The Work of Dancer and Composer Meredith Monk, and How It Draws Attention to Form and Content - Research Paper Example

?MEREDITH MONK Introduction Meredith Monk, an American performing artist made her mark as a performer, a choreographer, and as a director of films. Her achievements were more specifically achieved in contemporary forms of music, films, and theatre. The techniques used by Monk were not only cinematic in nature but were also psychologically charged and were less directed towards personal prospect. The characters represented by her, stand in present but seem to bear the impression of past and prepare for future course of action or exploration. The threads of events and actions are generally bound by a ‘mythic sense’, as far as continuity is concerned, blended with repetition and re- occurrence of time (Jowitt 1997, p. 8). In a career which extended over decades, Monk is credited of composing numerous musical songs, dance compositions and films. Book of Days and Ellis Island are some of her most famous feature- length films. Monk’s form and content emerged from silence, with an objective to make people more alive. In her world, expression and emotions rest in a state of co-existence, where there exists no distinction between times that has passed or present time (Samuel 2007, p. 23-26). In this respect, her methods reflect the principles stated by Aristotle and Burke. This article deals with principals and works of Meredith Monk as the pioneer of modern rhetoric in performing arts and also deals with uniqueness of her performances and compositions. At the same time concepts of time, ‘kairos’, rhetoric and political rhetoric are also discussed. The paper focuses on development of form and content of Meredith Monk, with respect to the concept of rhetoric. American performing artist: Meredith Monk Besides being a dancer and a choreographer, Monk was also a vocalist. She was ‘a maker’ who reveled in creating new forms within the realms of music. Works of Monk can broadly be categorized into three groups- first come the music concerts, multi- media as a basis of performance and lastly, films. Throughout her life, Monk had delivered innumerable memorable performances- whether be it solos, or performances with groups or with band members called- “The House”. The members of House always functioned like a family, for it was Monk’s belief that perfection in form and beauty can only be achieved though harmony and unity (Bremser and Sanders 1999, p. 159). It is a feature worth noticing that every single piece of composition or performance bore mark of Monk’s uniqueness. Monk’s vision and notion of form and content is to be credited for this. She chose to delve deep into the underlying silent aspects, over simply presenting art as epitome of beauty. Throughout her life, music remained as the central aspect. Not only she succeeded in achieving newer heights as dancer- vocalist, performer and choreographer, simultaneously she had also developed a vibrato-less style. Her love for music and work has always been her inspiration behind such achievements. In fact she was so obsessed with music, that she once remarked that she never wishes to visualize her life and work separately. Rather, to her, both held similar meanings for she believed that the impressions of life get expressed through art (Bremser and Sanders 1999, p. 159- 160). Timelessness and abstractness acquires much wider place in Monk’s work. The concept of ‘space’ was central to her arbitrary movements. Gesture was another important aspect that Monk regulated, to provide variety to her work. She made use of ‘non- proscenium space’, which is basically a theatrical aspect and combined it with emotional overtones. Spiritual bending of Monk helped her in self- exploration. Effects of this, as well as Eastern mysticism, could therefore, be easily traced in her works. The dance forms she created thus emphasized on simplicity and voyage a journey towards spiritual salvation and inner truth (Bremser and Sanders 1999, p. 160). Uniqueness of Monk’s work: style and technique As a performing artist, Monk was both an archaeologist and a seer. In her works, she had created a poetic equivalent by numerous layers of imagination. This equivalent could only be compared with cross- sectional depiction of soil strata. Not only she had incorporated new elements, Monk had also revived the old legends and cultures in her work. This is more apparent in her work ‘Vessel’. From time to time critics have agreed that in most of Monk’s works, it is difficult to identify the critical medium. As a vocalist, she adopted motifs which were easy to grasp and repetitive in nature. The tunes were basically modal melodies, almost like tunes from distant folk culture. Monk followed an objective performing style, and numerous times she has experimented with collages, both in form and structure of her compositions, by altering and personalizing the elements of nature and level of tension (Jowitt 1997, p. 1- 4). One of the characteristic features of Monk’s style is that her works contained elements of theatrical rhetoric, fusion of resonance, old myths, traditions, etc. For instance, in order to maintain a distance from audience, Monk would prefer to hold a mouth as a stage prop before her own face, a device which was used decades age to bind the audience within personal realities. Thus, Monk’s achievements are remarkable also due to successful use of media and technologies (Jowitt 1997, p. 5). As an artist, Monk made little difference between the real and the artificial, that is to say, she was determined to present life in the form of art. In this respect Monk could be regarded as a realist artist. At the same time she dealt with space- both private and public. Within the domain of physical space, Monk attempted to layer past experience with an essence of the present- within a single frame. Her works were influenced by Martha Graham. The elements in her works thus contained several point of views and appeared to hold different meanings when viewed from a distance or in close- ups. Another feature that could be noticed is Monk’s use of a wide variety of elements from life, blended by a dazzling display of music and people. Monk’s sensibility and insight in worldly matters were the principal aspects. They provided necessary shape and depth to her works. In her performances, she resurrected life’s simple pleasures, only to transform them to memories through ritual or spiritual discourse. All these accounted for that distinctness or uniqueness in Monk’s performances and compositions. These also made her works transcend the regular boundaries of time and form (Bremser and Sanders 1999, p. 161). Dolmen music: Monk Dolmen music (1981) was the first composition of Monk after she formed her own choir group. The vocal piece was sung by six singers. Instrumental assistance included only a cello and percussion (Meredith Monk - 1/8). The title of the song attempts to recapture the essence of outdated cult monuments. The song evokes a sense of antiquity. Dolmen music ends with ‘composite parallel organum’, a tradition which flourished during ninth century, traced of which were found in Frankish treaties and principles of Aristotle. The concept of ‘cyclic time’ was adopted to create an impression of consistent historical progress (Taruskin 2009, p. 486). All Monk wanted was to trace the origin from which music emerged. In her songs, she wanted to convey her message through a ‘universal vocal language’, a meaning which is beyond any word or verse. This made her avoid use of words and use different levels of symbolic action. In this regard, Dolmen music consents to the views expressed by Burke. Music serves the implicit functions by conveying life’s functions (Taruskin 2009, p. 486). The notion of timelessness is felt, as like in ‘Gotham Lullaby’. Dolmen music is a bit of pastoral, a music inspired by songs of hill, depth of caves, etc. It seems to take its listeners to an uncanny, but familiar primal past, while the listeners still remain in situation of heightened consciousness (Samuel 2007, p.10). Turtle Dreams The ‘Turtle Dreams: Cabaret’ (1983) was referred to as a “work in progress”. The song stands for a system. It has only four singers, all of whom appear to be violent or hysterical at some point of time within the song, giving an impression of an existence which lies outside the universal system (Meredith Monk - 6/8). In this regard, the song strikes an odd dissonant note. Urban reality, especially its chaos and restlessness inspired Monk to compose this piece of work. Every individual lives in his own world of reality. Monk has attempted to demonstrate these split realities into one single, but unified whole. Unlike Dolmen music where the sounds were uncommunicative and unworldly in nature, Turtle Dreams attempts to communicate directly with its listeners. Another noteworthy feature is absence of illusion. The whole of it takes place as a single entity; sharing same space together (Fliotsos and Vierow 2008, p. 300- 304). In this song, every level of meaning is set in a mediate. It is piece of which deals with contemporary urban music- the kind of sounds one gets to hear in a live in a city. Monk herself, referred to it as pre- Third World War kind of anxiety which is felt by almost every other people living in city (Samuel 2007, p. 12). Another significant piece composed by Monk was Engine Steps. In this piece of work, Monk attempted to capture the relentless underlying sound that is present in environment. It hosts a bunch of diminutive voices which follows another of her composition, ‘Easter’s song’. Justification for choosing monks work Meredith Monk could be regarded as a rhetor of modern times. As an artist, she had achieved ‘timelessness’, which can also be regarded as specific period within time itself. This accounts for the sparks and surprises that are usually found in Monk’s compositions and performances. She communicates to her audiences no doubt, bur she transcends the general form of media. Her form is able to achieve this impermanence and abstractness. Monk’s works are worth studying because they voice the speech of silence, and not words. Monk created a space where time remained an undifferentiated factor. Influence of numerous ancient cultures, traditions, myths and religions also makes her works interesting and appealing. Contemporary elements of rhetoric and political rhetoric Rhetoric, materiality and visuality are interrelated terms. During its earlier days, rhetoric largely represented democratic pragmatism and was supported by principles of instrumentalists. This view soon changed as a result of change in communicating system and interference of mass- media. This turned rhetoric into a ‘quasi-literary study’. However, it emerged in a new form during 1960’s, shaped by contemporary political changes. Rhetoric graduated from being merely theatre elements to a device of discovering underlying truth and knowledge. The modification also favored insertion of meaning and value to performances. In contemporary rhetoric’s, evidence of problems is mostly stressed upon. Rhetoric, in present times is regarded as an epitomized form of art which makes use of ‘body of principles’ to meet the requirements of producing an effective discourse (Biesecker and Lucaites 2009, p. 1-3). The very term ‘political rhetoric’ contains elements which have intellectual as well as cultural significance. Kenneth Burke and others envisioned rhetoric from political and theoretical basis, founded on historical- materialist ground. This made contemporary political rhetoric function largely as a device of social and political judgement. In present times, rhetoric addresses issues related to civic and personal problems (Biesecker and Lucaites 2009, p. 2). Concept of time, qualitative time, rhetorical situation and contemporary views: Kairos Kairos is the special notion which includes two important dimensions- space, and/ or time. The term, first propounded by the ancient Greeks, is a flexible one and includes multiple layers or scopes. From a narrower point of view, kairos measures a situational period in time, which is also referred as right rhetoric moment. However, it is not limited within criticality of time only; its meaning extends even to concise, fleeting moments too (Sipiora and Baumlin 2002, p. 1-5). Variability of rhetoric depends much upon kairos. Impact or intensification of argument keeps on changing from time to time because of dynamic nature, beliefs and mindset of audience. Kairos controls the stimuli which affect interest- level of individuals. Simultaneously locates position of the arguments, with respect to concerned time and place. Aspects upon which kairos acts are- rhetor, beliefs and cultures, experiences and above all position about an issue. Only after a work is composed, kairos assures certainty by exploring issues and exposing inherent knowledge (Sipiora and Baumlin 2002, p. 1-3). Each rhetorical situation is different from the other, for each one of them present different yet distinctive bunch of challenges. Kairos’ most important role is invention or tracing positions of arguments, so as to contribute in investigation of issues in a systematic manner (Sipiora and Baumlin 2002, p. 3-5). Kairos is regarded as the objective view of rhetorics. In present times, kairos bear similar meaning as any rhetorical situation. It is used primarily for knowing and communicating in an era of continuous up- gradation of media and other technologies related to communication. Though the term is not used in its original sense, kairos intensifies the effect of rhetoric by interpreting to the audience and presenting the overall context like the author. Abundance of information, devices and technology in modern texts has made kairos function in an ambiguous manner. Dissipated and varied philosophical views accounts for limitations of web- based kairos, though it has successfully blended flexibility and flexibility in a just proportion (Sipiora and Baumlin 2002, p. 1-5). Aristotle’s means of persuasion: Ethos, Pathos and Logos: In opinion of Aristotle, appeal of rhetoric is a collaboration of three forms- ethos, pathos and logos. Ethos: Ethos stands for ‘ethical appeal’ and focuses on credibility or convincing factor of characters or the speaker. Ethos primarily deals with impressions generated. In other words, ethos attempts to create a permanent impression in the minds of the readers or audience which is not only reliable but also lasts for longer time period. Generally, audience tends to judge a character by whom they find worth listening to. Thus, the performers need to present themselves as subjective representations who is likable and at the same time commands respect (Gross and Walzer 2000, p. 189- 197). Tone and style are the mediums through which ethos is conveyed. Though expertise of author is necessary, bulk of responsibility depends on the performers. Unlike the older times when ethos was generated by highlighting a family’s reputation, modern day ‘ethos’ arises from one’s acknowledgement of life. Appeal of ‘cultural ethos’ arises from the identity earned by that individual though his action within a social structure, specifically from a character’s good sense, upright moral character and lastly, goodwill. For this reason, ‘ethos’ is also addressed as ‘ethical appeal’ or ‘credibility- driven appeal’. Thus, ethos helps an argumentation to become trustworthy. However, in opinion of Aristotle, to generate ethos, an artist must focus on use of words in a language and not merely on languages as a whole, since ethos depends much on personal equality, morality and intellectual aspect of the character displayed (Gross and Walzer 2000, p. 189- 197). Pathos: Pathos stands for persuasion from emotional point of view. According to Aristotle, the device of emotional appeal is the best way to persuade audiences. Pathos not only appeals to emotional content of audiences, but at the same time it also fuels their imagination. Thus, people begin to identify themselves with on-stage personas of artists. All the emotional effects- pain, longing, suffering, etc. then continue to take place within their subconscious mind. This makes them relate abstractions presented with logic, in connection to the reality of time they live in. thus, the element of pathos successfully evokes values, beliefs and understandings embedded deep inside individual’s mind. Thus, pathos contributes in intensifying an argument (Gross and Walzer 2000, p. 189- 197). Pathos is effective in heightening the intensity or appeal of any performance. Common devices of pathos include choice of words, delivery of dialogues and sensory details. By regulation of these, artists could sway the minds of audiences by either creating positive or negative impression. This makes pathos the strongest form as it reaches directly appeals to the minds of the audiences (Gross and Walzer 2000, p. 189- 197). Logos: Logos refers to logical persuasion. It is generated on basis of logic and rationality. And is the most important form which deals with technological aspects. Element of logos in a performance involves use of both deductive as well as inductive reasoning. Thus, logos form most significant part in an argument. Since it includes logical supports, hence there remains chance of occurrence of fallacies, either with objects of argument. The element of logos appeals to the audience over assumed facts or values. Also, the element of logos makes the performers produce a work of art which would give clear concepts about the nature of things, terms used, features depicted, analogy, comparisons, causes and their effects, reference group and reflection of public opinion (Gross and Walzer 2000, p. 189- 197). Kenneth Burke – language as symbolic action and A Grammar of Motives Burke made remarkable contributions in the field of rhetoric- both social and political. He was of the view that rhetoric function inspires cooperation by means of groups of symbols. Language occupies the most important place as the way of using language helps in better understanding the real basis of a conflict as well as the prospects of cooperation. Dramatism is highly influenced by not only language but also nature and presentation of criticism. It is criticism which differentiates poetry and semantics. Burke also shared that ‘dramatic rituals’ which is central to every culture, is the most important social function that viewers find relevance and association. In this respect the approach could be regarded as psychoanalytical. ‘Symbolic action’ functions on different levels, namely on biological or physical level and intimate, or personal level. In other words, it refers to those aspects of symbolic art which lie sublime or the elements present underneath the practical actions. This view hold true not only for literature or theatre alone, but for philosophy and sociology as well. Burke further goes on to state that every piece of composition, contains numerous series of implicit equations, which are brought out by controlling the rhetoric. The motivation behind shaping of discourses and emotions- despair, delight, consolation, chivalry or villainy is decided by ‘associational clusters’. The chief motive remains constant, that is unification of structure with values and events. This, in turn makes ‘symbols’ the medium through which sense passes from the composer to his audience. Thus, in opinion of Burke resources of language is the only device through which an artist could regulate as well as push the scopes of interpretation (Wolin 2001, p. 119- 131). Conclusion Over time, Meredith Monk has emerged as one of the most versatile artists in present times. She was innovative, accomplished and loved to play with musical chords. For more than a quarter of century, she aspired to create an art which is free from conventional and set boundaries. All she wished was to re- establish the unity which once existed in different forms of music. The same thing she tried to establish in theater and dance also. This made her pieces of work rest both within realms of contemporary time as well as in timelessness. Meredith Monk believed more on the unspoken meanings or values of words. She emphasized that, it is not necessary that everybody had to say or listen to words all the time. A word had its own beauty and so, do also have its own integrity. In her works, words are used as the globe. The sounds, as in Dolmen Music, appear as mysterious conversation, only to be heard from far away but which one fails to make out. Both Dolmen Music and Turtle Dreams produce sound effects which give the impression that they are either made by people or creatures of world, or are outside the planet, an inter- planetary phenomenon. Beliefs and methods of Monk’s work are also related with principles of Aristotle and Burke. This makes her works all the more complex, challenging and important from the view of contemporary notions of form and content. References 1. Biesecker, B. A and Lucaites, J. L 2009, Rhetoric, Materiality, & Politics, Peter Lang,Switzerland 2. Bremser, M and Sanders, L 1999, Fifty Contemporary Choreographers, Routledge, UK 3. Fliotsos, A. L and Vierow, W 2008, American women stage directors of the twentieth century, University of Illinois Press, US 4. Gross, A. G and Walzer, A. E 2000, Rereading Aristotle's Rhetoric, SIU Press, US 5. Jowitt, D 1997, Meredith Monk, JHU Press, US 6. Meredith Monk - 1/8, n.d, viewed 24 May 2013, Read More