The Bottom Line » Arts & Reviews

Tibetan Sand Mandala at the University Art Museum by Jennarose Manimtim

Student Admin — Thu, 30 Apr 2009 02:53:56 +0000

Before you even walk through the glass doors of the UCSB Art Museum you hear a constant “chingchingchingchingchingching,” like someone running next to a wire fence with a stick in their hand. The sound only increases upon entrance and goes on to completely encompass you, as it does the room. It’s not annoying however, it feels as if the noise was meant to be there, as part of the space itself. There’s a sense that the noise should stop; all of the monks would put their hands down with the patterns in the sand incomplete, and all the atoms in the air would also stop moving.

The University Art Museum is filled with people who came to witness the traditional Tibetan sand painting ceremony being performed by skilled, patient monks clad in red robes as bright as the sands they paint with. The quiet, diligent monks from Drepung Loseling Monastery began their work in the UCSB Art Museum on Monday, April 20 and ended on Saturday, April 25 when the piece was ceremoniously destroyed and the sand returned to nature. The image they created, a mandala, is rich in symbolism and the act of its destruction is just as fraught with meaning. The image is a representation of the universe and the dismantling ceremony is a reminder of the evanescence of life.
The entire ceremony of creating the sand painting and then destroying it was done for the “Toward Enlightenment: the Sacred Art of Tibet” exhibit, which will remain for all to visit until June 14. The presentation was done in conjunction with the visit of His Holiness the 14th Dalai Lama’s fourth visit to the university at the Thunderdome on Friday, April 24. The exhibit’s presentation was organized by the Rubin Museum of Art in New York City in conjunction with the University Art Museum.
As you walk through the exhibit, drifting past hanging frames of other mandalas, in the back is a station with another sand-constructed mandala. In this room there is a mandala do-it-yourself station, and all are invited to try, even children. Available are the same type of tools the monks used, along with similar colors used on the real mandala in the other rooms. Instead of monks in red stroking a thin metal rod against a long narrow funnel, are normal hands. The images on the art framed and hanging on the walls are difficult to understand for the untrained eye. Only those with proper education and prior understanding of the images, culture, and symbolism could fully comprehend it.
Even if they were difficult to digest, the beauty of the numerous images in the exhibit were easy to admire and appreciate. The monstrous, twisting forms could be creatures or gods, but were nonetheless representatives of a culture that might be different or difficult to understand, but still deserving of respect. The very presence of admirers standing before the glass panes support the notion.
If your eyes grew tired from staring at the grains of sand falling from a narrow metal funnel, very much like a piece of paper immature students would roll up to create flimsy horns, the bright colors against the wall drew your eyes to something different. Against the dull white walls stood a table with a picture of the Dalai Lama framed, and surrounded by objects and instruments just as colorful as the sands that create the mandala. The walls of the room in which the monks were working were all white, but like the sound of the “chingchingchingchingchingching” from the monks’ metal paintbrushes filling the space, the colors seemed to make the entire room a rainbow of bright, vibrant colors. Just as you breathed the sound of the rod rubbing against the funnel, you breathed in the colors. The table with their bowls of dyed sand were like a large paint palette. The monks themselves with their bright robes were part of the art. With viewers watching, having the sound fill their ears, the colors fill their eyes, and the ideas fill their minds, everyone and everything seemed to be part of the picture — the big picture.

USEU and Homies Unidos Screen ‘Hijos de la Guerra’ by Jennarose Manimtim

Student Admin — Thu, 30 Apr 2009 02:53:11 +0000

Editor’s Note: This article originally incorrectly stated that the film screening was hosted by Hermanos Unidos. In fact, Homies Unidos, a non-profit gang violence and prevention oganization, presented the film, and the event was hosted by UCSB’s Salvadoran Student Union (USEU). Hermanos Unidos had nothing to do with the screening.

MS-13 is not an updated version of MSN Messenger; its Mara Salvatrucha, a gang that began in El Salvador. Yet the short acronym stands for more than a group of misfits, outcasts, and rebels in a society. Put a few guns in the hands of a group of ruffians and you still only have a minute idea of the gang. MS-13 soon penetrated the American border, taking root in Los Angeles and spreading all over the country.
UCSB’s Salvadoran Student Union (USEU) organized a screening of “Hijos de la Guerra” on Wednesday, April 22 in the MultiCultural Center by Homies Unidos, a non-profit gang violence and prevention oganization, to inform the public of gang culture. A large crowd showed up for the film and stayed for the discussion panel afterward. Both the effort put into organizing the event and the turnout it generated were immense; and likewise the movement to stop gang violence will have to be tremendous. It will take more than what is being done now by the government, by society at large and by individuals to combat MS-13. But education through the screening and the discussion panel are a start.
The gang problem is more than just bored kids causing chaos in the streets. Nor is the issue is simply about cleaning up our streets; it’s a war against gangs and Homies Unidos is taking up arms by providing after school activities for kids that are susceptible to joining gangs. In some situations with immigrant families, the parents are struggling just to make ends meet, and thus usually have to work more than one job taking valuable time away from being spent with their kids. Without attention and affection in the house, the kids look for it elsewhere, and unfortunately find it in gangs. This is where Homies Unidos comes into play. They provide an atmopshere of acceptance and emotional support that may otherwise be absent in other aspects of these childrens’ lives.
Guns and gangs might make a Hollywood thriller, but put that same camera in the real world, and the violence becomes a tragedy. Guest speaker Alex Sanchez, Executive Director of Homies Unidos was frank, yet completely correct, when he advised prior to the showing to be prepared for a “roller coaster of emotions.” The makers of the film were not hesitant to show violence and gore. Sanchez commented on the graphic quality of the documentary, saying that its function is to make us think and ask why; “Why do we let this happen?” Asking this convicting question is unavoidable when watching this documentary, because the battleground against violence and gangs is in our very own backyards.
The filmmakers also documented the measures the government took in attempts to quell the situation. For example, the Mano Duro approach featured in the film, was a situation in which the police were authorized to make arrests on the basis of stereotypes: baggy clothes, gathering in groups, shaved heads, tattoos, etc. This method proved to be counter productive and even worsened the gang problem. It all seems so hopeless.
After asking “Why?” viewers are prompted to ask “How can it be fixed, even though nothing seems to work?” One of the interviewees in the film was an ex-gang member who had been rehabilitated, and was heading in the direction of improving himself and his community, but was shot in front of his house two months after filming had wrapped. Everyone in the audience gasped in shock, reflecting the impact of the film. “What is there to live for?” the interviewees repeatedly ask the camera. All seems lost.
Homies Unidos, however, thinks differently. Something can be done, such as educating the public. Just watching this film and becoming more aware may be a minuscule step, but still a step. The gang problem is more than we think it is, and the repercussions are greater than we imagine. As the film concludes, the screen turns black and the problem seems to get darker, but the viewer is also left in a state of reflection asking, “What am I going to do about it?”

Sacks’ Appearance in Campbell Lacks Charisma by Melissa Nilles

Student Admin — Thu, 30 Apr 2009 02:52:31 +0000

On Wednesday, April 22, renowned author, psychologist, and neuroscientist Oliver Sacks delivered a much anticipated lecture to a sold-out crowd in Campbell Hall. I jumped at the chance to get tickets for such a lecture, primarily because I had read Sacks’ most recent novel, Musicophilia, regarding music and its various associations with humanity, psychology, and the brain. Curious about the anecdotes this captivating author would reveal to us about his work with patients through the years, I took my assigned seat and waited patiently. Though I sat close to the back door, row X in fact, I was excited for the chance to finally hear and see such an influential man in person.
Looking around Campbell before the lecture begun, I noticed a sea of white and gray hair rippling throughout the theater. I began to feel like a youth minority in the audience. I knew I wasn’t the only student interested in such a lecture; many friends spoke to me previously of their frustration in arriving too late to purchase tickets for the sold-out show. Had older adults, with their careful planning and real-world jobs, robbed us of the chance to see such an important figure in the field of psychology?

For a brief moment, it seemed they had, but ultimately I considered the lecture to not be worth attending after experiencing it myself. To all you disgruntled students who didn’t attend: Do not regret waking up late, forgetting to bike to the Associated Students Ticket Office with the correct amount of change, and ending up with a window slammed in your face Wednesday morning labeled “SOLD OUT.” You lucky bastards did not waste your Wednesday night like I did.
The night began with two introductions from the Arts and Lectures staff, giving an overview of Sacks’ work for those unfamiliar with his prestige. Apparently, Sacks is considered such a unique and ground-breaking figure in academia that Columbia University employs him as a cross-departmental professor “artist.” Afterward, Sacks took the stage to uproarious applause. His famous white beard and glasses framed a mostly expressionless face.
Sacks began to talk, his voice marked with a soft British accent and slight sonorous tone. He said he would focus on visual hallucinations, particularly those of blind patients. As expected, he began to reveal details about a patient of his, Rosalie, who starting having visions. The intriguing aspect of this case was the reality of her long-term blindness. Sacks stated that she was not psychotic, or delirious; rather parts of her brain were projecting visual hallucinations of strange and atypical scenes where people would walk around in “eastern dress.” He described her condition as Charles Bonnet Syndrome. In Charles Bonnet Syndrome, which was recently discovered, blind patients experience frequent visual hallucinations, as if watching a movie inside their heads.
Sacks referenced another patient with similar hallucinations and symptoms. And another. And another. And here is where I began to nod off. Seriously.
One of the potential reasons for my disinterest was that the lecture was supposed to focus on music and its powerful link to the human experience, at least according to promotional fliers and several other people who attended the show. Did this visual hallucinations theme pop out from nowhere? I sympathize for those afflicted by the condition, but I’m certainly not as interested in the topic as I am in music, and I would not have attended the lecture had I known it would have been about such a subject.
Another reason I found myself drifting off to sleep was that Oliver Sacks just wasn’t very compelling, since he spoke without any vocal inflections. Despite possessing an arsenal of potentially fascinating material, Sacks managed to make his lecture mundane and monotonous. I can’t believe I’m saying this, but Oliver Sacks bored me to sleep in a lecture I paid to be at, even though I’m a psychology major who has read his book.
After the lecture finished, there was a question-and-answer session with the audience. Unsurprisingly, many members of the audience asked questions about music, probably duped like me, into coming to a show that wasn’t actually focused on music. Sacks was generally disappointing and unscientific with his answers. He dismissed quite a few questions as pointless or beyond his expertise. To my surprised delight, he did answer a question about phantom limbs and reorganization of bodily spatial control very eloquently and knowledgeably.
To my overall disappointment, Sacks was a rather dull and disreputable speaker, with lots of anecdotes but little scientific basis or analysis backing up his statements. Though in my opinion he is lacking intrigue as a speaker, his novels are certainly much more fascinating than actually hearing him speak in person. Perhaps leaving that level of text between the author and the eager consumer is a necessary step in the process of marketing the famous Oliver Sacks and his treatment of various human psychological phenomena.

Review of Coachella 09 by Rebecca Bachman

Student Admin — Thu, 30 Apr 2009 02:51:44 +0000

The experience of each of the 50,000-60,000 people who attended Coachella over the three days this year (April 17-19) was tremendously distinctive. The adventure of each individual depended on a million different variables, including who you were with, what music you’re into, how you function in crowds, what shows you attended, how distracted you got by all the really cool sculptures, how much money you brought, and what drugs you were on. And that’s where magic comes in: at Coachella, you can do anything.

Perhaps the most widely known fact about this year’s Coachella festival is that Paul McCartney headlined it. But for the average attendee, that was only a tiny aspect of the day. By the time his performance came around, most people were so exhausted from all the other stuff they did that day that they didn’t go. Day 1, Friday, April 17, included many singer-songwriters in addition to the expected large variety. Performers ranged from Leonard Cohen and The Black Keys to energetic Crystal Castles, Girl Talk, and The Ting Tings. People Under the Stairs, an L.A. group, was the unique hip-hop performance of the weekend. A stand-out performance of the day was Beirut, who offered an outstanding presentation of brass: trumpets, trombones, and a French horn, along with a variety of other instruments ranging from a ukulele to a baritone sax. A learning experience and lesson in acceptance came on Friday in the form of Conor Oberst and the Mystic Valley Band. Conor Oberst’s new band is just that: new. It is not Bright Eyes, it never plays Bright Eyes’ music, and does not even remotely embody the charming Bright Eyes spirit. A highlight in the Electro tent came in the form of Australians. The Presets had everybody jumping around, including a proud Australian who currently resides in I.V. and was inspired to stand on his friend’s shoulders while waving an enormous Australian flag around and desperately trying not to fall on top of jumping fans. The day came to a close on the main stage with Paul McCartney’s much anticipated performance, which solely attracted a significant number of fans that cared about nothing else. These Coachella-goers generally stood out, and were at least a decade older than the average person, but McCartney’s performance nonetheless got everyone’s attention. Whether it was because it was the only thing still going for about an hour Friday night or because McCartney filled the second half of his set with drunken Beatles hits, he certainly had the main stage lawn packed. The day predictably came to a close with a dramatically drawn out “Hey Jude,” complete with the waving of literally thousands of light-up devices.
The second day of the Coachella Festival, Saturday, April 18, was just as filled with variety and liveliness as the first. A stand out performance was Amanda Palmer, a Boston native who plays a mean piano, has a friend named Zoe who plays a mean cello, and is generally inspiringly badass with her wine and controversial lyrics. After a considerable amount of wine, she epically ended her performance with an impressive and heroic crowd surf from the stage to the very back of the tent, where she magnificently performed “Creep” by Radiohead on the Ukulele. TV on the Radio offered an amazing performance later in the day on the main stage, followed by Thievery Corporation, who inspired people to dance to their unique songs, including their beautiful rendition of “Lebanese Blonde.” Saturday also enjoyed performances by Cloud Cult, Gang Gang Dance, James Morrison, Liars and Dr. Dog, to name only a few. The Bloody Beetroots and Fleet Foxes were other popular Saturday performances. Saturday night was torn between the day’s headliner — The Killers — on the main stage and MSTRKRFT in the Electro Tent. The Killers performed many songs off their newest album but did not neglect their older, more classic crowd pleasers like “Somebody Told Me” and “All These Things That I’ve Done,” which was the perfect ending to the main set before The Killers’ return for a three song encore. MSTRKRFT was the last band playing, pumping energetic, jump-inducing electro into the exhausted-but-not-quite-finished crowd. Their remix of D.A.N.C.E. was epic, as always, but complaints were made that they spent too much time on too many covers and not enough time showing off their own talent. Either way, MSTRKRFT had the Electro Tent filled till late in the night despite the long, hot day that preceded their performance.
Those who survived the first two days of Coachella only to brave the third are to be congratulated: not only did Sunday happen after the gruelingly incredible Friday and Saturday, but it was the hottest day of three brutally hot days, with temperatures teasing to climb to 100 degrees. Sunday, April 19 was headlined by The Cure, who had the privilege of gracing Coachella’s crowds with the final performance of this year’s festival. Some of the more popular performances on Sunday included the Yeah Yeah Yeahs, who returned from last year, Lupe Fiasco, and Jenny Lewis. A unique and unexpected aspect of Sunday’s line up was Public Enemy, who attracted and engaged a crowd despite their unusual genre compared with the rest of the line up. In true Coachella form, the outstandingly peaceful and beautiful Peter Bjorn and John set was contrasted successfully with My Bloody Valentine, who were quite possibly louder and angrier than any other band of the weekend.
Since the first hint of Coachella with Pearl Jam’s 1993 protest show (Coachella’s location is obscure; Pearl Jam wished to protest the popular Ticketmaster-controlled venues that were all in big cities at least five hours away) and Coachella’s first official festival in October of 1999, the festival has only grown. Somehow it has managed to hold onto its unique crowds and line-ups — perhaps a sign that the first slap in the face to traditional concerts in big cities in ’93 was a success; only dedicated fans and independent-minded performers are willing to brave the remote 100 degree desert weather in the spring for the exhaustingly and extraordinarily exhilarating festival.

Famed Economist to Give Lecture at Corwin Pavilion by Claire Wei

Student Admin — Thu, 30 Apr 2009 02:50:39 +0000

Robert J. Schiller, a well-known economist and professor of finance at Yale University, will be present his lecture, “Animal Spirits: How Human Psychology Drives the Economy” today at 2:30 p.m. in Corwin Pavilion.
Schiller predicted in 2000 that the stock and housing markets would dramatically depreciate over the course of the next few years. He talks about his predictions in his renowned book, Irrational Exuberance, which analyzes and speculates other aspects of the economy along with the stock and housing markets. Schiller has also written Subprime Solution: How the Global Financial Crisis Happened and What to Do about It, and co-edited Animal Spirits: How Human Psychology Drives the Economy and Why It Matters for Global Capitalism, which was published in February.

His lecture today will delve further into Animal Spirits, and is the 51st Annual Carl Snyder Memorial Lecture, named after the famous economist who died in 1946.
Schiller has been credited with many contributions to the country, and has been a research associate with the National Bureau of Economic Research since 1980. He previously served as Vice President of the American Economic Association and President of the Eastern Economic Association.
Anyone interested in knowing more about the housing market or concerned about the future of the economic state is encouraged to attend the lecture, and seating is limited. Reservations can be made by calling the Department of Economics at (805)893-3569.

‘Observe and Report:’ What Mall Cop Movies Should Be by Emilia Dellemonico

Student Admin — Thu, 16 Apr 2009 04:04:52 +0000

I went into the theater not knowing what to expect from a movie that involved mall security. “Paul Blart: Mall Cop,” released earlier this year, seemed just as colorless and generic as the setting it takes place in. However, the comedic talent of Kevin James and the intriguing previews piqued my curiosity enough to give this movie a shot and fortunately, I was not disappointed. For some reason, the formula of a shopping mall’s stale environment and psychologically defunct security guards proves to be a hit with audiences. Whereas “Paul Blart” was a squeaky clean family movie, “Observe and Report” earns its R-rating, with its rampant drug use, violence, twisted characters, and of course plenty of nudity.

In “Observe and Report,” the story centers around head security guard, Ronnie Bernhardt, played by Seth Rogan (“40 Year Old Virgin,” “Knocked Up,” and “Pineapple Express”). In his attempts to catch the eye of a shallow makeup counter attendant, played by Anna Faris, he becomes determined to prove his worth as a security guard. He begins by working to apprehend a wanted exhibitionist in the mall parking lot, and later tries to become a police officer. With his ability to shoot targets and beat up gangs of drug dealers, Ronnie is a person most of us would not want to be friends with in real life — but can’t help but find fascinating on-screen.
The storyline itself provides ample opportunity for quick and effective comedic jabs, but the real art in this film comes from the characters; the movie never completely removes all of the darkness from the funny. Many points of the plot start off as innocent setup, but the abrupt turnarounds shock the audience. While Ronnie’s need to prove himself initially seems harmless, it becomes apparent just how twisted his perception of the world really is. After he stops taking his “pills,” the whole feel of the movie starts to change. It dives into a world where justice is swift and often violent. Rampant scenes of shocking amounts of drug use and physical violence leave you wondering how these security guards weren’t fired and taken to court long before the finale.
While some people will laugh at the scenes showing what two drugged up security guards are willing to do to a bunch of unsuspecting mall patrons, others may find these scenes too political to be humorous. If you aren’t the type to find base behaviors and attitudes funny, you probably shouldn’t see this movie period. This movie thrives on the least appealing qualities of a variety of people; from the shallowness of the makeup girl, to the delusional sense of power Ronnie feels he harnesses.
“Observe and Report” is much better than “Paul Blart” at handling a plot revolving around mall cops. Though “Observe” often reveals the darker sides of people that seem normal at first, it still manages to capture a lot of humor in between, something that “Paul Blart” couldn’t even do.

“Until the Very Last Moment”: the End of the World by Jennarose Manimtim

Student Admin — Thu, 16 Apr 2009 04:04:07 +0000

If “Until the Very Last Moment,” were the only film to watch at the very last moment before the end of the world, those in Isla Vista Theater 2 on Thursday, April 2 probably wouldn’t mind watching it again — with pleasure.
The short films showed prior to the main event were all worthy of the big screen: humorous, yet satirical, simple in technicalities (most of the films were taped on campus) yet thematically complex and even polemic.

Don’t worry, conservative, evangelical Christians. There’s no need to be offended. Nor is there reason for atheists, agnostics or non-church goers to overfeed hungry egos. Yet let none be misled. “Until the Very Last Moment” is as far from apathetic and indecisive as it is from being zealously radical. Steven Ray Morris fuses both opposites into a stimulating, thought-provoking, humorous film about living and hoping. Viewers are forced to ask themselves what they would do if they were in the places of any of the characters, especially the protagonist, Johanna, who has to decide whether or not she will believe the world is going to end. The film seems to have a closer in that it shows whether or not the world does come to an end on the anticipated date, but it does not allow viewers to leave with a sense of closure. Viewers still have to close the question for themselves without any religious enthusiasts or firmly disbelieving peers.
The most entertaining feature of the film is watching all the familiar scenes pass through the screen: the UCen, the lagoon, Ellison Hall, IV, etc. It’s like playing “I Spy” or a guessing game while you watch. With scene change, you can’t help but try to guess where the characters are: are they on campus or are they in IV? The film itself is funny, but the familiar setting adds a differently level of humor and entertainment. While the camera walks along with characters as they move through campus or the iconic neighborhood of IV, viewers will find themselves asking, “I wonder if I’ll see myself,” and saying, “Look! That’s where I’m going to live next year!” or, “I could have sworn I saw those hippies dancing around!”
One student, after watching Ryan Turner’s short film, “The Naked Guy,” which ended up on the winning list of the 10-10-10 Student Film Competition at the 24th annual Santa Barbara International Film Festival, commented, laughing, “I’m never going to look at the elevators at Ellison the same way again.” The uncanny familiarity adds a special level of entertainment that only students or residents of IV can experience. Students will share the inside jokes of the characters and those behind them.
Although many of the short films shared the same settings on campus and in IV, each film was unique it its own way and some did not take place in familiar settings. The first, “The Flute Player,” written and filmed by D.A. Metrov, another multi-talented filmmaker, screenwriter, and artist, was not set in either campus or IV. His film is about a grouchy priest who ends up finding his own redemption from a mentally challenged and troubled young man, displaying the thought-provoking thread that runs throughout each of the films screened. David Finkelstein’s film, on the other hand, was not set in any definite location. His film is created entirely from works of art. The sound in the background sounds like either fire crackling, or pen scratching on paper. His work can be considered the epitome of mixed media, consisting of paintings, photographs, both old and new, and moving pictures — literally.

“The Naked Guy” appears to be complete nonsense, but within the humor of the silly stories of an older man getting stoned at parties filled with young people and men mistakenly taken for women, is the comment on common voyeurism. The theme is faintly reminiscent of Cristina Peri Ross’ short story, “The Fallen Angel” (“El angel caído). Regardless if it be a young, male fellow university student running around in a blue wig and a full bridal dress chasing a another male student, this time more awkward with arms flailing, as seen in silent film, “The Internet Girl,” submitted to the real Loud Film Festival two years ago, each film has it’s uniqueness and contemplative complexities.
It’s no wonder that IV Theater 2 was filled to its ultimate capacity. Many, if not most, were related by blood or mutual association with the cast and crew, but those who managed to find a seat in the tiny theater might have felt left out, knowing that they are not part of any of the networks, but didn’t regret attending.
Each of the short films were just as witty, comical, and unique as “Until the Very Last Moment” in their own particular ways; each “must-sees.”

‘Dance Dammit!’ Showcases Choreography of Student Dancers by Rebecca Bachman

Student Admin — Thu, 16 Apr 2009 04:03:33 +0000

To even the most inexperienced and unappreciative viewer, “Dance Dammit!” produced by UCSB’s own Dance Company on April 9-11, was inescapably intriguing, exciting, creative and exhilarating. Not only did the dancers put in countless hours to learn, practice and perfect their performances, but all the dances — save for the final piece — were choreographed entirely by four talented dance majors who are graduating this June.

The first piece, “Simplex Munditis,” was immediately engaging as dancers rolled out from behind the curtains pushing big, white cubes toward center stage. They constructed a tall contraption to dance behind and around before destroying it and re-using the cubes as versatile props. Lauren Serrano, a sophomore dancer, expressed how fascinating it was to explore the various ways she and other dancers could use their bodies to move the cubes: using the their legs to lift the cubes over their heads and to other dancers. Choreographed by Michele Wong, this piece had seven dynamic dancers, intense costumes, and vibrant, vigorous movement, all to the tune of energetic electro Ratatat.
The second piece, A Plexus of Prose, choreographed by Katie Johnson, was a more subdued, ballet-like showcase of the dancers’ talent. Five dancers in beautiful, flowing skirts reminiscent of medieval costumes began with subtle movements to strange, obnoxious sounds. As the music progressed and increased in complexity and palatableness, so too did the movements of dancers. It culminated to a stunning and lively detailed coordination of spinning and twirling all enhanced by the flowing spirit of the delightfully, colorful material of the costumes.
Katrina Lee choreographed Surge, which was packed with symbolism that audience members could interpret in various ways. It began with a lone dancer, Mia Orozcom, all in white, in front of a long, flowing, vibrant red cloth held up by eight unseen dancers. They slowly and meticulously emerged from behind the red cloth to reveal that each of their costumes had a smaller red piece of material. Orozcon was marked as the unique outsider influenced by the uniformity of the rest. After an outstanding duet with Orozcom and Ashley Bonner, Orozcom’s character seemed to earn her piece of flowing red fabric, and the dynamic changed as the previously powerful group was now influenced by her apparent new power. All of this was to the captivating tune of rhythmic Japanese music.
Maggie Jones’ Forfeit Forgetfulness was full of vigorous intensity to re-engage the audience after intermission. The strikingly creative and powerful dance featured four outstanding dancers: Brittany Amoroso, Sabrina Johnson, Lauren Serrano and Myra Joy Veluz. They were grouped in duos in front of portions of metal wall, hanging near the front of stage right and stage left. The characters experienced similar traumatizing events despite being physically separated. These events were characterized by a series of painstakingly organized but chaotic convulsions and the animated expressions on the dancers’ faces. For the first portion of the dance, the background consisted of dancers pacing from curtain to curtain, reading newspapers. The duos were inspiring and passionate throughout the captivating dance.
The final piece was reminiscent of an aquarium, complete with connected, graceful fluidity of the dancers, the music and the relaxing lighting. Marimba was choreographed in 1976 by Lar Lubovitch, a pioneer in the choreography of dances to minimalist music. The costumes and actions of each individual were simple, but collectively they gave the impression of an elegant school of fish — green, blue, brown, and yellow — with momentous movements governed by rippling effects: the actions of each dancer affected all of the other dancers. Choreographed to peaceful yet lively music, the trance-like piece successfully absorbed audience members and dancers alike.
UCSB’s department of Theater and Dance put on an extraordinarily impressive performance which would not have been possible without the infinite dedication of tireless dancers and the immeasurable creative efforts of choreographers, all of whom are busy students with an inspirational level of enthusiasm for dance.

Former British Prime Minister Tony Blair to Speak in Santa Barbara by Eric Moylan

Student Admin — Thu, 16 Apr 2009 04:02:14 +0000

Former British Prime Minister Tony Blair will address UCSB students and the public this Monday at 8 p.m. at the Arlington Theatre on State Street.
The talk, which was organized by UCSB Arts and Lectures, will see the honorable Blair discuss his goal of increasing interfaith understanding. Blair will also offer his view on the role of faith in the modern world.

“It’s going to be an honor to have him,” said Baira Palomar of the Arts and Lectures program. “It should be really big.” Ticket demand has already been very high for the event and Palomar believes the talk will compliment the upcoming lecture by the Dalai Lama. Both will be heavily based on faith.
The topics to be discussed are particularly close to Blair as he is the current Middle East envoy for the U.S., the U. N., Russia, and the European Union. One of the primary roles of this position is the preparation of Palestine for statehood, as well as improving the rights of Palestinians. In 2008 The Tony Blair Faith Foundation was also founded with goals of expanding his role as the envoy to the Middle East to all other areas of the world.
Blair served as the British Prime Minister from 1997-2007 and led the Labour Party from 1994-2007. Under his leadership, the party adopted the term “New Labour.” Many of the old unpopular policies were abandoned in an attempt to reconnect to the British public. Blair guided the party to a majority government in three general elections after the Labour Party had spent 18 years in defeat.
During his time in office, there were many high and low points. Chief among Blair’s achievements are the pivotal role he played in the Northern Ireland peace process, the introduction of a minimum wage in the U.K., and the establishment of the Scottish Parliament.
Perhaps the greatest criticism of Blair’s time in office will be his support of the war in Iraq. The public began to disapprove of his leadership and even call for his resignation. He eventually stepped aside in 2007, allowing Gordon Brown to become the new Prime Minister.
This talk will mark Blair’s first appearance in front of a UCSB audience.
As of press time, there were a limited number of student and general admission tickets available from Arts and Lectures.

Portugal’s Rui Zink Visits Santa Barbara by Jennarose Manimtim

Student Admin — Thu, 05 Mar 2009 06:19:30 +0000

“The world is in danger of collapse.” Yes, you heard right. According to Portuguese writer Rui Zink, “the world is in danger of collapse due to the weight of literature.” Zink’s latest work, which he presented during a conference organized by the UCSB Department of Spanish and Portuguese on Saturday, Feb. 28, argues this sobering idea. Of course, he was not being literal in his descriptions of a bug, or an epidemic of writing that is running through the world and will lead to the extinction of all humanity. In his lecture titled, “The Writing Bug: A Reading… And Then?” he gives a reading of his work, in which the speaker speculates about the end of the world due to poor literature and offers advice on how to be a successful writer.

Luckily, Zink’s reading, and his personality, did not let his presentation become a lecture with all of the boredom, counseling, or sermonizing often associated with such “lectures.” Listening and watching him as he read his piece, one got the impression that he is someone who is delightful to spend time with. The audience laughed with his disdain for the French and his end-of-the-world piece blaming the act of writing. Even when gently reminded of his harsh choice of words and opinions, he said, “True, but not as fun.” If he was not standing in the front of a conference room behind a podium, he could make people laugh even more easily.

His piece about the end of times is actually about the act of writing and reading. Following his reading, he gave a few points of advice on those actions. “Experience, dreams, and copying” are his three ingredients for concocting the perfect piece of writing. He mentions very practical views that make sense for anyone, whether an academic or a simpleton, but that would not be normally considered as profound or fundamental for writing masterpieces.

“Don’t try to be imaginative,” he says, devaluating every pebble of advice society has ever heard on writing. Don’t “use your imagination.” With his down-to-earth personality, however, he does not elevate himself just because he has achieved acclaim for “not being creative.” His explanation makes it possible for everyone to achieve, and going further, it is something that everyone already does, or at least understands. “It’s like telling someone to not be nervous and they end up getting nervous.” What seems so profound, breaking the boundaries and conventions of thinking are actually verbalizations of a true aspect of nature and reality. If that is what writers are supposed to do, Rui Zink does just that. And he does it exceptionally well.

Listening to him make his remarks and read his own words stirs curiosity and desire together, producing the urge to find and read more of his work. If his piece about the end of human existence as a result of everyone writing and doing nothing else is such a joy when read aloud, reading it in one’s own hands can be expected to be just as intriguing. And if that piece was so endearing, what about his other works?

Many of his works were written in collaboration with other writers who he says are very different from him. As was mentioned, one of the three tools he lists for writing includes copying. This does not mean, however, to follow just anyone, especially those who conform after your tastes. Instead, he encourages the complete opposite. To copy someone with the same style as you will lead you straight to what you are trying to avoid: unoriginality. Copying someone who writes with an entirely different style will produce unprecedented works for the writer, something unexpected for audiences. Zink himself has written over 20 novels so far; Dávida Divina (2005) won the highly esteemed Portuguese Pen Club Award.

His encouragement to meet and mingle with different kinds of people who are dissimilar may explain his support of the growing graphic novel genre. Sadly, the graphic novel is still in the process of becoming a legitimate suite of literature. However, if Zink, a “normal-looking” man in plain dark brown shoes, plain trousers and a matching, neutral brown blazer, who is in fact a writer himself, says that it is literature, it must be.

At first glance, Zink does not appear to be someone who would be a supporter or even a professed fan of the fresh, young, new graphic novel, but that is what makes the genre even more alluring. Then again, with the personality he exudes, a suit and tie do not sound like something that could attempt to embody his character in the first place. If an author, a reader and maker of literature says it is literature, a graphic novel must be literature.

He describes the genre as “poor man’s cinema.” The graphic novel does more than films of Hollywood; the writer and the artist are one. Playing with silence is also a unique characteristic of the new breed of literature, he continues. Even for those who do not usually read comics or even dissociate them from literature will eventually find themselves wanting to read the latest graphic novel, watch the movie based on it, or start petitioning for an entirely new specialization or department dedicated to graphic novels.

In Zink’s mind, literature becomes something more than just words, paragraphs, pages, and chapters that invigorate the mind, heart, soul and spirit. His viewpoint is the product of his experience delving his hands into the murky waters themselves. “Literature can tell the future, because it is there,” he said. Words, in any language, transgress the boundaries of their pages, and even time and space, by being able to tell the future.

He described this power of literature by comparing it to the phenomenon of Kafka’s Metamorphosis being autobiographical and at the same time, applicable to everyone’s biography, even the everyday, normal person. Kafka’s novella can tell everyone’s story because it is everyone’s story. The augury of literature is the same; it sounds so simple, yet so profound. Truly, Zink’s analogies make the simple profound and the profound simple.

Portugal is very fortunate to have someone like Rui Zink to call its own. We are even more fortunate to have him visit UCSB and offer advice, inspiration and belly-rolling laughter with all his jokes on us as humanity.