Alles Gute zum Geburtstag! Berber Kaiser celebrates her birthday at Oktoberfest.
Photo by Arne Kaiser.
Last Thursday, my son and I went to the Matterhorn Grill for Oktoberfest. We have lots and lots of German blood in us, so we joined others in celebrating German culture, heritage, and traditions.
We sang in German. We tried to speak our little bit of German.
And then, we ate in German. We had bratwurst, spaetzle, apple strudel, and then my German failed and I ate the nameless beets and chicken dishes and drank a double-bach beer. They tasted just as good.
I used up my 4 phrases of German pretty quick, and then, for some reason, a new-found friend and I started speaking French. I mean, it's a European language, right?! It seemed appropriate.
My new friend was (impressively) learning Italian, French, German, and Finnish at NAU and from friends. He wants to learn as many languages as possible, and he thinks that everyone should be able to speak at least two languages.
But this is hard for Americans. Perhaps it's due to our cultural and geographical isolation. Perhaps it's due to our economic dominance. Maybe we've just tried so hard to fit ourselves into an American identity that we've lost the appreciation for other languages.
I remember growing up, and having no reason for learning Spanish. I vaguely understood that someone, somewhere spoke this language. I simply had never been immersed in a foreign language, never traveled to a non-English speaking country. I had never heard Spanish outside of the classroom.
But my son has. I think one of his most valuable lessons in language integration was traveling to Spain, and making friends with Spanish kiddos on the plane and on the beach. One of my proudest translation moments was standing near the tide pools in the Canary Islands and translating to a boy that my son wanted to play with him, wanted to catch crawdads and build sand castles. And then, it was no longer important to translate words, because the universal language of play took over.
Exposure to different languages and cultures, and most importantly, people similar to us, is important to motivate us to learn foreign languages. We don't operate in a vacuum. One must travel, and if travel isn't possible, then one must go to experience things like Oktoberfest!
Me with my students at the symphony, Hanna Smolan (left) and Alysia Armijo (right).
By Elizabeth Hellstern
Last week I got to attend the first concert of the Flagstaff Symphony Orchestra, The French Connection. It was beautiful; I got goosebumps, and I sighed with dreamy melancholy during Erik Satie's "Gymnopedia," a piece that was dedicated to the late Dr. Pat Curry. My face got flushed over the loud brass parts (as when we sang the national anthem.) During "Rhapsody in Blue" and "Bolero," I felt like dancing around.
I guess music is very visceral for me.
I used to think that I was supposed to be reflecting and listening along a prescribed theme-line, a certain something that everyone else experienced when hearing classical music. I didn't realize that everyone's inner world is completely different, and that part of the beauty is letting the music take me where it will.
It's extremely enjoyable for me to be able to watch the musicians as they play. During "Bolero", I caught sight of a young violist, who was completely transformed by the music. She was dreamily swaying, her face caught up in the swells of the music. I knew that she had been practicing that piece for months, that she was "at work" up there on the stage, and yet, she was allowing the music to be a pleasure to her instead of a chore.
I loved watching the pianist play "Rhapsody in Blue," as she threw her fluffy blond hair around and used her fingers to convey her own unique phrasing. She practically skipped to the piano bench, so excited to be channeling her inner life into the notes. She played a piece that everyone knows, that United Airlines has even used for its commercials. Yet, Sara Buechner is so in touch with her difference, that she played with a touch that people haven't heard before.
Yes, the concert was something special, something that could never be repeated exactly in the same way.
And we were all there together, experiencing it as one audience, in our own special way. We were experiencing the human condition. After the concert, I talked with people. A retired faculty member remembered Dr. Curry, and the special way that he had mentored her career as a voice professor. Someone remembered her first trip to Paris, and the excitement of young love. And some of my students were there, young people so excited to be part of the audience for the first time, experiencing music like this with a group, feeling exhilaration and joy as they watched beauty unfold.
This concert was a little different for me, because I heard about so many other people's experience. It was more meaningful to hear what was going through their minds.
It's the beauty of personal connection—everybody heard the same thing, but we all went to different places, together.
My son Isaac, my cousin Matthew, and friend Taylor in front of Bumblebee at the Rt. 66 Car Show
by Elizabeth Hellstern
I think that art is meaningful, and it can change people. But sometimes, the bigger question of art is how to get people to see it.
For example, I meant to go to the Open Studios closing reception on Saturday. But my plans changed when my 20-year-old cousin came into town with his friend, and we went to the Rt. 66 Car Show instead. This is my very sweet cousin who still says, "Remember the time you took me to the Frida Kahlo show at the Phoenix Art Museum?" This outing that we went on in 2001 sticks out in his head as a memorable event. And yet, he admits that he's never been back to the museum since.
I asked his friend, Taylor, who goes to school at ASU, if he ever gets to see plays or art exhibits. He said no, but that he should. "The biggest factor is time. And then, if there's alcohol served." Like, maybe if we had a tail-gate or something at each art opening, we could get more college students to see fine art...
Um, that's probably not going to happen. But why is it that football and sporting events are equated with fun, while plays and art exhibits aren't? Why is it that my cousin remembers an art exhibit he went to 9 years ago, but then has never gone to a museum since? Why does everyone feel like they "should" go to art events, but they don't?
I'm not going to answer those questions today (perhaps next week,) but I am going to say that on Saturday we all went to soak in some super-accessible art at the car show. While this art doesn't hang on the wall in a fancy museum, it's even better--it's three-dimensional, kinetic art.
Ultimately, I think that the real meaning of art is that it is a reflection of the human experience. And sometimes the human experience is about looking real cool in your wheels. I'm sure if she were alive today, Frida Kahlo wouldn't mind going for a ride in a bright orange 1972 Firebird.
Yeah, I can totally see Diego and Frida roaring down the street in this bad boy. Frida would be driving, of course.
Nine-year-old Lily will pull you an espresso shot at 100 Mike's Pike.
by Elizabeth Hellstern
My first week of resolution, and I more than fulfilled it. I attended three cultural events this week; I went to the College of Arts and Letters Film Series screening of "The Gold Rush." I went to the opening exhibit of The Fifth Biennial Print Exhibition at the NAU Art Museum. And I also went to ArtWalk, saw all of you there as well, and stopped by quite a few new places, including Jeff and Kari Maurer's new space at 100 Mike's Pike.
Just to be specific, and to clarify the rules of my fun little game, I'm defining cultural events as fine art exhibits, film screenings (not "movies",) theatre or dance performances, classical music performances, and intellectual lecturers or speakers. I did go to the County Fair this weekend, and while there is plenty of culture there, (the demolition derby alone could satisfyingly fill a graduate student's thesis paper with its American culture theme,) I'm just not counting it. I have a lot of options, and I only have to attend one event per week.
At the packed house of "The Gold Rush," my 14-year-old son was laughing uproariously, along with the rest of the crowd. I felt very connected to my fellow film-goers: we laughed together, we clapped together, we even cringed together when the Tramp kicked a dog (YUCK.) I had an incredibly virtuous feeling afterwards, too, because I had furthered my son's understanding of the history of physical humor. He loves George Lopez, Seinfeld, The Marx Brothers, and the Stooges. Now I've added a historical piece to his comedic understanding!
The NAU Art Museum has a fantastic display of prints up. I learned that the printing process is extremely complex (and involves quite a few chemicals.) It's a fascinating show, and if you go, you should kindly ask Ty to explain some of the processes for you. Maybe I'm just crazy, but knowing all the work that goes into each piece makes me just the tiniest bit in awe of the finished product.
Finally, on First Friday I dragged my friend to the Maurer's space, where Phoenix artist John Tuomisto-Bell is displaying his fantastic bronze-casted army of featureless figures and heads, of all shapes and sizes. I met Jeff last week, following early morning curiosity. Jeff and his wife, Kari, have created a totally restored historic building--but done with corrugated metal siding, cool window placement, and classy old wood. It feels historic, yet super-modern. In the middle of this aesthetic coolness is a super-fine espresso machine. Their 9-year-old daughter, Lily, will pull you the finest shot ever. Watch out Late for the Train!
In between having a good laugh at Charlie Chaplin, learning a ton of new information about the printing process, and drinking super-strong espresso at 8 p.m., a funny phrase started to float about within my earshot. "I feel like I'm not in Flagstaff anymore," I heard several times.
I think it's great that all of the art events are starting to bring people out of their culture box. I think it's great that Flagstaff is starting to bring it all home. But I think it's high time that we stop being shocked that we ARE in Flagstaff, and raise our expectations of our sweet little mountain town!
Yes, we are in Flagstaff, it's great, and getting even better!
NAU Art Museum presents the Fifth Biennial National Print Exhibition, Aug. 24 – Sept. 25 “Peddlers” by Yuji Hiratsuka, 24"x 32", intaglio, chine-collé
Today is the first day of school. All the new students are here, the professors are slinging out syllabi like Las Vegas card dealers, and everyone is learning about the requirements for their classes, their work schedules and their social lives.
I've spent my entire summer collecting, editing, printing and talking about the 150 plus events that the College of Arts and Letters is putting on this semester. So I suppose I'm a little biased when I consider what students SHOULD be doing--going to cultural activities!
I recently heard some statistics from the National Endowment for the Arts. They say that only 34.6% of Americans attended art exhibits or performances in 2008. In one full calendar year, 65% of Americans were unable to make it to a cultural event even ONCE!
I wish I could tell every one of those people what they're missing.
For instance, at the College of Arts and Letters...
We have MUSIC; the Horizons Concert Series with two American programs in September, an NAU Opera Scenes performance on Sept. 12, and a Faculty Artist Series with Louise and Frank Scott, Jacquelyn Schwandt and John Masserini on Sept. 7.
We have THEATRE and SPEAKERS; Luis Valdez, author of "Zoot Suit" and "La Bamba" will be speaking on Oct. 19. And the Harry-Potter-naked-play, as I affectionately call "Equus" will be performed this season, as well.
And, of course, we have ART, with the first show at the NAU Art Museum, the 5th Biennial Print Exhibition. A reception will be held on Thursday, Sept. 2, 5-7 p.m.
With all the events happening on-campus in September alone, Flagstaff could probably change the national statistics by October. I'm not even mentioning the other cultural offerings that Flagstaff provides, such as FSO, Theatrikos and First Friday. There's really something for everyone, every week, every day.
I think it's a good time for a back-to-school resolution, and I will start. I resolve to attend or participate in a cultural happening once a week throughout the semester, and I will write about my musings every Monday on this blog.
And maybe I'll catch you at the NAU Art Museum opening, wearing my hat.
Christina Forster as Thyona takes a knife to Jesse Miceli's character Constantine in NAU Theatre's production of "Big Love. (If you look closely, you can see Thomas Steinhagen in the background.) Photo by Chie Morita.
by Thomas Steinhagen
Editor's Note: Thomas Steinhagen is a freshman in the Psychology Department. This is his story about participating in the NAU Theatre production of "Big Love" in April, 2010.
Any experience of participating in a Theatre production is nerve-racking. The audition process, the endless rehearsals, and the performances themselves are stressful, in their own ways. I experienced this straight from the beginning of my participation in the NAU Theatre Department’s ““Big Love”.” But, what made this experience even more dramatic, frustrating and exciting was the fact that this was my first on-stage production…ever. And I have to say, it was one of the greatest experiences of my life.
At the beginning of the Spring 2010 term, I was not intending on auditioning for NAU Theatre program. Although I did take part in Alpha Psi Omega’s 24-Hour Theatre and Arizona Playmakers’ New Works Showcase, I thought that that was as far as my acting would go for the year. The dominating thought in my mind was, “I did not have any prior acting experience; what do I have to offer?” However, with the support of my friends within the Theatre program and my own subconscious desire, I was convinced to audition for the Spring 2010 season.
When it comes to auditioning for performances on the University level, the competition between actors and actresses is high. The stresses and worries of life must be left behind in the waiting room. Focus and determination are the qualities that help someone prepare for the audition itself, but it is the essence of “play” that assures their success. This essence of “play,” or expression of creativity, is what the directors seek in the audition process. Of course, the former two qualities are necessary, but creativity is the most important, as it demonstrates what the performers are capable of performing.
Bear in mind that this was my second official audition for an NAU Theatre performance. The first was abysmal; my audition for New Works Showcase – my two minute monologue from hell. It was so bad, that the directors thought that my failed attempt to audition was part of the audition itself! My second, the audition for “Big Love”, was an improvement – anything was an improvement following my first audition. Sadly, I could not remember my lines, I was losing my focus, and I thought I lost my chance to be in Macbeth or “Big Love”. Fortunately, I was wrong – and I was cast as a “wedding guest” in “Big Love”.
Following the audition process, the cast, directors, and stage managers come together to rehearse. This two month process is considered the most stressful, as actors must learn their lines, “blocking” (or where they must move to and from), and nail down every single detail necessary for a successful production. But not everything is completed at square one; these rehearsals make up a process. For a successful production, everything must be taken bit-by-bit, and tackled one thing at a time. Rehearsals are broken down into: script readings, rehearsals, tech rehearsals, and dress rehearsals. In respect to this order: lines are memorized, characters develop, blocking begins and continues until the end, sound and lighting are added to the mix, and with costumes and makeup, the cast and crew perform a “final draft” of the play.
All of this effort amounts to the eight amazing performances of “Big Love.” And although creativity assures the success of a play, there is one unmentioned factor that is necessary for all types of performances: the audience. Without the audience, there would be no emotion: no reaction to love, death, and among other things, cake in the face. The audience is necessary to the performers, just as the performers are necessary to the audience. Of course, the audiences showed up, or did not show, according to the different days of the week. Opening night and Saturday were amazing, Sunday, Wednesday and Thursday were slow, Friday and Saturday were packed, and the last matinee was decent compared to the first. Overall, the audience is what made the performances of “Big Love” so awesome, and without them, the cast and I would be…without a job!
Looking back on the experience of auditioning for, rehearsing, and performing “Big Love,” I must say once more that it was one of the greatest experiences in my entire life. Considering my lack of acting expertise, I have learned so much in the past three months. Some of these things include: how to relax, how to get into character, how to maintain character when things go wrong (or awfully wrong, for that matter), and more. But, some of the lessons I learned took place off the stage, such as: how to behave in public, how to behave backstage, when to listen to others and when to speak, and above all, what it means to have friends that have your back. My experience in “Big Love” can be summed up by the line of Piero: “That life is nothing for us, but an experience that we share with others.”
"Three Ewers," by Jack Heimerman can be viewed at Beasley Gallery through May 6.
"Transmutation," by Erica Brown, is a collection of several oil paintings.
This week the Beasley Art Gallery will feature the Bachelor of Fine Arts Exhibition II.
Every semester the gallery hosts the BFA Exhibition, which is the culmination of the work of graduating BFA students. This semester the exhibit was split into two showings, each highlighting half of the graduating class.
Jack Heimerman is one of seven artists with work on display in the second exhibition. One of his pieces, titled “Three Ewers,” is both practical and artistic. “I like to create pieces with a function that are still artistic,” he explained. Another piece, titled “Three Tumblers,” has a similar theme, but also incorporates the negative space around the three twisted cylinders.
All of Heimerman’s pieces were fired in an anagama kiln firing. An anagama kiln is an ancient type of wood kiln that gets up to 2,500˚F and produces ash that settles on the pieces. The ash interacts with the flame of the fire and the minerals in the clay body to create a natural ash glaze.
Heimerman also collaborated on two pieces with Misty Ostrowski, who is also featured in the BFA Exhibition II. “I built the body of the pieces and she did the glazing. She used an underglaze to create the patterns on the pieces,” he said.
Another student artist in the exhibit is Erica Brown. Her collection, titled “Transmutation,” includes more than a dozen oil paintings that span over three walls. “It began as a study on communication, which is why I used the hands,” she said, “but as I continued to work on it, it began to become more about growth—both in the paintings and as an artist.”
There will be an opening reception on Friday, April 30, from 6 – 8 p.m. in Beasley Gallery. The exhibition can be viewed daily from 1 – 5 p.m. in the Beasley Gallery located on the second floor of the Fine Arts building
