REVIEW: Writer to Writer

Students, no matter what discipline you’re coming from, I truly encourage you to be on the look out for WCBN’s Writer to Writer podcast featuring Dr. Howard Markel. And I’m saying this not simply because I liked the talk but because I feel responsible to get more people to listen to what he had to say. Why?

I’m an insecure, struggling writer. I have a hard time articulating my thoughts into well-phrased, concise, comprehensive, and convincing parcels of words. Yes, sentences and paragraphs.  I’m putting myself out there but I’m pretty sure other people share some form of this concern. Listening to Dr. Markel talk about his experiences as a writer demystified “writing” for me.

Here is a curated student writing FAQ list with simplified answers from Dr. Markel’s talk:

I think I like writing but I’m not good in it. What do I do?

During the talk, Dr. Markel talked about how he initially wanted to be a playwright but felt that he kept writing “bland plays.” At the time it was frustrating but looking back, he knew he ended up combining his love for writing with his career in medicine by writing medical history books. In history books, “the plot,” he noted, “is already written for you.” So it worked out well for him because the problem he found in one form of writing didn’t exist in another.

So the main takeaway? Go with the flow and you’ll find your niche.

How do I improve my writing?

a) By making writing a habit. Start with 100-200 words of free writing a day, then step it up to 500 words.

b) By reading. By finding out what works for you as a reader (style, structure, etc.), you understand what to do as a writer.

c) Revise constantly but smartly. Take some time off from your writing between each revision to clear your mind and freshen your perspective.

What’s a simple way of knowing whether my writing sucks if I am not having it peer reviewed?

If you can explain what you’re writing about to a person and he/she understands perfectly, you’re doing great. If you can’t, it means you have to rewrite it.

I have writer’s block. What do I do?

Read a lot. You will only be able to have ideas if you’re constantly inspired.

Should I write something that seems obvious or has been written about before?

Be confident. If you think you can say it/write it better, then it’s worth writing about it.

Why do I need to know about all of this if I’m never going to write anything substantial after my first year/upper level writing class?

When Dr. Markel said that he understood things better when he wrote them out or that he felt the need to rewrite something if he couldn’t explain what he wrote to someone else, he articulated feelings that I had but never really acknowledged. I then understood that writing isn’t exclusive to any field– it can be a form of therapy, a way to solve a personal problem, a tool to achieve better understanding. There you go.

 

 

PREVIEW: Writer to Writer

What: A conversation between one Sweetland faculty member and Dr. Howard Markel, UM professor of History of Medicine on the writing process outside of the classroom.

Time and Venue: 21 Nov 7-8pm, Literati Bookstore (wooh!)

Who is this for: Aspiring writers, fans of Dr. Markel, writers-trudging-through-first-year-writing-courses (aka yours truly)– anyone really.

Why watch: Writing is mysterious because it’s so personal. We’re getting a glimpse into this process.

 

REVIEW: China NCPA Orchestra

What a performance!

I must admit, when I came to the auditorium, the one face I was most excited to see was Wu Man’s. Back home, my dad was a fan of Yo Yo Ma’s Silk Ensemble, so it was just such a pleasant surprise seeing her name in the UMS performances booklet. The main bulk of the pieces, however, was handled by the orchestra itself- she showed up in only one of the three performances.

But I’m not complaining!

While Wu Man’s solos were great, I couldn’t help but be ultimately infected by the overwhelming spirit and energy maintained by the orchestra throughout the entire show.

Anyway, back to the actual review. The theme was, I believe, exploration.  They started off with a virtuosic opera-style piece called “Luan Tan,” a stylistic experiment by composer Qigang Chen. Wu Man showed up for the second performance, Lou Harrison’s “Concerto for Pipa and String Orchestra,” a package of 7 short pieces incorporating and exploring musical styles from all over the world. In addition to this performance, Wu Man played and improvised her very own “Leaves Falling Autumn,” with UM professor Joe Gramley. After intermission, the orchestra performed Brahm’s Symphony No. 4 in e minor, Op. 98, Brahm’s last composition for symphony.

The Good Stuff:

Luan Tan: In Qigang Chen’s own words: “Elements that usually appear in my works […] are almost completely absent, replaced by ceaseless rhythmic pattern, leaps of tiny motifs, and gradually accumulated force through repetitions.”

In my own words: Snow White and the Seven Dwarves in a Chinese drama. Below I added the only sound recording file small enough to fit here. This melody was a motif repeated throughout the piece and it reminded me of chirping birds signalling the entrance of Snow White. A similar melody that was deeper, slower, and combined with clashing cymbals often followed this one, seemingly indicating the presence of dwarves.

Luan Tan excerpt

Lou Harrison’s “Bits & Pieces”: Each movement was a visual and auditory treat.

“Three Sharing” was the most interesting piece I saw. The only instruments in this piece, the pipa and the cello, weren’t actually played, but simply used. Wu Man rapped out a high pitched beat by drumming the base of her pipa while other cello musicians accompanied the rhythm with their own drumming.

Excerpt of Three Sharing

I liked the rest of the performances under “Bits and Pieces.” I could no longer tell whether I was hearing Middle Eastern, Chinese, or Western-style music because they were so expertly melded together. I simply allowed the music to wash over me.

Bits & Pieces excerpt

Overall, a highly recommended performance!

Standing ovation at the Hill Auditorium.

REVIEW: Amir ElSaffar’s Rivers of Sound Orchestra

Pretty UMS promotional picture
My view of the orchestra

I came into the auditorium not knowing what to expect. I was excited to watch the show but that was probably because I had never seen an orchestra play live before and I wanted to see what all the hype was about.

At the end of the show, I was definitely hooked. I’m not going to pretend to know how to describe ElSaffar’s musical genius using technical jargon, so instead I’m going to dump this perfectly phrased quote from the UMS performance booklet here.

“The highest ideal in maqam music is to reach a state of tarab, or “musical ecstasy,” which results from the melting away of borders between a notion of self and other, as performers and audience revel together in the music.”

These words are no exaggeration. I SWAM in musical ecstasy. Whatever physical barrier stood between me and the music was washed away by their compositions. Not only was I bopping my head and swishing my body to the music’s rhythm, my body would also act up to the music’s dynamics. Whenever the performance built up a crescendo or when all the performers started to madly improv, my throat would clench, my heartbeat would quicken, and my back would go rigid. I only realized these effects after the performers slowed down, when I started to be aware of my surroundings again. (And the midterm I needed to study for fast.)

In that auditorium, I lost my sense of form: I became a serpent lulled by 17 snake charmers; a marionette pulled by tendrils of tangled rhythms; a grain of sand carried by a roaring river of sound.

Random highlights of the show and some of their recordings:

Jason Adasiewicz playing the vibraphone (like watching the Mad Hatter play the vibraphone)

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Rajna Swaminathan and her mridangam (Whiplash vibes)

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Amir ElSaffar’s trumpet solos (I now see trumpets in a totally different light)

(I forgot to record this part)

Orchestrated madness

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PREVIEW: Amir ElSaffar’s Rivers of Sound

When/Where: October 18 2017 7:30pm, Power Center

What is it: Amir ElSaffar’s Rivers of Sound Orchestra, a 17-person orchestra showcasing different Middle Eastern and Western musical styles, is performing at the Power Center tomorrow. Prepare to be blown away.

Why this is supposed to be spectacular:

Watch ElSaffar’s explanation of maqam.

Watch this UMS promotional video of his orchestra playing.

Watch the process.

Now you know.

 

REVIEW: L’etat de Siege (State of Siege)

I want to say I was mindblown. But I left the theater mostly confused and somewhat annoyed.  Some comments:

I liked the metaphors: “Black horses of love.” “Summer is here.”” Winter is coming. (wink wink) ” My brain wore new clothes each time a supertitle spat out a line of beautiful poetic imagery. Each of these metaphors added new dimension to my understanding of different concepts. I can taste the salt of the sea when I hold “freedom” in my mouth, for example. Whenever I hear “repression” in my polsci class, I’m reminded of the claustrophobia created by Plague’s rule over the people. “Love”, to me, clings like the primeval, earthy smell of manure.

I liked the setup: The black garbage bag-like material that was spread across the stage created an eery sense of suspense: its supposed to CONCEAL something in or under the floor. And yes, Death and Plague showed up from underneath. The weirdly detached voice recording of a man in the beginning of the performance was a pleasant “addition” to the performance. He didn’t seem to show up after the first few seconds but it was entertaining for a while. The videos shown above the stage complemented the themes of the play. When the governor was speaking and the screens showed his silently screaming face, it gave a Big Brother-esque vibe to the play.

This is “Death” talking.

But I just didn’t enjoy the performance:

 (a) Maybe it’s just the times. I wasn’t able to enjoy it because it was not relevant to me. I don’t “see” the problems that the performance seemed to be harping about. But maybe that’s just because the play was written during World War 2 when totalitarian and fascist governments really did make cities feel more like coffins.

(b) Maybe it was just too “romantic” for me. I don’t know. One of the messages I got from the play was that one must be able to forget the fear of death to initiate regime change. Hm. It seems to particularly glorify this romantic martyr mentality instead of, I would say, the more important pragmatic coordination needed to create a successful revolution (it’s almost polsci midterms, so I’m reviewing my notes simultaneously). I know the play is not a handbook, but I’m also questioning its appropriateness in our time, when populists who appeal to emotion are starting to take the reins and terrorists are able to convince people to die for their cause by painting visions of heaven.

Diego can run away with Victoria, giving the city to Plague. Or he can die for Victoria to live.

(c) I didn’t understand the “jokes”. It made me salty.