Latest / philly has heART / Terra: Bodies and Territories feat. Silvana Cardell and Devin Arne

Transcript

Terra: Bodies and Territories feat. Silvana Cardell and Devin Arne · philly has heART

0:15
Robert is down for the count with some sort of
0:17
sickness that he has confirmed is not COVID,
0:20
so I am serving up a solo intro and outro this
0:23
week. Suffice to say that typhoid Robert did
0:26
nothing this weekend and certainly was not showing
0:28
up to any museums or performances. As for me,
0:32
I edited two podcast episodes and submitted the
0:36
application for a small business grant. How very
0:38
meta. We have a fab conversation queued up, so
0:42
we're going to move over to that. On to the conversation.
0:59
Greetings. This is Robert Marsh, and you're listening
1:02
to Philly Has Heart Podcast. In this podcast,
1:05
we sit down with artists, gallerists, educators,
1:09
curators, and other creatives who comprise the
1:12
Philadelphia art world. to discuss upcoming performances,
1:15
exhibits, and other events and initiatives that
1:18
are not to be missed. The art scene in Philadelphia
1:21
is so rich that it can seem daunting. Consider
1:25
this your cultural weekend recommendation. With
1:29
me always is my producer, Lucinda Degerland.
1:31
Hello, hello. And today we have with us Silvana
1:35
Cardell, as well as Devin Arnay with Terra. Bodies
1:40
and Territories. Thank you both so much for joining
1:43
us today. Thank you. I want to talk with Silvana
1:46
first. Can you let us know your true Hollywood
1:50
story? Where did your artistic story start? You
1:56
have time? Yes. Okay. My artistic story started
2:02
when I was like five. Telling my mother that
2:05
I need to leave for art. I don't know what that
2:09
means. Yes. But it meant a lot because I eventually
2:13
traveled a lot to be an artist. And it started
2:17
with a first trip to France. where I studied
2:21
ballet, the Ecole of Dance Classique in Monte
2:26
Carlo. Oh, my gosh. It didn't last long. It was
2:30
great, but I was very young. It was like 16 years
2:35
old. That wasn't time for me to leave home. Gotcha.
2:38
So I stayed there for a couple of months. It
2:39
was like four months, and then I returned home.
2:42
And then after I returned home, there was an
2:45
insistence of my parents of going to school for
2:49
something. Substantial. Yes. Dance wasn't the
2:53
thing for them. So I found out that in the United
2:57
States you could study dance in university. And
3:01
don't tell me how I found this University of
3:04
the Arts that I thought it was a mecca of the
3:07
arts. And it took me several years to like get
3:11
there. First, I needed to finish high school.
3:13
Then I needed to learn English, which, you know,
3:17
was some in my environment. I was going to English
3:19
lessons and this and that, but English was not
3:22
my. second language or nothing like that. So
3:25
I had to do, like, several exams. Like, the TOEFL,
3:28
that was something very hard for me at the moment.
3:32
Like, preparations for universities, I have no
3:34
idea, tests and things. Well, I did it all, and
3:38
I arrived to the University of the Arts. So that's
3:40
where my journey started, at the University of
3:43
the Arts on Broadway. Home is in Argentina? Home
3:48
is in Argentina. Buenos Aires was born in Buenos
3:50
Aires, Argentina. So that's how I landed here.
3:53
I have many lives here. I studied at UArts in
3:56
the late 90s. I went back home for 10 years,
4:00
and I came back because I was offered a fellowship
4:03
at Temple University. Wow. And that's a story,
4:07
too, because I got the fellowship when I finished
4:09
UArts, and then I went home for a month. And
4:14
I couldn't come back. I was like, not the right
4:17
moment. So I didn't, like, accept the fellowship.
4:22
And 10 years later, I was like, well, you know,
4:25
I want that fellowship back if possible. Because
4:28
I had three goals. One was to have a master's
4:31
degree from an American university. Another one,
4:34
don't ask me why, because I don't know how I
4:35
got to this information at the time. I wanted
4:38
a Guggenheim fellowship. And those were my things
4:42
I wanted in my life. Why not? And then slowly
4:46
I got everything of these things that I wanted.
4:50
Maybe it's not enough for others, but for me
4:52
it was a lot. I think that's a lot for anybody,
4:55
actually. I would agree. So that's how I did.
5:00
I mean, the Guggenheim Fellowship was another
5:02
thing that I slowly applied, I think, four times.
5:05
And it was in another moment. But it's all these
5:07
different stages. And, you know, in Philadelphia,
5:11
I was fortunate enough to work with Manfred Fischbach
5:14
from Group Motion Dance Company. He was like
5:18
my mentor. He was the one that kind of nourished
5:21
me into this world of dance improvisation in
5:25
Philadelphia. So that's why my art is like...
5:29
I'm coming from Buenos Aires with the art, the
5:32
dance theater is part of the dance, contemporary
5:36
dance world. So when I arrived here, Manfred
5:39
held my hand in the same direction. So that's
5:42
why my work is a mix of dance and theater. I
5:46
will say in the style related somehow to like
5:50
Pina Bausch, it's not the same at all, but it's
5:53
like it has that flavor because that's my...
5:57
of German dance theater. You know, that's what
6:00
it landed in Buenos Aires at the time that I
6:02
was a student, and I left the ballet for dance
6:06
theater. What is that doing? Is that sharing
6:08
a story in a different way? It's like nonlinear
6:11
narratives. Okay. It's like emotions in the body,
6:14
so you kind of align the physicality of an action
6:20
with the emotional state of the narrative. Wow.
6:26
So it depends on the narratives. Like I have
6:28
worked on works that are like, for example, one
6:31
piece that was about immigration. I interview
6:33
a lot of people to know not only their story,
6:36
how do they get here or how do they do it? How
6:39
do they felt? So my question was always, how
6:42
do they feel to cross a border running? Not just
6:46
because, of course, they're going to be tired,
6:47
but that's like the superficial. What is it?
6:50
What do you feel? How can I translate that? in
6:54
a physical action in dance. You're pulling through
6:57
research to then drive all of your choreography.
7:02
It takes me years. For each piece, it takes me
7:05
like maybe two, three years before I move. Because
7:09
it has different layers. So the move, at first
7:13
it's an image for me and a feeling. Like it has
7:15
to have a very strong relationship to the theme.
7:19
Okay. You started with a theme and then creating
7:22
a story. And then I look for resources to learn,
7:25
to know what's in life. How can I translate that
7:28
physically for the audience as an experience?
7:32
So that's me. Oh, that's great. I love that.
7:34
Thank you. It's a beautiful journey. Beautiful.
7:38
I was going to say, it's long. So many great
7:42
accomplishments. And Devin, how about yourself?
7:45
I think I also was really attracted to art. very
7:49
early, specifically music, I just remember driving
7:52
in the car with my family and just like hearing
7:55
music. I'm like, this doesn't feel like anything
7:57
else in life. There's a certain... Can I ask
7:59
you a question? What were your parents playing
8:02
in the car? Lots of different things. I think
8:04
I remember lots of like... late 80s stuff you
8:07
know and i remember my dad was a big fan of like
8:09
post -punk stuff like the clash that's an early
8:12
memory you know of course like things like the
8:14
beatles and like motown and like very eclectic
8:17
family like music tastes so it didn't really
8:20
matter to me the style of music i just kind of
8:22
loved it i just kind of soaked it all up Maybe
8:24
when I was about 10, I was like, hey, could I
8:26
get a guitar? And my parents got me a guitar.
8:29
I started taking guitar lessons. And I quickly
8:31
found that I was very serious about it. I would
8:34
have my book, and I'd practice all the exercises.
8:37
And this is the 90s now, so I'm getting into
8:40
grunge rock and that sort of stuff. And I'm like,
8:42
oh, I can listen to something and figure it out.
8:45
I realized I had this knack that I could hear
8:47
something and play it back. And that was it for
8:49
me. I could create all these things now. Yeah.
8:54
So I started playing in some bands and that sort
8:56
of stuff when I was in middle school. Kind of
8:58
like punk rock stuff. Yeah. And then wanted to
9:01
devour everything musical. So I started to get
9:02
into like, who are the great guitar players?
9:04
And Jimi Hendrix and Stevie Ray Vaughan and all
9:06
that stuff. Just wanted to do more and more.
9:09
I was lucky that I had a guitar teacher that
9:11
knew some jazz and started teaching me jazz.
9:13
And I said. this is like a whole other thing,
9:15
you know, this is like a whole other vocabulary,
9:18
a whole other layer of complexity. So I really
9:21
fell in love with that music. It's a really interesting
9:24
way I found my first serious guitar teacher.
9:25
I was actually at a concert at Lehigh University.
9:28
Just to mention too, I grew up in upstate New
9:30
York, but I have family here in Pennsylvania.
9:32
So we're kind of, you know, always coming back
9:34
and forth. I sat down next to the girlfriend
9:36
of a guitarist in this big band. They're playing
9:38
Stan Kenton music. And she said, yeah, my boyfriend,
9:42
Bob DeVoe. He's a, you know, guitarist. Maybe
9:44
you could talk to him. I got, like, my first,
9:46
you know, sort of, like, serious jazz guitar
9:48
teacher. And I was playing in Hudson Valley Youth
9:51
Jazz Orchestra. Found this thing and was just,
9:53
like, very serious about it. Loved it. And then
9:56
I, you know, graduated high school. I went to
9:58
Peabody Conservatory. Wow. Studied there. And
10:01
I was on this very narrow path. I said, I just
10:04
want to be, like, the next Pat Metheny, Bill
10:06
Frizzell, John Schofield, that kind of thing.
10:09
And then thinking about the early music that
10:11
I was into, I was into so many different styles
10:13
of music that I said, how can I integrate that
10:15
love for popular music too? So I started to produce
10:18
music and I started to reach out to artists and
10:21
say like, hey, you want to make an album? Like
10:22
I'll produce your album. I started learning Pro
10:24
Tools and Reason and those kind of things. And,
10:27
you know, just kind of followed that journey.
10:29
So I always had one foot in performance, but
10:31
also in the composition and the technology. And
10:34
that really drove me. I spent a couple of years
10:36
living down in Miami, Florida. That's where I
10:38
kind of got it. to teaching so teaching at the
10:40
college level teaching jazz guitar ensemble that
10:42
sort of thing playing in cover bands which was
10:45
a lot of fun but you know started thinking well
10:47
what else can i do with my music you know and
10:49
i started to think about music for media so i
10:51
started to um you know reach out to companies
10:53
that were doing tv and and film and those type
10:56
of projects i did a program at NYU that was music
11:00
for commercial media and really kind of hit it
11:03
off with one of the teachers of the program,
11:05
started working with his company. Just loved
11:07
that, like looking at picture and like writing
11:09
to picture. I thought it was really kind of cool.
11:12
You know, from there, just did that, moved back
11:13
to New York. It was great. I was doing every
11:15
week a bunch of different commercials and that
11:17
sort of thing. And then I was like, okay, is
11:19
this it? Is this like what I'm going to do the
11:21
rest of my life? Just write for commercials?
11:23
And it's wonderful work. But I wanted to explore
11:27
the more experimental side of things and expressive
11:30
side of things. So I decided to get a doctorate
11:32
degree out in Arizona State. Overachievers on
11:35
the podcast today. I know. Yeah, I think it's
11:39
just once you get the hook, though, it's hard
11:42
to stop. It's so hard to stop. And it was a doctorate
11:47
degree in music and interdisciplinary digital
11:49
media. Wow. Who's out there in Arizona. I had
11:51
a great mentor, Dr. Garth Payne, and he opened
11:54
me up to the idea of acoustic ecology. Sort of
11:57
like thinking about the sounds around you in
11:58
the world, how that's a representative of the
12:01
environment and its health. He ran this lab out
12:03
there, and I started to really kind of listen
12:06
to the world differently. And that's really a
12:08
major turning point in my art, to be inspired
12:10
not just by other musicians, but to be inspired
12:13
by the world around you. Great artists working
12:15
in that space, both on the research side, but
12:17
also on the creative side. How do you take these
12:18
sounds and make sound art with it, make music
12:21
with it? And that's what my doctoral thesis was
12:24
around, looking at plants. We often think nature,
12:26
oh, birds, right? Birds, insects, right? But
12:28
plants are making all different kinds of sounds.
12:31
The leaves and, you know, different parts of
12:33
the plants. So that was like my research. focused
12:36
there. More recently, I've been out here in Pennsylvania.
12:38
I got a job at Westchester University. So I teach
12:40
in the studio composition program there. Excellent.
12:42
Okay. And that's great because I get to do both
12:44
sort of the more experimental acousticology kind
12:46
of stuff in my computer music teaching, but also
12:48
scoring for video games, scoring for film media.
12:52
So kind of do both. My journey, it's definitely,
12:54
it's been long. I don't. See a division between
12:57
high art and popular. I like to have one foot
13:00
in both. It's great, though, to see for both
13:03
of you how each of those pieces, though, have
13:07
layered on top of each other to then bring you
13:10
to where you are today. To now bring both nature
13:14
and your arts together for this piece, Intera.
13:19
Silvana, can you tell us a little bit about Intera
13:23
Bodies and Territories? I began with a question
13:26
to create ERA. And the question was, what does
13:29
it mean to live inside a body that is constantly
13:32
politicized, controlled, or dismissed? So I see
13:36
women's bodies, or femme bodies more broadly,
13:40
as territories marked by histories of violence,
13:44
but also beauty and resiliency and reclamation.
13:51
that says that the women's revolution is the
13:54
slower, longest, and more profound revolution
13:58
that have existed, nonviolence, completely nonviolence.
14:03
But it had moved women from not being able to
14:06
vote, to vote, and all the other... conquest
14:10
that women have achieved over years. Credit card,
14:13
mortgage. Exactly. Checks. You know, my grandmother
14:17
couldn't have a bank account. But it's slow,
14:20
super slow, generation by generation. So I look
14:24
at that as my first question. But then I just
14:28
look like the land and their places of origin
14:31
and nourishment. and survival, and also extraction,
14:36
invasion, and resistance. So in this piece, exploring
14:40
that parallel, how both land and body are territories
14:44
subjected to ownership and domination, and yet
14:48
they continue to speak, to hold memory, to pulse
14:51
with life. The body and the land, they both insist
14:56
on life. We create life with our bodies. And
14:59
the land creates life with their bodies. Your
15:01
plants come from underneath. People come from
15:04
us. So creating Terra, I listen to these persistent
15:08
voices and do not stop. It doesn't matter the
15:11
domination. It doesn't matter the violence applied
15:15
to them. They stay. They question, and I divide
15:18
it in these two bodies. That's why it's called
15:20
Terra, the land, bodies, and territories. Like
15:24
the body is a territory. And the body is a territory
15:27
that wants to be taken by someone. Same as the
15:30
land. Somebody owns it. Somebody wants it. There's
15:34
a lot of blood spilled for each piece of land
15:36
we know. In this process, in this creation, where
15:40
did we start? It usually started with theme,
15:43
but did our music come first? Did our movement
15:48
come first? Did we look at our landscape that
15:51
we thought we were going to use first? What was
15:54
the process there? For me, everything starts
15:56
with an image. So the Pennsylvania forest reminds
16:02
me somehow to Patagonia and where I'm coming
16:07
from. So first, my first idea was to make a piece
16:11
in both places happening at the same time. I'm
16:13
very ambitious. I mean, I play. And eventually
16:16
I get to the place. So I was like, I want to
16:20
do a piece in Patagonia and a piece. In Pennsylvania,
16:24
because I live in Pennsylvania and I'm coming
16:26
from Argentina and Patagonia is a big part of
16:29
my life. I was thinking about the land. Where
16:32
do I belong? Who I am? What's my body? Is this
16:36
from here or is it from there? I feel from both
16:40
places and I have a special thing with, like
16:44
I feel the Americas are very similar and Argentina
16:46
and the United States. have very similar territory,
16:50
very, very similar, like the land, the space.
16:53
There's something similar in the land. I was
16:57
like looking for that place and going through
17:01
different places here. You know, like Schuylkill
17:04
River, like I look around and then I arrived
17:08
to the Schuylkill Center for Environmental Education,
17:10
bringing a squirrel with my daughter that we
17:14
find in my backyard. So I arrived there. I was
17:16
like, oh, this is the forest that I'm looking
17:19
for. And then I started with a place and then
17:23
I consider this place to be my first collaborator.
17:28
So I say, everything's going to happen here.
17:30
This is my collaborator this time. No theater,
17:33
no distraction. The lighting has to be natural.
17:36
The sound has to come from the place. And then
17:39
I was talking to my friend and also movement
17:42
collaborator, one of the performers, Mario Ruggia.
17:44
He said, where do I find somebody that will create
17:48
sound with the land? I want to put sensors on
17:51
the ground and I want to receive that sound.
17:54
I want to amplify this forest sound. I don't
17:57
want music. recorded somewhere else and they
18:01
said oh I know this guy but he's not a musician
18:03
he's a scientist and I said well can you introduce
18:07
me the scientist yeah he does something he puts
18:09
like all these sensors and gets like the sound
18:13
of the plants I'm like oh that's my guy where
18:16
is he this is perfect and then she introduced
18:20
Devin and the first time he sent me these links
18:24
and I was like flipping upside down. I was like,
18:28
yeah, that's it. You know, he was like, the roots
18:30
were screaming, like going. Wow. And the plants
18:36
were. I said, that's my music. So we met and
18:42
it was like two seconds. He's hired. This is
18:44
great. He's my collaborator. And he's amazing,
18:48
smart, deep, like it's easy to work with. He
18:52
sees it all. Like I show him the movement and
18:55
he's like, oh, yeah, what about this? And it's
18:57
perfect. So it's a great collaboration. Thank
19:00
you. Excellent. Excellent. Devin, what was unique
19:03
about the space when you first saw it? You know,
19:06
the Schuylkill Center, it's a really special
19:08
space and it's really special all year round.
19:12
You know, we often think, oh, you've got to go
19:13
in the spring or the summer and everything's
19:15
green. It's so beautiful. Like I remember going
19:18
there in January and it was after a snow. And
19:21
just walking around and just how you could just
19:24
hear everything. Very open. You can hear the
19:27
trees creaking. There's these tall oak trees
19:30
there. Just very inspiring. And the more time
19:34
that you spend there, the more you feel like
19:36
you get to know it, the more you get to feel
19:38
like you've become part of it. And that's really
19:40
where Hera is coming from. It's like by spending
19:43
time in that place, you can more accurately reflect
19:46
on what it is and how you can connect to it.
19:50
Silvana, can you let us know a little bit more
19:53
of the story of NERA? You know, like every project
19:56
started with a little thing, a seed. The seed
19:59
was the theme about the women and the territory.
20:03
And then it went on into finding the place. So
20:07
the place was the Schuylkill Center. Then the
20:10
sound, the sound was Devin's compositions. And
20:14
then also I wanted to have a... It's a non -linear
20:18
narrative, but I still wanted to have a dramaturgy
20:22
there. And so I invited Blanca Siska, who's the
20:28
founder director of the Wilma Theater, to collaborate
20:33
with me as a dramaturge. This is the second project
20:38
that she comes in as a dramaturge. And I also
20:41
have been... choreographer in her work, five
20:44
works of hers, five performances at the Women's
20:47
Theatre. So we have a history of working together.
20:50
She brings the clarity of actions aligned with
20:54
some meaning or meaning, which sometimes in dance
20:58
we kind of... go above the meaning or below the
21:01
meaning. So she's very strict about that. And
21:04
I wanted that just to have a better narrative
21:07
in the performance. And then also this came also
21:12
from the Schuylkill Center. Former director suggested
21:16
me to work with Sarah Kavage. She's a land artist
21:20
and she's creating with what she found in the
21:24
land art. So she does this land art that is also
21:28
weaved into the performance. So it's great because
21:32
the environment is a town piece of forest. It's
21:36
a place where some days you will find the paw
21:39
of a deer that was eaten by someone. So I don't
21:42
know. You find wild things there. And then she
21:46
is bringing this very subtle art. For example,
21:50
I don't know if I should say it so it's a surprise.
21:53
Some of the logs that were like lying there,
21:56
she sculpted them into hands with fingernails.
22:00
So they're like red fingernails coming from the
22:02
ground. Wow. She also had a workshop with community
22:06
that comes to this Google Center to create some
22:09
land art. And with vines, she created these roots
22:13
that come out from the ground, but they're like...
22:16
a creation from a group of people. She also created,
22:19
also with Willow, sort of big trumpets that also
22:23
become dresses or places for restriction for
22:27
the women to wear. She's a wonderful collaborator
22:31
too. I have, you know, I could speak a lot of
22:32
her all day. It's so many disciplines like coming
22:34
together for the piece. Everything's coming together.
22:35
And the site also is so impressive, it's so incredible
22:40
because I try not to impose meaning on it. I
22:43
try to... uncover the meaning, so they uncover
22:46
the sound. That's what Devin is doing. He's uncovering
22:49
the sound that is already there. And the sound
22:52
is natural, but also think about where the Schuylkill
22:55
Center is. It's close to a highway. So you also
22:58
hear the urban in the background, like almost
23:01
like a threat, you know, to all this environment.
23:05
The other funny thing is the space. You could
23:08
see it was habitated by animals, and since we're
23:11
there, they're gone. Like they don't come at
23:14
night and they dig things and they do things.
23:16
At the beginning, I saw that. And then now it's
23:19
like each time less of that. It's not there.
23:23
So you can understand how, you know, the land
23:26
restores itself and how the interaction between
23:29
humans and animals is not the best one. And that's
23:34
kind of what I want to think about. You know,
23:35
I want people to think about this when they come
23:39
to see Terra. The environment is a threat. all
23:44
the reasons we know right how can we like useless
23:46
things be more mindful for example i'm vegan
23:50
because of the the land because we can't continue
23:54
to eat this amount of meat and produce this amount
23:58
of meat and think that nothing is going to happen
24:01
to the environment it's killing the environment
24:03
that's like one of the worst things to do so
24:06
you know like i cannot avoid having a car because
24:08
i need to move around but i can start with my
24:10
own body i said well no meat It's hard because
24:13
I like meat. I'm Argentinian, I like that about
24:16
you. But no, one little thing I do... You're
24:21
making the sacrifice that you can. Exactly, what
24:26
I can. Sometimes I see a cake with cream and
24:30
I eat it. But I try not to. It's not that I don't
24:34
miss those things, but I think it's important
24:36
so I don't do it. So the work also... Changes
24:40
me. And the work, I hope it changes other people.
24:43
It's not about change. It's about like gaining
24:45
awareness. How does the audience then interact
24:50
with the performance? The audience will be surrounding
24:54
the area where the performance will be. And they
24:57
will be sitting because some people need to sit.
25:00
You know, they can't be like for an hour or like
25:02
50 minutes standing all the time. But I wish
25:05
people move. That they go around, you know, the
25:08
perimeters of the space that is allowed. Yeah.
25:11
So people get closer to see things they want
25:13
to, they decide they want to see. Like, you know,
25:16
you see something that you could get closer,
25:19
you can get closer. Go walk. Oh, that's great.
25:21
And we'll give that permission or we will walk
25:23
with people from the center to the side. There's
25:26
like a 10 minute walk on a trail. Okay. And we
25:28
will tell people what they can do, you know,
25:30
feel free to do this, feel free to do that. You
25:33
know, don't feel. like bound to stay in one spot
25:36
people can bring their own blanket and lie down
25:38
they can just listen to their music if like for
25:41
any reason they don't want to watch the dance
25:43
just taking the sounds yeah you want to just
25:48
like rest and breathe you know breathe the nice
25:51
air and look at the amazing like you look up
25:55
and you see this like roots you know it looks
25:58
like roots but in the up in the air it's beautiful
26:00
One of the challenges on my end is when you're
26:03
doing a traditional dance show, you show up to
26:06
the theater, you plug in your laptop, press play,
26:08
and you go, right? Here, we're out in the forest,
26:11
so part of my job is not only composing the music,
26:14
but designing the sound system. Right. So we're
26:16
all battery -powered. Wow. Yeah, we use these
26:20
jacks. And waterproof? No, we're not going to
26:23
do it if it rains. If it rains, yeah. Rain or
26:26
down. Okay, so you're setting up and taking down
26:30
after every performance. So I have an assistant
26:32
that helps with that. Yeah, it kind of makes
26:35
it fun because at the rehearsals of experimenting
26:38
with putting the speakers in different positions
26:39
and, again, really getting to know the space.
26:42
And there's just something magical about once
26:44
you have the sound pushing out into the space.
26:47
And the sounds that have been recorded there
26:48
becomes like a feedback loop. Right. Yeah. Not
26:51
a bad audio feedback loop, but more like a, you
26:53
know. feedback loop of ideas. Oh, that's incredible.
26:57
But God, at least that education was in the forest.
26:59
Yeah. But it's a lot of fun, yeah, and it feels
27:02
really cool to have these battery -powered speakers
27:06
out there. I have the custom speakers that are
27:08
omnidirectional, so I'm going to be pushing out
27:10
sounds in all directions, so no matter where
27:12
you're standing, you should be able to hear.
27:15
Wow. Oh, this is going to be great. Where can
27:19
the audience find... Terra bodies and territories.
27:23
And is there any social media that you have for
27:28
the performance? And then on what dates? There
27:32
is a blog that is created by the Schuylkill Center
27:37
with all the information, the Schuylkill Center
27:39
webpage. The dates are 13, 14, 15, 2021, 22nd.
27:45
The performance is outdoors at the Schuylkill
27:47
Center. It starts at 6 .30. Excellent. If there's
27:51
a rain day, it will be communicated. It has a
27:54
whole protocol about rain days. And it will be
27:57
the following weekend, which starts on the 27th,
28:01
28th, 29th. Perfect. So it's Friday, Saturday,
28:04
Sunday. And I'll put that information in the
28:06
show notes. And Sunday is at 2 o 'clock, so it's
28:09
a matinee. I wanted to experiment with different
28:11
lighting. Oh, nice. Because the lighting is amazing.
28:13
I mean, I thought, oh, I have no light. The light
28:17
is gorgeous. And it also comes. into like the
28:21
props, like in a very specific way. Wow. Depends
28:24
on the time. Right. The thing is like it's difficult
28:27
to predict how the light will be in June because
28:32
it changes every week, every hour. I trust it's
28:36
going to be a beautiful light. Oh, yes. We have
28:40
some rapid fire questions to close out. We'll
28:44
start with Savannah and then Devin, and then
28:47
we'll go just back and forth for each one. If
28:49
you could describe the Philly art scene in one
28:52
word. It's rich. Rich. Love that. Scrappy in
28:57
the best way possible. I think we've heard that
28:59
once before. Oh, yeah. Yeah, which is great.
29:02
I love it because coming from New York, everything's
29:04
so buttoned up, and I find people here can just
29:07
do what they want and make the work they want,
29:09
and I love that. That's great. Yeah. Your favorite
29:12
Philadelphia neighborhood? Mine. It's like the
29:16
Fairmont area. I love it. Close to the river,
29:19
close to the art museum. I love the art museum.
29:22
I have a membership and I go there all the time.
29:24
Excellent. So I love that area. It's hard to
29:27
pick just one. I mean, I guess South Philly.
29:29
Nice. Yeah. This one's for Silvana. Which dance
29:32
performance ever in history would you wish you
29:36
could have seen in its original iteration? I
29:40
wish I could have seen Dory Hoyer. But I miss
29:44
her. I was born afterwards. And Devin, how about
29:50
the original piece of music, again, in history,
29:54
that you wish you could have listened to or experienced
29:57
in its original premiere? Yeah. Philadelphia
30:00
native, John Coltrane. Wow, yes. Probably 1961
30:04
to 1963, somewhere in that little spot. And then
30:07
it's Silvana, which... Philadelphia Performance
30:10
Company. Could the city of Philadelphia be sleeping
30:13
on? I would say Philadelphia. Philadelphia, yes.
30:17
Excellent. And Devin, is there a Philadelphia
30:19
ensemble or band that the city is sleeping on?
30:23
Yeah, I was trying to think about this one. I
30:26
have to shout out my sound assistant, Nathan
30:28
Hanson. He has a band called Kitchen Sink. It
30:30
started as a student project. I think someone
30:33
else has spoken about them before. Oh, really?
30:35
Yes. They're just so impressive. They combine
30:38
classical music with jazz improvisation and do
30:41
lots of really cool things. That's great. They
30:44
have some interesting stuff coming up. Check
30:46
out Kitchen Sink. And then for both of you, your
30:50
favorite beverage at the moment? Margarita. Irish
30:54
breakfast tea. Savannah and Devin, thank you
30:56
so much for your time today. And everyone, please
30:59
check out Terra Bodies and Territories. I hope
31:15
you have an empty calendar for the weekend because
31:17
there are several exhibitions soon to be closing
31:20
that are not to be missed. Two exhibitions at
31:25
Bridget Meyer Gallery that are closing on the
31:27
24th, A Sam Boy by Nigel Sense, and in the vault,
31:31
George Lincoln Rockwell by Mark Stockton. Over
31:34
at Da Vinci Art Alliance, closing on the 25th,
31:38
a solo exhibition by Dominique Samarco, Philly
31:41
Dreamin' and Comin', and a BYO print portfolio
31:44
exchange. What's next? The Chris RWK Show is
31:50
ongoing at Works on Paper Gallery. Cecilia Paredes,
31:54
By My Side or Back of Me, opened about three
31:56
weeks ago at the Prince Center and continues
31:58
to be on view through July 19th. For the parents
32:03
of kiddos ages 3 through 6, and especially those
32:06
who found themselves inspired by Devin, the composer
32:08
of Terra, whom we just listened to, the Settlement
32:12
Music School, Mary Louise Curtis Branch, and
32:16
the Winfield Branch opened registration for a
32:18
four -class summer tapestry strings program.
32:21
That is a choice between violin, viola, and cello.
32:25
Here's your opportunity to give your littles
32:28
a musical experience and test whether it would
32:30
be a good fit for a school year activity. Sidebar,
32:33
financial aid is available. Make sure to buy
32:35
your tickets for the Philadelphia Theatre Company's
32:38
production of Small Ball. Three Fridays ago at
32:41
9 p .m., the PTC received the notification that
32:44
their NEA grant for $50 ,000 was rescinded. Hmm.
32:50
The $11 Opera Philadelphia tickets are live.
32:53
They aren't sold out yet, but if you haven't
32:56
bought them, you'd be lucky to find even side
32:58
-by -side pairs of available seats. It's really
33:00
giving air as tour. The Philadelphia Ballet Spring
33:03
Festival at Red Rose Farm in Villanova is coming
33:06
up. There is a gala. There is a family picnic
33:09
day. Those days are May 29th and May 31st, respectively.
33:13
Rain days are scheduled for the following day.
33:17
More ballet on the calendar. Not only are tickets
33:20
for Ballet X's summer series on sale for July
33:24
16th through the 20th, but the company also has
33:26
a June 5th stop at Longwood Gardens and will
33:30
be popping up June 12th at Dilworth Park. With
33:34
that, Philly has heart. And art. Thank you.