Day: August 28, 2018

Every year, Indonesians from teens and grandads, to mechanics and students, gather in eastern Java to celebrate their love of the iconic Italian Vespa scooter.

For some, it’s an “extreme” kind of love, where the vehicles are customized to resemble metallic monster bikes straight out of a Hollywood dystopia.

Hundreds of enthusiasts travel to the festival in Kediri to show off their creations — ranging from restored vintage Vespas to Mad Max-style tanks fitted with fake machine guns, a dozen extra tires, or eerie stuffed toys as hood ornaments.

To enter into competitions at the festival, every customized vehicle must have a Vespa engine and most contestants try to retain the brand’s iconic fairing — the curved front of the scooter.

But other embellishments are up to the owners and their budgets. While many can only afford scrap metal or reused material found at a junkyard, others splash out.

Peded, a 43-year-old grandfather who has been modifying Vespas since the 1990s, says he likes his scooter to “tell a story.”

“I love decorating Vespas to the extreme, but I don’t like using trash,” said Peded, whose Vespa sports massive buffalo horns from the Toraja tribal land on Sulawesi island.

The three-day festival, now in its third year, is one of several held across the country. Highlights include a contest to pick the best-looking entry and dirt-track races for the speedier bikes.

The enthusiasts attract glances and smiles from locals because of the designs of their elaborate Vespas.

As the vehicles are often unlicensed, many travel at night to avoid traffic police. Mechanical problems arise, with some of the more ramshackle machines often breaking down.

Mostly, the gatherings are about catching up with fellow Vespa-lovers and having fun.

“We are independent, but we gather like a community,” said Julia Ningsih, 19.

“Extreme Vespa guys, we stick together. If we have trouble on the road, they will wait and help us out until we can ride again,” she added.
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Ben Kingsley said he didn’t portray Adolf Eichmann out of love or admiration. Rather, he wanted to “nail him to the gates of Auschwitz.”

The Oscar-winning Kingsley, who has tackled historical figures before, including Mahatma Gandhi, Otto Frank and Simon Wiesenthal, said playing Eichmann in “Operation Finale” produced an entirely different feeling in him.

“With Gandhi, I loved him. With Simon, I loved him. With Otto, I loved him. With Itzhak (Stern), I loved him. But him — I’ll nail you to the gates of Auschwitz. I’ll put you up there so everyone can see what you did, what you stood for and who you are,” Kingsley told The Associated Press in a recent interview.

The story takes place 15 years after the end of World War II. A team of Mossad agents travel to Argentina with the extremely dangerous mission of smuggling Eichmann out of the country to bring him to justice in Israel.

Eichmann, wanted for war crimes, was living in the South American country after escaping Germany at the end of the war. He was the main architect of the Final Solution, the Nazi plan to exterminate Jews that led to more than six million deaths.

“I put him into the camera for you to judge him, for you to see. I’ve let go of him and I dedicated my performance to Elie Wiesel and the millions who lost their lives under his command,” Kingsley said.

“Rather than saying to the man that I portrayed, ‘I am doing this for you,’ because I certainly wasn’t, I used to say to Elie Wiesel, ‘I’m doing this for you,’ because I know that Elie and other survivors said quite rightly that if we forget the six million, we are murdering them all over again.”

In the film, the rhetoric spoken by Eichmann bares an eerie similarity to the vicious debates currently surrounding the immigration issue in the United States and across the globe. Kingsley sees the film as a cautionary tale and hopes that audiences “will have thoughts after the seeing the film that they did not have before.”

After protests by neo-Nazis and white supremacists last year in Charlottesville, Virginia, Kingsley thinks it’s important to not forget the lives lost in the Holocaust, so it doesn’t happen again.

“Memory is vitally important, truth and memory. I’m quoting now Elie Wiesel, whom I met on several occasions. I loved his company. It was definitely being in the company of what I would say would be comparable to an Old Testament prophet. I felt that also when I was in the presence of Simon Wiesenthal for all those months when I portrayed him. And Simon, quite clearly said that it could happen again. And so did Elie in his heroic pessimistic moments.”

“Star Wars” star Oscar Isaac took a break from shooting the latest installment in the franchise to attend the recent New York premiere of “Operation Finale.”

“I flew in from a galaxy far, far away where we’re shooting in London,” he said.

Isaac plays Nazi-hunting Mossad agent Peter Malkin. He also drew parallels between the rhetoric of Eichmann and the vicious debates of today on immigration.

“You start to hear a lot of similar language, and it’s so, so powerful what a demagogue can do. How he can whip up just normal people, not monsters, not psychopaths — just regular people to hate,” Isaac said.

Isaac is also an executive producer on the film.

Nick Kroll, who plays a Mossad administrator, agreed the film is a cautionary tale.

“We have to be aware of the fact that holocausts are still going on and that we must do our part to protect people from genocide,” he said.

The film hits theaters Aug. 29 and also stars Melanie Laurent, Lior Raz and Joe Alwyn.
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The word for the night was “heat.” With that prompt, spoken word artists delivered poems about love, sex, gangs, street food, public transport and even a trip to the barbershop.

Sipping beer and rum, the fashionable 100-strong crowd in this open-air performance space just off Ariapita Avenue, the bustling heart of Trinidad’s capital, snapped, clapped and cheered on the verbal dexterity.

The monthly slam poetry event is one of several cultural offerings that have emerged in recent years to liven up the slack period between the annual Carnival celebrations that flood Port of Spain’s streets with costumed revelers.

Trinidad and Tobago’s cultural ecosystem still revolves around Carnival, hooked to Ash Wednesday in February or March.

But arts advocates, creative entrepreneurs and government officials are seeking ways to stimulate a year-round scene that could build an economic alternative for a country otherwise dependent on oil and natural gas.

“I see the creative sector as being key in diversifying our national economy,” said Calvin Bijou, chairman of state-owned cultural promotion enterprise CreativeTT.

Besides rich oil and gas reserves, the twin-island Caribbean country has a wealth of cultural talent.

It is the birthplace of steel pan, widely believed to be the only non-electric, acoustic instrument invented in the 20th century, and the origin of calypso.

Those musical traditions blend with folk crafts like wire-bending and costume design in Trinidad’s world-famous Carnival. Since 2014, it has brought an annual average of 36,000 visitors to the island, who spend some TTD 324 million ($48 million).

But spreading culturally driven economic activity throughout the year is a tough task, and has sparked debate over whether a small island state should focus on audiences at home or abroad.

Backyard Theatre

The spoken word event, “True Talk No Lie,” began in 2013 to capitalize on the Carnival off-season.

It runs from March through November, when the cultural calendar heats up again, with parties showcasing the latest soca hits ahead of the next Carnival.

Poets hit the stage at The Big Black Box, a re-purposed backyard in the former residence of a respected playwright.

Multimedia production outfit 3canal renovated the space in 2014 as a simple “black box” theater with a mango tree soaring through the roof.

In the off-season, the venue hosts weekly live shows and rehearsals for annual productions.

It has also become an incubator for taking Trinidadian arts abroad. Two of 3canal’s rising stars toured Pride and carnival events in Britain and the Netherlands this summer, and ensemble members will perform at the National Theatre of Scotland in November.

In the run-up to Carnival, there are nightly rehearsals for 3canal’s annual show, culminating in Friday night “backyard jams” where spectators can get a taste of the work in progress.

Inside the restored gingerbread house, 3canal maintains a recording studio, office and merchandise store. Having its own infrastructure has allowed the ensemble to escape the constraints of Trinidad’s seasonal cultural scene.

“The convenience of having your own base out of which to explore, express and experiment can’t be beat,” 3canal’s artistic director Wendell Manwarren told the Thomson Reuters Foundation as dancers rehearsed in the courtyard.

“With our new album, we could luxuriate and take our time – as opposed to that Carnival pressure cooker.”

The Big Black Box has joined a cluster of historic residences converted for cultural use within a few blocks of each other in the Woodbrook neighborhood.

A decade ago, a trio of creatives established an artist residency program called Alice Yard. In 2011, Medulla Art Gallery opened to showcase contemporary Caribbean art, while older establishments like the Little Carib Theatre, built in 1947, round out the scene.

Carnival remains the center of gravity for some activities like the #1000mokos project in Alice Yard, which teaches a new generation of stilt walkers – moko jumbies in Carnival parlance.

Visual art is less in thrall to the Carnival rhythm, finding a larger audience through the quiet season. In May, a show opening and talk by an up-and-coming painter packed out the subterranean Medulla gallery.

Global or Local?

But as Trinidad’s cultural scene grows, it faces a key question: should it prioritize local audiences or export abroad?

For Rubadiri Victor, president of the Artists’ Coalition of Trinidad and Tobago and a former advisor to the arts minister, the answer lies overseas.

When in government from 2013-2014, he fought unsuccessfully to expand the mission of Pan Trinbago, the world body for steel pan set up by Trinidad, to “make pan and rhythm sections the festival music of Planet Earth.”

He wanted the country’s best steel pan bands playing the world’s top festivals, including the dozens of Caribbean-style carnivals in cities globally, which he estimates generate some TTD 15 billion ($2.23 billion) in revenues per year.

He pointed to examples of Trinidadian cultural success abroad – from several Olympic opening ceremonies choreographed by Carnival artist Peter Minshall in the 1990s and early 2000s, to the popular steel pan band that accompanied fans to Germany for Trinidad’s first-ever World Cup appearance in 2006.

But exporting Trinidadian culture requires public funding and support, Victor noted. “If you don’t have those enablers, it’s just difficult,” he said.

3canal’s Manwarren is more interested in local audiences.

“We tend to focus too much on outside validation,” he said. “We need to break through to ourselves.”

The government, meanwhile, is trying to straddle both lines.

It runs youth programs to teach steel pan, maintains a national artist registry, and coordinates mentorship by master artists – including Manwarren, who teaches live show production.

It hopes to offer funding for artists to showcase their skills abroad, but lacks a national cultural policy that would streamline such opportunities, though public consultations are underway to develop one.

“The cultural has to be seen as a political tool and priority, alongside energy, trade and manufacturing,” said Ministry of Arts official Marlon De Bique.

($1 = 6.7070 Trinidad & Tobago dollars)
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