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Oct. 7 2013 What Kind of Artist Modern day prophets give counsel to the world on all things of importance. Ancient scripture also counsels us in overlying principles, which, when applied to our specific areas of expertise can make us masters of our field. Dance and other arts are sometimes perceived as accessory endeavors, not fit to be a persons life work; this is simply due to a lack of understanding. In this paper we will examine living scripture and how it promotes and directs the arts for the good of the individual and of the world. We begin with a story told by N. Eldon Tanner in April 1977: A story is told of an English farmer at work one day in his fields when he saw a party of huntsmen riding about his farm. Concerned that they might ride into a field where the crop could be damaged by the tramp of horses, he sent one of his workmen to shut the gate and then keep watch over it and on no account to open it. He had scarcely arrived at his post when the hunters came up and ordered that the gate be opened. He declined to do so, stating the orders he had received, and steadfastly refused to open the gate in spite of the threats and bribes as one after another of the hunters came forward. Then one of the riders came up and said in commanding tones, My boy, do you know me? I am the Duke of Wellington, one not accustomed to being disobeyed, and I command you to open that gate, that I and my friends may pass through. The boy lifted his hat, and before the man whom all England delighted to honor, answered firmly, I am sure the Duke of Wellington would not wish me to disobey orders. I must keep this gate shut, nor suffer anyone to pass but by my masters express permission.

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Greatly pleased, the duke lifted his own hat and said, I honor the man or boy who can be neither bribed or frightened into doing wrong. With an army of such soldiers, I could conquer not only the French, but the world. This story is symbolic of covenants made by members of the Church of Jesus Christ of Latter-day Saints. I am reminded that I made promises to my Heavenly Father before I came to this gate that I now stand guarding. I stand here for all that is good and right, and I dance for all that is good and right. At times, I may need to say no to those attempting to cross the bounds Father set. I must remember that the most valuable servant is one who will not give in to those who come riding up on their horses of confidence and power. The master may have put me here now for the very purpose that is most questioned and resisted by others, and probably the hardest to defend (artists who love truth and light experience much opposition in a world full of darkness and deceit). Just as the servant in the story remembered his masters charge, and put its importance over the dukes command- we must remember the Masters charge, and put it over admonitions of those dukes whom we encounter (Tanner, web pg.). At times I have asked this question in relation to gifts of God given to us (such as dancing): How do we keep the promises made in the pre-existence while having this veil over our minds? Elder Bednar of the quorum of the twelve apostles connects baptismal covenants to our work as artists. There is no point in doing this work unless we have the Spirit of God with us. I want my lifes work to be in wisdoms paths and that requires the Spirit of God. We should also endeavor to discern when we withdraw [ourselves] from the Spirit of the Lord, that it may have no place in [us] to guide [us] in wisdoms paths that [we] may be blessed, prospered, and preserved (Mosiah 2:36). Precisely because the promised

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blessing is that we may always have His Spirit to be with us, we should attend to and learn from the choices and influences that separate us from the Holy Spirit. The standard is clear. If something we think, see, hear, or do distances us from the Holy Ghost, then we should stop thinking, seeing, hearing, or doing that thing. If that which is intended to entertain, for example, alienates us from the Holy Spirit, then certainly that type of entertainment is not for us. Because the Spirit cannot abide that which is vulgar, crude, or immodest, then clearly such things are not for us. Because we estrange the Spirit of the Lord when we engage in activities we know we should shun, then such things definitely are not for us. The first time we covenanted with God on earth was at baptism; as soon as we promised to always remember Him he gave us the means to do so by the gift of the Holy Ghost. As soon as we became accountable we also became enlightened. There is a connection between baptism and the promises we made before. The Spirits companionship that comes with a covenant now, is what teaches us what we need to do to fulfill the covenants we made before. As we keep our baptismal covenants we are keeping promises from the pre-existence. As we always have the Spirit to be with us we will do what is necessary to bless the world through the work in our fields (Bednar web pg.). Joseph Smith was a prophet who fulfilled on this earth, what he was foreordained to do in the pre-earth life. In this scripture he recounts the experience that began the restoration on the gospel of Jesus Christ: I had actually seen a light, and in the midst of that light I saw two Personages, and they did in reality speak to me; and though I was hated and persecuted for saying that I had seen a vision, yet it was true; and while they were persecuting me, reviling me, and speaking all manner of evil against me falsely for so saying, I was led to say in my heart:

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Why persecute me for telling the truth? I have actually seen a vision; and who am I that I can withstand God, or why does the world think to make me deny what I have actually seen? For I had seen a vision; I knew it, and I knew that God knew it, and I could not deny it, neither dared I do it; at least I knew that by so doing I would offend God, and come under condemnation. (JSH 1:25.) I, like Joseph have a testimony of God the Father and his Son Jesus Christ. Joseph knew it was necessary for him to tell the truth that he knew. It is also necessary for me to share the truth that I have. Joseph testified of the reality of Jesus Christ and that He was here on the earth. I must testify that Christ is still involved in the affairs of the earth. I must do it by giving people the opportunity to feel His Holy Spirit. Joseph boldly told his story to a world that did not know they needed to hear it. I am the kind of artist who will reflect the light of Christ to a world that does not comprehend they are without it. The work I do in this field will always be a medium of sharing my bold testimony. Joseph said who am I that I can withstand God, or why does the world think to make me deny what I have actually seen? As an artist in this darkening world, I will not form to the image that is expected as the norm. I will not go into the field to fit in with all the other work that is happening. In fact, my sole purpose for even choosing to be out there is to be different in a way that will catch the eyes of those needing truth. I will not work in my field to make my name big. I am living to spread Christs name and reflect his light (JSH 1:25). As my body is the medium for my spirit to speak, my spirit will be a medium for Christs light to shine. As Joseph showed; sharing is all about God. He is the reason I have something to share and He is the reason I am accountable to share. I must dance what he would have me share; otherwise, there is no reason to dance.

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Joseph Smith, through revelation, also wrote the Articles of Faith. Since then, many church leaders have quoted the thirteenth when teaching how to be an artist within the light of Christ: We believe in being honest, true, chaste, benevolent, virtuous, and in doing good to all men; indeed, we may say that we follow the admonition of PaulWe believe all things, we hope all things, we have endured many things, and hope to be able to endure all things. If there is anything virtuous, lovely, or of good report or praiseworthy, we seek after these things. (A of F 13). I believe in being honest by participating only in art that supports what I believe to be true and good. I believe in living a virtuous life so that I can share the message of virtue by example. I believe all things; I believe there are other artists who have the same desires I do, I hope all things; I hope in the thought that this world wants the message I have to share. I believe all things: I believe dance is a force for good, and I will seek after the things that are most praiseworthy in the eyes of God, and I hope that others will follow. Neal A. Maxwell spoke on creativity. He continues speaking about some of the principles found in the thirteenth Article of Faith, and gives an example from ancient scripture that also informs the gift of creativity: A creative Frank Lloyd Wright observed, In much of our preparation we dont really know what we are preparing for. We need to trust the Lord as He sculpts and shapes our soul, as did a young man, Enoch. At the time of his call, Enoch observed, I am but a lad, and all the people hate me; for I am slow of speech (Moses 6:31). Yet he trusted the Lord and went on to become the greatest city builder in human history. His city-state was the only instance in recorded human history when the righteousness of a people did not relapse. But he began by feeling inadequate and wondering aloud what the Lord had for him to do. Yet, most importantly, he trusted the Lord and aligned himself with the Lord.

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Then his creative genius and gifts were given special expressions, and many were blessed! Elder Maxwell is teaching the artists in this world that trust in God is more relevant to our success than what people believe about an artists job security (or lack of it). Being an artist is like what Enoch did: setting out to build and create things that the world would otherwise do without. Enoch built a city that has never been equaled since. As artists the good things that we are capable of accomplishing are not contributions that anyone else could copy. Also, we have a place in the world that- with constant trust in God- allows us to be facilitators of peace. We must allow God to sculpt us so that our gifts will be expanded through his Spirit. The city of Enoch was a miracle that happened through the creativity of one man aligned with God. The great things we can build with God are so wonderful they have yet to be presented to the world (Maxwell web pg.). Elder Maxwell also said: Since all truth comes from God, when we celebrate truth in creative breakthroughs, whether in new understanding of molecular structure or in the beauty of new sculpture or a new painting or new poetry, we are acknowledging the resplendent order in Gods universe. The world would say that art is not worthwhile as other professions and that it is not as important or respectable as the sciences or math. Elder Maxwell reminds us that both are revered in Gods plan, and one is not higher than the other. As artists we get to be seekers of, and rejoicers in truth (Maxwell, web pg.). Brother K. Newell Dayley, in a speech titled Centering the Arts in Christ discussed the arts being a teaching tool through performance but also in the creating process. He emphasized the importance of noticing the presence or absence of the spirit of God as we are using our creativity to produce new work. The experience of preparing a dance for the stage is a way to

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shape the performers and allow them to learn as well. These words highlight the truth that all parts of the creative process are important to have the guidance of the Holy Ghost (Dayley, web pg.). There is a main theme that is evident in all ancient and modern scripture applying to work in the arts: the gift of the Holy Ghost. All good gifts are through him; therefore we cannot experience the fullness of our gifts without that companionship. The fruit of the spirit is joy and peace. When we sing and dance with His light those gifts are present. We can choose to use the arts as a medium of his light or not. The acts of dancing, singing, painting, poetry, etc. are not, in themselves Gods work. The artist makes the choice as to who they are serving with their gifts. The artist who chooses to work for God will have His spirit to be with them. They must ask for it, and it will not be Gods work without it. The artist who does not invite the spirit of God with their work will chase him away and are serving the adversary- it is a choice.

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Works Cited K. Newell Dayley. Centering the Arts in Christ. Speeches.byu.edu. Brigham Young University. 6 March 2001. Web. 10/03/13.

N. Eldon Tanner. Integrity. www.lds.org. The Church of Jesus Christ of Latter Day Saints. April 1977. Web. Oct 2013.

David A. Bednar. That We May Always Have His Spirit to be With Us. www.lds.org. The Church of Jesus Christ of Latter Day Saints. April 2006. Web. Oct 2013.

Neal A. Maxwell. Creativity. www.lds.org. The Church of Jesus Christ of Latter Day Saints. Aug. 1982. Web. Oct. 2013.

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Charis Dexter Shani Robison Ballet 490 9/28/13 Live Performance Critique Utah regional ballet presented Legend of Timpanogos in the Covey Center on September 27th and 28th, 2013. I was privileged to be in the audience of Friday nights performance. If one asked if the show was worth attending I would answer with a definite yes! One reason I would say yes is that this show came with a bonus surprise. If this were a cracker-jack box; there would have been a toy at the bottom- an unexpected ingredient. The drawn curtains first revealed a number that showcased the entire company in a contemporary piece that was truly worthy to be called a work of art. The women wore pale green skirts that reached straight for the floor and flowed in perfect harmony with the movement. It was exciting to see their pas de chat that landed in grand pli second or the fluidity in their torsos as they walked slowly onstage. Not knowing that this was a pre-show to the story ballet, I assumed we were watching the first act. This piece must be the mountain Timpanogos, and the dancers are the wind and the trees I thought, and I assumed they were setting up the landscape that the story would then inhabit. When the story actually started I could not help laughing at myself and the way I tried to fit the first dance into the plot of the ballet written in the program. Although, the dancers did make lovely trees, moving as if there were blown in the wind. The story of Mount Timpanogos opened with a Navajo native pantomiming the legend. The way that they incorporated this man connected us, as the audience, to the legend as something that is real to that people, and more than a fictional story. It added meaning to the

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ballet, every time he came onstage the story became more real again mixing fairytale with history. It was admirable how they were able to tell this ancient legend - which takes place in the wilderness on a marley floor, in pointe shoes and danceable costumes. Ballet is so clear and pristine; it is always placed and organized. This is so unlike any real life story, yet they were able to show us a village, relationships, a feeling of being out in a forest clearing, and an Indian tribe. And they did it all within the supposedly strict world of classical ballet. From a choreographers standpoint Jaques genius is in organization of large numbers on the stage. At one point the Indian village was teeming with joy. The stage was busy with the younger dancers as well as the mature. If we looked at one group it was a dance that could stand on its own and this was true across the stage- each group with their own choreography totally matching to their characters; Different movement, yet all in perfect harmony. She used one dancer to center the focus; amid the planned chaos the dancer stepped to center and gave us a tour lent from developpe a la second. The way choreographer used this one dancer united the busy stage, it was brilliant. Another organized moment of turmoil was when the dancers were mournfully exiting. From a casual observers point of view it was random, but the numbers that left the stage together were perfectly timed to smoothly thin the space. Often they moved off stage in couples and clumps; then one would leave alone. In other performances I have seen, such exits looked awkward and uneven, but this was spaced and timed so well that it looked natural; it felt like real life (or as real as the stage can feel). This choice to isolate one dancer also gave the audience a chance to connect personally to the story, at some point most people have felt like the one left

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alone in their own story. Also, it would be easier for audience members to connect to a single person onstage if they do not also need to connect to the relationship that dancer is portraying- it leaves it open to personal interpretation. It was excellent artistic choosing on Jacques part. There were also moments that I wanted to take the movement and pull it like taffy; I wanted to morph its shape. Some choreography looked like class work: it looked more academic and less artistic. When these moments happened with three or more dancers onstage then the simple steps that would normally be for technical exercises were effective for stage presentation. (As long as the dancers were viewed as one complete whole, rather than focusing on any one individual.) If basic steps and academic transitions were done with three or less dancers it could have been changed to look more like the advanced choreography it was meant to be. During the lovers pas de duex there were some transitions that felt too basic for the level of dancers we were watching. I could see the sous sus, passr, extend arabesque, with the handhold transitioning through first and fifth en haut, it was correct but not exciting to the trained eye. These dancers are capable of looking seamless when given the movement vocabulary to do so. The good training of Utah Regional Ballets dancers is evident. There were moments I found myself rather impressed by what I was seeing. There was a completeness and simultaneous continuation of their lines that has never seemed so obvious to me, from any other company onstage before. Still, burning on my mind are these images: feet, peeking out from long green skirts-beautifully arched. Fingers, stretched to the sky, (Mary Nuttall played Ucanogos, she had the most exquisite way of reaching her lines out into the space). A Saut de chat, flicking into the air propelled from the toes escaping the floor. They balanced double attitude turns from a

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stagnant preparation then finished it kneeling on the ground. And, there were several expansive arabesques with the back leg competing with the shoulder for height, and staying there for three counts or more. Overall the performance was clean and therefore enjoyable.