It is my pleasure to announce that my composition The Ballad of Olga D. will be presented as part of NMNMNE’s (New Media New Music New England) project What if? 60x60x60. This will be held at the Axiom Gallery in Jamaica Plains (Boston) on April 29th, 2010. You can also view (and play with!) the project on-line at http://www.nmnmne.org/what_if.php
Since I will be in Tajikistan during the presentation, I am unable to attend (yes, missing yet another performance and presentation of my music due to performing on another continent…), so if anyone attends, please let me know how it was. 
Demetrius
Here’s the info:
What if? 60x60x60
And, the New Media Curious Festival party!
Next Thursday April 29 730 PM
Media artist Gene Gort and composer/sound artist Ken Steen of New Media New Music New England bring us an audience participatory experiment in audio and video called What If? 60×60×60. The project uses 60 video clips and 60 sound compositions that are 60 seconds in duration each. Contributors of the clips were selected from a call to New England mediamakers. During the event, audience members select one number each from a video and audio designated list. These selections will determine the evening’s program of 60 works, resulting in a 60 minute screening. What If? 60×60×60 investigates the serendipitous relationship of sound and moving image in terms of coincidence, shifting context and potential meanings that result. Check out the online version of the project at http://www.nmnmne.org/what_if.php and http://www.nmnmne.org. Gene Gort, Ken Steen and Boston mediamakers will discuss the experimental project following the screening.
And after that, stay for the New Media Curious Festival Party! Have some snacks, sip a refreshing UFO lager and chat up all the friendly, fascinating people in art, experimental moving images and technology in Boston and beyond!
See the Festival Poster!
What If? (60x60x60) up and on-line! March 18, 2010
Greetings,
It is my pleasure to tell you that the NMNMNE’s (New Media New Music New England) project What If? (60x60x60) is now up on-line for public access.
http://www.nmnmne.org/what_if.php
For the project, there was a competition for both composers and film makers to create works of 60 seconds. The idea is that the viewer can choose (or let the website choose at random) any combination of music and video. The website will sync up the two.
My composition, The Ballad of Olga D., was chosen for this project. This was especially fun for me since this piece is the first ever stand-alone electronics-only work that I have ever composed (not counting electronics-only film scores). The one non-electronic component is me speaking the Russian word “Zdravstvuite! (Здравствуите!)”, which means “hello”…you can probably tell by the inflections in my voice what the piece is about (hint: think Russian club scene…).
There are lots of really interesting works that will give you, the viewer, endless hours of random pairing fun!
Thanks again to NMNMNE for putting together this very cool project, and for choosing my work to be a part of it!
Demetrius
On Monday, April 27th, 2009 I will be performing my In Celebration of Sunrise for flute/alto saxophone/actor (one performer), electronics, and film, at the Wired for Sound 2009 Festival, to be held at the Longy School of Music in Cambridge, MA. Wired for Sound is part of the Boston Cyberarts Festival.
This multimedia work for soloist, electronics, and film is based on a Postmodern view of a Native American sunrise ceremony. The opening flute is purely improvised, while the later saxophone melody is presented in heterophony with the electronic tracks. In performance, the soloist performs both alongside and within the film by standing behind a scrim, interacting with the on-screen action. This was my collaboration with Uzbek film maker Nikolay Leonuv, and had its premier at the Omnibus Black Box Music and Vision Festival in Tashkent, Uzbekistan in February 2008.
Other composers featured on the concert include Eric Chasalow, David Ianni, Russel Pinkston, and Justin Casinghino. The concert will take place at Edward M. Pickman Concert Hall at the Longy School of Music in Cambridge, MA on April 27th, 2009 at 8PM.
Uzbekistan, February 2009
As most of you know, I am a performer and composer who travels overseas extensively, presenting concerts and lecturing at colleges and conservatories, most especially in Eastern Europe, Russia, and Central Asia. My cultural initiatives are either of my own creation, collaborations with international artists and organizations, or as a ‘cultural ambassador’ working with the US Embassy system, primarily in the former Soviet Union, to promote American music and artists while stimulating dialogue and interaction with local artists.
You must also understand that none of my work is political by any stretch of the imagination. Unless you’re Pete Seeger, the mixing of art and politics is usually a foul one and is successful only rarely. I don’t care about politics–I do care about Humanism and the soul of the Individual.
This last visit to Uzbekistan, my third since 2007, was quite an experience on multiple levels. It showed me not only the state of the human condition and the fear instilled in certain societies, but it also proved to me the great human desire to communicate and share one’s feelings, and even one’s hopes…
I left on February 22 out of NYC, transferred planes in Moscow (after a 7 hour wait…typical, but I don‘t have any complaints about Aeroflot except the quality of the food…), and arrived in Tashkent on the morning of the 24th.
The first part of my trip was to be in collaboration with the Ilkhom Theater and the Omnibus Ensemble; the former being the only independent and uncensored venue in all of Central Asia (and before that in the whole of the Soviet Union) and the latter being the only contemporary music ensemble in Central Asia. These are wonderfully gifted people who are doing tremendous work, literally an oasis of art in a multi-country region. It must be understood here that this theater has received great pressure from the Uzbek government, and also great assistance from Western Embassies and art/culture groups, most notably the US Embassy and the Goethe Institute (Germany). The founder and director of the theater was murdered in 2007, a few weeks before my first visit. It is widely thought (and understood) that this was not a random occurrence, but one meant to stifle the theater for good, thereby destroying the one venue for free speech…
…but they battle on…
For this, our third collaboration, I was to be a featured composer and performer at the Black Box Music and Vision Festival. We were going to premier three new films scores that I composed especially for the festival: two films by Uzbek film-maker Sukhrob Nazimov which I would perform live to the films on saxophone with electronics, and a large film by Greek film-maker Eri Skyrgianni, which would be me performing as soloist with the Omnibus Ensemble, once again live to the film–basically this one was an hour and ten minute concerto. After much rehearsal, and must exhaustion, we presented a wonderful concert which was met with great reaction from both the audience and journalists present–a great success!
That was the 25th.
The next morning, the 26th, at 4AM I was picked up by the US Embassy delegation to fulfill the second part of my work there, which was as a cultural ambassador and to present concerts, lectures, and master classes in the country’s major cities: Bukhara, Samarkand, and back in Tashkent.
So…for eight hours we traveled across the plains, the cotton fields, the arid morning of Southern Uzbekistan. It was during this journey that it was learned that three Uzbek journalists (friendly to the West) were arrested and convicted of criticizing the Uzbek government….they were given 12 years in prison…
At this point, you must understand that this government, especially on the local levels, is one that is not only based on instilling fear and controlling speech and learning but also quite corrupt. The above mentioned cotton fields are worked by students forced out of school, and the roads are kept clean by the people in cars stopped by police on the highway for only that reason.
These arrests were probably a factor in what happened next.
It seemed as if the local governor of Bukhara decided that having an American jazz musician speaking at his music college was a bad idea. They may have been fear of a pro-democracy riot that my presence would ignite, or fear that jazz, that symbol of Western decadence which was outlawed in the Soviet Union, would allow the students too much of an understanding of freedom…
…these may be, and probably were for the most part, true, but it must also be known that probably the biggest factor was the fact that he was insulted that the US Embassy went above his head and below for permission, but didn’t ask him directly…
…so he decided to put an end to it…
We found out that the teachers who had invited me decided to move the event off-campus to a local music school, thereby following the letter of the law not to allow me on campus, but not the spirit. After a quick talk through, I took stage with three Uzbek teachers who have a jazz trio. We had fun, and the students there got something new and had the opportunity to learn…the director of that school was tremendously stressed because he knew that once the officials and the NSS (former KGB)knew of the location, they’d shut it down and take people away…which is what basically happened. After we got off stage, and as I was overrun with students asking questions and wanting autographs, the NSS came in, and told the director of that school that he was to report to headquarters…as far as I know, he was only reprimanded.
From that point on, we were under constant NSS surveillance. Wherever we went: restaurants, hotels, walking in town, driving…we were watched and followed. We would literally turn around and 2 people would duck behind a building…and it wasn’t the same people all the time, either…you would think that they would have better ways to spend their money than to follow a jazz musician all around the country…
The next day, the 27th, we headed towards Samarkand. Now, in this instance, the director of that school was called in before-hand and forced to shut everything down and not allow me anywhere near the College of Music, and anyone who may have wanted to work with me was told that they better not even try. This was frustrating…I’m not the one hurt by this, the students are…their education is being truncated by arrogance and fear…all they want is dialogue, and that’s what they are denied.
To try and salvage something, we were in contact with a number of journalists who wished to do a television interview with me to help set the record straight and to show how beneficial this dialogue with me would be. We planned a meeting at the television studio, only to later find out that the studio was told that if I were to enter the building, it would be shut down. We organized the journalists to meet us in the conference room at our hotel, which we secured earlier that day…when we arrived, all rooms were closed to us, NSS men sitting in the lobby…
…so, we had an informal talk there in the lobby–no cameras were allowed. As it turned out, one of the teachers in Bukhara connected us with the one jazz musician, a pianist, in Samarkand, who invited me to play with him that night at this club in the city.
So, we all went. We had a fantastic time. The journalists recorded everything and interviewed me, and the pianist and I jammed for hours. It was all good until the journalists left…they were ‘called in’ by the NSS, their equipment and the footage confiscated…
Fearing the worst, we left the next morning (28th) for Tashkent to present there at the College of Music, NSS not far behind. We contacted the school and told them what happened, and were told that no one has said anything to them. We arrived, I taught, I played, I answered questions–it was a great event, exactly what the other two should have been. There were NSS men there, I believe (the auditorium was large, so I couldn’t be sure), but they sat and listened, took notes, and must have reported back that no pro-democracy riots had occurred and that I was actually quite the gracious guest…
Obviously, since I was doing something in the capitol city, the seat of government, it must be alright..
After all of this, I worked with some composition students from the Uzbekistan State Conservatory, crashed for about an hour (thankfully, I gave up regular sleeping back in the late 80’s) and was picked up by an Embassy car to go to the airport at about 2AM, March 1rst. They sent me through the ‘diplomatic passage’ just in case, but I don’t think that there was too much worry, but one never knows…something could have been planted on me which would make my stay in Uzbekistan ‘extended’ to say the least…
So now what, you ask? Well, I’m going back–I have to, my work is not done yet. Again, I believe that these actions were generated by fear–fear of losing control, fear of the unknown…the most basic human need is that of communication–this transcends arts and politics–people have a desire for dialogue. These teachers and journalists risked their careers just to communicate with me–this act can not go unheeded . I am in the process of organizing a new, large-scale, cultural initiative which will hopefully, with the Uzbek government’s approval (which by the way, on the highest level I believe wants this) stimulate artistic and educational dialogue between Uzbekistan and the West…
…we can only gain from this…we can only evolve as souls by learning from each other…and talking…
Thank you for reading,
Demetrius Spaneas