I have put in 10,000 hours. I have played recitals and concertos. I'm a professional musician. But, lately, I’ve been going back, way back, to when I was a kid.
See, I've always put my imagination into whatever music I was playing at the time, whether it was changing things up in the Mendelssohn Concerto cadenza, performing Bach's Ciaccona (Chaconne) with a modern choreography, or improvising on Radiohead's "Everything in its Right Place" with Entropy Ensemble and Christopher O'Riley. But at some point, I decided that wasn’t enough.
For the last 15 months, I've been writing, recording and performing with guitarist Tom Farrell. Together (Dúo del Sol), we play music. Yes, we play music. That means that every time we meet, there are dangerous quantities of imagination, intuition, innovation and crazy ideas. How about a reggae groove? Singing while drumming on our instruments? What if I play play the violin like a guitar or a ukelele? What if I create distortion and feedback like an electric guitarist with my bow? In a way, when we create, we become children all over again.
We also surround ourselves and collaborate with artists that share our quest for artistic adventure. From putting on an old-circus-themed show with Dallas-based artist Michele Mikesell, to performing whole improvised songs with Los Angeles' classy/dirty band Magnolia Memoir, to whipping up nostalgic and delusional waltzes with accordionist Oscar Rospide, we love new musical happenings and we are always open to them.
As a teacher, I not only try to remind my students to work hard, but also to not take themselves too seriously. The ones that have the best understanding of music (as a whole, not just technique) are those who get together with friends to play, pick up songs from the radio (or iTunes), make up their own tunes, play other instruments and, of course, do their homework. Playing violin involves innumerable simultaneous tasks, so it's easy to get lost or stuck. But the best way to learn is by play and exploration under patient guidance.
I've been fortunate to meet violin teachers and performers who are at the vanguard of this philosophy: Mark Wood, Daniel Bernard Roumain, Margaret Lysy (Sol-La Music Academy), Robert Anderson (String Project LA), Mark O'Connor and Pam Wiley are just a few of them. Unfortunately, not enough. I've met a lot more musicians who have forgotten how to search for special moments of deep and beautiful musical connections through exploration, openness and a sense of wonder.
Why are there so many more in the second, less exciting category of musicians? Is it the fault of conservatories, orchestras, or the Classical music world's rigidity? Or is it a larger, more general issue of the music world or even the society that we live in? If you have an easy answer, you're probably overlooking something. What I do know is that curiosity is contagious and, as performers and teachers, we hold the key to spreading it.
Here is what I propose:
Plenty has been said about how most education systems neglect and therefore damage our ability to be creative, an ability that we used constantly as children (you’ve watched Sir Ken Robinson’s TED Talk, right?). Yes, the system needs to change. But that's not going to happen until we change.
Javier Orman is from Santa Monica, California. Biography
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