To those of you who’ve supported me by donating funds to Team for Kids, running with me, or cheering me along my training, thank you. I couldn’t have come this far without you.
As you know, this part of the world has been ravaged by Hurricane Sandy, and I have no words to express my sadness and heartbreak for the victims of this storm. That it has begun to polarize our community about such a life-affirming event as a marathon further breaks my heart. So many of us have spent months training for a challenge designed to makes us stronger and raised donations for very worthy causes, and I believe in this marathon and that it should continue on Sunday. I believe we each should run with our heads held high, celebrating 26.2 miles of this amazing city and the inhabitants who now fight daily to keep it running in every way.
Although I think it practical and important to keep the marathon’s spirit, income and revenue rolling despite this difficult time, my heart does truly goes out to my friends especially in Staten Island, Long Island, lower Manhattan, and NJ, as well as those affected in other localities. Throughout the days leading up to the race and on Sunday, volunteers are encouraging runners to donate to help victims of the disaster. As participants, may we use this moment as a call to volunteer our time or donate as we can and not turn away from those who need our help. As spectators, please meet us with a cheer rather than a protest for our months of hard work.
Let’s not turn our backs on each other in this time of need. If you need disaster relief or volunteers elsewhere, please post where we can help in the comments. If you have a donation to give, please begin with the Red Cross Hurricane Sandy Relief here: http://www.redcross.org/hurricane-sandy. If you’d rather give to another similar organization, this Huffington Post article provides some good tips for giving well to the disaster relief efforts.
If you’re interested in giving also to Team for Kids, please send your donations in the way of my friend Kristen Kasarjian’s page. She’s running for the same charity I am and still needs to reach her goal. We all have goals, after all… Some of us want to finish a race, some want to replenish our incomes so we can pay our bills, some of us want heat, water and electricity, some of us need a new home. It’s the energy and beautiful stubbornness behind people like marathoners that make this city great. Please don’t hide behind the glow of your television, computer, and smartphone while criticizing people bringing revenues and hope to a city we love. If you want to help, unplug along with those who have no choice and look for an opportunity. I promise you, there are plenty… and if I can help, please tell me how.
Gone are the days when I hear the phrase, “Oh, it must be so easy for you,” in reference to myself or anyone else dating or finding a good match. Still, people often look surprised upon hearing that New York has a reputation for stacking the numbers in favor of the single man, and even those who defend the dating scene here admit (and, in true New York fashion, like the fact) that it isn’t easy. Although I have learned so many beautiful lessons, found priceless and lasting friendships, and truly value those I’ve met while dating in the city, I admit I have suffered occasional defeat.
I once wrote a post (or two or three) about dating; however, I admittedly shy away from discussing such a topic online, especially when it involves other people I respect. Even omitting any mention of the couple of mixers and speed dating events I’ve attended during and because of my efforts writing Skydiving for Pearls, I seem to have decided to remain a bit of a mystery in this area of my life. Don’t expect that to change anytime soon.
On the other hand, when I stumble upon something of interest to myself and potentially other women (or men) who, like me, navigate the sometimes muddy waters of the single life in Manhattan, I feel obliged to share. At a group exercise/dance class downtown last night, I met Maria Coder, founder of InvestiDate. As a former journalist and certified investigative reporter, Maria has steered her life toward helping people learn the skills necessary to date smartly.
With a surprisingly optimistic outlook, this dating sleuth told me that she doesn’t judge the way someone chooses to try to find a mate. Craigslist, for example, could theoretically work with the right investigative mindset before making potentially dangerous mistakes on a date with a stranger. When she invited me to her class this Thursday with a discount, I decided to give it a try. Hopefully I have already learned the street smarts not to put myself in situations that might harm me, but I don’t doubt I might learn something new.
For those of you wondering, “Is this what we’ve come to – not trusting anyone and doing background checks on my husband?” I suspect the lovely Maria has a more balanced approach. Based on our brief conversation, I believe she wants to help women succeed in their efforts to find whatever they seek by dating in the city, without putting themselves in physical or financial danger. Sometimes we can’t avoid emotional pain, but I look forward to this class on Thursday where I may just learn to try my best. Either way, I doubt my heart can ever doubt too much to once again fall in love.
Once upon a time, several of my readers asked, “Why?” They continue to ponder, “Why the nudity,” “Why the Bulgarian music,” “Why you (a question more likely uttered by acquaintances or colleagues)?”
My answer, written in January but as yet unpublished, seems all the more poignant to me as we prepare for our upcoming, much grander, longer (less than an hour), and far more ambitious performance this coming Monday and Tuesday, May 23 and 24 at 7pm and 8pm, respectively. Within this tableau, one will find weddings (yes, actual weddings), dance, improvisation, Bulgarian folk singers, a string quartet with a few additional players, opera singers, new compositions (none of mine in this production), classic opera arias, and just about every body type imaginable, both clothed and exposed. Within this preparation time and Tableau Vivant itself, I hope to find the peaceful pandemonium of life so perfectly expressing the imperfect we all discover each new day.
My answer: The Peaceful Pandemonium of Tableau Vivant
By Abigail Wright
In September, at our first rehearsal for the current incarnation of Sarah Small’s Tableau Vivant, a large circle of fascinatingly varied introductions confirmed my role as the only nude singer. Although CJ Body joined me in my exposed expression as an unclothed upright bass player for our fall tableau as part of the DUMBO Arts Festival, I bore that undertaking alone in January’s Bathhouse Studio performance. Rima Fand, a brilliant composer I’ve had the extraordinary joy of knowing in three separate artistic endeavors, entered into the equation and introduced an unusual task for most of the models as well. As musical director, she and Sarah Small designed an aural tapestry that placed almost every performer equally far from their comfort zones by layering voice upon voice (mostly untrained), until each added his unique sound to the swelling chorus of suspended, sighed, and soared tones.
Since September, the larger group of artists composing Sarah’s tableau has grown closer in companionship and familiarity, and something about the quality of the picture and drones of the sonic landscape feels more cohesive and powerful as we join together again, now at Bathhouse Studios. The Black Sea Hotel, a hauntingly beautiful Bulgarian folk quartet fully clad in bright crimson wool dresses, ever-powerfully intones a stirring folk song about a man waiting for his friend’s death in order to marry the woman for whom he pines. Sarah Small, whose musical arrangement they sing, enters into the living picture to enliven selected groups of models, static poses beginning to unfreeze and interact with one another.
As eventually the motion quiets and our once crescendoed chorus comes down from the swell, this photographer/composer/creator adds her voice as a soloist which then melds with the folk quartet to conclude the perplexing but poignant song. Almost ominously, as the melodic love story ends on the Bulgarian word meaning “death,” each of us personalizes it, as chanted, spoken, shouted, and vibrated pitches echo a resonant “umre” throughout the space. Upon this scattered final iteration, each person in tableau releases her individually held pose, engages the eyes of a random audience member, and waits for the first note of my aria after extended silence as a signal to fade away and drop her head.
In September when Sarah and I first met to discuss which aria I might perform to conclude her Tableau Vivant, I had a comparatively vague sense of the profound nature of her living picture as a whole. After hearing her focus for the tableau as a means for exploring life and death, I chose music and a text that would minister to her spirit as the creative energy behind such a feat. In “C’est l’amour vainqueur,” commonly referred to as “the violin aria” from Jacques Offenbach’s Tales of Hoffmann, the character of Nicklausse sings this song to the poet E.T.A. Hoffmann, imploring him to write. Referencing the beauty of music, its transforming power, and finally triumphant love, Nicklausse exclaims, “It is all-conquering love, ah, poet, give your heart!” Little did I understand at that moment how much the aria and tableau as a whole speaks not only to Sarah Small as the creator of the concept, the musicians and the models inhabiting it, and the audience in the room, but especially to everyone as a microcosm of life as a whole.
In my brief but meaningful experience with the art of tableau vivant, I have enjoyed an insider’s view of her “Delirium Constructions” as a means to explore in public all of the common human experiences most hide. Fusing truly implausible combinations of the primal with the classical, musically and visually through the clothed and bare, static and engaged, healthy and deformed (some models in particular have body paint and positions to indicate bruises, rashes, and injury), proud and meek, this odd concoction of life without pretense explores some of the most profoundly universal themes in a short twenty-minute span. Reminiscent of the musings of Shakespeare as Hamlet tells Claudius how “a king may go a progress through the guts of a beggar,” this photographer brings to light in one small space a truly living picture of the simple complexities of humanity, seen and unseen. By insisting upon such an unapologetic depiction of existence, Sarah Small presents the most honest public offering in which I have ever taken part. As society imbues her art with love, death, life and its intricacies, may she continue to inspire audiences in the peaceful pandemonium of her Tableau Vivant.