Classes will resume on Thursday 24 January. I was planning to start one week earlier but I'll spend a week working in Melbourne.
The start of a new year is always time for reflection, and even more so looking forward to the next year. So here's what I want to achieve this year:
- Most importantly, focus on our stage act. I've realised that we need to look much better on stage, it's not just about the music. So choreographies, great costumes, smiling and showmanship are all on the agenda
- As always, attract more members to the samba school
- Higher musical standard. I've heard some comments over the last year that 'it doesn't have to be perfect'. That attitude will need to change - and we'll work together on that
- More gigs
18 comments:
OK I'm going to say what I think on this subject. Totally agree with the sentiment about lift the game general especially on the costume and the dance moves, however on the pursuit of perfection I have some thoughts. I don't agree that we must always pursue perfection. This philospohy has lead for me to a rather boring year of constant repetition of the same small set of songs over and over, which I think actually leads to worst performance as the interest drains away and with that the quality actually goes down. It also has worked against being more creative and has lead to less impressive performance. I believe we need to take a more holistic approach where we look at the total customer experience, the impact. After most punters would even understand or know good Samab from bad Samba, they just don't care. What they do know is they see a bunch of uninteresting peo-ple standing stationary on stage making a very loud vaguely rythmic noise. Good for five miniutes or so. We need more contrast in what we play, we need a narative to the perfomance, we need quiet, the loud, different instruments, a story, some melody, some singing. Then the drums come alive because they contrast. I understand the intent to constantly strive for musical improvement, but not at the expense of all the other stuff, which both the punters and the players actually need more than a perfect type of Samba, that we come if we get the total picture right anyway. Also we need to enguage the talents of the group, not just the vision of one person if the group is to survive for the long term. Its not Remkos group, its everyone group, we all contribute. Remko has provided the musical insperation and the spark but its up to all of us to creat a structure for the long term going forward.
Sorry about thetypos I just bashed away at the keyboard!
Hmmmm...... well, some of that I agree with and some of that I do not.
I agree that in terms of maintaining the interest of our audience, it would be better if we had more contrast; a narrative; both quiet and loud; different instruments; some melody; some singing.
In other words - an act. We need to build an act that's broader than just loud fast samba, exciting as that may be for the first few minutes.
If we're being completely honest here, let me say, I totally "get" that samba is loud and fast. I totally "know" that that's how it sounds in Rio. But I have to ask myself, is that *all* I want to do musically in the future, or do I want something else?
I do not agree at all that we needn't "pursue perfection". Maybe the reason we have to repeat stuff is because people don't care enough to play it properly in the first place?
I do not at any time under any circumstances agree that "near enough is good enough". It's just not. And you can hear the difference between a band that cares about playing well and one that doesn't.
What's wrong with playing the best we can manage, I say?
Where I did find it repetitive in the last few months of this year, was that, of necessity, we needed to rehearse stuff that we were going to play in "Uncharted". I got to a stage I just wanted to play a bloody 6/8 or something ELSE. ANYTHING else. But we needed to get it right.
Anyway, it looks like an interesting year coming up.
There is a big difference between " ...best we can manage" and "perfection". I prefer the first one.
Obsession in moderation, I say!
My new year resolution: dust off my djembe and do some 6/8 rhythms. Thanks Shake-a-diva.
There is a big difference between "The Best we Can do" and perfection, as perfection is unobtainable, so the difference ergo dictum is infinite. The point is was trying to make is that the costs of unrealistic and obsessional striving for the unobtainable goal of perfection, outway the supposed benefits of constant re-running of the same tunes. I don't believe that means we give up striving to become better, its a matter of taking a reasonable view and achieving a better balance on a number of fronts so that the audience ends up with a perceived better package. I not saying that we ignore improvement, I am arguing for a holistic approach. dancers, uniform, story, showmanship. I also think that the lack of some sort of formalism in our training plan is a big chink in the argument as well as I think that half the problem the low tech approach that is adopted which is not consistant, means that this works against a more rapid take up and development of skills. For example a song book with a running order where notes could be made might be of assistance. I would be willing to create said document, Each song would have a page, with an explaination of the song, the name, tempo, and with a CD in a pocket with a break down of the key elements, which could be reviewed by the players, Each instrument would be dealt with on a single track. Over time this would build into a package that new players could be provided with. (A deposit would be taken, so that when they leave we either keep the money or they give the book back. As a new song is developed this document becomes a gold standard, so that if we don't play this for months we can go back and listen to the song. Remko I would be willing to produce the CD's in conjunction with yourself. Yes it would be a lot of work, but it could be done accumulatively, so after a year we build up a good stock of material.
Ergo whatum?? :) :) :)
Actually, a songbook with an accompanying CD in the pocket sounds like a very handy idea.
Guys I think I should say that I'm trying not to be negative in my first comment. As I have failed to mange to retrospectively edit the first comment that kicked this all off I want to clarify some key points.
What I was trying to say is that
a) audience perception is not necessarily the same as our perception and that whilst naturally our motivation is to improve the music, the audience may not pick up on the detail in the same way.
b) I'm not trying to take a big dig at Remko as without his leadership and persistance and skills at leading the music the group would not exist. The point I was making is that Remko plus Sambista's are the group one without the other is not an option, so we must have our input, which is what this forum is about.
Don't forget , sambistas need to be entertained too. I'm a bit bored with the current format.
It's important to rehearse for performances but doing something new each night and allow us to make MISTAKES will be good for the soul.
Hi all. Thanks Remko for inviting comments towards this post. That is part of showing that people's input is accepted and valued. But..like any group of 20 people or so, constituents often have very different ideas, and it really is hard to please everybody. If we waited around to get a consensus with our band, we wouldn't get to play any music until 2010!
Rather than allow this to occur, I would much prefer to just get on with stuff. There is already new stuff happening, so why don't we try and make the most of it and take Remko's vision for a bateria that can play authentic samba, have great showmanship/smiles/energy, dazzle with TALENT as well as with sequins, and obtain gigs which are not just for us and not just for audiences, but a group experience.
Where's the love people?
It's alright to say we need to do something new every night, but realistically we could be alot more impressive through people PRACTICING. Interesting concept. And lack of instruments doesn't apply because the best trickshot player learns with a broom stick and ball bearings.
What's the point of aiming for whatever?
I am unsure why some people react very strongly to the word 'perfect',or 'perfection'. I know that when I play, I am aiming for that idyllic sense of perfection. It's what my brain and my heart and soul perpetually want to hear and see and feel and enjoy. I do not feel guilty about that. Just like I wouldn't feel guilty for assuming that other musicians in a band (yes, all of you, that is what you are) would be aiming for exactly that same ideal.
Some might ethereally call it "the groove" or some may call it God, but I call it music, and I am serious as well as frivolous about music.
I don't think our band should be a place to just screw around and pretend your a musician if you're not really into it. I don't doubt that every single person has that musician person in there who argues maybe with the other critical person who doesn't believe they could ever aspire to a sense of perfection. Noone can reach perfection in every single thing they do perhaps, but every performance and every practice session is like a life in it's own right, and I don't think it's wrong to aspire to a sense of perfection / awesome hypnotic groove / musical euphoria / spiritual experience.....etc in each one of these little lives. Nirvana in every lifetime. Maybe we are destined for it.
(Aww, come on, stop calling me cheesy!)
(Pass the scoob...:)
("She's found Buddha not Jesus")
(
Do something new can be as simple as practicing a certain percussion techniqes and build up around it.
Remko used to do the exercises at the beginning of each class and build the groove around it and gradually shift to traditional samba rhythm.
With this format, we solve a lot nagging issues such as (a) tardiness: the groove needs to start with few people until late comers show up (b) improve instrument proficiency (c) beginners feel less overwhelming and , hopefully, better retaining rate.
We need consistency of rehearsing format.
Now that we've banged on (pun intended) about technique etc, let's start having a good collective think about costumes.
For instance, look at the website www.wasamba.com.au and go to "pictures" and look at the pics of "Notre Dame 2007". (Yes, I am a techno-dinosaur and couldn't manage the link.)
There's some good ideas there re face painting and also their head-dresses - seem to use just an ordinary light-weight plastic hard hat as a base, and go wild with the decoration.
But let's toss some ideas in the ring, eh? :)
When it comes to uniform, personally, I opt for a restrained , middle of the road look. Comfort is the main issue ie. ability to perspire.
Shake-a-diva, may be you should post a new blog on this subject please.
Hey Erin,
I'm here in 'Nam, and there's lots of buddha's around here too! And shiva's , ganesha, ghosts and whatnot. They play samba for shit though. (oh, there's also a lot of brian's here. They just spell their name different.)
good to hear that you guys haven't changed all that much since I left... You agree on how to practice about as much as you agree on what beat to play...
Marcel, did you spot my cousin among the 70 million Vietnameses ? He looks like me and have a limp when he walks ( result from my early childhood ambition as a podiatrist ) .
Sound like you were hallucinating about Shiva and Ganesha . What sort of noodle soup did you take at the time ?
Hi Marcel!! I was just speculating on the blog about where you currently were, and what doing...looks like I was only slightly off with my suggestion (you'll have to look it up).
Must try the Pho Ga`, which is a noodle soup with chicken, noodles, beansprouts, and other veges, lime juice, cinnamon type flavouring, etc. totally yumbum! Not to mention the fresh ricepaper rolls with prawns, vermicelli, veges and mint. With yummy dipping sauce, mmmmmm, I'm getting hungry!
And yes, it's true, we rarely can agree on anything, but where would the fun be if we did?
Costume-wise, I believe that we can use materials for the 'speccy' aspect (as Celia would say), and keep the actual clothing items as fairly functional, but with a twist. I liked the idea of cullotte-type pants, with a cummerband and flaps which are useful (i.e. can clip on hand percussion instruments like agogos), such as in the following link. I think it has the essence of funky streetwear, and a singlet top is my preferred kind of top, as it allows you to sweat without causing big sweat marks or having shirtsleeves constrict your arm, which, with my massively built biceps, is always a problem for me. Er yeah, and the sweating, unfortunately. I have tried to sweat femininely, but no go.. I like the ravey type of pants too, which could be more interesting even.
See this link for some examples. Each are slightly different I think, but related:
http://www.youtube.com/watch?v=QR0rOit22sk&mode=related&search=
Broad legged rave type pants open up a world of possibilities as far as decorative inserts (where you stitch a wedge of different material into the leg - usually the bottom) and they are flattering for both males and females (ladies, they don't hug your bum so they get a bit of swish). Would advise against totally white rave pants as we'd look like a Navy themed fancy dress party.
Greetings from NZ!
Just saw the Wellington Batucada at a festival in NZ and their performance was fantastic. Their stage performance was what stood out to me (although the music was awesome, of course) as they had dancers and the whole band was grooving/dancing.
Looking forward to getting back into it soon!
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