Artists Reach Out: Dorothy Lawson

Dear friends,

Welcome to Artists Reach Out: reflections in a time of isolation. I dreamed this series of interviews out of grief for my work both as a documenting arts writer and curator of live performance. In this time of social distancing, we are called to responsibly do all we can to safeguard ourselves and our neighbors. It is, literally, a matter of life and death.

But there's no distancing around what we still can share with one another--our experiences, thoughts, wisdom, humor, hearts and spirit. In some ways, there are more opportunities to do so as we pull back from everyday busyness out in the world and have time to honor the call of our inner lives.

So, let me introduce you to some artists I find interesting. I'm glad they're part of our beautiful community, and I'm eager to engage with them again (or for the first time) in years to come.

--Eva Yaa Asantewaa, InfiniteBody

Dorothy Lawson

ETHEL
from left, Corin Lee, Dorothy Lawson,
Ralph Farris, Kip Jones
(photo: Matthew Murphy)

Dorothy Lawson is the founding cellist and co-artistic director of the string quartet known as ETHEL.  Established in New York City in 1998, ETHEL quickly earned a reputation as one of America’s most adventurous quartets. More than 20 years later, the band continues to set the standard for contemporary concert music. Known for its enlivened playing, blending uptown, conservatory musicianship with downtown genre-crossing, ETHEL has been described as “indefatigable and eclectic” (The New York Times), “vital and brilliant” (The New Yorker), and “infectiously visceral” (Pitchfork). Since its inception, ETHEL has released nine feature recordings (one of them nominated for a Native American Music Award), performed as guests on 40+ albums, premiered 225 new works, won a GRAMMY® with jazz legend Kurt Elling, and performed in 14 countries, 45 states, and 250 cities.


Do you have a current or planned project whose progress is affected by the pandemic?

The pandemic hit just as ETHEL (www.ethelcentral.org) had gone into rapid development of a new multimedia program for the Summer Nostos Festival, in Athens, Greece.  Ideated last summer, it had been pushed dramatically forward after a panel conversation with theater director, William Kentridge, at the Brooklyn Public Library, in December, 2019. It was to be a musical meditation on the impact of Artificial Intelligence on Humanity, a dramatic and rapidly evolving field. We are still tracking it, in this crisis, but are deeply aware that every parameter in our lives is being challenged, and has probably changed irrevocably, so future plans are being held very lightly. We actually cherish these moments, when we’re not in the throws of delivering a project, with time to observe where we really are.

Briefly, tell me about how you got involved in the arts and in your particular practice.

My parents were both passionate about classical music, and our house was full of it from morning to night. My mother was a very fine pianist with very good training, although she assumed her first role should be keeping a house and raising children, which she also did brilliantly. I remember her showing me some basic piano skills when I was about 3, but my parents never pushed me to take lessons. I was lucky that our public school system had a traveling group of music teachers, and that the school, itself, kept a small orchestra of instruments. I was able to choose music for myself, in the company of my friends, and that made all the difference.

In a more specific way, what are you practicing? And what are you envisioning?

The opportunity to create virtual events for the vast homebound audience moved ETHEL into high gear on learning and applying electronic technologies. We are still operating mostly individually, but getting closer and closer to the production of real quartet collaborations, among ourselves, and with others. Without sophisticated editing, every performance is authentic, and the nuances have to be managed in real time, which means practicing and directing. It is an art form in its own right, and we intend to pursue it seriously from now on, in addition to our live appearances.

How does your practice and your visioning align with what you most care about?

My vision for ETHEL has always focused on the experience our audiences receive, more than on the pedigree of the repertoire we perform. I believe in using music as a vehicle for bringing people into an awareness of shared Humanity, raising their interest in each other and their capacity for compassion. Over the years, we have become more and more precise about designing programs that frame that experience around different themes, and we rejoice in that challenge. I hope to help ETHEL find this, moving forward into the world that has been ravaged by this pandemic.

How does your practice function within the world we have now?

Striving for Open-Heartedness and Compassion, through any practice, is Timeless. It takes effort but functions under stressful conditions just as well as in peaceful ones. Living in the moment, honoring the Now, being Grateful--serve beautifully, for the practitioner, and for their community.

Briefly share one self-care tip that has special meaning to you now.

I have practiced cold showers for three years now, for the energizing experience, anti-inflammatory results, and skin benefits. In the environment of restricted movement at the current time, and of dull, repetitive online activity, the sudden change of state afforded by a cold shower can improve one’s stamina and one’s mood remarkably!

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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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