Asia After Dark: Asian Soundscape begins in about an hour and includes a live performance by acclaimed digital media artist and musician DJ Spooky and instrumentalists Danielle Cho and Jennifer Kim. Also on the program, instrument-maker John Tewksbury and cross-cultural percussionist Steve Bloom, follow by curator-led exhibition tours. Listen. Watch. Create….then dance!
In anticipation of Asia After Dark: Asian Soundscape, Bento caught up with acclaimed digital media artist and musician Paul Miller, aka DJ Spooky. He will perform at F|S on Friday evening, playing music set against 1940s black-and-white films featuring Asian American pioneer actress Anna May Wong.
Bento: As the first DJ in residence at the Metropolitan Museum of Art, can you tell me what it’s like to score for a museum, a place that’s known primarily for visual arts?
DJSpooky: Everybody likes to think of museums as places of “permanence”—but it couldn’t be further from reality. Shows change all the time; collections come and go. I like to think the performance I’m doing at the Sackler is essentially about the constantly changing landscape of digital media. It’s also a musical homage to how people perceived one of the principal figures of the beginning of the last century. It’s always cool to play with history. Anna May Wong is super cool!
B: As an artist and musician, what inspires your creativity?
DJS: Fun! Everything serious should be seriously fun!
B: Can you tell us a little bit about your upcoming performance here and why you chose to rescore the Lady from Chungking, starring Anna May Wong?
DJS: If you’ve seen Ridley Scott’s Blade Runner, if you’ve seen Roman Polanski’s Chinatown, you get the vibe—mysterious, Oriental exotic; yeah! Gangnam style, from the 1920s! That’s why I thought Lady from Chungking would be a cool film to present as a dance party film. Mystery + history … keep it movin’!
B: When did you first become interested in Asian cinema?
DJS: Everybody from Wu-Tang Clan on over to Hendrix’s incredible album covers based on Indian mythology, to even more pop-influenced material like David Bowie’s China Girl: That’s all stuff in my record collection. When I was growing up listening to mix tapes, everyone put clips from Chinese and Japanese films on their mixes. It just made everything sound cool. The dynamics of Kurosawa, the intensity of Bruce Lee, the surrealness of Beat Takeshi, and of course, the wildness of Takashi Miike … plus Lucy Liu … that’s the vibe. I guess I was like an American kid of the last 40 years, immersed in the subtle influences of both pop cinema and arthouse material.
B: As a native Washingtonian, was the Smithsonian an important part of your childhood?
DJS: The Smithsonian museum system was always a portal into a different world, where you could easily drift into the way that they reflected so much history, and so much of the way the world’s complexity is part of the American experience. As a kid, I could imagine them as worlds unto themselves. You could get lost and wander in them for hours, if not entire days. That was the beauty of growing up in DC—you had the entire world at your figertips. It’s experiences like going to Antarctica to write a string ensemble work that made me realize how much the museums of DC gave me the ability to think of the immense horizons DC kids have access to. It’s a great situation.
B: Can you tell us what’s next for DJ Spooky?
DJS: After I do my show at the Sackler, I have concerts in Korea and China mid-October. I’m also finishing my next book with MIT, about apps. It’s called The Imaginary App.
Get your Asia After Dark tickets here.