I’ve blogged before about Stew (AKA Mark Stewart), the Tony award-winning playwright for his rock musical Passing Strange and accomplished singer-songwriter (check out his latest album, Making It), but his lecture/performance at UW Oshkosh the night before last gave me another opportunity to share him with you.
The answer he gave to the question – is art necessary? – was, as you might have expected, yes… but the reasons he gave were not the usual ones. For instance, it wasn’t that cultures require art to flourish, or that art is needed to civilize the heathen soul. Rather, Stew riffed on three main themes, and I’ll just state the gist of them here, along with some of my own elaboration I don’t think he’d object to.
First, art is what people do, as people. You simply can’t be a person unless you create art, even if the only art you create is yourself. When you step into your grandma’s house, you notice – if you have any eye for it at all – that she has carefully placed keepsakes and photos on the coffee table, the shelves, etc.. Her whole life is (or at least those aspects of it she cares to remember are) on display, if not for others, at least for herself. Then there’s the annual holiday card, letter, or now email that many of us send to our friends and family, updating them on our “true stories”. This is a creative act. It is art. Similarly, we’re all playwrights. Every day we choose our own costumes and dabble with our sets; we also write most of own lines. I would add that, unlike the days when radio ruled, we’re now our own music supervisors as well, as we carry our music libraries on our phones. But – and here I’m developing Stew’s theme in a way with which he might not entirely approve – for better or worse we’re not entirely in control of the final product. We’re not the sole producers of our art, after all. Our parents, and everyone who came before us, and for that matter the entire universe, also have that honor (or should I say dubious distinction?). Nor, even if we are self-directors, do we contractually have control over the final cut. We all wander onto each other’s stages, often in the middle of productions we have nothing – or nearly nothing – to do with. Narratively this should result in relative chaos, and sometimes it does, but usually we manage to muddle through. It is, as Stew said, what we do.
Secondly, art is necessary in the sense that, paradoxical as this might sound, it keeps life real. It always, though often unintentionally, offers a critique of the status quo: the one-dimensional, black and white, reductive Grand Narratives proffered by politicians, religious leaders, and mass media marketeers. Art does this merely by reminding us of the particular, the personal, and the idiosyncratic. Impoverished art – and here’s my somewhat more Aeolian take on Stew’s relatively Ionian melody – is little more than some permutation of the status quo that the artist has perhaps unconsciously internalized and regurgitated. Impoverished art merely reflects the status quo by being overly simplistic, stereotypical, shallow, sentimental and/or sensationalistic… Sartre would call such art “inauthentic”. When impoverished art is intentionally produced and therefore bad in addition to impoverished, there might be a temptation write it off as prostitution – it is often done just for money, and it does similarly satisfy a consumer’s need (so perhaps even bad art is “necessary”, in a sense). But artists that produce impoverished art invest less of themselves in their work than the even most jaded prostitutes, who at least have to use their own bodies. Such artists merely pretend, without taking any chances, without revealing anything about their actual selves. More “authentic” artists also pretend, but never merely. Their pretending is not deceptive; it’s not pretense.
Not that I have anything against the occasional “guilty pleasure”… For instance, I confess to regularly watching the latest version of “Hawaii 5-0″, mainly for the scenery and, since I grew up in the Islands, its nostalgic value. Sometimes, serendipitously and for purely personal, idiosyncratic reasons, even impoverished art resonates.
Finally, art provides us with at least one half of a real friendship in a world where real friends are always rare, but grow even rarer as we age. Poets, novelists, singer-songwriters, filmmakers, and others put the best of themselves into their works; they represent themselves – or at least how they see the world – as honestly as they can. What more could you ask of true friends, except perhaps that they also show some interest in you? And these friends, unlike the flesh-and-blood kind, are never far away. There they are, under a layer of dust on your bookshelf, in your rarely opened music and movie files, undemanding, patiently waiting to be discovered or re-discovered when you most need them. Of course, just like the flesh-and-blood variety, such friends might fail to live up to expectations, or lose their attractiveness over time. But to co-opt and re-purpose Matthew 7:16- By their fruits you shall know them… not to mention yourself.
Speaking of fruits (or, less metaphorically, works), it seems fitting to end this post with the opening lines of T.S. Eliot’s “The Burnt Norton”, the first of his “Four Quartets” – which Stew mentioned as being a very old friend of his, but one that he’s just now really getting to know:
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.