UMGASS

I joined the University of Michigan Gilbert and Sullivan Society (UMGASS) first semester freshmen year. I had been accepted to the music school 2 weeks before school started, having spent January – August on waitlist harassing the music school almost daily to ensure that I got in, and was determined to prove that I deserved to be a voice major. The logical way to prove this seemed to be landing a lead role first semester freshmen year. I honestly didn’t believe that I could do it, but I researched every music & theater group that the University of Michigan had and auditioned for all of them, hoping that someone wanted to cast me. UMGASS did.

Princess Ida, 2011 Ali Kahn as Princess Ida, Katrina Van Maanen as Lady Psyche, Alexandria Strother as Melissa
Princess Ida, 2011
Ali Kahn as Princess Ida, Katrina Van Maanen as Lady Psyche, Alexandria Strother as Melissa

Looking back, I didn’t deserve the role. I was a freshmen with a meager 2 musical theater cameo roles on my resume, cast as a mezzo soprano (I’m a coloratura soprano) in a show where the other principals were veterans of the society, graduates of music schools or current juniors and seniors within SMTD. But since that first role in Princess Ida, I have performed with the society in numerous shows and outreach events (as a soprano!) and have served on the board as Treasurer and now President.

Iolanthe, 2012 Jon Roselle as Lord Tolloller, Alexandria Strother as Phyllis
Iolanthe, 2012
Jon Roselle as Lord Tolloller, Alexandria Strother as Phyllis

I was recruited to run for board at the end of my freshmen year. Since I am an engineering student as well as music, the current board figured that I would be a good Treasurer since I am very comfortable with math and numbers in general. After my term as Treasurer I decided to run for President and was elected.

This first semester as President has been quite a learning experience for me. Unlike Treasurer, my duties are less about defined deliverables and more about ensuring that everyone produces their deliverables in a timely fashion and fixing any and all problems which pop up throughout the production of the show. My parents often hear about the latest “UMGASS fire” that requires me to drop everything, hop in the car and quickly take care of it, so that rehearsals or the performances continue without the cast or audience members knowing.

Yeomen of the Guard, 2013 Phillip Rhodes as Sir Richard Cholmondely,  Jeremy Williams as Wilfred Shadbolt
Yeomen of the Guard, 2013
Phillip Rhodes as Sir Richard Cholmondely, Jeremy Williams as Wilfred Shadbolt

Tonight is the opening night for UMGASS’ Yeomen of the Guard, and this production has had its share of fires that have needed to be put out. There have been times this semester when I have questioned my decision to run for board, let alone President, since the stress of producing a $15,000 show is tremendous. Yet, seeing the quality of production which is possible because of my efforts in collaboration of the rest of the board, the production staff and the cast, make all of the frantic phone calls and late nights worth it.

Yeomen of the Guard, 2013 Imani Mchunu as Elsie Maynard
Yeomen of the Guard, 2013
Imani Mchunu as Elsie Maynard

So yes, this blog post may be a shameless plug to try and get you to come see UMGASS’ Yeomen of the Guard this weekend (which you really should, it is pretty fantastic). If you do, stop by the Green Room and talk with the cast and crew. UMGASS is a great group of community members and students working together to create professional level productions. From freshmen year, this group has served as second family to me and I am honored to be the President of UMGASS. So come to the show (free for Umich students with a Passport to the Arts), talk to the members and see what UMGASS is all about. It will be worth your while.

Tickets available at the door and online. Yeomen of the Guard is being presented in the Lydia Mendelssohn Theatre December 5 – 8.

Yeomen of the Guard, 2013 Thomas Cilluffo as Col. Fairfax, Alexa Wutt as Phoebe Meryll
Yeomen of the Guard, 2013
Thomas Cilluffo as Col. Fairfax, Alexa Wutt as Phoebe Meryll
Yeomen of the Guard, 2013 Amanda O’Toole as Dame Carruthers, Alexa Wutt as Phoebe Meryll
Yeomen of the Guard, 2013
Amanda O’Toole as Dame Carruthers, Alexa Wutt as Phoebe Meryll

Kanye West: How People Don’t (and Refuse to) Get It

Yes, this is going to be an article defending Kanye West. Accept that and get over it right now. And no, in no way, am I even going to imply that he is perfect. And yes, I read “Why Everybody Has Missed The Point of Kanye’s Bound 2 Video” a while ago but don’t think it influenced this piece that much. And even if it did, who cares? That’s not the fucking point.

Kanye West is the comic whose audience doesn’t react with laughter but outrage. And he loves it. His unapologetic attitude, mistaken by the masses for arrogance, is the source of his art, whether it be his music, his videos, or his fashion. He attempts to conquer actions, symbols, and words that have been historically used to warp the power dynamics of society and subjugate minorities like Kanye West.

One fantastic example of West’s artistic creativity is a recent song titled “I am a God.” This song, because of its title, was received by absolute uproar and the media had a field day fueling the idea that Kanye’s song was clear proof that he is a narcissist whose only fitting punishment was a special circle of Hell reserved just for him. The mainstream media refused to do any sort of productive analysis of the song and decontextualized the shit out of it to perpetuate its narrative of West, which in turn perpetuated the overarching stereotype of angry, aggressive black men. Then, West, as he often does, had to explain what he meant by his art to America and the world. Here’s what he had to say in a radio interview:

“When someone says ‘I am a God’ everyone says ‘who the hell does he think he is?… would it have been better if I had a song saying I’m a nigger or I’m a gangster? To say you are a God, especially when you got shipped over to the country you’re in and your last name is that of slave owners; how could you have that mentality?”

West’s songs are informed by his own powerful experiences as a member of one of the most marginalized and misunderstood minorities in America. The idea of taking a concept that has been so white-washed and bleached to get rid of even a tinge of brownness (Jesus and the concept of a monotheistic God originated in the Middle East) and making it Kanye West, making it black is revolutionary. And let’s not forget the recent Bound 2 Music Video, featuring the one and only Kim K. My first thought watching the video was how like a western film it looked. The second thought was how shitty the graphics were. The third was the fact that instead of a cowboy, there was Kanye West. Boom. Kanye West had taken the western genre, one of the most racist and dehumanizing genres of visual media to ever exist, and made it his own. The way the video was filmed mimics the original westerns in all their glory, complete with the shitty graphics and random eagles, and highlights all the ludicrousness of the genre. The fact that West is the star of a film that, just a few years ago, would have cast him as the brainless minority meant to adore the tall, blond white male perpetuator of racial supremacy, is absolutely stunning and, of course, completely misunderstood. West’s critics, who are mostly white, simply don’t get the point of his music and the type of press he creates. Either by choice or sheer ignorance, they see a rapper when they should be seeing a black man, a descendant of slaves, a man burdened with experiences, stereotypes, and responsibilities beyond his control, a man burdened with things they cannot even fathom. His actions and comments prompt the initial shock and disgust but no real discussion comes out of them. When he stated on national television that Bush hates black people, there was the visible cringe and retaliation from mainstream America, who just didn’t get it. In the response to Kanye’s comments, racism was reduced from an societal and infrastructural landscape to individualized experiences, making it so that, because Bush himself did not do anything physically violent or say anything overtly racist towards a black person, he cannot be racist. This logic ignores the realities and nuances of the manifestations of racism in our society. Bush not only perpetuated a system in which black people are kept structurally disadvantaged but also initiated policies that disproportionately targeted and discriminated against certain minorities. With reality this harsh, how can anyone say that Kanye should be more “tactful” with what he says? How? And why? What he says is truth that has not been filtered, refined, and polished for easier consumption; it is raw and genuine and paints the reality that many face but so many more ignore. There has been a recent illusion created to boost our egos and avoid our problems, that because mainstream America has been well-off, either everyone else also is or is not because of their own faults; the struggles of those who are not like us are deemed irrelevant to our lives or a result of their own laziness as opposed to historical and structural oppression.

West has been criticized for complimenting and congratulating himself from those who do not understand how radical and poignant it is for a black man to applaud his “creative genius” when the entire world looms with laws, statistics, and power structures against him and constantly reduces him to a perverted image of barbarism and primitivity. West lives in a world where self-love in minorities is revolutionary, in a world where if you’re anything but “mainstream,” you are without a doubt lesser; in a world where if you are the other, you do not matter, you do not exist. More importantly, you should not exist. Our fascination with aggressive assimilation is appalling to say the least. Immigrants need to learn English and become “American” as soon as possible. Education must be streamlined and standardized. Quirkiness must be quelled and controversy must be crushed. Anything out of the hegemonic ordinary must not exist for, in the strange, twisted logic puzzle of our universe, our survival depends heavily on how forcefully homogenized we are as opposed to how we can teach each other through our differences. It is one where our race is ignored when it is uncomfortable to talk about our privilege and emphasized when it is convenient to point out others’ misbehavior. Or at least what the masses see as misbehavior. There is hardly anything more painful than watch people confuse self-love with arrogance and try their human best to shred that self-love apart. Kanye’s enemies (and ours) are history, which has so cruelly favored the conquerors and the colonialists; the law, which was written to protect the interests of the wealthy and powerful hegemony;  and the world, which has made it painfully clear that the darker the skin, the lesser the human. Kanye’s only weapon against such pervasive and omnipresent enemies is a self-love that emanates from his inner being, a self-love that proclaims to the world that there is value in melanin, a self-love that stems from himself and cannot be shackled, whipped, rewritten, forgotten, or erased. And to confuse this self-love with narcissism is a gross crime of ignorance, not “standing up for America’s values” or whatever the fuck the racist, patriarchal assholes on TV are saying these days.

Is Kanye perfect? Once again, no. Some of his actions and words, especially some of his more violent misogynistic and/or homophobic lyrics, are much harder to digest or even listen to. He is human, prone to making mistakes, having melt-downs, everything that all of us sitting in our chairs and criticizing him are prone to as well. But he is more than what the masses understand him to be. He is a parody of his genre, a self-made caricature of everything he detests created as a form of protest to the system, the Machine that the rest of us are all-too-willing to bow down to.

Is Your Blue My Green?

Imagine a conversation with an alien. An extra-terrestrial. A being foreign to your universe and nonexistent before this encounter. How would you communicate? Certainly he/she/it would not speak your language. Perhaps this being would not even understand the concept of verbal communication or be able to form words or perceive sound? Certainly you would struggle with these motor operations. Which gestures would you use? Could certain expressions be misleadingly inaccurate or unintentionally threatening? You would struggle to see eye to eye, assuming he/she/it even had one.

Perception is a pivotal stepping stone in establishing communication or forming a connection. In order to interact with the unknown, one must form an understanding of ignorance. A logical oxymoron, which is an oxymoron in itself, is coming to accept that one will never fully understand the perception of another. This acceptance helps to lay a cornerstone for a relationship to be built, as it is the only neutral ground in a sea of unknowns. There are many things that one cannot sense, and although one cannot perceive them, it does not mean they are nonexistent.

Light, for instance, is a matter only perceptible from certain sensory details. From radio waves to gamma rays, the electromagnetic spectrum of light leaves only a thin streak perceptible to the human eye. Between infrared and ultraviolet waves, the band of red, orange, yellow, green, blue, indigo, and violet is all that is visible in the vast spectrum. These various waves operate across several frequencies, and from what science has given us, this is all we have been able to detect and understand.

But how can we be confident in our perceptions? Although, according to science, we, as humans, are of the same species, this does not mean that our perceptions are equal. Certainly we can examine the lens of our eyes, noting the curvature and ability to perceive labeled frequencies, but what if our sense of one color is different on an individual basis? For instance, what if my perception of green is your perception of blue? Plants trade color with the sky and it is perceived as normal. We both see the same in a different light, but can speak of it in the same sense. Of course, we can try to categorize visibility, by breaking it into pigment percentages or hexadecimals values, but that does not alter the initial sense.

In order to communicate and connect, two beings must find a sensory medium. As humans, that medium is primarily language–be it auditory or visual–but in order to connect with beings other than our species, we must be willing to move into new mediums, where we can come to understand that our perceptions will change and be different. We must learn to see, not just with the sensory feelings we possess, but in a manner that can be shared with the unknown. It is the ability to look beyond the physical, to put a finger on an abstract thought and follow a feeling.

It’s in the eye of the beholder.

Well, the perception of the beholder.

My gallery, my dream

Tomorrow afternoon in my museum studies class, half of the class will be presenting our virtual gallery projects. I will also be showing my own exhibition to my professor and classmates, and I’m super excited about it.

Virtual gallery is a semester-long project for my museum studies class, which requires me to curate a virtual exhibition on the computer. I had to choose 15 objects that I had access to, and then come up with a theme, or storyline, for the exhibition to connect the objects together. I was also responsible for object documentation, label writing and gallery space designing. If you think it is complicated, then congratulations, technical problems of the software and computer was just a bonus added on to all these!

The objects of my exhibition are 15 pairs of shoes. I bought them in different times and situations, and each of them contains at least one of my personal stories. As a whole, the exhibition almost forms a biography of me, and every time I look at these shoes being displayed in my gallery, I get a reminiscent feeling toward these past moments of my life.

For me, the documentation process was the most complicated and time-consuming part of this project, because I had to deal with Photoshop…well…as an art history student who is always “stuck in the past,” I just can’t master any photo-editing software like this. Ok…so I took an individual photo for each of the 15 objects, opened these photos in Photoshop, and followed the instructions on the Photoshop handout step by step. After hundreds of mistakes, I finally managed to get rid of the backgrounds of my messy desk and keep only the objects themselves. Compared to this, label writing was much easier.

Designing the arrangement of the gallery, I would say, was the most interesting part of the project. I felt like I got full control over everything in the gallery because I could move them wherever I want. I got the freedom to choose the color of the walls, ceiling and floor too, or add some benches, signs, or shelves. It was as if decorating a new apartment, when thinking about how nice the apartment would be after furnishing could easily make me excited.

Viola! So the pictures below show how my final exhibition looks like, and tomorrow will be its formal “opening.” Although it is costly to rent an actual gallery space and to furnish it the way I want, and even harder to gather a large group of visiters who are interested in looking at my old and worn shoes, I could do all this on this virtual site. Reflecting upon the efforts I put on this project, it was like a process of realizing a dream, and I myself was the one who made all the sketches and plans in my mind come true.

 

“It Belongs in a Museum!” 1500 Paintings Hidden from Public

If you haven’t been following international art news lately, then you may be in for a surprise.  An on-going investigation of looted art (presumably stolen and stored by Nazis) has revealed almost 1500 pieces of art that belong to one man.  Cornelius Gurlitt was the son of an art dealer commissioned to sell most of the works looted by Nazis.

Reproduction of a Franz Marc painting believed to be part of Gurlitt’s collection (Washington Post)

Authorities recently seized his collection, but according to a German statute of limitations, his years of ownership make the art un-seizable.  In other words, Gurlitt has a right to keep every last piece if he wants to.

Is this a case of ‘finders keepers’ gone wrong?

In terms of precious cultural pieces, I have always been of the Indiana Jones mindset that ‘it belongs in a museum‘, whatever “it” may be.  In this case, there is a lot of it.  1500 paintings by artists like Marc Chagall, Max Beckmann and Otto Dix are purported to be in Gurlitt’s collection.

A big question on most people’s mind is “Where did all of the paintings come from?”  Police believe they were looted or bought off of Jewish families during WWII, but their provenance remains a mystery and isn’t likely to be something that Gurlitt will reveal any time soon.

Gurlitt I don’t know how this case will end.  In an interview with German magazine Der Spiegel, the reclusive and obstinate art collector said “I won’t voluntarily give back anything, no, no,” and that “When I’m dead, they can do with them what they want.”  This does not bode well for the art community, the German people, and especially the Jewish families who lost such precious pieces.

 

 

‘Riders at the Beach’ by Max Lieberman, another painting in Gurlitt’s nefarious collection

Even if the provenance was traceable, that is a lot of art to trace.  My suggestion and my hope is that someday a special art collection at a German museum will be established as a memorial to the families who lost these pieces.  The displays of art can be a reminder not only of the lost beauty from these personal collectors, but also the lost humanity in times of war.

 

Sources: http://www.washingtonpost.com/blogs/style-blog/wp/2013/11/17/german-collector-wont-give-art-to-anyone-report-says/
http://www.foxnews.com/world/2013/11/18/german-collector-says-hid-art-trove-out-love-wants-collection-back/

 

Incognito

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This past Saturday, I was originally planning to check out the Japanese prints exhibition in Toledo. I’ve studies for my exam ahead. I’ve found a car and a friend who could drive me there. And I’ve informed everybody around me how excited I was to finally be able to see this exhibit…but, wait, Helicon was gonna present a student art exhibit on the same day! And I definitely should help out to set up! Fortunately, my benign friend promised me that he would drive me there during Thanksgiving break, so sorry to disappoint you guys, but let’s just put those Japanese prints aside for one more week. And, here comes the coolest art show, presented by Helicon: Incognito!

Different from the one we held last year at the Warren Robbins Gallery in Art & Design Building, this year’s exhibition took place in a lovely house. This little compromise in location (cuz it was too late for us to reserve any campus gallery spaces) turned out to be a huge success. Artworks, music, a constant stream of visitors, and a more relaxing atmosphere—that’s all we could expect for a remarkable night.

One of the most eye-catching and interesting pieces of the exhibition—trust me, all of them are just fantastic!—5/13, is a installation featuring a collection of jars. Each jar contains certain liquid that represents the artist’s mood of a certain day in May 2013, which is indicated by the date on the label on the cap. It impressed me at first glance because I’ve seen an awesome installation which also featured a series of jars in MOCAD (Museum of Contemporary Arts, Detroit) last year during a field trip with Helicon kids. The artist was Kristen Pieroth, and what she did was putting the residual liquids of boiled books into jars. All books that were boiled were the big names like Huckleberry Finn’s Adventure and Pride and Prejudice (I remember? Not sure…).

Anyway, let’s look at these “diary jars”. Jasmine tea. Chips immersed in water. A paper calla lily. It’s enjoyable to see how the artist’s subtle feelings are embodied by liquids of different colors and transparency. And since he/she doesn’t tell us the actual emotions, we could only guess or try to interpret the meanings of the liquids by our own cognition, and there are no correct answers. Moreover, some of them got opaque or volatilized over the past several months, and the objects inside either shrank or corroded. To be honest, this straightforward and candid presentation of the passage of time thrilled me.