A Duck Gets a Prosthetic Leg & Waddles Along

Wad­dles the Duck was born with a man­gled left leg. So what does his care­tak­er–Ben Wein­man, the gui­tarist of Sui­ci­dal Ten­den­cies–do? Gets him a 3D print­ed pros­thet­ic, with the help of Der­rick Cam­pana, a Cer­ti­fied Pet Pros­theti­cist at Bion­ic Pets, notes Laugh­ing Squid. And, for a brief moment, the world’s ok.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Søren Kierkegaard – Subjectivity, Irony and the Crisis of Modernity: A Free Online Course from the University of Copenhagen

The Uni­ver­si­ty of Copen­hagen and Jon Stew­art, PhD present Søren Kierkegaard – Sub­jec­tiv­i­ty, Irony and the Cri­sis of Moder­ni­ty, a course explor­ing the work of Den­mark’s great philoso­pher. The course descrip­tion reads as fol­lows:

It is often claimed that rel­a­tivism, sub­jec­tivism and nihilism are typ­i­cal­ly mod­ern philo­soph­i­cal prob­lems that emerge with the break­down of tra­di­tion­al val­ues, cus­toms and ways of life. The result is the absence of mean­ing, the lapse of reli­gious faith, and feel­ing of alien­ation that is so wide­spread in moder­ni­ty.

The Dan­ish thinker Søren Kierkegaard (1813–55) gave one of the most pen­e­trat­ing analy­ses of this com­plex phe­nom­e­non of moder­ni­ty. But some­what sur­pris­ing­ly he seeks insight into it not in any mod­ern thinker but rather in an ancient one, the Greek philoso­pher Socrates.

In this course cre­at­ed by for­mer asso­ciate pro­fes­sor at the Søren Kierkegaard Research Cen­tre, Jon Stew­art, we will explore how Kierkegaard deals with the prob­lems asso­ci­at­ed with rel­a­tivism, the lack of mean­ing and the under­min­ing of reli­gious faith that are typ­i­cal of mod­ern life. His pen­e­trat­ing analy­ses are still high­ly rel­e­vant today and have been seen as insight­ful for the lead­ing fig­ures of Exis­ten­tial­ism, Post-Struc­tural­ism and Post-Mod­ernism.

You can take Søren Kierkegaard for free by select­ing the audit option upon enrolling. If you want to take the course for a cer­tifi­cate, you will need to pay a fee.

Søren Kierkegaard has been added to our list of Free Phi­los­o­phy Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent

The Phi­los­o­phy of Kierkegaard, the First Exis­ten­tial­ist Philoso­pher, Revis­it­ed in 1984 Doc­u­men­tary

An Ani­mat­ed, Mon­ty Python-Style Intro­duc­tion to the Søren Kierkegaard, the First Exis­ten­tial­ist

Exis­ten­tial Phi­los­o­phy of Kierkegaard, Sartre, Camus Explained with 8‑Bit Video Games

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The Bob Ross Virtual Art Gallery: A New Site Presents 403 Paintings from The Joy of Painting Series

“We don’t make mis­takes. We have hap­py acci­dents,” the late Bob Ross soothed fans paint­ing along at home, while brush­ing an alarm­ing amount of black onto one of his sig­na­ture nature scenes.

His mel­low on-cam­era demeanor and flow­ing, wet-on-wet oil paint­ing style were per­fect­ly cal­i­brat­ed to help tight­ly-wound view­ers relax into a right-brained groove.

The cre­ators of the Bob Ross Vir­tu­al Art Gallery take a more left brained approach.

Hav­ing col­lect­ed data on Ross’ ever­green series, The Joy of Paint­ing, they ana­lyzed it for fre­quen­cy of col­or use over the show’s 403 episodes, as well as the num­ber of col­ors applied to each can­vas.

For those keep­ing score, after black and white, alizarin crim­son was the col­or Ross favored most, and 1/4 of the paint­ings made on air boast 12 col­ors.

The data could be slight­ly skewed by the con­tri­bu­tions of occa­sion­al guest artists such as Ross’ for­mer instruc­tor, John Thamm, who once coun­seled Ross to “paint bush­es and trees and leave por­trait paint­ing to some­one else.” Thamm availed him­self of a sin­gle col­or — Van Dyke Brown — to demon­strate the wipe out tech­nique. His con­tri­bu­tion is one of the few human like­ness­es that got paint­ed over the show’s 11-year pub­lic tele­vi­sion run.

The Bob Ross Vir­tu­al Art Gallery has sev­er­al options for view­ing the data.

Mouse over a grid of grey rec­tan­gles to see the 403 art­works pre­sent­ed in chrono­log­i­cal order, along with titles and episode num­bers.

(This has all the mak­ings of a thump­ing good mem­o­ry game, à la Con­cen­tra­tion… flip all the rec­tan­gles, study them, then see if you can nav­i­gate back to all the cab­ins or mead­ows.)

A bar graph, sim­i­lar­ly com­posed of rec­tan­gles, reveals the col­ors that went into each paint­ing.

Anoth­er chart ana­lyzes Ross’ use of col­or over time, as he moved away from Burnt Umber and eased up on Pftha­lo Green.

 

Indi­an Red was accord­ed but a sin­gle use, in sea­son 22’s first episode, “Autumn Images.” (“Let’s sparkle this up. We’re gonna have fall col­ors. Let’s get crazy.”)

For art lovers crav­ing a more tra­di­tion­al gallery expe­ri­ence, site cre­ator Con­nor Roth­schild has installed a vir­tu­al bench fac­ing a frame capa­ble of dis­play­ing all the paint­ings in ran­dom or chrono­log­i­cal order, with dig­i­tal swatch­es rep­re­sent­ing the paints that went into them and YouTube links to the episodes that pro­duced them.

And for those who’d rather gaze at data sci­ence, the code is avail­able on GitHub.

Explore the Bob Ross Vir­tu­al Art Gallery here. Scroll down to take advan­tage of all the options.

Relat­ed Con­tent: 

Watch Every Episode of Bob Ross’ The Joy Of Paint­ing Free Online: 403 Episodes Span­ning 31 Sea­sons

The Joy of Paint­ing with Bob Ross & Banksy: Watch Banksy Paint a Mur­al on the Jail That Once Housed Oscar Wilde

Expe­ri­ence the Bob Ross Expe­ri­ence: A New Muse­um Open in the TV Painter’s For­mer Stu­dio Home

Bob Ross’ Christ­mas Spe­cial: Cel­e­brate, Relax, Nod Off

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her Necro­mancers of the Pub­lic Domain: The Peri­od­i­cal Cica­da, a free vir­tu­al vari­ety show hon­or­ing the 17-Year Cicadas of Brood X. Fol­low her @AyunHalliday.

Yes’ Rick Wakeman Explores Vivaldi’s Four Seasons, and Why It Was the First Concept Album

In this 2015 pro­duc­tion, Yes key­boardist Rick Wake­man revis­its Anto­nio Vivaldi’s The Four Sea­sons, and makes the case for why “it was so far ahead of its time that it was actu­al­ly the first ever con­cept album, mak­ing Vival­di the world’s first rock super­star.”

“Uncov­er­ing the dark rumours sur­round­ing the church­es, orphan­ages and canals of Venice, Rick Wake­man sets out to inves­ti­gate the extra­or­di­nary life of Anto­nio Vival­di. From 18th cen­tu­ry scan­dals to inter­views with fel­low musi­cian Mike Ruther­ford, uncov­er the mys­tery behind one of the world’s favourite com­posers.” Rick Wake­man: Vivaldi’s Four Sea­sons appears on the “Rick Wake­man’s World” YouTube chan­nel.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Authen­tic Vivaldi’s The Four Sea­sons: Watch a Per­for­mance Based on Orig­i­nal Man­u­scripts & Played with 18th-Cen­tu­ry Instru­ments

Rick Wake­man Tells the Sto­ry of the Mel­lotron, the Odd­ball Pro­to-Syn­the­siz­er Pio­neered by the Bea­t­les

Rick Wakeman’s Prog-Rock Opera Adap­ta­tion of George Orwell’s 1984

14-Year-Old Girl’s Blis­ter­ing Heavy Met­al Per­for­mance of Vival­di

Vivaldi’s Four Sea­sons Brought to Life in Sand Ani­ma­tions by the Hun­gar­i­an Artist Fer­enc Cakó

Hear Rick Wakeman’s Musi­cal Adap­ta­tion of Jules Verne’s Jour­ney to the Cen­tre of the Earth, “One of Prog Rock’s Crown­ing Achieve­ments”

 

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Tasting History: A Hit YouTube Series Shows How to Cook the Foods of Ancient Greece & Rome, Medieval Europe, and Other Places & Periods

The food of our ances­tors has come back into fash­ion, no mat­ter from where your own ances­tors in par­tic­u­lar hap­pened to hail. Whether moti­vat­ed by a desire to avoid the sup­pos­ed­ly unhealthy ingre­di­ents and process­es intro­duced in moder­ni­ty, a curios­i­ty about the prac­tices of a cul­ture, or sim­ply a spir­it of culi­nary adven­ture, the con­sump­tion of tra­di­tion­al foods has attained a rel­a­tive­ly high pro­file of late. So, indeed, has their prepa­ra­tion: few of us could think of a more tra­di­tion­al food than bread, the home-bak­ing of which became a sweep­ing fad in the Unit­ed States and else­where short­ly after the onset of the COVID-19 pan­dem­ic.

Max Miller, for exam­ple, has baked more than his own share of bread at home. Like no few media-savvy culi­nary hob­by­ists, he’s put the results on Youtube; like those hob­by­ists who devel­op an unquench­able thirst for ever-greater depth and breadth (no pun intend­ed) of knowl­edge about the field, he’s gone well beyond the rudi­ments.

18th-cen­tu­ry Saly Lunn bunsmedieval trencherPom­pei­ian panis quad­ra­tus, even the bread of ancient Egypt: he’s gone a long way indeed beyond sim­ple sour­dough. But in so doing, he’s learned — and taught — a great deal about the vari­ety of civ­i­liza­tions, all of them hearti­ly food-eat­ing, that led up to ours.

“His show, Tast­ing His­to­ry with Max Miller, start­ed in late Feb­ru­ary,” writes Devan Sauer in a pro­file last year for the Phoenix New Times. “Since then, Tast­ing His­to­ry has drawn more than 470,000 sub­scribers and 14 mil­lion views.” Each of its episodes “has a spe­cial seg­ment where Miller explains the his­to­ry of either the ingre­di­ents or the dish’s time peri­od.” These peri­ods come orga­nized into playlists like “Ancient Greek, Roman, & Mesopotami­an Recipes,” “The Best of Medieval & Renais­sance Recipes,” and “18th/19th Cen­tu­ry Recipes.” In his clear­ly exten­sive research, “Miller looks to pri­ma­ry accounts, or anec­do­tal records from the peo­ple them­selves, rather than his­to­ri­ans. He does this so he can get a bet­ter glimpse into what life was like dur­ing a cer­tain time.”

If past, as L.P. Hart­ley put it, is a for­eign coun­try, then Miller’s his­tor­i­cal cook­ery is a form of not just time trav­el, but reg­u­lar trav­el — exact­ly what so few of us have been able to do over the past year and a half. And though most of the recipes fea­tured on Tast­ing His­to­ry have come from West­ern, and specif­i­cal­ly Euro­pean cul­tures, its chan­nel also has a playlist ded­i­cat­ed to non-Euro­pean foods such as Aztec choco­late; the king­ly Indi­an dessert of payasam; and hwa­jeon, the Kore­an “flower pan­cakes” served in 17th-cen­tu­ry snack bars, or eumshik dabang. He’s also pre­pared the snails served at the ther­mopoli­um, the equiv­a­lent estab­lish­ment of the first-cen­tu­ry Roman Empire recent­ly fea­tured here on Open Cul­ture. But how­ev­er impres­sive Miller’s knowl­edge, enthu­si­asm, and skill in the kitchen, he com­mands just as much respect for hav­ing mas­tered Youtube, the true Forum of ear­ly 21st-cen­tu­ry civ­i­liza­tion.

Relat­ed Con­tent:

What Did Peo­ple Eat in Medieval Times? A Video Series and New Cook­book Explain

Cook Real Recipes from Ancient Rome: Ostrich Ragoût, Roast Wild Boar, Nut Tarts & More

How to Bake Ancient Roman Bread Dat­ing Back to 79 AD: A Video Primer

Watch a 4000-Year Old Baby­lon­ian Recipe for Stew, Found on a Cuneiform Tablet, Get Cooked by Researchers from Yale & Har­vard

Cam­bridge Uni­ver­si­ty Pro­fes­sor Cooks 4000-Year-Old Recipes from Ancient Mesopotamia, and Lets You See How They Turned Out

How to Make the Old­est Recipe in the World: A Recipe for Net­tle Pud­ding Dat­ing Back 6,000 BC

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

What Happened During the 1921 Tulsa Massacre, One of the Worst Episodes of Racial Violence in U.S. History

In Feb­ru­ary 1915, Thomas Dixon, author of pop­u­lar nov­el The Clans­man, and D.W. Grif­fith, the direc­tor who adapt­ed the book into the film Birth of a Nation, lob­bied then-pres­i­dent Woodrow Wil­son for a screen­ing at the White House. The two were sure their sto­ry would get a warm recep­tion from the “well doc­u­ment­ed racist” and one­time schol­ar who pro­duced a five-vol­ume His­to­ry of the Amer­i­can Peo­ple, in which he por­trayed the South as “over­run by ex-slaves who were unde­serv­ing of free­dom,” as Boston Uni­ver­si­ty jour­nal­ism pro­fes­sor Dick Lehr remarks.

Whether or not Wil­son actu­al­ly uttered the words attrib­uted to him after­ward (“It’s like writ­ing his­to­ry with light­ning”), he approved the film’s mes­sage and rebuffed Black lead­ers who were “appalled and out­raged,” says Lehr. The moment was piv­otal for the birth of the Civ­il Rights move­ment, he argues in a recent book. Fol­low­ing the country’s entry into World War I, it also lit the fires of what nov­el­ist, com­pos­er and exec­u­tive direc­tor of the NAACP James Wel­don John­son called “Red Sum­mer”… a sum­mer of lynch­ings, loot­ings, burn­ings, shoot­ings and oth­er vio­lence.

Mass lynch­ings — ignored or mis­con­strued as “race riots” for decades, though now prop­er­ly referred to as mas­sacres — took place all over the coun­try between 1917 and 1923 under var­i­ous pre­texts, “in at least 26 cities,” Deneen Brown writes at Nation­al Geo­graph­ic, “includ­ing Wash­ing­ton, D.C.; Chica­go, Illi­nois; Oma­ha, Nebras­ka; Elaine, Arkansas; Charleston, South Car­oli­na; Colum­bia, Ten­nessee; Hous­ton, Texas,” and — the blood­i­est and most destruc­tive of them all — Tul­sa, Okla­homa, an event many learned about for the first time when the cur­rent pres­i­dent pro­claimed its 100th anniver­sary, May 31st, a “Day of Remem­brance.”

On May 31 and June 1, 1921, the mob who ram­paged through the Tul­sa neigh­bor­hood of Green­wood, a pros­per­ous black com­mu­ni­ty just a gen­er­a­tion removed from slav­ery, killed over 300 Black res­i­dents, “dump­ing their bod­ies into the Arkansas Riv­er or bury­ing them in mass graves. More than a hun­dred busi­ness­es were destroyed, as well as a school, a hos­pi­tal, a library, and dozens of church­es. More than 1,200 Black-owned hous­es burned.” The attack­ers rained death from above: a report by a state-appoint­ed com­mis­sion found “Tul­sa was like­ly the first city” in the coun­try “to be bombed from the air.”

“The eco­nom­ic loss­es in the Black com­mu­ni­ty amount­ed to more than $1 mil­lion,” Brown notes, a fig­ure that can­not account for per­son­al loss­es that res­onat­ed through gen­er­a­tions, like those described by the massacre’s old­est liv­ing sur­vivor, who tes­ti­fied recent­ly before a House sub­com­mit­tee. Son­ali Kol­hatkar writes:

107-year-old Vio­la Fletch­er tes­ti­fied to Con­gress a few weeks ahead of the 100th anniver­sary and recalled grow­ing up as a child in Green­wood in “a beau­ti­ful home” with “great neigh­bors and… friends to play with.” “I had every­thing a child could need. I had a bright future ahead of me,” she said. A few weeks after Fletch­er turned sev­en, the armed men struck on May 31, 1921. After recount­ing the “vio­lence of the white mob,” and her mem­o­ries of see­ing “Black bod­ies lying in the street” and “Black busi­ness­es being burned,” she went on to describe the grind­ing pover­ty she was thrown into as a result of the mas­sacre.

Fletch­er nev­er made it past the fourth grade in school. The promis­ing future that her fam­i­ly had worked hard to give her was oblit­er­at­ed in the ash­es of the Tul­sa Race Mas­sacre. “Most of my life I was a domes­tic work­er serv­ing white fam­i­lies. I nev­er made much mon­ey. To this day I can bare­ly afford my every­day needs,” she told law­mak­ers dur­ing her tes­ti­mo­ny.

That the anniver­sary now falls on Memo­r­i­al Day (then cel­e­brat­ed on May 30th) seems a bit­ter irony giv­en that much of the back­lash toward Black com­mu­ni­ties came from fear of those return­ing Black sol­diers who stood up against the every­day vio­lence of Jim Crow when they returned from over­seas. Birth of a Nation inspired a reborn Ku Klux Klan and its sup­port­ers to turn that fear into a cru­sade, a kind of pre-emp­tive col­lec­tive retal­i­a­tion.

“Dur­ing the mas­sacres, they mur­dered and maimed peo­ple indis­crim­i­nate­ly, unpro­voked,” says Alice M. Thomas, a Carnegie schol­ar and a pro­fes­sor in the School of Law at Howard Uni­ver­si­ty. “They went into homes, stole per­son­al belong­ings, and burned down homes. They used the mas­sacres as a cov­er to mur­der with­out sanc­tion, maim with­out sanc­tion, and steal with­out sanc­tion. No one, to this day, has been held account­able.”

Red Sum­mer was pri­mar­i­ly dri­ven by what now gets cod­ed as “eco­nom­ic anx­i­ety.” Kar­los K. Hill, pro­fes­sor of African and African Amer­i­can Stud­ies at the Uni­ver­si­ty of Okla­homa, explains that “the Green­wood Dis­trict [of Tul­sa] was per­haps the wealth­i­est Black com­mu­ni­ty in the coun­try… a sym­bol of what was pos­si­ble even in Jim Crow Amer­i­ca.” Referred to as “Black Wall Street” — the moniker giv­en to many oth­er such com­mu­ni­ties — Green­wood posed a threat: “The fear was, if Black peo­ple could have eco­nom­ic and polit­i­cal equal­i­ty, then social equal­i­ty would fol­low right behind.”

Rather than face the fright­en­ing prospect of an actu­al democ­ra­cy, thou­sands of white Amer­i­cans lashed out in Red Sum­mer, burn­ing Black Wall Streets to the ground nation­wide. After a cen­tu­ry of denial, the U.S. is only begin­ning to reck­on with the mas­sacres, and specif­i­cal­ly, with Tul­sa. The president’s procla­ma­tion marks a his­toric step in the right direc­tion. In the Vox video above, learn more about a sto­ry “you won’t find in most his­to­ry books.”

As NPR notes, you can also watch anoth­er doc­u­men­tary on the Tul­sa mas­sacre on PBS.

Relat­ed Con­tent:

When White Suprema­cists Over­threw a Gov­ern­ment (1898): The Hid­den His­to­ry of an Amer­i­can Coup

Take The Near Impos­si­ble Lit­er­a­cy Test Louisiana Used to Sup­press the Black Vote (1964)

Hear the Voic­es of Amer­i­cans Born in Slav­ery: The Library of Con­gress Fea­tures 23 Audio Inter­views with For­mer­ly Enslaved Peo­ple (1932–75)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Art of Creating a Bonsai: One Year Condensed Condensed Into 22 Mesmerizing Minutes

To be a good writer, one must be a good read­er. This is made true by the need to absorb and assess the work of oth­er writ­ers, but even more so by the need to eval­u­ate one’s own. Writ­ing is re-writ­ing, to coin a phrase, and effec­tive re-writ­ing can only fol­low astute re-read­ing. This con­di­tion applies to oth­er arts and crafts as well: take bon­sai, the regard­ing of which con­sti­tutes a skill in and of itself. To craft an aes­thet­i­cal­ly pleas­ing minia­ture tree, one must first be able to see an aes­thet­i­cal­ly pleas­ing minia­ture tree — or per­haps to feel one. “Bon­sai trees (and inspir­ing art in gen­er­al) give me a ‘feel­ing’ that is hard to describe,” as prac­ti­tion­er Bucky Barnes puts it in the video above. “I’m not get­ting it from this tree yet, so I know I need to con­tin­ue tweak­ing.”

That tree is a Japan­ese larch bon­sai, Barnes’ year of work on which the video com­press­es into a mere 22 min­utes. The work is more than a mat­ter of water and sun­light: aspects that must be con­sid­ered and aggres­sive­ly mod­i­fied, include the plan­t’s view­ing and pot­ting angle, the num­ber and direc­tion of its branch­es, and even the struc­ture of roots spread­ing through the soil below.

Barnes breaks out a range of clip­pers, knives, pastes, brush­es, and wires — part of a suite of tools that, at least for the mas­ters back in bon­sai’s home­land of Japan, can get expen­sive indeed. To us lay­men, the tree that results from this year of work looks pret­ty respectable, but by bon­sai stan­dards its exis­tence has only just begun. Over the com­ing decades — or even the com­ing cen­turies — it could take on oth­er qual­i­ties alto­geth­er. When well main­tained, bon­sai only improve with age.

As demon­strat­ed in the video just above, how­ev­er, not every bon­sai receives such main­te­nance. A prod­uct of the same Youtube chan­nel, Bon­sai Releaf, “Restor­ing a Neglect­ed Chi­nese Juniper Bon­sai” begins with a tree that, to many of its near­ly four mil­lion view­ers so far, prob­a­bly does­n’t look too bad. Barnes sees things dif­fer­ent­ly: begin­ning by sketch­ing the tree, appar­ent­ly a stan­dard stage of his pro­fes­sion­al bon­sai-view­ing process, he sets about cor­rect­ing a host of defi­cien­cies like “low­er branch­es com­pet­ing for light,” exces­sive upward or down­ward growth (as well as some­thing called “weak crotch growth”), and dead tis­sue not delin­eat­ed from liv­ing. This labo­ri­ous oper­a­tion requires an even wider tool set, encom­pass­ing Dremels and even flames. But by the video’s end, any­one can see the dif­fer­ence in the tree itself — and more impor­tant­ly, feel it.

Relat­ed Con­tent:

The Art & Phi­los­o­phy of Bon­sai

This 392-Year-Old Bon­sai Tree Sur­vived the Hiroshi­ma Atom­ic Blast & Still Flour­ish­es Today: The Pow­er of Resilience

A Dig­i­tal Ani­ma­tion Com­pares the Size of Trees: From the 3‑Inch Bon­sai, to the 300-Foot Sequoia

What Makes the Art of Bon­sai So Expen­sive?: $1 Mil­lion for a Bon­sai Tree, and $32,000 for Bon­sai Scis­sors

Daisu­gi, the 600-Year-Old Japan­ese Tech­nique of Grow­ing Trees Out of Oth­er Trees, Cre­at­ing Per­fect­ly Straight Lum­ber

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Mistake Waltz: Watch the Hilarious Ballet by Legendary Choreographer Jerome Robbins

So often mis­takes are the most mem­o­rable part of live per­for­mance.

In Jerome Rob­bins’ The Con­cert (or The Per­ils of Every­body)they’re built in.

The por­tion set to Chopin’s Waltz in E Minor, above, has earned the nick­name The Mis­take Waltz. It’s an anthol­o­gy of screw ups that will be famil­iar to any­one who’s attend­ed a few ama­teur bal­let pro­duc­tions and school recitals.

When the entire ensem­ble is meant to be trav­el­ing in the same direc­tion or syn­chro­niz­ing swan­like ges­tures, the one who’s egre­gious­ly out of step is a guar­an­teed stand­out… if not the audience’s flat out favorite.

Rob­bins gen­er­ous­ly spreads the clown­ing between all six mem­bers of the corps, get­ting extra mileage from the telegraphed irri­ta­tion in every indis­creet­ly attempt­ed cor­rec­tion.

Per­formed well, the silli­ness seems almost impro­vi­sa­tion­al, but as with all of this leg­endary choreographer’s work, the spon­ta­neous beats are very, very spe­cif­ic.

It only works if the dancers have the tech­ni­cal prowess and the com­ic chops to pull it off. Les Bal­lets Trock­adero de Monte Car­lo aside, this can present a siz­able cast­ing chal­lenge.

Rob­bins also felt that The Con­cert should be pre­sent­ed spar­ing­ly, to keep the jokes from becom­ing stale.

Indi­vid­ual com­pa­nies have some agency over their cos­tumes, but oth­er than that, it is exe­cut­ed just as it was in its 1956 debut with the New York City Ballet.

For­mer NYCB lead dancer Peter Boal, who was 10 when he played Cupid in Rob­bins’ Moth­er Goose, has made The Con­cert part of Pacif­ic North­west Bal­let’s reper­toire. He revealed anoth­er side of the exact­ing Rob­bins in a per­son­al essay in Dance Mag­a­zine:

He had the unique abil­i­ty to become kid-like in the stu­dio, gig­gling with oth­ers and often laugh­ing robust­ly at his own jokes. He was cer­tain­ly his own best audi­ence for The Con­cert. How many times had he seen those gags and yet fresh, spon­ta­neous laugh­ter erupt­ed from him as if it was a first telling.

Relat­ed Con­tent: 

Bal­let Dancers Do Their Hard­est Moves in Slow Motion

Radio­head Bal­lets: Watch Bal­lets Chore­o­graphed Cre­ative­ly to the Music of Radio­head

The Dance The­atre of Harlem Dances Through the Streets of NYC: A Sight to Behold

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her Necro­mancers of the Pub­lic Domain: The Peri­od­i­cal Cica­da, a free vir­tu­al vari­ety show hon­or­ing the 17-Year Cicadas of Brood X. Fol­low her @AyunHalliday.

 

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