Day 17: Degenerate Art Experience

Degenerate Art Ensemble (DAE) is a Seattle-based performance art group that defies definition. Founded as an experimental orchestra in 1999, the company is an evolving collective of sound engineers, artists, filmmakers, composers, costumes fabricators, physical theatre performers, dancers, musicians, instrument makers, graphic designers and anything in between. The company has been around for about 15 years involving anywhere between six - 20 ensemble members on any one show. They have been described as some of the most "richest, interdisciplinary, immersive, gleeful work in Seattle".

Taking their name from an exhibition mounted by the Third Reich in 1937 entitled Degenerate Art (it showcased some 650 modernist works, believed to defile the purity of the Nazi Party line but in fact, proved so popular, it had to be taken down!) DAE performances are a mad mix of dance, music, projection and installation. What differentiates this company from most presentations of performance art is this company cares about its audience.

"Our audiences matter, we share their dreams and respect their intellectual curiosity." I didn't get to see a performance but a retrospective of their work is being currently exhibited in the Fryre Museum - in itself a first of its kind and a grand undertaking. (Ironically, the Fryre started out in life as home for late 19th century German paintings!) As luck would have it, the day I visited the museum, an artists talk and tour of the exhibition had been scheduled and numerous DAE company members were present. I got to chat with co-director and founder Joshua Kohl, sound and installation artists, Robb Kutz and Nik Weisend - they reminded me of a number of Wellington artists who have worked at Downstage - their ideas and enthusiasm were infectious. They had this to say about the company, "There is great darkness in the world, the human spirit brings light and insight. We believe there is great beauty in the darkness" And while this sounds very heavyweight, they were delightful, so it not surprising their work has been described as: “whimsically disturbing!" Wandering around the exhibition, what I saw was reminiscent of Warick Broadhead’s work in the 70s and 80s - part spectacle, part perforamnce art, part theatre.

In all, I visited five theatres while on the west coast: The American Conservatory Theatre (ACT) and counterPULSE in San Francisco both I've blogged about before together with Seattle Repertory Theatre), and another ACT (A Contemporary Theatre) and OtB.

On the Boards (OtB)
Unquestionably, OtB was a standout for me because of its courageous programming, its committed vision and mission. Since its inception, OtB has become a legendary centre for the creation and presentation of contemporary performance and has featured breakthrough performances by art stars including Laurie Anderson, Bill T. Jones, The Wooster Group (featured in the NZ International Arts Festival last year), Dumb Type, Anne Teresa de Keersmaeker, Sankai Juku, Gisèle Vienne, Bruno Beltrão, chelfitsch and DAE.

I met with OtB’s Managing Director, Sarah Wilke, on my last day in Seattle. We exchanged credentials then got down to talking about the business of running a theatre. OtB used to be tucked away in a small venue for around 20 years until a generous benefactor helped them purchase outright the current premises, which in the US means providing adequate parking, So, they got the lot across the road as well! It’s a large converted warehouse that houses two auditoriums: a 300 seater, and 120 seater/studio for new works, and the ground floor is leased out to an art gallery and cocktail bar.

OtB raises 15% of earned revenue through their Box Office, the rest through Foundations. Relationship with their audience is tantamount. It starts the moment you walk in the door. Everyone is a potential abassador. The real mission is to introduce audiences to artists they don’t know and to celebrate performance art pioneers. (Sarah liked the Downstage's concept of Our Stage - scroll down to bottom of screen).

OtB has many similarities to Downstage on an operational level. They were established around the same time, they have 9 fulltime staff and a board of 27? They meet once a month! Decision-making is a community exercise, although an executive committee ensures operations are not held up.

Sarah and I traded some ideas and innovations around artist and audience development and then it was all over. Time to go back to Inn Queen Ann and pick up my bag.

Only one regret, I missed visiting Theater Schmeater, a company that specialises in re-stages of “Twilight Zone”. I simply couldn’t get a ticket. Now what does that say about the state of theatre?!!