I have a friend who procrastinates every time he practices the cello. He will find lots of other things to do before he actually sits down with his instrument. He calls it “circling the cello”. The funny thing is, he really loves it once he is doing it and wonders why he is so reluctant to get in the zone.
I have a theory why he, and so many of us, have such a difficult time practicing what we really love to do.
Consumers consumed
We have a lot going on all around us. This is why we take pride in multitasking. God forbid we miss out on anything! To make sure that we don’t, we keep our phones clutched in our hands, our ears attuned to all of our ringers and alerts, our attention fractured to take in as much stimulus as we can, all the time.
Stimulation overload is the new opiate of the masses. If everybody is busy consuming information, there will be fewer people creating stuff. It is easier to fill your world with prefab images and sounds than it is to face the silence of your mind.
Consumer or Creative?
It is easier to be a consumer. The world is yours with the click of a remote. Sit back and enjoy the show.
To be a creative? Get used to the company of your personal demons. You know who I mean. The ones who fill your ears with self doubt, with writer’s block, with all kinds of derailing distractions.
“Maybe I should delete my spam. My creative juices flow better with an empty inbox.”
“I have to eat something. How am I supposed to do anything on an empty stomach.”
“Ooh, the New York Times crossword puzzle!”
You get the idea.
OK. This is what you do. Focus on no.
You are a creative. A creative is someone with goals, with a desire to do something uniquely personal. Creative people are powerful and able to stop the world. How?
By saying, “No.”
Instead of seeking stimulation, say no to it.
Instead of dancing with distraction, say no to it.
Instead of circling the cello, make music with it.
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Everytime I allow myself the sinful luxury of feeling sorry for myself because of a hard day putting out fires, putting up with an endless stream of problems and feeling fat,
- the universe chuckles knowingly and slips me a cookie.
It is a great thrill to be able to share with you the video, Spindle 7, created as part of my project of the same name that took me back and forth on the #7 train with my spindles and wool in 2008, meeting people and teaching spinning between Main Street in Flushing (Queens) and Times Square in Manhattan.
While the project itself lasted most of a year, the video was made over the course of three intense days of filming and riding the train with intrepid cameraperson, Marcia Connolly. She did not allow oncoming trains, urine puddles or irate commuters get in the way of the perfect shot. It was edited into a cogent whole by the sensitive and deft hand of Susan Forste. She also conducted the interview that provided the voice over you hear for much of the film.
Spindle 7 was made possible with funds from the Decentralization Program, a regrant program of the New York State Council on the Arts, administered by the Queens Council on the Arts.
Many thanks to both Marcia and Susan for their efforts, as well as to the all the spinners who participated in the project and talked to me about their lives, and to the riders of the #7 train who put up with that crazy lady and her spindle.
Click on the link above to see the 7 minute film.
With warmest regards,
Robyn
I am proud to say Robyn is a Queens artist and her project was supported by a grant from the Queens Council on the Arts. My mother-in-law, Mildred Phyllis Krakauer, would have added,
Geh verdreh zich dein kopf (Yiddish for “go spin your own head”)
Go ahead, take a bite!
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I thought it best to make a little video for you. Well, what are you waiting for? Grab your needles and find a baby.
Oh, if any of you want to knit a pair of booties and donate them to a charity, please let me know. Frances and I will be collecting donations up to December 1st and if any of you out there have been more naughty than nice – And You Know Who You Are! – this is an excellent way to position yourself higher in the gift food chain.
Email me.
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Beware ofwomen roaming the streets of Chicago carrying pointy needles and a reckless desire to knit booties.
The rumors are true. Two cabloads of needle clicking women left the Westin Hotel, site of the Grantmakers in the Arts 2010 Conference, pulled up to Loopy Yarns on West Polk street and invaded the premises shrieking with delight over the wonderland of cashmere, silk, wool, buttons, notions and every tchotchka(Yiddish for thing. Usually means more dusting and who needs that?) you could ever imagine invented for knitters and crocheters.
Thanks to my dear friend and nonprofit knitting ninja, Frances, we gathered a small group together for a Monday night Dine-Around/Knitting Circle.
“I can transfer all the money I have in the world into my checking account and spend it all on crochet hooks which I know is a bad idea but I’ll do it. Someone please take me out of here quick!” Beatrice’s eyes were glazed and her voice robotic as she added more and more tchotchkas into her basket.
Janice and Seth
Frances nudged all of us out of harm’s way and into Bar Louie which was thankfully right next door.
Rose Ann’s hands
Over drinks and food, we sat around a table knitting and doing way more laughing than knitting. I think Janice must have ripped out and started her first bootie over at least three times. Of course, I gave everyone my cell phone number should they need knitting 911 during the conference.
Something magical happens when you are happycrazy making something with your hands and your heart. A little bit of knitting, a small group of nonprofit knitters, a tremendous amount of fun creates great energy among good good friends.
display of knit altar pieces at the National Museum of Mexican Art
The next time someone tells me there is a breakfast roundtable discussion scheduled I will calmly take my coffee cup and spill its contents on that person’s shoes.
How do you best capitalize an artform with human concerns?
We talked about the model of Merce Cunningham and Paul Taylor. A founder/choreographer based company that produces work, presents and tours and if this model is one that can work or if it ever really worked at all. Suzanne reminded us that the dance boom of the 80′s produced many artists who received fellowships and that generation of dancers have become part of university departments who are now presenters. Younger dancers are not interested in the 501 (c) 3 model and do not share the aspirations of older dancers in their career goals. However, touring and presenting space is limited and, according to Suzanne and Rebecca, can sustain at most, 5 – 10 companies operating at the level of Merce Cunningham or Trisha Brown.
Kerry spoke of the need of choreographers to develop skills and fluency in technical theater. This calls for increased interdisciplinary partnerships.
Debra and Rebecca
What kinds of conversations need to take place among dance supporters and funders?
Money to pay dancers will always be a top priority. Support for development of work, ample time for theater prep prior to touring and performance is vital. Moments of opportunity and strategic introductions, networking, collaborative coalitions of support – these are all components loosely strung together that form a network of support for dancers.
I feel that the missing and extremely tabu topic of quality needs to be present in the mix. In a for profit model, a product that fails in the market is yanked off the production line in the interest of the bottom line. Is it me or is there a tendency among us, grantmakers in the arts, to promote a little too much self indulgency in choreography as well as in other disciplines? Where is the reality pill?
This is really tough love talk and needs to happen a lot more often. Way after breakfast.
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I write for love and money. It is my everyday passion. What's yours? 
