When Gromaire celebrated ceramics

Marcel Gromaire, Sevres, smallerFrom the exhibition Marcel Gromaire, l’élégance de la force, theoretically on view through Sunday at la Piscine in Roubaix, France, after earlier runs in Séte and Honfleur: Marcel Gromaire, “Sèvres ou Les Arts de la Terre et du Feu ou Les Loisirs ou Les Temps libres ou La Paix sous le soleil de France” [model for a ceramic mural for the pavilion of Ceramic and Glass Art at the 1937 Exposition], 1936 . Oil on canvas, 89 × 250 cm. Roubaix,
La Piscine – Musée d’art et d’industrie André Diligent. Dépôt du Musée national d’Art moderne en 2000. Photo: A. Leprince © ADAGP, Paris 2020. For more coverage of the exhibition, subscribers please e-mail artsvoyager@gmail.com. Not yet a subscriber to the Dance Insider & Arts Voyager? You can subscribe today for just $59 or Euros / year ($32/Euros for students, independent artists, healthcare or food service workers or the unemployed), by designating your payment through PayPal to paulbenitzak@gmail.com, or writing us at that address to learn how to pay by check.

New York at night with Marcel Gromaire

Marcel Gromaire, Roubaix, 1951, New York at Night, smallMarcel Gromaire, “New York at night,” 1951. Oil on canvas, 65 × 81 cm. Collection Florence Plaussu-Chibret. Courtesy galerie de la Présidence, Paris. © ADAGP, Paris 2020. From the exhibition Marcel Gromaire, l’élégance de la force, theoretically on view through Sunday at la Piscine in Roubaix, France, after earlier runs in Séte and Honfleur.

Slaves of New York*: It’s still a helluva town

By Paul Ben-Itzak
Copyright 2020 Paul Ben-Itzak

First published on January 7, 2011, with a slightly different title, and reprised, revised, and greatly expanded today because New York City — which at last count had lost 21,000 or a fifth of the national toll to the Corona virus, in no small part because the state’s governor waited too long to impose confinement (San Francisco, which went into confinement a week earlier, has lost less than 100 as of this date) and thanks to his policy of cutting back on hospital beds (thank you, Democracy Now, for these tragic factoids) — is still a helluva town. This one goes out to Sue, Melinda, Jamie, Richard, Margaret, Veronica, Robin, Caitlin, Elizabeth, Julio, Therese, Bonnie, Chris, the memories of Ed Winer, Becky Jung, Joe Mazo, Ranjabati Sircar, and Eileen Darby, and to Maura, Christine C., Matt, Nancy, Tristan, Fabrice, Pilar, Nathalia, Amaury, Laurent, Ruth-Lynn and too many other dancers to name, Michelle, Kevin, Donna, Lisa, Laurie, Phil, Herb, Ingrid, Neil, Eddie, Marty, Amy, Juan, Nimet, Jane, Martin, Anyta, Rebecca, Mark, Jill, Julie, Adam, Jocelyn, Dean, Darrah, Lucie, Harris, Ron, Don, Ben, Jonathan Schwartz, the editorial team at Wunderman Cato Johnson, and to all those who have given me so many New York moments and who are still there trying to make sure that it’s still a helluva town, despite Governor Cuomo’s irresponsibility and the mayor’s callousness towards the homeless. Take a dip in the Bethesda Fountain, New Yorkers, while knoshing on a knish or a dog with da works, de ma part…. (For art related to this column, click here .)

NEW YORK — Dance seems to be calcified in New York, the same fossils that were here 10 years ago — when I left for Paris — even more entrenched. Indeed, the wilderness is so sallow that the New York Times felt the need to send its chief dance critic abroad to review 27 “Nutcracker”s, as if even 27 “Nutcracker”s would have to be more interesting than one more New York dance concert, so desperately desolate has the local mainstream landscape apparently become. (Having once been sent abroad myself, to review a ‘Nut’ in a far-gone bourg of BFLI — Bum Fuck Long Island if you have to know, weisenheimer — where the publicist made sure to seat me next to the company’s director and my Newsday editor excised my mild criticism of a lackluster Clara, I sympathize.)

So this art aficionado has been feeding his art jones with art of the visual variety, as well as the self-made art still on view — nevah change, baby! — in New York every day. In the visual art landscape, between the Impressionist-era paintings one can stumble upon at a corner uptown gallery and what I’m told is the blossoming of the windblown Chelsea Territory — though the new High-line above the Western limits of the neighborhood looking out over the Hudson seems antiseptic compared to the colorful Paris counterpart that apparently inspired it, the coulee verte that starts at the Bastille — things at least seem to be moving. Scouring a Chelsea gallery guide Thursday afternoon to scout out vernissages (opening receptions to you, bub), I couldn’t help but notice some art on the various gallery websites that actually looked interesting, as opposed to the buy-me variety which seemed to be preponderant here 10 years ago, memorialized in Schnabel’s “Basquiat” film when Tatum O’Neal, considering a purchase, asks the artist, “Can you make it more brown?”

While I didn’t see enough art in an abbreviated gallery crawl Thursday night to be able to offer an assessment, let alone pass judgment, what was, on the other hand, dispiriting was that, as was the case 10 years ago, everyone seemed to be standing around talking up each other and I only saw one lost woman looking at the art — yet one more sign that not just dance, but intellectual life in New York may have ebbed. (The biggest indication of this is the effective demise of the Village Voice, a molted praying mantis’s skin of its former self, its last breath expiring with this week’s firing of 33-year-old veteran investigative journalist Wayne Barrett supposedly for financial reasons, the final death knoll for a storied heritage.)

But the good news is that like Paris, New York itself remains a work of art, even performing (as opposed to performance) art. After a cat-sitting gig in a literary brownstone healthily crammed with a century of books from first to top floor in the Upper East Side environs of Central Park, I’ve spent the past week in the Lower East Side environs of Chinatown where I literally saw it all on Mulberry Street: The Italian stretch of the street may have devolved into a Disney-fied Italian-Land — with young barkers standing outside the restaurants cajoling potential clients, reminiscent of the older men who stand outside Pakistani restaurants in Paris’s Passage Brady or the hawkers of “Pig Alley” — but Chinatown remains authentic, and perhaps the only place in Manhattan where one can still lunch like a monkey king for less than $3. That’s right — less than $3. I’ve had crumbled pork cake (at the Orange Tea House on Elizabeth Street), which is just what it sounds like — pork crumbs on the outside, sweet cake on the inside, for 90 cents. Goopy large noodles woven with shrimp and dribbled with soy and hot sauces for $1.25, (from a stand on Elizabeth Street). My comforting favorite for this weather is what I call a chicken porridge soup — in Chinese I think its moniker is ‘congee’ — of which you can get a nice helping for $1.50, from a woman working out of a cart on Grand Street. But the mecca — for starving journalists as well as starving dancers — is clearly Vanessa’s dumpling house on Eldridge. The signature dish is the owner’s sesame pancake sandwiches, all under and some well under $3 (the vegetable variety is just $1.50), but I’ve stuck to the fried pork dumplings, three plump ones available for just $1.(On this visit, I forgot to ‘vestigate – as the late dancer Becky Jung might put it – into whether Yonah’s Knishes was still dealing this daily staple of my forgotten Lower East Side ancestors. Or head uptown to see if the yamuka-crowned speedheads that used to dish up pickle-packed tahimi-oozing falafel sandwiches to long lines of Mad Men and Women from a van on 46th long before ‘food-truck’ became part of the lingo were still in business. ) If your parents are coming to town and you want them to take you to someplace nice, you might scout out the Vietnamese restaurant dance friends turned me on to earlier this week, which they’d learned of from choreographer and Chinatown institution HT Chen. (The menu even offers “HT Chen Crispy Noodles.”) Here my conch jones was finally satisfied. Since reading during my last NY sojourn, in the Joseph Mitchell classic “Up in the Old Hotel,” that fewer and fewer restaurants were serving conch, the meat that lives in that large sea-shell that whispers ocean gusts when you hold it up to your ear — fisherman only hunted for them by special request — I’ve been on a singular quest to find this item on NY restaurant menus. Last time around, I found three Italian places — in the whole city — that still served scungili, or conch in a spicy tomato sauce. One of those, the fabled Luna cafe on Mulberry Street (where an apprentice Guido once paused before pouring  the chianti for me and my female friend because “I didn’t wanna interrupt the eye contact”), has closed, and the other two have removed conch/scungili from their menus. At first, the waiter at the Vietnamese place disappointed me by shaking his head when I ordered the sauteed conch, listed as a specialty. “All out!” Then he returned excitedly to tell me that the fisherman had just brought some in that morning.

The hazard conch-fanciers face when ordering is the same one calamari-cravers have to deal with, that the dish will probably be over-cooked and thus rubbery and hard to break up. This conch, though, was perfect, as soft, flat, and sea-pungent as abalone. (I hadn’t touched another of my favorite NY-only ethnic dishes, Mofungo – a large plaintain and pork dumpling – since a serving had broken my last good molar left standing in Spanish Harlem. I’d have done better heading further downtown and sinking my delicate choppers into chicken and waffles at Wells’s or Sylvia’s.)

But affordable downtown culinary riches are not restricted to one cuisine. On Sunday — my favorite, maybe the only day for a gambol in the Village if you don’t like crowds — I hied over to El Rinconcita, on E. 10th and Avenue C, which still sells its catfish empanadas for just $1 apiece. (The mofungo is also nothing to kick a can at.)They were out of them when I got there, but I blithely ignored the tired waitress’s suggestion of chicken and asked if they could make some. “I’ll wait!” (The lively cumbia on the juke didn’t make it hard.) The woman who cooked them up for me — perhaps the owner — must have remembered me because she packed the empanadas not just with catfish but juicy jalapenos as well, which I ate on a wet bench in still snow-covered Tompkins Square, sipping the last of my warm cafe con leché. (At a Columbian stand outside a church on 14th street where I used to get it with my dollar enchiladas on Sundays, they used to sell Mexican-style hot chocolate infused with rice.)

If there’s one thing I’ve craved, though, since I returned from France this past summer, it’s duck, the soul-food of the country’s southwest, where I spent most of the past three years. I’d been warned that a Chinatown duck was not the same as a Frenchytown duck, so I had resisted. I was not even tempted by the opportunity to try the one duck part I’d never tried when I saw it here. I’d thought I’d sampled everything — duck carcasses, duck confit, duck hearts, duck blood patties (kind of like boudin but too rubbery for me), duck necks, preserved duck gizzards, smoked duck breast, duck breast with goat cheese sauce, beaujolais nouveau duck. But it wasn’t until I walked into a Chinese butcher’s on Grand street that I discovered duck tongues, 50 of them wrapped tightly in cellophane. Didn’t go for those, but finally gave in and bought a Peking Duck Wednesday. The price was right — $12 — but man was that Long Island (Peking by way of Valley Stream, and no doubt not blessed by my old rabbi Donna Berman) canard skinny compared to its French relatives. Not even a morsel of liver to be found, and forget about heart. (In France, they sell their chickens without the liver, which any Jew, whether he was brought up in Rabbi Berman’s Long Island congregation or the Aquarian Minion in San Francisco, will tell you is the best part.) And in a whole duck probably about four servings, max. Pumping its value to the maximum, I’ll be cooking the carcass up in a duck soup this weekend.

Of course the global beauty of my Chinatown digs this past week — the snow is gently falling outside the window to the courtyard as I write, set off by the neighbor building’s tenement brown brick — is the seat they’ve provided in the LES and Soho (a stone’s throw away) neighborhoods, which, despite the boutiques which have replaced the galleries in the latter and the leather jacket stores which have supplanted the Hester Street pushcarts in the former, still retain some of the eternal New York character, inherent in the architecture and the denizens (or as Damon Runyon would say, ‘citizens’) who pass under and between the buildings and who are perhaps inspired by the shadows of their not-so-forgotten ancestors. Is it also fueled by life on the edge, the element of danger lubricating one’s joie de vivre? Perhaps. The other day on Lafayette (I am here!) below Houston (hint to newbies: HOW-ston), in one block I was hit by both the beauty and the terror. In the middle of the block a blonde woman in sweats and tennies was fervently telling a tall worried man with curly brown hair, “This is for all the women murdered in New York.” A few yards further, before I could even take a look at her face, a woman walked past me who could have stepped straight out of a ’30s glamour magazine, everything from her smart felt hat to her long brown coat denoting style. Me, I’ll have one more stylin’ lunch in Chinatown and the LES before heading up to the theoretically more staid digs I’ve now scored on the Upper West Side off Broadway, plopping down on a bench in the middle of a bank of snow, propping my French boots (no Doc Martens this time) up on the concrete barrier between the benches and the basketball court across from her café and chowing down on my first cold sesame noodles of the season, a $3 feast courtesy of Vanessa’s. Bon appetit!

*For the non-New Yorkers among my readers, this title refers to the Tama Janowitz novel, itself encapsulating a particular NY phenomenon. I interviewed Janowitz in Princeton in 1987.

(Updated 6 p.m. French time)What’s wrong with this picture? In the Heart of Darkness with Marcel Gromaire and the ‘Humanists,’ or, Pour quoi nous ne sommes pas tous Princesse Tam-Tam

gromaire abolitionThe press packet for the exhibition Marcel Gromaire, l’Elegance de la Force, theoretically on view through Sunday at the Piscine in the Northern French city of Roubaix after earlier runs in Sete and Honfleur, describes the massive fresque “L’Abolition de l’esclavage” (above), commissioned by the State in 1949 to commemorate the 1848 abolition of slavery in France and celebrate its primary government instigator, undersecretary of state Victor Schoelcher (at right) and Marianne, the icon of French democracy (at left), as a ‘humanist’ composition. And yet an even cursory study of the picture, whose original measures 40 square meters, suggests a more nuanced interpretation: the Black (naked) savages liberated by the benevolent white bwanas. I’m of course not calling into question either Marianne or Schoelcher themselves, both laudable, voir heroic and justifiably lionized figures, but specifically questioning the hierarchy in Gromaire’s composition, his depiction of the Black personages (more the men than the women, whose curves and bare breasts are typical to Gromaire women of any color, and about which you won’t find this misogynist complaining, in fact it’s part of the allure for me of the painter who up until now has been my favorite) and their supplicating postures, and thus the painting’s qualifications as ‘humanist.’ This over-simplification — and apportioning of the roles of victim and liberator — is not unique to French artists. Abraham Lincoln was also mythologized (including by Black artists) as the savior of Black people, as if the Civil War were fought only for their freedom. More troubling is that in reality, by 1949, 100 years after their liberation on paper, Blacks were far from free from racialist denigration by French writers and artists (as was also the case in the United States, where the consequences were more lethal) . (I prefer the term ‘racialist’ to ‘racist,’ which implies a malevolent intention which isn’t necessarily always there; I myself was — and am — racialist when it comes to my idea of Black men. I don’t know if I’ll ever rectify this in my heart; all I can do is try to correct it in my deeds and writings.) Already, in 1935, a French film director, Edmond T. Greville, could make a movie (also released in the U.S.) starring Josephine Baker, “Princess Tam-Tam,” which, notwithstanding its American star’s enjoying more civil rights in France than she would have in her native country (let alone not risking being shot in her own home, as was a young Black woman in my former home city Fort Worth, Texas, not too long ago), terminates with Baker, portraying a ‘native’ that the ‘cultivated’ white novelist has ultimately been unable to civilize (for much of the movie he appears to have done so, until he wakes up to realize this was just a dream, and not of the Martin Luther King Jr. variety), smiling approvingly as the monkey she’s let into the Tunisian villa the white man’s left her knocks over a shelf of books and a jackass gobbles up a tome called “Civilization.” (Returning home from a pique-nique on the Ile St. Louis in 2019, in the corridor of the City Hall Metro station I spotted a billboard for a line of lingerie — in which only one of the half-dozen scantily clad models was moderately dark-skinned — announcing “Nous sommes tous Princesse Tam-Tam,” “We are all Princess Tam-Tam.” When I later asked an employee of the brand’s boutique — ironically flanking the entrance to the Montmartre space of the Theatre de la Ville, lately known for presenting a number of dance companies from Africa — the origin of the name, she shrugged her shoulders and said, “I don’t know.”) In 1957 — eight years after Gromaire’s monumental work was unveiled in the l’Assemblée de l’Union française in the château of Versailles — Léo Malet, the father of the Modern French detective novel, could have his hero PI / narrator Nestor Burma observe, in “Micmac Moche au Boul’Mich’,” part of Malet’s “New Mysteries of Paris” series (later made into a popular television show): “They say that Negros diffuse a particular smell….” In 2006, the Paris Opera Ballet could present, in the august Garnier Palace, a ballet by its former director, Serge Lifar, in which white male dancers covered with black make-up portrayed ‘savages’ leaping about like gorillas. These racial stereotypes — and if anything they were and still are as if not more widespread in the United States, and with much more vehemence in certain states, than in France — are not benign. Far from being ‘humanistic,’ they vehicle a dehumanization of the Black man and woman which ultimately leads to events (because they are depicted as less than fully human) like the recent stalking and murder of a Black man in Georgia and Monday’s murder in Minneapolis of a Black man named George Floyd, whose stifled cries of “I can’t breathe” did not convince a white police officer to take his knee off Floyd’s throat, as three other officers allegedly stood by. (I’m NOT saying the 1949 painting lead to the 2020 slaying, but rather that its one-dimensional depiction of Black people is part of a long, ongoing history by Occidental, white artists and writers of reducing people because of their race which makes it easier to not see them as fully human.) Among the tributes at an impromptu memorial to Floyd deposited on a Minneapolis sidewalk was this handwritten sign: “I’m not black but I see you.” The problem with Marcel Gromaire’s “L’Abolition de l’esclavage” — and which makes it more dehumanizing than ‘humanist’ — is that while he sees the white re-enfranchisers, he doesn’t really see the liberated Black men and women as anything but helpless victims completely reliant on their previous enslavors for their liberation, his one-dimensional depictions ultimately denying them their franchise as fully realized human beings. (To those who would defend Malet by saying that his, or at least his hero-narrator’s, views on Blacks are just a reflection of the times — I say ‘are’ because the novel with that description of Blacks was proudly re-published by Robert Laffont in 1985, with no exculpatory note by editor Francis Lacassin — I would answer with Eugene Sue. In Sue’s “Mysteries of Paris,” written a hundred years earlier and whose title inspired Malet, by far the noblest character is an African-American physician from Louisiana, Dr. Paul, who has a crisis of conscience when the hero, his employer, barbarically orders him to pierce the eyes of the saga’s villain as an alternative to sending him to prison. There are none so blind as those who will not see.) The press pack for the Rubaix exhibition also quotes Gromaire, while he was working in his ‘hangar’ on his ‘great machine,’ as confessing, “I’ll be happy… […] [to] find out if I succeed in revitalizing painting by official commission; let Delacroix protect me!” The invocation is unfortunate; despite the reputation he has for inspiring the original sin of Orientalism, the sketches Delacroix made when he accompanied an official French diplomatic delegation to North Africa in the 1830s were much more respectful than Gromaire’s results here, unafflicted by any Romanticism — negative or positive. What ultimately bothers me in the hierarchy of Gromaire’s composition — and prompts me to dispute the painting’s claim to a great ‘humanism’ — is his perspective: “L’Abolition de l’esclavage” doesn’t so much fete that milestone as canonize the cagers for simply deciding to open up the cage and free those who should never have been enchained in the first place, in the process freeing themselves. Painting credits: Marcel Gromaire, “L’Abolition de l’esclavage (detail),” 1950. Oil on canvas pasted on wood. Commissioned by the State; deposited at the Centre national des arts plastiques in 1991. Photo: A. Loubry – © ADAGP, Paris 2020. George Floyd tribute seen on the website of The Progressive. — Paul Ben-Itzak

PS: Speaking of Delacroix: To make sure it’s absolutely clear that the target of my criticism in the Gromaire painting is not Marianne, but rather the relative importance of the roles the painter assigns to her and to the Black personages in their liberation, I’ve decided to also share a reproduction of Eugene Delacroix’s 1831 painting “Liberty Guiding the People.” Note that here the Marianne-like figure isn’t *liberating* the people, but rather *leading* them; they are active players in their own liberation from oppression.

Le 28 juillet 1830 : la Liberté guidant le peupleEugene Delacroix, “Liberty Guiding the People,” 1831. Oil on canvas. Collection of the Louvre, Paris.

Artists & Writers: Manet on Mallarmé

Manet MallarmeFrom the exhibition, Huysmans: From Degas to Grünewald, theoretically running through July 19 at the Museum of Modern and Contemporary Art in Strasbourg, after an earlier run at the Orsay Museum in Paris: Édouard Manet (1832-1883), “Stéphane Mallarmé,” 1876. Oil on canvas, 27.5 x 36 cm. Paris, Musée d’Orsay. Photo © RMN-Grand Palais (musée d’Orsay) / Patrice Schmidt.

(Updated noon French time) Paris année zero: Keeping our word — A program of solidarity for our times

by Emmanuel Demarcy-Mota
Artistic director, Theatre de la Ville, Paris
Translation and Introduction by Paul Ben-Itzak

(Translator/editor’s note: While the Theatre de la Ville furnished the Dance Insider & Arts Voyager with a copy of Emmanuel Demarcy-Mota’s statement in the original French, what follows is a journalistic, and not official, translation, as the English text was not coordinated with the Theatre de la Ville. Demarcy-Mota’s stance here is striking in both a global and historic context. In the first realm, whereas “Dance NYC,” which should get the Bessie award for “Least Effective and Most Out of Touch Arts Lobbying Organization in the United States,” is now making the ludicrous claim that “dancers are necessary workers,” putting them on the same level, essential worker-wise, as health and food workers (exactly the kind of insulated naval-gazing thinking that makes dance be treated less serioiusly in the U.S. than in Europe), EDM has a more global, less self-interested, au-dela de sa propre nombril perspective. And in the historic context, and given that French president Emmanuel Macron has likened the battle against the pandemic to “a war,” it’s no accident that Sarah Bernhardt, in whose former stomping-ground the Theater de la Ville EDM directs is based, turned her own lavish home into a MASH unit during the Prussian siege of Paris of 1870 — herself volunteering as a nurse.)

Five propositions imagined with an ensemble of players from the domains of Health, Culture, Education, and Justice.

Four temporalities whose rhythm has been determined by the epidemic: the confinement, the deconfinement, the coming season and the Day After. Four pillars to put in place: Culture, Health, Education, Justice.

Health has been our absolute priority these past few months. Culture is our absolute priority at this moment that we emerge from confinement.

Our country, certainly attenuated but profoundly modified, has a strong desire to reconstruct itself with a view to creating a different kind of world where the idea of solidarity is at the heart of the debate.

In order for our society to recover its strength, we would like to propose a new model able to bring together the arts, science, and education with, as its corner-stone, the union between health and culture.

We wanted to bring together an ensemble of allies from the fields of health, justice, education, and the arts to create a new space for dialogue and coordinate new actions.

Together we are founding “Tenir Parole” (Keeping our Word), a new alliance of leaders from different realms who share a common desire to stimulate and propel a new approach to imagination.

We will strive for the emergence of new forms of solidarity in relying on our capacity to think together. We will work against frontiers, whether they be of the physical or mental variety or between disciplines or human beings.

We will create a proximity and an amity to traverse this unprecedented period of history together.

“Tenir parole” (Keeping our Word) is a way to infuse power in the imagination, to incarnate a convergence of visions, to stimulate the manifestation of life and give hope.

Rather than allow an uncertain present to be imposed upon us, we want to invent desirable tomorrows. Thus, at the end of this tempest, if we’ve “kept our word,” we will have learned, reflected, exchanged, and created.

One Calendar, Five propositions

The Troupe of the Imaginary

Created during the confinement and engaged amidst poetic and scientific consultations, the troupe brings together at this stage more than 50 people from various horizons: the actors of the Theatre de la Ville troupe, joined by young Italian, Senegalese, Egyptian, Cameroonian, Central-African, Congolese, Taiwanese, and French actors, as well as by scientists associated with the project: the neurosurgeons Carine Karachi and Hayat Belait; the neurology professor David Grabli; biologist Marie-Christine Maurel; biologist and philosopher Georges Chapouthier; physician Kamil Fadel; architect Denis Laming; and astrophysicist Jean Audouze.

Together, we have developed, in order to be able to act from the moment confinement began (March 15 in France), invent alternative ways of creating, maintain a link with the population and combat individual isolation, “poetic and scientific consultations by telephone,” which have already reached nearly 5,000 people across France and beyond.

The consultations have been offered in 15 languages: Seven European languages (French, Greek, English, Spanish, Portuguese, Italian, and German), six languages spoken on the African continent (Wolof, Beti, Lingala, Sango, Congo, and Pidgin) and also in Arab and Mandarin.  “The troupe of the Imaginary” will develop new actions and continue its consultations in the months to come.

Dancers, musicians, and historians, partnering with the Rectorate of Paris, are joining this team beginning May 18 to suggest new forms of consultations.

The European Encounters of May-June

Meetings will be held starting the week of May 18. In rapport with the evolution of the deconfinement, they can be held by distance and bring together the world of culture — public and private — as well as those of health, justice, and education.

The emergence from confinement as a moment to learn together is the occasion to create bridges, to propose a new model which brings people together to co-construct perspectives on a common future. Because ignorance is also a form of confinement and it is through knowledge that we must find the emergency exit that will enable us to escape from asphyxia.

At the hour when we must all construct the 2020s, let us make our theaters the place for a community gathering, the reflection of our social commitments and of our will for esperance. Let us build a new Europe, a Europe of culture but also of sciences, of the environment and of young people.

Open-air artistic propositions beginning in June

The cultural world must now support the care-givers, the care-receivers, the confined. This is the moment to experiment, test, invent.

We will be allying ourselves with the doctors of the Salpêtrière Hospital and with the Rectorate of the City of Paris to initiate the first experiments, artistic manifestations to be held outdoors and in different spaces around Paris. Performances, readings, concerts, testimonials by the caregivers, actions for the sick, film screenings and art installations will be proposed in unexpected places: from the gardens of the Champs-Élysées to those of the Salpêtrière, not forgetting the parks, retirement homes, elementary schools, and high-school courtyards.

These propositions must be geared towards the population in its entirety and inscribe themselves in the continuity of our art education programs and of our commitment to re-inventing a place for the arts in schools.

“The troupe of the Imaginary,” with the ensemble of 50 actors, scientists, dancers, and musicians who constitute it will be fully mobilized from the end of May and throughout the Summer.

The Academy of Health and Culture

In connection with the program “Charter 18XX1 – Turning 18 in the 21st Century,” a new academy centering on health and culture will be launched to work with young people and recreate ties with the experienced of the older members of our society. Encounters around art and science will take place during the month of August, and can be open to the public.

For the first time in its history, the Theatre de la Ville’s spaces will be open all Summer:

* At l’Espace Cardin, in partnership with the doctors of Salpêtrière Hospital, young artists and young care-givers will work to elaborate projects which can be prolonged this fall on themes linked notably to movement: “Normality and abnormality,” “Liberty of movement, Liberty of thought.”

* At the Theatre des Abbesses [in Montmartre] ateliers on the practice of dance and theater will be offered, free and open to the public of all ages. This new project is inscribed in a partnership with the city of Paris and can include European partners, to trace new perspectives together and share our desire for a theater without borders.

* A 2020/21 season of solidarity and re-invention: Today, we need to deconstruct our seasons to be able to reconstruct them in another fashion, in imagining many potential scenarios. Together, we are ready to adapt, to re-invent, to re-assess our different propositions to amplify the occasions for solidarity with the artists, the health milieu, the worlds of education and justice and also our European and African friends and partners.

Three scenarios:

* Scenario #1 incorporates the obligation for physical social distancing as health regulations evolve, leading us to drastically reduce our capacity to accommodate the public in our theaters.

* Scenario #2 adds to this the absence of all international theater, dance, and music companies outside Europe, the frontiers outside the European member states remaining closed.

* Scenario #3 includes the absence of European as well as extra-European companies, who combined represent more than 50% of the planned programming at the Theatre de la Ville and the city-wide Festival D’Automne between this September and December. Under this scenario, we will only be able to welcome companies situated on the national territory.

Whichever scenario comes to pass, nothing will be, nothing can be, like before. So why not transform these obstacles into a new challenge? After months of strict confinement, we now need to push back the walls, quench our thirst for creation, for bodies and movements, for encounters with the population. We will mobilize artists and those from other disciplines to invent innovative propositions which rely on our capacity to imagine together. Next season we will go into the hospitals, the elementary and middle schools, the high schools, the parks and the gardens, the stadiums if need be.

In the theaters, we will invent unprecedented subterfuges, adapted parcourses and real artistic propositions in dance, in music, and in theater which turn sanitary restrictions into the stipulations for a new imaginary, and we will find the pathways to economic viability. If the virus has felled a number of our fellow citizens, we will take back the edge on the terrains of the imagination and of thought, of sharing and of solidarity.

The Day After

If we have collectively been able to invent new spaces and new forms, to experiment with new ways of being and making, to create dialogues between the ensemble of the arts, the sciences, and different domains of thought and of the economy, we would now attempt to erect new foundations for the future.

It is the moment to consider that this epidemic is also a factor in the acceleration of our choices and of our commitments. Today, we must imagine a Day After which will be comprised of a new reflection on a planet that will be durable and solidary. Today, we need to keep our word.

Emmanuel Demarcy-Mota
May 13, 2020
Paris

We would like to extend our thanks to all those who have committed themselves with us and to those who will do so in the future.

The Algerian Papers, 1, or, the Lutèce Diaries in Exile: Belleville à Kabylie (with translated excerpt from Mouloud Feraoun)

Text (after intro) by Mouloud Feraoun
Translation and introduction copyright Paul Ben-Itzak
Mouloud Feraoun text copyright Éditions  de Seuil

In my exile from Lutèce (and I am not alone among cosmopolites), wondering how long I’ll have to wait until it will be safe to return to Paris, to ride the Metro, to browse the volumes in the Old Book Market at the parc Georges Brassens before pique-niquing on my five for 10 Euro end of the market cheese platter and -2 Euros sauerkraut on a hiller next to the parc’s bald Japanese creek (on the Canal St.-Martin the other day, police had to disperse a crowd of pique-niquers; these are my people), or hunt for additional volumes of Anatole France’s “La Vie Littéraire” and other hard-to-find editions at the vide-greniers (neighborhood-wide garage sales; vide = empty, grenier = attic), or walk into a Pompidou Museum library packed with other hungry searchers; and most of all to weave my way through my beloved — and often sardine-can dense — marchés of Belleville and Barbes looking for pungent olives, flavorful red peppers, sweet soft Algerian black dates (the dried-out Trader Joe’s facsimile I picked up the other day finna bust my one remaining real tooth; it must have left Algiers before Independence), all at bargain prices, on my last Paris stay thriving on rather than cringing from the teeming multi-cultural humanity, I take solace in books. Because Paris, like New York once upon a time (still?), is a literary city, defined and retained in memory by authors as much as visual artists. Indeed the most vivid description I’ve found of the old pissoirs which used to line the Grands Boulevards (you’ll find one still in working order, even if it does look like a Rube Goldberg contraption of a sewer covering, on the boulevard Arago outside the walls of the infamous la Santé prison where Papon once vegetated during his war crimes trial, except perhaps for the heating coil above the basin) comes not from Pissarro but Victor Serge, the reformed Socialist theorist who, in the 1947 “Les années sans pardon” (I scored a copy of François Maspero’s 1971 edition at a vide-grenier hosted by les Grandes Voisins, a civic organization for immigrants on the Meridian), has his hero, fleeing the French Communist Party he’s decided (like Serge) to leave, fascinated by the lower halves of trousers peeking out from under the pissing stations during the early evening rush hour.

If I may have to wait a while before reuniting with my pissoir on the Boulevard Arago, I have now been able to retrieve the Belleville market — in the Kabylie village of Tléta, as evoked by Mouloud Feraoun, the Algerian writer and educator assassinated by the paras of the French OAS on the eve of Algerian Independence, in “Jours de Kabylie” (my edition copyright Editions de Seuil, 1968). (In which the chapter on the “djemâa” of Aït-Flane could also be a description of the rudimentary cement block benches at the intersection of the rue and Boulevard Menilmontant, where the Belleville market empties out, and which Feraoun’s descendants in Paris have turned into their own djemâa. And mine too; after passing through the gauntlet of the market, I usually collapse on one of these nondescript blocks arrayed around a barren sand pit, my large red backpack recuperated from a sidewalk on the rue Voltaire stuffed with 1 Euro cauliflowers, eggplant, tomatoes, bananas, 2 Euro two-kilo boxes of squishy deglet nour dates from Algeria, .30 cent bushels of fresh mint, conical red peppers, thin pock-marked sweet potatoes, 1 Euro chunks of packaged blue cheese, and 2.30 jars of Dutch peanut-butter from the French Arab epicerie down the street, rewarding myself with a warm pepper-stuffed 1 Euro crepe or a 1 Euro “Diplomate” bread pudding from the French-Arab boulangerie between the market’s end and Pere Lachaise. As in — I imagine — Feraoun’s Kabylie djemâa, neither I nor the mostly French-Arab middle-aged men who are my companions feel any particular need to talk. It is enough to soak in the ambiance, perhaps while puffing languorously on a cigarette. So what if the old oak tree sketched by Charles Brouty for Feraoun’s book has been replaced by a Kentucky Fried Chicken? By common consent, these men have dubbed this corner their djemâa. As Feraoun puts it: “…from the moment that it’s designated the djemâa, it might well find itself at the entry, in the middle, on a random corner, offer but homely sidewalks, or be confounded with the street, this can’t diminish it. It has its history, its importance, its clientele.”) Enjoy what you’re reading? Please make  donation today by designating your payment through PayPal to paulbenitzak@gmail.com , or write us there to learn how to donate by check.-– PB-I

 

Le marché du Tléta
Excerpt from “Jours de Kabylie”
by Mouloud Feraoun
Copyright Editions du Seuil, 1968
Translated by Paul Ben-Itzak

Some people will tell you to never miss a marché.

“Once a week, what the heck, you can offer yourself a little respite and distraction!”

Distraction, maybe. But respite? Forget about it!

Our marché isn’t far away, happily! It all the same takes six kilometers to get there and six to get back. Three good leagues. Not counting the kilometers of perambulation, over many hours, around the stands with their displays. Well, there must indeed be those who consider this a respite even though on other days they get a lot less tired out going through their daily tasks. Go figure. The weekly respite has its inconveniences all the same.

In one sense, it’s certainly agreeable to go to the market. And also educational. It feels like leaving your shell to penetrate the world and discovering that the world is vast. In the village, we have no idea of this. We’re here going around in circles, making a big deal over minor incidents, bickering over little things, full of our own importance and ceding none to our neighbor. From the moment we find ourselves on the road, all that’s finished: we take it down a notch and keep a low profile. From all over, from all the villages, people mount or descend to the marché. Every path which feeds into the road pours out its batch of men. The groups cross each other, follow each other, surpass each other. Some come by foot, others on donkeys, on mules, in taxis, trucks, busses. Some don’t carry anything, others are loaded down or push in front of them an animal who is loaded down. One man pulling his heifer with a rope maneuvers around horned creatures, another leads a tightly-packed herd of emaciated muttons, their hoofs stirring up a cloud of dust. And then there are the faces! The sizes, the shapes, the outfits! A real world in which you perceive yourself with modest eyes, where you’re forced to size yourself up without complacence and where you’re all the same content to occupy your little patch of earth. You tell yourself that you’re a man among men and that, no matter your age, your corpulence, your physique, your condition, it’s still possible to ascertain that you cut a good figure. You see people from your village, from neighboring villages, and from other tribes all through the same lens. Those you already know seem to be transformed by mounting themselves in a different light. Some whom you previously looked upon as important suddenly become dwarfed in size, while others, on the contrary, surprise you and gain ground in thus evolving outside of their home turf. This occurs to you without even thinking, to tell the truth, it floats in the air, creating an ambiance that one senses vaguely on the teeming road before even getting to the market. The village, the home, the family, they’re not forgotten but they’re relegated to a place behind a vast multi-colored scrim which is the very image of society itself.

For someone who’s not used to moving among crowds, the spectacle of a great market can be imposing and even distressing. You make all the interior concessions, you understand that you are alone and feeble, that you represent but an infitissimal part of an indefinable and ephemeral monster which grabs hold of you for several hours and moves you along, re-fashioning your face, impregnating you with a new spirit, integrating you into a larger form from which it’s no longer possible to cut yourself off.

The story of the seed merchant naturally comes to mind.

The seed merchant was, it seems, a colossus, an affable and modest man, eager to successfully sell his wares but not to show off his strength. One day he received a customer of a comparable size who wanted to buy his wheat and decided to take advantage of the circumstances to see how he measured up against the seed merchant.

“Your wheat isn’t so hot,” the customer remarked. He took hold of a fistful and began crushing the seeds, one after another, between his fingers, making flour out of them. And this from hard wheat grains.

“The market is vast,” responded the placid trader. “You can take your pick.”

“I know. I’ll take two kilos.”

“I am a merchant. You shall be served and I shall be paid.”

When he received the coins in payment, he gave them back to the buyer, retaining one between his massive fingers.

“I prefer paper money, my friend,” he said. “Take your coins back. They’re no good. Look!”

He crushed the coin between his fingers, reducing it to a ball that he tossed back in the man’s face.

“Now, pay me with no fuss. In bills.”

He got his paper money. The other lost his coin and his pride.

Those who have never seen the marché of Tléta can try to picture it if they like, they’ll still have no idea of the real thing because it’s not enough to tell them that it’s vast and that it attracts a lot of people. They must be lead through the inextricable disorder, made to traverse an unimaginable tumult, made to listen to an extraordinary cacophony of calls, of yelling, of noises. This is why it’s one thing to describe something, quite another to see it in the flesh. Our marché, it has to be seen to be believed!

 

Dance in a time of cholera: Roll over Tchaikovsky and tell him the Tulsa Ballet free streaming news

Tulsa Ma Cong Tchaikovsky 1Happy Birthday, Tchaikovsky: Has any industry, any business, any art form been hit in a more existential place than dance? As dancers, choreographers, teachers, and dance company directors continue to ponder the impact of the double-body blow the virus has dealt them — how to keep performing (and rehearsing, and holding classes in) an art form that often depends on (sweat-accompanied, breathing proximity) touch, to a live audience scrunched into a closed space — companies across the world are at least finding ways to stay connected to their audiences, in both the visceral and neo-technological senses. Streb — which certainly doesn’t need the publicity — is offering free online adult classes. And Tulsa Ballet has been offering its audience regular free streaming of work from the current repertory. “Recently we streamed ‘Tchaikovsky, the Man behind the Music,’ by Ma Cong,” company and school director Marcello Angelini told the DI. (Above.) “To my knowledge no American company has ever touched the subject of the life of this composer because he was gay. We did! The work was done sensibly, and is about the life of a gay man who eventually commits suicide because he can’t live his life the way he wants. Then we streamed a work by Andy Blankenbuehler, the choreographer of ‘Hamilton’.” Here’s to Tulsa, birthday-boy Tchaikovsky — who would be 180 years old today — and living your life the way you want to.

It’s my birthday, and I’ll rant if I want to

by Paul Ben-Itzak
Copyright Paul Ben-Itzak

“Il est vilain, il n’ira pas au paradis,
celui qui décède sans avoir réglé tous
ses comptes.” (He’s wretched, he won’t go to heaven, he who dies without having settled his scores.)

— Almanach des Bons-Enfants, cited by Louis-Ferdinand Céline.

“There are many forms of confinement. The worse is fear.”

— PB-I

Let’s start in our strictly verbal, non-violent settling of scores (this being the Internet, precision is important to avoid misunderstanding) with the professors who profess to teach a discipline anchored in the Humanities — in other words, to imbue humanistic values in their charges — in the Comparative Literature Studies program of Northwestern University, specifically the “graduate committee.” Among other requirements, the PhD program to which I’d been invited to apply last fall (by invited, I mean that the committee agreed to consider my other accomplishments in lieu of a completed undergraduate degree) expects admitted PhD candidates to read about 50 heavy-duty books, largely though not exclusively in ‘critical theory,’ in the course of about three months (happening to coincide with their summer vacations). (Thus calling for what is apparently known in academic circles these days as “close reading.” Not.) Now, my first question when learning of this intellectual and critical Rubicon — appetizing as the lists looked (one gets to choose between several rubrics, and one can add up to seven titles of one’s own choosing to each of the two lists selected) — was, How the Sam Hill do they expect their students to actually retain any of these wonderful lessons and questions and treatises, from philosophers including Benjamin, Arendt, and Adorno, at a clip of three to four tomes per week?  (On which intensive oral exams follow.) Well campers (or gang, as the noted philosopher Jean Shepherd, who wasn’t but should have been on at least one of the lists, given the expertise and interests of a professor who would have been one of my advisors), I discovered the answer when those crumbs refused to grant me a lousy eight-day extension to complete the application and related essays (they already had the letters from two of my three “recommenders,” and I’d already given the graduate director and at least one other professor a good idea of my potential doctoral research projects, notably a cross-cultural study of artists and writers who have committed suicide and a study of Jean Sénac, the pied-noir poet and Camus disciple who ultimately chose the side of the ‘indigenes’ during the Algerian War, elected to stay there after independance, and  bravely ‘came out’ in explicit ‘corps-poems’ while still living among that conservative culture before being assassinated a la Pasolini in 1973) and complex project descriptions to which I’d devoted most of the previous three months so that I could mourn my father, who died December 7, a death I only learned of December 10 because I’d spent the previous week-end holed up working on my application essays and off e-mail. (I’m too poor, finance-wise, to afford a telephone.) Evidently, when the members of this graduate committee were doing their own PhD program speed-intellectual/critically theoretical dating tour through those 50 books, they must have skipped over the part where Adorno explains — in a German radio exchange — that education is the ideal tool for debarbarization (if it’s not barbaric — i.e., non-humanistic — to deny someone an eight-day extension so that he can mourn his father, I don’t know what is), and the part where Arendt talks about the banality of evil. No, I’m NOT calling the members of the Northwestern University Comparative Literature Studies program graduate committee mini-Eichmanns but rather pointing out that Arendt’s uber-subject (I was studying “Eichmann in Jerusalem” before many of those professors’ expectant mothers were even playing recordings of College de France lectures next to their pregnant tummies to make them what they should have been) was the comportment of those whose defense of repugnant acts is that they were just following orders. In Northwestern’s case, I was essentially told by the graduate director that the system made an extension problematic, specifically that the round-robin candidate elimination process or whatever they call it  would have already progressed too far after eight days, to paraphrase the excuse he gave me. In other words, I may well have thought I was in Evanston, but I was actually in the meat-packing / abattoir district of nearby Chicago, assembly-line processing method-wise, up merde’s creek with neither Upton Sinclair nor even his alter-ego Arthur Stirling anywhere in sight to come to my rescue, the various projects about which I’d spoken to various NU CLS professors just so much cerebrum carcass blood on the library floor. (As the noted turntable philosopher Fat-Boy Slim might have put it.)

Oh and I almost left out the crummiest part of the non-humanistic behavior of these crumbs who profess to give lessons in a humanistic discipline: I made the extension request immediately I learned that my father had died — specifically, December 10. (The deadline was the 12th. As I noted earlier, my father died December 7 but I only learned of his death December 10 as I was holed up working on my PhD program application until then.) But these crumbs waited until that deadline had passed to refuse my request for an extension through December 18 — in other words, until it was too late for me to do anything about it.

As I told the graduate representative or director, whatever his title is (I should have flaired the guiding optic of the graduate committee and perhaps whole CLS program when he kept using the word ‘strategic’ to advise me on how to handle various aspects of my application, albeit with good intentions) in response, if my father had to die, I’m thankful he timed it in such a way as to spare me from spending five years surrounded by people like you. Shame on you, you hypocrites.

Protected: Le Feuilleton (the Serial): (English translation followed by V.O. française) Exclusive! “Trompe-l’Oeil,” Michel Ragon’s saga of artists, dealers, critics, & anti-Semitism in Post-War Paris, Part 14: Anti-Semitism rears its concrete head in the Abstract art World (Subscriber-only content; to learn how to subscribe, e-mail paulbenitzak@gmail.com.)

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