Americana Passé

How can we open galleries up to people of color to make them more than simply white man's land? Not by focusing on Caucasian nostalgia, like Royal Nebeker does at his ongoing exhibit at the Schneider Museum of Art at Southern Oregon University.

America's demographics are changing. We are increasingly becoming a brown nation, but we wouldn't know that by going to look at the art at Schneider. If we want our cultural resources to represent our whole community, then we need to exhibit work that doesn't present such a narrow view of American culture.

Nebeker is a neo-Expressionist who utilizes collage in nearly all of his work by juxtaposing text with his images. His painting is rich in texture, and vibrant in color from the sylvan blues of The Blue Bike to the oppressive shadow of Hands of Healing to the lonely maroon of Til Østbon. Twilight, in fact, is a favorite theme. It infuses everything in The Blue Bike and Til Østbon, and it approaches just off frame in Marbles at Twilight. Americana also weaves throughout his oeuvre. It's passive in his 1971 piece Mrs. Senior and Fern, but dances with twilight and violence in The Blue Bike, Marbles at Twilight and War Cry. The latter juxtaposes silhouettes of Indians and Arabs with a placard for Gene Autry's The Cowboy and the Indians which reads "war whoops ring.. war paths flame."

His Americana demonstrate exhibits nostalgia for a time of innocence, untouched by the brutality of racism and xenophobia. It negates the American-ness of experiences that have always been fraught by one race's ongoing oppression of the others. It's a comfortable fit for a venue as rooted in white privilege as an art gallery. It's a great fit for the America of the 1950s, but not for the America of 2014.

Cultural resources ought to be for everybody in the community, not just the white and/or privileged. To exist for the whole community, they need to exhibit work by and about more than just the white and/or privileged.

Considering the Canon: The Lion King

For the past 77 years, American kids have grown up watching Disney movies, having their worldviews shaped by the cartoon narratives. This is why the old "damsel in distress" trope has received its fair share of deserved criticism. The Lion King demonstrates this chauvinistic weakness, although perhaps less ostentatiously than Snow White and the Seven Dwarfs or Sleeping Beauty.

Like those traditional princess movies, though, Lion King devalues female agency. Every change, besides one, that occurs in this story is the result of male action. The one exception is when Nala encourages Simba to return home. This barely counts, though, since what she's doing is getting a man to come fix things.

Irene Mecchi, Jonathan Roberts and Linda Woolverton's iconic story paints a picture of a simple moral dichotomy in which good is represented by responsibility to one's community and connection to one's ancestors, and evil by greed and familial estrangement. Directors Roger Allers and Rob Minkoff emphasize the point by drawing the Cain figure Scar as the leader of a Nazi rally in a hellish elephant graveyard, and the Abel figure Mufasa as a divine presence at the edge of the savannah. These two males in relationship to protagonist Simba, constitute the core of the plot.

For American boys and girls who became cognizant of stories in the early 90s, The Lion King was universal fare. Why shouldn't it have been? It taught us to value our families and communities, and to respect our ancestors. By phrasing the narrative so entirely in masculine terms, however, The Lion King also taught us that only males had the agency to change things for good or ill in the world. The movie's central crisis is created by one male, and solved by another male, while females are relegated to the role of dependent deuteragonists. The Lion King teaches us family values that disempower an entire gender.

It is unfortunate that such a beloved classic reflects such chauvinism on the part of American society. Moving forward, we need to work to create a canon that empowers all members of our society equally.

Five Best Friends

Friendship is the most powerful force in the galaxy.

That's the raison d'être of Disney's Guardians of the Galaxy. Sure, it's a movie about space pirates and gun-toting raccoons, and it has an obligatory supervillain, but the real story is about alienation and friendship.

After a bleak and all-to-everyday prologue, young Peter Quill (Wyatt Oleff) is abducted by aliens. Flash-forward 20 odd years, and grown Peter Quill (Chris Pratt) is an intrepid space thief stealing an Orb that contains one of the Marvel's all-powerful substances that can destroy the universe. Little does he know that Kree terrorist/revolutionary Ronan (Lee Pace) and creepily eccentric Collector (Benicio Del Toro) have both sent orphan assassin Gamora (Zoe Saldana) after the Orb. After Quill eludes Ronan's henchmen, the brutal warlord puts an astronomical price on his head. Rocket (Bradley Cooper), a genetic experiment gone awry, and his side-kick ent Groot (Vin Diesel) get into a fight with Gamora over Quill in a crowded city center, and the four of them find themselves in a maximum security prison where they meet Drax the Destroyer (Dave Bautista), a muscle-bound ward of the Xandarian state who has a vendetta against Ronan for the death of his family. After a relatively easy jail break, the ragtag quintet find themselves the only ones able to protect the galaxy from Ronan and the Orb.

Guardians of the Galaxy succeeds by telling an uplifting, universal story about the power of friendship. Director James Gunn accomplishes this by establishing that the real obstacle is not the run-of-the-mill supervillain Ronan, but instead the protagonists' social alienation. Quill is the only "Terran" in this galaxy. Gamora is an orphan raised in a loveless and exploitive family like an extraterrestrial Oliver Twist. Rocket "didn't ask to get made," and masks his misery with a vicious sense of humor. His only real tenderness is reserved for Groot. The look in the raccoon's eyes when he realizes that he might lose his best friend is an coup of animation. The look in Drax's eyes when Ronan laughs him off is a coup of acting. Since his family's death, Drax's only purpose has been to fight and kill the man he holds responsible. Instead of taking the macho route, Bautista and Gunn let us see Drax's vulnerability. It's the quintet's shared social alienation that brings them together, as Quill makes explicit: "We're all losers. We've all lost something." Only by establishing bonds of friendship can the Guardians overcome either the intangible or tangible antagonists. The final showdown on Xandar is weak by action movie standards, but that doesn't matter. It's not a story about action and violence. It's a story about friendship. It's the kind of story that withstands the test of time. This critic expects audiences to return to over and over again.

Disney trades in uplifting, accessible stories, and Guardians is no exception. Sure, good Disney movies have brilliant animation and wacky characters, but so do many others that have not become cultural landmarks. Disney movies, by and large, succeed so well because they have heart. Guardians of the Galaxy, from story to acting to design, has as much heart as the best of them.

 

 

Terpening-Romeo's Vanity Project

The proliferation of small theater companies in Portland is creating fertile ground for vanity projects like Anon It Moves and String House's current production of Hamlet.

Driving this production is early career director and Anon It Moves co-founder Erica Terpening-Romeo's desire to play Hamlet and not a lot else. This might be excusable if Terpening-Romeo had the chops for Shakespeare's iconic character, but, more's the woe, she hasn't.

This Hamlet opens with a dumb-show presentation of a loving family, until the King disappears leaving his crown floating mid-air. The cast continues to explore the relationships established in this scene through the duration of the play: Hamlet and Ophelia's (Crystal Ann Muñoz) decaying love, Hamlet's sacrificial relationship with her dead father (played by a masked chorus), and her fraught relationship with her mother (Ethelyn Friend) and uncle/step-father (Jamie Peck). Director Elizabeth Watt elevates Ophelia's importance by staging a relationship between her and her spectral father (Chris Porter), and of course her importance to Laertes (Heath Hyun Houghton) is given in the text.

These relationships constitute the framework for Watt's directorial premises: "before the murderous act that began an irreversible unraveling, this was a love-filled world." Watt's program note continues, "The project was seeded with Erica [Terpening-Romeo]'s image of a strong female Hamlet." This could be a great idea to call attention to the patriarchal world out of which Shakespeare's canon springs, or about the gender neutrality of emotional malaise, or any number of intriguing things. It might even work as a platform for a great actor, although we just saw that formula crash and burn with Portland Shakespeare Project's Tempest. Unfortunately, Terpening-Romeo's not a strong enough actor to carry this particularly challenging play in that even more challenging role. She seems to be out of her depth and played a superficial Hamlet, breathy and fast. She got lost in the pedigree of the role, and, except for one brilliantly genuine moment in the fifth act, bombed. Since her desire for the role dominated everything and everybody else, there was hardly an opportunity for any one else's contributions to redeem the play.

It's to be expected, however, that we will be getting uninteresting vanity projects like this one in Portland's ballooning fringe theater scene. Small groups of friends banding together and performing for their friends create the perfect condition for work done for the artists not the audience or community. Why would anybody else be interested in seeing an early-career director play Hamlet just because she can?