Satire and Social Change

Can the performance of satire function as an effective catalyst for social change? If so, how?

Undeniably, the performance of satire may successfully contribute towards societal transformation. I deem the efficacy of this notion lies within the openness of the recipient. In current years, comedians and performers have stepped across the boundaries among what is merely comedy and have spoken out on social issues. This not only allows the performer to articulate his or her own principles on the subject of the issue, but also contributes to spreading consciousness of the topic at hand. What separates the comedian from the politician is the capability to apply elements of satire, humor, and wit to issues which have otherwise been addressed in solemn, sober, and at times dry means.

See the provided example: Chris Rock on Gun Control

http://www.youtube.com/watch#!v=OuX-nFmL0II

I remember the initial occasion I saw this clip and was struck by the brilliance of it. By this I don't mean the literal concept of charging 5K for a bullet, rather the method in which a comedian (whom I had otherwise thought of as somewhat annoying) simply took a social issue and created a solution and presented it in a satirical approach. Rock was swift, concise and to the point. In less than 2 minutes, he made an argument which has remained with me through the years. I have often reflected on his argument when discussing issues of gun control.

Rock's satirical argument didn't perform as a catalyst for social change in the most overt manner. This performance was taped more than a decade ago, and I presume bullets still cost close to what they did at the time this performance ran. Rock's ability to contribute to social change through the satire of performance was more obscure. The contribution was in that he allowed young, teenage Americans (his primary demographic) to consider an issue perhaps not previously pondered. Rock demonstrated the capability to be taught from all circumstances, even one apparently fashioned for pure entertainment value. Last, Rock sent a message to his audience that it's acceptable to consider alternate solutions, think in your own way and finally question policies in place. Rock did all this in less than 2 minutes and ultimately aided in spreading awareness towards the social issue of gun control which is most surely a stride towards creating effectual catalyst change.

Understanding Distance in Performance

"What are the political implication of defining 'distance' as an essential component of the aesthetic experience?"

Although, described in class as a "mind game" and the topic of much in class debate, the concept of 'distance' in performance is a somewhat abstract concept which (for me) requires additional examination. Therefore, the focus of this essay will attempt to connect the concept of 'distance' with performance and art.
Long describes the fundamental concept of distance as a "definite separation from reality needed for the creation and appreciation of art." This concept of 'distance' maintains a consistent 'involvement' and 'detachment' created by the performer. To gain a better sense of what 'distance' might look like in modern day society, I will recall the example of Erykah Badu and her most recent, controversial music video.
Badu claimed to have created her performance art to make a statement in attempt to say "she's shedding her skin to be who she is, but society has a way of trying to destroy anyone who would seek to be who they are outside the cultural bounds assembled for them." By stripping her clothes, in a public and infamous area of Dallas and shooting her video gorilla style, Badu made the attempt of create performative distance by involving all those in proximity to herself while also detaching herself from the role of acceptable citizen and transitioning into inappropriate artist within a few quick strides.
In examining 'distance,' Long also said, "Art was clearly different from reality, and the psychical processes appropriate to one might not be so for the other." Badu's performance art met Long's 'distance' criteria by enacting her performance in a setting clearly not appropriate based on society's notion of what and where this form of performance art is accepted, thus creating a performance "clearly different from reality."
Many critics have condemned Badu for exposing herself in a public area, with children present, and have accused her of attempting to increase her own music sales through an act of indecent exposure. I personally believe her action was in fact performance art. Although, I believe her follow through lacked the communication needed to allow her audience to understand her motive and be exposed to her intent and message in performing this act, I still deem it performance art.
If Badu had chosen to create the same performance in an art gallery in the Bishop's District of Dallas, the element of 'distance' in the performance would have been lost. Certainly, an audience would attend, however, most likely the audience would have been comprised of other artists and performers who already understand the value and appreciate the message being sent through the performance. Her intent was to reach those who do not believe or understand her message, thus she had to create her performance in a space which forced these people to acknowledge her act and message.

The (seemingly) anti-theatrical Puritans

Although, not a proposed question in History of Performance class, I was intrigued by the conversation held in class, regarding the Puritans and their anti-theatrical beliefs. Thus, I have chosen to explore this concept in the following paragraphs.
While the Puritans will forever be remembered for their conservative, fundamental religious beliefs (along with oddly shaped hats) perhaps they are most associated with the 1692 Salem Witch Trials. I find it odd and also intriguing that a conservative, religious group which denounces the concept of theater would in fact partake in one of the most famous performances in history.
The initial onset of the Witch Trials could have played out as most trials do, with a suspect in question, a trial, and a conviction....case closed. However, the performative aspect of the Trials is in fact what led the situation to such notoriety. Women increasingly performed, outlandishly accusing each other of witchcraft. As these women performed as accusers and faithful Puritan, they pointed the finger at other women in their own society claiming they had performed Satanic acts and rituals. The men performed, in the courtroom, acting as the voice of God and the hand of fate.
Based on our knowledge of how the Trials of 1692 progressed, I imagine every member of society attended the trials. I imagine the courtroom was packed and order was hard to maintain amongst the sounds of screaming condemned women, angry shouting men, gavels pounding, and audience members verbally and nonverbally reacting. If the Trials did unfold, as I imagine them to have, the Salem Witch Trials were a clear example of a performance in play.
This also leads me to wonder if the trials became so sensationalized and chaotic, not only due to fear in the community, but also due to the extreme restriction of theater in the community. Theater creates drama, interest, and passion, it distracts from the mundane aspects of every day life. Perhaps the Puritans lacked these elements and the result was a subconscious desire for theatrical qualities in life. This is not to say the cause of the Trials was due to a lack of theater in life, rather proposes future analysis regarding the effects imposed on a theater-less community and role it may play in one of the most famous, and horrific events in American culture.

The Renaissance Man lives on...in Tuscany

In our History of Performance class, we discussed the Renaissance Gentleman and his ability to bring the written word to life in a charming, amiable, and engaging format. Although this man has long been considered a historical element of the Renaissance period, I deem he may still be found, alive and well, performing in current day society. His name is Dario Magnifico, the butcher of Panzano. Please watch the following video as an introduction to our current day Renaissance Man. Please watch beginning at 2:20 and ending at 6:27.



http://www.youtube.com/watch?v=mKeBpGlJ5dw



"Like every sign, every "thing" requires an interpreter to say what the "something else" is. Dario performs as the interpreter in illustrating his "things" (his work, his meat, his speech) are not merely items of nourishment, a career, or words, rather sacred elements of tradition which are living testaments to the key virtues of life; family, love, and passion.



I will provide a clip which demonstrates Dario's ability to perform the work of Dante. However, it is important to note, Dario is considered a Renaissance Man not only for his ability to perform the written word, but he also illustrates his state in his everyday life performance. Dario is a man of passion. He performs his passion for life, work, and tradition daily through his use of speech, gestures, and volume. Dario displays his enthusiasm for his subject knowledge not only in his ability to perform Dante's work but also in his food and daily performance. His enthusiasm for butchery draws unusually large crowds, not only for his meat products, but for the passionate, performative element he embodies in his shop. The following clip provides an example of Dario, the oral performer.



http://www.youtube.com/watch?v=sddUM-J0ZEQ



"The art of living well' has been described as a fundamental aspect of the Renaissance human experience. Dario, the modern day Renaissance Gentleman, has mastered this art and ability to express it.

The role of women in Anglo-Saxon England

As discussed in the text and class, the Anglo-Saxon women of England performed active supportive roles during times of battle. As the men engaged in hand to hand combat, the women performed as the cheerleaders of the battle, screaming and crying for their husbands, sons, and families. While the role of this performance served multiple functions, including acting as a support system for the men and as a distraction for the opposing warriors, I'd like to focus on the interpersonal effects of this performative system.
As Tacitus said, "Close by them, too, are those dearest to them, so that they hear the shrieks of women, the cries of infants..." When reading this statement I wonder what it must have been like for the men....facing your opponent, poised and ready to fight in a barbaric battle for which you may or may not survive, and then additionally to know your wife, your daughter, your infant child is standing close by watching your every move and screaming hollering in support. I imagine it must have been difficult for a man, whose primary familial instinct is to protect, to allow his wife to watch him fight and perhaps watch him die. Moreover, I wonder if at times this performative action might have served as a distraction for the Anglo-Saxon man. One certainly would need to be completely focused on the battle at hand, yet knowing ones family was in the direct proximity to danger must have served as a distraction.
While I agree with the class as a whole in that the contributions of men and women were equally valued regarding performative roles in battle, I wonder which had the more difficult role. The man, who served as the warrior and possible sacrifice for the sake of his family and beliefs, or the woman who served as the "witnesses, as reflecting and projecting mirrors which confirmed and incited the actions of men," all while subject to the brutality of rape and murder for which they themselves as well as daughters, mothers, sisters, and friends were also subject to.