Category: Lifting Voices

REVIEW: Yayoi Kusama’s Fireflies on the Water

Nellie Shih Leave a comment

A 9 x 12 x 12 room. The walls and ceiling are mirrors, the ground water. You, the subject, are reflected over and over again against a backdrop of hanging lights: blues, reds, oranges. You are allotted 60 seconds in the room. Yayoi Kusama’s Fireflies on the Water transports you to another reality where it feels like you are at the center of that surreal universe.

Yayoi Kusama is a Japanese artist. When she was ten years old, Kusama began to experience vivid hallucinations in which she saw bright lights and endless fields of spots, which has heavily influenced her artwork throughout her life. She first became known to the public sphere as an active member of the hippie counterculture movement in the late sixties. She staged several performances, or “happenings,” in which naked participants were covered in polka dots.

I had previously seen another one of Kusama’s installations at The Broad in Los Angeles. The room was structured in a similar fashion, thought the lights were larger and more spherical. Infinity Mirrored Room – The Souls of Millions of Light Years Away had a more blue-green hue, whereas Fireflies on the Water had a warmer tone. Although both rooms are very similar, I found the two experiences to be independent of each other. The room in LA was exciting; I felt like a child, giddy, desperately taking photos in an attempt to capture the experience. This time around the experience felt more self-reflective. I was more aware of the tranquility of the scene, which was largely attributed to the fact the museum workers ask those waiting outside the room to remain silent. Inside the room, it feels like you are alone in this alternate dimension, but the experience is more soothing than frightening.

Naturally, I took an abundance of photos, but I almost felt that shattered the illusion. I wish I could return to the room and just sit on the platform surrounded by water for as long as I wanted. The logistics of allowing each visitor to stay in the room for 60 seconds makes sense, but it leaves the viewer yearning for more. Right when you enter a daze of seeing an endless number of lights and your reflection again and again, the door swings open, distorting your vision, and you find yourself back in the dingy lighting of the museum.

Still, Kusama’s installations are a very unique and unforgettable experience that I highly recommend seeing. Fireflies on the Water is currently on display at the Toledo Museum of Art and will be open until April 26.

REVIEW: As Far As My Fingertips Take Me

Emma Pinchak Leave a comment

You put on the headphones, and they themselves seem significant: the wires connect but they constrict, you have to rely on the tinny sound for information but it blocks out your surroundings. The whole experience was full of these contradictions, to the point that I had to consciously stop myself from thinking through them in order to pay attention. There’s the white wall to my side, and though I can see the borders of it from where I sit I can’t see the other side, so it’s as good as infinite. A little light is coming from where I’ve offered up my arm to the artist, Basel Zaraa, and I’m tempted to look down and through to meet his eyes but I know that something will be broken if I do.

The felt-tip marker is brushing over the flesh on the inside of my forearm and my palm, and I hate how gently he’s holding my fingers down because already I’ve associated him with a Dublin Regulation fingerprint database employee. When I realize I’ve put myself in a position I am privileged to never experience, it’s jarring and it’s a feeling that’s creeping like sweat along my forehead.

I don’t feel any one thing completely after, except for quiet. Not quieted, not disquieted, not just not speaking and not just alone. Quiet is the only adjective I can give myself. I’m sad for what I don’t know and especially for why I don’t, the stupid luck that let me be born into stability and the politics that let others live out of backpacks. Travel is so often romanticized, but there is a difference between travel by choice and by circumstance (further reading: https://doi.org/10.1002/9780470670590.wbeog940).

So in about 15 minutes I’m in and out of another world, halfway a vagabond myself. I’m back and walking home and I feel homesick but mostly physically so, my eyes kind of glassy. It’s a little disappointing that I wasn’t physically transported, though of course that would be impossible. I’m still in Ann Arbor, Michigan walking down the street, and I have no reason to fear that I won’t be here tomorrow. There is a constant stream going through my head berating me for how little I know about the world, and it feels like an abuse to wear this tattoo on my arm like a costume.

But I can use that guilt he’s given me, to take learning into my own hands and to get politically involved. Where the law does not protect the safety of people worried for their lives, there is a problem, a violation of human rights. As election season is upon us, it is a perfect time to get involved and get the right people elected. With primaries right around the corner, the time for active research is now.

You can find out more about Tania El Khoury’s work on her website: https://taniaelkhoury.com/

PREVIEW: As Far As My Fingertips Take Me

Emma Pinchak Leave a comment

Imagine what a lonely terror it is to lose your home to violence and instability, and then be cast into a stranger’s land. For most of us, this will never be our reality, but for the 70 million forcibly displaced peoples around the world, it is.

As Far As My Fingertips Take Me forces the subject to take on the identity of the refugee for a couple of minutes, reading the poignant writing on the wall and offering a nervous arm through to the unknown. This innovative one-on-one exhibit design incorporates the poetic and visual artworks of Basel Zaraa.

The work is the brain child of Tania El Khoury, a contemporary live artist known for her productions that illuminate issues that are of both the heart and political machine. This exhibit in particular has toured far and wide, gathering awed reviews from major publications like The Washington Post and The New York Times. 

The exhibit will be shown at the U-M Institute for the Humanities from January 24, 2020 – February 2, 2020, tickets: ums.org. Be sure to arrive 15 minutes ahead of your showtime as the schedule is extremely strict.

REVIEW: Greenie Night Live

Joseph Patrick Raney 1 Comment

This last Saturday, 58 Greene’s diverse ensemble delivered Greenie Night Live, an amateur yet earnest a cappella performance with a unique set list that ranged from R&B to Alternative Indie. To start off the night, University of Michigan dance group Encore performed a dynamic set of choreographed dances to some tastefully layered tracks. Seeing as how this event was held in a lecture room of East Hall, having the space of a larger stage would have perhaps served the quality of this dance performance well.

The MC’s of this event tried to fill in the show’s gaps with repartee that most certainly had potential to be funny, yet often fell flat from a seeming unpreparedness or lack of chemistry.

I go to all my events with hopes of being blown away. All things considered, while 58 Greene has some great sound and even greater potential, the unfortunate acoustics of the lecture hall accompanied by a muddled sound-mixing often made the lead vocals feel rather lost amidst the remaining back-up members. Alongside this, a number of arrangements often felt rather imbalanced. I was really excited to learn that Joji’s Slow Dancing in the Dark was being performed, and while there was a commendable presence of supporting voices in the ensemble, the leading soloist’s  painful belting and flat delivery made it rather difficult to sit through.

On an extremely positive note, however, I found myself blown away by the smooth and sultry timbre of leading vocalist Teddi Reynolds in an arrangement of Jazmine Sullivan’s 2008 hit, Bust Your Windows. This was undoubtably the highpoint of the event as a whole, due not only to the killer vocalist, but also the well-synchronized supporting ensemble. This piece demonstrated the absolute potential that 58 Greene has when a strong vocalist is leading, which many of the other pieces lacked.

Ultimately, my conclusion is that a great number of the talented female ensemble members were often let down by a lackluster male foundation, often noticeable in the bass parts, and most certainly self-evident in the outperformance of the male soloists by the quality female soloists. I’m willing to reason that Greenie Night Live may simply have been an off-night for certain members of 58 Greene; however, since this was a ticketed event, I can only afford so much generosity in my evaluation of this amateur ensemble’s quality. Considering the strengths and the definite potential of 58 Greene, raising the expected standard for greater vocal talent and proficiency in leading vocalists could really carry this ensemble far.

REVIEW: Stew & The Negro Problem

Angela Lin Leave a comment

Stew’s poignant prose accompanied by Heidi’s soulful melodies create songs that encourage and make you think all at the same time. It’s not until after many listens do you fully grasp all the references within the lyrics. Notes of a Native Song is an album meant to train its listeners to analyze every situation. Songs within the album are a clarion call for activism. Stew and The Negro Problem’s performance was an illustration of how songs can shine light on social injustice and inspire a generation to take action.

Stew, feeling under the weather, started by lowering our expectations, stating that the current performance could not nearly be as good as the previous night. However, halfway through the opening song, we knew that his disclaimer was not true. Stew and The Negro Problem kicked off the performance just as their studio album does with a song titled Baldwin Country. Baldwin Country gave the audience background information about James Baldwin. Stew used the song as an appetizer to sate the audience’s initial inquiries as to what the album is about and what kind of music they were about to hear for the ensuing hour.

Stew and The Negro Problem artfully lulled the audience during Istanbul. The song acted like a palate cleanser for the ears. Istanbul was followed by the thought-provoking lyrics of Amen Corner and Proof. “Jesus ain’t no match for jazz and these police.” “When the restlessness of Jesus meets the patience of Job.” “Power is so powerful it can’t afford to pay people to speak truth to it.” “Power looking ugly, Power looking mean, but never painting power so that Power’s ever seen.” These two songs have driving melodies and powerful lyrics.

Florida, Stew jested was the only political song on the album. A song in which the band plays a laid-back Californian beat while Stew compares Florida to other states in the Union. Stew suggests that no state is better than another; each state has pros and cons. But quickly follows up with “It doesn’t matter if the weather is great if I gotta wear a bulletproof vest.” The amusing comparisons and harsh criticism of Florida, made Florida my favorite song in the performance.

I was introduced to Stew last year when SMTD performed Passing Strange. The first act is a feast full of political statements and nuggets of truth not often heard aloud. It opened my eyes to musicals that have a motive other than to entertain.

Without force feeding the audience, Stew and The Negro Problem served up a well-balanced performance—one that left me full all the while leaving me to beg for more. The insightful songs and sounds of Stew and The Negro Problem inspired me, and I am thankful they returned to the University of Michigan to once again share their mighty message of a movement.

REVIEW: Artist Spotlight: Nadim Azzam

Joseph Patrick Raney Leave a comment

Nadim Azzam and his crew put on quite a performance at the Ark’s Artist Spotlight last night. Compared to my other experiences at the Ark, I found that this genre of music fell into a more distant category from the general body of work that has been presented before. Althea Grace’s bluesy indie opening set very much felt at home amidst the audience and atmosphere that represents the most beloved elements of the Ark.

What I greatly enjoy about Nadim Azzam is a unique charisma that can be consistently felt throughout his set in the rhymes and rhythms of his music. The personality of his sound comes from the self-evaluated rebelliousness of his teen years, as Azzam says, “Most of my songs are written to myself, a lot of them are about expressing struggle and pain while still trying to be hopeful. They can be about feeling lost while trying to find a way, wanting to become a better person and living up to potential.”

A personal highlight included the presence of a tight-sounding jazzy saxophone in the mix of acoustic qualities and 1950s’-sounding ballad-like presentation. I credit Nadim Azzam for the ambition that is required for such a bold merging of hip-hop, acoustic, and jazz, but I often found the seamed mashing of genres together rather disjointed. While the melodies and striking timbre of the group produced heartfelt sounds, I was generally less than impressed in the level of sophistication present in the group’s sung lyrics. However, the flow that Nadim put forth in his rap lyrics was impressive and seemingly well-rehearsed.

While Althea Grace played the part of a successful opener for Nadim Azzam, I am hoping that she finds herself returning to the Ark as a headliner one day. Her music is light and subtle with an element of mystery that she weaves into a captivating musical narrative.

From humble beginnings, Nadim Azzam began his musical journey upon the discovery of his love for music and vocalization on a wilderness exploration trip. His smooth tone sincerely gels with the music that he aspires to make widespread, as we are seeing his rise to greater appreciation in the ears of listeners, local or otherwise. From playing at the Ann Arbor Summer Festival in 2019 to the upcoming release of his full-length album in 2020, Nadim Azzam does not show any sign of slowing down.