Uniting Art and Solidarity in Havana
Historical Significance of the Havana Biennial
The Havana Biennial holds a special place in the international art scene. It has served as a space for confrontation and reflection, dedicated to researching, disseminating, and recognizing the visual arts of Asia, Africa, the Middle East, Latin America, and the Caribbean. This biennial foundation's mission is to bring these diverse art forms to the forefront and foster a global dialogue through art.Throughout history, the Havana Biennial has been a platform for artists to showcase their talents and challenge the status quo. It has become a symbol of cultural exchange and solidarity, bringing together artists from different parts of the world to share their stories and perspectives.
By highlighting the works of artists from the Global South, the Havana Biennial challenges the dominance of Euro-centric art and promotes a more inclusive and diverse art world.
Samia Halaby's Artistic Journey and Censorship
Samia Halaby's artistic practice has been marked by significant events. Her work was censored by her alma mater, Indiana University, due to pressure from Zionist political forces. In February 2023, her planned exhibit at the university was suspended because of her outspoken support for Palestine.This censorship serves as a reminder of the challenges faced by artists who dare to speak out on political and social issues. Halaby's case highlights the importance of freedom of expression in the art world and the need to support artists who use their work to advocate for justice and equality.
However, the showing of Halaby's artwork in Cuba is a powerful statement. It underscores Cuba's historical tradition of deep ties with Palestine and its commitment to solidarity. Cuba has trained Palestinian doctors at its medical schools, demonstrating its unwavering support for the Palestinian people.
Halaby's Submissions to the Biennial
Halaby's submission to this year's Biennial is a diverse and significant collection. It includes a new painting titled "Organize, Reorganize, Build, Win," as well as four other iconic works: "Brass Woman" (1996/2019), "Yafa" (1996/2019), "Folding 8" (1987), and "Lines 4" (1987).Each of these works reflects Halaby's unique artistic vision and her commitment to social and political issues. Her paintings are a visual representation of her experiences and her beliefs, and they offer a powerful message to the world.
In addition to her paintings, Halaby has also submitted a film documenting her painting "Worldwide Intifadah" (1989). This film was brought to Havana for the Third Havana Biennial in 1989 but was not exhibited. Its inclusion in this year's Biennial is a testament to the importance of preserving and sharing artistic works that have been overlooked or suppressed.
Halaby's Perspective on Art and the Working Class
Halaby emphasizes the importance of involving the working class in art. She believes that instead of the artist taking their work to the working class, the working class brings their art to the artist through their revolutionary movements.For Halaby, art is the creativity of the community inspired by the most revolutionary workers. The Cuban Revolution has taught her this lesson, and it is evident in the artwork she produces. Her art is a reflection of the struggles and aspirations of the working class, and it serves as a source of inspiration for others.
By highlighting the role of the working class in art, Halaby challenges the traditional notions of art and its place in society. She shows that art can be a powerful tool for social change and that artists have a responsibility to engage with the world around them.
Embark on a Fantastical Adventure with "Peter and the Starcatcher"
Origins and Characters
Before the legendary Neverland came to be, the story began with an orphan boy named Peter. "Peter and the Starcatcher" provides a captivating backstory to the beloved tale of Peter Pan and Captain Hook. We meet a poor orphaned child, simply known as Boy, along with fellow orphans and the young Molly – the daughter of famous starcatcher Lord Astor. Molly embarks on a mission to save the world and protect a treasure trunk filled with "magical star stuff" from the clutches of evil pirate Black Stache. As they set sail aboard the Neverland ship, Molly and Boy discover the true meaning of love and friendship.
Guest director Ted Clement, hailing from the Community College of Rhode Island's theatre department, brings a dynamic touch to the production. With experience ranging from Circle Mirror Transformation to Green Day's American Idiot, he has earned numerous awards. His concept for the play is to set it in "grandma's attic," a space filled with memories, where children seek adventure and discover the world of "Peter and the Starcatcher."
Scenic Design and Imagination
Reénee Surprenant Fitzgerald, a URI alum, brings her expertise to the scenic design. She creates a space that looks like an attic yet transforms with lighting and fun props. It can be imagined as a ship, inspiring children's play. By combining architecture, shapes, and wooden beams, she makes the set feel like a real attic while sparking children's imagination. The theatre department often collaborates with her, as she is a freelance designer and scenic artist with work across the country.
With a director at the helm and a transformative attic, the story is brought to life by freshman Max Hunter as Boy. His relatability and growth throughout the play are remarkable. Hunter believes that everyone can connect with Boy's experiences, whether it's trauma or falling in love. Working with Ted Clement has taught Hunter to have fun and find joy in acting.
Themes and Relevance
"Peter and the Starcatcher" explores deep themes such as greed, despair, friendship, duty, and love. Examined through a child's eyes, these themes have a relevant connection to our culture today. The play is a satire that lampoons English colonialism, a subject that is being actively confronted in our world. Despite its serious themes, the play is hilariously constructed, with the actors bringing amazing energy to the comedy.
In addition to the regular performances, the production offers a special treat to local Rhode Island schools. 150 students from various schools will attend a school performance followed by a talkback with the cast and creative team. This was made possible by a generous gift from Mary Higgins, a URI class of '67, allowing a theatrical experience for high school students and helping to recruit future artists.
Peter and the Starcatcher runs Nov. 21-23 and Dec. 5-7 at 7:30 p.m. and Nov. 24 and Dec. 8 at 2 p.m. in J Studio at the Fine Arts Center. Tickets are $20 for the general public and $15 for senior citizens and URI students, faculty, and staff. Tickets can be purchased online, by calling (401) 874-5843 or at the box office in Room 101H of the Fine Arts Center.
Peter and the Starcatcher cast: Max Hunter (Boy/Peter), Abraphine Ngafaih (Molly), Ethan Clarke (Black Stache), David Satana (Prentiss), Ryan DeSacia (Ted), Terrence Fry (Grempkin/Mack/Sanchez), Cole Stanley (Smee), Isaiah Agabi (Lord Aster), Christian Owen (Fighting Prawn), Ella Kenny (Mrs. Bumbrake), Matt Perrotta (Alf), Brandon Tallardy (Captain Scott), Maeve Murray (Teacher), Jake DeShiro (Slank/Hawking Clam), Caroline Cronin (Ensemble), Princess Johnson (Ensemble), Fletcher Pike (Ensemble), Tatiana Sullivan (Ensemble).