B l u e P a r a d e - A S a r a h S l e a n F a n s i t e
|
Sarah Slean changes environment and finds a new sense of self in her creative world Lindsay Dobbin Assistant Arts Editor
Change in environment can either aid or choke off creativity: the outcome is dependent upon how the artist reacts to that change. The former occurs when the artist surrenders�not the white flag type�to the environment and, in turn, forges a uniquely symbiotic relationship. Canadian songwriter Sarah Slean chose to surrender to the stripped down environment of a cabin in a forest outside of Ottawa and, as a result, created Day One - an album laden with ideas of revolution ignited by wonder and awe.
In the summer of 2003 after the success of her major label debut Night Bugs, Slean ran for the hills. Literally. Her motivation: to rid herself of the psychological noise that her presently grim world created. With her painting tools and her piano by her side throughout the four months, Slean madly created proving that the new environment was the greatest teacher of all. As Slean said in a succinct statement of the experience, �It was so amazing to me that music came back in such a warm tide, and painting just leapt out at me when I stopped struggling.�
I recently talked to Slean about her experiences in the cabin and how it changed her perspective of her own identity, the world, and, inevitably, her artistic methods and creations.
You said in a pervious interview that one of your main motivations for going to the cabin was that you were hungry for a teacher. Who and what were your teachers while in the cabin?
I would change the word hungry to absolutely starving. I also went to the cabin because I felt that all of sudden everything was hilariously meaningless and everything was ridiculous. I thought to myself �why does anyone do anything� and I couldn�t shake it. When I got there and I was looking for some direction - some sort of lifeline. I read Eastern philosophy which had wisdom in it. A lot of Canadian poetry: Leonard Cohen, Michael Ondaatje, Al Purdy. It wasn�t any of those in specific; it was being where I was and having a chance to actually devote my energy to them. It was like they were revealed to me because of my environment and my environment was the greatest teacher of all.
When I spoke to you two years ago, we discussed the many different identities you attach yourself to, in particular the lady in the red dress on the back of Night Bugs. You said that you envisioned yourself as her on stage �singing with all your might.� Do you feel you have become more close to the centre of that identity after your experiences over the past couple of years and with Day One?
With this [album] I cut a little closer to the bone. My whole reason for going to the cabin was to try to carve off some of the costumes that I had put on myself and were basically there for protection, I think. I took the scalpel to it and got some courage to peel some of them off and let who I actually am emerge.
Who did you discover yourself to be outside of those costumes and the external things that you thought defined yourself?
I think who I really am is who people really are in the very centre�a piece of this miracle that is life or God or whatever you want to call it. We�re all that: this sort of infinite power that is just infinitely good, nameless, and ageless.
Did the cabin experience teach you anything about artistic method?
Although I don�t like to carve into details about how I go about making things, I feel like it comes from that place, that black hole�When I stopped fighting, I surrendered and it all came like it was there forever and it was the most amazing feeling.
On Day One there was a conscious decision for more rhythm. To me the dichotomy between the rhythm and melody suits the binary themes of the album such as science and faith because the music feels determined and direct, but there is still the vulnerability and wonder of the melody there. How do you feel coupling the two has changed the delivery and interpretation of your music?
When I sing these songs, the rhythm is right down my spine all the way to my tailbone. I think that some people are accustomed to my older music, and they kind of go �Oh my God� when they see this new show, but I feel like this is an urgent time in history and my tiny insignificant little life I want to express how urgent the need for revolution is�for wonder to return and for people to open their eyes.
From the album title to the papers with �today� written on them to the clock with �now� as each hour, throughout the album artwork I see an emphasis on today and the number one. What is today? What is Day One?
The psychology behind that was that I was reversing the �one day� sentiment. It became frighteningly clear to me when I was reading Eastern philosophy and I was sitting by the trees on my little back porch by myself in my bare feet that every single moment is right now. You could completely reinvent yourself in five seconds. You could turn the boat of your life another way. In eastern mentality that�s the most glorious and exhilarating faith that everything is happening now and now can cascade past you constantly. That�s freedom, not horror. I wanted to embrace that because I was sliding down this path that was making life heavier by the day and as soon I could feel day one in my heart and soul anything was possible.
In the song �Out in the Park,� you sing: �What are your hearts and wheelbarrows for.� Could you elaborate on what you mean by that and how it connects to people?
When I used that line I was thinking about all my friends that I consider noble. Most of them have nothing in the eyes of the modern world, which means they don�t have enormous bank accounts or homes and cars and husbands and wives, etc. I take great inspiration from people that can step back and say �my life is a tool.� It�s about trying to give something to the world that�s beautiful before you go and trying to leave a mark in that way. I pictured their revolution as people with big shiny hearts using whatever tools were at their disposal to ignite a revolution.
Sarah Slean will be playing on the same bill as Ron Sexsmith and Nathan Wiley at the Rebecca Cohn on Saturday, Nov. 20. The show begins at 8 p.m. and tickets are $28.50. Available at the concert is Slean�s new book Ravens which consists of her paintings and creative writing.
|