The Michigan Daily - Monday, February 18, 1991 - Page 7


I C LASS IFIEDS ...HERB ..AVID U ITAR......STUI .. 3
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TELEPHONE INTERVIEWERS PART
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WEEKEND
Continued from page 5
of Greek tragedy. Farley repeat-
edly portrayed the human form in
statuesque poses, and the plat-
forms upon which the students
stood, high above the action, lent
a profound sense of physical
splendor to their gestures of ideal-
ism, whether their hands were out-
stretched or cuffed, their heads
aloft or bowed.
In conjunction with the bold-
ness of character through body po-
sition, scenes with fluid motion as-
serted the nobility of the students'
cause. For instance, Sophie and
Alex dance while Munich is under
fire. Furthermore, the leaflets
which float through the air, resem-
bling flower petals, were poignant.
The irony of this image, along with
the other juxtapositions of oppos-
ing forces, lent a unique sense of
continuity and effectiveness to The
White Rose.
-Ilene Bush
Paul Simon's
'Proof'
There are some music writers
belonging to the International Core

GAZE
Continued from page 5
fered in place of the traditional
viewpoints.
Narcissism and objectification
are themes that were commonly
used to portray women looking at
other women in art. The Female
Gaze attempts to show that the
spectator can take more than the
two traditional classifications. Pa-
tricia Simons, the guest curator
who assembled the exhibition,
says she urges the expansion of
ideas by suggesting that a woman
can enjoy women sensually within
artistic boundaries and that a man
can also adopt previous female-
traditional roles.
In Robert Doisneau's "La Dame
Indignee," the introductory labels
describe the spectator as caught at
a moment when her "prim disap-
proval battles with secret enjoy-
ment." Doisneau was originally
categorized as a misogynist pho-
tographer who poked fun at female
expressions. The Female Gaze,
however, uncovers still more pho-
tographs from his series, mocking
both men and women who them-
selves experience emotions rang-
ing from shock to pleasure.
While the exhibition is not
large, the works of art selected are
by well-known artists and have
been carefully chosen to illustrate
the facets of the female spectator.
If one attends without the chal-
lenging topic in mind, the art may
.be aesthetically pleasing; how-
ever, the draw lies in the message
of the collection as a whole. The
accompanying text materials pro-
pel the reader into thinking of the
future positions that both se:es can
occupy when regarding art pertain-
ing to the exhibition of the female
body.
FEMALE GAZE can be seen at the
University Museum until Mar ?4.
ebrate life. Simon, instead of
pulling a Linda Rondstadt-like
move and try to sing in Spanish or
Portuguese, simply wanted to do
something different with the music
he has written over the years. He is
no "cultural rip-off artist," but
rather a fan of the music wanting
to give it a greater audience. The
contents of the show were so con-
vincing of Simon's understanding
of the genre that although it was
called the "Born at the Right Time
Tour," a better title may have
"Born in the Wrong Place."
Andrew J. Cahn

This Robert Doisneau, "La Dame Indignee," is one example of a female gaze that breaks from the traditional."

of Fascist Journalists who feel that
Paul Simon's New York, Jewish,
middle-class upbringing has ren-
dered him genetically incapable of
playing music which resembles
anything close to what is played
by people of color from Third
World nations.
What is ironic is that many of
these so-called World Beat music
experts are New York Jews
themselves, and although they
may be virtuous in their intentions,
their ideology can be very easily
reversed onto them. Of course, Mr.
Simon will never really know
anything about the struggles of
Third World poverty or the
oppression of apartheid, which
were the catalysts for the music he
has been playing lately, but why
deny the obvious child? Based on
the show he performed at the
Palace in Auburn Hills Saturday
night, he definitely knows how to
combine a wide variety of musical
styles to create a truly interna-
tional sound.
On stage with Simon was a 17-
piece band included musicians
from a few different countries,
whom he introduced gradually
throughout the show. Being in the
Palace, the announcements of
"from Cameroon on guitar, Pay
Phiri!" almost sounded like "from
Ganzaga at guard, John Stockton!"
With this ensemble, Simon was
not only able to recreate and ex-
pand upon the intricate arrange-

ments from Graceland and Rhythm
of the Saints, but they all collabo-
rated in rearranging Simon's clas-
sic tunes.
Although the bassline in one
song's introduction was quite
simple, it was so different from
anything which has ever on a Paul
Simon record that the entire crowd
was surprised when he began to
sing about all the crap he's learned
in high school. The original version
of "Cecelia" was one of the more
percussive tunes back from when
he used to sing in some obscure
duo, but Simon transformed it into
a Latin ballad.
As the show progressed, it be-
came difficult to tell who was hav-
ing more fun, the band or the audi-
ence. Equally as exciting as hear-
ing the rhythms constructed by the
five percussionists on stage was
watching them scavenge through
their gear to include creative
sounds whenever appropriate and
dance around the stage to make all
the pounding and shaking look re-
ally cool. Up front, Phiri, one of
the three supporting guitarists, con-
tinually shimmied as if there were

no bones supporting his lower
body. For those sitting not so close
to the stage, their antics were pre-
sented in close-up on the Simon-
Vision (as opposed to Yankee Sta-
dium's DiamondVision) screen.
Those who were willing to pay
the $28 ticket price made the most
of the danceable moments. In fact,
Simon appreciated the entire sec-
tion 102's synchronized dance
steps, and acknowledged them as
"my dancers." The crowd's reac-
tion to "You Can Call Me Al" was
so energized that Simon and his
crew pulled off an encore in the
truest sense of the word; they
played the whole song again. The
fans were not there to hear exclu-
sively Latin-influenced music, and
the reception of acoustic-based
songs like "Hearts and Bones" and
"Sounds of Silence" was just as
enthusiastic.
With all of the political conno-
tations from the Graceland shows
aside, this performance empha-
sized the joyous elements of
World Beat music, and how its
performers use it to forget about
their hardships for a while and cel-


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START A
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THIS SUMMER.

11

Date:
Time.

February 18-21

9:00-5:00 PM

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I n i U I!iIIl 11I1ii. .I.