In the working world, we often hear about the importance of “cross-training.” Some define cross-training as learning job functions other than our own so there are backups in case of work overloads, absences or emergencies. Cross-training at work is also essential to develop an understanding of what our colleagues face and to better support each other in their day-to-day work – a form of team building. In athletics, cross-training aims to increase strength and stamina and is crucial for improving success in one’s primary sport. Following this logic, cross-training helps develop a stronger athlete, a more valuable employee and a better team player.
Thanks to years of listening to recordings, watching videos and attending shows, I am familiar with distinct types of live expression and nourished by familiar live art forms. Rock ’n’ roll, pop, country, blues, symphony, soul, R&B, punk, opera, plays, ballet and musicals have trained me about the performing arts in various ways. I have even learned about the origins of these art forms and the stories of some artists who brought their work to the public.
What would happen if I could apply the concepts of cross-training to live entertainment?
For example, what if I work to learn how the artists brought gospel out of churches and who they were? What have Indigenous performers worldwide faced in keeping culture alive, who are the performers who continue those traditions and what is new? Why is hip-hop an important form of expression, and why, in recent polls, is it the most popular music form among those under 40? How did jazz develop and grow, and why is it now more popular in the rest of the world than in the United States, where it was born?
Other questions come to mind, such as where the roots of bluegrass come from. What are the corridos, sons, cumbias and other amazing musical styles well-known across generations in Spanish-speaking communities throughout Latin America and the United States? How did poetry slams develop and seem to have opened an entire world of expression to artists? What forms of dance have lasted, and what new forms are emerging? Is Elsa from “Frozen” popular across cultures because of successful marketing, or is there a deeper reason?
These are a few questions I have and want to learn about outside my day-to-day work, which may “cross-train” me as an art appreciator and as a person who works in the arts. Perhaps using the concepts behind cross-training will help us become more vigorous supporters of the arts and, simultaneously, help break down barriers between people and cultures.
Join me in a little “cross-training” at the Community Concert Hall at Fort Lewis College as we prepare to kick off our 2024-25 season with performances and tickets that go on sale July 15 at www.durangoconcerts.com. Be sure to subscribe to our newsletter and follow us on our social pages to never miss out on exciting announcements and exclusive updates.
Charles Leslie is director of the Community Concert Hall at Fort Lewis College.
