This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at http://www.theguardian.com/commentisfree/2014/jun/25/crowdsurfing-handel-messiah-classical-music

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
Crowdsurfing to Handel's Messiah is a classical error – I know, I tried it Crowdsurfing at the Messiah proved too hard to Handel for classical audiences
(2 days later)
In the past few days, the story about my attempt to crowdsurf during a performance of Handel's Messiah in Bristol has gone viral. As a dual US/UK citizen who practises science, art, and cultural theory, I'm no stranger to the controversy that can accompany stirring up the boundaries.In the past few days, the story about my attempt to crowdsurf during a performance of Handel's Messiah in Bristol has gone viral. As a dual US/UK citizen who practises science, art, and cultural theory, I'm no stranger to the controversy that can accompany stirring up the boundaries.
The backstory here is as interesting as the image of some science nerd crowdsurfing during the Messiah. In 2013, Bristol's Old Vic theatre ran the "Bristol Proms". The idea was to relax the standard classical rules in order to reach new audiences. This approach is a result of simple economics: with public arts funding being slashed, art is feeling the heat to generate profit. Classical music is no exception. A classical concert is expensive, and the age distribution of typical classical audiences spells a real risk of the art form drying up.The backstory here is as interesting as the image of some science nerd crowdsurfing during the Messiah. In 2013, Bristol's Old Vic theatre ran the "Bristol Proms". The idea was to relax the standard classical rules in order to reach new audiences. This approach is a result of simple economics: with public arts funding being slashed, art is feeling the heat to generate profit. Classical music is no exception. A classical concert is expensive, and the age distribution of typical classical audiences spells a real risk of the art form drying up.
Each night of the Proms, Bristol Old Vic theatre director Tom Morris marched out onstage to preach the new paradigm: "Enjoy a beer in the pit, chat when you like, clap when you like, whoop when you like, engage with the music as you like, and no shushing other people." It was a nod to the music's roots, given that modern classical audience protocols are less than a century old.Each night of the Proms, Bristol Old Vic theatre director Tom Morris marched out onstage to preach the new paradigm: "Enjoy a beer in the pit, chat when you like, clap when you like, whoop when you like, engage with the music as you like, and no shushing other people." It was a nod to the music's roots, given that modern classical audience protocols are less than a century old.
As an international artist with a longstanding interest in cultural theory, I'm fascinated by how power works across societies, institutions, and organisations – in particular, whether it is maintained from the top down, or from the bottom up. Michel Foucault, one of my favourite theorists, popularised the Panoptic model of power. He believed that power was not enforced from the top, but from the bottom. Norms are enforced most efficiently by everybody keeping an eye on everybody else. However, the bottom-up system is ideologically complicated, because it requires that the participants internalise the rules in order to enforce them.As an international artist with a longstanding interest in cultural theory, I'm fascinated by how power works across societies, institutions, and organisations – in particular, whether it is maintained from the top down, or from the bottom up. Michel Foucault, one of my favourite theorists, popularised the Panoptic model of power. He believed that power was not enforced from the top, but from the bottom. Norms are enforced most efficiently by everybody keeping an eye on everybody else. However, the bottom-up system is ideologically complicated, because it requires that the participants internalise the rules in order to enforce them.
Bristol's Proms, with a theatre director attempting to establish new rules for an audience that is notorious for maintaining rigid norms, offered a perfect chance to watch power mechanics in action: how would the audience respond? Were the new rules any more than a gimmick? Who ultimately held the power here, the audience or the director? And to what lengths might audiences go to enforce the norms?Bristol's Proms, with a theatre director attempting to establish new rules for an audience that is notorious for maintaining rigid norms, offered a perfect chance to watch power mechanics in action: how would the audience respond? Were the new rules any more than a gimmick? Who ultimately held the power here, the audience or the director? And to what lengths might audiences go to enforce the norms?
On the final evening, I attended Handel's Messiah with two friends. The previous night I had been on stage introducing a collaboration undertaken with violinist Nicola Benedetti. Using a system called "dance-room spectroscopy", the vibrations from Nicola's violin were analysed in real-time, letting her violin modulate a visualised molecular simulation. For my artistic contributions, I receive a complimentary seat, but chose instead to stand in the pit with my friends.On the final evening, I attended Handel's Messiah with two friends. The previous night I had been on stage introducing a collaboration undertaken with violinist Nicola Benedetti. Using a system called "dance-room spectroscopy", the vibrations from Nicola's violin were analysed in real-time, letting her violin modulate a visualised molecular simulation. For my artistic contributions, I receive a complimentary seat, but chose instead to stand in the pit with my friends.
We let ourselves engage with the music. During the Hallelujah crescendo, I raised my hands in rapture and let out a mighty cheer, feeding off the tangible energy of the 30-strong choir only a few metres away. At that point, I was knocked down from behind by a kidney punch. It was delivered by a middle-aged white male audience member. A classical vigilante, I guess. He bent down and said something to the effect of, "You shut up and get the hell out of here, asshole."We let ourselves engage with the music. During the Hallelujah crescendo, I raised my hands in rapture and let out a mighty cheer, feeding off the tangible energy of the 30-strong choir only a few metres away. At that point, I was knocked down from behind by a kidney punch. It was delivered by a middle-aged white male audience member. A classical vigilante, I guess. He bent down and said something to the effect of, "You shut up and get the hell out of here, asshole."
My response: "If you want me to leave, then you have to forcibly remove me. I'm following the rules that were given at the start of the show." And so it came to pass that I was dragged out of Handel's Messiah during Hallelujah – the first eviction of a classical concert audience member by another member since the 18th century, according to Morris. So the previous night: rapturous applause. Tonight: despised and ejected.My response: "If you want me to leave, then you have to forcibly remove me. I'm following the rules that were given at the start of the show." And so it came to pass that I was dragged out of Handel's Messiah during Hallelujah – the first eviction of a classical concert audience member by another member since the 18th century, according to Morris. So the previous night: rapturous applause. Tonight: despised and ejected.
Morris came out to find me. He said I could sneak in and watch the rest with him in the director's seat. I declined. I was shaken up and in pain.Morris came out to find me. He said I could sneak in and watch the rest with him in the director's seat. I declined. I was shaken up and in pain.
Post-show was even more surreal: a steady stream of audience members and performers, having seen my exit, congratulated me for my performance. Genius, they said. And so authentic – an excellent bit of staged violence in the pit. Almost nobody believed it was bona-fide assault.Post-show was even more surreal: a steady stream of audience members and performers, having seen my exit, congratulated me for my performance. Genius, they said. And so authentic – an excellent bit of staged violence in the pit. Almost nobody believed it was bona-fide assault.
Several folks, including musicians, thought it was just the sort of thing that needed to happen, and a good step toward liberating the art form; plenty of others were unhappy at the disturbance. Nevertheless, my scientific inquiry hints at two preliminary conclusions related to classical music:Several folks, including musicians, thought it was just the sort of thing that needed to happen, and a good step toward liberating the art form; plenty of others were unhappy at the disturbance. Nevertheless, my scientific inquiry hints at two preliminary conclusions related to classical music:
1. The audiences (not the director, not the performers) run the show. They have internalised the norms and enforce them.1. The audiences (not the director, not the performers) run the show. They have internalised the norms and enforce them.
2. The norms are relatively young, but the extent of internalisation is strong enough to lead to violence in the form of physical assault, in line with observations made by other theorists.2. The norms are relatively young, but the extent of internalisation is strong enough to lead to violence in the form of physical assault, in line with observations made by other theorists.
As far as I know, we have yet to see a sustained classical crowdsurf. I took baby steps, but didn't even come close. A little bit of cheering catalysed enough violence to get assaulted. I hope I live to see the day when somebody can pull it off. With the deluge of support I have received over the past few days, combined with public funding cuts that make artistic reform inevitable, it just might happen.As far as I know, we have yet to see a sustained classical crowdsurf. I took baby steps, but didn't even come close. A little bit of cheering catalysed enough violence to get assaulted. I hope I live to see the day when somebody can pull it off. With the deluge of support I have received over the past few days, combined with public funding cuts that make artistic reform inevitable, it just might happen.
But until then, you've been warned. The classical crew is a tough crowd. Either way, solidarity.But until then, you've been warned. The classical crew is a tough crowd. Either way, solidarity.