Making music - acapella college ensemble dresses the part

All wearing a combination of blacks & purples - shoes vary

Shoes and the rest of one's clothing say something about the person and the occasion. In this case it is the 15 acapella singers from Grand Valley State University, Euphoria, on the stage of the Grand Rapids Public Museum for the 2025 annual Cultural Heritage Festival on Saturday morning. The group formed a gentle arc to back the featured singer or singers in each of the songs in their set list. There are a couple of observations to make about the visual effect of the college students on the stage, ranging in abilities and musical experience from amateur to enthusiast to almost professional.

One observation is the symbolic meaning of putting so many different kinds of singers and personalities together. Just as they themselves are different to each other, so is their clothing all different; nothing is duplicated or uniform within the loose, organizing color scheme of blacks and purples. In other words, just as they are different on the inside, they are also different on the outside; however, in a loose sense they all fit together under the blacks/purples organizing principle. As with visuals and personalities, also of their sonic roles in the production of blended voices a capella - all of them contributing differently but woven into a whole.

Another observation is the footwear. It is true that it follows the overall plan of black as sign of formal, stage presentation. But there seems to be even wider boundaries or room for personal interpretation of "wear black shoes" by comparison to "wear clothing that is black and or black with purple." At the end of their legs are boots, open-toe, high heels, tennis shoes, perhaps slippers, too. In other words, while the clothing styles and shapes certainly come in many kinds and emphasis, within the shoes visible on the stage somehow the diversity seems even wider than is the case with choice of costume. Again making a symbolic reflection, if the range in footwear stands for the many kinds of personality participating in the music ensemble, then even more than the clothing it is the choice in footwear that illustrates the many kinds of singer, it is the shoes that signal the make-up of this singing group.

Lastly, even though there seems nothing exotic or peculiar about a group of dressed up young adults composing, rehearsing and then today performing a set of songs without the aid of accompanying instruments (other than human voice, including beat boxing), by pausing to study the spectacle more carefully, it becomes clear how truly amazing it is that such different people can share their commitment to group effort and their delight in collectively producing sonic art. One minute they are off-stage milling around. Another minute they are filing onto the stage under the bright lights in their accustomed formation, attending to the tuning note, and then -as if by magic- they are filling the room with harmony, melody, rhythm and emotion (see video clip below). The words may lift some listeners out of their comfort zone or do the opposite, lead them into their comfort zone.

In conclusion, echoed in the clothing, the shoes, and in the diverse personalities the Euphoria choral group from GVSU illustrate the motto stamped on the coinage of the realm in USA, "E Pluribus Unum," from many - one. Humpback whales have long-distance "songs" and birds have melodies that function in many ways for their lives, but homo sapiens sapiens does seem to be strangest of all in thinking up and then practicing and finally performing in front of others (or recorded privately to distribute to others). There is something baffling and beautiful about making the music, of the many brain areas that are activated in making (or hearing) rhythms and pitches (and lyrics) in sync with other voices and/or instruments, and in the experience of being on the stage or in the audience to resonate, respond, and appreciate the whole thing.

Millstone of 1834 is silent witness to early years

Coarse millstone at bottom center testifies to long Grand Rapids

Year after year, in cold weather or hot, people brought their grain to the mill near this location on the Grand River to run it through the rough surface of the rotating millstones to produce flour suitable for baking bread and other skillet or oven-made treats. Doubtless there is a full story about how the stones came to be (quarried locally, or transported ready made from another location) and how builders harnessed the river before its flow was controlled and it rose and fell with weather and seasons of the year. As well as stones and building, there is probably an interesting story about how a miller or millers gained training and experience before arriving on the scene. Once all the elements were in place, there remained only the matter of spreading the word among settlers and travelers passing this way that milling services were now in operation. Then with bags or bins of grain for the milling to produce flour, the farmer or merchant had to protect the grain in some sort of container before making use of it, day after day.

Looking at the silent stones in their present location near the east wall of the Grand Rapids Public Museum, overlooking the once untamed, unharnessed river, it is hard to imagine all the years these stones rotated while tons and tons of grain passed through to be transformed into flour. Countless souls were raised on the flour from these stones, from earliest solid food until the person's deathbed and the last morsel of bread tasted on this side of mortality. This one piece of technology was a common denominator for a majority of  local residents and those who bought the ready-ground flour that was distributed to stores in the surrounding county or counties. The sound of grinding stones and associated waterwheel machinery will have been the soundtrack to many people living nearby. Some of the particular facts are recorded on a bronze plaque attached to the stones on display.

FIRST MILL STONES (transcribed text, below)

 ...brought to Grand Rapids and placed in mill on Indian Mill Creek about 1834, removed by John Ball for a horse block in 1867 and donated by his heirs to the Kent Scientific Museum. Tablet placed by the Daughters of the American Revolution.

In the age of gas-powered automobiles transitioning reluctantly to electric vehicles, the mention of Horse Block may be baffling. Judging from the height of the mill stones, Mr. Ball took the decommissioned geological mass as a convenience to step from ground level up to a position closer the the horse's saddle, hence the name 'horse block'.

In this artifact intersects so many features of modern and ancient life. The connection to grain hearkens back to the Fertile Crescent where wild forms of wheat and barley trace their origins and the association of calorific surplus with permanent settlements, law codes and armed forces under the command of religious, political, and/or military heads. Hand in hand with grain cutting is grain grinding, first at the household, "as needed" scale, but later in organized and mechanized scale. Thousands of years later, the lessons of best grinding stone, best sources of power, and best varieties of grain for a given soil and temperature condition all came together in these stones at this place at this time. Prayers for [Lord God, may thou] "give us our daily bread" may be far less often spoken in 2022 than in 1822, but bread still does figure in to many city residents' routine variety of foods eaten throughout the year, although almost all of the flour is baked in factories and a few local bakeries, rather than by hand at home.

Even when the service life of these gritty stones ended, they were still useful to Mr. Ball and his horse for many years. By looking at traces of long-ago times like these mill stones some of the people and the lives they lived comes back to life. In this way the material culture that lingers long after the original makers and users have gone can accompany later generations into years to come. Not only does a little of the past live now in the present, but the reverse may be true, too: some of today was already existing when those long-ago people went about their business, following their routines, adapting to innovations that appeared, and dreaming of some indefinite time ahead that they themselves would not live to see but which their efforts - whether wise or foolish - would have consequences among people alive now in 2022.

Inside-out museum of city and society

Left is "Blue Bridge" over the Grand River; right museum

The bright summer day pouring through the UV-protected picture windows of the Grand Rapids Public Museum in this photo prompted this question: how might it be possible to turn the lived-in downtown environment into something like a museum, complete with label text (e.g. GPS points to link an item's physical identifier to a paragraph of text, audio, and/or embedded links or imagery). That way the walls that separate inside from outside would disappear and the same expectations that visitors bring to poking around the permanent and temporary exhibitions could also accompany them outdoors on their way to and from school, work, shopping, or other occasion that brings the person into the cultural landscape. In fact this relationship between inside (glass cases, informative text, eye-catching artifacts, and thought-provoking references) and outside (hustle and bustle, preoccupied with schedules, and using minimal imagination or energy to engage with routine objects and subjects repeatedly passed by unexamined or reflected upon) could complement each other so that something of the museum visit attitudes apply to the everyday habits and repeated places and activities; but also the reverse, something of the "regular life" could also be applied in the museum setting to make the artifacts part of another time and another place, but still viewed now as "unremarkable, functional" parts of one's day, not as glass-encased specimens worthy of special scrutiny. 

By "de-exoticizing" the exhibit elements (putting the artifacts back into the flow of normal life) and simultaneously "de-familiarizing" the world of consumer calculations, popular culture topics trending, and considerations about one's next meal or time commitment to honor, then the result is to make the museum more life-like to one's own time and place at the same time also making the places outside the walls of the museum a bit more interesting and museum-like; worth stopping to examine close up and learning the context of when and how the particular element in one's landscape of cultural meanings and background infrastructure came to be as it is now. In summary, with the help of prominent QR codes tagged to outdoor features big or small, curious gawkers and walkers could wander and wonder as they explore the city streets with a portable Internet device (phone or tablet or maybe a wristwatch or supercharge Internet glasses) and get to know their cultural landscape as an endless outdoor museum without walls, whether they be local residents or out-of-towners.

Special LEGO exhibition at Grand Rapids Public Museum in 2020

 

The giant LEGO honey bee suspended overhead in the foyer of the Grand Rapids Public Museum is a vivid example of the wondrous sculptures and dioramas created for display in the special exhibition starting in fall 2020. This video clip starts with the scale model of the hosting museum itself, adjacent to the (LEGO) Grand River, made from more than 4,000 pieces of the colorful plastic building materials. Then the camera turns to show the larger-than-life bee above.

Seeing both the miniature LEGO museum in its plexiglass case and the honey bee brings to mind several thoughts: the creative impulse to make such things, the faint whiff of irony that the honey bee representation is made from the petroleum product that modern life depends on but which also has led to habitat degradation and destruction that accelerates loss of bee populations, the nature of public engagement and awareness, including the role that museums play for sparking interest in the natural world and forming relationships between humans and all the other creatures sharing the planet. Not everyone coming to the museum will pay the separate admission to the LEGO exhibition, but for those who do browse the sculptures and dioramas, the intricacy of the models and creativeness of the makers will make an impression. But it is an open question with unclear answers to know whether new curiosity will arise, new respect will develop for non-human creatures and their habitats, and by extension an increase in awareness for the consequence of personal consumption assumptions and expectations will occur.

While the pandemic rages in Michigan the museum controls the number of visitors by online (or telephone) reservation of admission tickets and member passes accepted each day. In this video clip some of the visitors queued at the admission desk show their face masks. Perhaps this heightened microbe consciousness from the sustained health mandates from the Michigan health department will contribute slightly to greater public curiosity of the natural world, scientific tools and logic, and renewed respect for facts supported by data instead of 'gut feeling' or the hubris of bald claims made in loud, politically motivated performances that Donal J. Trump incarnates.

 An album of G.R.P.M. photos and video clips can be seen at https://www.flickr.com/photos/anthroview/albums/72157717510759343

Getting to know whales by museum engagement

 At the Grand Rapids Public Museum in downtown Grand Rapids, Michigan there is an impressive display of a mature Finn whale killed around 1900 and later donated by the private owner near Jackson, Michigan to the museum, where it is suspended about 35 or 40 feet above the main floor hallway. In the past year or two a large video display (twin monitors about 10 feet apart and mounted in portrait orientation to accommodate visiting groups) has been added.

 

The animated scene shows a mature Finn whale swimming along with accompanying text (and voice) in both English and Spanish on a continuous playback loop, first one language loop and then the other. It would be interesting to document the bi-lingualization of the permanent exhibitions here: how the decision came about, how visitor native-language was surveyed, how the content was edited (native speaker or team of speakers? online machine translation? Castilian Spanish or one of the varieties of the Western Hemisphere?)

Some of the facts on the screen concern daily diet of krill, organ size (tongue of 18 feet, heart, brain, and so on). This video clip shows part of the recording in Spanish when biological facts are given. The animation illustrates each organ singled out by showing the steady beat of the whale's tail, but instead of the skin view or the skeleton view in motion, now we see the organs specified in the description, all the while moving as if in motion.

The large video screens are mounted low enough for 5-year olds to approach the display before looking overhead to the ceiling where the skeleton hangs. For the generations accustomed to video animation, this kind of window into knowledge, spectacle, and curiosity is normal and natural and desirable. But for people over the age of 35 or 40 it still seems a little futuristic to find a multimedia production of such high quality outside of a movie theater. 

No matter if the digital presentation seems normal or seems futuristic, though, it does seem to attract passing visitors to pause long enough to figure out what is being described. Then they either drift to the next visual hook, or settle in, prepared for the full course of what is being told. In the end, some visitors satisfy a small appetite for marine biology and others expand their appetite. What was little known, rarely experienced, or not even wondered about across the wide oceans' leviathans now has come alive, if only for a short while under the shadow of the overhead whale. Through such things as museums, stories from people in one's world or those seen on TV and online, little by little the relationship and knowledge of life on Earth grows. Of course, the exact character of the human to non-human relationship changes across history as technology makes possible wider and deeper experiences, and then there is variation according to language/culture (worldview, livelihood traditions, and so on), too. Meantime the encroaching human life endangers the habitat for all other forms of life. So there is more frequent intersection of human and wild things, some of which are endangered or one step away from extinction.