When we were children, our parents would stare in awe of every crayon scratch that we drew and every twirl we would manage in dance class. As we entered school, however, the support for our relentless and untainted pursuit of various art forms started dissipating. Instead of being encouraged to develop our own artistic expression, we were told how high to jump, what object to photograph and which colours to paint with. We were graded on our technique, discipline, ability to recite textbooks, and flawless imitation of professors. Our free-spirited artistic endeavors of childhood had become strained. All of a sudden, instead of being unable to do any wrong, we have encountered the superficial reality that there is only one way of doing it ‘right’.
Meanwhile, the society and the media enforced this one-dimensional view of art. Specific styles of painting and photography have been commodified in galleries which have ignored the cultural value of art production, and instead, placed a financial value on the pieces themselves. Dance forms suffered a similar fate through their commercialization in music videos and trick-based performances in upscale venues. As a society, we have been taught – and have subsequently accepted the doctrine that there is a ‘right way to do art’ and that everything that doesn’t fit neatly into the confines of that small, rigid box, simply isn’t. Rather than remaining a cultural practice of idea sharing through creative exploration, art became an industry.
The art scene in Toronto suffers a similar fate. When it comes to balancing the city’s budget and cutting programs, artist grants are amongst the first mentioned by our current political leadership. The remaining grants often inadvertently force artists to pigeonhole themselves into stringent categories to heighten their chances of selection. Yet despite this, some Toronto-based artists have managed to produce incredible work addressing the aforementioned issues.
Lila Ensemble is a 6 member cast of dancers and musicians, including: Jessica Houghton, Chelsea Papps, Raphael Roter, Bea Labikova, Christina Greiner, and Chris Adriaanse (missing in the photograph above). The main principles guiding their work are the development of meaningful and fluid communication through an interdisciplinary approach of movement and music, and the realization that the expressive potential of free and structured improvisation is not only a means of composition, but an end in itself. By tapping into genuine emotionality, Lila Ensemble addresses issues of honest expression and open interaction amongst themselves and the audience. In a culture strongly based on illusion and the presentation of false fronts, Lila challenges the society’s tendency to build walls and encourages the audience to engage in the present moment by stretching their system of beliefs and realm of awareness. Inspired by the concept of divine creative play, they produce work that is rich with fantasy, imagination, and emotion while addressing the issues surrounding the availability and accessibility of improvisation as an art form.
Lila Ensemble frequently performs in unconventional spaces and encourages broader communication amongst the dance and music communities by opening up their rehearsals to emerging artists and seasoned professionals alike. Although all are formally trained, the members of the Lila Ensemble perfectly embody and understand the true meaning of art – the notion that imperfect twirls and crayon scratches are in fact, the building blocks of a diverse and thriving artist community.
For more information, visit http://www.lilaensemble.com/