Next Stop…

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When people ask me who I am, the first thing that comes to mind is my name. However, there is so much more than 6 letters followed by ethnicity, college, and/or anticipated major. I believe that there are so many things to know about me. Who I am, what makes me (pieces), and all those other good stuff are just too many to name that as I am writing this, my brain begins to cramp. With that in mind, I decided to look at New York City as a whole and carefully look at all the places I constantly go to. I believe that wherever I go, it seems as though a part of me connects to these places.

 

Broadway Dance Center (1, 2, 3, 7, A, C, E, N, Q, R, S – 42nd Street)

It is safe to say that this is where I go most in the city. To get away from the stress of Brooklyn College, I run to this dance studio to just “live” and emote in an art form that just speaks to me more than books, pencils, and chemicals. This is where I turn to feel free, I guess one could say. Especially in Hip Hop and Street Jazz/Funk, I constantly strive to improve myself and push to be the best individual dancer I can be. It is here where I learned discipline and persistence as I was not the very best at the beginning. However, I did not quit and just kept pushing, eventually getting noticed and dancing with some amazing people. Sometimes classes are so good, that they tend to sell out fast. My love for dancing is so great, that I usually wake up early to sign in for class, go to school, and then come back 5 hours later for class. Whether that class be “swaged”out or punker feminine, I love the diversity that the studio brings out. I guess it somewhat reflects the people of NYC.

Union Square (3, 4, 5, N, Q, R, L – Union Square)

I guess one could say that this place is different (Like me). Despite being hammered smack in the middle of busy 14th St and the intersections of Broadway and 4th Ave., there seems to be a rustic and artistic feel that attracts me. From the gays(yay!) to the street drawers, the vibe is always a mix of opposites. Besides my usual Mango-a-go-go from Jamba Juice, I always like to sit in the dog play pen and pet them (I’m weird and want a dog). From there, I would usually take my books and study at Panera Bread, accompanied by a half Big Kid Grilled Cheese Sandwich and Mac/Cheese. It’s just one of those places that you have to experience for yourself to understand.

St. Mark’s Place (N, R – 8th Street or 6 – Astor Place)

I remember coming here to explore my rebellious, dark side by getting an ear piercing here (I’m such a “bad-ass” right?). Not one, but three. Two regular and a cartilage. Besides that faint memory which is still evident on my body, I can’t help but secretly live my small dream of becoming a chef on this small block. I can always count on Waffles and Dinges to be stationed on the street at 1 AM to satisfy my sweet tooth. If not, there’s always Pinkberry or JapaDog (Damn, I’m craving their ice cream on a fried piece of hot dog bun right now). If I just want that midnight craving, BonChon Korean fried chicken is the way to go. Although a little pricey, I fiend over the spicy style with pickled radish. And when I’m done getting my BonChon fix, I can always walk two stores over to Spot Bar for a Thai Tea Creme Brulee. The pattern here? I’m a fatass? Yes. But also that I love food. This place just makes my taste buds scream for more.

 

On a random day, I would probably take the subway to a random stop and just explore. But these are probably some of the place I go to most. Something about these places in NYC that’s just me.

My Walk in the City

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In Michael de Certeau’s essay, Walking in the City, the idea of flaneury is surfaced as a major aspect of art in the unconscious mind. With that said, it seems as though underneath the somewhat chaotic but normal buzz in New York City lies more than concrete, skyscrapers and subway tracks. Certeau says that the act of flaneurism “offers a series of turns (tours) and detours that can be compared to ‘turns of phrase’ or ‘stylistic figures’; there is a rhetoric of walking” (131) By simply immersing yourself within the act of walking, one can note a lot about the area. Similar to the idea of a picture being worth a thousand words, a surrounding can act the same.

With the hell life of being a New Yorker, there’s always a necessity to have a place of relaxation, a getaway that’s only a subway stop away. Whether it is in the city itself or in one of the other boroughs, nature is never too far away from us. Although it may be hard to find this natural phenomenon as time goes on, it seems as though we aren’t losing this essential part of life. Instead, we try to find ways of blending it in. With a flaneurist mindset, I was able to see nature at work not only in its natural setting but also in an innovative way at the Highline Park and Prospect Park.

My first stop as a flaneurist was, ironically enough, in Brooklyn near my old high school. I would always visit this park once a week with my friends after a rough day of classes. Now in college, I was more than happy to come back and let out some stress. While walking to the Circle near Prospect Park West, I stopped and actually admired the entrance. For so long, I would just run into the park believing that all Prospect Park had to offer was in the inside. However, I finally stopped myself and saw the two pillars for their aesthetic beauty. These two tall columns reminded me of a Roman or Greek structure from ancient times. With that said, one may have thought that these structures would stick out like a sore thumb. However, I found these added pillars to be just right and succinct with the neighborhood.

Located in the Windsor Terrace, Park Slope area of Brooklyn, Prospect Park seems to represent a lot of its surroundings. While walking around, I couldn’t help but have a nostalgic feeling of the old Brooklyn. By old Brooklyn, I mean before skyscrapers and the new technological era that I have grown up in. With it’s many cobblestone houses and colonial feel the Park seems to reflect the age and maturity of the neighborhood. Surrounding the park, you have cobblestone paths and 4-foot fort fencing, similar to that of Central Park.

Another aspect of the Park that I found very fitting was the way in which it accommodates the people of Park Slope. To no surprise, the area is made up of primarily young white families or emerging artistic eclectic groups of people. With this said, many of these people probably shop at organic places, buy clothes from Brooklyn Industries, or run around the lake while walking their dogs or strolling their kids. The park offers many events that seem to fit the area. For example, there was a mini marathon and an organic farmer’s market. If you’re not an outdoor person, then you can always find Grand Army Plaza on the other side of the park with the library. It’s amazing to believe that all of this is able to mix with nature at it’s best.

Although the cold weather may bring the level of nature down, the vast colors of the fall season still struck me as beautiful. The trees, although in hibernation, just willowed naturally without any interference of tall buildings or skyscrapers. The autumn colors accompanied the landscape of the large lake with the crunching of twigs as well. Although it’s been a while since my last visit to Prospect Park, not a lot has changed. Even with its stagnant aspect, the park still offers this peaceful getaway from the crazy life of a New Yorker.

Taking the subway a few stops to the city, I found myself in the Meat Packing, Chelsea district at the Highline Park. What seems to be an antique of New York City’s past from the under path is actually an innovative and futuristic twist on one of the city’s most important pieces to its present success: the railroad system. Abandoned in the early 20th century but reinvented in the last few years, these railroad tracks combined with the futuristic influence of the ever-growing neighborhood creates the Highline Park. Running parallel to the West Side Highway and the Hudson River, the Park transcends the idea of nature and parks.

While trying to find actual remnant of the old tracks, I was surprised to see all shapes. When thinking of a park, one normally thinks of an area dominated by trees, flowers, or something of the sort. I must note that there was some to offer from mother nature. Although not as grand with trees as Prospect Park, you see the effort by the park to restore a natural beauty with gardens growing everywhere including old garden tracks. In addition, we get a small view of the Hudson, something needed as a balancing element in the architectural city of an expanding New York. However, I must point out the effects of the recent Hurricane Sandy that struck the park with great force. It is evident within the lack of color and somewhat lifeless appearance of the garden.

However, that aspect of a cliché “park with a garden” is greatly overshadowed by the geometric shapes and architectures that one sees. All the lines and futuristic influence I saw overwhelmed me. Instead of plants, tall buildings and skyscrapers casted their tall presence over me. It seems as though the city has taken a toll on nature as its industrializing influence is seen throughout the park. For example, one of the pathways is actually the bottom of a hotel. If that wasn’t distracting enough, one can find other skyscrapers amassing the environment. Furthermore, construction of another building took away from the natural beauty of the park itself. What was supposed to be an innovative park turned out to be a flop in my opinion. Besides the gorgeous view and walk, the park had nothing to offer. To me, it seemed too perfect, almost pretentious in its design.

It seems as though my own walk in the city has made me an amateur flaneurist. Preferably, I admired Prospect Park the most because it stayed true to the idea of a park with its simple beauty and recreational atmosphere. The Highline, on the other hand, offered nothing but shapes and a reemphasis on the busy life of New York City with the shadowing of skyscrapers. As you can see, by simply immersing myself in walking with a flaneurist attitude, I was able to connect a lot of ideas that I would have not seen if I were to just walk without purpose. There is so much more to the design of a park than an aesthetic or euphoric feeling. In addition to their beauty, there is history and influence that is just waiting to be conversed about.

 

El Museo del Barrio Visit

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Emergia Caracas by Miguel Rodriguez Sepulveda (2007) , Colombia- -DVD Video, El Museo del Barrio, NYC

In this small, approximately 15” X 15” video, we are given an 8:00 minute clip of what seems to be a tattoo starting to fade away through the sweat that perspires through the tattooed person’s body. By running in place in front of a white backdrop, this ink begins to fade away. What is inked into the Afro-Caribbean (You can tell from the color of the skin) displayer’s back is a picture of what seems to be the face of a white upper classmen, probably European, during the colonial era of his area. After almost 5:00 minutes of what seems to be a complete waste of time, the ink fades and smudges this face. Towards the end of the video, one can barely recognize the face of this unknown colonist. Finally, to end the video, photographers and audiences of the artwork take pictures and applaud the artist on his ideas and unique approach to the concept of slavery and colonialism.

As one may have guessed, the idea of an 8:00 minute video may seem very boring and tedious to watch, especially if nothing interesting is happening. I literally watched the video hoping that “interesting” something would occur. “Where was the art? I can’t see it!” However, what really caught my attention was the detail in which the colonist’s face was inked into the displayer’s back. I couldn’t help but notice the true details, such as bone structure and pompous features that this probable European had. In addition, my mind kept contemplating, trying to figure out what was on his back. Was it ink? Sweat? Marker? All of the above? Regardless, I respect this innovative idea that Sepulveda was aiming to portray. Through this sweat and hard work, the displayer can break free of their past, almost socially working hard to their status, while also sweating or “removing” the remnants of their colonized heritage of slavery. However, I must also note that the smudged face is still there towards the end of the video. This last note probably symbolizes the fact that this enslavement period of colonialism will always be with the people of, no matter what. I think this piece struck me as compelling just because of its idea and concept, which I believe is true. No matter what you do, there will always be some sort of history or past that comes with you to your present or future.

Here is the link to the video:

By Herve Bueve (2009), El Museo del Barrio

Martinique 2 by Herve Beuze (2009), Martinique – Metal & Synthetic Materials, El Museo del Barrio, NYC

No larger than a regular TV, this 3’ by 5’ structure shows the island of Martinique, made of some type of cork in an orange color, hanging on the wall by a black web like metal structure. The island of Martinique seems almost rugged and crooked with the topography of the island jaded, almost natural and similar to that found on champagne cork pieces. The black web behind the island stems asymmetrically and definitely sticks out, contrasting from the orange island.

In the midst of all these Caribbean inspired paintings was this large structure hanging on the wall. Sticking out like a sore thumb, it was only natural that I checked out Martinique 2. Behind the metal structure was this interesting idea of the country as a magnet, almost web like atmosphere. The concept of the spider web seems to symbolize the attraction of imperialistic countries to the region due to what the country offers, usually labor, pride, and a base, which increased European influences in the area. By portraying the island as a rough area through it’s topography and texture, I believe Bueve was also trying to note the difficulties of the country, including slavery, similar to all of the other countries in the Caribbean region. Again, I believe the artist’s concept was very compelling and thought provoking which led me to choose this piece. It’s always interesting to see how someone portrays an idea or theme in an artistic style. Although this imperialistic ideology is not present within today’s society, the idea of magnetic webs in the world is seen today in all places as countries have been assimilated or transformed into many diverse cultures, which was something we talked about English class the other day. (Probably another reason why it stuck to me)

Natural, Human, You, Me, We…

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WHAT DO YOU WANT FROM ME!

That’s the line so effortlessly said by Ethan Hawke who played the insane but relatable character of Ivanov in Chekov’s first play. It stuck to me. And it stuck to me well.

I can’t even begin to describe this feeling of amazement and engagement that swept through me while watching this play. It has been a while since I actually watched something of the sort. I was so used to watching media from the comfort of my home with a remote in hand. But there was something different…the engagement of actor and audience, even though there wasn’t supposed to be one. Not to sound pretentious or anything but the “connection” that actors and directors strive for was present, especially within Ethan Hawke.

Believability. Strength. Commitment. Right from the first scene, I could see Hawke’s true talent. Behind the tall set, there was a chair in which actors on deck could wait. Many of the actors just sat on the couch with anticipation. However, Hawke “fell asleep” and tuned into that crazy but sympathetic character that is reminiscent of his recent performance in Sinister. So captivating and enrapturing was Hawke’s performance that I couldn’t take my eyes off of him. In the scene before he breaks down in front of the doctor (Who in my opinion I wanted to punch in the face because he thought he was so correct and pompous with his knowledge.) His eyes, along with his visual saliva and spit episodes, told me everything and his dynamics within his tone of voice kept me trembling and engaged in his train of thought.

While listening to what Ivanov was ranting about, I couldn’t help but have a moment of Déjà vu. I kept saying to myself, “This guy is crazy. A bitch. A loner. A loser. How could one do that?” However, at the same time, I realized that he was describing a lot of people, like myself.

In the midst of midterm week, I was almost frightened to see my own character and personality come to life on stage, especially with Hawke’s skills. He began to speak of his failures in life, along with these overwhelming feelings that forced you to become paralyzed within life. I definitely knew the feeling. When school, work, love life (if there is one), just start collapsing on your shoulders that you slip to the point of almost surrender, wanting to just die to relieve all this stress. (Yes, I know this confession is dark, but this play brought it out of me.) And when people continuously nag you about your life and disappointments, you just yell…WHAT DO YOU WANT FROM ME? And that’s what Hawke did. So true to this feeling of failure and paralysis did he portray this performance. Although at times I called him crazy, I couldn’t blame him because I knew what it was like. (Although not to the point of adultery) He was human and that was it. So simple but complex did Chekov explore the aspect of human error.

Along with this analytic first half, one other thing that got my attention was the way in which actors chose the delivery of their lines. While reading the synopsis of the play, I was very surprised to find all these comedic undertones. From all the context, it seemed as though Ivanov was a very strict and stern play about failure and such. At first, I thought I was watching a completely different play from hearing all of this laughter but I soon got the jest of the comical play. (The obnoxious laugh of the man in the upper deck was a clue.)

Even though many of the actors and actresses couldn’t match Hawke’s energy and emotion, I enjoyed the psychological aspect of the play. It brings up the idea of sanity, which is normal and human.

Let’s Dance!

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As a dancer, I must say that I was looking forward to this performance for quite some time. Although I am an avid hip-hop or street jazz dancer that occasionally tiptoes in ballroom, I was very excited to see a new style of dance, most notably a modern or contemporary piece!

As I walked into the BAM theatre, I must say that I was very pleased. It was a very different sight from the night before of extravagant city life at the Met. Here, in downtown Brooklyn, there was definitely a different vibe that exuded not only through the neighborhood, but through the crowd that entered. In addition to the more intimate mood placed upon the smaller venue with a smoke filled ambiance, the crowd was definitely not as dressed up or aristocratic as the night before. Instead of elite socialites, we had the “yuppies” with tattoos, eclectic hairstyles, and young urban working class that came out to enjoy the night. It was definitely a breathe of fresh air.

Now back to the good stuff – the movement, the art, the dance.

The rock and roll atmosphere set upon the venue by loud guitar strums and crazy acoustics threw me off a bit as the show began. At first, I couldn’t help but think if I was in the wrong place. But then the dancing began…

Right from the get go, I knew I was going to be in for an interesting night to say the least as I knew that all these types of dances were going to be different from what I was used to. The movement and style of these dancers were so crazy and hectic, but in a good way! This new profound movement of jittering and random motion almost felt tribal and rustic. The almost purging movement of hands reminded me of a sacrificing ceremony almost with a hint of jazz. I also appreciated the different shapes that the dance company offered to the audience. Usually in dance, judges and critics emphasize on lines but the choreographer did an amazing job in incorporating a different geometrical outlook.

Besides the actual movement, I thought that the musicality that the dancers were moving to was very similar to street styles. A lot of the movements accentuated the loud percussions and the way in which the strings were manipulated was illustrated through the fluid but staccato like accents. Overall, I thought the whole dance was quite enjoyable. Although different from the norm that I am used to, the crazy Dionysian art that exuberated through the opera house was something new and tantalizing. It wasn’t the ordinary modern or contemporary moves with fragile emotions. Instead, Political Mother went beyond that and gave us an emotion filled show.

Personally, throughout the show, I was wondering what the whole concept was all about. Not even in the small pamphlets could you find a small synopsis. I must admit that some type of information would have probably added to my appreciation for the show already. Instead, I was left wondering throughout the whole show, which at the same time could be a good thing. After all, art is subjective; the best part about it is that you can either take it for what it is, or simply interpret it into something more. I feel that for this performance, I was able to take it  for what it was and truly appreciate the movement and ability of the dancers instead of understanding it.

Overall, I thought this energetic and eclectic piece was a wonderful production that made me look at the concept of dance in a whole new way. If you wanted something new besides the typical So You Think You Can Dance or Dancing With the Stars movement, then this would have definitely been something to watch. It’s full of crazy movements, energy, and sound that won’t disappoint.

Take Me to The Met!

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Considering the fact that I’ve never been to any opera, or show of such sort, I must say that my first experience will forever be a grand memory. From the high-class red velvet arena of classical Italian melodies to chandeliers that have more crystal and shimmer than Lady Gaga’s normal wardrobe, L’Esir d’Amore definitely made lasting impression and has changed my opinion of boring binocular viewed operas.

Even before the entering the venue, the whole essence of New York City and the arts came to life right before my eyes as the fountain, in contrast to the dark city sky, indicated a magical night. I couldn’t help but snap a quick default picture for Instagram. As I continued into the Met, I must admit that I felt out of place. In the midst of tuxedos and red velvet everything, I thought I was in an episode of Gossip Girl. To top that off, my class was practically in the last row in the family circle. I could touch the wooden ceiling…literally.

However, as the Gaga-esque chandeliers raised and the crowd grew silent, all these thoughts of foreignism went away.

I was immediately drawn by Nemorino’s strangely hypnotizing voice. Played by Matthew Polezani, Nemorino’s lonely but relatable character belts out his heart and soul into every scene with either pity, comedic relief, or as in one memorable scene, heart wrenching sorrow that was just asking the audience to hug him (Which actually got him a round of applause). Throughout the play, his character drew me in even more as his versatility between his acting and singing combined into a perfect performance.

In addition to Nemorino, his female counter part, Adina, portrayed by Anna Netrebko, plays an equally powerful counterpart with an octave range similar to that of Mariah Carey, something that I would think was impossible. At first, I was dismissive of Adina’s character due to her elitist attitude in choosing her suitor. However, her character grew on me as she became somewhat relatable to people when she learned of her jealous heart for Nemorino. Her humility in the play gained my respect in a sense as it reminded me of past personal situations. Nonetheless, the balance of acting and voice, like Nemorino’s character, was just right. This chemistry and relationship almost reminded me of many characters on Glee in the sense of relationship drama and musicality.

While Nemorino and Adina may be the two stars of the play, I must also tip my hat off to Ambrogio Maestri, who plays the misleading but comical Dulcamara, the doctor with the love potion who puts this whole story in motion. If it wasn’t for his tactile businessman skills and salesman comedic charm, I don’t think I would have been as interested and into the play as I was. In any form of play or movie, especially in comedy-drama, there seems to be that one character who knows what to say with that good punch line or pun. In this case, it’s definitely Dulcamara. The ingeniousness of Donizetti sees Maestri’s character sing, in my opinion, the most memorable song of the night: Utide, Utide o Rustici. Donizetti combines the whit of Dulcamara with his deep but infectious voice to make the audience laugh not once, but twice, including the end. This standout song definitely had me laughing here and there with its ironic notations of love, fortune, and health. It’s definitely something one could see as a Broadway song. Moreover, I can say that Dulcamara’s character definitely stole the show, for me at least.

Besides the whole show itself, I must also talk about the actual and physical experience of such a show. Our professor told us how we were going to sit at the very back and I thought he was actually kidding but, as luck goes, he wasn’t. However, he noted that due to the acoustic arrangement of the Met, we had the best seats in the house, aurally. And although I can’t judge from the audience’s view from below us, I must admit that I was able to hear pretty well. Professor Minter wasn’t joking when you could hear everything! That cough from way down low during a dramatic pause was definitely a killer.

To be honest, I wasn’t expecting so much “life,” if I can call it that, at an opera. When I imagine operas, I stereotype aristocratic elitists dressed in the finest of clothing with handkerchiefs that cost more than a ticket, to be primed with their noses so high up. In addition, I imagined a very plain and dry play. But I’m glad I was proven wrong. My eyes were opened to a new field of the arts that I definitely enjoyed.

There’s a first time for everything…and I definitely won’t forget this culturing and refined experience. Although I may not find myself sitting in at the Met anytime soon due to prices I shall not speak of, if given the opportunity, I would definitely grab those tickets. It’s an enriching experience that you can only gain something from! You can’t lose! (Maybe money. Shout out to Macaulay for those far but free tickets!)