The future of the Arcade

There were some whispers of plans for the Arcade a few months ago (discussed in this previous blog post), but now it seems for certain that the Arcade has renovation in its future.

On January 25th Mayor Angel Taveras, Senator Jack Reed, Governor Lincoln Chafee and representatives of the Arcade attended an unveiling ceremony for the new plans. They were joined by "more than 100 business leaders, government officials and downtown leaders" according to this article on the official website of the city of Providence.

The new incarnation of the Arcade will be a combination of retail and residential spaces. Shops and restaurants will fill the ground floor spaces, and, in a departure from previous designs, the second and third levels will be converted into 48 loft-style apartments. According to the Daily Dose, the apartments "will be furnished, including refrigerators, dishwashers and microwaves - but no stoves - will be marketed toward recent college graduates and young professionals, Granoff said. Rents will start at $550 per month". The no stoves part is an interesting one- perhaps limited by fire restrictions on a historical building? It will be interesting to see how this feature affects the clients that these apartments will attract, and whether this stipulation will eventually be modified. (A comment left under this article raises a good point: "Why would they need to waste what little space they have with a dishwasher? they don’t have stoves, so I think just using the old sink and drying rack method would work").

The title of the Providence website article, "A Providence Landmark is Reborn" suggests that a similar rhetoric to the rhetorics of the past is being used about the Arcade today. Themes of monumentality, historical significance, and myth abound.

The reopening of the Arcade is an exciting development for Providence...This project breathes new life into America's oldest indoor mall and one of our city's most historically significant buildings, with a mix of retail, restaurants and affordable housing for young professionals in the heart of downtown Providence. --Mayor Angel Taveras 

It will be called The Arcade Providence and it will be a historic revival...This historic revival will create an Arcade community, increase the energy in the heart of downtown, help drive business to surrounding retailers, attract new retail and restaurants, and bring micro-loft residents into downtown to live, eat and shop - and it begins today. --Mr Granoff

It is hard to read these descriptions of the Arcade and not be reminded of similar rhetoric used just over 30 years ago in  conjunction with the 1980 renovation and opening of the Arcade. Specifically one quote discussed a previous blog post comes to mind. Taken from the 1980 opening campaign, it describes how the Arcade is "not just in the heart of Providence. It is the heart of downtown Providence."

Photo of Mayor Angel Taveras at the Arcade on 25th January, 2012. Photo from http://providenceri.com/mayor/a-providence-landmark-is-reborn

Conversation notes

These are my notes from a conversation with Laura (who I interviewed earlier in the year about her memories of the Arcade) after she saw the performance where she shared some of her thoughts:

The building should be listed as a cast member- the dancer's relationship to it gave it character, personality.
It successfully created a structure to work with the 'accidents', moments where people not involved in the project became a part of it.
It made you look at everything differently.
'Mirror duet' was the "most effective" part- it brought the two sides of the Arcade together.
The piece as a whole created a situation where there was a lot for the audience to "puzzle out".

Her comment that "it made you look at everything differently" is particularly exciting for me to hear, as part of the intention was to re-contextualise and de-familiarise the space to allow multiple identities for the space, and create new relationships to it.

And although there are several parts of the piece that I find particularly satisfying, the 'mirror duet' is definitely one of them. This is the section where Amy and Nadia perform the same phrase across the length of the Arcade. One performs it on the right, one on the left, so they mirror each other. It is discussed more in this post and can be seen below.





It is one of the most successful moments in terms of connecting the two sides, but also in challenging the audience's perception of being able to see the whole picture, imparting a fuller understanding of the sense of the spatial extent of the Arcade, and in playing with the inaccessibility of the interior.

Reflections: Family Portrait

Since the performances I have been having conversations about the piece that continue to deepen my reflections on it.

In a conversation with dancers Natasha and Kelli about three weeks after the performances, the "family portrait" section came up as one of the most interesting/provocative moments of the piece for them. This is the part when Natasha, Kelli, Tim and Nadia sit on the Westminster steps for an extended period of time (Amy is making her way around from the Weybosset side) staring straight ahead, almost sitting to attention, in a way reminiscent of a posed portrait.

N: It was "the most banal movement-wise, but it lasts for long enough that it stands out as odd in the context of people walking by."
K: "It was more startling, which I find to be odd, than the parts when we were moving more."

A recording of 'Family Portrait' from Saturday's performance, filmed by Sam Holland, can be seen in the clip below. This photo from an earlier post is also of 'Family Portrait'.

It is one of the moments that I find the most satisfying and delightful because of its 'oddness'. It lasts a little longer than is comfortable (just over a full minute); there is an expectation that something that should happen, but it doesn't. Yet I find that it remains interesting because of the ambiguous relationship set up between the four performers.

An Arcade Project in the Inventory

This is a piece that I was asked to write for the Inventory, the newsletter of the Joukowsky Institute for Archaeology and the Ancient World at Brown University. The full newsletter can be found here.

Reflections from an audience member

These are some reflections from Mimi, an audience member who was generous enough to share her thoughts on the piece with me:

Going past the Arcade is a different experience for me now since seeing your piece; I have a connection to it. It has made me think about the theme of common property.  Experiencing your piece made me feel some sort of ownership of the environment I live in which I didn't have before. Perhaps a lot of people feel disconnected to buildings and urban spaces because they do not 'own' them, but your piece brings to mind how abstract the concept of property is. That is why I couldn't help think about your piece in the context of Occupy Providence. Here is a movement that is making people feel empowered enough to have more 'ownership' then they do. Occupying a public space allows people to become more engaged with those around them.
Back to your piece: although the Arcade is not 'public,' I felt that your piece made it so. I also liked how I, as an audience member, could interact within the piece. By interacting, I mean that when I had to follow the dancers around to each side, I felt that I had become part of the dance essentially. It felt initially strange, like I wasn't supposed to, but then I understood the importance of doing so.
I saw some skateboarders doing some tricks on the steps of the Arcade the other day. They had made a unique connection to the space in the same way your piece did. It's a connection that perhaps more the people who go in and out of Downtown PVD would never experience. What a gift I think!

The connection with the Occupy movement is an interesting one that had not crossed my mind at all- a pertinent example of the way in which audiences can find significances and associations that were not intended by the creator. It also speaks to the way in which context is crucial. Seeing this piece while the Occupy movement is constantly in the media allows for different connections than if the piece had occurred this time last year before the movement, or even if it had occurred in a location more geographically removed from the site of Occupy Providence (Burnside park is just on the other side of Wesminster Street, across Kennedy Plaza); like any work it does not exist in a vacuum but constantly informs, and is informed by, both its temporal and spatial context.

Photoblogged

"An Arcade Project" is featured on the photoblog of shellfishmeme with this photo taken during the performance on Saturday 19th Novemeber:

Photo by Mimi Roterman

Dancer response #1

Because we had not rehearsed the piece as a whole (that is through its 3 repetitions) until the day of the performance it gave an interesting liveness to intention in my own movement. I had never created a model to work towards but just fell in with what was there. The tension in my torso, the pace of my breath, the force in my legs changed every time (through the 6 repetitions of each day). Allowing for such un-predetermined shifts equally allowed my mind to wander: I could just be sitting on the steps looking over those people (the audience) staring at me instead of trying to look past them; think of the work i had to do the next day and miss my cue. I had a wonderful experience of straddling the edge of a rehearsed work and the very nowness of a performed one; which I believe is most suitable for sitting on a portico between an unused and inaccessible past (the arcade) and a trafficked and passing present (the street).
                                                             -Tim

Photo by Seung Chan Lim