Thursday, January 24, 2013

My Vote Against "Lincoln"

-- by Tom Phillips

As a member of the Writers Guild of America, I get to cast a vote for the year’s best screenplays.  The WGA Awards – announced in mid-February -- are considered predictors of who will take the Oscars for best screenplay and best picture, so the Hollywood studios compete aggressively for writers’ votes.  This year the most campaigning by far has been for “Lincoln,” directed by Steven Spielberg with a screenplay by Tony Kushner.  Writers have been inundated with DVDs, invitations to screenings, and promotional material for the movie.  But as Spielberg’s Honest Abe might put it, I ain’t voting for “Lincoln.”  Why?  Turn the page. 

Tuesday, January 15, 2013

Anarchy and Ash: Contemporary Dance from Asia

HAIGUFURU -- Ash is Falling
-- By Tom Phillips

After a one-year hiatus, Japan Society’s Contemporary Dance Showcase has returned, with a new look and a new theme.   When I first saw this showcase in 2005, dancers and choreographers were wrestling with issues like sexism, conformity, and office politics in Japan’s sclerotic traditional culture.  That seems like small potatoes now.  In the 2013 edition, we see artists surrounded by overwhelming forces, both natural and technological.  The 21st century has heaved into full view, and life as we know it is under siege.  What is to be done?  

Friday, January 4, 2013

Post-Traumatic Art

Tokyo Protest 1968  photo by Tomatsu Shomei
-- By Tom Phillips

Of all the horrors of the 20th century, the most traumatic must be the atomic bombing of Japan.  The Holocaust in Europe was more destructive in terms of lives, and more evil in its intentions.   But the atomic bombs were more psychologically searing and disfiguring.  The Nazi extermination campaign took place over years, and some of its victims were able to mount a human response in the face of death, responses that endured as the Nazi dream died.   But Hiroshima took place in an instant, and that instant has never died.  The white flash that vaporized the center of the city came with no warning, no precedent, no context for those on the ground.  And it was followed, not by redemption or revenge, but by unconditional surrender, occupation, and a slavish identification with the American conquerors.  Harry Truman famously said he never lost any sleep over Hiroshima, and Americans to this day tend to see it as a necessary evil that put an end to a terrible war.  But Japan is sick to this day from the effects of the bomb, and Japanese art reflects it.  Americans who care to contemplate those effects can see them in a harrowing show of post-war Japanese art now at the Museum of Modern Art. 

Monday, December 17, 2012

Obama's Empty Pulpit

-- by Tom Phillips

One of my retirement hobbies is drafting speeches for President Obama.  I lie awake composing responses to national crises, and then imagine myself begging and pleading with him to speak up, to rouse the nation, to say and do what needs to be done. 

Surely there are those in Washington who feel the same way, and may even have access to the President, and the skill to compose an effective response to something like Hurricane Sandy, or the slaughter of kindergarten children in Connecticut.  But the President is clearly hesitant to lead his forces into battle, even when he knows he’s right and the nation is behind him.  He did manage to mention climate change in his election night victory speech, and has now solemnly promised to use his power to try to prevent more massacres.  But on both fronts, he has left it to others to talk specifics.  The President has a Bully Pulpit, but it stands empty, week after traumatic week.  At best he is a ghostly presence,  raising hope and offering consolation, but without leading or pointing the way ahead.  
 
Full disclosure:  I voted for Obama, twice, though I supported Hillary Clinton in the 2008 primaries.  But my original reservation about him stands:  that he doesn’t have enough experience, that he doesn’t know enough about politics or life to be the “transformational leader” that his admirers expected him to be.   

It took him four years to learn the most basic principle of bargaining, that you don’t negotiate against yourself.  Finally he has stiffened his back against Republicans who want to preserve tax breaks for the wealthiest Americans.  But he seems so mesmerized by the job of not budging on the “fiscal cliff” that he has so far failed to step up to huge, sudden opportunities to lead, on gun control and climate change.   

The president reportedly hopes to go down in history as one of America’s greatest Presidents, and he has even called in presidential historians to advise him on how greatness is achieved.  I don’t know what the scholars have told him, but I hope it would include something about seizing the moment.  Rather than wasting his time ruminating about how to be great, a President needs to take advantage of events, and the emotions they set off, to force a change in the underlying political dynamics, to make politically unpalatable actions seem unavoidable.  The worst possible thing Obama could do is to follow his anti-dramatic instincts, and the advice of nay-saying conservatives, and “let emotions cool off” before acting.   Psychological research shows that emotion is necessary for making decisions, and this is as true of nations as it is of individuals.    

Obama has a couple of opportunities left: a second inaugural, and a State of The Union address in January.   Hurricane Sandy and the slaughter in Newtown will still be open wounds, and Congress could yet be shamed into action, if the president could move the nation to demand it.   If I were writing the speech, he would call for action across the board:  let’s go over the cliff, raise taxes and immediately plough the added revenue back into the economy.  We could create jobs laying the groundwork for a new infrastructure, built to both reduce and withstand global warming.  We could buy back guns from the public, and beat them into plowshares.  Add universal health care and immigration reform, and you have a vision of a new American century.   We’d give it a name, in the tradition of the New Deal, the Fair Deal, the New Frontier.   

But I'm not writing the speech, and I’m not going to frustrate myself with imaginary pleadings.  It’s up to the president to seize this moment, and make of it what he can.   
 
Copyright 2012 by Tom Phillips 
 

 

Saturday, November 17, 2012

Border Pong: A Trip to the DMZ


"In Front of Them All"  -- guards at the DMZ
There's something ridiculous about ping-pong, even when it’s played by Olympic athletes; all that skill and training employed in paddling a weightless, worthless plastic ball across a toy tennis court.  At this year’s Gwangju Biennale, visitors were invited to play ping-pong on stainless steel tables in the courtyard, with double dividers for nets, installed by Thai artist Rirkrit Tiravanija.   The table tops were polished to a mirror-like sheen, so that players could see themselves and their surroundings as they jumped around, whacking the ball at friends, relatives or strangers across the divide.    

It felt ridiculous, in a fun way.  But it was also a symbol of Korea today – where armies face off across a barrier that divides a homogeneous nation into two hostile camps, trading shots and threats in a game that has no meaning or raison d’etre outside of politics.   Inspired by the exhibit, a few days later we took a bus from Seoul 50 miles to the border, for a guided tour of the DMZ.  

Thursday, November 8, 2012

Christie and the KTX

-- by Tom Phillips

Traveling in Korea last week we took a ride on the KTX, the new high-speed rail service that carries more than 100 thousand passengers a day all over South Korea.   We rode from Mokpo at the southern tip of the country to Seoul, nearly 200 miles, in just over three hours.  There were no hitches, no delays, barely a rattle at speeds up to 175 miles an hour.  Best of all it was eminently affordable – less than 40 dollars one-way.  And the service is reliable:  KTX actually offers full refunds for any train that’s more than one hour late.   Naturally, I found myself wondering why we can’t do this in America. 

Saturday, November 3, 2012

Gangnam Style and Gwangju Biennale: Subversive Art in Korea

By Tom Phillips

Art and protest are inseparable at the Gwangju Biennale, a unique and celebrated arts festival in South Korea.  It commemorates the Gwangju  Uprising of 1980, when students here led a revolt against a military coup.  The uprising ended with a military crackdown and the massacre of hundreds of civilians.  But it did not end the movement for democracy, which culminated in 1997 with the election of the once-imprisoned opposition leader, Kim Dae-Jung. 

The Ninth Biennale now underway in Gwangju is a playful, audience-friendly show that sprawls through five huge galleries and spills out into the courtyard, where passersby are invited to play ping-pong on 14 stainless steel tables with mirror-like surfaces.  The exhibition has many themes, but running through all of them is the subversion of power.  The purpose of art here is to undermine all forms of oppression, and it does this best through the subtle, irresistible force of entertainment.