The revered interdisciplinary artist, now in her 80s, remains vigorous and regards the joy of curiosity as the key to staying young.
Now in her 80s, the New York interdisciplinary artist Meredith Monk remains best known for her extended vocal technique, a concept she found her way to in the 1960s.had a business card, she might need to print on both sides to adequately represent her career. Few artists have opened their minds as wide or embraced as much as Monk has over a span of nearly 60 years, including indelible work as a singer, composer, pianist, filmmaker, director, choreographer, dancer, recording artist and educator.
It was from when I was about 3 to 6 years old. The Dalcroze was really wonderful for me because I was very musical, but movement was not so easy for me. I think a lot of the other children were learning music through their bodies, whereas I was learning my body through music. I say “starting from zero.” Just try not to have the backpack of the past influencing this moment. If you can do that, and have that kind of quiet, then things start revealing themselves. Because ultimately, I feel like the music is coming through me — I'm working very hard on it, butAfter Sarah Lawrence, in the mid-1960s, you returned to New York City and absorbed all of the avant-garde art, theater and dance happening.
I didn't know her too well, but I met her. She was part of that Fluxus group and she was not doing music at that time; she was a very early conceptual artist. I remember a piece … at the Judson Gallery that I think was called, where they had built a white room. Outside the room you put on a black bag that you zipped up, that you could see through. And you stepped up into that little white room and just sat there, and you looked like a rock. It was really beautiful.Oh, yes.
I love being flexible like that. I love going from Carnegie Hall to P.S. 120, because I want my work to be accessible to anyone. That's why I feel it's so important that music education stays in the school systems — because what people don't know, they don't know. If they're not exposed to something, it's really hard for them to have the reference points. I do believe in the healing power of art.
In 1978 you created the Meredith Monk Vocal Ensemble, a group of singer-performers. How did you go about teaching them this vocalizing that you had, more or less, kept for yourself up to that point?, an opera about World War II, and I had a chorus of about 28 young, very good singer-dancers. I was longing to try to enlarge my textural possibilities, so I added three strong female singers, and I made this piece called.
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