The end of pregnancy is a strange time. You wait for the biggest change that can happen to a person other than death and yet, for most, you don’t know when the change will happen.
When will the baby be born? When will a woman become a mother?
When I was pregnant with my son, I read the title essay of [b:1519570|A Woman Is a Woman Until She Is a Mother] by [a:Prushinskaya, Anna|Anna Prushinskaya] probably 15 times. It became almost a talisman to me, a promise that he would eventually be born, that I would be able to cross over to motherhood.
When my water broke just like Anna described in her essay, unexpectedly and fast, I still had no idea what was coming. I was still perched between womanhood and motherhood.
In [b:1519570|A Woman Is a Woman Until She Is a Mother], Prushinskaya writes beautifully about her experience balancing between places, between states: between pregnancy and motherhood, and between her Soviet homeland and her current home of Ann Arbor.
I spoke with Prushinskaya about her experience writing the book, how motherhood has changed her as a writer, and the birth of her second son. Our conversation has been lightly edited for clarity.
When [t:Orange Is the New Black|Orange Is the New Black]'s [http://www.lavernecox.com|Laverne Cox] walked out onto the Rackham stage, my immediate thought is that she is even more beautiful in person than on screen or in photos, and I don’t exactly understand how this is possible. She looks as though the sun is shining directly on her. I think maybe this is what actually mastering the art of highlighting looks like, but I’m also sure I could put on all the makeup in the world and I would still never look like that.
I’d like to say that as soon as she started speaking, all such frivolous thoughts left my head, but frankly, that would be a lie. I did settle in with the rest of the sold-out crowd that has come to see her as the keynote speaker on Nov. 15 for the 2017 CEW Spectrum of Advocacy & Activism Symposium put on by the [http://www.cew.umich.edu|Center for the Education of Women at the University of Michigan], and for the next hour and a half, listened to a great (if slightly scattered) talk that encompassed gender and race theory, her life story, and how the Ann Arbor community should respond should white supremacist Richard Spencer come to campus.
On April 14, my favorite podcast, Buzzfeed’s [http://www.buzzfeed.com/anotherround|Another Round], put on a live show at the Michigan Union. If you don’t have a favorite podcast, what makes you think you’re some kind of special non-nerd? Another Round is now your favorite podcast--get listening! If you have a different favorite podcast, that’s fine. I also used to have a different favorite podcast. But it also means that you just haven’t listened to Another Round yet. So get listening!
Hosted by the unbelievably sharp duo [https://twitter.com/brokeymcpoverty|Tracy Clayton] and [https://twitter.com/heavenrants|Heben Nigatu], Another Round is a show featuring interviews with such amazing people as Ta-Nehisi Coates, Hillary Clinton, and Queen Latifah, among many others. However, the show is much more than just interviews. It's also chock full of brilliant critiques on race, gender, and politics, hilarious opinions on animals, amazing stories, live bourbon drinking, and advice about calling your mom. Thanks to U-M's [https://maizepages.umich.edu/organization/SSWPOCC|School of Social Work People of Color Collective,] the show was free and open to the entire public. Heben and Tracy performed to a packed audience that rightfully lost its mind when they showed up.
The show started with the segment “Tracy’s Animal Corner,” in which we learned how truly terrifying owls are. I'll admit to having a positive association with owls before this event, but I think I may have switched sides and now agree with Tracy that they probably are demon animals brought up from Hades. The second segment of the live show, “Is This Real Life?” generally addresses what truly abhorrent thing white folks have recently done. Luckily for the audience’s mood, this particular story leaned more towards hilarious than rage-inducing. And I learned from it that apparently most white folks don’t know about shea or cocoa butters, so get on that.
The guest interview was Flint musician [http://www.tundeolaniran.com/|Tunde Olaniran], who was smart and funny as he talked about music, belonging, choreography, and the Flint water crisis. He finished with an amazing performance that had everyone out of their seats and dancing. Despite all of the mega-celebrities that Heben and Tracy have interviewed, they treat all of their guests with the same respect and excitement, which was wonderful to witness in person.
I left the show feeling uplifted and inspired. As a white woman, this podcast and live show is not made for me, and that’s a good thing. It’s made for black people, and I feel lucky just to be able to listen in. Tracy and Heben had wonderful and moving advice about being confident for the young black women in the audience, and I saw a few people tear up amidst all of the laughter. As corny as it might sound, I felt honored to share the same space as Heben and Tracy even for just a few hours, and I could tell I wasn’t alone. Now go start listening to [http://www.buzzfeed.com/anotherround|Another Round]!
Evelyn Hollenshead is a Youth Librarian at AADL.
The University Musical Society presented an amazing live performance of [http://www.aadl.org/catalog/record/1223477|The Triplets of Belleville] to a sold out crowd at the Michigan Theater on Friday night. The theater screened the movie while a live band played [http://www.aadl.org/catalog/record/1228885|the soundtrack] onstage. UMS announced this program on social media in February 2015, so I had a full year to look forward to it. Even with that anticipation, all my expectations were exceeded.
I was accompanied by my wife, my best friend, and my 88-year-old Grandma, who particularly loves The Triplets of Belleville. When the movie first came out, I walked into her house only to have my hearing almost destroyed by the soundtrack blaring from the speakers. She came downstairs with a triumphant grin and asked “Guess what CD I bought at Borders?!” It was not a hard guessing game.
For the uninitiated, Triplets is a 2003 animated film written and directed by [https://en.wikipedia.org/wiki/Sylvain_Chomet|Sylvain Chomet] about the Tour de France, an aging jazz trio, the wine mafia, and the feud between an overweight dog and a train. In addition to its wonderfully strange story and delightful animation style, the film set itself apart by almost entirely eschewing dialog in its storytelling. The soundtrack, heavily influenced by jazz of the 1920s (but also prominently featuring Bach's Prelude No. 2 in C Minor), featured the Academy Award nominated song "Belleville Rendez-vous".
The first surprise of the live performance (to me; not to folks to read the event description more clearly) was that the conductor was [http://www.benoitcharest.com|Benoît Charest], who actually composed the soundtrack. It was amazing to see the person who had written the music that I love so much, and watching him conduct was a joy. In addition to conducting, he sang, played the guitar (and vacuum!), and danced along to the music. Charest also provided the French commentary for the Tour de France scenes.
The eight piece band, Le Terrible Orchestre de Belleville, was excellent and played in sync to the movie, occasionally looking up to the screen to make sure their timing was precise. At a few points during the show, the musicians got up and moved around to the center of the stage in order to play some of the more unusual instruments highlighted in the movie, including a newspaper, a cooking pot, and a vacuum cleaner. My favorite part was when the conductor, along with a few of the other band members, danced on a wooden board while clapping and snapping to create a rhythm section. After they pulled this off, they high-fived each other while the audience cheered.
The live performance of The Triplets of Belleville was an incredibly joyous event. The entire band seemed to enjoy themselves as much as the audience. Perhaps the only thing that could have made the evening better would have been a hound dog trained to act (bark?) out the role of Bruno, the movie’s lovable pooch. Of course, it’s highly likely that I’m the only person in the audience who would have liked this. Everyone I attended the performance with loved it, and the crowd was practically giddy as the theater emptied out. The music amplified the story and made each emotion shown on screen both stronger and sharper. My grandma called the night “a real treat.” I couldn’t have put it better myself.
Evelyn Hollenshead is a Youth Librarian at AADL and is interested in finding a local instructor for vacuum playing lessons.
The University of Michigan Department of Dance trains young people to be excellent modern dancers and then frequently asks them to perform bafflingly academic pieces. Their most recent performance, [http://www.music.umich.edu/performances_events/productions/2015-2016/mo…|Momentum], running at the Power Center from now until February 7th, showcased this duality. The first three pieces were all choreographed by Department of Dance faculty, and the finale by guest choreographer Camille A. Brown.
Momentum opened with a piece by local dance legend Peter Sparling. I generally like Sparling’s work, but recently he has become enamored of video projections which tend to overwhelm his choreography. His work for Momentum, “Big Weather,” featured not one but two video screens between which the dancers moved. The videos contained a strange mix of images, including stars, corpses, sandbags, and at one point, a stuffed elephant falling slowly from a table. The dancers wore heavy rubber boots that they took off and on throughout the piece, which was set to pounding and not particularly rhythmic percussion music. If I’m not describing much of the dancing, it’s because I was too distracted by the trappings of the piece to focus on the actual movement. At his best, Sparling, a former principal dancer with the Martha Graham Dance Company, can choreograph wonderfully thoughtful modern dance pieces. However, “Big Weather” seemed more the work of an artist who has been insulated within academia for a little too long.
I was worried about the issues that would plague the second piece, “Cheating, Lying, Stealing,” choreographed by Bill DeYoung, because the program notes described it as about “the relentless dog-eat-dog momentum of office dynamics.” But after a strange start featuring a fake tennis match (which I quickly forgot), “Cheating, Lying, Stealing” became a fun and fast piece that worked beautifully with the music choice. The lead dancer, dressed in silver lamé, danced with such a stunning and precise ferocity that I could easily understand why all of the others dancers were following her lead by the end.
Amy Chavasse’s piece “Goodbye to Wayward Flesh” showcased some of the younger and less experienced dancers and brought a great sense of play to Momentum. I had a hard time focusing on the beginning because I was preoccupied by a dummy that was covered in duct tape and tied up to a movable piece of shattered plexiglass at the back of the stage. I half-expected the dummy to turn out to be a real dancer who might pop out at any moment, so I braced myself for the surprise. I did not have this same fear with the life-size stuffed alpaca watching static on TV in the front of the stage, although I found it equally confusing. “Goodbye to Wayward Flesh” featured some nice partnering and the dancers, dressed as what I can only describe as futuristic merpeople, seemed to be truly enjoying themselves.
The last piece of the night was choreographed by Camille A. Brown, who will be bringing her new work [http://ums.org/performance/camille-a-brown-dancers/|Black Girl–Linguistic Play] to the Power Center on February 13th. Brown’s piece, “City of Rain,” was far and away the best of the night. It would be worth going to see Momentum for this work alone, which allowed the Department of Dance to show off their most amazing dancers. Of particular note is Beynji Marsh, a junior from Chicago who could easily be mistaken for a professional dancer. Marsh’s precise control over his body is matched by the emotion and nuance he brought to the choreography. He is a true and notable talent and I look forward to seeing his dance career flourish. All of the dancers in “City of Rain” were excellent, and it was a moving and lovely end to the evening.
Stuffed alpacas and rubber boots aside, [http://www.music.umich.edu/performances_events/productions/2015-2016/mo…|Momentum] is worth your time. The dancers are talented, though their abilities were sometimes lost amid the choices of some of the more academic choreographers. Notably missing from Momentum was a piece from faculty member Robin Wilson, who is one of the most accessible and excellent choreographers in the Department of Dance. Wilson acted as Rehearsal Director for “City of Rain,” but it would have been great to have gotten an original work from her as well. I could have done with fewer video screens and unused but overbearing set pieces. My date for the evening, my father, suggested that the faculty be required to choreograph to only Katy Perry music for a year, just for the challenge. Although I’m more of a Taylor Swift fan myself, I can’t help but agree with the sentiment. In the meantime, get a ticket to Momentum and enjoy it for–and despite–all its weirdness.
Evelyn Hollenshead is a Youth Librarian at AADL and former dancer.
[http://tickets.music.umich.edu/single/EventListing.aspx|Momentum] continues its run at the Power Center through this weekend, with performances Friday and Saturday, February 5 and 6 at 8 pm, and Sunday, February 7 at 2 pm. Tickets range from $22-$28, and students with ID can attend for $12.
Southern band [a:Avett Brothers.|The Avett Brothers] will play Hill Auditorium on November 6th. I stumbled into The Avett Brothers purely by accident: I bought their album [http://www.theavettbrothers.com/music/emotionalism/|Emotionalism] solely based on the cover art, which was printed with silver ink (what can I say? I have simple, glittery tastes). Luckily for me, I actually liked the music in addition to the sparkle. The Avett Brothers play folk rock with a bluegrass twist, which translates to plenty of banjos AND indie rock lyrics.
Between the band’s experience (they’ve been playing together since 2000) and the fantastic Hill Auditorium acoustics, this show is sure to be wonderful.
Evelyn Hollenshead is a Youth Librarian at the Ann Arbor District Library.
The Avett Brothers play Hill Auditorium this Friday, November 6, at 7 pm. Purchase tickets online or in person at the [https://muto.umich.edu/events/23371-1423450|Michigan Union Ticket Office].
The modern dance company [http://www.hubbardstreetdance.com/|Hubbard Street Dance Chicago] will be visiting the Power Center for a one-night only performance on Tuesday, October 27th at 7:30pm. UMS is bringing this fantastic group to Ann Arbor as part of its [http://ums.org/dance-series/|2015/2016 Dance Series], and I can’t wait to see them again!
Hubbard Street Dance Chicago provides an excellent introduction to modern dance, as they are much more accessible than many groups; they are also sufficiently excellent to hold the attention of any dance lover. Hubbard Street tends to bring a mix of fun and serious pieces, all of which are expertly danced and easy to follow. The program that they are bringing to the Power Center this fall is all choreographed by one person, William Forsythe. Although a program of only one choreographer’s work can be a dicey prospect, I have no doubt that Hubbard Street can pull it off with grace and beauty.
For those of you who are interested in a more immersive experience, Hubbard Street will also be offering a [http://ums.org/performance/you-can-dance-hubbard-st-dance|free master class] at the Ann Arbor YMCA on Saturday, October 24th at 2pm. This is a great opportunity to dance and learn from some of the best modern dancers in the US. I have taken this class before, and it’s great fun! If you want to learn more about Hubbard Street, but aren’t ready to take a class, show up early to the performance at the Power Center--there will be a short talk at 7pm.
Evelyn Hollenshead is a Youth Librarian at the Ann Arbor District Library.
Hubbard Street Dance Chicago performs Tuesday, October 27 at 7:30 pm at the Power Center with a talk at 7. Tickets are available [http://ums.org/performance/hubbard-street-dance-chicago-3/|online], by phone at 734-764-2538, or at the Ticket Office in the Michigan League.