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Arts Culture

The big wow

A few months before she died, Asha Greer wanted everyone to wake up. We were sitting on the porch of her little house in Miran Forest, near Batesville, on a cool October day. She was reflecting on art and tea, life and death, and I asked the beloved artist, spiritual teacher, and longtime Charlottesville resident what she wished for. “Man, I wish for people to wake up to how beautiful life is, in spite of the fact that you die, that you get sick, that you suffer, all of that,” said Greer, who’d been suffering from brain cancer for most of the last year.

Greer lived a quiet, extraordinary life. Her impact can perhaps be felt most deeply in intimate spaces—a meditation student’s stillness, a tea ceremony student’s gentle fingers, a family member’s memory of her grounding presence at their loved one’s death years ago. For many, she modeled a devotion to spiritual practice, to art, and to love.

Recalling her childhood in Los Angeles, Greer described a comfortable upper-middle-class life that nonetheless felt lacking. “Way inside of me, there was this place that was making faces a lot of the time,” she said, “Yes, it’s nice to win tennis games—not that I won that many—it was nice to have this very nice life, but it didn’t satisfy anything in my being.”

Greer (formerly Barbara Durkee) was attracted to art, and eventually found her way into the 1960s New York art scene, where she and her then-husband Stephen Durkee founded a ground-breaking media artists’ collective called USCO (Us Company). The Durkees later moved to northern New Mexico, and in 1967 co-founded the Lama Foundation spiritual community with Jonathan Altman. Lama was conceived and continues as a community that embraces all spiritual traditions. Richard Alpert, known later as Ram Dass, assisted with the founding of Lama, and the community published his now-famous book, Be Here Now.

After 12 years at Lama, Greer moved to Charlottesville with her four daughters. She took up residence in Miran Forest with several other families, raising their children together. She worked as an oncology nurse and co-founded Hospice of the Piedmont. When I asked her about working with dying people, Greer said, “It was me. It was you. It was all of us. There was no difference between the people who were dying and the people who were living…I don’t think dying is necessarily suffering unless people make a story about it being suffering, because it’s inevitable. We don’t know anybody who isn’t going to die, so why in the world suffer because of it?”

Once her children were grown, Greer focused on art and spiritual practice, teaching, taking journeys, and going on retreat, always with meditation as her ground. Though embracing a range of spiritual paths in the tradition of Lama Foundation, she eventually became a murshida in Sufi Ruhaniat International. Greer shared her gratitude for meditation as “a place for all of us to rest, to find peace with creation, to find peace with even those people who cannot make peace with creation.”

She also practiced and taught Japanese tea ceremony through her Heartwood Tea School. About the tea ceremony, she said, “It’s an act of life. It’s a conscious act of life, which—well, I’ll tell you what it is, really. It doesn’t divide the physical world and the spiritual world. It wipes out the difference.”

Talking with her during what she and her family knew to be the last stage of her life illuminated the depth of Greer’s spiritual understanding. Her presence felt peaceful, suffused with gratitude for the beauty of her life and family, and, despite moments of mild confusion, her conversation revealed a balance of wisdom and humility. She spoke about her brain tumor almost as a visitor that had joined her, as a kind of teacher. “I feel fine about dying,” she said. “And now my practice is not so much ‘practices.’ It’s really surrendering to how things actually are, without some sense that I have to make everything work.”

After surgery on her brain tumor last summer, Greer described a revelation in her spiritual life. “It was huge. I moved, I did. I moved from here,” she said, pointing to her head, “to here,” pointing to her heart. “I opened my heart pretty thoroughly at that point. And in opening my heart, I cleaned out all that stuff that comes in with your personality, that has to get along with [other people], with society.”

Greer grew tired as our conversation continued, but I came away with a clear sense of her connection to the ineffable, and an appreciation for the generosity that drew so many people to her as friends, students, and companions in a life of spiritual and artistic exploration. She embodied what she wanted for everyone else—to open their eyes “to how amazing life is. And try to stop being afraid of it and start appreciating the glory and the beauty and the unusualness and the incomprehensibleness of it. Wow! The big wow!”

Greer died on January 7, and was buried in Miran Forest on January 11. More information about her life and teachings can be found at asha-greer.com.

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News

Veiled realities

In Under the Veil, Iranian-born choreographer Miki Liszt offers an intriguing and deeply personal investigation of what she calls in a program note “the ways in which cultures

• For another dance review from this issue, click here.

reveal and conceal women.” Through the ten-section work she takes us on an autobiographical journey through the Muslim practice of covering women from head to toe. Taking the feminist slogan, “the personal is political” to heart, Under the Veil functions as a meditation not just on Liszt’s experience of the veil, but on all Muslim women’s experiences, and in fact, all women’s struggles with the potent force their bodies wield in their own lives and in their cultures—and their cultures’ responses to that force.

This is powerful stuff, and dance/movement seems like the perfect vehicle for exploring it. Could Liszt have relied on her own gripping stage presence and the gorgeous Persian music she selected to accompany most of the piece, I have no doubt she’d have kept her audience riveted. Props, video projection, and the presence of five young women dancers who functioned as a sort of chorus, however, tended rather to diffuse the work’s theatrical impact than to enhance it.

A focus on hands and feet—the only body parts besides the eyes not completely covered by the veil—carried through the work. Opening the piece, images of baby hands and feet were projected on the back wall as the dancers, lying on their backs with arms and legs in the air, twisted and turned their own hands and feet. From this beginning, the work progressed through a series of scenes of women relating to the concealment offered (or threatened) by the veil, with Liszt alternating as either the main actor or the observer of the younger women who appeared as refracted images of herself, or as representations of community.

Video projections appeared intermittently, the most powerful of which were a series of stone or brick walls cast behind and upon the five women in white veils: the veil as wall. Shoes provided a consistent, if puzzling, through-line as well as the veil. Put on, taken off, brandished, they figured prominently in many scenes (the only accessory for women otherwise completely covered?) but often seemed to needlessly clutter the stage space.

The work offered clear instances of the veil as an oppressive force, but it also acknowledged—less clearly—the veil’s offer of safety, the power of concealment. I kept wanting to know, however, more about the body being covered or exposed by that veil, whether through bolder imagery or physicality, or through a greater clarity of intention behind each movement, especially by the chorus. Performing Liszt’s spare, often pedestrian or gestural choreography, none of these young women could match her level of simultaneous intensity and nuance. As a result, I felt most compelled when I could watch Liszt’s rippling hands or prehensile feet weave stories of their own, and let everything else melt away.

Categories
News

Shentai

stage What is it about Charlottesville and art? Whence springs the rich, organic, artistic funkiness that pervades this place and its people? After a night of Shentai, I have decided that perhaps the nine Muses, in a wild, ululating, naked race to strew creativity across the earth, lingered here longer than other places. It’s in the air, in the dirt, and lord knows it’s in the Ix building—that rambling, seductive, industrial castle of gorgeous decay and subtle renewal.


A bunch of characters: The mysterious provocateurs of Shentai transformed the Ix Building into an otherworldly carnival.

On foot you enter the Ix gates for Shentai, where the world falls away and a dream-state ensues. Guided by carnies, you walk into a vast space, forested with columns and spiked with twinkle lights and Chinese lanterns in the distance, glowing like planets. You run into a friend who says, “I got a gumball from the Toy Monkey. A blue one.”

The waiting crowd mills behind fences of found objects—logs, metal, string, a sequinned pen. A lovely girl in tulle stands still, holding red curtains closed. Sullen ladies sell beer and dancers cavort in a domed enclosure, egged on by the Toy Monkey. Far across the space, the sound of the sea echoes and a woman in white (Sarah White) sings a high, strange song and, carved by side light, washes her arms in a tin bucket of water. You could watch this for some time, or until a four-legged stilt-walker creeps mantis-like from behind a paneled installation and gazes towards you before slowly retreating.

Soon you are loosed into a grand space neither interior nor exterior, with green trees visible beyond gaping walls and the cool June air swirling through the cavernous ceiling. The Accordion Death Squad regales the crowd with expert fiddle, accordion, piano, banjo and more, and Pepin Schmetterling (Jennifer Hoyt Tidwell) and Sigga Valsdotter (Bree Luck) lay down the rules of the evening. A drunken stilt-walker (Johnny Fogg) staggers past. A beautiful woman (Spiral) wields a spinning hoop around herself and through the air. Two dancers (Rachael Shaw and Bruna Longo) slither slowly through a rope net suspended above your head.

Soon it becomes difficult to resist the absurd dangers of the Ix 50 Bicycle Rodeo & Dignity Stripper Game Show, emceed by Christian Breeden. Then, the linguistic labyrinth of Tidwell’s short play, Dido vs. The Squid Monster, captivates with the maniacally lovely Sian Richards and Kara McLane Burke, unmissable in flippers and tentacles.

The evening marches on, with A Dead Whale or A Stove Boat! by Nimrod Shentai (Jude Silveira), who may call upon you to act the whale using a pink flamingo; or the strange Natural History Peep Show, directed by Dinah Gray. Pity any foolish business who turned down a chance for the Vampirates (Good Foot Dance Company) to concoct a sponsorship skit for them, embedded in a fabulous tap dance.

The Kindled Flame—a culminating fire dance created by Kelly East with 15 performers—hypnotizes. For a moment you might wish to watch the spinning sticks and batons, the swinging candles and flaming angels, from far across the Ix compound where the fire would flicker and illumine and confuse through transparent walls of brick and metal. But up close you sit near the heat, glimpsing the smudged faces of the dancers as they spin the bright flames, catching the dense whoosh of fire rushing through air until the bright orange fades to blue flame and the evening draws to a gorgeous, satisfying close. You may, perhaps, have to come back again.

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Uncategorized

A magic cabinet of curiosities

The Oxford English Dictionary defines “magic” as follows:

1. the power of apparently influencing events by using mysterious or supernatural forces
2. conjuring tricks performed to entertain
3. mysterious and enchanting quality
4. (informal) exceptional skill or talent.

    Well, if you’re looking to see this definition in the flesh, here’s your chance. From July 20 through August 6, in the rambling old Frank Ix Building, a dream team of Charlottesville performance and visual artists will conjure a cabinet of wonders (which is what a “Wunderkammer” actually is, if you didn’t know), presenting a mix of art installations and music, along with some wildly varied and talented performing acts, from drama to carnival to burlesque.
    Since the dawn of time (or at least the mid-‘90s), mysterious and supernatural forces have conspired to bring about the Wunderkammer—a sideshow melange that seeks to amplify and expand on such scintillating and original Charlottesville performing companies as Foolery, Zen Monkey Project, the Performers Exchange Project and the Lunatic Carnival.
    The project was born when longtime Fool Martha Mendenhall (currently known as Baroness Wunderkammer), visited the 2004 Edinburgh Festival Fringe in Scotland, where she experienced the comfortably freaky atmosphere of the “Famous Speigeltent” venue, complete with cabaret acts, bizarre bands, and beer garden. And thus, the seed for the Wunderkammer was sown.
    An air of inevitability, in fact, attends this particular confluence of artistic minds assembled by Mendenhall and Zap McConnell (a Zen Monkey, now Schotze Wunderkammer); as McConnell pointed out about the groups united here, “we had always been admiring each other from afar.”
    Together at last, the Wunderkammer Family convinced the Ix Partners to grant them access to, as McConnell put it, “one of the last few urban relics remaining in Charlottesville,” the Ix Building. Soon, planned development will transform it into something perhaps more useful, but less flexible and gorgeously weird. Her job as Wunderkammer’s artistic director involves creating a throughline for the evening, carefully organizing the motley assortment of lunatics, fire dancers, burlesque ladies, aerial acts and musicians. For help in managing the chaos, McConnell looked to the space itself for inspiration. “It was telling me what needed to happen,” she says. “It’s extraordinary.”
    “But what will happen?” you ask in an agony of curiosity. Well, here’s what the average mature audience member can expect: They will arrive on the scene and spend some time relaxing in the beer garden before Maestro Wunderkammer (Christian Breeden) begins the evening, regaling the crowd with music and charming, carnival-barker commentary. Some performances, such as “Zelda and Lucy’s Loony Bin Tragedy” (Mendenhall’s take on the story of Agamemnon) will be peformed to a seated assembly. Other times, attendees will be free to wander through the space, witnessing (and perhaps being accosted by) an array of performers wielding fire, ropes, stilts, guitars, garters and unicorns. (Yes, you heard that right: unicorns.) As Mendenhall says, “you know it’s not going to be real but you just don’t care. Good magic is like that.”

A Charlottesville Wunderkammer
The Old Frank Ix Building
July 20-August 6,
Thursday-Sunday, 8pm
Tickets $15 adv/$20 door,
Thursday-Saturday. Sundays Pay What You Can at the door.
Mature Audiences Only

Call 804-977-4177×108 or visit www.livearts.musictoday.com