Christian Swenson
MORPHOMAN


School Assembly Study Guide for
Christian Swenson - "Morphoman" - "Always Changing, Always the Same"

Introduction

Christian Swenson is a performing artist from Seattle, Washington. He has been developing this theater of transformation since 1979. Christian has created a truly original, integrated art form by combining his talents as a dancer, mime, singer, clown, and naturalist. In this performance he demonstrates some of the infinite possibilities of humankind's original instrument, the body and voice.

A Definition of Morphing: to cause something to change its outward appearance completely and instantaneously, or to undergo this process.

Glossary

acappella - singing without instrumental accompaniment.
animate - to give life to.
bodymind - the concept that the body and mind are one.
choreography - the creation and arrangement of movements in a dance or mime piece.
dansing – dancing and singing created at the same time
endorphins - brain chemicals that change one's mood.
fusion - the merging of different elements into a union.
human jazz - playing the body and voice simultaneously as a single instrument.
illusion - something that appears to be real.
imaginative imitation - the act of sincerely moving, sounding and behaving like another. improvisation - to create or compose spontaneously.
mimesis - the imitation of Nature.
throat-singing - a style of singing characterized by a tightened larynx, long drones and overtones.



About the Performance

Christian Swenson's "Morphoman" performance is about exploring how we can change ourselves; making art, learning about ourselves and the world with the body, voice and imagination. The following is a list and description of some of the different sections in the show.

1. Introduction - Christian introduces himself and his “instrument”, the body, voice and imagination. He then performs a brief morphing piece that gives hints of what’s to come.
2. "Central Asian throat-singing" - To learn about other people one can sing like them. This is a demonstration of overtone singing, where the single voice produces two or more tones simultaneously.
3. "Hydro-Morphology" – Students are invited on the stage to demonstrate the various states of water.
4. "Carving Music with Bare Hands" - This piece is an opportunity for the hands and mouth to co-create the "dansing". Mixing beauty with humor, the artist uses mime illusion techniques to make the music appear to be a physical substance, which then comes alive.
5. "Musical Morphology" – Christian leads students in morphing a simple song and then he performs a "dansing" rendition of a song. Christian uses selections of American popular music from throughout this century (eg.“Summertime”, “Simple Gifts”, “Oh, Susanna”, JohnnyB.Goode”,“GodBlesstheChild”,etc.).
6. “Face Weather” - a slow motion journey through a day in the life of a face.
7. "Zoo-Morphology" - A demonstration of probably the oldest art, mimesis, the imitation of Nature; In his classic “De-evolution” Christian "disappears" into our story backwards. Includes audience interaction with two favorite animals the Chimpanzee and the Velociraptor.
8. “Jabberwocky” - Lewis Carroll’s classic poem re-imagined.
9. "Word Improvisations" - Audience members offer words and Christian brings those words to life. This is a truly interactive art experience involving spontaneity, risk and audience participation both on and off the stage.
8. Final poem by contemporary Japanese poet, Nanao Sakaki.

If you have time to chatter,
Read books.
If you have time to read,
Walk into mountain, desert and ocean.
If you have time to walk,
Sing songs and dance.
If you have time to dance,
Sit quietly, you Happy Lucky Idiot.
- Nanao Sakaki






Learner Outcomes

1. Students will learn that the body and voice are humankind's original instruments of expression, and when combined with imagination, art can happen.
2. They will learn that "morphing" is changing on the outside, but the inside can stay the same.
3. They will learn that your imagination isn't just in your head, but lives wherever you put your attention; in your hand, your stomach, your foot, the floor, the air you breathe.
4. They will learn the concept of bodymind, and that creating art with your body and voice can change the way you feel by producing brain chemicals such as endorphins and adrenaline.
(Washington State Essential Academic Learning Requirement (EALR) 3, Benchmark l & 2)
5. They will learn that mimesis, the imitation of Nature, is a prehistoric "art form" and that the body and voice are humankind's original instruments of artistic expression.
6. They will learn that through imaginative imitation (sincerely moving, sounding and behaving like another) they will create more understanding and knowledge of both their own self and the other. (EALR 2, Benchmark 1)
7. They will learn about a fundamental principle of jazz and other art forms, improvisation, the act of spontaneous creation.
8. They will learn that singing and dancing do not have to mean something. For example, throat-singing, a popular singing style of Central Asia where the singing is about singing.
9. They will learn creative ways of releasing energy while becoming more conscious, and for some, less afraid of their body and voice.
10. They will learn that art can be serious play.




Good Audience Skills

Students should be aware that there is much to be seen and heard in this performance. For everyone to enjoy the show they should stay sitting so all can see, and be aware that talking distracts both the performer and the audience. If they don't understand something, that's okay. Laughter is expected, but if it is too loud no one can hear. During parts of the show participation is encouraged. Like in the classroom, audience members should raise their hands if they wish to volunteer.


Preparing for the Performance

Teachers can prepare their students for this performance in several ways: They can discuss with students how a live performance is different than watching TV or going to a movie. This show contains both choreography and improvisation. Notice how people use both planning and improvising in the home, at school, in sports, at work, in other arts, on TV.

Slowly or suddenly, change is always happening. What can you think of that is always changing yet always the same? The sky, the ocean, fire, people, what else? When this artist transforms his body and voice how does he do it? When your feelings change, do you change?

"Human Jazz" is both ancient and brand new ! It draws from Asian dance theater forms, mime techniques, global singing styles, American street dancing as well as many hours of practice and exploration. To its originator, Christian Swenson, it is artform, a recreational pastime, and a spiritual practice. "Human Jazz" lives on the frontiers between the performing arts of music, drama and dance and also helps one explore Nature, science, history, culture, psychology and religion.

During the second half of the show the performer will ask for "words" from the audience. You may want to have students think of some current curriculum words for him to work with. You will not "understand" everything you see and hear. Does this make you curious? Afraid? Frustrated? How can one develop a more comfortable attitude while "not knowing"?

Other discussion questions and topics:
* How do bodies speak if they don't use words?
* How is dancing different from moving?
* How is singing different from talking?
* When do you feel most alive?
* How do you "open your mind" to receive a new experience? What happens to your face when you do this?

Resource Materials

Find and play recordings of singing from around the world. Listen objectively for differences in tone, phrasing, consonant sounds, rhythm, feeling and recording quality.
Suggested Recordings:
'The Voice" - Bobby McFerrin (contemporary a cappella jazz)
"Global Meditation-Voices of the Spirit" - Collection of songs and chants from around the world.
"Heart of the Forest" - Music of the Baka Pygmies of Cameroon
"Voices of Forgotten Worlds" - Global Collection of Tribal Vocal Music with book.
"Pulse of the Planet" - Extraordinary Sounds from the Natural World, CD with book.
Any recordings featuring: Nusrat Fateh Ali Khan (Pakistan), Pandit Pran Nath (India), Tuvan overtone singing, Tibetan Chanting, Australian Aboriginal music, Balinese Kecak (Monkey Chant), The Bulgarian State Female Choir, Ladysmith Black Mambazo (South Africa), Songs of the Humpback Whale.


Pre-Performance Activities (K - 12)

With many people over age 12 their fear/embarrassment concerning the body is the major factor limiting their involvement. The class can treat it like a science experiment (see Learner Outcomes #4) or find the willing students and have them demonstrate/perform the activities while others take notes. Allow time for a good discussion about fear, risk-taking, adrenaline, trust, humor or other issues these activities might raise.

Playing with Time
1. Neutral Stillness: Standing still, equal weight on both feet, hands hanging by your sides, alert, relaxed and neutral (no emotional expression). Can you maintain this for 30 seconds, 1 minute, and 2 minutes? Keep spreading your attention all around your body sensing for complete stillness. Was it easy or difficult? What about involuntary movement (breathing, pulse, blinking, etc.), can you control these?
2. Animal Stillness: Now, try imagining and shaping yourself as an animal (predator or prey) or a person in a dramatic situation, having to be just as still. How is this different?
3. Super Slow-Motion: Put your arm straight in front of you with your finger pointing out. Take 10 seconds, then 30 seconds or 1 minute, moving continuously, to touch the finger to your nose.
a. How slowly can you stand up/sit down?
b. How slowly can you turn, look at someone and smile/?
4. Pulse Time: Make a constant beat (approx. 60 bpm) with your voice or mouth. This can be any simple sound that doesn't call to much attention to itself such as "uh-uh-uh-uh" or a tongue click. Alternating stillness with motion, change shape quickly, freezing on every beat. Depending on how you choose to act, this can be machine-like, bird-like or more dance-like.
a. Try specific actions or behaviors (with their sounds) in pulse time: sit, stand, look and point, throw a ball, start crying, laugh, etc.

5. You Are 70% Water! / Let It Flow:
a. From standing neutral "pour" yourself onto the floor or to your seat (with sound effects), and then "un-pour" yourself back up to standing. Try this s-l-o-w-l-y, quickly, to a beat.
b. Let the water freeze, then crack, then melt, and then evaporate.
6. Singing Music: Try just singing, no song, no words. Let the singing flow like water. Is this difficult? Why?
7. During this show the performer's body will be "speaking" to the bodies in the audience. Certain behavior can be infectious, just like when you watch someone yawn, and it makes you yawn. Ask them to become aware of their body's responses to others.
Bodymind Awareness Activity: Have students practice different facial expressions and sitting postures to notice how their bodymind reacts (e.g. for 30 seconds each, try sitting curious, bored, fascinated, surprised, frustrated, amused, etc.).




Post-Performance Activities

This performance gives others permission to play creatively with the human instrument. Human beings are natural imitators. Remind them they have been practicing this instrument for as long as they have been alive. How can they all help create a supportive environment for this simple sharing? How does laughter help or hinder this work?
1. Show Don’t Tell – Have students perform and/or share their favorite part of the show using stillness at the beginning and end as a frame.
2. Sound Palette – With partners taking turns, spend 2 minutes each making as many different sounds as you can with your voice such as; crunching, clicking, tweeting, bursting, hissing, creaking, yelping, groaning, etc. Now do similar sounds but with your hands and fingers “acting” along with your voice. Can your hands give your voice new ideas?
3. Hand Conversations (with or without voice) – Sit facing a partner holding your hands up between each other. Pretending you understand each other, let the hands speak their own language to each other. One pair of hands moves/speaks while the other pair listens in stillness. When the “speaker” is finished they become still and the “listener” then responds. Continue taking turns this way.
4. Conversations in Pulse Time – each partner gets 4 beats of an 8-count phrase. Partner #1 moves on 1-2-3-4 then partner #2 moves on 5-6-7-8. The task is to share the responsibility for maintaining the beat.
5. Rhythm Jam (3rd – 12th grades) – Take some time to make simple music together. Again, the work part of this play is listening to and maintaining the beat. Standing in a circle or sitting at desks everyone begin by joining in unison on the very same beat (beware of the tendency to speed up…) for at least a full minute before some begin to create other sounds and rhythms around the beat. Keep the volume low – medium so the energy is easier to control. This can be a wonderful opportunity to practice mutual responsibility and spontaneous music. Try a rhythm jam with the words “yes” “no” and “maybe”.
6. Sound Garden - This is the same exercise but without the beat. Create vocal soundscapes together using longer tones, breath and other quiet sounds. Use lots of unison and repetition to have it grow and change more slowly.
7. Face Weather – Gazing forward, let your face s-l-o-w-l-y change its expression. This can be done alone or mirroring a partner. Notice how difficult it is to not lose your focus and fall into laughter. When trying it alone notice how the face communicates inward as well as outward.




Artist Biography

Christian Swenson has an extensive background in dance, mime, voice and improvisation. He is known for his pioneering work in what he calls "Human Jazz", a global fusion of dance/drama/music for body and voice.

In 1977 he received a BA in Theater from the University of New Hampshire and moved to Seattle to work with the Bill Evans Dance Company. Further training has included work with Tony Montanaro; Diane Schenker; Ruth Zapora; Korean shaman, Hi-ah Park, and with the late Pakistani master-singer, Nusrat Fateh Ali Khan. He has performed with Bill Irwin, The Seattle Symphony Orchestra, and The Jay Clayton/Jim Knapp Collective and in Europe with Jim Nollman of Interspecies Communication Inc. He presently teaches in the Theater program at Seattle University.

For the past 25 years he has been performing creations for the body and voice searching for a more global aesthetic. Since 1980 he has been a touring artist visiting communities and schools in the Northwest and beyond. He has performed and taught throughout North America and in Europe, and Asia. Christian released his first compact disc, “Off-Road Vocals” in 2000.

As a guest artist he has been seen as: The Monster in The Minnesota Opera's production of "Frankenstein", at New York's "Serious Fun at Lincoln Center" and "The New York Improvisation Festival", with The Flying Karamazov Brother's "New Old Time Chautauqua " and the 2002 “Rolling Thunder Down Home Democracy Tour” and has been heard on National Public Radio's "Sandy Bradley's Potluck. He was a teacher/performer at the 2005 American College Dance Festival in Buffalo, NY and at the 1998 "Body & Soul Northwest" Conference. For four years he has been a Vocalist with the Integrated Music Program at two Seattle hospitals and is a founding member of the improvisational ensemble Molten Vocals. He is also a member of the PlayBack Theater group, Threshold Ensemble.

Christian has received Fellowships from the National Endowment for the Arts, Washington State Arts Commission and Artist Trust of Washington. He and his wife, Abigail, reside happily in Seattle, and have two grown children.