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Let the revolution begin
From across the table in the coffee
shop, the girl asks the boy, "Are you a
feminist?"
The second time, at home, over the
telephone, the girl asks the boy, "Are
you a feminist?"
Both times, he answers: "Yes."
In history, he genders himself male
and all the nouns and pronouns
match. But to answer "yes" to the
word that starts with the letter "f"
means surrender.
It means no power over another. It
means no control. A feminist defies
dominance. It almost seems like com
mon sense.
Yet, the world is unequal. The
world is violent. Nature is dying. Gov
ernments keep lying. And no laws can
keep in check a culture of death. Laws
exist to substitute the vacuousness of
our value system.
Clocks and capitalism stand un
moved, like phallic monuments con
structed in the name of progress and
condemning the unprivileged to
death. This is nothing but slavocracy
in modern day disguise. The main
stream flows like a river that sweeps
all dissent away. And the puppeteers
Aaron Shakra
Out of range
of the masses produce the entertain
ment that keeps us on our asses.
There was something before this.
This boy is sitting on the shore won
dering what it v/as he came here for.
He's not really sure. He's never been
more unsure and is growing forward
and backward at the same time.
That boy who answered "yes" to
being a feminist once sat through
years of philosophy lectures that
catered only to his mind. Lectures
that deny the existence of the body
or try to separate it in the name of
"reason." Reason. For years, he went
about constructing ideas that didn't
apply to anything but the paper he
was writing on.
Still, the boy kept writing, until fi
nally, some words began streaking off
the page, mixing into life around him.
Surrounding him. Melting subject
and object into one. Basho wrote
haiku this way, they say. He became
the thing he was writing about it. He
was not separate.
We are not separate. Words to
describe this pale when this is actu
ally felt.
So let these bodies be the site of rev
olution. Of revelation. Revolution, be
cause there has never been one. Reve
lation, because this strange,
patriarchal-arranged way infects all in
its path. What will shake the thirst of
this beast? Control is passe — let each
body sing humble praise.
Let the body sing humble praise.
It's all we have left. It's time to sing
those songs about waking up again.
Wake up and shake this waking death.
Wake up and live. Wake up because
it's time to begin.
Contact the Pulse editor
at aaronshakra@daiiyemerald.com.
His opinions do not necessarily
represent those of the Emerald.
CABARET
continued from page 6
Their sweet, innocent relationship
draws an authentic concern from the
audience, so when it is shattered by an
unfortunate political situation, the re
sult is effectively tragic.
Director Michael Watkins purpose
ly emphasized the historical catastro
phes occurring in Germany at the
time. As a result, he created a version
of "Cabaret" which is much sadder
than other productions.
"I took it darker than the way people
usually see it," Watkins said. "What oc
curred with the Nazis is an important
thing to remember. It reminds us that
history has the potential to repeat itself,
and people often forget that."
Courtesy
Charming, charismatic Tegue DeLeon
portrays the Emcee in The Very Little
Theatre’s production of “Cabaret."
Watkins' somber approach to
"Cabaret" adds tension and contro
versy to the story. He includes the use
of swastika symbols and references to
Adolf Hitler and the Holocaust.
The overall effect of "Cabaret" is
pleasing; it sparkles with drama and
sex appeal. But the overall quality
only matches that of top-notch high
school theater. Musical timing is
sometimes off, some voices are
mediocre, and dancing, especially
from the Kit Kat Club show girls, is
weak. Still, if you’re a fan of Eugene
theater, "Cabaret" is worth catching.
It's a heart-wrenching roller coaster
that takes you up to freedom, comedy
and love, then dips you down to op
pression, sadness and loss.
The final three performances of
"Cabaret" will take place tonight, Fri
day and Saturday at 8 p.m. Tickets can
be purchased at The Very Little The
atre's box office, located inside the
theater, for $15. Students may pur
chase a ticket for $ 12 for tonight's pro
duction only.
Contact the Pulse reporter at
natashachilingerian@dailyemerald.com.
SHOGHAKEN
continued from page 7
"To Western ears, the duduk is on
the dark side,'- Hagopian said. "But it
sounds joyous to Armenians. (The
Western world) often uses it to depict
something tragic or sad, and Armeni
ans respond to that with, 'What? This
song is about a birth!'"
Other instruments played by the
Shoghaken Ensemble include the ka
mancheh, a fiddle which is bowed
while resting on one knee, and the ka
nun, a 72-string harp that is played
while resting on the lap. Armenian
music employs a musical mode called
"makam," which is characterized by
organized ascending and descending
melodic lines and is typical through
out the Middle East. It generally uses
a single melodic line but is sometimes
accompanied by a background drone.
There are distinct differences be
tween the music of Eastern and Western
Armenia. The Eastern tradition, which
the Shoghaken Ensemble follows, nor
mally uses a 6/8 rhythm and focuses on
the duduk, while the Western sound
uses a 10/8 and features the ud (a short
necked plucked lute instrument).
Armenians traditionally play music
specifically for an event, such as field
plowing, funerals, baptisms and wed
dings. Wedding songs are especially
important, as Annenian weddings fol
low an elaborate series of traditions,
with a designated tune for each.
"Music is an integral part of their
everyday life," Hagopian said.
"Hardly any activity in Armenia
doesn't have music."
Medovoy said most Armenian folk
music exists today thanks to the re
search of Komitas Vardapet, an ethno
musicologist who recorded and
taught the traditional music in the
late 1800s and early 1900s.
"(Vardapet) saved the essence of
folk music from back then, and the
tradition is richer because of that," he
said. "He was able to capture things
first-hand."
"Music is an integral
part of their everyday
life... Hardly any
activity in Armenia
doesn't have music."
Harold Hagopian
New York record producer
University Assistant Professor Mark
Levy, who chose the Shoghaken En
semble as the third installment of the
School of Music's World Music Series,
said the show will give spectators a
chance to experience a culture most
likely unknown to them.
"It will present beautiful music,
and it will also be a geography lesson
and a window to a culture that people
are not familiar with at all," he said.
The Shoghaken Ensemble will pres
ent historic music with all lyrics sung
in Armenian. The members will be in
traditional village costumes and will
perform two lively folk dances. The
show starts at 8 p.m. and tickets are
only available at the door for $ 10 for
general admission and $8 for students
and seniors.
Contact the Pulse reporter at
natashachilingerian@dailyemerald.com.