milieu as a whole.”
— Evan Ziporyn, composer, clarinetist, director of MIT’s Center for Art, Science & Technology

*******


Proclaim it to everyone everywhere:
"On this day, at this time, you, the Earth and everybody on it will have their picture taken
... from a billion miles away!"

— Carolyn Porco, Planetary scientist, Cassini imaging lead



The Blue Marble waves on July 19, 2013 at 2:33:57 PM
when Cassini took a photo of the Earth.
#DayEarthSmiled #WaveatSaturn

Literary Lots



The idea of a Literary Lot is to bring children’s books to life by re-creating images, scenes, and ideas from those books in tangible, visible, and physical ways over a few weeks of summer.  While many urban neighborhoods are close to institutions (such as museums or non-profits) with programming, families in many of these neighborhoods may not have the means to attend.  Being geographically close to a cultural or institutional asset doesn’t mean that someone can access that asset.  One of the main goals for Literary Lots is to bring institutions together in a place they may have previously  dismissed as vacant or empty.  Literary Lots wants to transform once-empty spaces into new experiences for kids to see books in a way they never have before – by walking through them. We want people to bring their kids, participate in programs, play, or just sit and read all day in a place that’s there, in their neighborhood – someplace literally “out of a book.”

This concept of place-making and storytelling through books could be a great idea to explore in our art show, "A Slice of Life."

Stories are at the heart of Flo's reason for art-making.

For her show at the Luggage Store,  75: Flo Oy Wong . . .The Whole Pie, she has invited 75 local, regional and national artists to submit art pies.

All of these works created by Wong and the invited artists share a common thread. They are narratives which either address the deconstruction of a stereotype or tell the stories of under-represented men and women whose lives and hard work have made a significant yet unknown difference in this country. 

Gwah Gai: Crossing the Street, the performance that came out of her collaboration with Marcus Shelby and Rooftop School, captures and honors the childhood stories of her husband Ed, also known as Baby Jack.

Family is a major theme that Flo has explored through her 35 years of art-making. Our opportunity to hold an art show in the Luggage Store Gallery comes with Flo's induction into The Family of Rooftop, the incredible roster of hard-working creative people who have brought the arts to Rooftop's community over the past forty years.  

Coupled with the creation of Little Free Libraries and an invitation for the extended community photographic installation based on The Family of Man, the Literary Lot concept could be a really fun way to engage classrooms in the curation process.


Teachers, families & artists coming together to enjoy a big slice of the Rooftop Art Pie. 






Your Lot in Life

I remember that my sister and I were in Wales when we overheard the news that Richard Burton had died.  Two women were chatting, bubbling out a stream of memories, remembering the great Welsh actor, his tumultuous life-long love affair with Elizabeth Burton, the many roles that he played on screen and in the theatre, and his incredible voice. Their conversation ended with an extended silence and an unintentional punchline.
"Fat lot of good, that'll do him now."

My family had gone to see Richard Burton play the role of King Arthur in Lerner & Loewe's Camelot, one of the Broadway musicals that re-opened the Golden Gate Theatre back in 1979.


Camelot tells the story of the mythic kingdom, a place built and shaken by a love triangle: Arthur of Pendragon, the young man who would be king meets Guinevere, the young woman who will become his queen, and they both befriend the handsome knight, Lancelot. Guinevere and Lancelot transgressions will break Arthur's heart and bring down the kingdom.  Still, the musical ends on an upbeat note and a hopeful promise. As long as the story is told, Camelot would live on. The optimistic ending offered comfort to the musical theatre-going audiences of the 60's, including a President who was to be forever associated with the magical kingdom.

After President John F. Kennedy's death, Mrs. Kennedy was interviewed by journalist Theodore H. White, for the Life essay, "For President Kennedy: An Epilogue." Mrs. Kennedy was the one who first linked the story to her husband"there's this one thing I wanted to say. I'm so ashamed of myself. Jack . . . everything he ever quoted was Greek or Roman . . . no, don't protect me now . . . one thought kept going though my mind -- the line from a musical comedy. 

"I kept saying to Bobby, I've got to talk to somebody, I've got to see somebody. I want to say this one thing. It's been almost an obsession with me. This line from the musical comedy's been almost an obsession with me.

"At night before going to bed . . . we had an old Victrola. He'd play a couple of records. I'd get out of bed at night and play it for him when it was so cold getting out of bed. It was a song he loved. He loved 'Camelot.' It was the song he loved most at the end . . . 'don't let it be forgot that for one brief shining moment there was Camelot.' "
  


How thrilling to hear Burton's amazing voice in all of its shades.  In this interview with Dick Cavett, Richard Burton delivers the speech where Arthur tells Guinevere about the moment when he became king.  After failing twice, Arthur finally pulls the sword from the stone, and his destiny is set.

He also mentions how he became self-conscious every time he approached a particular scene in the show, after being showered with superlatives for speaking a single word. Even though he doesn't actually speak the word, that's a moment in Camelot that will be forever burned in my brain. The actor stood still on the stage, barely moving, and it was operatic. He lifted his voice out to the audience and raised goosebumps with his delivery of three letters.  

R       U       N

Later, he revealed that he was performing with tremendous pain and could barely lift his arm above his shoulder. Economy of movement was a necessity, but when that moment arrived, it was a master class in how to use the voice as a sword.

Years later, the young actress who played Guinevere, Christine Ebersole won a Tony Award for Leading Actress in a Musical for her “dual role of a lifetime” as Edith Beale and Little Edie Beale, the eccentric aunt and cousin of Jacqueline Kennedy Onassis, in Grey Gardens.

Ebersole also understands how to deliver intensity of feeling to an audience though stillness.




I imagine that she learned a lot from the voice that released the sword from the stone. 
Show after show after show after show...


Wednesday, July 24, 2013

Moon in My Window





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Moon in my window,
As you disappear,
Come again tomorrow:
I'll be here.

Oh, moon.
Ah, moon.
Hey, moon.

 — “Moon in My Window” from Sondheim & Rodgers' Do I Hear a Waltz?



Candy bars, cartoons, toys...

how do you make a gif at gickr.com

SAFA

Born in Iran, Safa is a local bass player who spent the last 7 years playing and touring with Rupa and the April Fishes.  He now leads his own band, The Glasses.  When Safa was 5, shortly after the revolution, his family had to escape on foot, crossing the mountains into Turkey and eventually arriving in the U.S. His letter for this project was composed to himself, as if he could send the letter back in time, to when he first arrived here.

Dear Safa, 
I’m you, in 32 years. 
You are about to leave home for America. 
I know all the things you’re excited about…..

Candy bars, cartoons, toys,
Freedom, to a little boy.

But there will be challenges as well. Everyone your age wants to fit in. 
Being a kid from another country, a foreign culture, makes it that much harder. 
You will want to hide that you’re Iranian, so you can fit in with the other kids.
But my advice to you is
Home is not a place.
Home is not a place.
You will learn this
As you travel across the world.
You try so hard to hide
So you can fit in.
Be and Iranian
You still be
An American too.
Home is not a place
Home is not a place.

— music & lyrics by Darren Johnston

The Cure

curation (n.) Look up curation at Dictionary.com
late 14c., from Old French curacion "treatment of illness," from Latin curationem (nominative curatio), "a taking care, attention, management," especially "medical attention," noun of action from past participle stem of curare "to cure" (see cure (v.)).
When speaking of the art of curation, it is interesting to note the roots of the word.


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Yesterday, at Opera Club Session #1 for Richard Wagner's 1843 opera, The Flying Dutchman, we learned about the opera from Peter Susskind.  After our presentation, we looked at photos of the set for the upcoming production at SF Opera, and suddenly that ghost of a feeling appeared. This work is a pretty interesting opera to consider, especially in terms of curation.
 
Susskind will also be giving the pre-opera lectures for the upcoming production of Jerome Kern and Oscar Hammerstein's Showboat, and he was in the process of thinking about his way into the work to prepare audiences to encounter the 1927 musical. There are echoes across the 84 years between the two works— the artistic desire to create Gesamtkunstwerk, “total artwork,” drove both Wagner and Hammerstein to experiment with the form of musical drama. A coupling offers an interesting way to illustrate the evolution of an art form, especially when viewed in context of the attitudes and culture of their respective times and creators.

Interesting too to compare the female characters in these two works - Senta in The Flying Dutchman and Julie in Showboat - to illustrate how women in love have been depicted through both the European opera and the American musical.  

In Wagner's opera, Senta encounters only a story and a portrait, but she still falls hard for The Flying Dutchman.
Look at her! 
Always before the picture!
Senta, art thou to dream away thy young life,
Contemplating this portrait?

GIRLS.
Hum and buzz! What cheerful sound!
Turn round the wheel, quick, quick, quick!
Spin the golden thread around!
Hum and buzz like magic trick!

SENTA.
Enough, now, of this spinning song
It hums and buzzes in my ear;
If I must join your busy throng,
Then sing the song I hold so dear.

The Spinning Chorus from Act II, Scene I by Richard Wagner, 
English translation from the Metropolitan Opera libretto 


A despondent Senta hurls herself off a cliff, in the opera's last scene.
Senta.
Be cheerful thy mind, be joyous thy heart!
Thine will I be until death shall us part!

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Director Francesca Zambello offered her insight on Showboat's Julie LaVerne, the secretly bi-racial supporting character who also comes to a doomed end.Julie is the fulcrum of the show, because she brings the dramatic issue that changes everything.”  



Oh listen, sister
I love my mister man and I can't tell you why
Dere ain't no reason why I should love dat man
It must be sumpin' dat de angels done plan

When the audience hears Jerome Kern's music & Oscar Hammerstein II's lyrics from Showboat,  they know that this feeling of jubilation is short-lived. Still we can't help lovin' the display of optimism— there is both joy and pain in the blues. In the time of a segregated America, Julie loves a white man and their marriage is a crime. There is something interesting about this American twist on the age-old scenario of doomed romantic love. 

By the time Julie sings the torch song, “Bill,” the audience knows that “Misery's comin' around.” 

I used to dream that I would discover
The perfect lover someday.
I knew I'd recognize him if ever
He came 'round my way.
I always used to fancy then
He'd be one of the God-like kind of men
With a giant brain and a noble head
Like the heroes bold
In the books I've read.
But along came Bill...

*******

By the time Hammerstein's protege Stephen Sondheim writes his 1984 musical, Sunday in the Park with George, musical dramas were ready to experiment with alternative endings to doomed love affairs.  

Dot, the unhappy lover of the painter George Seurat, steps out of the fixed, framed canvas to embrace a new future. She is the one who chooses to end their relationship by leaving. 
At the end of the Second Act, the passage of time offers a whole new perspective that frames her choice in a whole new way.

Look at what you've done,
Then at what you want,
Not at where you are,
What you'll be
Look at all the things
You gave to me
Let me give to you
Something in return
I would be so pleased...