FlyOver: September 2007 Archives

Madison's afternoon daily, The Capital Times, recently ran an item on how the current school year will likely be the one in which "minority students become the majority in Madison's elementary schools." Counted together, Black, Hispanic, Asian and Native American students will account for over 50% of elementary students.

For those reading this outside of Wisconsin, this number may be surprising given the state's largely Germanic image (and, frankly, I wouldn't exist were it not for German immigrants to Milwaukee). Yet while the makeup of Milwaukee and Madison is more varied than the state as a whole, numbers such as these do indicate that Wisconsin is an increasingly diverse place. And as the younger generation in particular becomes more diverse, so does our state's future.

What does this have to with the arts in smaller cities? Quite a lot, for reasons that are not hard to fathom. While part of the role of the arts is to give us glimpses into other worlds and other people's experiences, I think all of us also want to see our own experiences--whatever they may be--reflected in the arts from time to time. A pluralistic society needs a rich variety of arts experiences.

Some related questions that have come into sharper focus for me this year are these: How does the art we see in our community reflect our population? What do local arts programming choices say about us as a community? And whose stories are being told?

While these questions may seem painfully obvious, for arts writers they're also easily lost in the rush of doing a review of a particular play, art exhibition, etc. Sometimes, given all that there is to say about a specific work and the limited amount of space a writer has, larger questions of context and community fall by the wayside. And even when they're raised, they're not always appreciated; arts organizations can wind up feeling defensive.

For arts critics in small to mid-size cities who may be reading this: how have you addressed such issues in your reviews? Or do you feel you've not had the space to really delve into it? Or is it an issue you think is ill-suited to arts criticism?

On a related note, I've also been pondering issues of diversity in terms of local print publications. They, too, are a mirror of how Madison and cities like it are changing. In addition to Madison's two daily newspapers (the Wisconsin State Journal and Capital Times) and alternative weekly, Isthmus, there's a lot more in town, much of it serving specific populations: the brand-new Our Lives, which bills itself as "Madison's LGBTQA Magazine"; the multicultural papers Capital City Hues and The Madison Times ("The Paper That's More Than Black and White"); La Comunidad, publishing articles in both English and Spanish; and Wisconsin Woman--and I'm sure I'm leaving a few publications out.

While I have no grand insights to offer as I write this late on a Monday night, I do think that those of us lucky enough to write about our local arts scenes must take time to consider the community context of what we see--and don't see.

September 11, 2007 10:00 AM | | Comments (6)

One of the misconceptions one sometimes encounters about the arts in the "Outback" is that there is little original work being created here, or that people in smaller communities are in "trickle down" mode, waiting for touring shows or performers from bigger cities to make it here.

Of course, it's not news to those in smaller and mid-size cities that there is quite a lot of original work being created, much of it of high quality. In that spirit, I wanted to share a story in today's Wisconsin State Journal about the Off-Broadway debut in New York of the Madison-made musical "Walmartopia," a zany yet pointed spoof of the mass retailer and global economic force that enjoyed a successful run at Madison's Bartell Community Theatre in 2005 (under the auspices of Mercury Players Theatre). It was one of my favorite local shows of that year.

After a brief extra run locally at the Barrymore Theatre, "Walmartopia" moved on to New York's Fringe Festival and is now Off-Broadway.

While the whole story by Katjusa Cisar is well worth reading, this part seemed most germane to our concerns here on Flyover:

[Co-creators Catherine] Capellaro and [Andrew] Rohn stress that it was the enthusiasm of people in Madison, not money, that got them to Off-Broadway.

"It bounced us to the Fringe Festival (in New York) and then bounced us here," says Capellaro.

Rohn adds, "I keep wanting to convey to people who do art in Madison and other small places that I don't think there's a qualitative difference between here and there. The soul and spirit of performers is the same."

For any New Yorkers who happen to be reading Flyover, I highly recommend checking out this show--and feel free to post your thoughts about it in the comments (I'm curious about changes from the Madison version). And in the meantime, we Madisonians will have to await Rohn and Capellaro's musical about intelligent design and creationism--if their previous work is any indication, it should be a hoot.

Update: Here's some additional coverage of the New York version of "Walmartopia" from Madison's alternative weekly, Isthmus, the Guardian, the New York Times (which gave a quite negative review) and MSNBC.

September 4, 2007 6:00 AM | | Comments (3)

Recent Comments

Blogroll

About this Archive

This page is a archive of recent entries written by FlyOver in September 2007.

FlyOver: August 2007 is the previous archive.

FlyOver: October 2007 is the next archive.

Find recent content on the main index or look in the archives to find all content.

AJ Ads



AJ Blogs

AJBlogCentral | rss

culture
About Last Night
Terry Teachout on the arts in New York City
Artful Manager
Andrew Taylor on the business of arts & culture
blog riley
rock culture approximately
critical difference
Laura Collins-Hughes on arts, culture and coverage
Dewey21C
Richard Kessler on arts education
diacritical
Douglas McLennan's blog
Dog Days
Dalouge Smith advocates for the Arts
Flyover
Art from the American Outback
Life's a Pitch
For immediate release: the arts are marketable
Mind the Gap
No genre is the new genre
Performance Monkey
David Jays on theatre and dance
Plain English
Paul Levy measures the Angles
Real Clear Arts
Judith H. Dobrzynski on Culture
Rockwell Matters
John Rockwell on the arts
Straight Up |
Jan Herman - arts, media & culture with 'tude

dance
Foot in Mouth
Apollinaire Scherr talks about dance
Seeing Things
Tobi Tobias on dance et al...

jazz
Jazz Beyond Jazz
Howard Mandel's freelance Urban Improvisation
ListenGood
Focus on New Orleans. Jazz and Other Sounds
Rifftides
Doug Ramsey on Jazz and other matters...

media
Out There
Jeff Weinstein's Cultural Mixology
Serious Popcorn
Martha Bayles on Film...

classical music
Creative Destruction
Fresh ideas on building arts communities
The Future of Classical Music?
Greg Sandow performs a book-in-progress
On the Record
Exploring Orchestras w/ Henry Fogel
Overflow
Harvey Sachs on music, and various digressions
PianoMorphosis
Bruce Brubaker on all things Piano
PostClassic
Kyle Gann on music after the fact
Sandow
Greg Sandow on the future of Classical Music
Slipped Disc
Norman Lebrecht on Shifting Sound Worlds

publishing
book/daddy
Jerome Weeks on Books
Quick Study
Scott McLemee on books, ideas & trash-culture ephemera

theatre
Drama Queen
Wendy Rosenfield: covering drama, onstage and off
lies like truth
Chloe Veltman on how culture will save the world

visual
Aesthetic Grounds
Public Art, Public Space
Another Bouncing Ball
Regina Hackett takes her Art To Go
Artopia
John Perreault's art diary
CultureGrrl
Lee Rosenbaum's Cultural Commentary
Modern Art Notes
Tyler Green's modern & contemporary art blog
Creative Commons License
This weblog is licensed under a Creative Commons License.