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Opinion

When you spin you can really love

You enter the gym. The ceiling lights are off. The only source of light comes from two or three rented lights that spin and/or change color. Of course, the light may just be coming from the lights in front of the speakers that the CD player is plugged into. Your friends gyrate to Ja Rule and LFO. And then, you hear it, the greatest sound in the world: the opening strings, gently pulsing, a top layer and a bottom layer perfectly intertwined to create a wonderfully serene environment suitable for spinning in place for five minutes. It is, of course, “I Don’t Wanna Miss a Thing” by Aerosmith (off the Armageddon soundtrack), and the context under which this would occur is the ritual of the school dance.

What is dancing if not purely a pickup tool? I don’t care how much you “like dancing,” you don’t go to clubs just for the music. Now, high school is one thing, but an 11-year-old kid should not be made (and in my middle school we were made) to go to dances. Forcing children to try to find a dance partner, to experience rejection and sit against a wall alone, is not the best way to inspire confidence and self-esteem at that age. In high school, we got to choose whether to go to the dances, as we get to choose if we want to go clubbing now. But forcing preteens to try to participate in these types of mating rituals is just weird. I can picture my 12-year-old self feeling like a G because I got to slow dance to K-Ci & JoJo and hold a girl real close when the teachers weren’t looking, but is that really a positive thing? Is forcing preteens into an overcrowded, poorly amplified gym the best way to get kids to spend an afternoon?

Last weekend, my 17-year-old brother came to visit me in Montreal, and we ended up going out to Vinyl. I rarely go to clubs, mostly sticking to Korova if necessary, and even then mostly on hip-hop night. Yet what I realized last Friday night was that there is a transition from middle school, through high school, into university, that puts an emphasis on going to “dances,” in their various forms, as a type of mating ritual. Little has changed in the years since the middle school dance, except that the supervision is more lax. We still go to these events so we can hold on to someone and hopefully get their name and number. Today, we drink and take drugs to make us feel sexy and uninhibited (let’s be honest, no one is ever sober at clubs) but I’m still missing the point. Perhaps I’ve always been more of a concert person. Or perhaps I don’t necessarily like dancing, or know how to dance all that well. The usual extent of my “dance” abilities is grooving to Prince as I walk to school. But I will still dance and go to clubs and buy giant PBRs and spend all this money on getting in and drinking because dancing is the world’s oldest pickup tool. You don’t even have to be particularly good at it to survive a night at Tokyo, Muzique, or wherever.

And maybe that lack of required is still my biggest problem with dancing. Maybe I just miss the spinning. There was no pretending, no hiding, no booze: just me and my partner not wanting to miss a thing. Grinding is not hard, it’s just that, to me, the spinning was more like dancing than anything we do now. Things were better then. You don’t need a fifth of whiskey and Ed Banger to realize that.

Opinion

Anti-Semitism is real

The morning before we published the story about Haaris Khan’s tweets last week, I think I startled one of my fellow editors. She was convinced that the story was a huge deal, that there would be a unanimous outcry, that this was one of those things that transcends politics and gets right to the roots of how people are supposed to treat each other. I was a bit more blasé. Sure, I said, this is some scary stuff. But we’re talking about words that mention Jews here. That’s not “real racism.” A lot of people will be upset about this, but many will find ways to dismiss it as nothing, thinking that so much as printing that article is little more than another conservative attack against innocent Muslims daring to question Israel’s hegemonic power. She disagreed, and I hoped my cynicism would be disproven. Unfortunately, in this case, I think I turned out to be right.

In fairness, Khan has issued an eloquent apology in this week’s Tribune. This article is not about him, but about reactions to his tweets. And there was no shortage of attention to the original article from those outside this campus. Major media outlets like Global and the Toronto Star covered the story, and conservative bloggers aplenty expressed their distress. The world outside McGill was hardly silent.

But in comments on the article, in threads on Facebook, and in the lack of posts on Facebook by some hyper-involved people who usually publicly discuss every article about topics remotely controversial on their profiles, one thing was evident: for many people, this was an issue of politics, not prejudice.

From the very first comment on it, last week’s story mirrored the fate of almost all articles about cases of anti-Semitism. There was questioning of whether tweeting about killing Zionists could really be considered to be threatening to Jews; whether a stated fantasy of shooting was tantamount to threat; whether this needed to be taken seriously.

At the risk of engaging in a counter-factual hypothesis, I would propose that the reactions to these tweets were far milder, especially from certain corners of the campus left, than they would have been were they directed towards a different group. If he had spoken of a feminist, rather than Zionist, conspiracy, would there have been any question of whether he was antagonistic towards women? If he had mentioned wanting to shoot a roomful of gay students, rather than conservative ones, would there be any debate on whether his tweets constituted more than an exercise in poor judgment?

As for those who pointed to a fairly moderate note he had written about Israel, that was an interesting piece of information but of little other value. If somebody tried to condemn a student based on his views on Israel, those same ones looking to exonerate him would surely be up in arms.

Student activists last year had little trouble arguing that Choose Life’s Echoes of the Holocaust event and general anti-abortion posturing constituted violence against women. Consistently, writers in the campus press justify violence at protests by arguing that oppressive state institutions constitute the real violence. Surely they should be able to perform the far less onerous mental gymnastics required to conceive of these tweets as violent against Jews. But they in general chose not to, and this is a scary portent for the future.

It is time to stop pretending that anti-Semitism doesn’t exist. That Jews have not faced thousands of years of oppression and people like John Galliano, Julian Assange, and Haaris Khan are the persecuted ones. That Jews are somehow just “white people” (a study of early 20th century writing about Jews belies this) and that white people are fair targets for discrimination to begin with. It is fashionable these days to complain that anti-Semitism is thrown around too often. It can be used irresponsibly, and it’s always wrong when it is, but I can recall reading far more complaints of unjust anti-Semitism lately than actual instances of it.

We need look no further than recent synagogue destruction in Montreal, or derogatory comments about Zach Newburgh upon his election and since, or even comments on a recent Tribune article accusing the whole paper of being under the sway of me and the Zionist conspiracy at Hillel McGill, to know that anti-Semitism is alive and well here at McGill. Moreover, something like the recent bombing of a Chabad house in Mumbai indicates where anti-Semitism—given a pass because it fits in with anti-imperialism, anti-Americanism, and anti-Israelism—can end up.

All prejudice is awful. And if we are to seriously consider ourselves to be against it, if we want to put into practice the anti-oppressive rhetoric that gets touted so much at McGill, then it is about time anti-Semitism stopped being considered a right-wing issue. It is real, it is here, and we should all be concerned about it.

Full disclosure: Mookie Kideckel is Zach Newburgh’s roommate.

Opinion

An apology

McGill Tribune

My name is Haaris Khan. I am not an anti-Semite. I am not a terrorist. I am not a threat to my fellow students on campus. I can be an idiot sometimes, though. I’ve learned that using my voice in a public forum comes with great responsibility. Politics can be nasty and human emotion can lead to colossal errors. In my case, I can only say that I erred in such a way. For that I am very sorry. My comments were totally inappropriate and I would never harm my fellow students. I have never been a violent person and I have never had any violent altercations in my life. I came to McGill University wanting to contribute, not destroy.

My comments on Twitter last week have caused quite a bit of concern for some students on campus, McGill security services, school administration, and the police. I recognize the gravity of the situation considering the nature of my tweets, which were meant in jest. After reflecting on my comments, I can only say that I truly regret saying them and that it was a very poor decision.

One question that seems to come up a lot is why I reacted the way I did to the documentary screening hosted by Conservative McGill and Libertarian McGill. Really, it had little to do with the movie itself and more to do with the negative attitude I had going into the event, my pre-existing ideological differences with those at the event, and the fact that I wasn’t in the right state of mind at the time.

I am anti-Zionist. The Israel-Palestine conflict is a very sensitive subject and it’s easy to become worked up about it if you care passionately about the issue. I also realize that anti-Zionism tends to go hand in hand with anti-Semitism because of the complex relationship between the Jewish identity and Israel. This creates a fine line when it comes to criticizing Israel and Zionism. I do not harbour any hatred towards Jewish people. My Jewish sister-in-law, whom I love very dearly, and my niece who is Jewish by tradition are both people that are close to my heart and their cultural or religious backgrounds have nothing to do with how I see them.

I think that Jewish culture is colourful and its history is inspirational. My objection to the policies of the state of Israel and the treatment of the Palestinians are purely political and in no way reflect how I view Jewish people.

I apologize to those who were at the screening of Indoctrinate U and any other people who were offended or felt threatened by my tweets. It was never my intention to be a divisive or antagonistic figure at McGill. I have strong opinions and a strong passion for justice. My goal now is to channel that into a more responsible discourse.

Opinion

Student leaders should speak for themselves

McGill Tribune

Queen’s University students are set to vote on a referendum question which would recommend to the university council that it move to impeach Nick Day, the university’s elected rector. Day—whose position is the third highest in the university and is mandated to represent students—drew national attention last week when he posted a note on Rabble.ca criticizing Michael Ignatieff for condemning Israel Apartheid Week. Day wrote: “I was elected to represent the approximately 20,000 students of Queen’s University. If I ever used the influence of my office and the power of my public voice, as you have, to insulate from criticism the perpetrator of a mass-slaughter, I would have a very difficult time sleeping at night.” Controversially, he signed the letter as “Nick Day, Rector, Queen’s University.”

While it seems true that, as Day later contested, he never claimed to be speaking for his 20,000 Queen’s constituents, it is obvious that by signing the letter with his position he sought to add more authority to his views than merely writing his name would have gotten him. It is common practice to assume that a letter invoking someone’s position means they are writing in that specific capacity, and not as a mere layperson. Queen’s students are appropriately upset about Day’s mistake.

It is important, in light of the controversial nature of the topic, to be clear about what is at issue. Everyone is free to agree or disagree with the stance Day took in supporting Israel Apartheid Week; the more important discussion is about a student leader who used his position in a way he was not elected to do. We have seen this at McGill recently, too, when Students’ Society President Zach Newburgh sent emails from his president account to make contacts with other student leaders regarding Jobbook.com. Both Newburgh and Day made errors in judgment. The Tribune believes it is inappropriate for student leaders to use their positions of authority for advocating on issues not directly related to student life and on which it is far from clear they have a mandate from students to speak on their behalf. If Day wanted to invoke his position in the online letter, he should have made it clear that he was speaking for himself only. Student leaders are elected to speak for students in a certain context; the Day controversy shows that when leaders exit that context, they need to be especially clear who they are representing and how.

Day published a statement in the Queen’s Journal this weekend arguing that one of the duties of the rector is to “foster academic dialogue” among Queen’s students, and that his publishing the letter falls under this category. This is a gross misinterpretation of why people are upset. Day needs to apologize for abusing his title. If he continues to insist, as he did in the Journal article, on his erroneous conception of the duties of a student leader, the referendum question urging university council to impeach might not be such a bad idea.

Opinion

Quebec raises tuition, fines McGill for same

McGill Tribune

According to a recent survery released by McGill’s MBA Student Association, 70 per cent of MBA students believe the cost of their program is at or below a reasonable level. When even students are standing up for tuition hikes, that’s when the province needs to stand down.

It’s unclear what the QuebecMinistry of Education intended to accomplish when it slapped McGill with a $2 million penalty for switching to the self-funded model for its MBA program, but the gesture comes across as little more than a symbolic slap on the wrist. The Tribune has voiced its support in previous editorials for the change in the MBA program, but the reasons are worth revisiting. Prior to last year’s drastic increase, a $10,000 deficit between operating costs of the MBA program and funding from tuition and government subsidies for it was offset by pilfering funds from the tuition paid by McGill’s undergraduates. Even after the recent tuition increase, MBA students—who often have worked for several years before entering the program and can expect salaries around $80,000 when they graduate—will still be paying far less in tuition than the national average of $40,000. It makes sense for MBA students, who consider the high cost of their education as a worthy investment in their future, to pay for their own education. Since switching to the self-funded model and raising tuition to $27,500, the program has gone from 95th to 57th in the Financial Times’ rankings of international business schools. Also, with increased revenue, McGill has been able to offer better financial aid, claiming to offer students an average of $12,000 to offset the increased costs related to the switch to a self-funded model.

Despite the increase—or, rather, by increasing tuition—McGill has been able to cater to the interests and needs of students far better than the pandering provincial government has cared to. While McGill has increased the amount of finanical aid given to MBA students, Quebec now considers McGill MBA students ineligible to receive aid. If the province really considers the recent increase a burden to students, it should help them shoulder the burden, not make it  even worse. Quebec’s displeasure at the tuition increase seems more of a punishment for McGill’s daring to defy provincial orders than an act in defence of accessible education.

The fine follows through on former education minister Michelle Courchesne’s promise last spring that Quebec would reduce McGill’s subsidies to keep it at the same level of total funding as other MBA programs in the province. While this is the overall goal of the self-funded model—to offer higher quality of education without relying on subsidies from governments and non-MBA students—the $2 million shortage for this year will directly affect the students, necessarily subtracting from the quality of the program or the quantity of student aid offered by the university. Holding back the quality of McGill’s MBA program for the sake of arbitrarily maintaining the lowest MBA tuition in Canada (when the MBA students themselves support the increase), and at the expense of other students, isn’t a strategy for making post-secondary education accessible. Especially in light of the recently announced tuition increases across the board, the $2 million shows the Quebec government to be more interested in empty gestures than in fulfilling the responsibilities of effective government.

McGill should stay the course; students should continue to make their voices heard; the Quebec government should reconsider its intentions and priorities, and should ultimately back down.

Sports

Martlets soar in shootout while Redmen stumble

Martlets

Game

Even indoors, McGill’s women’s soccer team dominated their Quebec competitors.

The McGill Martlets are heading to the Indoor Soccer Provincial Championships after defeating the University of Sherbrooke in a nail-biting game that was finally decided by penalty kicks.

Entering the semifinal undefeated, McGill came to play. They scored 25 minutes into the first half and had multiple other chances, but were unable to convert. McGill fought off Sherbrooke’s comeback for almost an hour, but with 15 minutes to play, the Vert et Or equalized.

“The game was a good [one] against a tough team,” said Head Coach Marc Mounicot. “It was really physical out there but we dominated … and played well.”

Since the match ended in a tie, it went to penalty kicks. In indoor soccer only three players from each team get the chance to take a shot, meaning penalties are even more pressure-packed than their outdoor counterpart. Both McGill and Sherbrooke scored on their first two opportunities. Unfortunately for Sherbrooke, they missed their third shot whereas McGill converted, winning the game and a berth in the final against the University of Montreal Carabins.

 

Season Recap

The regular indoor season was a rousing success as the team finished with six wins and only one tie. However, since Montreal had the same record and a better goal differential, the Carabins ended up first in the standings going into the playoffs.

“Now that we’re in the playoffs we’re not just doing the best we can,” said Mounicot. “During the regular season, we were more oriented towards a process of development with equal playing time and working on technical things, but now we’re trying to win.”

The indoor season was about improving the team as a whole. Defensive organization was an area of special attention, to appreciable success. While the Martlets allowed two goals in their first game, they allowed the same number over the remainder of the regular season and finished the year with an impressive 0.57 goals-against per-game average.

McGill faced UQAM in the first round of playoffs and beat them soundly in a 3-1 victory, propelling the team into the semifinal against Sherbrooke.

“We have a very competitive desire and each game we’re trying to do a little bit better, if we win the provincial championship it will be a great thing for the program and we will be very satisfied with the season,” said Mounicot.

The championship game is against the University of Montreal on March 27 at Trois-Rivières.

 

Redmen

Game

Losing in the semifinals seems to be the Redmen’s fate.

The McGill Redmen were sent home Sunday night after losing to the University of Quebec at Trois-Rivières in a penalty shootout.

McGill entered the semifinals with a 3-1-2 record but UQTR dominated the scoring early with two goals. McGill fought back and rallied to tie the score at two. Yohann Capolungo and Stephen Keefe scored the McGill goals. Capolungo was awarded McGill Player of the Game.

The match ended in a tie and went into penalty kicks. Both McGill and Sherbrooke scored their first two opportunities, but, unfortunately for the Redmen, they missed their third chance and the Patriotes scored their final penalty kick to take the victory.

Season Recap

The Redmen were undefeated in their first four regular season games as they alternated between wins and ties. In their second last game of the season, McGill played a tough team in Laval and lost a close 1-0 game. This was an improvement from their last game in the outdoor season against Laval when they lost 3-0.

McGill allowed only six goals over the course of the regular season, largely due to the strong  play of their goaltenders. Matt Gilmour had an impressive performance in his game against Concordia University where he had 10 saves and a shutout.

Heading into the playoffs, McGill upped their play. Despite only beating UQAM 2-1 in their regular season matchup, the Redmen controlled their quarterfinal matchup en route to a commanding 5-1 victory.

Arts & Entertainment

Contemporary China waves its red flag

Gao Brothers

Beautiful women stare out, lost in a bleak industrial landscape. Naked bodies are crammed into tiny wooden compartments. The sound of barking echoes in the room—a short film portraying office workers as a pack of rabid dogs. These are just a few of the works that confront you at the newest exhibition at the Montreal Museum of Fine Arts, Red Flag: Contemporary Chinese Art.  

Red Flag is a show that represents the versatile work of Chinese artists who have burst onto the international avant-garde scene in the past decade. The work of these artists has been increasingly recognized in the art world; in 2009, 29 Chinese artists were listed on the art market’s top 100, compared to just one only eight years before. The exhibition includes works in many different media—photography, pottery, sculpture, film, and even a tapestry made of human hair.  

Despite this diversity of styles, all the pieces in Red Flag relate to one resounding theme; the jarring disconnect between traditional Chinese culture and modern, urban, industrialized life. Wang Tianade’s work, for example, includes photographs of classic Chinese texts reduced to ashes, and a traditional silk garment slashed and painted with Mandarin characters. Chen Jiagang’s melancholy photographs picture women dressed in mid-19th century clothing, looking displaced in settings that show the dark side of rapid industrialization. Zhan Wang’s stainless steel sculpture seems to sum up these ambiguous feelings—his piece is an ancient mountain rock, covered in a shiny but distorted exterior.

Though it’s a small collection of artwork, the Red Flag exhibition is neither too spacious nor overcrowded. One massive red wall looms over the space, representing the Communist system that still underlies Chinese society. Unfortunately the lighting leaves something to be desired, as what is likely meant as dramatic mood lighting is simply too dim.  

The carefully curated pieces are quite strong as a unit, however, and together they form an intriguing picture of the booming Chinese avant-garde scene. Most interesting is the sense of overwhelming anxiety that these artists have about present-day China. Rapid changes, overpopulation, mass production, Westernization—these worries manifest themselves in powerful works that unflinchingly force the viewer to come face to face with the problematic elements of modern China.  

Red Flag is free at the Museum of Fine Arts, and runs until June 5.

Arts & Entertainment

Fokusing on film as a form of self-expression

Natalia Evdokimova
Natalia Evdokimova

“A camera is a megaphone through which you can express yourself,” says Sophie Dab, TVMcGill’s vice-president external, on why it is important to celebrate amateur filmmaking. The Fokus Film Festival, an annual event held by TVMcGill since 2006, has grown from humble beginnings to a legitimate film festival. Taking place at Cinema du Parc on Wednesday, the festival is sure to impress even the seasoned film critic with the 29 student submissions in five different categories. Here are three movies that offer a sense of what is to be expected from this year’s festival.

 

The Adventures of Bruno Unemployed Superbear / Mark James (Animation)

With soft jazz playing in the background, The Adventures is a short animation starring Bruno, a bear in need of employment. Inspiration strikes Bruno in the form of an apple, and the Unemployed Superbear realizes a peculiar theme with Apple products. Presented in the fashion of private detective movies, this film highlights society’s obsession with Apple products and conversely, Apple’s fascination with the letter “i.” Less than a minute long, The Adventures of Bruno Unemployed Superbear innovatively forces the audience to reconsider our dependence on Apple and the “i” movement.

 

Friday, 9pm / David Zangwill and Micah Dubinsky (Fiction)

On Friday night, around 9 pm, a woman in a swanky black dress visits her bathroom in the hopes of getting ready for a night on the town. Instead, she ends up mediating on what makeup does to the face and to her larger identity. Marie Minio’s voiceover shows her thought process changing from simple, frivolous analysis to deeper scrutiny, which she cannot easily suppress. As the film continues, Minio’s inability to cope with her epiphany about her crumbling sense of self makes for a striking shot. She stands in front of her bathroom sink with two opposing mirrors showing two radically different sides of her face and her identity: one beautifully constructed and made-up and the other deconstructed with pink lipstick freely applied to the cheek. Overall, Friday, 9pm is a profound social commentary on the notion of covering our faces with makeup.

XTC / Daphnee Vasseur

(Experimental)

Recounting the story of a bad ecstasy trip, the narrator takes the audience on a journey of what not to do while taking the drug. First, it would be wise to avoid blind dates. Second, consume water, not wine, since the latter will result in a “baptism” of appetizers on said unwanted blind date. Third and generally speaking, it would be best to steer clear from ecstasy while in a pessimistic mood about the world. Beautifully edited, XTC portrays the narrator’s discernible inadequacy through a series of images ranging from newspapers to photographs to negatives and yearbooks. Coinciding perfectly with these images, the narrator’s voiceover travels as quickly as the images. XTC provides an excellent example of an experimental movie that successfully tells a story while conveying a subtle moral lesson.

Arts & Entertainment

McGill student takes the New York Metropolitan Opera

Adam Scotti
Adam Scotti

Most little boys dream of making a crowd go wild, maybe with a game-winning grand slam in the World Series or a goal in the Stanley Cup final. For Phil Sly, a U3 vocal performance student at McGill, something similar actually happened on March 13. He was one of five winners of the Metropolitan Opera’s National Council Auditions, the most prestigious young-artist opera competition in North America.

“After I sang, I remember starting to cry while I was bowing, and my hands were shaking.  Only then did it really hit me,” he says.

The Metropolitan Opera, commonly called “the Met,” housed in New York City, is one of the premier opera houses in the world. Their 25 plus productions per year have world class casts, costumes, and sets. It is, in short, an easy place to get star-struck.

“You see really, really famous singers all the time backstage, in the cafeteria,” says Sly.

“It’s an extremely well-known competition, everyone knows about it,” says Michael McMahon, a master’s-level vocal coach at McGill who has had a long working relationship with Sly.

One might think that competing there would be nerve-wracking, but Sly was surprised to find the opposite to be the case.

“It’s a big family,” he says.  “It was much more welcoming and homey than I thought it would be.”

Nearly 1,500 singers entered this year’s competition. After competing at district and regional competitions in Buffalo, NY in early January, Sly was one of 20 singers selected to participate in the semifinals in New York City. Eight of those were selected to participate in the grand finale concert on March 13, and five of those were winners. At the age of 22, Sly was the youngest winner this year; the others were in their mid or late 20s.

Sly said he and his competitors were supportive of one another. “There was a great camaraderie between the eight finalists,” he says.

As a winner, Sly received a $15,000 prize, but his victory will most importantly jumpstart his career, which is a huge bonus in an incredibly competitive job market.  On the night of the final performance, the audience was full of important opera personalities.

“It’s a stamp of approval,” he said.

According to a Met press release, more than 100 alumni of the auditions are on the Met roster during a normal season. With great acclaim, though, comes great expectations. “There’s a feeling when you win a competition like this that you have to live up to, or even be greater than you are,” says McMahon. Sly has been inundated with job offers since the final, which he is still trying to sort through. After he graduates, he will spend the next year working for the Canadian Opera Company in Toronto.

Though he won the competition with his singing, Sly is also an excellent actor. In his performance as Nick Shadow in The Rake’s Progress at McGill, he outshone the rest of the cast. His last performance here was as one of the two male leads in January’s La Bohème, which earned him strong reviews.

“He has an incredible imagination, he has a charisma […] and [an] innate understanding of music. It’s not something you have to teach him, you have to just help him discover that he knows [it] already,” says McMahon.

Sly attributed much of his success to Sanford Sylvan, his McGill voice teacher. When he was a high-schooler thinking about which music school to go to, it only took one lesson with Sylvan to make McGill his first choice. He also said that McMahon has been a great help, and was also grateful to Patrick Hansen, McGill’s director of opera studies, who has supervised Sly’s participation in McGill productions.

“Philippe first came to sing for me in high school, and I pushed him in a few different directions. He came to sing for me again and I was stunned by the talent of this young man,” says McMahon.

On the night of the final, Sly sang arias by 17th century composer Georg Handel and 19th century composer Richard Wagner. He thought that he won in part because he chose pieces from entirely different time periods requiring entirely different singing styles.

A lot of practice also helped, said Sylvan.

“[I drilled] him just like an athletic coach. When you’re in such a state of terror, our body needs to reproduce [your performance] whether your brain is there or not.  It’s just like ice skating or diving.”

Though the competition has earned him a lot of things, he hasn’t gotten a reprieve from his schoolwork.

“It hasn’t completely hit me yet, because I’ve got homework to catch up on,” he says. “But it felt so right when I was there, and I can’t wait for that to continue.”

Arts & Entertainment

Weathering the storm of government terror

jestherent.blogspot.com

Seeking to rewrite history, Icíar Bollaín’s Even the Rain recalls the ways in which past confrontations can leave a mark upon the present. Connecting the conquest of the New World with the 2000 Cochabamba Water Protests, Even the Rain is a dramatic marriage of indifference, deception, and hope, where reality and fiction coalesce.

Even the Rain stars Mexican actor Gael García Bernal as film director Sebastián, who brings his actors and small-budget crew to Bolivia to shoot a movie. While Bernal (who starred as Che Guevera twice, in The Motorcycle Diaries and the made-for-TV movie Fidel) no longer plays the revolutionary, Sebastián’s artistic vision revolts against itself, with the help of some local protestors.

The film begins its journey in a realistic vein when a Spanish film producer, Costa (Luis Tosar), seeks cheap extras and labour (at a measly $2 per day) in Cochabamba, Bolivia, for a film that re-casts Columbus as a cruel exploiter instead of a heroic explorer. Panning across an endless line of curious locals, the film fixes itself with the character of Daniel (Juan Carlos Aduviri), who speaks out frequently, inciting trouble out of a sense of personal injustice. Aduviri steals the audience’s attention with his genuine acting and half-playful, half-tragic face. Hiring the locals is efficient and dangerous, as tensions rise against the government in the wake of a 300 per cent increase in water prices from a foreign company. Further, even the rain the locals collect as drinking water is subject to imperial ownership laws.

Antón (Karra Elejalde), the drunk who plays Cristóbal Colón in Sebastián’s film, provides Even the Rain with a necessary dose of humour and skepticism. Speaking to Sebastián about the film, he proclaims: “This isn’t art, this is fucking propaganda!” Statements like these make the viewer wonder how much of this movie is constructed to incite temporary emotional responses, but in the end the film will stick with you for a while.

The dynamics of order and reality reach their height when the film set becomes the site of an actual power struggle between the corrupt police and enraged locals. While the symbolism is not subtle, the message is provocative and compelling. Though the final burning-at-the-stake scene is anxiously put onto film, celebration is muted by a mounting cry for action. In Even the Rain, the most captivating characters seek their own crucifixion. Fortunately, Bollaín and her crew cooperated with locals and contributed little gifts to the barrio of each extra in the film (in a video interview she mentions donating 2,000 bricks for a school).

Why would the average movie-goer labour through a foreign film about an equally foreign issue, the privatization of water? Screenwriter Paul Laverty realizes the futility of documentary style and breaks up the distance between the subject matter and the viewer by subverting the system of suspended belief (where viewers engross themselves in a fiction) and implicating the viewer in the reality of the characters who seem equally real.

Even good intentions can run awry, as Sebastián starts to embody the less-than-noble conqueror who wishes to be remembered as saviour, but forgets human reality in order to construct a golden throne (before it consumes his film). In a somewhat conventional Hollywood gesture, Costa proves that small, personable actions, not grand schemes, are what make a humanitarian.

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