How can I create an analog platform for artists?
Uploaded in Zurich and viewed in Tokyo. Nowadays artists* have a wide range of digital platforms to present themselves to the whole world.
But if you want to transfer this concept of reach and flexibility to the analog world, it becomes a bigger undertaking. Stages are available everywhere, but of course not accessible to everyone (booked out, not affordable, not suitable etc.).
Another problem is that the artists themselves are only involved in a project towards the end. Actually, when everything is already set, the choreography is already set, the music pieces are already predetermined or have to cover a certain style. The leeway for the own interpretation is relatively small. I have looked at this problem and other topics with various music students.
Marit sees a big problem in today’s education and how it will look like in the working world later on.
The training places great emphasis on perfection. Pieces of music must be reproduced exactly as they were 150 years ago. There is no room for individuality. This is where the vicious circle begins. Due to a lack of individuality, the pieces always remain the same, but the visitors get older and older because the younger generation is not interested in them.
That’s why musicians* like Marit want to break out. She takes part in improvisation courses, for example, and would like to try out more with her music.
But because most orchestras still follow the strict rules of the past, musicians are put back in their place.
An incredible amount is lost where everyone has to be equal. Many waste their chance with it. A stage on which they can do what they want is an important step in living out their individuality.
She already made her own experiences with special stages. So she was able to play the clarinet in a carousel and thus offer the audience a completely new experience.
She also confirmed me here, the participation came from the fact that she felt the urge to do something different. Just like Marit, she wants to get new ideas, try them out and move her music more towards improvisation.
She also supports Marit’s statement that classical musicians have it harder at the moment. There is a big competition fight between the musicians. On the one hand, this is due to the fact that one spends hours with oneself in order to achieve the required perfection. On the other hand, it is very difficult to get into an orchestra after studying.
That’s why she likes the concept of the portable stage, because it offers the possibility to test something and present yourself. Of course it also goes digital, which they did during the lockdown. But after a few days it wasn’t entertaining anymore, it was tedious.
I found Coen exciting because he also questioned the concept. Does it make sense to build a reusable stage, but then you need a trailer to transport your own stage and you need more gasoline?
A good question to which I don’t have an answer yet.
But he sees the stage as a chance to perform where you normally wouldn’t be, e.g. in galleries or museums.
But for him the stage is also an answer to social media. Because the degree on these platforms between amateur and professional is indefinable. Amateur musicians do what they do very well and stay with it for a longer time. Also their marketing hardly differs from that of the professionals, in some cases they are even better.
The professional, on the other hand, is on the move everywhere. Be it that he plays in a band, teaches on the side, works as a freelancer and is always looking for something new.
This gives people the feeling of being or becoming a musician is easy. It almost seems a little bit pejorative. But many forget that a professional can give two completely different concerts in one week in relation to the still. With a portable stage, however, they can underscore their diversity of talents. And how quickly they can respond to a different situation.
Conclusion, many problems, if you want to call them that, start earlier. They begin with the rigid training and then continue through the competitive thinking of the students. This is what drives the musicians to break out of this system and try something new. Social media is often a blessing and a curse at the same time, you can promote yourself all over the world. But it distorts the perception of how one looks at musicians, as it is difficult to see the work done behind it.
Through the interviews I was strengthened in my idea to design a completely open stage. One through which one is closer to the audience, which encourages artists to dare something new and above all gives everyone a chance to be themselves.