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    BAM Announces a Female-Led Next Wave and Fall Season

    The arts institution, which has shrunk its programming in recent years, unveiled its fall lineup.The Brooklyn Academy of Music will welcome its 42nd Next Wave festival this fall, with most works created by female artists, the performing arts center announced on Thursday.“We led with women,” said Amy Cassello, who became BAM’s artistic director last year after serving in the role as interim. “It just felt like a good time to center women creatives.”The announcement comes at a time of financial fragility and leadership flux for the academy. BAM’s staff has declined by more than a third in recent years, and its nearly $52 million operating budget is smaller than it was 10 years ago.But there is momentum, and audiences are growing.Next Wave will have 11 events, as it did last year, up from eight in 2023. That year, the festival scaled back to nearly half of the 2022 offerings amid staff layoffs.“I feel confident that we have the number of shows that make a coherent statement,” Cassello said, adding, “I wish there were more money to subsidize and support and invest in artistic work.”The festival opens with the choreographer Nora Chipaumire’s “Dambudzo” (Oct. 8-9), a blend of painting, sculpture, sound and performance, transforming the nearby performing arts space Roulette into a Zimbabwean house bar.The lineup also includes the French director Caroline Guiela Nguyen’s “LACRIMA” (Oct. 22, 24-26), a choral theater performance that, in a dark look at the fashion industry, traces the many hands across the world it takes to create a wedding dress for a British princess; Eiko Otake and Wen Hui’s “What Is War” (Oct. 21-25), a fusion of movement and video testimony about war and its aftermath on collective memory and the body; and the choreographer Leslie Cuyjet’s “For All Your Life” (Dec. 3-7), a solo performance interrogating the life insurance industry’s ties to slavery.Next season will also feature a revival of Richard Move’s dance-theater work “Martha@BAM — The 1963 Interview” (Oct. 28 -Nov. 1), in which Move recreates a 1963 interview between Martha Graham (Move) and the critic Walter Terry (the playwright Lisa Kron) at the 92nd Street Y.BAM will also present a screening of “The Mahabharata” (Sept. 18), a film adaptation of Peter Brook’s nine-hour theatrical presentation of the Sanskrit epic that BAM staged in 1987 atthe theater now known as the Harvey Theater at BAM Strong. The Harvey will be the site of the screening of Brook’s (much shorter) 1989 film, newly restored by his son, Simon Brook.The season concludes with a revival of the raucous post-rock opera “What to Wear” (Jan. 15-17) by the avant-garde theater maker Richard Foreman, who died in January at 87. The hallucinatory work, with a score by Michael Gordon, will be conducted by Alan Pierson and directed by Paul Lazar and Annie-B Parson, and run as part of Prototype, the experimental New York opera festival.“BAM has always been artist-centered and adventurous and risk-taking,” Cassello said, “and I think that’s absolutely necessary. Always has been.” More

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    ‘It’s all very sad’: Trump’s attack on arts funding has a devastating effect

    On the afternoon of 3 May, arts organizations around the US began receiving cryptic emails from a previously unknown government email account. The missives declared that these organizations’ missions were no longer in line with new governmental arts priorities, which included helping to “foster AI competency”, “empower houses of worship” and “make America healthy again”.Chad Post, a publisher at Open Letter Books, a program of the University of Rochester that specializes in publishing translated literature, got his email just before entering a screening of Thunderbolts*. He put a quick post on Instagram, and when he came out of the movie his phone was full of responses. “I seemed to be the first one to receive this,” he recounted. “But then, all of a sudden, everyone was getting these letters.”Post told me that he had been in touch with 45 publishers who had had their NEA grants terminated, and he suspected that all 51 publishers receiving grants for 2025 supporting the publication of books and magazines had now received the letter. Although Open Letter expects to still receive funding for 2025, Post is convinced that no further money will be forthcoming from the National Endowment for the Arts.“According to rules of the email, we should get the money, although if you come back in two months and they never sent it, I wouldn’t be shocked,” he said. “The chilling part of that email is that they’re eliminating the NEA entirely. It lists all these insane things that are the new priority, and says our venture is not in line with the new priority, so we can’t ever apply again.”The grant termination won’t deal a lethal blow to Open Letter Books, but it will alter the kinds of literature that they are able to publish. Post said that he would have to give preference to books from nations that can offer funding – which tends to favor books from European languages and from wealthier countries.This sentiment was echoed by other arts organizations, who see the loss of NEA money as a significant blow, but not a deadly one. Kristi Maiselman, the executive director and curator of CulturalDC, which platforms artists that often are not programed at larger institutions, shared that NEA grants account for $65,000 of a roughly $1.1m budget. Thanks to proactive work between her team and the NEA, Maiselman received her grant this year, but does not expect any further such money. “It’s a pretty significant chunk of the budget for us,” she told me. “What has been hard for us this year is that we really do provide a platform for artists to respond to what’s going on in the world.” Continuing to promulgate those kinds of artists would be more difficult in future.View image in fullscreenAllegra Madsen, the executive director of the LGBTQ+-focused Frameline film festival, said that her grant funding had been in limbo ever since the inauguration of Donald Trump, and was ultimately terminated last week. “I think we could all kind of sense that it was going to go away,” she told me. “I think these blows that came this week are going to be felt very intensely by a lot of different organizations.”Frameline is housed in the same building as a number of other arts organizations dedicated to film, including the Jewish Film Institute, the Center for Asian American Media and BAVC Media, and it also sits adjacent to SF Film and the Independent Television Service, all of which Madsen says were affected by the termination of NEA grants. “We’ve all been hit, and we’re all just sort of figuring out what our next steps are.”One fear that Madsen raised was that many private funders take cues from the Federal government, and now with NEA grants terminated – and possibly the NEA itself getting axed – she is unsure if other donors will get cold feet. “This year we have a cohort of sponsors that are very much sticking by us, and I am incredibly thankful for those organizations standing up. But it is a bigger ask now, it’s a bigger risk for them.”Despite the often seemingly indiscriminate cuts made to the federal government by the unofficial “department of government efficiency”, the organizations the Guardian spoke with all believed that they had been targeted in some way because of the programming that they offer. “Just because it’s being done in mass, I don’t think that takes away from the idea that this is pointed and intentional,” Madsen told me. “Governments like this try to attack the populations that seem to have the least power, and right now they are mistakenly thinking that’s going to be our trans and gender-nonconforming siblings.”Taking a similar perspective, Maiselman sees these cuts as perpetuating a broader cultural turn away from arts programs, in particular those that significantly represent people of color and the queer community. “Prior to losing the NEA, we had lost about $100,000 in sponsorships this year,” she said. “We’re hearing from our sponsors that there are a lot of eyes on them. They’re not exactly saying no, but they are saying saying, ‘not right now’.”View image in fullscreenPost sees private money as a possible way to make up some of the lost NEA funding but fears that there will be a stampede of indie presses all toward the same few donors. “Everyone is feeling a little more broke and a little more strapped right now,” he said. “Arts orgs writ large are going to be competing for funds from the same few individuals and that just scares me.”He also argued that, while a press like Open Letter will be able to continue functioning without NEA money, organizations that only publish literary magazines may fold without significant infusions of private cash. “Those literary magazines don’t have the opportunity to rely on a book breaking out,” he said. “They’re not suddenly going to have an issue of the magazine take off. This might be a massive blow to literary magazines.”Although some arts organizations appear poised to survive the loss of NEA money, they nonetheless feel existentially frightened by the general turn of the political culture away from diversity and toward authoritarianism. “It’s hard right now to see any light at the end of the tunnel,” said Maiselman. “With the rate at which things are changing, it’s going to take years to course correct – that is, if and when the administration changes.”Maiselman further argued that the cultural shift brought in by the aggressive moves of the Trump administration had the potential to profoundly transform the landscape of the arts world. “There’s going to be a reckoning,” she told me. “A lot of organizations won’t survive this.”For her own part, Madsen struck a defiant tone, placing the current repressive political atmosphere in the context of other such threats to the LGBTQ+ community. “We will survive, we have the privilege of being an almost 50-year-old org,” Madsen said. “The LGBTQ+ community has been down this road before. We got through McCarthyism, we got through the Aids crisis, we’ll survive this.”In hopes of surviving, arts organizations are again turning toward one another, finding a community sentiment that many of the people I spoke to called reminiscent of the Covid years. “There are a lot of conversations right now about how we can help one another,” Maiselman told me. Post echoed that, positioning this as a time of collective grieving. “It feels like the end of something,” he said. “It’s sad, it’s all very sad, but we have to keep going somehow. We are damaged but not defeated.” More

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    Despair Blankets Scene of Car-Ramming Attack at Festival

    Filipinos in Vancouver returned to a neighborhood to mourn the 11 people killed in a weekend attack.On any ordinary day, the South Vancouver neighborhood bustles with the sounds of life, but Saturday was no ordinary day. It was a celebration of Filipino culture, and music from a live concert echoed through the streets as families lined up at food trucks and children played.On Sunday it was strangely silent.“It gives me chills,” said Franchesca Gabo, taking it all in.Ms. Gabo, 20, left the festival shortly before a driver rammed his SUV into the mass of people, killing 11 and injuring more than 30.Now, she had come back, joining an impromptu vigil of people peering over police tape and trying in vain to absorb the enormity of what had happened.“It was a happy day yesterday,” Ms. Gabo said. “Everyone was celebrating.”The authorities say the motive for the attack did not appear to be terrorism. But beyond that little had emerged about the suspect in custody other than that he is a 30-year-old man with a history of mental illness. Now, he is charged with murder.More was becoming known about the victims at the festival celebrating Lapu Lapu Day.The youngest was Katie Le, a 5-year-old girl who was killed along with her parents, Richard Le, 47, and Linh Hoang, 30, according to local news reports. Mr. Le’s 16-year-old son, Andy, survived because of a last-minute decision to skip the festival in favor of homework, relatives said.A school board in a nearby suburb said that a guidance counselor named Kira Salim was also among the dead. “The loss of our friend and colleague has left us all shocked and heartbroken,” it said in a statement.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    What Is Happening With Fyre Festival 2?

    After weeks of confusion, the organizers of the event have scrapped its location once again.Fyre Festival 2 is back up in the air, after the organizers of the event said they would be sending a message to ticket holders on Wednesday announcing that the festival would no longer take place in Playa del Carmen, Mexico.In the update, which was shared with The New York Times, the organizers assured would-be festivalgoers that it was vetting new locations and that the event was “still on”: “We are vetting new locations and will announce our host destination soon. Our priorities remain unchanged: delivering an unforgettable, safe, and transparent experience,” the message read.But it was already the second time in three months that the festival, a sequel to the ill-fated concert event in 2017, had been moved to a new location. And uncertainty surrounding performers, ticket availability and accommodations in the last few weeks has led many to wonder if the event would happen at all, or if it was another epic disaster waiting to happen, much like the one that had sent its organizer, Billy McFarland, to prison after he entered a guilty plea to charges that included wire fraud.On Wednesday, the event’s organizers blamed the local authorities in Playa del Carmen for the latest hitch in their plans, accusing the government of robbing Fyre Fest without offering any evidence. (Calls to city officials from Playa del Carmen seeking comment went to voice mail.)Fyre Fest 2, which had been slated to take place next month, might have served as a redemption tour for Mr. McFarland, who was released in 2022 after close to four years in prison and another six months of confinement.In February, Mr. McFarland, 33, announced that the sequel event would be held at the end of May on Isla Mujeres, a Mexican island and vacation hot spot off the coast of Cancun.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Dreams,’ Film About Teen Infatuation, Takes Top Prize at Berlin International Film Festival

    The event’s other honorees include the actress Rose Byrne, a performance as the composer Richard Rodgers and an Argentine film about a girl who seems to speak to animals.The Norwegian drama “Dreams (Sex Love),” a tender, often funny film by the director Dag Johan Haugerud, won the top prize at this year’s Berlin International Film Festival.Part of a trilogy about contemporary relationships in the Norwegian capital of Oslo, the understated feature follows the consequences of a high school student’s obsession with her teacher and her decision to write about their relationship. The other two installments, “Sex” and “Love,” premiered last year at the Berlin and Venice film festivals.In his acceptance speech, Haugerud said the film was about the act of “writing and reading.” He added that people should “write more and read more, it expands your mind.” He also praised the film’s young star, Ella Overbye, whose warm, finely calibrated performance carries much of the film.The American director Todd Haynes led this year’s jury, which included the Chinese actress Fan Bingbing, the German filmmaker and actress Maria Schrader, and the Los Angeles Times film critic Amy Nicholson.The runner-up prize went to “The Blue Trail,” a Brazilian film set in a society in which people above the age of 77 are sent to a “colony.” It was one of the most praised titles in competition at the Berlinale, as the festival is known in Germany.“The Message,” a film from Argentina about a girl who claims to communicate with animals, won the special jury prize. In his speech, the director Iván Fund said the award represented a “counterweight” to the government’s drastic cuts to the cultural sector under President Javier Milei. “Cinema is under attack,” Fund said, but “film cannot be undone.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Santa Fe’s Secret to Happiness: The Annual Burning of Zozobra

    For most of the millions of travelers who make the trek each year, there is no reason to go to Santa Fe except to go to Santa Fe. Just about everything that needs doing can and should be done somewhere else, someplace easier to get to than this tiny city 7,000 feet in the air, whose airport terminal is a fraction of the size of a typical American grocery store. But this town of 90,000 residents strives to ensure that its singularity is reason enough.Which makes it remarkable that Santa Fe’s most distinctive motif is left inscrutable to outsiders. A towering ghoul points down from a mural on one of the city’s busiest streets with no context. At a local confectionery, a scowling white figure in a cummerbund is rendered in chocolate — why? Even if you clock that the big-eared goblin tattooed on the biceps of a local electrician is the same creature depicted (being consumed by flames) on the cab of a municipal fire truck, you will encounter nowhere an explanation of who or what this monster is — unless you happen to be in Santa Fe on the one evening a year when locals construct a building-size version of this thing and set it on fire.The explanation is a touch nonsensical: This is Zozobra, a beast who lives in the mountains nearby. The people of Santa Fe invite him into town every year on the pretext of a party in his honor. He arrives at the party dressed in formal attire, thrusts the town into darkness and takes away “the hopes and dreams of Santa Fe’s children,” whom he also kidnaps. The townspeople try and fail to subdue him with torches. But then the Fire Spirit, summoned by an atmosphere of cooperation among the town’s citizens, appears and, flying high off the good vibes, battles Zozobra until he is consumed by fire.Zozobra sightings around Santa Fe.Thomas Prior for The New York TimesIf you are fortunate enough to be around on the exactly right night in late summer — the Friday before Labor Day — you may find yourself surrounded by, and even join in with, the screaming citizens of Santa Fe as they string up this enormous, writhing pale-faced humanoid on a pole on a hill overlooking their homes and burn him while he moans until dead.“Burn him!” demand the children onstage. “BUUUURN HIIIIIM!” roar the adults from the crowd, a portion of whom are inebriated. Unseen, a local judge howls into a microphone, providing the voice of a gargantuan puppet being cooked alive. It is possible that, one century ago, the forebears of the current population discovered the violent secret to happiness in their high, dry town — and that it is annual, ritualized killing by flames. Just in case that’s right — in fact, proceeding on an assumption that it is — the local citizenry have recommitted the monstrous puppet’s murder every year for 100 years straight, so far. The aim is to incinerate their gloom.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Trump Hits Coachella, Campaigning Once Again in a Blue State

    Both presidential campaigns agree that seven swing states are likely to determine the outcome of this year’s election. California, which has not voted for a Republican in a presidential race since 1988, is not one of them.But that did not prevent former President Donald J. Trump from heading there anyway on Saturday evening to hold a rally in Coachella, which is better known for its annual music festival with headliners like Lana Del Rey and Bad Bunny than it is for being a stop on a presidential campaign trail.It was an unusual choice 24 days before the election. In 2020, Mr. Trump lost the state by more than five million votes to President Biden. Four years earlier, Mr. Trump lost the state to Hillary Clinton, who got more than 60 percent of the vote. The last Republican to win the state was George H.W. Bush.Although Mr. Trump is not expected to be competitive in California, the rally showed that he could turn out a crowd. Throngs of people at Calhoun Ranch, where it was held, braved the desert sun and temperatures that hovered near 100 degrees, with several attendees requiring medical attention for heat-related illnesses.“I want to give a special hello to Coachella,” Mr. Trump told the crowd, before putting on a red Make America Great Again cap for protection from the desert sun.Mr. Trump then spoke for about 80 minutes in a rambling speech. He criticized California, Vice President Kamala Harris’s home state, as an incubator of failed liberal policies; disparaged the physical appearance of Representative Adam Schiff, who led the first impeachment trial of him and is now running for Senate; used a crude nickname to refer to the state’s governor, Gavin Newsom; and took a number of detours to praise the billionaire Elon Musk and to criticize President Biden.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Conservative German Princess Says She Hosted Justice Alito at Her Castle

    Princess Gloria von Thurn und Taxis said Justice Alito and his wife were guests at St. Emmeram Palace for a summer music festival. She called the couple her “friends” and the justice “a hero.”An eccentric German princess who evolved from a 1980s punk style icon to a conservative Catholic known for hobnobbing with far-right figures said on Monday that she hosted Justice Samuel A. Alito Jr. and his wife at her castle during a July 2023 music festival.Princess Gloria von Thurn und Taxis also told The New York Times that she viewed the justice as “a hero.”“He is pro-life in a time where the majority follows the culture of death,” she wrote in a text exchange with The Times. She then typed a skull emoji, adding, “Christians believe in life. The Zeitgeist is nihilistic and believes in destruction.”The 64-year-old princess said that Justice Alito and his wife, Martha-Ann, are her “friends” and that after her castle festivities, the three attended the opening of the Bayreuth Festival, the world’s premier venue for the performance of Wagner’s operas.The details of the princess’s gift and the justice’s travels emerged after Justice Alito listed a $900 gift of concert tickets on his annual financial disclosure form, which was released late last week. The disclosure has prompted a new round of scrutiny of the justices, who have been in the spotlight after a series of revelations that some of them — most notably Justice Clarence Thomas — failed to report lavish gifts and travel from wealthy benefactors.Justice Alito was the focus of a ProPublica report for failing to disclose a private jet flight paid for by a conservative billionaire who later had cases before the court. The jet trip was part of a luxury salmon-fishing vacation. Justice Alito, in an opinion column in The Wall Street Journal before the article was published, maintained that he did not have a conflict in accepting the “hospitality” and that he was not obligated to disclose the trip.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More