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Reflections: A view of the Arts & Ideas Festival on the Green

The Arts & Ideas Festival is international in scope, using the unique geography of New Haven as a venue through which to showcase artists and academics from around the globe. But on a recent Saturday, in the heart of downtown, these roles were reversed as the festival played host while New Haven showed off a little of what it has to offer. That day saw a day-long showcase of musicians, dancers, and community groups from New Haven and across the state in the form of two performance stages and a line of family-oriented activity tents.

Kicking off the day was the sixth annual Channel 1 Block Party on Temple Street, hosted by New Haven's Channel 1 Showroom & Gallery. From noon till six, the street filled with the sounds and movement of DJs, break dancers, and live sets from Waterbury's Sketch tha Cataclysm and New Haven's Political Animals. Two mural walls were gradually covered by the intricate chaos of graffiti art, with special guest and legendary New York artist Cey Adams watching from the wings.

“This generation is becoming more homogenized, more separated,” says Channel 1 co-owner Lou Cox, recalling the diversity of the neighborhood block parties he experienced during his youth in New Haven. “The idea is to do one of these in every neighborhood in town, and at the end of the summer do one big event to bring everyone together. This is the kick-off for all that.”

Leslie Cohen, Cox's wife and other Channel 1 co-owner, puts it perhaps more succinctly when she says, “People walk by who might never see another break dance competition in their lives.”

At the Family Stage across the Green the afternoon saw a line-up of world music acts including Connecticut's Oboe Duo Agosto with Yovianna García, folk group Echo Ugunda from East Africa by way of Wesleyan University, and the Jolly Beggars, a Celtic band out of Hartford.

While the Beggars played upbeat arrangements of traditional Irish songs about the Troubles and conflict with the English, the tent hosted by New Haven organization Promoting Enduring Peace saw 5th grade students from the King/Robinson School performing a self-penned song entitled “Save the World,” with heartfelt lyrics pleading for an end to violence and warfare. Balloons were given free to children, on the sides of which were drawn symbols of peace in magic marker.

“It's a festival about Arts and Ideas, and we're really blending each,” said one volunteer, “You'd be amazed how many kids know how to make a peace sign. Even the really little ones.”

Next door at the West Haven Students Art Show artwork from K-5 students at West Haven Head Start was displayed, with father and son volunteers Kenny and Kenny Jr. providing free coloring and origami lessons (this reporter made a somewhat functional flapping crane). “We need art shows for kids,” said Kenny the elder, in his seventh year bringing just that to Arts & Ideas. “We need to support the arts in our communities and our school, to support our art teachers and show kids that this is important. This is a great outlet.”

The day’s main attractions were a series of dance performances on the Elm Street Stage, kicking off with a series of series of pieces by students of the New Haven Ballet. Of particular note was a piece by New York based choreographer and performance artist Katie Rose McLaughlin. In a man’s suit from the waist up and wearing only white briefs from the waist down, McLaughlin performed an interpretive dance set to a monologue that ranged from academic lecture to free verse poetry to post-modern exercises in self-reference, read live by a man seated far stage right. The performance was refreshingly unique, and would have seemed more at home in an after-hours gallery than the main stage of “Weekend Afternoons.” Nevertheless old men, young children and scatterings in between sat on the grass and watched, rapt.

University of New Haven students Eric, Paul, Nicole, and John caught McLaughlin’s set front and center after coming down to Arts & Ideas to break the monotony of their summer break. “This shows New Haven has a lot of personality,” said Eric of the festival, a native of Milford, New Hampshire. “There's more than just its reputation as a violent place, there's culture here. It's really changed my opinion of the town.”

“I feel like people who are born and raised in Connecticut a lot of times are afraid to come into New Haven,” said New York native Maxine, voicing a similar sentiment. “This brings people in.”

She checked out the Elm Street Stage with her sister Sara, a Bethany transplant, and Sara’s neighbor Mauren. “We came for the music,” said Sara. “The acts are interesting,” agreed Mauren. “There's so much to see.”

The trio chatted and indulged in with wine and hors d'oeuvres laid out in front of their camp chairs as dusk began to settle and the dense crowd got ready for the main event, a performance by New Haven’s favorite Gypsy- swing export Caravan of Thieves and Grammy-winning Black roots band the Carolina Chocolate Drops.

Maxine beamed, “I love it, it reminds me of something in Central Park.”

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A Cash of American Music: Rosanne performs from her newest record

As a teenager, Rosanne Cash went on tour with her father, the rockabilly and country legend Johnny Cash, where she says she was first formally exposed to country music standards as a musician.

“My mother had her favorites that she would always play around the house, like Patsy Cline and Ray Charles, and of course those musicians influenced me,” she says. “But when I started buying records, I wasn’t checking out country. I was a huge Beatles fan. I loved Elton John, Buffalo Springfield, you know, the popular music of the time. I was re-educated in country music when I went on the road with my dad after high school.”

Cash’s latest record, The List, is a collection of country standards compiled on a list of essentials to know and learn by her father.

Cash grew up in Los Angeles and Ventura, Calif. She started making records in 1979 and has had No. 1 singles on both the pop and country charts. She considers herself a singer-songwriter rather than a country musician, but in general resists labels and classifications; even when describing her new record, which has a pronounced influence from her father.

“I don't think that all the interpretations could be classified as country,” Cash says. “The songs on The List are not just country, but borrow from a lot of traditions: Appalachian music, American roots music, classic soul, and protest songs. They are not all strictly country songs.”

Cash goes on to explain that American music generally draws on a number of influences.

“There was a lot of feeder streams that went into country,” she says. “It was influenced by everything around it.”

[youtube]http://www.youtube.com/watch?v=_uEGs7RJFTA&feature=related[/youtube]

IF YOU GO: What: Rosanne Cash When: 7:30 p.m. June 30 Where: The New Haven Green Tickets: Free Info: artidea.org

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The Humanist: Yuval Ron brings the Middle East to New Haven

ARTS & IDEAS: When Yuval Ron was 17 years old, he ventured out from his home in Israel into the Sanai Desert with a guitar. There he met the Bedouin, a nomadic people with a distinct musical tradition.

“I played music with them and they embraced me, because I could play the guitar, and they could play the oud, which I play now,” Ron says from his Los Angeles studio. “They are tribal from this remote desert. My connection to them was through appreciating their music, but that made me appreciate them as a culture, as a people. It made me realize that culture and people and environment are one in the same. If you mistreat the people or the environment, you lose the culture.”

Ron has been playing sacred and folkloric music from the Middle East with his ensemble for 12 years. On June 28, the Yuval Ron Ensemble will perform a sold-out performance at Morse Recital Hall on College Street. On June 29, the group will perform a free concert of upbeat dance songs from the Middle East on the New Haven Green.

The members of the group and the songs they perform are as diverse as the region itself. Growing up in the conflict-torn region as an Israeli, Ron said he was raised with one specific nationalistic and religious perspective. His music is in part a reaction to that, and Ron says he deliberately tries to transcend national borders and what he calls “artificial” divisions.

“The music that I do does represent a global perspective, but it starts with a regional perspective: a Middle Eastern perspective, which is where we are from. We embrace all the beauty in that region,” Ron says. “The perspective that I have is more humanistic than nationalistic. I am interested in using the information and research I do to bring out the human expression from both sides of the border to point out their commonality, and to show their commonality across borderlines is greater than the things that separate them.”

For Ron, this was a radical realization that he came to at the end of his teenage years.

“I can tell you that growing up in Israel, each side of the divide has a different narrative of what happened—not just in the last 30 years or 50 years—in the last 200 years, even 500 years. So it’s a very complex issue and when you grow up,

you only hear one side of the story,” Ron says. “I didn’t have any Arabic friends, any Christian friends, any Muslim friends. I didn’t meet anybody who was any different from me. I was 19 or 20 when I started meeting people who have a different heritage, a different narrative from mine.”

When asked if there are parallels between U.S. society and the Middle East, Ron says the most striking similarity is the opportunity for cultural cross-pollination.

“The U.S. is a melting pot as well. They are very similar societies here in the U.S. and in Israel. There is no other country on earth with so many people from different countries and religions living side-by-side than in the U.S. and Israel, and any time you have that meeting of cultures you have an opportunity for combinations and fusions of music. In the States, look at jazz, it is a fusion of different cultures that clashed and met in the U.S. Jazz didn’t happen in Africa, it happened in the U.S. with African roots mating with Celtic roots and German roots.”

[youtube]http://www.youtube.com/watch?v=i3z0-rasqg0[/youtube]

IF YOU GO: What: The Yuval Ron Ensemble When: Noon, June 29 Where: the New Haven Green Tickets: Free Info: artidea.org

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Put It on My Gab: Slate magazine's popular political 'Gabfest'

ARTS & IDEAS: Remember back when the internet was young? Like, 1996?

So a guy named Bill Gates had this notion that people would actually read articles on their web browsers (Yahoo, Excite, Lycos). And he hired the famous editor Michael Kinsley to build him a web magazine.

They called it Slate.com, and it was based in Seattle. It was such a novel idea — with such uncertain prospects for success — that they also made a weekly print edition, a low-fi stapled affair, that they mailed to subscribers who were unsure about this whole internet thing.

Well, Slate.com made it. It is now owned by The Washington Post, and it has been through a couple re-designs. But it has persevered and become a web must-read.

One of its most popular features is the "Gabfest," which was to political podcasts what the magazine itself was to web magazines: one of the first, and still one of the best. On Wednesday evening, the "Gabfest" comes to New Haven.

This week's panelists will be Slate editor David Plotz; senior editor (and New Haven resident) Emily Bazelon; and political writer John Dickerson (who's also political director of CBS News). They will talk election, Obama, and whatever else moves them ... and who knows, there may be room for audience participation.

Show up with something witty to say.

And it's the web, so it doesn't matter how you dress.

IF YOU GO What: Slate's "Gabfest" When: 5:30 p.m. June 27 Where: British Art Center, 1080 Chapel St. Tickets: Free Info: artidea.org

Why are we doing this? Click here to find out more.

Leaving Eden: Carolina Chocolate Drops remember weird America

ARTS & IDEAS: For the past few years, you could say there's been a bit of a resurgence in interest in traditional American musical styles, and with it, a move to do to American music again what Dylan did to it a generation ago: to combine the sounds of old, weird America and the music lots of people listen to today.

Buck 65 took a stab at it with Talkin' Honky Blues in 2003. The Low Anthem has been steadily rising since 2007 by using the sounds of old country, gospel, and blues in ever new ways. And, of course, there was Mumford and Sons' breakout performance with Dylan at the Grammys, turning the stage into a 1960s-style hootenanny, which hearkens back even further into the past.

One of the more interesting groups going after the ancient-modern alchemy is the Carolina Chocolate Drops—Grammy winners themselves for their 2010 album Genuine Negro Jig—and if you were to describe the various musical acts as a race to perfect the formula, to my ears, the Chocolate Drops might be in the lead.

The Chocolate Drops, then composed of Rhiannon Giddens, Dom Flemons, and Justin Robinson, started off almost like historians. The band's first album, Dona Got a Ramblin' Mind, found them paying homage to the great black fiddle-banjo duo Joe and Odell Thompson (the title of the album is taken from one of the Thompsons' signature tunes) while also placing them in the context of other string band and jug band acts that were, more or less, the Thompsons' contemporaries. But even on that first album, there was a hint of what was coming: the Chocolate Drops weren't just recreating old recordings, but playing them like they wanted to, infusing the old music with their own spirit, energy, and sensibility.

They followed that up with years of relentless touring, during which they grew and developed their sound. A lot. A collaboration with the Luminescent Orchestrii, a band doing similar things with Eastern European music as the Chocolate Drops were doing with Americana, led to some of the most hip hop-inflected work for both groups. Giddens proceeded to work with Sxip Shirey, guitarist for the Lumiis and a composer in his own right, and appeared on Shirey's Sonic New York. The result of all this for the Chocolate Drops was Genuine Negro Jig, and the Grammy that followed.

Justin Robinson left the band after the Grammy win—he's currently heading up this fascinating project—and Flemons and Giddens took on Hubby Jenkins to round out the trio, with support from beat-boxer Adam Matta and Leyla McCalla on cello.

The project recorded with this lineup, Leaving Eden, is their strongest album to date. The sound still partakes heavily of the old American music the Chocolate Drops have been swimming in, but the modern elements are stronger and everything comes together even more seamlessly than before, in a more compelling way.

They're right to put "Country Girl" forward as a single. The unusual instrumentation—fiddle, banjo, mandolin, cello, and beat box—lays down an unmistakably modern groove, letting Giddens's beautiful voice slide and soar. But then the album's opener, "Riro's House," marries stringband music to a rolling snare that shows the connection between Appalachia and New Orleans while also rocking pretty damn hard. "West End Blues" delivers a spare slink. And the title track is a moody slice of gorgeous country.

Leaving Eden is another step forward in the band's evolution, another signpost in these musicians' pilgrimage across the American landscape, and New Haven should consider itself pretty lucky that we're one of the stops. Fittingly, opening for the Chocolate Drops will be Caravan of Thieves, one of New Haven's most successful musical exports in recent years.

[youtube]http://www.youtube.com/watch?v=XbcqGjeNz7w[/youtube]

[youtube]http://www.youtube.com/watch?v=fQG3iP_wNRM[/youtube]

IF YOU GO: What: The Carolina Chocolate Drops with Caravan of Thieves When: 7 p.m., June 23 Where: The New Haven Green Tickets: Free Info: artidea.org

Why are we doing this? Click here to find out more.

Blossoms of Sound: Red Baraat and Noori bring the world to New Haven

ARTS & IDEAS: If the Arts & Ideas Festival is any indication, brass bands are having a moment. On Sunday, Asphalt Orchestra played two full sets of delightfully raucous horn and drums on the New Haven Green, including a bit where they left the stage and rioted through the audience; your correspondent's son had the honor of being chased by a saxophone player.

Asphalt Orchestra covered everyone from Thomas Mapfumo and Charles Mingus to Frank Zappa and David Byrne and St. Vincent, in addition to deploying several original compositions. It all felt of a piece, and it should have: Brass bands, after all, have a rich and astonishingly varied tradition to draw on. They can pull from Duke Ellington, Glenn Miller, or Benny Moré, then turn around and dig deep in New Orleans, or Eastern Europe, or Mexico—really, just about anywhere in the world.

For Sunny Jain, the dhol player and MC of Red Baraat, a nine-piece brass band playing on June 24, the starting point was the brass bands he heard a lot of in India: "a baraat," he explains to me over the phone, "is a procession that happens for a wedding in North India—it’s something I’d seen since I’d been going back to visit, which I'd done since I was 5 years old."

As he grew as a musician in the United States, he played across multiple genres, as many professional musicians do, but that sound stayed in his head. "I wanted an acoustic band that was primarily horns and drums," he says, "drawing from the Punjabi and North Indian rhythms." But his idea quickly began to develop outward from there, since the horn players he knew had experience with jazz, funk, reggae, ska, R&B, and classical music, "more reflective of being Indian-American," Jain says, than of recreating an Indian marching band in Brooklyn.

Developing the band's material likewise has "always been a collaborative process"; some composition is involved, but the pieces really come into their own by being played in front of crowds, improvised on, pushed and pulled to let happy accidents happen and be used to make the compositions better.

"When you open yourself up to that, things really can blossom musically," Jain says.

Then he stops and laughs.

"You know, I can sit here and talk about the music in an intelligent and analytical way, but ultimately that’s not what it’s about. We’re here to deliver emotion, and that’s something that’s universal. We're to create a global dance party—it’s just music, and the only political message is to understand that the highest religion is humanity."

He talks just like I hoped he would when I was listening to Red Baraat before interviewing him, because all of that comes through in the music. You can hear North India in it, and jazz and funk and ska, too, and it's fun to nerd-out over it and figure out where it all comes from and how it fits together.

But in the end, the genre labels don't mean all that much; what matters is that big, propulsive groove, the energy that rolls off the band time and time again, whether they're playing in a club, at a big festival, or in a church.

"Brazilian people say it sounds like samba, Caribbean people say it sounds like soca, and D.C. people say it sounds like go-go," Jain says. That's how accessible the music is. People find what's familiar to their ear in it and let themselves be carried away by the rest.

In an intriguing scheduling turn, Arts & Ideas has paired Red Baraat with Noori, a Pakistani rock band formed by two brothers—one a trained lawyer and the other a business-school graduate—who left their professions behind to become one of Pakistan's most successful rock acts, putting out a slew of recordings, performing hundreds of shows, and winning a few awards. They're on their first-ever tour of the U.S., and Jain is excited to be splitting the bill with them.

"Maybe we'll get to jam a little together," he says.

That could be something to hear.

[youtube]http://www.youtube.com/watch?v=kHjKPaCz5O0&feature=youtu.be[/youtube]

[youtube]http://www.youtube.com/watch?v=zek216Ur7EY[/youtube]

IF YOU GO: What: Red Baraat & Noori Where: New Haven Green When: 7 p.m., June 24 Tickets: Free Info: artidea.org

Why are we doing this? Click here to find out more.

Mind in Motion: Kyle Abraham and his acclaimed troupe dance to the memory of his father

ARTS & IDEAS: Choreographer Kyle Abraham ran an errand up to Massachusetts before arriving in New Haven. He had to collect a check for $25,000, part of an annual award given by the renowned Jacob's Pillow Dance Festival in the Berkshires of Western Mass. The prize is one of the biggest in the perennially cash-strapped world of dance, and past recipients are among the giants of the art form, including Merce Cunningham, Bill T. Jones and Crystal Pite.

"I was so surprised to see the past winners," says Abraham, whose seven-member dance troupe Abraham.in.Motion has a five-night engagement at this year's Arts & Ideas Festival. "I don't really belong on that list."

Well, he does. But no one minds a little modesty.

Abraham is acclaimed for combining elements of ballet, modern dance and hip hop into seamless aesthetic. Dance magazine named his an artist to watch in 2009. His newest production, called The Radio Show, takes its inspiration from an AM-FM radio station that's no longer in operation in his native Pittsburgh. It used to broadcast classic soul, contemporary R&B and call-in talk shows that offered advice on sex, politics, and whatever was vital at the time to the local African-American community.

Abraham uses the idea of radio signals fading in and fading out in time and space as a metaphor for his father's aphasia (a disorder that debilitates language) and Alzheimer's disease. The entire work is an attempt to express the cultural identity of his neighborhood and themes of family and memory.

"I wanted to talk about the pain of loss, of losing a radio station that served so many for so long and of losing my father and his memories," he says. "I decided to focus on memory, the memory of road trips where all there is to do is listen to the radio, hearing it go in and out. I remember my father, how his mind would come and go."

How does a choreographer begin creating a show that's really an abstract narrative about the loss of communication, one set to soul, R&B and recording of those call-in shows? Easy. From the beginning.

He says the process starts with improvisation, but ends with collaboration. It sounds a more hippy-dippy than it is. Duke Ellington wrote scores with individual soloists in mind, like Johnny Hodges and Cat Anderson.

"The question is how to create movement that addresses issues of father and family," Abraham says. "So I improvise with an objective, an objective geared toward something. I clear my mind to generate material, a free-flow of thoughts. Then I get together with my dancers and we dissect what I've come up with.

"It's all relationship-oriented and it all tries to tell a story."

[vimeo]http://vimeo.com/34471442[/vimeo]

IF YOU GO: What: The Radio Show by Kyle Abraham and Abraham.in.Motion When: 8 p.m. June 19-22; 4 p.m. June 23 Where: Iseman Theater, 1156 Chapel St. Tickets: $35-$45 Info: artidea.org

Why are we doing this? Click here to find out more.

Where the Wild Things Are: Kids events at the A&I Fest

ARTS & IDEAS FEST: Face it: Your three children under 7 probably aren’t going to wait as you soak in the riches of Tamar Gendler’s lecture on ancient philosophy, and they can’t stay up until the end of one of the fabulous performances on the Green. Doing Arts & Ideas with kids is its own thing: You won’t get to all the stuff your retired or empty-nester or pre-procreation 20-something friends will get to. But that doesn’t mean you can’t have a fabulous time, tykes in tow. Here are some of your best bets for when A&I hits town, organized according to what kind of kid you have.

  • for the Maurice Sendak lover: ERTH, the Australian troupe that brought gargoyles to town in 2001 is back with a menagerie of dinosaurs for its Dinosaur Petting Zoo. This is scratching one of those itches straight out of your best night-time dreams, like the one you wake from to think, “Dang, I wish I could really fly!” Well, walking with big, furry, real-seeming dinosaurs is pretty cool, too — and even cooler for your 5-year-old who won’t shut up about T. Rex. Six afternoon show times, June 16-17, New Haven Green.
  • for the music lover: The Imilonji Kantu Choral Society, or, If the Music Won’t Get Them, the Outrageously Beautiful Costumes Will. But don’t worry — the African classical music will get them. 5 p.m. June 21, Morse Recital Hall, 470 College St.
  • for the crunchy kid: Box City is an interactive world of recycled cardboard and other art supplies that participants use to structure a city of the future. Do it for the memory of Ray Bradbury, who was all about alternative worlds that maybe could come true. Probably not for your toddler, but definitely for your teenager (or your wiseacre 12-year-old who thinks he is a teenager). 1-5 p.m. June 16-17, New Haven Green.
  • for the kid who likes to dance: Crazy Great Music on the Green. OK, we named it that. It’s actually called Family Stage. It’s a series of performances of high-end music accessible to low-end age groups, as well as their parents, as well as their dogs. In some ways, this is kind of music you just happen by downtown, which seemingly never ends for the duration of the festival, and it's the best part of A&I. It’s the stuff you don’t plan — you just hear it from your rolled-down window and have to pull over. Look for Bob Bloom’s interactive drumming, 1:15 p.m. June 20; or Hip-Hop Dimensions (with break dancing, too!), 1:15 p.m. June 21; or Annalivia, 1:15 p.m. June 26; New Haven Green.
  • for the kid who is not scared of the circus: Submerged!, Antfarm’s Circus for a Fragile Planet. In which overfishing and rising sea levels are lead characters. 1:15 p.m. June 22, New Haven Green.
  • for the active child: Bike tours! Helmets! Wheels! Spokes! Those crazy contraptions that hipper parents than you use to tote their kids who are better dressed than yours! About a dozen different velocipedic experiences, including safety training (1 p.m. June 16, on the New Haven Green); a trip down the Farmington Canal Greenway (9 a.m. June 16, leaves from the Green, and you need “moderate ability”); and trips to East Rock and West Rock (5:30 p.m. June 20, leaves from the Green).

[youtube]http://www.youtube.com/watch?v=IAR3emJoDSs[/youtube]

 

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