
I am surrounded by public art. Just across the street, on a hill in Jackson Park are seven half-sunken Buddha heads in a circle–Indria Freitas Johnson’s, “10,000 Ripples.” The heads, which were put in place on World Peace Day, September 21, 2016, symbolize peace; “We need to be reminded that peace is possible,” the artist says.
A half mile to the south, behind the Museum of Science and Industry, adjacent to the Wooded Isle with its lovely Japanese Garden of the Phoenix , Yoko Ono’s “Skylanding” was recently installed. Giant lotus petals rise out of the green turf, turning our eyes upward in welcoming gesture. The installation ceremony, which included dancers and special music, is pictured above.
Yoko Ono is a respected, if controversial, avant-garde artist and musician. When she married John Lennon, the couple became strong activists against the Vietnam War. “Skylanding” takes its meaning from her early life in Japan. She lived in Tokyo, her life disrupted by the firebombing and atomic bombs of World War II. In those days, the sky was a fearsome place–bombs rained down death, suffering, and destruction. Her family fled the city and scratched out an existence in the countryside. “Skylanding” welcomes the sky, its lotus leaves reaching upwards. The scene is one of peace, dancing, and song.
All very nice, we say, but what do these sculptures really amount to? Life is hard, not soft and beautiful. Hard here on the south side of Chicago, with its guns and gangs, as well as the unflinching dollars-and-sense calculation of urban developers. The artists seem to be engaging in out-of-touch soft power, while life around us operates on hard power.
This is where Ute Lemper enters. She is one of the great cabaret singers and composers of our time, a matchless interpreter of Kurt Weill’s songs and the Brecht/Weill classic Threepenny Opera. Fans of the movie, “Cabaret,” recall that the classic era of cabarets and their singing was early twentieth century Germany, and that they waged cutting satire of their society and its politics. Imagine a much more sardonic version of “Saturday Night Live.” Hitler shut them down–fascists don’t tolerate satire.
Lemper entitles one of her songs, “Munchhausen”–named after a sixteenth century German baron, who was notorious for his habit of lying. Its refrain:
I’m sick and tired of lies from you
But how I wish your lies were true
Liar, liar, liar, liar, liar, liar
Truth is as hard and tough as nails
That’s why we need fairy tales
I’m all through with logical conclusions
Why should I deny myself illusions
Hard power can banish soft power to the sidelines, even into obscurity. But soft power cannot be eradicated. It lives on–in the form of stories, fairy tales, songs, hopes, myths, and dreams. In a brilliant turn of phrase, our truth is tough as nails and fairy tales house their toughness.
Political figures, barons of business, dictators–these pass away, but dreams, hopes, and fairy tales live on and on. We remember the words of the prophet Isaiah, who lived at the time of the Babylonian oppression of Israel–“they shall beat their swords into plowshares, and their spears into pruninghooks: nation shall not lift up sword against nation, neither shall they learn war any more.” But who recalls the names of the oppressor Babylonian kings?
It has been said that the fairy tales and dreams are the opiate of the masses, intended to sedate their senses. I prefer to think of them as the sigh, deep in our hearts, that lives below the surface of events. Fairy tales are not only tough as nails, they are subversive of the existing order. They undercut human pretensions.
Lemper includes fairy tales in her song:
I saw a film the other day
That really varied from the norm
There were no soldiers on parade
And no one marched in uniform
Its heroes were not supermen
And no one even shot a gun
The audience still loved the film
Though not a single war was won
But I was really shocked to see
This film was made in Germany
I saw a land that hated war
And melted all its weapons down
To build a boat of love for kids
Who planned to sail from town to town
Declaring peace for all the world
Let killing now come to an end
Embrace your enemies instead
Your former foe is now your friend
Ev’ry conflict now will cease
And all of us will live in peace
These kinds of fairy tales are subversive–little wonder that Hitler closed them down.
Yoko Ono’s “Skylanding” expresses such a subversive dream. Our skies are not so friendly today–bombers and drones in the Middle East, lung-eating pollution around the world, amid moves to increase military forces. It is a dreamy fairy tale, but it advances a truth that is hard and tough as nails. If it were a policy proposal, it could be scrapped; as proposed legislation, it could be tabled. As hope and dream, as fairy tale, it will live on as long as human beings exist on this planet.
(c) Phil Hefner 3/22/2017
A Little Child Shall Lead Them
13 JunWhen film maker Steven Spielberg was a teen-ager, he was badly shaken by his parents’ divorce. In the process he created an imaginary alien friend, “a friend who could be the brother I never had and a father that I didn’t feel I had anymore.” This imaginary alien turned out to be E. T., the central figure in Spielberg’s 1982 movie, E. T. The Extra-Terrestrial, which I recently saw here at Montgomery Place, where I live.
Several themes underlie this film’s story. The main one is that aliens are not enemies, but friends. E. T. has been inadvertently left behind on earth by a team of alien botanists, who were conducting a study of plant life on earth. E. T. desperately wants to return to his home base. Most of the adults he meets on earth want to kill him.
Ten year-old Elliott, finds ET and conspires with his older brother and younger sister to hide him from their mother (the father is absent throughout the entire movie). Elliott and the alien establish an uncanny instant relationship. When, for example, ET comes across a cache of beer and overindulges, Elliott shows signs of drunkenness, too. The two think and feel as one person.
ET puts together a Rube Goldberg communication device that enables him to communicate with his home planet and express his wish to come home. The film comes to a climax that is both fantasy and suspense as ET, Elliott and his siblings, on bicycles, evade pursuing police and other adults. ET works his magic to enable the bike riders to ascend into the sky and make their way to a waiting space ship.
ET pleads with Elliott to come with him, while the boy urges the alien to remain on earth. Before they part, ET lays his finger on the boy’s forehead and says, “I will always be with you”—in your head.
We are left with a powerful message: the alien can be friend, not enemy. Thirty-five years after its release, the message has, if anything, gained in force. Of course, aliens today are not thought of only as extra-terrestrials—they are even more men, women, and children from other cultures, non-citizens.
Spielberg suggests very strongly that children, not adults, have the better grasp of this message. Before we dismiss this suggestion as “cute” or simply “family entertainment,” we might want to ask ourselves: Do children in fact have an insight into life that blasé adults overlook or dismiss? I entitle this article with a quotation from the prophet Isaiah in the Hebrew Bible. It refers to a vision that may be more real than we admit—that enemies need not be hostile opposites: “The wolf shall dwell with the lamb, The leopard shall lie down with the young goat, The calf and the young lion together. And a little child shall lead them.”
Children figure large in several of Spielberg’s films, particularly children who are on a quest—facing adults who espouse opposing values. A. I. Artificial Intelligence (2001) is one of my favorites: the boy is a human-like robot, who seeks to learn how to love, so that he can become genuinely human.
War Horse (2011) follows the life of a horse and an English boy who witnesses the horse’s birth. Both the boy and the horse end up in the British army during World War I. When the horse is captured by the Germans, the boy, now a young man, goes to heroic lengths to save the animal’s life and return him to England.
How many of us adults believe that the alien, “the Other,” is our friend, not our foe? Or that the essential human nature is love? Or that other animals are worth protecting, even at our own risk? Spielberg poses such questions to us—they are worth considering.
(c) Phil Hefner 6/12/2018