Category: Arts

Categories
Arts

Fall fashion: Turning your own style into a trend

Graphic by Valeria Cori-Manocchio.

A few fashion tips to let your “personality” style shine through this fall season

Developing a personal style seems easy enough. It begins by pairing that shirt you saw plastered all over Instagram with your favourite pair of distressed skinny jeans, and slipping into those pearly-white Adidas running shoes—until you step outside and realize you can’t tell yourself apart from the five other people wearing the exact same outfit.

Don’t panic or sprint to the nearest fast-fashion outlet for the latest piece you’ll wear once. Instead, think about what you would wear if trends weren’t constantly changing— if you could embody your personality in an outfit. What would you choose to wear if you were to express elements of your personality through your clothes?

Here are some ideas of how to transform fleeting fall fashion into autumn celebrations of self.

1. Self-expression doesn’t have to break the bank

“If [a piece] is $300 or $5, it might not always fit right,” says Laura Endacott, a fine arts professor who teaches fashion history at Concordia. To minimize expensive clothing costs, Endacott says having items tailored to fit properly is sometimes overlooked, but necessary to maximize a wardrobe. “You can buy [clothes] and spruce them up [by] tailoring them to [your] body type,” she says. Endacott also encourages the ecological and typically cheaper concept of thrifting.

2.  Fashion or Function? The choice is yours

According to Endacott, “the body is the sight for many things.” Someone’s personal style may be expressive of the current values of their time or linked to an activist movement—like the hippie, flower power years of the 1960s to the 1970s punk age.

However, not everyone is looking to make a bold statement with the way they dress. Endacott acknowledges fashion as a celebration of self, but also a functional medium, depending on personal preferences. In other words, you could streamline your wardrobe into a collection of functional pieces, as long as you enjoy what you are wearing.

As a communications student at Concordia, the founder of the menswear fashion blog, Style Attorney, and the owner of a custom made suit business, Claudiu Pascalau advocates a reductive eye when it comes to selecting clothing.

“Less is more in fashion,” says Pascalau. He describes personal style as a “way of expressing yourself,” and an interaction with the rest of the public and their tastes. As a menswear blogger, he finds himself in the same predicament many of us do: seeing many different styles that he wouldn’t necessarily wear to express himself, but can appreciate.

3. Don’t forget about classic items that have left us with lasting impressions

Pascalau encourages everyone to find brands or styles they never get tired of wearing. By taking the time to discover the multitude of clothing, footwear and accessories available, you’ll soon find your method to manage quick-changing fashion trends.

Endacott advocates building up a wardrobe with classics that have remained in style since their inception, like the little black dress and well-tailored pieces. Pascalau also suggests going for solid colours and good-quality jeans, so when the infamous ‘I have nothing to wear’ mood strikes, you’re well equipped with basic pieces.

Categories
Arts

Montreal Black International Film festival back for its 12th year

Southside with you, which will be screening at the festival, tells the story of Barack Obama’s first date with the FLOTUS to be.

The festival, which runs from Sept. 28 to Oct. 2, puts the spotlight on black talent from home and abroad.

The Montreal International Black Film Festival (MIBFF) is celebrating its 12th year, giving Montrealers the chance to see new, creative and powerful black films from Canada and abroad.

“This is the necessary festival in Montreal. It complements all the other festivals in the city and gives a voice and a platform to artists who otherwise would not have been seen or heard here,” said Fabienne Colas, president and founder of the MIBFF. “It reflects the concerns and the true realities of Black communities from the four corners of the world through powerful films, distinguished guests, master classes, panel discussions, exhibitions and way more.”

The festival, which runs from Sept. 28 to Oct. 2, has a strong line-up of films from all genres, including documentary, narrative feature, and shorts. In addition to the films being presented, there is also a master class on how to break into the film industry as well as the Black FEM’art exhibition, which runs the length of the festival and highlights work from ten young black women in Montreal on the topic of black femininity.

One of the big themes underscored at the festival is that of speaking up. The films, panel discussions and workshops all revolve around this theme of denouncing unfairness and injustice, in one way or another—be it through one individual, or through a story or cause.

The festival begins on Wednesday, Sept. 28 with the screening of Maya Angelou and still I rise, by Canadian director Clement Virgo. This is the first documentary on Dr. Angelou, and chronicles how the events in her life shaped her life, and how her work, in turn, shaped the world around her.

For more information on their schedule and ticket prices, visit their website.

Categories
Arts

Parachutes and politics: New at the FOFA Gallery

Another part of the exhibit examines WWII parachutes. Photo courtesy of the FOFA Gallery

Both new exhibitions encourage viewers to question the world as we see it

Politics as performance art and parachutes as wedding dresses. These two exhibitions at the Faculty of Fine Arts (FOFA) gallery ask us to be open-minded, and challenge how we perceive the world.

Although the two works are very different in nature, they revolve around the same theme of reshaping the familiar. Kim Waldron and pk langshaw both accomplish this in their work using different mediums.

“While these two exhibitions are distinct and have different conceptual frameworks, both [Waldron] and [langshaw] have ambitiously transformed the spaces which they occupy,” said Jennifer Dorner, director of the FOFA gallery.

For her exhibition, Superstar, Waldron documented her experience of running as an independent in the 2015 federal election. The photos, video fragments and portraits featured at the exhibition offer a look into her campaign, which in reality was a year-long performance during which she effectively became someone else. Waldron used her status as a professional artist in order to frame herself as a credible candidate.

Kim Waldron ran for public office while pregnant, a fact reflected in her campaign photos.
Courtesy of the FOFA Gallery

The exhibition toes the line between art and documentary work. To the casual observer, the photos and videos in the exhibition space would seem to document a serious political campaign. Upon closer inspection, however, we see that each piece was part of an intricate performance.

Waldron was pregnant during the campaign, a fact reflected in her posters, as we see her swollen belly. This is a stark contrast to the posters of other party candidates, which Waldron believes reek of corporate branding.

“Women candidates definitely don’t run using such an image, as people tend to focus on trivial things in regard to women, like the outfit she is wearing,” said Waldron. “The fact that I started out pregnant and ended up with a one-year-old baby also became a commentary on the ridiculous length of the campaign.”

The second exhibition, the parachute unfolds: follow the thread by pk langshaw, on the other hand, uses reclaimed WWII parachutes to question how we associate meaning with objects, and how this meaning evolves as the shape of the object evolves. Langshaw is the department chair of design and computational arts at Concordia, and is interested in how garments carry different meanings.

The dresses are not cut or snipped, but reshaped—therefore, they are still parachutes. This exhibition poses interesting questions about the attribution we give to certain materials and fabrics. Accompanying the wedding dresses is also a video and an entire parachute, continuously ruffled by a wind machine in the vitrine.

“Visitors will be inspired by the beauty of these works,” said Dorner. “They will also be provoked to think differently about the social spaces that surround us.”

The exhibitions at the FOFA are ongoing until Oct. 21. The gallery is open Monday to Friday, 11 a.m. to 5 p.m.

Categories
Arts

At this fashion exhibit, it’s okay to feel a little blue

Deep navy dresses line the edges of the Blue Spectrum exhibition. Photo by Jessica Kinnari

Montreal’s Musée de la Mode unveils its brand new Blue Spectrum exhibition

The Montreal’s Musée de la Mode unveiled its brand new exhibition last Wednesday titled Blue Spectrum, which is dedicated to the classic and versatile colour blue.

The exhibition examines both the origins of the colour and its place in fashion history. Featuring pieces from the 1950’s to the present, the displays draw in the viewer with their rich colour and vibrant history. Featuring dresses from designers like Christian Dior and Givenchy, the garments’ elegance and charm is every fashion lover’s dream.

The viewers enter the exhibition through sheer, deep blue mesh curtains. To the right is a long display filled with deep navy evening dresses from multiple decades, with an emphasis on modern silhouettes and shapes. To the left, even deeper navy dresses are seen, though these ones are more suited for the office or daily life. Most of the dresses were donated or on loan from various patrons—some well-known designers like Dior, others lesser-known such as KQK. Each dress has a small plaque that describes its designer, material, age and whom it was donated by.

As you are funnelled along, you come across a tall art piece. Created out of tunics hung from various strings, this suspended installation showcases the unique dyeing techniques that are used to create the various shades of blue. This is one of the many pieces created by young Montreal-based artists studying at various fashion, textile, jewellery and leather work schools.

Indigo tunics suspended from the ceiling display unique dyeing techniques for the different shades of blue. Photo by Jessica Kinnari

To the left of the tunics hangs a flock of origami birds made from old jeans, created by guest-artist Ariane Brunet-Juteau. These birds were inspired by the concept of upcycling old materials in order to create new beauty.

Continuing around the corner you come to the Montreal section of the exhibition. It is composed of four outfits created by Parasuco Jeans, a brand which was founded in the city. The designs include a pair of jeans from Parasuco’s new KLIP line. These jeans feature a new clip style of fastenings to do up the jeans. The section also includes the 2008 Swarovski bustier, which was created in conjunction with Parasuco Jeans and has been displayed at many Swarovski events worldwide.

Once you enter the final room, you are met with a brilliant display of colour. From left to right, the room is filled with dresses that display the many variations of blue—from royal blue to teal to seafoam green. An elegant royal blue is the colour chosen for the beautiful and classic dress designed by Balmain. The delicate piece stands beside a more avant-garde shade of bright blue used for an eccentric Comme des Garçons number.

Everywhere you turn, you are met with the elegance of craft, and the deep and mesmerizing shades of indigo, teal and everything in between.

Fashion, textile and art lovers can explore the exhibition at Montreal’s Musée de la Mode, located in Marché Bonsecours, from Sept. 23 to April 9, 2017. Admission to the exhibition is $6 for students and $7 for adults. You can find more information on the museum’s website.

Categories
Arts

The revolution you didn’t hear about gets its screen time

At a time of questionable politics, music and rap bring a country together to oust a president-for-life

The Revolution Won’t Be Televised takes a look at how a president-for-life was brought down by democracy

The last five years have been politically eventful, starting in late 2011 with the unraveling of the highly mediatized Arab Spring. Every year since has seen its own political movement emerge, notably the Black Lives Matter and the Occupy movements of 2012. In the midst of those political events was a revolution in Senegal, one that was overlooked by the Western media. Senegalese producer Rama Thiaw took matters into her own hands by making a documentary about the political turmoil in her home country.

The Revolution Won’t Be Televised was screened on Sept. 19 at the season opening of Cinema Politica.

It tells the story of the Senegalese rap group Keur Gui that lead a political revolution in their home country. The groups’ members, Thiat (Cheikh Oumar Cyrille Touré), DJ Gardiaga and Kilifeu (Mbess Seck), were tired of the social injustice, the political corruptness, the endless cycle of poverty and the police brutality that plagued their country. Together, they created an association named “Y en a marre,” which roughly translates to “enough is enough.” Outraged, they planned peaceful demonstrations against the upcoming election campaign of President Abdoulaye Wade, a man who had enslaved his people for 12 years without any political opposition. The Revolution Won’t be Televised documents Keur Giu’s actions during the election and its aftermath.

At a time of questionable politics, music and rap bring a country together to oust a president-for-life.

What is highly refreshing about this documentary is its message and overall tone. It’s surprising lightheartedness showcases how commitment and self-sacrifice can reap social change. The interactions between the rappers are funny and quirky, and it is interesting to see a political revolution driven by music. The rappers are inspirational characters, speaking to their peers about how important it is to register and vote. Fans are asked to show them their voting cards during concerts and the group implores them to not sell their cards, a practice that is crippling their political system.

It’s also worth noting how these men completely transform once they are on stage. They become incredibly energetic, and Thiat becomes a Super Saiyan from Dragon Ball Z, based on the look of his hair. Their rapping style is aggressive and conveys the anger they feel towards their government leaders. As shown in the documentary, it is no wonder people took to the street after listening to their songs. Their lyrics are politically charged, including such statements as, “We are the victims of the crisis and true discrimination/I am fed up of this corrupt justice system.” These lyrics come from their song “Coup 2 Geule.”

During protests, the rappers would frequently tell their supporters to project a good image and to respect the policemen by saying “these men are men like us.” Thiat also values education and there is a scene in the documentary of him speaking to a classroom full of university students about the importance of being educated. The trio had no interest in becoming politicians—they just wanted people to not be cynical anymore and to start speaking out against injustice. Defying all expectations, their movement successfully managed to oust the president by encouraging the masses to register and vote.

What is shocking is the lack of media attention this revolution received. When asked about the lack of coverage by the international press, Thiaw said it might be due to the fact France did not want a “black spring” on their hands, and thus overlooked the revolution in Senegal. It is worth noting that Senegal was colonized by the French and gained its independence in the 1960s. According to the BBC, as a rather young country, Senegal has had its share of political unrest, but has been one of the most stable countries in Africa.

Thiaw edited the whole film by herself—the herculean task took her two years. She also did the whole post-production on her own, and the entire film crew was young and inexperienced. This lack of technical knowledge is visible in some scenes but does not take away from the impact the movie has on its viewer. Much like the rap trio presented in her documentary, Thiaw is someone whose determination is admirable. It took Thiaw and her crew six years to make the documentary, and they struggled to find funding since: “[the] cinema industry does not trust women when it comes to technical jobs,” Thiaw said.

Cinema Politica will present 13 politically-charged documentaries throughout the fall semester, and often holds subsequent Q&A sessions with the filmmakers. Cinema Politica’s upcoming documentary is called Seed: The Untold Story on Sept. 26 at 7 p.m in the Hall building (room 110). The film looks promising, it tells the tale of the seed industry and how Monsanto’s monopoly has forever changed the face of farming.

Categories
Arts

Fire and chaos on the rig

DEEPWATER HORIZON, Mark Wahlberg, 2016. ph: David Lee/©Summit Entertainment

Deepwater Horizon tells the incredible tale of the people who tried in vain to cap the well during the 2010 disaster

Facing enormous pressure from the British Petroleum representatives, Rig Manager Jimmy Harell (Kurt Russell) didn’t really have a choice but to give the go to start extracting oil from the well. They were nearly 50 days behind schedule. Two tests had been performed on the 1,500 metre pipe and they had passed, although barely. The team needed to move on to the next well. Little did he know, everything would soon erupt into chaos.

Deepwater Horizon, directed by Peter Berg and written by Matthew Michael Carnahan, is based on the true events of April 20, 2010, when the Deepwater Horizon oil rig erupted into flames, 64 kilometres offshore. Eleven crewmembers died during the disaster, and the fallout included 4.9 million barrels of oil spilling into the Gulf of Mexico, causing the largest oil spill in American waters, according to CBC News.

In the wake of the ecological calamity caused by the oil spill, the loss of life was overlooked—however, the human element of the disaster is the focus of Deepwater Horizon.

The film centers on Mike Williams (Mark Wahlberg), an electrician aboard the Deepwater Horizon, as he tries desperately to flee the rig, helping as many fellow crewmen as he can get to the lifeboats.

Cinematically, the film shows how the rig, which had been dubbed “the well from hell” by its crew, became a literal pit of hell. Rolling smoke, powerful explosions and raging fire took over the rig, assailing the crew, one explosion after another.

Crew on the Deepwater Horizon had to dodge fireballs and explosions on their way to the lifeboats in order to survive.

There are several powerful scenes in the film. The viewer already knows that the disaster cannot be prevented, and yet, the build-up to the calamity adds tension and drama, as well as a sense of foreboding for a disaster we know is coming.

While still at home, Williams listens to a presentation his daughter is going to give at school about her father’s profession. She illustrates his job by shaking a soda can, turning it upside down and driving a metal straw through it. Using honey as the mud substance used to plug wells before extraction, she plugs the metal straw, which acts as a pipe. After she finishes speaking, the soda comes gushing out. While the family scrambles away from the rush of sticky liquid, the camera lingers on the can, and the sounds of fizzing soda are gradually replaced by groaning rock.

One of the main strengths of the film is in how it portrays the characters after they’ve been brought back to shore. After being rescued, the surviving crew are checked into a hotel to wait for their families. As Williams walks into the hotel, shell-shocked from the events he just survived, the worried family members of his crew surround him, asking for information on their sons and relatives. Once in his hotel room, Williams collapses on the floor, overcome by heaving sobs.

The film shows the real aftermath of the incident, from the human perspective. The crew that survived might eventually heal from their physical injuries: the burns, the bruises and the lacerations. But cuts and scrapes aside, the crew that walked off that rig were emotionally wounded. After surviving a hellish ordeal by fire, fed by the greed of the corporations that rented out their labour, they must eventually, somehow, return to a normal life.

The film is a reminder of the hell the crew lived through on that fateful night, and of the political decisions that led to it happening. Although it could have put more emphasis on the crew that perished during the fire, overall, it did a good job of drawing attention to the human collateral damage of the disaster.

Deepwater Horizon will open in theaters across Quebec on Sept. 30.

3 and a half stars.

Categories
Arts

English theatre is alive and well in Montreal this fall

The Quebec Drama Federation gave a taste of the plays coming to Montreal this fall season. Photo by David Phillips

The Quebec Drama Federation previewed their upcoming fall season this week

Cancel your Netflix subscription, Montreal’s English theatre is back for its fall season, and there is something for everyone.

At an event held at the Mainline Gallery last Monday, the Quebec Drama Federation (QDF) previewed its upcoming plays. The lineup includes a few classics, some musicals, and a number of for-the-stage adaptations.

Even if you don’t consider yourself a theatre lover, there is bound to be something that will pique your interest.

Many of Concordia’s talented theatre program grads will be taking part in the feminist production Mary Stuart, which will be running from Oct. 21 to 30 at the Studio Jean-Valcourt du Conservatoire. The show is an experimental adaptation of Friedrich Schiller’s play of the same name. Filled with song and physical theatre—theatre created using the body— this play is something that fringe theatre lovers will definitely enjoy.

If you’re into musicals, In The Wings Productions will be putting on their version of the rock musical Hair, from Nov. 23 to 26. Set in 1967, Hair is the story of a group of young hippies who celebrate peace and love in the shadow of the Vietnam War. Full of dynamic songs and colourful costumes, if you like musicals that explore pertinent issues then this may be show you want to see.

Are you a lover of Stephen King and his dark, chilling novels? D2 Productions has created a stage adaptation of King’s novel Misery (1987). While it doesn’t boast Kathy Bates as Annie Wilkes like the film did, this production is sure to be a gripping tale. Their promo alone kept the audience wondering, featuring a simple 30 seconds of Paul Sheldon (Max Laferriere) typing furiously while being watched by axe-wielding Wilkes (Caroline Fournier). Misery runs from Nov. 9 to 13 at the Mainline Theatre.

If you’re a lover of romance, mystery and the 1920s golden age, then the Hudson Player’s Club’s version of F. Scott Fitzgerald’s The Great Gatsby should dance its way into your fall plans. Foxtrot your way over to the Hudson Village Theatre from Nov. 3 to 13 to catch the show.

The QDF puts on these preview events four times a year, before each season begins, to give theatregoers a taste of what plays will be running over the next three months. The events are always hosted by prominent members of the Montreal English theatre community. This preview event was hosted by Eloi ArchamBaudoin and Davide Chiazzese, who starred together in Tableau D’Hôte’s 2015 production of Hosanna. Hosanna  will be back at the Centaur Theatre in July 2017. Both ArchamBaudoin and Chiazzese are part of this year’s Montreal English Theatre Awards Committee (METAC).

Montreal will also be hosting the 2016 Fringe World Congress in November, so there will be plenty of theater to see in the upcoming months.

For a full list of the shows visit www.quebecdrama.org/theater.

Categories
Arts

Deal$ deal$ deal$ at the Liquidation Centre

Graphic by Thom Bell

Describing the melancholic end of summer and the promise of fall: a poem

One theme Brynjar Chapman finds himself exploring time and time again in his work is the end of summer—the peculiar and melancholic threshold that exists between end and beginning. As we move deeper into fall, it may benefit us to pause and reflect on this transition. Here, Chapman does just that, meditating on the bittersweet sentiment of another summer passed, with experiences had or missed, lessons learned and connections made.

Brynjar Chapman hails from Toronto, Ont. and is in his fourth year studying creative writing at Concordia.

It’s the last stop on the way out of town

they have everything here!

mugs and hats that say, among other things,

Female

Body

Inspector

and shirts with proud animals or confederate flags

a room, the room of a thousand knock-off crocs

where, as a dare, we stand until light-headed and about to pass out among the fumes.

It’s fun, everyone says so

and we take pictures

but in the car, with Tom,

our silence has weight

so does the smell later in the front hall

of a familiar house left alone for two weeks.

Just last night he was at the fire and barely out of the light

he was wet-eyed, wine in his hands

having just posted to the Facebook of a dead man

It’s on these nights I miss you most.

I felt for some reason I knew what he was feeling because

earlier, I saw him through the bathroom window

pooping

his face was so sincere with red effort,

a face he had never even seen

(unless of course he pooped with a mirror)

and I felt bad that I looked but also nearer to Tom

and glad that he has this place.

In the car I had regrets:

I didn’t jump off the train bridge this year

or I didn’t savour it–the moment before running into the water–

it splashing around my ankles

then the big cold step, the submerge of the crotch

feeling like I’ve accomplished something

but what, exactly? Forget it,

because there’s nothing better than freshwater

and being hungry after a swim

for white bread with meat, and chips.

Because now in the car and at home it’s August

the Sunday of the calendar year

and I don’t have everything in front of me

like on the shore, where a small, long lake held in it,

peed out in secret,

everyone’s year

and their collective fear of snapping turtles.

Graphic by Thom Bell

Categories
Arts

When office supplies become an art exhibition

We Make Carpets uses everyday items in their artwork to produce intricate yet grandiose designs. Photo by Tiffany Lafleur

We Make Carpets use a variety of items to construct their pieces including elastics bands and paper clips

Who would have anticipated that the modest paper clip would have its big break as a carpet?

In Bend and Stretch, the three-person Dutch collective We Make Carpets uses everyday office supplies to construct intricate and enthralling pieces. Two of their installations, one assembled with paper clips and the other with elastic bands, are featured at Diagonale centre des arts et des fibres du Québec and were created in the gallery itself.

The piece made from elastic spans the length of the room, with the coloured bands stretched out between nails hammered into the wall. The bands connect and intersect, forming geometric patterns such as triangles, squares and lines.

The second piece, made from thousands of paper clips, spans over roughly six feet of the floor of the exhibit.  Hundreds of paper clips of different colours, which are placed in various directions,  create a pattern. The rows of paper clips mostly run parallel to each other but are broken up here and there by slanted pieces, adding texture.

The installations are interesting both in their complexity and simplicity.  The use of one material to create these works, such as elastic bands or tons of paper clips, makes them appear simplistic. However, from afar, the viewer can take in the colour and geometrically-inspired patterns, enjoying the overall cohesiveness of the piece. The distance at which you view the piece impacts its effect. It is fun to view them from few steps back, but it is equally interesting to get in close and take in the details. The closer you get to the piece, the more you appreciate the thousands of little parts that form the whole. If an elastic were to snap or a paperclip were to be nudged, the synchronicity would be thrown off and the installation would lose its significance.

The relationship these works have with space is intriguing. These installations are supposed to imitate carpets: the lowly rugs that children wipe their hands on and adults vacuum once in a blue moon—the item we’ve traditionally brought outside every spring, whacking with a broom to dislodge the dust. These pieces could very well be carpets – except that to step on them would destroy them. Typically, a carpet wouldn’t inspire such minute scrutiny. But in the space of the gallery, the carpets become a valuable object to be admired and interpreted.

The fragile nature of these art pieces makes us question how we use their parts. If paper clips can create something as elaborate as a carpet, maybe they are meant to do more than just secure a bunch of papers together.  The exhibition overall makes you wonder about our relationship with common, everyday stationary objects. If an elastic band can become a work of art, then practically anything can have artistic value. It just requires us to look differently at mundane objects and see their uniqueness.

Bend and Stretch is open until Oct. 15. Diagonale is open Thursday to Saturday from 12 p.m. to 5 p.m, and admission to the gallery is free.

Categories
Arts

Diving down into the depths of Honduras

Dans la mangrove ˆ proximitŽ du village Miskito de Kruta, un homme pche son repas armŽ d'un fusil sous-marin. Depuis 40 ans, dans la rŽgion reculŽe de la Moskitia, au Honduras, lՎconomie locale et la majoritŽ des emplois dŽpendent de la pche sous-marine ˆ la langouste. Chaque annŽe, le Honduras exporte jusquՈ 40 millions de dollars de langoustes vers lÕAmŽrique du Nord. Ces dernires sont ensuite vendus en supermarchŽs et servies dans les cha”nes de restauration. Pourtant la pche sous-marine, pratiquŽe avec des bouteilles d'air comprimŽ, est extrmement dangereuse et entra”ne jusquՈ 15 morts par an, ainsi que des dizaines de paralysŽs. Le taux de mortalitŽ de l'activitŽ est comparable ˆ celui des soldats dŽployŽs en Irak, selon les chiffres du dŽpartement de la dŽfense des ƒtats-Unis. La rŽgion de la Moskitia compte actuellement de deux ˆ trois milles plongeurs paraplŽgiques. In the mangrove near the Miskito village of Kruta, a man fish for his meal armed with a speargun. For the past 40 years, the Moskitia, a remote area of Honduras, has based its economy and employment on lobster diving. The lobsters have been exported to the US for decades and are worth 40 million US$ a year. In North America, they are sold in supermarkets and restaurant chains. Nevertheless, the activity, practiced with compressed air, is extremely dangerous. During the past 40 years, an estimated 600 people have died, 15 every year. That is 0,5% of the divers, a death rate comparable to that of the soldiers during the Iraq war, according to the US department of defense. Dozens of divers end-up being paralyzed every year. In the area, an estimated 2000 to 3000 divers suffer from a spinal chord injury.

In Liwa Mairin, the interactions the Moskitia people have with water are represented through portraits

The Moskitia, an indigenous group in  Honduras, have a very interesting relationship with water. Their survival and livelihood depends on it, as it provides them with the lobsters, sea cucumbers and other marine wildlife that they harvest to sell. However, it also poses serious risks, with an estimated 2,000 to 3,000 divers in Honduras currently suffering from spinal cord injuries resulting from long deep dives, according to National Geographic. Valérian Mazataud, a marine biologist-turned-photographer, examines this relationship in Liwa Mairin, his series of portraits.

Mazataud said he first learned about the Moskitia from an article featured in a diving magazine. The author, a physician,  discussed the dangers of deep diving using compressed air tanks, and the effects on the Moskitia divers.  Mazataud said he was moved by the story, and saw it as an opportunity to combine his love of aquatics and marine life with his current passion for photography and journalism.

These photographs are as beautiful as they are informative, each portrait telling a part of the overall story. They bring out the serene beauty in a dangerous occupational hazard, while also illustrating the complex relationship the Moskitia have with water. It is a practice that fuels their economy, but which is also inherently dangerous. The nitrogen build-up in the blood from long dives can cause bubbles to form in arteries, the spinal cord and the brain, Mazataud said.

Intentional or not, the photos seem to be set up in a linear narrative in the form of a story, as you follow peoples adventures into the water. The first shots depict family excursions into waist-deep water, or fishing as a family activity. As the shots progress, you come across underwater shots of the Moskitia, with a cloud of bubbles around them while they remain suspended in the endless blue ocean, on the hunt. Then, we see pictures of divers who have suffered crippling spinal cord injuries, and are faced with various levels of paralysis. The final shot is the tombstone of a diver who succumbed to the consequences of a long, deep dive into the ocean.

“Their whole life, all of their history and all of their mythology revolves around water, and all the time you see them swimming, fishing, doing things in the water,” Mazataud explained.

In order to support their families, the Moskitia spend an enormous amount of time submerged underwater, diving for lobster and other marine life. Photo by Valérian Mazataud.

A particularly strong shot from this series is of a diver holding a spear gun, standing shoulder-deep in murky water. As he stares straight into the camera, you face the uncertain reality that he might not come up for another breath. These are the everyday struggles of the Moskitia, whose livelihoods depend on exploiting the resources of the ocean in order to survive, despite the costly bodily consequences.

Their lobster exports alone are worth $40 million US annually, according to a written statement about the exhibit. The North American demand for lobster can allow for potential injuries,  because it is this export that motivates the divers to risk their lives.

“I think it’s important that we look at where our food comes from,” said Mazataud. “Not only lobsters but in general, there’s always a price for the products we consume in North America, and there is a history linked to it. Along the trade routes, you kind of lose the origin of a product.”

The exhibition goes on until Sept. 29 at the Maison du développement durable. The photos are displayed in the entrance, and admission to view them is free. The Maison is open Monday to Friday from 10:30 a.m. to 6 p.m., as well as Saturday from 11 a.m. to 4 p.m.

Categories
Arts

Love and loss in ancient Egypt comes alive at the Opera

Aida (Anna Markarova) and Amneris (Olesya Petrova) become rivals after they discover they both love Radames. Photo © Yves Renaud.

The Opéra de Montréal begins its 2016-17 season with Aida, a timeless story of anguish

In Aida, the Opéra de Montréal’s first opera of the season, you are taken back to ancient Egypt, during the time of the Pharaohs. War looms on the horizon, yet the heart of the conflict rests with a forbidden love.

Aida (Anna Markarova) has caught the eye of Radames (Kamen Chanev), captain of the Egyptian guard and the hero chosen to defend Egypt against the invading Ethiopians. Aida loves Radames as well, however, she is a slave of Amneris (Olesya Petrova), daughter to the Pharaoh, who also loves Radames.

The opera, which had its premiere in Cairo at the Opera House in 1871, was written and composed by Giuseppe Verdi. The story is timeless: a love between two people who cannot be together, and unrequited love for someone whose heart is already taken. The live orchestra accompanying the drama made the performances that much more powerful. Instead of a flat recording, the music rose and fell with the tension and drama onstage.

The opera is performed in three acts. The first act, which takes place in a temple in the city of Thebes,  sets the tone and stage for the conflict that will develop later in the piece. In it, we realize that Aida is in fact the daughter of Amonasro (Gregory Dahl), king of Ethiopia.

Under the unwavering eye of the God Ptah, Ramades is given the command of the Egyptian troops, and sent to defend Egypt. The assembled crowd pray for Ptah to protect him and guide him on his journey. At the end of the first act, Radames has returned from war victorious, trailing behind him a host of prisoners captured on the battlefield, of which Aida’s father is included. In a cruel twist of events, the king offers Radames the highest honor: his daughter Amneris’ hand in marriage.

Radames (Kamen Chanev) and Aida (Anna Markarova) stand together in the tomb which will be their grave. Photo © Yves Renaud.

The second act saw the capture of Ramades by the Egyptian guard, for accidentally disclosing to Amonasro the route that the Egyptian troops were to take on their march towards Ethiopia, betraying his country in the process. Amonasro and Aida flee while Ramades is taken away by the Egyptian guard for his betrayal.

The third act brings us back to the original setting of the temple in Thebes. There, Ramades is sentenced to death by live entombment. In this scene, Petrova, who plays the part of Amneris, delivered a fantastic performance, as she stood by in helpless anguish while her love was tried and sentenced to death, unable to use her influence in order to save him.

The final scene in the third act begins with Ramades entombed. He wishes for death, for death would be an escape. Without Aida by his side, life is meaningless. But lo and behold, she has snuck into the tomb in order to be with him, foreseeing the outcome of his sentencing. This final scene is incredibly powerful, as it circles back to the first act. While in the first act Ramades was receiving Ptah’s blessing, guidance and protection, now the priests are  praying  for his condemnation. Together, the lovers embrace as the light from the torches slowly fades, leaving the tomb dark as Amneris watches from afar, realizing that for Radames and Aida, a death together was worth more than a life apart.

If Aida is any indication of the strength of the rest of the opera season, it should be one to look forward to. Aida will be shown again at Salle Wilfrid-Pelletier at Place des Arts on Sept. 20, 22 and 24 at 7:30 p.m.

Categories
Arts

More than a show of puppy love

Upcoming art show pits local artists against breed-specific legislation in Montreal

If every dog has its day, then Montreal’s pit bulls deserve next Saturday. On September 24, over forty artists in favour of a different kind of “anti-bullying” initiative will display original works celebrating the maligned breed at Pit Bull: An Art Show.

Dedicated to “Quebec’s misunderstood dogs,” the event aims to counter negative stereotypes associated with bully breeds—dogs that share a muscular body, broad head, and short fur with a common ancient ancestor. According to show organizer, Lindsay Campbell, half of art sale profits and all refreshment sale profits will support Sit With Me Shelter Dog Rescue, a volunteer-run organization dedicated to saving, rehabilitating, and rehoming abandoned dogs most at risk for being put down.“The dog-loving community of Montreal has been so overwhelmed with bad news that we really need a positive night to celebrate our dogs, and the love we all share for them,” said Campbell.

Breed-specific legislation (BSL), proposed by Mayor Denis Coderre this summer following a fatal dog attack, may soon make it illegal to own not only pit bull-type dogs, including American Staffordshire terriers, Staffordshire bull terriers, and American pit bull terriers, but also pit bull mixed breeds and those with similar physical builds, like bull terriers and bulldogs. If BSL moves ahead, public muzzling and sterilization of bully breeds will become mandatory in Montreal by early next year.

“Putting a muzzle on my boy will instantly give people the wrong idea, and they won’t want to stop and say hello to him anymore,” Campbell said. “They will fear him and this breaks my heart…because he thrives on attention. He will still try to give kisses and his tail will wag, but he won’t understand what he’s done to deserve this punishment.”

The possibility of having to treat her dog like a danger to the public prompted Campbell to contact fellow canine-loving artists and curate the show. “I knew I needed to do something. Art is all I have to offer… Art is powerful and I hope our efforts can create positive change,” she said.

By bringing together locally and internationally acclaimed artists who use a wide swath of mediums, Campbell hopes to remind viewers of the beauty, diversity and individuality of bully breeds. If public opinion doesn’t visibly sway against BSL, thousands of healthy, happy, and temperamentally-sound pit bulls, and bully breed mixes, could lose their lives because of the way they look, she said.

Starchild Stela, a graffiti artist, illustrator, and zine maker best known for their feminist street art, agreed. “I’m ashamed of my city… Montreal has big problems with animal welfare,” they said, referencing the Berger Blanc shelter animal abuse controversy, and increasingly high number of stray and abandoned pets.

From top left clockwise: Lindsay Campbell, MC Baldassari, Starchild Stela, Sophie Garmand

“I am incredibly sad to think about the repercussions a [pit bull] ban will have on communities.” Starchild Stela plans to contribute a series of femme-presenting characters interacting with their dogs to the event, in an effort to “spark discussions, encourage folks to take action, and even adopt if considering it,” they said.

 

Participating freelance illustrator and muralist, MC Baldassari, is focused on capturing the dignity of the underdog. “I want to make a positive and beautiful representation of a pit bull, highlighting what cute and kind dogs they can be,” she said. “They’re not the villains that are portrayed in the media… we want to propose another way to see them.”

Pit Bull: An Art Show opens on Sept. 24 at MainLine Gallery (3905 St Laurent) from 5 p.m. – 11 p.m. and will run through Sept. 28. For more information visit the Facebook Event.
Disclaimer: A few statements in this article were edited for clarity and accuracy. The Concordian regrets its error.

Exit mobile version