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Tradition means giving votes to the most obscure of all classes, our ancestors. It is the democracy of the dead. Tradition refuses to submit to that arrogant oligarchy who merely happen to be walking around. — Gilbert K. Chesterton
This quote begins a long piece that I hope explains a little more clearly why I, and others who feel as I do, defend the tradition of drum corps so ardently against those who appear willing to abandon that tradition. I say “appear” because, rightly or wrongly, that’s the way it seems. If this is wrong, I wish to be corrected.
If you stand in opposition to my beliefs, that is your right. But before you complain that I do not respect that opinion, please understand that I DO respect it. But do not confuse disrespect and criticism. While we all have a right to our opinions, we also have a right to be wrong in them. And I am willing to entertain the idea that I am wrong as well.
“It is not bigotry to be certain we are right; but it is bigotry to be unable to imagine how we might possibly have gone wrong.” – G.K. Chesterton
To defend my position is the easier task. To defend the opposite is harder, I admit. But, as it should, the burden of proof rests on those who wish to remake things.
And also understand that I have no desire for drum corps to become static and absolutely unchanging. This is identical to being dead. But the opposition must understand that change for change’s sake is not good either. Not all change is progress, improvement. Let me again quote Mr. Chesterton:
“Progress is a comparative of which we have not settled the superlative.”
In other words, the future may or may not be better than what we have now and had in the past.
We all know that there is something wrong with our beloved drum corps. It is dying. It has been dying. (Well, it is certain in the junior ranks; senior corps may be showing a resurgence.) Many corps we all loved are no more. Fewer corps spring up to replace those that have passed. Fewer shows populate the tour schedule. Fewer people attend the shows that we do have. This, I hope, we can all agree on.
The causes for this are legion. We all believe that there is something we in the activity are doing wrong, or something right that we aren’t doing, or something we do that we could do better, to rectify the situation. But just what is the correct diagnosis? Well, this is where we all disagree. We each have our own pet theories and our own solutions to the problem. No doubt everyone fervently believes he is right. If none of us were passionate about it, drum corps would not exist.
But, we all need to keep our eye on the ball here. Our solutions must be the right ones for the actual problem. And as always, identifying the problem correctly remains paramount. A question we should all ask ourselves is, “Will this fix what’s really wrong.”
“That vision thing”, as the elder George Bush once called it, becomes the crucial sense, a vision of the future of drum corps and how to get there. Who would you want to follow: someone who is winging it, or someone who lets common sense and experience guide him? We can’t follow “leaders” who travel willy-nilly all over the countryside:
“Progress should mean that we are always changing the world to fit the vision; instead, we are always changing the vision.” – G.K. Chesterton
The problem, as I see it, lies with those reformers proposing all sorts of “fixes”. (In the current climate, the big fix is allowance of electronics and amplification.) The reformers have little idea of exactly how those ideas may play out. This thought may be appropriate:
“Men invent new ideals because they dare not attempt old ideals. They look forward with enthusiasm, because they are afraid to look back.” – Chesterton
Here is where those of us who are more tradition-minded get upset. WE look back to the past, when DCI was more popular than it is now, when more corps existed and more kids participated. What lessons do we take from that? This next line, I think, sums up how some of us feel about drum corps’ (and specifically DCI’s) past:
“It is true that I am of an older fashion; much that I love has been destroyed or sent into exile.” – Chesterton
There are many who think that going back is wrong, that we cannot “recreate the past”. As Mr. Chesterton says above, they invent new things to do because they are too afraid to look back. They say, “Well, we can’t do what we used to, let’s do something else.” Why?
I think this is so because the idea that DCI = HIGH ART (as opposed to mere “art” which most everyone agrees drum corps is) has taken hold in many people, including those who run, design, and instruct DCI corps and those who philosophically support them. And that “avant garde” (no, NOT the drum corps) spirit (not THAT corps either) comes into conflict with tradition. This conflict opens a whole new set of problems. To them, new is good and old is bad. To be innovative is good and to do the same old thing is bad. Who wants to see the same thing over and over? We traditionalists understand this, as much as Winston Churchill, an artist as well as a statesman, did:
“Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse.”
So did John A. Locke: ”That which is static and repetitive is boring. That which is dynamic and random is confusing. In between lies art.”
And hence a lot of previous changes, while fought by some traditionalists of those days, did happen and have become a part of drum corps over the years.
What the reformers misunderstand, however, is that we traditionalists DO NOT oppose change. We oppose THOUGHTLESS change. We oppose that which has no reason for being in drum corps. Let’s not change what is right and good about drum corps.
“The reformer is always right about what is wrong. He is generally wrong about what is right.” – Chesterton
Tradition does have a place, a reason for existence. It serves as a guide and anchor that can be useful when upheavals occur in life. The past informs the present and guides the future. Traditionalists had their reasons for opposing the first piston valve added to bugles, the slides, the rotors, the second piston valve, and third piston valve, pits, “dancing” guards, etc. Were they right? History says no. But that is the benefit of hindsight. The reformers could very well have turned out wrong. And just because they were right before probably means they were more lucky than infallible.
“I believe what really happens in history is this: the old man is always wrong; and the young people are always wrong about what is wrong with him. The practical form it takes is this: that, while the old man may stand by some stupid custom, the young man always attacks it with some theory that turns out to be equally stupid.” – Chesterton
This concept of drum corps as high art is fairly old, but not everyone buys into it. Those who do, tend to be reformers; those who don’t, tend to be traditionalists.
What’s the REAL difference? Again, the reformers hate imitation. And what could be wrong with that? Well, try these thoughts on for size:
“Those who do not want to imitate anything, produce nothing.” -Salvador Dali
“In our time there are many artists who do something because it is new; they see their value and their justification in this newness. They are deceiving themselves; novelty is seldom the essential. This has to do with one thing only; making a subject better from its intrinsic nature.” -Henri de Toulouse Lautrec
“Another unsettling element in modern art is that common symptom of immaturity, the dread of doing what has been done before.” – Edith Warton
“Don’t be afraid to borrow. The great men, the most original, borrowed from everybody. Witness Shakespeare and Rembrandt. They borrowed from the technique of tradition and created new images by the power of their imagination and human understanding. Little men just borrow from one person. Assimilate all you can from tradition and then say things in your own way.” – John Sloan
“Who is there, among the great men, who has not imitated? Nothing is made with nothing, and the way good inventions are made is to familiarize yourself with those of others.” – Ingres
The traditionalists have reacted to this DCI = HIGH ART concept by claiming it is boring, devoid of emotion, uninteresting, unimaginative, strange, and worst of all, unpopular.
“Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit of which Nature herself is animated.” -Auguste Rodin
“A painting demands a certain mystery, a vagueness, imagination. When one dots all the i’s he ends by being boring. Even when painting from nature, one must compose. There are people who fancy that this is forbidden.” – Degas
“[High] Art is making something out of nothing and selling it.” – Frank Zappa
“How strongly do new paintings usually appeal to us at first for the beauty and variety of their colors and yet it is the old and rough picture that holds our attention.” – Marcus Tullius Cicero
“As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of color.” -James McNeill Whistler
“I do not literally paint that table, but the emotion it produces upon me.” -Henri Matisse
The reformers’ counter-reaction has been the “ivory tower” argument: “Well, you just don’t understand our new art.” In fact, some even point to its very unpopularity as proof of it being “art”. This attitude is dealt with by some thinkers.
“Savages and modern artists are alike strangely driven to create something uglier than themselves. But the artists find it harder.” – Chesterton
“I do not want ART for a few any more than education for a few, or freedom for a few.” -William Morris
“Art for art’s sake makes no more sense than gin for gin’s sake.” – W. Somerset Maugham
“By a curious confusion, many modern critics have passed from the proposition that a masterpiece may be unpopular to the other proposition that, unless it is unpopular, it cannot be a masterpiece.” – Chesterton
Any young person who has studied Heidegger; or seen Ionesco’s ‘plays’; or listened to the ‘music’ of John Cage; or looked at Andy Warhol’s ‘paintings’- has experienced that feeling of incredulous puzzlement: But this is nonsense! Can I really be expected to take this seriously? In fact, of course, it is necessary for it to be nonsense; if it made sense, it could be evaluated. The essence of modern intellectual snobbery is the ‘emperor’s new clothes’ approach. Teachers, critics, our self-appointed intellectual elite, make it quite clear to us that if we cannot see the superlative nature of this ‘art’- why, it merely shows our ignorance, our lack of sophistication and insight. Of course, they go beyond the storybook emperor’s tailors, who dressed their victim in nothing and called it fine garments. The modern tailors dress the emperor in garbage. – Ron Merrill
To me, many artists can afford not to live in the real world. Drum corps is a different beast. It must sustain a minimum of popularity to exist. I also believe that many people simply like being contrary. Hence, they portray themselves as reformers because that is the contrarian position. Their opinion is as inconstant as the wind. Chesterton deals with these sorts as well:
“My attitude toward progress has passed from antagonism to boredom. I have long ceased to argue with people who prefer Thursday to Wednesday because it is Thursday.”
Traditionalists must learn to turn the other cheek when confronted by those who flit from fad to ephemeral fad. The trick is simply not to allow the latest fad to become the rule.
And this is what the reformers must learn: tradition means not letting our activity be governed by the “latest” thing, unless there is a compelling need to adopt it. If this concept cannot be heeded, then the activity becomes rudderless, drifting to and fro at the whims of fashion. Just because something has become fashionable to do or be, doesn’t mean that it is right.
“Fallacies do not cease to be fallacies because they become fashions.” – Chesterton
Just because marching bands do something doesn’t necessarily mean that it’s good for drum corps to do.
Next, we have the “open minded” reformers. These are the ones who wish drum corps to be anything and everything anyone desires. It often appears that these clamorers doth protest too much. They call for accepting the new extremes while professing that they can appreciate the old. But their “appreciation” often has qualifications attached, usually invisibly. They say traditionalists are defective because we cannot be as open-minded as they. I say beware of them. To paraphrase Chesterton, I believe the people most vehemently preaching “open-mindedness” are those who hate traditional drum corps and call their hatred an all-embracing love for drum corps in all its forms. It is their barely disguised disdain for the traditional that distinguishes them. This can lead to open warfare between the two sides, as we have seen online.
For the sake of drum corps, the best path, not merely to survival but outright prosperity, should be to combine the best of tradition with the best of innovation. As Churchill said, both are necessary for art to live well. Reformers, do not blindly follow the whims of fashion. And Traditionalists, we should not blindly cling to the immovable rock of ages past. But lastly, and most importantly, in the battle to be right, we should not forget that drum corps is what we’re really all about.
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