The Manchester Arena bombing was not about feminism

The May 22nd bombing of Manchester Arena during a concert by Ariana Grande was a major atrocity and should be resoundingly condemned by anyone morally sane.

As ought to be the case whenever major atrocities occur on the soil of Western powers, especially when enacted by official state enemies, our anger is better to yield to our grief; since we are all in general unaccustomed to glimpsing, on our own streets or those of our friends, the violence we routinely inflict on vast portions of the world, the brisance of Monday night’s bombing should hopefully provide space for reflection. These actions cannot be forgiven or excused – but perhaps they can be understood.

Reflections are not all equally or equivalently valid or useful – to say nothing of factually sound – however.  Among the latest of the “hot takes” is a theme of wearying, propagandistic moralizing and pro-Western liberal jingoism best summed up as: the Ariana Grande concert bombing was an attack against women and feminism by primitive, misogynistic Muslims.

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“DESH,” dance, & the virtues of theatre beyond language

In the opening minutes of Akram Khan’s solo show DESH (now on Canadian Stage), Khan stands down stage of Tim Yip’s sparsely lit set, dwarfed by the Bluma Appel’s cavernous embrace, picks up a sledgehammer & whacks with extreme prejudice a small metallic mound built into the stage’s floor. At the mound’s apex is some sort of plant which will undergo all kinds of contortions over the show’s 83-minutes of magic, the sledgehammer being the least of its worries. With each strike, a dull, hollow boom blankets the theatre, just ever-so-perfectly too loud for the audience’s comfort. For a show billed as a “dance” piece, it’s a brave opening, since we’ve come (at least some of us) for the feats of kathak-cum-Bauschian physical pyrotechnics Khan’s famous for, & he presents us with a moment that – but for the sonic black hole of the hammer’s thud – is eerily still, utterly quiet.

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