Over the past few years, the American media has been riddled with accounts of racial violence. As much as America would like to pride herself of being egalitarian, these recent atrocities reveal that in many cases, Blacks are still treated as second class citizens. The Western media rarely covers stories of Black mistreatment in other countries, and, as such, one is led to believe that this abuse occurs only within the U.S. This silence, however, reveals just how bad this problem is internationally, as each day hundreds of people become victims of racial violence and are left without a voice. Jonas Carpignano’s Mediterranea speaks for these victims when the media will not and questions the extent to which this racial injustice is an American problem, suggesting that it instead is a global one.
Mediterranea is an independent movie presented by Sundance Selects that opened on November 20th 2015 and is currently playing at the IFC Center in Greenwich Village. It is written, produced, and directed by Jonas Carpignano. The movie first premiered at the Cannes Film Festival in France and was a big hit. The film takes the audience through the lives of two African migrants, Ayiva and Abas, seeking a better life in Italy, who run into obstacles at every leg of their journey. These protagonists are played by Koudous Seihon and Alassane Sy, respectively. They are talked down to, they are lied to, they are robbed, they are evicted, and they are beaten. Even their fellow Blacks hurt them at various times during the movie. Indeed, these two young men just can’t seem to get a break.
In the IFC Center’s relatively large theatre one, the ambient sound effects of the movie resonate off of the hard brick walls and truly surround the audience. At one point, Ayiva and Abas find themselves caught in a thunderstorm while on a dinghy in the middle of the Mediterranean Sea. The visuals themselves are quite disturbing, but the sounds of the waves and the thunder powerfully convey the disparity of the migrants in that boat. With every wave, the boat comes closer and closer to capsizing. Audience members literally jump in their seats when the first bolt of lightning strikes with thunder echoing across the room. The characters’ screams are covered by the warlike sounds of the battle between the sky and the sea. Being that this is the migrants’ first encounter with Europe, the event foreshadows the challenges that await them on the other side.
In the film, Carpignano creates a contrast between how individuals treat the migrants and how groups treat them. Most every time Ayiva and Abas encounter a hardship, it is brought upon them by a group of people. This phenomenon is most clearly seen by the reappearing group of Italian youth. They are roughly the same age as Ayiva and his friends; however, they are constantly causing trouble for Ayiva’s group. The Italian group consistently takes advantage of the impoverished Black women in Ayiva’s group and pays them for sex. Having no regard for them as humans, the Italian youth sexually harasses them in front of their friends, provoking conflict. The majority of the times that Ayiva and Abas encounter kindness, it is from an individual. This trend can most clearly be see from Mama Africa, played by Norina Ventre, who created a home for migrants to live in while they get settled. Her name comes from her reputation among newcomers who view her as their European mother because they left their biological mother behind in Africa. She feeds Ayiva and Abas and helps them find work so that they can stand on their own two feet. The contrast in the two treatments reflects the danger of mob mentality and reveals that it is the root of racism and discrimination.
In a chilling scene towards the end of the film, a group of migrants protest the mistreatment of Blacks in a country that was supposed to be their paradise. They chillingly chant “stop shooting blacks” as they parade through the streets. Carrying stolen street signs that say stop and no parking, they manage to get the entire city’s attention. Angry protestors with metal pipes and molotovs destroy stores and cars. This scene bears a striking resemblance to the Ferguson riots that flooded the media last year, and, as such, Carpignano’s attempt to raise awareness for the global racism that still plagues Blacks today is successful.
Western films nowadays are often filled with Hollywood’s notorious happy endings. Be it a drama, a horror movie, a romance, or an action movie, in the end, there is always closure. Mediterranea is a refreshing deviation from this archetype as the movie cuts off in the middle of a party without any clear conclusion in the plot. This ending is rightfully unsettling as the racism these migrants face on a daily basis hasn’t come to an end. A happily ever after ending would be unrealistic and take away from Carpignano’s goal to raise awareness of the mistreatment of Blacks worldwide.
Overall, the film leaves audience members appalled by the underreported treatment of migrants in Europe as well as motivated to change it. Personally, having finished the movie, I resolved to join a non-for-profit organization geared at helping migrants with their search for a better life in Europe. This is exactly the kind of response Carpignano aimed to create for his viewers—to motivate them to help those who left everything behind in exchange for a better tomorrow.
When it comes to talking about art, the first thing that comes to mind is usually either painting, drawing, or music. An often overlooked art form, dance, is just as valid a medium of expression as these other pallets and as such, deserves recognition. What is unique about dance is that often times it is a combination of two forms: music and movement. As such dance has large room for interpretation, allowing for the artist to explore both a piece of music as well as a theme through their movements on stage.
Imagine that you see the girl of your dreams for the first time. Staring across the moonlit sky, your eyes meet and it’s love at first sight. As your gazes cross, you instantly feel that spark. While this romance might sound like a typical Romeo and Juliet love story, its true nature is much more twisted than that. That one special moment in time where you held each other’s gaze mesmerizes you and you become a prisoner to her charm. The only way to free yourself is through her love.
Immigrating to a new country can often times be difficult, frustrating, and confusing. The language is foreign, the customs are strange, and even every-day products are different. Without sacrificing some of your previous cultural values and beliefs, it will be difficult to assimilate into the new society. As sad as this process may be, its hardships provide great artistic inspiration for artists such as Zhang Hongtu.
Hongtu’s satirical goal. In this work, Hongtu took an empty Quaker Oats container and painted Mao’s face onto it with a red backdrop. The red background as well as the green hat with a star is symbolic of communism. Quaker Oat’s is one of America’s largest companies. By painting a communist symbol on an American product, Hongtu creates a paradox. It is so absurd that at first glance, I couldn’t help but laugh a bit. Putting the political context aside for a moment, the work also represents a culture clash. Instead of the typical old white male, Hongtu’s Quaker Oats box features a Chinese male. This difference prompts the viewer to question what exactly makes an American, and whether or not that characterization is based upon race.
Adolescence is the most awkward and confusing time in an individual’s lifespan. He departs from the innocence and ignorance of childhood and yet doesn’t acquire the full maturity and enlightenment of adulthood. He is caught in limbo. Puberty perverts his body and thoughts and the world he once knew is suddenly turned upside-down. Frank Wedekind’s Spring Awakening, explores the difficulty of this period, amplified by the conservative ideals of the 19th century.
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