Performance
Ritual
- Discovering Origins/
Building Traditions
Ritual
- Private Practice
Performance
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Other Musical Endeavors
Scriptural
Arts
- Runes
- Henna
Teaching
- Dreamwork
- Feng Shui
- Voice/Guitar
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My Application for: Bush
Artist Fellows Program 2006 Page 1 Artist Summary - Kari
C. Tauring- MAT, Interdisciplinary Artist Previous Fellowship Applied for - Music Composition 2001 Page 2 Accomplishments Please list relevant accomplishments and label them by type. These may include performances, commissions, exhibitions, collections, residencies, tours, community work, collaborations, employment, training, fellowships and honors. Under each heading, list in chronological order, beginning with your most recent. Performances:
(partial listings) Huldre
- Nordic Staving and Chant Solo Shows Commission: Artist
in Residence 2004 Documentary KFAI public
access radio various shows, performances and interviews. Page 3 Artist Statement and Overview "Please provide a descriptive overview of your work. For example you may discuss your style, subject matter, working process or other aspects of your work." Multi-media performance ritual is my artistic style. I perform with song, dance, characterizations, shadow work and video. I work solo and in collaborations year round, everywhere from the classroom to the theater. I frame my work in ritual format with intention and action clear. My message reaches out to every sense, learning style, and age bracket. The transformative experience of humanity, the place and value of community support, and individual choice making in evolution towards global unity are my themes. Whether this takes the form of a song, a ritual, a video, or full blown theater event, the threads of my intention are clear. Humans have choices every moment about how we will live our lives and view ourselves and each other. These choices put together are what creates reality for the whole planet. Awareness of this is my first artistic goal. Creating awareness is not enough, however. Doing, acting on the knowlege that we can change our reality is my artistic pledge. By my continual presentations I am able to share the tools for creating awareness, model the behavior of an aware, intentional, and ritually lived existence, and provide others with opportunities to perform creative, transformative art actions themselves. One person doing this is evolution. Hundreds of people aware and intentionally acting to better life for the whole is revolution! It is a joy and a responsibility. I live my life aware of myself as a creator of art, song, and reality. The daily disciplines of Tai Chi, dream work, music, dance and dialectic allow me to see our world as wholly unified - not polarized as popular fear culture may wish me to see this world. Nor is the world simply "- archical." It is process oriented and dialectic. This is modeled in my art and reflected in my style as a director and producer. It is my artistic mission to present the vision of the world, unified and peaceful and the tools to create it to as many people as possible accross the globe. The thread that holds my works together is consistent. People hunger for validation of individual experience on every level of our social structure, safe from judgement. This is why my work is sensitive to the innocence of children, respectful of the traditions of my elders, and feels individual through its unity of understanding of the human condition. My methods are tender yet I do not shy away from difficult and emotionally charged topics. There is an equal hunger for unification and peace. And there is a need and desire in our culture for instruction on how to live more fully, intentionally, and harmoniously. As an aware creator/intentional artist, I fulfill my responsibility to guide others to awareness through my art. And by my art I provide real opportunities for others to participate in the act of art and creation. Page 4 Fellowship Plan - This could be seen as simply "My plan for the next two years with outside funding...or my plan for the next two or more years." Please describe how you would use a Bush Artist Fellowship. You may describe the general directions you plan to pursue or specific activities you intend to undertake. Also indicate how you plan to focus extended periods of time on your work as an artist. Your comments...limited to one page. Individual subject matter of my pieces range from recent global events to my grandmother's experience with racism and education. I retell the creation stories explaining the trans-global experience of seasonal change with a dance presentation then explain the science of the brain process that creates fear with the comic character "Professor Corpus Callosum." I create ritual and unity with chants and songs of ancient Nordic herding women's music (Huldre) that echo in my roots and vibrate with myriad Earth centered traditions globally. Guided by the theme and message that complete individuality leads to unity, I will increase my studies and performance of Nordic roots music and culture through continued collaborations with Huldre, Karen Solgard (Hardanger Fiddle) in Minneapolis, MN, Arna Rennan (medieval Norse Music) in Duluth, MN and do field studies and performance explorations in Alexandria, MN through the Kensington Rune Museum, Minot, ND (through contacts in the home of Hostfest) and in Decorah, Iowa through the Vesterheim Museum and Luther College. This will include solo performances as well as collaborations by my groups Huldre and through the Discovering Origins/Building Traditions Project. Thereby I dig into my own roots, my own heritage and model the behavior of creating art from my complete self. I will use the Fellowship to expand my artistic outreach especially within the Discovering Origins/Building Traditions Project. By furthering the goal of creating regional access to and participation in these shows throughout the mid-west I will be connecting with theaters and local artists and artisans. The global nature of these shows creates a perfect platform for cross-cultural sharing of these astronomical experiences. While I have done much by way of integrating mythologies and traditions of many cultures, I desire to do more! Also among the works I intend to pursue is a continuation of the "Art and Spirit Matters" documentary in the form of performance collaborations and dialogues. I look forward to working again with Marya Morstad, J. Otis Powell!, Miriam Yuseff, Hend Al Mansour, Felicitas Maria Sokec and others. I am taking the reins of video production again. Since upgrading my technology just months ago, I will re-visit myself as videographer. The last video I wrote, shot and produced was done in 1991. It was re-shown at the Revolutionary Women's Cabaret and warmly received as beautiful and relevant. This work adds to my pallet of performance media options as well as documents and records my process towards unity. I plan a more extensive internet presence as well via collaboration with Kristin Van Loon and the Bryant Lake Bowl Theater. I wish to create the global access and collaborative process that I have been desiring since 1999 when I created my first live internet performance show (before the technology caught up with my imagination!) Hurrah! Done! Building
bridges and outreach to the total community is at the heart of all
I do professionally and personally. Page 5 Additional Information If appropriate, please provide any additional information you believe will contribute to a fuller understanding of your work than might be possible through a consideration of your work samples alone. In my collaborations I bring together people with such diverse spiritual and religious backgrounds. Buddhists, all variety of Christians, Jews, Wiccans and other pagan or Earth spiritual, and Atheists find my universal themes hopeful and compelling. I once said that my genius lies in surrounding myself with geniuses. Thankfully this holds true every day! I engage all the senses in my multimedia productions; sound, smell, and the kinesthetics of call and response, dance, and personalized ritual are included in most all of my work. This draws out all the different learning styles and creates a fuller accessibility to my work. The large scale productions are done without outside funding. They rely on volunteerism and ticket sales to support them. Page 6
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