UPDATED 10:55 AM, 20 February 2015
Here’s a bit on what to expect from me this week:
1. Every day from Art Fair Philippines, I’ll be filing a brief field report on things I observed, and probably an interview or two with someone from there. I’ll also be visiting new shows at MCAD. The entries for those days are at the Art+ Magazine website, under “Online Exclusives”.
2. My note on the Arigato, Hato homecoming is the only other thing I look forward to writing this week. I caught the band play their first set in five years. Hearing “Mister Music Maker” live for the first time in years was a good moment.
See you around!
(updated 13 February 2015, 2:57 pm)
There are actually two footnotes to my soon-to-be-posted review of Red Turnip Theater’s production of Nick Payne’s Constellations.
1. The play’s conceit really hit home for me this morning when I looked at my Saturday schedule. I noted that I would make up my mind by today, and I wondered if in a number of parallel universes I went to all those events.
One would wish that but…sigh.
I decided just this Saturday morning to skip all but one of them. This one got me curious. Here’s a pic of the stage area:
2. Meanwhile I’m planning to watch the play again on Wanderland weekend.
On a programming note we’re canceling the other exhibit post. I’m hoping next week will see more on my end.
Welcome to From the Archives, a bi-weekly feature on things that your correspondent has encountered in the past–or would have.
Today’s post is in the latter category.
Last night, an indie pop band named Maya’s Anklet played at the UP Fair. Unfortunately for longtime fans of the band, they did not play this song.
This performance was recorded sometime in 2009, long before I even knew about the band. And the title of the song back then was “Favorite Song.” It was a working title, apparently, owing to the song’s popularity with Maya’s Anklet fans. Three years later, the band recorded the song for its self-titled debut record and it gained a new name.
The last time I heard them play this was for a gig at Route 196 earlier this month.
Of course, I’m glad that they decided to play this song last night, whose video was directed by AJ Orlina with choreography by Gilliane Gequinto of Ballet Philippines.
I suppose some of my readers may have figured out that it has something in common with the video for Autotelic’s “Unstable.” Well, that’s because both are part of a film project that a number of us worked on last year. Watch out for an announcement on when you can catch it!
I’m on my way down south on Shrove Tuesday morning. This is an old English name for what is the last day of Carnival, among other things. This day is known in some parts of the Christian world as a day for consuming pancakes (owing to older strictures of Lent where fat was banned), but the term itself refers to the celebration of the Sacrament of Reconciliation by individuals, whereas Ash Wednesday would be a day for public penitence.
An older friend who lived both in Venezuela and Spain for many years noted the definite change in public mood the second Ash Wednesday set in. I might not be surprised that this is no longer the case there or even here, where we share a common religious culture with those two countries. Nevertheless it is worth recalling that the term Lent comes from the Latin to “slow down.”
Always a cautionary note to sound, I fear, and ever more ignored.
(This article does not feature pics, though I swear that it happened.)
A friend whom we’ll call Maven told me about the burlesque show that would be held in early February, whose motif was based upon the last completed Stanley Kubrick film Eyes Wide Shut. I was not initially planning on catching it, but I was a bit curious. What Maven emphasized was that this was very much less about what was at the end than the process of revealing. So it was when she let me catch the very first show that my curiosity was mildly satisfied.
The show was pretty interesting if only because it was exactly how my friend described it. Some numbers were more entertaining than others, including one involving Maven and the only male member of the troupe. What this experience had in common with its source material was its mild air of mystery that it exuded, and I’ll better keep up that air by not showing but telling.
I understand that this show, in its current form, will run twice in the next two months. Perhaps what could keep this going is word of mouth. Which brings me to a conversation I had about an hour after the show finished, over in a watering hole where a video launch was being held. I met an acquaintance I hadn’t seen since last year, and then told her companions about the burlesque. One of them knew about such things and was surprised that there was a small group starting to do it. I let them know that there would be a show next month.
Details to follow, of course.
There really was little to say after the events of last weekend, between the prelude to the burlesque show (an unfortunate encounter with someone I used to trust) and my choice to begin a much-needed break from certain things, in order to begin an annual process of reflection.
It did work last year, but I think it has to be a little more ascetic than I thought I needed, so I hope I could manage with less this year.
This week, I’m putting up two posts: one on that Friday-night show, and another on a couple of exhibits I recently visited.
Do keep me in your thoughts and prayers as I hope to keep you in mine.
Tonight I was right in the middle of a reunion, or a series of them, all in the context of an art exhibit. Romina Diaz’s exhibit at Finale is something to see, by the way.
Then there was the reunion that happened tonight at the Brewery, when I met someone who figured in my early days traversing the musical landscape. I felt very happy about it, just as I was glad to hear a new song or two played live tonight.
Ah well. Good night, everyone.