Month: April 2017

Films focusing on America’s broken education system, the power of independent journalism, and the Syrian refugee crisis are just some of the highlights of this year’s Filmfest DC. 

For more than 30 years, the annual event has been showcasing thought-provoking movies from around the world to a discerning audience in the U.S. capital, promoting discussion and debate. This spring, April 20-30, the festival celebrates its 31st anniversary with 80 selected films.

Tony Gittens, founder and head of the Washington, DC International film Festival, came to VOA to talk about this year’s offerings. 

Heightened issues

“These are films that look at issues that have been heightened with the new presidential administration [in the U.S.,]” he said.

He cites as examples films that examine the U.S. educational system, which according to the documentary Backpack Full of Cash, is suffering. Gittens says the film looks at the importance of public schools and throws light on the commercialization of education.

Another film that focuses on the United States is the documentary All Governments Lie, by Canadian filmmaker Fred Peabody. The film traces the history of “free, independent journalism and its significance to the pursuit of truth and preservation of democracy.”

Broad range

Throughout the year, Gittens visits international festivals like Cannes and Toronto to select films that reflect political, social and economic topics across the world. He says one of the advantages of an international film festival is that it also brings a foreign perspective to an American audience.

“We have a film from Bulgaria called The Good Postman, looking at immigration from a European perspective.” The documentary by Bulgarian filmmaker Tonislav Hristov, looks at people who live in an economically depressed village and have to decide, as Syrians enter their small community, how to deal with illegal migration. Is it going to help them and their economy, or is it going to hurt them in some way?

Gittens says the festival attracts 16,000 people into local movie theaters, as well as embassies and museums, which host films every spring. Many of these people work for think tanks, are political decision-makers, and generally are a politically involved audience.

Influencing the influencers

“Washingtonians spend a lot of time looking at TV news, reading the newspaper, and when we gather for social events after a while, a few pleasantries, politics come up. It is really hard to avoid that here,” he said. 

So when a harrowing documentary, such as Last Men in Aleppo by Firas Fayyad is screening in town, it may not only influence how people see the war in Syria, but it might effect change, based on what people of influence may sit through [during] this two-hour experience of human rights violations on Syrian civilians by the Assad regime.

The festival also offers a variety of films that look at social and cultural displacement from the viewpoint of the ethnic communities that exist as islands within other cultures. One example is A Wedding by Stephan Streker. This French-Pakistani production deals with the values of a Pakistani family living in France and ends in tragedy when one of the daughters chooses a new way of life over tradition.

One of the most visually impressive films in this year’s festival is Human. Photographer and filmmaker Yann Arthus-Bertrand uses breathtaking cinematography to deliver a film about humanity, weaving a picture of vast landscapes, the world as seen from up high with mankind dwarfed in it.

Arthus-Bertrand interviews people from all walks of life. 

“It’s about the world, the whole planet, the environment, people’s social needs, economic needs and interests showing how in a way we are different, but in fundamental ways we are very similar,” Gittens said.

Economic engine 

Filmfest DC’s leader says that on average, he watches 350 films a year to select the final 80 to bring to Washingtonians. He says throughout the 31 years he’s been doing this, it is a very rewarding process and the films are appreciated. 

The festival also has become an economic engine for the city, Gittens added. Thousands of people from the metro area and the U.S. come to the nation’s capital to attend the festival, filling up Washington restaurants, creating seasonal jobs, and providing a good time.
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For over 30 years, Filmfest DC has been bringing thought-provoking movies from all over the world to a discerning audience in the U.S. capital, promoting discussion and debate. This spring, the festival is celebrating its 31st anniversary with 80 selected films. VOA’s Penelope Poulou has more.
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This is the Top Five Countdown! We’re hangin’ with the five most popular songs in the Billboard Hot 100 Pop Singles chart, for the week ending April 29, 2017.

It turns out that lighting does strike twice in the same place, because we get a Top Five debut for the second consecutive week.

Number 5: The Chainsmokers & Coldplay “Something Just Like This”

Let’s start in fifth place, where The Chainsmokers and Coldplay hold with “Something Just Like This.”

Coldplay just grabbed two nominations for this year’s Ivor Novello Awards. Chris Martin & Company are nominated twice in the PRS For Most Performed Work category – they earned it for “Adventure Of A Lifetime” and “Hymn For The Weekend.” They’ll square off against Adele, with “When We Were Young.” Named for the famous Welsh composer and actor, the Ivor Novello awards will be handed out on May 18 in London.

 

Number 4: Harry Styles “Sign of The Times”

Let’s keep it in the U.K. for this week’s big debut: Harry Styles opens in fourth place with “Sign Of The Times” – the lead single from Harry’s first solo album, dropping on May 12.

Harry co-wrote this song with Jeff Bhasker, who won the 2016 Grammy for Non-Classical Producer of the Year. He’s worked with everyone from Jay Z to the Rolling Stones. Harry’s album has a lot of buzz behind it, and he says he will go on tour.

Number 3: Kendrick Lamar “Humble”

Kendrick Lamar steps back a slot to number three with “Humble,” from his smash hit album Damn.

Kendrick headlined for two successive weekends at the Coachella festival, and now fans can await his North American headlining tour. It starts July 12 in Glendale, Arizona. Travis Scott and D.R.A.M. will be the opening acts.

Number 2: Bruno Mars “That’s What I Like”

Bruno, Bruno…make up your mind. He’s sold more than 26 million albums, but Bruno Mars just can’t make that last jump: “That’s What I Like” this week returns to its chart high of second place.

Bruno’s currently on tour in the United Kingdom, and last week stopped by the Beatles’ old stomping ground, Abbey Road Studios in London. He says he didn’t use that famous zebra crossing, but it was a temptation.

Number 1: Ed Sheeran “Shape of You”

If you’re tempted to think we have a new singles champ, think again: Ed Sheeran remains your countdown king with “Shape Of You.”

As of April 6, this was the best-selling song of 2017 in the U.S., moving 1.7 million copies. It’s also the only song to have surpassed the million-seller mark so far this year.

We get a whole new lineup next week, so be sure and drop by.
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Oscar-winning U.S. film director Jonathan Demme, who terrified audiences and also made them laugh, died Wednesday in New York at 73.

His family said Demme suffered from cancer of the esophagus.

Demme may be considered one of the most eclectic directors in Hollywood history — directing rousing comedies, horror, concert films and emotional dramas.

His 1991 thriller Silence of the Lambs featured Anthony Hopkins as a cannibalistic murderer with a terrifying mask who is restrained in a cage.

The film and Demme’s close-ups of the criminal haunted audiences and won five Oscars, including one for Demme.

He followed it in 1993 with Philadelphia, starring Tom Hanks as a lawyer dying from AIDS. The film is considered to be a landmark in the way gays are portrayed and the seriousness of the AIDS epidemic.

Critics called Demme’s 1984 concert film starring the Talking Heads, Stop Making Sense, one of the greatest rock films ever made, using techniques that have set the standard for rock documentaries.

Demme also was heavily involved in the Florida-based charity Americans for Immigrant Justice, and his family has requested that fans honor Demme by making contributions to the fund.
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Musician David Byrne, known for his work with the 1980s pop band Talking Heads, wrote an urgent blog post this month. “I just got back from a rally at City Hall,” he said, referring to a New York City rally to support arts funding. “I spoke very briefly, making the economic and social argument that arts funding benefits the economy and creates jobs way in excess of the amount invested.”

Byrne and others at the rally were protesting a budget request by the White House for Congress to eliminate funding for the National Endowment for the Arts, as well as the National Endowment for the Humanities and the Corporation for Public Broadcasting.

While the Trump administration has said little beyond the budget proposal itself, conservative commentator George Will and others have made the case. Will wrote in The Washington Post last month that the arts mainly benefit the wealthy, and that the wealthy will support the arts regardless of federal help.

In addition, he said NEA funding, which goes to all 435 congressional districts in the United States, supports projects he does not consider art. The NEA, he said, “defines art democratically and circularly. Art is anything done by anyone calling himself or herself an artist, and an artist is anyone who produces art.”

 

The prospect of losing their funding is forcing arts organizations to pull out all the stops to show what good the arts do, beyond the fancy doors of museums and music auditoriums. And they question what good it would do to eliminate agencies whose spending combined makes up less than 1 percent of the national budget.

Byrne, the pop musician, said in his blog post: “Investment in the arts doesn’t cost us money — it MAKES us money!”

Attracting funds

The NEA says its budget appropriation for 2016 was $147.9 million, about .004 percent of the federal budget. It says its contributions to local arts institutions resulted in the leveraging of up to $9 million in private and other public funds.

 

Brad Erickson of Theatre Bay Area, a group representing 300 theater companies in the San Francisco area, clarified the issue in comments to The San Francisco Chronicle last month: “Nobody is getting enough from the NEA to keep the lights on and the rent paid. An NEA grant attracts other money. A dollar from the NEA attracts another $8 in private and local funding.”

The advocacy group Americans for the Arts studies the economic growth that the arts foster in the communities they serve. The group reported that in 2014, arts and culture represented 4.2 percent of the nation’s gross domestic product — a larger share, according to the U.S. Bureau of Economic Analysis, than transportation, tourism or construction.

Further, the NEA says 40 percent of the funding it doles out goes to organizations and activities in high-poverty neighborhoods, where arts education can matter the most.

 

Wolford McCue, president and CEO of the Arts Community Alliance in Dallas, told VOA that studies have found how important arts activities can be to an individual education.

“Young adults who have been engaged with the arts graduate from high school, junior college and college at a significantly higher rate than those not engaged in the arts,” he said. “Significantly more are gainfully employed, pay taxes, vote and volunteer in their community.”

Controversial content

One argument against arts funding persists from the 1980s, when NEA funding went to a venue hosting an art show of provocative photographs by Robert Mapplethorpe — an artist whose name is now synonymous with controversy. His sexually charged work set off a nationwide debate about obscenity and the role of public funding.

Those who defended Mapplethorpe’s work said he was entitled to free speech. Critics said federal dollars should not be used to support work that some people find obscene.

And that, some arts activists say, may be at the root of the issue. While the arts may look like an extravagance to some, others say shutting off arts funding amounts to stifling speech.

PEN, a writers organization focused on free speech, is circulating an online petition advocating for the NEA and its sister organizations. “Eliminating these vital agencies would lessen America’s stature as a haven for free thinkers and a global leader in humanity’s shared quest for knowledge,” it says.

Support in France

A group of French filmmakers also has rallied in support of keeping U.S. federal arts funding alive, saying defunding the NEA is “muffling diversity” because art enables people on the margins of society to tell their stories.

And in an op-ed piece in The New York Times last month, Eve Ewing, a sociologist at the University of Chicago, said, “Artists play a distinctive role in challenging authoritarianism. Art creates pathways for subversion, for political understanding and solidarity among coalition builders.

“Art teaches us that lives other than our own have value.”
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In some of the lowest performing elementary and middle schools in the U.S., students are learning in an unconventional way. 

 

“I like to act and I like to sing and I like to dance,” said 10-year-old Kayla Driakare, whose teachers at Florence Griffith Joyner Elementary School are incorporating much of what she loves doing into the everyday curriculum.

 

Her school is a part of a national program called Turnaround Arts, and is an initiative started by former first lady Michelle Obama.It aims to help improve low performing schools through the arts.

 

For Driakare and her classmates, their school is a safe haven from life outside its walls.The students at Florence Griffith Joyner Elementary are from Watts, a neighborhood in Los Angeles known for its gang violence.

 

“High crime, high poverty, very multigenerational families in public housing. There’s gun violence. We see a lot of helicopters and we have lockdowns regularly and so, the thing is, all associated with poverty – that really traumatized students, so many of our students come to school with symptoms of post-traumatic stress,” explained school principal Akida Kissane Long.

 

She remembers when she first started at the school five years ago, there was “willful disobedience, primarily fighting (and) destruction of school property.”

 

Long said the suspension rate was “267 suspensions on record and (there were) 1,167 classroom suspensions.“

 

The school performed in the lowest 5% of the state and qualified for the Turnaround Arts program, a public-private partnership led by the President’s Committee on the Arts and the Humanities and managed by the D.C.-based John F. Kennedy Center for the Performing Arts.

 

It is one of 68 schools in the U.S. participating in the program.Teachers receive special training, and the arts are incorporated into all the subjects.Turnaround Arts schools also partner with professional musicians and actors who work with the students. Among the names are Yo-Yo Ma, Sarah Jessica Parker, Elton John and Cameron Diaz. 

 

“The children were so excited and have been so excited because it’s not just about – “Go to the board. Do the problem. Turn the page. Read the book.’It’s about acting and impersonating artists and historic figures, and acting out the water cycle and becoming a butterfly that goes from caterpillar through the cocoon to an expansive beautiful winged insect,” said Long.

 

On Thursdays, dedicated teachers in music and art give lessons. 

 

 “Art is fun. You get to draw what you draw and you get to draw something that you really like,” said an excited Driakare.

 

Only in the first year of a 3-year program, Long is already seeing results.

 

 “We’ve probably suspended one kid this year. That’s amazing. Parents are getting phone calls to come to family portraiture night and come to family arts night, and it’s not just the naughty calls home. It’s for them to come and learn more about what their children are learning.So our parent engagement goes up,” Long said.

 

Decreased disciplinary actions, increased attendance and improved academic achievement are occurring nationwide in a 3-year program evaluation of pilot schools.From 2011 to 2014, the study found a 22.55% improvement in math proficiency and 12.62% improvement in reading proficiency in the Turnaround Arts pilot schools.The study also found Turnaround Arts schools performed better than comparable schools that received special grants for school improvement.

 

At a time when President Donald Trump is proposing cutting the budget for the arts, and arts education is being deemphasized as policy makers push for more focus on math and science in U.S. education, Long is making a case for a more holistic approach.

 

 “Art speaks to everyone. Arts isn’t a set aside. It is part of what makes the curriculum rich and exciting and motivating.” Long added, “Because the arts is so universal and speaks across every culture and every language, every kid has an opportunity to access the highest levels of the curriculum because they had it delivered in a way that they could understand.”

 

At the end of the 3-year program, Long is asking the school district to turn this school into a visual and performing arts magnet school so it can get funding from the district to continue its focus on the arts, and allow more students to experience learning through a more creative approach.
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In upstate New York, John Lundemo is making a living by making high end swords. He carves each sword with a distinctive style of his own, a style he developed over the years. Inspiration for his creativity comes from different places. And as Faiza Elmasry tells us, that’s what makes him a sword master. VOA’s Faith Lapidus narrates.
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President Trump’s proposed cuts to the federal budget for the arts is creating concern that it may impact a program started by former first lady Michelle Obama that is showing signs of success. Turnaround Arts gets some funding from federal tax dollars, and it helps some of the nation’s lowest performing schools improve learning in all educational subjects. VOA’s Elizabeth Lee reports from Los Angeles.
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The Grammy Museum is putting rare Ella Fitzgerald memorabilia on display for what would have been the singing legend’s 100th birthday.

The museum’s “Ella at 100: Celebrating the Artistry of Ella Fitzgerald” exhibition includes the first Grammy Award  that Fitzgerald won — the first awarded to an African-American woman — as well as some of her gowns, sheet music and personal telegrams.

Fitzgerald died in 1996 at 79 from complications with diabetes and left few possessions beyond personal notes, but the exhibit puts a focus on what made Fitzgerald a star — her voice.

Her voice is the key

Grammy Museum curator Nwaka Onwusa says she wants visitors to be captivated by her singing, so the exhibit includes video and audio of her early performances with jazz greats Count Basie or Duke Ellington.

The exhibit is one of several celebrations of Fitzgerald’s birthday on Tuesday. New York City declared it Ella Fitzgerald Day and the Smithsonian has also opened a special exhibit, while Starbucks stores in the United States played her music.

 

“Ella Fitzgerald’s is probably the single most important voice in American history,” said recording artist Miles Mosley. “If you’re going to start with any song before 1970, her version is the one you start from. That’s the ground floor. That is the most representative version of what the composer themselves wished their songs would sound like.”

Performed in many styles

Over the course of her career, she sang swing, bebop, pop, jazz.  Among her best-known works are a 1938 novelty smash, “A-Tisket, A-Tasket,” which she co-wrote, and a series of eight album sets, each dedicated to an American songwriter or songwriting team. In addition to being best sellers, those albums helped establish the long-play record as a platform for deeper, more serious musical exploration.

Twenty-plus years after Fitzgerald’s death, the rave reviews keep pouring in.  

 

Celebration of Fitzgerald’s 100th actually began March 31, as Dianne Reeves held a Fitzgerald tribute concert at the Library of Congress, which serves as home to Fitzgerald’s personal library. A day later, Smithsonian’s National Museum of American History, which has long hosted a Fitzgerald exhibit, opened a new display, “First Lady of Song: Ella Fitzgerald at 100,” kicking off Jazz Appreciation Month.

Onwusa said Fitzgerald’s exhibit was not an easy display to put together, noting that the relatively new Grammy Museum, which opened in 2008, could not compete with the long-established Smithsonian and Library of Congress, which have long been collecting Fitzgerald memorabilia.

Gowns are a key attraction 

But the Los Angeles-based Ella Fitzgerald Charitable Foundation and Fitzgerald estate came through with enough items to make for an attraction, including gowns Fitzgerald wore in performance, rare photographs, sheet music, newspaper articles, concert programs. Securing performance footage proved more challenging, but was critical for Onwusa.

“When you come to Ella at 100, immediately we want visitors to be captivated by her voice,” she explained. “That’s what draws you to Ella.”

To that end, there are viewing and listening stations, where exhibit visitors can watch and hear Fitzgerald performing in various points in her career. She was an active professional performer for some 65 years, going in semi-retirement in 1994, after having both of her legs amputated below the knee due to the effects of the diabetes.

‘100 Songs for a Centennial’

 

For those just being introduced to Fitzgerald, Verve/UMe has just released a career-spanning primer, the four-CD set “100 Songs for a Centennial.” For hardcore fans, there’s the lavish six-album vinyl limited-edition “Ella Fitzgerald Sings The George and Ira Gershwin Song Books,” which is newly packaged with lithographs, a book and a bonus track. Numerous other releases and events are planned throughout the year.

 

But once the celebration ends, it’s fairly clear that the Fitzgerald legacy will continue.

Grammy Museum executive director Scott Goldman singled out a relative newcomer such as Andra Day as a perfect example. “(Here’s) a young African-American artist who is blurring the lines between jazz and soul and R&B.” he noted. “If you listen to Andra Day, you’ll hear a little Ella Fitzgerald. And I think many artists carry that. I think that’s what makes Ella Fitzgerald so special. She lives.”

The exhibit runs through Sept. 10.

 
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