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wanhong's picture

Wonderland

Instead of shaking in the darkness, I watched the starry scene in front of me. It was six 'o clock, but the sky was already darkened. There were no stars, but there were lights from countless windows far away from me. What I saw didn't seem to be true.

When I first walked into Bryn Mawr, it was a Wonderland to me. Now it still is--the only difference is that I KNOW it is real. No matter during the day or at night, it looked like a place in fantasy. The flowers, trees, and old buildings--yes, those, at day time, not after the dawn.

How many people have sat on the bench, wondering--"why am I here, what do I see?"

The lights were glowing, shining as if they were showing off in the darkness. We still don't want to blend in the night, do we? We need artificial lights to feel safe--we just need that feeling.

sarahj's picture

Perry House: The End

I see that they (the administration/grounds) is still taking care of the grass at Perry.  In the beginning of the year, the vibrancy chairs were slowly being consumed by the vines in the Perry House garden but they are clean now and left with plenty of space to sit in silence and solidarity.  The last few times I've been to my site at Perry I couldn't help but think about the current ambiguity of the House's future.  It is strange how, once the students came together, the lawn vines were finally cut back.  Would it have been so bad for the vibrancy chairs to be swallowed by the vines?  Is it worse that the chairs are free from their plant captors, but left on their own?  Its almost like they are symbolic of the culture of Perry House.  Either the vibrancy of the house is to be swallowed up and claimed by someone else or it is to be left on its own, there to be looked at but never to be integrated into the whole. Maybe I'm reading too much into it.

As for what I did at my site that day, I marveled at the warm weather (I was there on Tuesday) and I finally stepped through the stone archway.  I had been avoiding that all semester because I liked to imagine that there was another world amongst the bramble of the otherside.  I sat down on the steps and I sang songs though I'm not quite sure why.  It felt right.

rachelr's picture

(Mental) Construction Zone

My assignment for our trip to Ashbridge was to hold an online reflection of my shared experience with the class. That can be found here. Something that our blind shuttle made me think about was the difference between hearing r.graham.barrett and eetong’s auditory description of the history (past and present) of Ashbridge Park and the waterway restoration, and the visual differences I encountered that were in contrast to the mental image I had constructed. I wasn’t really expecting the trash, especially after hearing about all the conscious efforts to revitalize and preserve the area. I assume if I did not have my sense of sight that I would have retained the visual image I constructed from the stories, unless perhaps I had someone describing the reality to me. Carmen Papalia said on our blind shuttle that not having sight could be a beautiful thing, that sight gave us so much to be distracted by that our other senses don’t work as hard as they could. I am now left wondering how my experience at Ashbridge might have been different if I had taken some time to close my eyes. Would I have had a more watery experience if I let me ears and nose take over, uninhibited by the distractions my eyes plagued me with?

 

Chandrea's picture

Thursday's Silence Class

"Sometimes it's harder to attain inner silence than outer silence. The dog stopped barking and the kids have gone to bed, but your mind has a lot to talk about and it knows you can't pretend you're not at home." -Linda Solegato

I stumbled across this quote today and it reminded me of Thursday's class with Professor Beard. I thought she had such a peaceful presence about her, but the end of the conversation made me a little uncomfortable. We talked about the Chittister text and our discomfort with silence because "it is silence that brings us face to face with ourselves" (Chittister).

I Will Follow

About the Film
Year Released: 
2011
Running Time: 
81
Documentary/Fiction: 
Fiction
Synopsis: 

Maye (Salli Richardson-Whitfield) is a success. Hot career. Hot boyfriend. But when her world is turned upside down by tragedy, she must struggle to keep her balance. I WILL FOLLOW chronicles a day in the life of a woman at a crossroads, and the twelve people who help her move forward into a brave, new world.

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
50,000
Location: 
Topanga Canyon, California
Categories About the Film
Genre: 
drama
family
romance
Keywords: 
family
rural life
Racial/Ethnic Affiliation: 
African American
North American
Filmmaking Team
Writer's Name: 
Ava DuVernay
Producer: 
Howard Barish
Cinematographer: 
Miguel Bunster
Primary Cast: 
Salli Richardson- Whitfield, Tracie Thomas, Blair Underwood, Omari Hardwick, Michole Briana White, Beverly Todd, Dijon Talton
Exhibition/Distribution Info
Distributor: 
AFFRM
Box Office Earnings: 
$360000
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

        Urbanworld Film Festival (world premiere in September 2010).

        Image Award, Film nominated for Outstanding Independent Motion Picture

        Pan-African Film Festival

        Chicago International Film Festival

        AFI Fest

        Best director prize at the 2012 Sundance Film Festival

        Black Reel-Nominated Ava Duvernay for Best Director and Best Screenplay

        African American Film Critics Association - 2011 Won Best Screenplay

Anne Dalke's picture

Gathering quotes for Tuesday's barometer

As you read over your classmates' papers, pull out one sentence you would like to discuss further, and BY MONDAY @ 5, ADD IT HERE AS A COMMENT. I will draw from these in constructing the game of "barometer," which we will play in class on Tuesday. Thanks!

Anne Dalke's picture

PLANS FOR OUR FINAL TEACH-IN

We have 8 presentations--so each one gets 10 minutes. I will be very strict about the time-keeping, since we want to give everyone an equal chance to share what they have learned. Here's the program:
11:25-11:35 Minh
11:35-11:45 Sarah C
11:45-11:55 Shengjia
11:55-12:05 Wanhong and Barbara
12:05-12:15 Susan, Rochelle and Sara
12:15-12:25 Alex and Hannah
12:25-12:35 Claire and Zoe
12:35-12:45 Maddie and Elizabeth
If you have technical needs, you need to get there early and get yourself set up (otherwise, setting up becomes part of your performance time, and we all get frustrated....)
I'll bring some treats--and am very much looking forward to this!

interloper's picture

Two thousand days and nights (Unfinished)

Final Version:

My armor weighs more than I can still carry,

A cage for my skull,

Five years empty inside. 

Circean shapeshifters sold me this

Sheathing. 

In shadows they flitter, in daylight they hide.

Remember: 

Effortless solstice of winter,

Sleeping, 

Turning, legs and arms twined.

Human cocoon

Of breath, skin, Elysium,

Flawless empyrean, fullness of mind.

Now

Skating the precipice, dragging my baggage,

Punch hard,

Pierce through this carapace shell. 

With unguarded organs 

I squint through the scissure,

Unable to tell if it's heaven

Or hell.

Exoskeletal shedding takes trust,

Though I can't seem to know when it's false or it's real,

But If i touch heat then

I'll maybe be able to

Cry

and then actually, finally

Feel.

Real Women Have Curves

About the Film
Year Released: 
2002
Running Time: 
90
Documentary/Fiction: 
Fiction
Synopsis: 

Curves on a blossoming young woman can be sexy, but not if you are told you have too many of them. Real Women Have Curves is a humorous and warmhearted look at a Mexican American teenage girl coming of age in a boiling cauldron of cultural expectations, class constrictions, family duty, and her own personal aspirations. In this auspicious debut, Patricia Cardoso gives us a cast of characters we very rarely see - working class Latina woman - with refreshing human complexity.

Ana, a first generation Mexican American teenager living in East Los Angeles, has just graduated from high school. Because she is a talented writer, a caring teacher urges her to apply to college. Ana secretly is excited about the possibility, tubu her overbearing and hyper-critical mother, Carmen, insists that it is time for her to help provide for the family by working in her sister's sewing factory, it seems as if Ana's fate is unhappily sealed, but her indomitable will to reach beyond a sweatshop life eventually leads her to burst, defiant and resplendent, through every restriction on her life.

America Ferrara and Lupe Ontiveros are wonderful as Ana and her mom as they deal with all of the unexpected curves life throws at them. Based on the play by Josephina Lopez, which is rooted in her own experience, Real Women Have Curves gives a fresh new voice to the yearnings of Chicana women struggling against insecurities to love themselves and find respect in the world.

Shari Frilot, 2002 Sundance Film Festival. 

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
$3,000,000
Location: 
Los Angeles
Categories About the Film
Genre: 
coming of age
drama
family
highschool
romance
Keywords: 
coming of age
family
immigration
interracial relations
sexuality
urban life
Racial/Ethnic Affiliation: 
Chicano/a
Latin American
Latino/a
Mexican
Filmmaking Team
Writer's Name: 
Josefina Lopez and Geroge LaVoo
Producer: 
George LaVoo and Effie T. Brown
Cinematographer: 
Jim Denault
Primary Cast: 
America Ferrera, Lupe Ontiveros, Ingrid Olui, Brian Sites, George Cavera Jr.
Exhibition/Distribution Info
Distributor: 
HBO Films
Box Office Earnings: 
$5844929
Where to find it/How to get it: 
DVD widely available
Festivals/Awards: 

2002 Audience Award, Sundance Film Festival

2002 Special Jury Prize, Sundance Film Festival

2002 Grand Jury Prize, Sundance Film Festival

2002 Humanitas Prize, Sundance Film Category

2002 USA Special Recognition for Excellence in Film Making, National Board of Review

2002 Youth Jury Award, San Sebastian International Film Festival

2003 Producers Award, Independent Spirit Awards

2003, Best Supporting Actress, Imagen Foundation Awards

Analysis
Personal Film Review and Cultural Context: 

Real Women Have Curves offers a rare look at the life of a young Latina as she strives to establish her own path and individuality within the context of her loving, but overbearing family. Ana is a star student but never thought that college was an option, but when the opportunity presents itself, her mother would rather she join the family business working in her sisters dress shop. Ana must also deal with some personal insecurities and it doesn’t help that her mother keeps calling her fat. In her break through performance, America Ferrera effortlessly depicts the intimate moments along Ana’s journey, giving us an appreciation for Ana’s Courage and resilience in the pathway of opposition. The spirited tone of this honest and authentic film will have you walking away enthused and ready to take on the world.

Marissa Allyn Jackson

Bryn Mawr College Class of 2014

Trudell

About the Film
Year Released: 
2005
Running Time: 
80
Documentary/Fiction: 
Documentary
Synopsis: 

With a rare film that only a literate filmmaker could create, Heather Rae demonstrates sophisticated craft and builds an Indigenous aesthetic essential to the intellectual exploration of the power and fragility of an Indigenous icon, John Trudell. From the first frames, Rae constructs an impressionistic biopic, weaving images, thought, music, and human energy into cinematic power.

With Trudell's lifeline as the narrative thread, viewers journey in and out of modern Indian history and politics, exploring the earth-infused philosophy and motivations of Trudell's radical acts and thought, as well as reliving the loss and heartache that prompted his activism to evolve abruptly into artistic expression. Complementing Rae's stunning images are Trudell's poetic musings, set to electric guitars and drumbeats echoing from the earth and blurring lines between the conscious and the unconscious.

John Trudell's cogent words deconstruct an all-too-familiar world, and he prepares his listeners often by saying, "If I say anything you don't agree with, let's just leave it at that, that we don't agree." With this in mind, Rae gently sculpts the space between all things John Trudell and the rest of us, slowly and deliberately revealing the soul of a rare man who is one of the most influential Native activists of our times.

— Bird Runningwater, Sundance Institute

Poster Image: 
Production Info
Reported or Estimated Budget: 
“Mainly economics. This film basically was not financed, not in the sense that we started out with a budget and went forward. There were bits of funding that came along the way and ultimately a grant from Native American Public Telecommunications (NAPT), which is a member of the [public broadcasting] Minority Consortia. That grant enabled us to really begin the finishing of the film but didn't bring it all the way, so the last two years of completing and marketing the film have been greatly challenging.” - "Trudell: Filmmaker Q&A." PBS. PBS, n.d. Web. 07 Dec. 2012. <http://www.pbs.org/independentlens/trudell/qa.html>.
Other Interesting Production Info: 
Trudell took 10 years to make.
Categories About the Film
Genre: 
documentary
Keywords: 
activism and social justice
art and culture
history and memory
incarceration
state violence and security
Racial/Ethnic Affiliation: 
Indigenous
Mexican
Filmmaking Team
Writer's Name: 
Russell Friedenberg
Producer: 
Elyse Katz
Cinematographer: 
Gilbert Salas
Primary Cast: 
John Trudell, Robert Redford, Kris Kristofferson, Amy Ray
Exhibition/Distribution Info
Distributor: 
Balcony Releasing, Deckert Distribution, PBS, Sundance Channel, Native American Public Telecommunications
Box Office Earnings: 
$26756
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 
  • Premiered/ Nominated for Grand Jury Prize at Sundance Film Festival
  • Won Documentary Special Jury Award at Seattle International Film Festival
Analysis
Personal Film Review and Cultural Context: 

In her first film, Heather Rae (director of Frozen River and former Director of the Native American Program at Sundance) turns John Trudell, a spoken word artist and Native American activist who rose to prominence in the early 80’s and a man once labeled by the FBI as “extremely eloquent and therefore extremely dangerous” human, in a manner that is dreamy yet stark. Over the course of a decade, Rae documented the many facets of Trudell’s life, mixing interviews with footage of news segments, poetry performances and live coverage from concerts.  The dynamic between Rae and Trudell, though occasionally uncomfortably close, provides a platform for Trudell to reflect. Like a diary, Trudell talks about his legacy as an activist and the tragic loss of his family, a gut-wrenching moment that seeks to demystify much of the controversy and media attention surrounding it. The incorporation of John’s raw voice over the music of his Native American tribe is striking, and though occasionally heavily stylized, Trudell is an exceptionally intimate and poetic film.

Krystal Caban

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