THE MASSACHUSETTS
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Tuesday, October 4, 2016
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Art exhibit set to honor CoBrA By Hayley Johnson Collegian Correspondent
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George Condon, Mikey Genius and Greg Feliu play a game of hacky sack outside of W.E.B. Du Bois Library on Monday afternoon.
The University Museum of Contemporary Art recently opened a temporary exhibit titled “Human Animals: The Art of Cobra.” The exhibition, organized by the NSU Art Museum in Fort Lauderdale, has been in the museum since Sept. 15, and will be displayed at the University of Massachusetts until Nov. 20. “Human Animals: The Art of Cobra” is comprised of the work of many European artists and poets from the 20th century. The art is inspired by pre-World War II surrealism and children’s art, stemming from the 1948 CoBrA movement, which was started by artists in an attempt to combine European communist politics and free expression art to create a new artistic expression. Many of the pieces in the exhibit feature colorful and abstract human-like figures and animals, ranging from oil
paintings on canvas to a large metal, cage-like structure. A more modern branch of this exhibit, “Cobra: Contemporary Legacy” features many works from Jacqueline de Jong, who is a Dutch artist whose work incorporates a wide range of mediums. These mediums include things like potatoes from her garden, which she covered with platinum and gold in a piece entitled “Pomme de Jong.” She aims to capture the relationships between humans, animals and the world with her art. The Cobra exhibition also features the work from Herbert Gentry, Asger Jorn, Erik Ortvad, Karl Appel, Carl-Henning Pedersen and more. Jackeline De La Rosa, a sophomore Art Major at UMass and employee of the museum said, “‘Wafting in the Wind’ is one of my favorites because it is very textured and you can see all the brush-strokes,”
Jai Sen delivers speech Barbara Abdeni Massaad on Kudikidappukaran delivers ‘Soup for Syria’ talk Cookbook has Monday in Tobin Hall 80 soup recipes By Elizabeth Wallace Collegian Correspondent
Jai Sen, an architect and activist, delivered a talk titled “Explorations into the Dynamics of Resistance and Dwelling Rights of Attached Labor” as part of the resistance studies initiative fall speaker series in Tobin Hall Monday night. The focus of Sen’s talk was his research in the 1990s focusing on the resistance displayed numerous times during the social movements from 1930 to 1970 by the Kudikidappukaran, or slave laborers, of Kerala, a state in southwestern India. Sen delved into the history of the Kudikidappukaran, a group of indigenous people outside India’s caste system, before detailing the progress he made throughout the 1990s and revealing the extent of continued research he is currently undertaking. “Much of my work, in fact, I find – it goes back to the 70s – has been about making the invisible, visible because we see and we don’t see as we do research,” Sen said. “We black out things, things that are inconvenient either to our theory or to our own perceptions.” According to Sen, the filters that researchers use while approaching certain research questions have caused areas of invisibility to occur. He argues that such has been the case with the indigenous
“Much of my work, in fact I find – it goes back to the 70s – has been about making the invisible, visible because we see and we don’t see as we do research. We black out things, things that are inconvenient either to our theroy or to our own perceptions.” Jai Sen,
people. Sen described the first instance of resistance displayed by the Kudikidappukaran as a surprising incident for many people. When technological advancement made the labor provided by the slaves unnecessary, the landowners tried to remove the slaves. However, the slaves resisted, wanting to stay slaves under the landowner’s control instead of taking their freedom because it was the only life they knew. “Within the national level [of the Communist Party] agrarian relations policy there is no mention of this [slave labor], so when they apply it to Kerala there is no mention of it,” Sen said. “So they decide in Kerala they will disband all the Kudikidappukaran and will no longer call them Kudikidappukaran, but will call them agricultural labor. So their very identity ... disappears.” After nearly a decade of study, Sen concluded that the identity the Kudikidappukaran had about themselves var-
ied from the identity imposed upon them by society. He also discussed the path of his research that led him away from the Kudikidappukaran to the Communist Party, before returning to the Kudikidappukaran. Sen fought to make housing a fundamental right in India in the 1980s before he began to look into the Kudikidappukaran. He took a break from this research to spend 15 years working with the World Social Forum (WSF), the largest gathering of civil society to find solutions to the problems of our time. Now, Sen plans to return to the study of the Kudikidappukaran. “I felt I would like to go back to my earlier work ... because [the] next five years will be to go back to that work and complete it,” Sen said. “It remained incomplete in the 90s.” Elizabeth Wallace can be reached at erwallace@umass.edu, and followed on Twitter @lizwallace2019.
By Joshua Raposa Collegian Correspondent
A crowd of students, professors and community members gathered Monday night at Bowker Auditorium to attend the “Soup for Syria” talk. The event, hosted by the College of Humanities and Fine Arts, featured Barbara Abdeni Massaad, a photographer, writer and humanitarian whose award-winning cookbook, “Soup for Syria,” has touched the lives of thousands of Syrian Refugees. Also present at the event was internationally renowned oud player, Kinan Idnawi, who performed an intense solo composition titled “For Syria”. Massaad spoke of her experiences at a refugee camp just 45 minutes away from her home in Beirut. A screen projected the faces of those she had photographed in Syria. Among those were young and old faces smiling, covered in dirt and wrapped in shawls. “The vast majority of those in the U.S., in the world even, have never met a Muslim, a Syrian,” Massaad said. “This leads us to a type of ignorance, a fear, and then a misrepresentation. These are people.” Massaad began her discussion by tracing the origins of her book and subsequent project “Soup for Syria.” “Two years ago, an influx of refugees began
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Barbara Abdeni Massad spoke Monday night in Bowker Auditorium about her award-winning cookbook, ‘Soup for Syria.’ entering Lebanon. I began seeing the pictures in the news and I decided I needed to visit one of these camps,” Massaad said. Massaad visited the camps more and more frequently, where she began occasionally taking pictures. “I wanted the photos to give dignity and beauty to these refugees,” she said. Eventually, Massaad gained a collection of photos and created a Facebook page. Her love of food, she said, influenced her to make a cookbook. “I began contacting people and friends on the Facebook, trying to get the best recipes for the best soups,” Massaad said. After whittling down the list to about 80 soups, Massaad took the book and her idea to Interlink Publishing, a local publishing company in Northampton. “I wanted to take all of the profits and donate them to the United Nations High Commissioner for Refugees (UNHCR),” Massaad explained.
Since its publication, the book has raised $300,000 for Syrian Refugees in the Middle East and has received critical acclaim for its recipes and photography. After the discussion, the floor was opened up to questions. Many asked what they could do to help. “If you have an idea, you need to just do it,” Massaad said. “However, I’m not going to sugarcoat it: They need money. They need donations for food and medicine; things that aren’t available to them right now.” When asked if Massaad had received any backlash from her project, she replied, “Oh yes. Many say ‘why don’t you help Lebanese instead? They need help. Aren’t they your people?’” Despite this popular nationalistic sentiment, Massaad said she didn’t care where the refugees are from. “I see them. They are see
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