Category Archives: Arts and Music

Music is Community

For Andrés Martín, “music is community,” and his career path bears out this assertion. Native of Buenos Aires, Argentina and resident of Tijuana, Mexico bassist, arranger, and composer Martín has performed with orchestras, chamber ensembles, and as a soloist throughout Latin America, Europe, and the United States.

Since his arrival in Tijuana Martín has been immersed in teaching as well as performing as a soloist and chamber musician. He also crosses the border to San Diego frequently to perform as part of the Camarada ensemble, and it was Camarada that commissioned Unstoppable, a four-movement suite for flute, violin, and bass that also provided a fitting title for Camarada’s 2020/2021 season. As is typical of Martin’s work, Unstoppable draws upon his multicultural life experiences and broad influences for inspiration, blending jazz, Latin, classical, and world beat idioms to create a work that is engagingly eclectic, complex but accessible.

In conversation with Rafael Fernández de Castro, Director of UC San Diego’s Center for US-Mexican Studies, and Beth Ross Buckley, Co-Artistic Director of Camarada, Martin discusses Unstoppable’s genesis and structure and the importance of collaboration for maintaining artistic vitality, citing his work with Camarada as an example. Martin also stresses his commitment to cross-border projects as a means of building community, noting that their passion drives artists to create and connect no matter what the circumstances. He is a member of the Orquesta de Baja California, and also organizes and directs Contrabajos de Baja California A.C., an academy that celebrates a yearly international double bass festival and chamber music course in Tijuana.

Above all, Martín describes the goal that drives his work as conveying emotional truths about the human spirit and our shared aspirations, something for which music is uniquely suited.

Watch Andrés Martin’s Unstoppable.

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A Life in Theatre: Ariane Mnouchkine

As Ariane Mnouchkine states in this rare and candid discussion, “We simply work better with love…. we work better by looking for a place of affection.” And as you will discover, her life-work, the Théâtre du Soleil, is clearly nothing less than that. Started with her fellow students at L’École Internationale de Théâtre Jacques Lecoq in 1964, the theater has endured and remained firmly rooted in its founding ideals as a collective, creating social and political critiques of local and world cultures. Working beyond the bounds of the classic proscenium in found spaces like barns and gymnasiums, the theater has reflected physically its philosophical foundations, principles which you will find Ariane shares so frankly with Allan Havis, UC San Diego Professor of Theater and Dance and visiting scholar Robert Marx.

Watch Ariane Mnouchkine – 2019 Kyoto Laureate in Arts and Philosophy .

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The Future of Cinema

Since its inception in 1885 with the Lumiere Brothers’ public screening of La Sortie de l’Usine Lumière à Lyon (Workers Leaving the Lumière Factory in Lyon), cinema has been a collective experience, the modern equivalent of gathering around the campfire for storytelling. It continues to shape our perceptions, our attitudes, and the larger culture by providing a sort of shared mythology. However, the COVID-19 pandemic with its social restrictions has altered the ways in which films are delivered to the audience and how we process them, just as the 1918 influenza epidemic affected the nascent film industry of that era.

Scholars believe that there is much to learn by comparing and contrasting the effects of these and other outbreaks on cinema worldwide. In this roundtable discussion by six of those scholars, UC Santa Barbara professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece examine how the study of pandemics past – most especially the 1918 epidemic – sheds new light on how the current health crisis is reshaping the world of cinema, and whether or not those changes are likely to become permanent. Moderated by Patrice Petro, the conversation addresses such topics as questions of financial risk and exposure in the media industries as the balance of revenue sources shifts; the challenges to the movie theater’s traditional role as public space; and how reliance on streaming services has changed our fundamental understanding of cinema. The participants also explore how fears of viral infection are reshaping the literal and figurative “atmosphere” of moviegoing, since it remains to be seen if audiences (particularly older segments) will return to movie theaters in pre-pandemic numbers.

Finally, the panelists describe various strategies employed by the major studios and film distributors to adapt to changing circumstances. The consensus is that while there will always be a substantial audience of hardcore moviegoers who insist on seeing films on the big screen, the burgeoning popularity of services like Netflix, Hulu, Amazon, Disney Plus, and others will continue. A pattern has already developed whereby many new releases have a brief theatrical run, after which (and in some cases during the run) they appear on digital platforms. Though initially confined to independent films this release pattern has become increasingly the pandemic-induced norm, and may eventually be limited solely to big budget blockbuster titles as marketing and distribution costs continue to skyrocket.

The specifics of the long-term future of cinema are as yet undetermined, but a close study of historical antecedents may help us to discern its outlines.

Watch Roundtable 1920/2020 – How COVID-19 is Reshaping Cinema.

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Disruptive Cinema

“Subversive” is defined as “seeking or intended to subvert an established system or institution; disruptive; inflammatory.” Films may be considered aesthetically or culturally subversive, or both. Subversive cinema has been with us since the silent era; early examples include Griffith’s The Birth of a Nation (though it wasn’t considered subversive at the time), Robert Wiene’s The Cabinet of Dr. Caligari, Benjamin Christensen’s Haxan: Witchcraft Through the Ages, and Luis Buñuel’s notorious L’Age d’Or, one of the first films to be widely banned (and still banned today in several countries).

Many films deemed as disruptive go on to achieve cult status and garner a fervent following. The topic of subversive or transgressive cinema has also received serious consideration by scholars, most notably in Amos Vogel’s seminal study “Film as a Subversive Art,” which catalogues over 600 films that fit the definition, and the more recent “Cult Films” by UC San Diego Professor Allan Havis.

Just in time to present an alternative option for streaming, UC Santa Barbara’s Carsey-Wolf Center (CWC) is presenting its “Subversives” discussion series, featuring five films spanning 70 years and three countries. The slate ranges from Chaplin’s much-maligned The Great Dictator to Parasite, the 2019 winner of the Best Picture Academy Award. The series begins with Sorry to Bother You, a provocative satire of American capitalism and white corporate culture, and also includes television’s groundbreaking Pee-Wee’s Playhouse. By including Pee-Wee Herman’s show, series curator and host Miguel Penabella, a PhD candidate in Film & Media Studies at UCSB, explains that he “wanted to imagine a broader, expansive idea of ‘Subversives’ as well, including films that may be aesthetically or commercially subversive or works that may have generated a cult following,” noting that the Playhouse fits the bill.

Post-screening discussions include conversations with filmmakers, critics, and film scholars, followed by lively Q&A sessions. Films examined include:

Boots Riley’s Sorry to Bother You (2018)
Bong Joon Ho’s Parasite (2019)
Charlie Chaplin’s The Great Dictator (1942)
Pee-Wee Herman’s Pee-Wee’s Playhouse (1986-1990)
Jeff Barnaby’s Blood Quantum (2019)

Browse all programs in Subversives.

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Other Possibilities

Writer-Director Darya Zhuk’s debut film Crystal Swan (2018) centers around Velya, a young woman seeking to escape the miserable conformity of life in Belarus in 1996. Velya is an aspiring DJ whose house music provides some much-needed escapism, but like many others her age she dreams of fleeing to America—or perhaps more accurately, a fantasy America where every teen has their own bedroom and cell phone and parents knock before they enter. That’s not Velya’s life in Minsk, where she must contend with an overbearing mother, little money, few job prospects, and the general post-communism malaise.

In this “tragic comedy” Velya schemes to obtain a visa from the American embassy, which involves faking a work phone number and other machinations. Velya learns to her dismay that the embassy intends to call that number to verify her employment and other details. Through a series of misadventures she ends up spending the next two days with the dysfunctional family that actually owns the telephone number, trying to convince them to lie for her when the embassy calls. As you might expect, the presence of a weird girl from Minsk trying to use the family so she can flee to Chicago leads to an increasing number of complications, not all of them comic.

In the best tradition of Eastern European literature and cinema, Zhuk tells a tale of desolate realism colored by farcical and absurdist elements (think Good Soldier Svejk or Milos Forman). Her film is set at a time of turmoil in Belarus, as the fledgling post-Soviet democracy succumbed to dictatorship. This ethos is mirrored in Zhuk’s protagonist, a young woman faced with a bleak future if she doesn’t make a run for it, and quickly. In telling her story Crystal Swan makes astute use of mid-1990s iconography; pre-digital cameras and phones (including phone booths), large posters on teenagers’ walls, cassette mix tapes handed from person to person, VHS tapes that jam in the VCR, and a pervasive, almost repressive, sense of materiality. It’s as if the accumulation of mundane objects provides an antidote to the wretchedness of everyday life. When these objects break down or lose their allure our heroine is forced to seize other possibilities.

As the film charts its course from the ironies and absurdities of the opening scenes to a bracing grittiness, it makes no guarantees for Velya’s successful escape nor for her happiness if she does. Darya Zhuk made her own successful escape and is now based in New York City, where she attended Columbia University, and Crystal Swan reflects memories of her own immigrant hopes as inextricably mingled with the uncertainties of forging a new life in a strange country.

Watch Crystal Swan Director Darya Zhuk.

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