YCLOAK

Cormac McCarthy, the Pulitzer Prize-winning novelist who in prose both dense and brittle took readers from the southern Appalachians to the desert Southwest in such novels as The Road, Blood Meridian and All the Pretty Horses, died Tuesday. He was 89.

McCarthy died of natural causes in Santa Fe, New Mexico, publisher Alfred A. Knopf said.

McCarthy, raised in Knoxville, Tennessee, was compared to William Faulkner for his Old Testament style and rural settings. McCarthy’s themes, like Faulkner’s, often were bleak and violent and dramatized how the past overwhelmed the present. Across stark and forbidding landscapes and rundown border communities, he placed drifters, thieves, prostitutes and old, broken men, all unable to escape fates determined for them well before they were born.

McCarthy’s own story was one of belated, and continuing, achievement and popularity.

Little known to the public at age 60, he would become one of the country’s most honored and successful writers despite rarely talking to the press. He broke through commercially in 1992 with All the Pretty Horses and over the next 15 years won the National Book Award and the Pulitzer, was a guest on Oprah Winfrey’s show and saw his novel No Country for Old Men adapted by the Coen brothers into an Oscar-winning movie.

The Road, his stark tale of a father and son who roam a ravaged post-apocalyptic landscape, brought him his widest audience and highest acclaim. It won the 2007 Pulitzer Prize for fiction and was selected by Winfrey for her book club. In his Winfrey interview, McCarthy said that while typically he didn’t know what generates the ideas for his books, he could trace The Road to a trip he took with his young son to El Paso, Texas, early in the decade. Standing out of the window of a hotel in the middle of the night as his son slept nearby, he started to imagine what El Paso might look like 50 or 100 years in the future.

“I just had this image of these fires up on the hill … and I thought a lot about my little boy,” he said.

He told Winfrey he didn’t care how many people read The Road.

“You would like for the people that would appreciate the book to read it. But, as far as many, many people reading it, so what?” he said.

McCarthy dedicated the book to his son, John Francis, and said having a child as an older man “forces the world on you, and I think it’s a good thing.”

In 2022, Knopf made the startling announcement that it would release McCarthy’s first work in more than 15 years, a pair of connected novels he had referred to in the past: The Passenger and Stella Maris, narratives on a pair of mutually obsessed siblings and the legacy of their father, a physicist who had worked on atomic technology. Stella Maris was notable, in part, because it centered on a female character, an acknowledged weakness of McCarthy’s.

“I don’t pretend to understand women,” he told Winfrey.

His first novel, The Orchard Keeper — written in Chicago while he was working as an auto mechanic — was published by Random House in 1965. His editor was Albert Erskine, Faulkner’s longtime editor.

Other novels include Outer Dark, published in 1968; Child of God in 1973; and Suttree in 1979. The violent Blood Meridian, about a group of bounty hunters along the Texas-Mexico border murdering Indians for their scalps, was published in 1985. His Border Trilogy books were set in the Southwest along the border with Mexico: All the Pretty Horses (1992) — a National Book Award winner that was turned into a feature film — The Crossing (1994) and Cities of the Plain (1998).

McCarthy said he was always lucky. He recalled living in a shack in Tennessee and running out of toothpaste, then going out and finding a toothpaste sample in the mailbox.

“That’s the way my life has been. Just when things were really, really bleak, something would happen,” said McCarthy, who won a MacArthur Fellowship — one of the so-called “genius grants” — in 1981.

McCarthy attended the University of Tennessee for a year before joining the Air Force in 1953. He returned to the school from 1957 to 1959 but left before graduating. As an adult, he lived around the Great Smoky Mountains before moving West in the late 1970s, eventually settling in Santa Fe.
…

A young actress drags a suitcase despondently up a tree-shaded street, as a crew shoots a scene in a film about director Norris Wong’s unachieved dream of becoming a Cantopop lyricist. 

The movie “The Lyricist Wannabe” is the latest from Wong and part of an unprecedented trend in Hong Kong’s moviemaking history — the growth of its indie films.  

Hong Kong films used to be made by big production companies. They were exported around the world in the industry’s heyday from the 1970s to early ’90s when Hong Kong was considered the Hollywood of Asia, turning out stars such as Bruce Lee, Jackie Chan, Chow Yun-Fat and recent Oscar Best Actress winner Michelle Yeoh. 

But the industry has declined in recent decades. Hollywood blockbusters flooded in and companies switched to making movies that appealed to China’s bigger and more lucrative market, according to industry players. 

“The Hong Kong market had totally collapsed. Very experienced directors all went to the mainland. They make $10 million films there, so they won’t make $1 million films here,” said Mani Man, vice president of mm2, a company that supports indie films. “It’s like the parents have all left, we’re like orphans creating a new world.”  

Now, Hong Kong may be starting to see a revival in its film industry. In the five years before COVID-19 hit, 275 locally produced movies were made, more than the 256 in the previous five years, including independent films by new directors, according to the Hong Kong Motion Picture Industry Association. 

Fewer films were made during the pandemic, but several enjoyed great success, breaking box office records. 

What has helped drive this trend are Hong Kong’s tough COVID-19 travel restrictions, which kept directors and audiences at home, giving the former a chance to make local films and the latter the time to watch them. 

The government has also provided $50 million in funding to revive the industry in the past 15 years, including $30 million in just the past six years, enabling many small- and medium-budget films and new directors’ first feature to be made, according to statistics from the Film Development Council.  

Also, the 2019 social and political unrest in Hong Kong and Beijing’s passage of a national security law in response to it have made some worry about changes to their way of life. Industry experts say there is a yearning among audiences in the city for films that reflect their lives. 

“Because of all these uncertainties in Hong Kong society, it inspired some local movies which try to tell the stories about Hong Kong people,” said Dorothy Lau, a professor at Hong Kong Baptist University’s Academy of Film. “People are trying to pursue their own identity, stories that belong to themselves.” 

For example, the highest recent local earner, “A Guilty Conscience,” a film about a lawyer trying to find evidence to get his innocent client acquitted, dealt with the issue of justice — a theme that resonated with moviegoers as they see pro-democracy activists, a newspaper publisher and protesters tried under the new law.  

“In the mind of many local residents, they look for justice but feel disappointed when they see reality. When they watch ‘A Guilty Conscience,’ they feel somebody is speaking their mind to inspire them to stay hopeful in what they see as the bleak reality,” Lau said. 

The government has said the law has restored peace after disruptive and sometimes violent anti-government protests in 2019. 

The film, which raked in $15 million, setting a record for a Hong Kong film, is among three that made it onto the list of Hong Kong box office hits over the past year, a list previously dominated by Hollywood blockbusters. 

Low-budget movies also made profits or broke even, while winning local and regional awards as they took on subjects that big studios neglected. Some of those include the struggles of blue-collar workers (“The Narrow Road”), the repressed love of closeted elderly gay men (“Twilight’s Kiss”), and homelessness (“Drifting”).

“It’s important for Hong Kong to have its own movies and stories to be told on the big screens because cinema has always been a very good medium that preserves local culture,” said the 36-year-old Wong, who cobbled together $294,000 for her latest movie, with a loan from a director friend and earnings from her debut film “My Prince Edward,”  which is about a woman who learns to assert herself. 

Still, there are limits to the kinds of topics that can be featured. The national security law and subsequent amendments to film censorship guidelines make subjects with political content untouchable. 

Several documentaries about the 2019 pro-democracy protests have been banned, according to media reports. Some content deemed sensitive has been deleted from films, including three being screened at a local film festival this month. 

In response to questions from VOA, the Office for Film, Newspaper and Article Administration issued a statement saying the amendments “did not change the fact that the public and the film industry continue to enjoy freedom of creation and freedom of speech under the premise of abiding by the law and protecting national security.” 

It said that since the amended guidelines took effect in 2021, it has approved all but six of the more than 4,100 applications for film classification and public screening.  

Directors meanwhile continue to make films about Hong Kong, with some showing them overseas or switching to less sensitive topics. At the Fresh Wave International Short Film Festival, which runs from June to July, filmmakers highlighted censorship by replacing deleted scenes with black images and muted sound.  

Independent film and documentary maker Lam Sum’s 2021 film “May You Stay Forever Young” — about the 2019 protests — was not approved. But he went on to be nominated for Best Director at the Hong Kong Film Awards this year for “The Narrow Road.”    

“I didn’t think about giving up because I really like to make films. To me, this is a challenge for creators — how to tell stories in this space,” said Lam, 37.  

Despite the concerns about censorship, funding, and fewer audiences with the lifting of travel restrictions, directors believe now is as good a time as any to make films.  

“I’m quite optimistic. … We no longer need to have big production companies’ support to make a film,” Wong said. “It will bring about more Hong Kong homegrown films.” 
…

In its heyday, Hong Kong was the Hollywood of Asia, turning out stars such as Bruce Lee, Jackie Chan, Chow Yun-Fat and recent Best Actress Oscar winner Michelle Yeoh. While the industry has seen a decline over the past two decades, Hong Kong is experiencing what some say is a film revival, despite stricter controls and censorship. For VOA, Cindy Sui reports from Hong Kong.
…

Skyscrapers, bridges and other landmarks in South Korea’s capital will be lit up in purple Monday as the country begins celebrating the 10th anniversary of K-pop band BTS, whose global popularity is a source of national pride.

The lights will provide the backdrop for various social media-driven events marking the 2013 debut of the seven-member group, which is now on a temporary hiatus as its singers take turns releasing solo material while the others begin to serve their mandatory military duties.

From Monday evening, numerous Seoul structures, including City Hall, the 123-story Lotte World Tower, several Han River bridges, and the futuristic DDP — a Zaha Hadid-designed aluminum and concrete dome that’s often used for visual art — will be bathed in purple, a color associated with BTS, according to city officials and the group’s management company, Hybe.

Messages congratulating BTS were displayed on digital screens in buildings across Seoul, while postal authorities issued stamps marking the group’s anniversary, which will be available at post offices starting Tuesday.

Seoul officials hope that the celebrations, which will continue for around two weeks, will boost tourism. The city has designated more than a dozen sites associated with BTS, including places where the group held major performances or shot some of their famous videos.

Fireworks are planned at a park Saturday night near the Han River, hours after one of the BTS singers, RM, holds a live talk with fans that will be broadcast online.

Quickly garnering huge followings in Asia following their debut, BTS’ popularity expanded across the globe with their 2020 megahit “Dynamite,” the band’s first all-English song that made it the first K-pop act to top Billboard’s Hot 100. BTS has since performed in sold-out arenas around the world and was invited to speak at United Nations meetings, supported by a legion of global followers who call themselves the “Army.”

BTS’ activities as a full group are currently on hold as the artists begin to serve in the military. Two BTS singers – Jin and J-Hope – have already started their compulsory 18-month service and other members are to follow in the coming months, which likely means the group will reconvene around 2025.

In South Korea, all able-bodied men are required to serve in uniform 18-21 months under a system meant to deter aggression from rival North Korea.
…

The new Modern Art gallery at the Denver Art Museum includes two painters from Ghana. VOA’s Scott Stearns gives us a look.
…

Best musical: “Kimberly Akimbo” 

Best play: “Leopoldstadt” 

Best revival of a musical: “Parade” 

Best revival of a play: “Suzan-Lori Parks’ Topdog/Underdog” 

Best performance by an actress in a leading role in a musical: Victoria Clark, “Kimberly Akimbo” 

Best performance by an actor in a leading role in a play: Sean Hayes, “Good Night, Oscar” 

Best performance by an actress in a leading role in a play: Jodie Comer, “Prima Facie” 

Best book of a musical: “Kimberly Akimbo,” David Lindsay-Abaire 

Best performance by an actor in a leading role in a musical: J. Harrison Ghee, “Some Like It Hot” 

Best performance by an actor in a featured role in a musical: Alex Newell, “Shucked.” 

Best performance by an actress in a featured role in a play: Miriam Silverman, “The Sign in Sidney Brustein’s Window” 

Best performance by an actress in a featured role in a musical: Bonnie Milligan, “Kimberly Akimbo” 

Best performance by an actor in a featured role in a play: Brandon Uranowitz, “Leopoldstadt” 

Best direction of a play: Patrick Marber, “Leopoldstadt” 

Best direction of a musical: Michael Arden, “Parade” 

Best choreography: Casey Nicholaw, “Some Like It Hot” 

Best original score: “Kimberly Akimbo,” Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire 

Best orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot” 

Best costume of a musical: Gregg Barnes, “Some Like It Hot” 

Best costume of a play: Brigitte Reiffenstuel, “Leopoldstadt” 

Best lighting design of a play: Tim Lutkin, “Life of Pi” 

Best lighting design of a musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street” 
…

The intimate, funny-sad musical “Kimberly Akimbo” nudged aside splashier rivals on Sunday to win the musical crown at the Tony Awards on a night when Broadway flexed its creative muscle amid the Hollywood writers’ strike and made history with laurels for nonbinary actors J. Harrison Ghee and Alex Newell.

“Kimberly Akimbo,” with songs by Jeanine Tesori and a book by David Lindsay-Abaire, follows a teen with a rare genetic disorder that gives her a life expectancy of 16 navigating a dysfunctional family and a high school romance. Victoria Clark, as the lead in the show, added a second Tony to her trophy case, having previously won one in 2005 for “The Light in the Piazza.”

Producer David Stone credited the musical’s writers for penning a magic trick, calling “Kimberly Akimbo” a “musical comedy about the fragility of life, so healing and so profound and joyous that is almost impossible.” The musical took home a leading six awards.

Earlier, Tony Awards history was made when Newell and Ghee became the first nonbinary people to win Tonys for acting. Last year, composer and writer Toby Marlow of “Six” became the first nonbinary Tony winner.

“Thank you for the humanity. Thank you for my incredible company who raised me up every single day,” said leading actor in a musical winner Ghee, who stars in “Some Like It Hot,” the adaptation of the classic cross-dressing comedy film. The soulful Ghee stunned audiences with their voice and dance skills, playing a musician — on the run from gangsters — who tries on a dress and is transformed.

Newell, who plays Lulu — an independent, don’t-need-no-man whiskey distiller in “Shucked” — has been blowing audiences away with their signature number, “Independently Owned.” They won for best featured actor in a musical.

“Thank you for seeing me, Broadway. I should not be up here as a queer, nonbinary, fat, Black little baby from Massachusetts. And to anyone that thinks that they can’t do it, I’m going to look you dead in your face that you can do anything you put your mind to,” Newell said to an ovation.

Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, won best play, also earning wins for director Patrick Marber, featured actor Brandon Uranowitz and Brigitte Reiffenstuel’s costumes.

The British-Czech playwright, who now has five best play Tony Awards, joked he won his first in 1968 and noted that playwrights were “getting progressively devalued in the food chain” despite being “the sharp ends of the inverted pyramid.”

Strike leaves show script less

Second-time Tony Awards host Ariana DeBose opened a blank script backstage before dancing and leaping her way to open the main show with a hectic opening number that gave a jolt of electricity to what is usually an upbeat, safe and chummy night. The writers’ strike left the storied awards show honoring the best of musical theater and plays without a script.

Before the pre-show began, DeBose revealed to the audience the only words that would be seen on the teleprompter: “Please wrap up.” Later in the evening, virtually out of breath after her wordless opening performance, she thanked the labor organizers for allowing a compromise.

“I’m live and unscripted. You’re welcome,” she said. “So to anyone who may have thought that last year was a bit unhinged, to them, I say, ‘Darlings, buckle up.'”

Winners demonstrated their support for the striking writers either at the podium or on the red carpet with pins. Miriam Silverman, who won the Tony for best featured actress in a play for “The Sign in Sidney Brustein’s Window,” ended her speech with: “My parents raised me to believe in the power of labor and workers being compensated and treated fairly. We stand with the WGA in solidarity!”

Jodie Comer, the three-time Emmy nominated star of “Killing Eve” won leading actress in a play for her Broadway debut, the one-woman play “Prima Facie,” which illustrates how current laws fail terribly when it comes to sexual assault cases.

Sean Hayes won lead actor in a play for “Good Night, Oscar,” which dramatizes a long night’s journey into the scarred psyche of pianist Oscar Levant, now obscure but once a TV star.

“This has got to be the first time an Oscar won a Tony,” Hayes cracked.

Suzan-Lori Parks’ “Topdog/Underdog,” a Pulitzer Prize-winning play about sibling rivalry, inequality and society’s false promises, won the Tony for best play revival. She thanked director Kenny Leon and stars Corey Hawkins and Yahya Abdul-Mateen II: “They showed up to be large in a world that often does not much want the likes of us living at all.”

Bonnie Milligan, who won for best featured actress in a musical for “Kimberly Akimbo,” also had a message to the audience: “I want to tell everybody that doesn’t maybe look like what the world is telling you what you should look like — whether you’re not pretty enough, you’re not fit enough, your identity is not right, who you love isn’t right — that doesn’t matter.”

“‘Cause just guess what?” she continued, brandishing her award. “It’s right, and you belong.”

Kander gets lifetime award

Many of the technical awards — for things like costumes, sound, lighting and scenic design — were handed out at a breakneck pace during a pre-show hosted by Skylar Astin and Julianne Hough, allowing winners plenty of airtime for acceptance speeches but little humor.

The pre-show telecast on Pluto featured some awkwardly composed shots and some presenters slipped up on certain words. The tempo was so rapid, it ended more than 10 minutes before the main CBS broadcast was slated to start.

John Kander, the 96-year-old composer behind such landmark shows as “Chicago,” “Cabaret” and “The Scottsboro Boys,” was honored with a special lifetime award. He thanked his parents; his husband, Albert Stephenson; and music, which “has stayed my friend through my entire life and has promised to stick with me until the end.”

Jennifer Grey handed her father, “Cabaret” star Joel Grey, the other lifetime achievement Tony. “Being recognized by the theater community is such a gift because it’s always been, next to my children, my greatest, most enduring love,” the actor said.

Echoing the there of antisemitism, “Parade” — a doomed musical love story set against the real backdrop of a murder and lynching in pre-World War I Georgia that won Tonys as a new musical in 1999 — won for best musical revival, with Michael Arden winning for best musical director.

“‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more valuable than another and that they might be more deserving of justice,” Arden said. “This is a belief that is the core of antisemitism, white supremacy, homophobia and transphobia and intolerance of any kind. We must come together. We must battle this.”

The telecast featured performances from all the nominated musicals and Will Swenson — starring on Broadway in a Neil Diamond musical — led the audience in a vigorous rendition of “Sweet Caroline.” Lea Michele of “Glee” and now “Funny Girl” fame also performed a soaring version of “Don’t Rain on My Parade.”

It all took place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many miles from Times Square and the theater district.

“Thank you all for coming uptown. Never in my wildest dreams, truly,” Lin-Manuel Miranda joked onstage. He, of course, wrote the musical “In the Heights,” set in Washington Heights.
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It was Miles Morales and the Spider-Verse versus the “Transformers” at the box office this weekend and the bots came out on top.

“Transformers: Rise of the Beasts,” the seventh entry in the series, took the No. 1 spot in its first weekend in North American theaters with $60.5 million according to studio estimates Sunday. “Spider-Man: Across the Spider-Verse” wasn’t too far behind, however, with an estimated $55.4 million in its second weekend.

Paramount Pictures released “Rise of the Beasts” in 3,678 locations starting with Thursday previews. Set in 1994, it’s technically a sequel to the 1980s-set “Bumblebee” and a prequel to the other films. With a new cast led by Anthony Ramos and Dominique Fishback and a new director in Steven Caple Jr., it’s also an attempt to reset and breathe fresh life into the $4.8 billion franchise.

“Rise of the Beasts” also earned $110 million from 68 international markets, giving it a $170.5 million global debut.

Critics didn’t love the movie, but that’s also par for the course for this franchise. Overall, Rotten Tomatoes aggregated a less-than-fresh 52% rating.

“The problem with “Transformers: Rise of the Beasts” is the same problem faced by all of the installments — balancing the humanity with the metal,” wrote AP’s Mark Kennedy in his review.

In fact, the only movie that did get a fresh rating was “Bumblebee,” which also made the least money of all of them. Audiences (62% male) were more positive, giving “Rise of the Beasts” an A- CinemaScore. According to PostTrak surveys, general audiences gave it 4.5 stars out of 5.

While a $60.5 million opening might not seem like enough to support a $200 million production budget, “Rise of the Beasts” is a movie that will make most of its money abroad. Since 2011’s “Transformers: Dark of the Moon,” international ticket sales have accounted for at least 70% of the global box office total. Two of the seven movies, “Dark of the Moon” and “Age of Extinction,” from 2014, made over $1 billion each.

“To have a No. 1 debut is impressive given the formidable competition from ‘Spider-Man: Across the Spider-Verse,’ which had a much stronger opening than anyone anticipated and in its second weekend is a really powerful player,” said Paul Dergarabedian, the senior media analyst for Comscore.

Sony’s “Spider-Verse” sequel fell about 54%. In just two weeks, it’s already surpassed the total domestic box office of the first film with $225.4 million in ticket sales and become the highest grossing Sony Pictures Animation release. With terrific reviews in its arsenal, “Spider-Verse” is likely destined for a longer life at the box office, too.

Third place went to Disney’s “The Little Mermaid,” which earned $23 million in its third weekend, where it’s playing in 4,320 locations in the U.S. and Canada. The live-action movie has made $414.2 million globally to date.

Two other Walt Disney Co. releases rounded out the top five, with “Guardians of the Galaxy Vol. 3” in fourth with $7 million in its sixth weekend and “The Boogeyman,” in weekend two, in fifth place with $6.9 million.

While many of the films in the top 10 are known brands or IP, one original property, A24’s ” Past Lives,” is making waves in the specialty space. Playing on just 26 screens in its second weekend, Celine Song’s romance made $520,772 for a stunning $20,030 per screen average. It expands nationwide on June 23.

The summer movie season should continue to pick up heat with major new films coming nearly every week. Next weekend family audiences get Pixar’s “Elemental,” while the superhero crowd can catch up with “The Flash.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Transformers: Rise of the Beasts,” $60.5 million.

2. “Spider-Man: Across the Spider-Verse,” $55.4 million.

3. “The Little Mermaid,” $22.3 million.

4. “Guardians of the Galaxy Vol. 3,” $7 million.

5. “The Boogeyman,” $6.9 million.

6. “Fast X,” $5.2 million.

7. “The Super Mario Bros. Movie,” $2.1 million.

8. “About My Father,” $845,000.

9. “The Machine,” $575,000.

10. “Past Lives,” $520,772.
    …

New location? No script? No rehearsal? No sweat. 

Welcome to the 2023 Tony Awards, a show with an extra jolt of electricity this time due to the Hollywood writers’ strike. 

Unpredictability has been inserted into what is usually an upbeat, safe and chummy night. The strike has left Broadway’s biggest night without a script, in a new venue far from the theater district. 

A 1 1/2-hour pre-show on Pluto TV from 6:30-8 p.m. Eastern, hosted by Julianne Hough and Skylar Astin, will then throw to the three-hour main event led by Ariana DeBose on CBS and Paramount+ starting at 8 p.m. Eastern. 

A total of 26 Tony Awards will be handed out Sunday for a season that had 40 new productions — 15 musicals, 24 plays and one special engagement during the first post-pandemic full season. 

Broadway had some very serious works this season, like the new plays “Cost of Living” and “The Kite Runner” and revivals of “Topdog/Underdog” and “Death of a Salesman,” led by Wendell Pierce. A revival of “Parade,” about the lynching of a Jewish businessman starring Ben Platt, was also well received. 

The season also had an element of the fantastical in a puppet-heavy adaptation of the lifeboat book “Life of Pi,” satire in “The Thanksgiving Play” and pure silliness in “Shucked” and “Peter Pan Goes Wrong.” 

“Just like the country and the world is resetting, I think our storytelling and how we get our stories out there is resetting as well,” said Kenny Leon, who directed “Topdog/ Underdog” and “Ohio State Murders” this season. “The positive I take away is the variety of the material, from a Black-led ‘Death of a Salesman’ to new plays like ‘KPOP’ and ‘Ain’t No Mo” and ‘Leopoldstadt’ and ‘Prima Facie.’ I felt the diversity in almost every way — racially, generationally.” 

“Some Like It Hot,” a musical adaptation of the classic cross-dressing movie comedy that starred Tony Curtis and Jack Lemmon, goes into the night with a leading 13 Tony Award nominations. For the top crown, it is pitted against “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a lightweight musical comedy studded with corn puns. 

The critical musical darling and intimate, funny-sad “Kimberly Akimbo,” with Victoria Clark playing a teen who ages four times faster than the average human, rounds out the best musical category. 

The best new play category is a competition among Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South. 

The rest of the category is made up of “Ain’t No Mo,'” the short-lived but critical applauded work by playwright and actor Jordan E. Cooper, Stephen Adly Guirgis’ Pulitzer Prize-winning play “Between Riverside and Crazy” and “Cost of Living,” parallel stories of two caretakers and their respective patients. 

The answers to some intriguing questions pend: Can Audra McDonald (“Ohio State Murders”) extend her record as the most awarded actor in Tony Awards history? Will either J. Harrison Ghee (“Some Like It Hot”) or Alex Newell (“Shucked”) become the first nonbinary person to win a Tony for acting? (Last year, “Six” composer and writer Toby Marlow became the first out nonbinary winner.) 

Performances are slated from the casts of “Camelot,” “Into the Woods,” “& Juliet,” “Kimberly Akimbo,” “New York, New York,” “Parade,” “Shucked,” “Some Like It Hot” and “Sweeney Todd: The Demon Barber of Fleet Street.” 

In addition, Joaquina Kalukango — the winner of last year’s Tony for best lead actress in a musical — will sing, as will the casts from “A Beautiful Noise” and “Funny Girl.” That means there’ll be plenty of star power, from Josh Groban to Lea Michele. 

It will all take place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many kilometers from Times Square and the theater district. 
…

In the heart of Maryland, the Frederick Keys baseball team introduced its newest player last week, one unlike any other the team has seen in its 35-year history.

Dennis Kasumba, 18-year-old catcher. From Uganda.

Kasuma recently turned what seemed like an impossible dream into a reality, making the leap from the rough fields of his home country to the manicured grass of American professional baseball stadiums. For those following his journey, he stands as a symbol of resilience.

Just three days after flying to the U.S., Kasumba took his first official steps onto an American baseball diamond on June 1 with the Keys. Batting in the ninth inning, he struck out on three pitches, but was able to make contact on the first pitch, fouling it off.

The young player who once honed his skills on muddy streets using old tires and oil drums in Uganda, now finds himself playing high-quality amateur league baseball, one step below the professional minor leagues.

“My first game was very, very good because I faced a pitcher who threw 95 [miles per hour – about 153 kph], yeah. And I hit it,” Kasumba told VOA. “I need to hit because I am here to hit, to show my skill, I am ready to hit. I want to show I can hit. I want to show them I can throw.”

Kasumba’s story extends beyond his on-field skills. His journey from Uganda to the U.S. has captured the imagination of thousands on social media who have marveled at his intense workouts. In one, he practices his catching drills with a tire strapped to his back.

One of these admirers was Joshua Williams, an American attorney and baseball enthusiast who helped make Kasumba’s dream a reality.

“It all just started because I saw a video of him hitting off of a tire, hitting a baseball off of the tire with a Coke bottle,” Williams said. “So, I reached out to him on Facebook, started talking to him. We talked about his dreams and aspirations.”

It took Kasumba almost two years to get a contract with an American team and several attempts at the U.S. Embassy in Uganda to secure a travel visa.

Williams and some friends intensified their efforts after his third visa request was denied.

“We started making our application a lot stronger. Several immigration attorneys at my firm jumped in and they were like, ‘Let’s figure this out,’” Williams told VOA. “And so, we just kind of put our heads together. So, he was denied on Friday. And on Tuesday we got a call from the embassy, and they said, ‘Be there Thursday at 2 o’clock.’”

Kasumba is not the first Ugandan to try his hand at baseball. Last year, the Los Angeles Dodgers signed two Ugandans, Umar Male and Ben Serunkuma, to contracts. Both have played some games in the low minor leagues.

In his debut, Kasumba showed that he too may have a future in baseball, and also underscored his desire to learn.

“When I saw my pitchers throwing in 88, 95, 98. I thought, ‘Can I hit these guys? They are faster.’ But when I got to my first batting, in my heart I said, ‘I can hit, because I believe in myself,’” he said.

For Frederick Keys Manager Rene Rivera, Kasumba is already giving the team a jolt.

“This guy has so much energy, he brings so much to the other guys, you know, he’s hardworking,” Rivera said. “We all saw some of his videos on Instagram, the passion he puts behind him so he can be good. And I think that the players already see that, they come and work.”

Kasumba, who grew up an orphan in Wakiso, Uganda, is determined to make the most of the opportunity.

“There are a lot of kids, uh, people calling my name, my jersey number: Kasumba! Kasumba! Kasumba! This is my first time, to have someone asking me for a signature, photos,” he said. “I was so surprised. It makes me feel very, very good. I think I am blessed.”

The months ahead will bring challenges and opportunities alike for Kasumba. And to face these head-on, the young man has a few people he can count on, starting with his manager.

“We helped him come over here. And now he’s here,” Rivera told VOA. “So, I think that my job is to be his role model, to show him what I know and what I know from many years playing baseball, help him get to the next. I think that’s my main goal right now.”

Catching is baseball’s most complicated and physically arduous position, but Rivera can teach Kasumba a lot – he spent 13 years as a catcher in the major leagues.

As Kasumba steps onto the field, bat in hand, he believes he’s not just playing for the Frederick Keys — he’s playing for his country, his thousands of online supporters around the world and every dreamer who’s ever dared to dream big.
…

Vietnam’s booming food scene was awarded its first-ever Michelin stars Tuesday, with four restaurants selected by the prestigious dining guide.

Three eateries in Hanoi — Gia, Tam Vi and Hibana by Koki — and one in Ho Chi Minh City — Anan Saigon — were each awarded one Michelin star.

Although there were no stars handed out to traditional street food eateries serving classics such as pho — a noodle soup — or bun cha — a vermicelli noodle dish with grilled pork — Vietnamese flavors feature heavily among the winners.

Tam Vi largely focusses on northern Vietnamese dishes including ham with periwinkle snails — served with fresh herbs, rice vermicelli noodles and fish sauce — and crab soup with spinach, a popular summer meal.

Nguyen Bao Anh, whose mother, Tam, owns the restaurant and named it after herself, said her mum “had a dream of opening a restaurant where customers could come and feel like they were eating a home-cooked meal.”

“The restaurant serves traditional food, and I think now not many restaurants serve that kind of food that remind people of familiar flavors,” Bao Anh told AFP after the awards ceremony in Hanoi.

“This award is for my mum and I’m proud of her,” she added.

Sam Tran, the chef and co-founder of high-end contemporary restaurant Gia, spent 10 years studying in Australia before returning to Hanoi, her home city, to push the boundaries of Vietnamese cuisine.

“Through each dish at Gia, I want to tell the story of Vietnamese culture,” she wrote in a guide to the ceremony.

“I want to tell the story of each stage of my life, the regions I have visited, the flavors passed down from generation to generation that I have tasted.”

In Ho Chi Minh City, Anan Saigon was recognized for its modern take on Vietnamese classics, including a bone marrow wagyu beef pho.

Gwendal Poullennec, international director of the Michelin Guide, said Vietnam’s two biggest cities, Hanoi and commercial center Ho Chi Minh City, offered a vibrant and varied dining experience.

“Hanoi has a laid back and relaxed vibe, with small shops and restaurants mostly from the Old Quarter,” Poullennec said.

“Ho Chi Minh City, on the other hand, is a bustling and rapidly growing city, which offers a unique energy to all travelers and a very diverse food scene.”

Hibana by Koki, which serves Japanese cuisines was the only non-Vietnamese restaurant to receive a star.
…

Kashmir valley, in the Indian- administered portion of Kashmir, is known for its unique craftsmanship. For centuries, locals learned skills from those who arrived from central Asia following the arrival of Islam in the region. However, among the hundreds of skills, three are in danger of being lost. For VOA, Muheet Ul Islam reports from Srinagar in Indian-administered Kashmir.
Camera and produced by: Wasim Nabi
…

Tens of thousands of people in Thailand celebrated Bangkok Pride with a parade on Sunday. Some Thais say they hope laws will one day allow same-sex marriage in a society that has already changed. Vijitra Duangdee reports from Bangkok.
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Seven people involved in different racist attacks against Real Madrid forward Vinicius Jr have been punished by Spain’s State Commission against Violence, Racism, Xenophobia and Intolerance in Sport, the country’s Sports Commission said on Monday.

Four men were fined $64,255 and banned from sports venues for two years after hanging a banner reading “Madrid hates Real” and an inflatable black effigy in a replica of Vinicius’ No. 20 shirt on a bridge near Real’s facilities before the team’s Cup match against Atletico Madrid on Jan. 26.

Three other people were fined $5,354.50 and banned from sports venues for one year after making racist gestures towards the Brazil international during a LaLiga match at Valencia’s Mestalla Stadium on May 21.

The sanctions come 11 days after the arrest of the four men on suspicion of hanging the effigy and their release on bail by a Madrid court.

Vinicius Jr has been in the spotlight for the past couple of weeks after calling LaLiga and Spain racist following the abuse he suffered during Real’s match against Valencia.  

The sporting world has shown solidarity with the 22-year-old since then and the Brazilian government has called for severe sanctions against those responsible for the racial slurs.

Brazil will play friendlies against Guinea on June 17 and Senegal, three days later, as a part of an anti-racism campaign.

 
…

 PARIS (AP) — France’s beloved abbey of Mont-Saint-Michel has reached a ripe old age. It’s been 1,000 years since the laying of its first stone. 

The millennial of the UNESCO World Heritage site and key Normandy tourism magnet is being celebrated until November with exhibits, dance shows and concerts. French President Emmanuel Macron is heading there on Monday. 

Macron plans to deliver a speech and to see a new exhibit tracing the Romanesque abbey’s history via 30 objects and pieces, including a restored statue of Saint Michael.  

Legend has it that the archangel Michael appeared in 708, duly instructing the bishop of nearby Avranches to build him a church on the rocky outcrop. 

The exhibit, two years in the making, opened last month. It covers the complex process of building what is considered an architectural jewel on a rocky island linked to the mainland only by a narrow causeway at high tide. 

Four crypts were constructed on the granite tip along with a church on top. The exhibit explains how the original structure, built in 966, became too small for pilgrims, spurring on the builders to create the 11th century abbey that stands to this day. 

France has spent more than $34 million over 15 years to restore the building, and the work is nearing completion. Authorities have also tried in recent years to protect the monument’s surrounding environment from the impact of mass tourism. 

One of the most popular French destinations outside Paris, Mont-Saint-Michel island attracted 2.8 million visitors last year, including 1.3 million for the abbey. It was not closed to visitors for the presidential visit, but local authorities were taking measures for it to go as smoothly as possible. 
…

Among the thousands of fans in the stands at Europe’s biggest soccer games are a few people operating undercover. Trained volunteer observers listen for racist chants and watch for extremist symbols on banners.

“You have to be aware of the environment and fit in without standing out. You have to be discreet,” one observer, who has worked at games involving some of soccer’s best-known clubs and national teams, told The Associated Press.

“Obviously nothing gets published on social media. You have to be anonymous. You have to just sort of blend in. Don’t engage in conversations with anybody.”

A way to improve soccer

The observer, who spoke on condition of anonymity because the job requires it, is part of a program run on behalf of European soccer’s governing body, UEFA, by the Fare Network, a prominent anti-discrimination group. Fare monitors about 120 games per season in Europe’s main three men’s club competitions, executive director Piara Powar told the AP, and more around the world in national team events like World Cup qualifying.

Evidence from the program, including photos taken surreptitiously from the stands, is used in disciplinary cases against clubs or national teams whose fans display racist behavior in European competitions like the Champions League.

It’s not a career, but a way to make soccer better for the future, the observer said.

Observers work on a volunteer basis, with expenses covered, and are expected to keep tabs on hardcore fan groups’ social media to track where incidents may occur.

Inside the stadium, an observer watches the stands for signs of racist, homophobic, sexist or other discriminatory chants or banners, while also keeping an eye on the action on the field, which shapes what happens among fans.

“If you get a disgruntled fan base and they’re getting beaten 5-0 and they get knocked out of a competition that they felt that they were going to progress in, then that could be another catalyst,” the observer said. “You have to constantly read the situation as it unfolds.”

Observers are expected to be familiar with symbols used by nationalist groups, especially the logos and number codes — like 88 for Heil Hitler — they use to send surreptitious messages.

Games are given risk ratings to determine how many observers are needed, and up to three observers can work at the highest-risk games.

Sometimes a game rated “medium-risk” can “blow up in your face” unexpectedly, the observer added. That sets off a scramble to document the evidence and send it to a UEFA delegate in the stands — not always easy on overloaded stadium Wi-Fi.

That documentation can then be used by the UEFA disciplinary unit for “further investigation and possible proceedings,” the European soccer governing body said in a statement to the AP.

Sometimes feeling ‘ill at ease’

Hooliganism incidents have decreased in European soccer in recent decades, but some fan groups have a reputation for racist behavior and violence. For security reasons, the identity of the observers at a game are known to as few people as possible.

The observer described feeling “ill at ease” in some situations, but never in personal danger. Observers are not expected to infiltrate close-knit, hardcore fan groups, but to watch from a distance.

“You need to get as close as you can, but be as far away as your safety requires,” the observer said.

Fare’s work isn’t always welcome.

In a case at the Court of Arbitration for Sport over a banner at a 2019 game that was judged to contain a coded racist message, Georgian club Dinamo Tbilisi sought to challenge Fare’s assessment, arguing that the observer collecting the evidence was “professionally trained to recognize potentially racist symbols and is therefore biased.”

The panel rejected the argument and pointed out that even if the banner’s message wasn’t clear to most fans, it still broke rules against racist messages.

Like referees, Fare observers can’t work at games involving clubs they support. The observer said the goal is to make the atmosphere at games safer and more inclusive for the future.

Over several years working games, the observer has seen change for the better, but so far only “baby steps.”

“It’s a professional endeavor. It’s not going for the sake of it,” the observer said.

“I’m indifferent to the results. When a goal’s scored, sometimes I have to stand up to feign excitement, but they are teams that I have zero emotional moments with.”
…

Stretch limousines — once a symbol of the rich and famous — are now rarely seen on the roads and at red carpet events. Karina Bafradzhian investigates why demand for limousines has declined.
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The National Building Museum in Washington has launched a new long-term exhibition called Brick City, which re-creates the iconic architecture of cities around the world using Lego bricks. Maxim Moskalkov has the story. Camera: Andrey Degtyarev
…

Hollywood’s major studios reached a tentative labor agreement with the union representing film and television directors, likely averting a work stoppage that would have piled pressure on media companies to settle with striking writers. 

The Directors Guild of America (DGA) will ask its 19,000 members to approve the three-year contract, which was announced late Saturday after three weeks of talks. 

The agreement includes gains in wages and residuals plus guardrails around the use of artificial intelligence, according to the DGA and the Alliance of Motion Picture and Television Producers (AMPTP), which represents Netflix, Walt Disney Co. and other major studios. 

The Writers Guild of America (WGA) has been on strike since May 2, shutting down several TV and film productions, and has no new talks scheduled with the studios. 

During the last WGA strike in 2007 and 2008, a studio deal with the DGA prompted writers to head back to the bargaining table. On Friday, WGA negotiator Chris Keyser argued that strategy would not work this time. 

“Any deal that puts this town back to work runs straight through the WGA, and there is no way around that,” Keyser said in a video posted on YouTube. 

The DGA’s board will consider whether to approve the deal Tuesday before it goes to members for ratification. No date has been set for the ratification vote. 

If approved, the deal could offer a blueprint for the striking writers and upcoming talks between studios and SAG-AFTRA, the union representing Hollywood actors. 

WGA representatives did not respond to requests for comment Sunday, but some writers voiced reactions on social media. 

“Spartacus” creator Steven DeKnight called the DGA deal “disappointing, but not surprising.” 

Writer Bill Wolkoff said he had mixed emotions. “Happy for gains DGA members made, frustrated we were stonewalled on all our asks. My resolve is only stronger,” he wrote. 

In the DGA’s agreement, directors secured wage increases starting at 5% the first year, an increase in residuals from streaming, and a guarantee that “generative AI cannot replace the duties performed by members.” 

AI has emerged as a major concern of writers and actors, who see their jobs as especially vulnerable to the new technology. 

Both the WGA and SAG-AFTRA are seeking protections from AI in their negotiations as well as increases in compensation that they say has lagged as companies have benefited from the rise of streaming television. 

SAG-AFTRA has asked members to give its negotiators the power to call a strike if needed, and the results of that vote are expected to be announced Monday. Contract talks between the actors and studios begin Wednesday. The current labor agreement expires June 30. 

The WGA work stoppage has disrupted production of late-night shows and shut down high-profile projects such as Netflix’s “Stranger Things” and a “Game of Thrones” spinoff. 
…

“Spider-Man: Across the Spider-Verse” opened in U.S. and Canadian theaters with a massive $120.5 million, more than tripling the debut of the 2018 animated original and showing the kind of movie-to-movie box-office growth that would be the envy of even the mightiest of Hollywood franchises. 

Sony Pictures’ “Across the Spider-Verse,” the multi-verse spinning animated Spider-Man spinoff, sailed past expectations, according to studio estimates Sunday, riding terrific reviews (95% fresh on Rotten Tomatoes) and strong buzz for the hotly anticipated follow-up to the Oscar-winning “Spider-Man: Into the Spider-Verse.” 

In the sometimes-formulaic realm of superhero movies, 2018’s “Into the Spider-Verse” offered a blast of originality, introducing a teenage webslinger from Brooklyn, Miles Morales (Shameik Moore), a punk-rock Gwen (Hailee Steinfeld) and a host of other Spider-People. It launched with $35.4 million on its way to $384.3 million worldwide. 

“Across the Spider-Verse,” which exponentially expands the film’s universe-skipping worlds, cost $100 million to make, about half the cost of the average live-action comic-book movie. So, at even the forecast $80 million that “Spider-Verse” had been expected to open, “Across the Spider-Verse” would have been a hit. 

Instead, it has turned out to be a box-office sensation, and the second largest domestic opening of 2023, trailing only “The Super Mario Bros. Movie.” “Across the Spider-Verse,” directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, even topped “Guardians of the Galaxy Vol. 3,” which debuted with $118 million, for the best opening weekend of the summer so far. 

The film, shepherded by writer-producers Phil Lord and Christopher Miller, is part two in a trilogy that will conclude with a third chapter to be released next year. “Across the Spider-Verse” over-performed abroad, too, with $88.1 million overseas. 

After few family offerings for much of the first half of 2023, theaters are suddenly flush with kid-friendly entertainment. Last week’s top film, the Walt Disney Co.’s live action remake “The Little Mermaid,” slid to second with $40.6 million in its second weekend. 

After launching with $95.5 million and $117.5 million over the four-day Memorial Day weekend, “The Little Mermaid” dipped 57%, partly due to the formidable competition from “Across the Spider-Verse.” 

Having cost a reported $250 million to make, “The Little Mermaid” was met with mixed reviews but more enthusiasm from audiences, which gave it an “A” CinemaScore. But overseas, where previous Disney live-action remakes have thrived, is proving harder territory this time. The film added $42.4 million internationally over the weekend. 

Disney also supplied the weekend’s top counter-programming option in “The Boogeyman,” a mostly well-received horror adaptation of a Stephen King short story. Director Rob Savage’s $35 million film, starring Sophie Thatcher and Chris Messina, had originally been intended to debut on Hulu before the studio pivoted. It opened with $12.3 million in ticket sales. 

In limited release, the Sundance breakout film “Past Lives” launched with an impressive $58,067 per-screen average on four screens. Celine Song’s directorial debut stars Greta Lee as a woman torn between a childhood friend from Korea (Teo Yoo) and her American husband (John Magaro). 

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “Spider-Man: Across the Spider-Verse,” $120.5 million. 

2. “The Little Mermaid,” $40.6 million. 

3. “The Boogeyman,” $12.3 million. 

4. “Guardians of the Galaxy Vol. 3,” $10.2 million. 

5. “Fast X,” $9.2 million. 

6. “The Super Mario Bros. Movie,” $3.4 million. 

7. “About My Father,” $2.1 million. 

8. “The Machine,” $1.8 million. 

9. “Suga: Agust D Tour Live in Japan,” $1.2 million. 

10. “You Hurt My Feelings,” $770,000. 
    …

Kaija Saariaho, who wrote acclaimed works that made her the among the most prominent composers of the 21st century, died Friday. She was 70. 

Saariaho died at her apartment in Paris, her family said in a statement posted on her Facebook page. She had been diagnosed in February 2021 with glioblastoma, an aggressive and incurable brain tumor. 

“The multiplying tumors did not affect her cognitive facilities until the terminal phase of her illness,” the statement said. Her family said Saariaho had undergone experimental treatment at Pitié-Salpêtrière Hospital in Paris. 

“Kaija’s appearance in a wheelchair or walking with a cane have prompted many questions, to which she answered elusively,” the family said. “Following her physician’s advice, she kept her illness a private matter, in order to maintain a positive mindset and keep the focus of her work.” 

Her “L’Amour de Loin (Love from Afar)” premiered at the Salzburg Festival in 2000 and made its U.S. debut at the Santa Fe Opera two years later. In 2016, it became the first staged work by a female composer at the Metropolitan Opera since Ethel M. Smyth’s “Der Wald” in 1903. 

“She was one of the most original voices and enjoyed enormous success,” Met general manager Peter Gelb said. “It had (an) impact on one’s intellect as well as one’s emotions. It was music that really moves people’s hearts. She was truly one of the great, great artists.” 

Saariaho did not like to be thought of as a female composer, rather a woman who was a composer. 

“I would not even like to speak about it,” she said during an interview with The Associated Press after a piano rehearsal at the Met. “It should be a shame.” 

Helsinki-born

Born in Helsinki on Oct. 14, 1952, Saariaho studied at the Sibelius Academy and the Hochschule für Musik Freiburg. She helped found a Finnish group “Korvat auki (Ears Open) in the 1970s. 

“The problem in Finland in the 1970s and ’80s was that it was very closed,” she told NPR last year. “My generation felt that there was no place for us and no interest in our music — and more generally, modern music was heard much less.” 

Saariaho started work in 1982 at Paris’ Institute for Research and Coordination in Acoustics/Music (IRCAM), a center of contemporary music founded in the 1970s by Pierre Boulez. She incorporated electronics in her composition. 

“I am interested in spatialization, but under the condition that it’s not applied gratuitously,” she said in a 2014 conversation posted on her website. “It has to be necessary — in the same way that material and form must be linked together organically. 

Inspired by viewing Messiaen’s “St. Francois d’Assise” at the 1992 Salzburg Festival, she wrote “L’Amour de Loin.” She went on to compose “Adriana Mater,” which premiered at the Opéra Bastille in 2006 and “Émilie,” which debuted at the Lyon Opéra in 2010. 

Award-winning work

Her latest opera, “Innocence,” was first seen at the 2021 Aix-en-Provence Festival. Putting a spotlight on gun violence, the work was staged in London this spring and is scheduled for the Met’s 2025-26 season. 

“This is undoubtedly the work of a mature master, in such full command of her resources that she can focus simply on telling a story and illuminating characters,” Zachary Woolfe wrote in The New York Times. 

Saariaho received the University of Louisville’s Grawemeyer Award in 2003 and was selected Musical America’s Musician of the Year in 2008. Kent Nagano’s recording of “L’Amour de Loin” won a 2011 Grammy Award. 

Saariaho’s final work, a trumpet concerto titled “HUSH,” is to premiere in Helsinki on Aug. 24 with Susanna Mälkki leading the Finnish Radio Symphony Orchestra. 

The announcement of Saariaho’s death was posted by her husband, composer Jean-Baptiste Barrière; son Aleksi Barrière, a writer; and daughter Aliisa Neige Barrière, a conductor and violinist. 
…

In California, members of an under-the-radar, minority religious community are stepping into the public eye to advocate for making the state the first in the nation to outlaw caste bias.

They are the Ravidassia — followers of Ravidass, a 14th century Indian guru who preached caste and class equality. There are about 20,000 members of the community in California, most of them in the Central Valley.

Guru Ravidass belonged to the lowest-rung of the caste system formerly considered untouchable and also known as Dalit, which means “broken” in Hindi. Today, many Ravidassia members share that caste identity, but they are hesitant to make that widely known, fearing repercussions for being exposed to the larger community as “lower-caste.”

Members of the Fresno Ravidassia community say publicly championing the anti-caste bias legislation is worth the risk, noting that fighting for equality is part of their history and their spiritual DNA.

The faith itself emerged in response to the societal exclusion of the lowest caste members, including persistent roadblocks to landownership, said Ronki Ram, professor of political science at Panjab University in Chandigarh, India. Caste-based discrimination was outlawed in India in 1947.

WHO WAS GURU RAVIDASS?

Ravidass was an Indian guru, mystic and poet who was one of the most renowned figures in the North Indian bhakti movement, which placed love and devotion to god above all and preached against the caste system. Ravidass was born in the 14th century in a village near Varnasi, India, to a family of cobblers and tanners who belonged to the then-untouchable or leather-working caste known as “chamars.” The Guru Granth Sahib, which is the sacred text of Sikhism, bears 40 verses or shabads of Ravidass.

RAVIDASSIA TEMPLES

A Ravidassia place of worship is called a sabha, dera, gurdwara or gurughar, which could all be translated as temple. Adherents cover their heads and remove their shoes before entering the prayer hall or place of worship. In California Ravidassia temples, the Guru Granth Sahib is the focal point of the prayer hall. The temples serve a post-worship meal as Sikh gurdwaras also do, which is known as langar. Ravidassia temples often display idols and/or pictures of Guru Ravidass in the prayer halls.

THE RAVIDASSIA IDENTITY

Professor Ronki Ram says the Ravidassia identity is challenging to pin down because it “cannot be compartmentalized.”

“More recently, they have been trying to carve out a separate identity for themselves,” he said. “But, they also follow Sikh traditions.”

Many male Ravidassia members wear long hair in a turban and carry Sikh articles of faith such as the kada or bracelet, kangha or wooden comb and kirpan, the sheathed, single-edged knife. Many men and women in the community also have Sikh last names — Singh and Kaur.

Ram points out that idols and images of Ravidass, however, can only be seen in a Ravidass temple. In addition, the community celebrates the birthday of their guru, which typically falls in February. Many Ravidass temples also observe the birth anniversary of B.R. Ambedkar, the Indian Dalit rights icon whose given name was Bhimrao.

The faith also has followers who are Hindu and those who are from different parts of India. Ravidassia community members in California are largely of Punjabi descent.

THE COMMUNITY’S RELATIONSHIP WITH SIKHISM

The Ravidassia community’s relationship with Sikhism is “flexible and nuanced,” said Sasha Sabherwal, assistant professor of Anthropology and Asian Studies, Northeastern University.

“It’s not an either-or relationship,” she said. “It’s a much more complex idea of what their faith means for them. Some (Ravidassia temples) may be autonomous spaces. But, in many cases, it’s blended or overlapping rather than something entirely independent. There is still a commitment to this larger Sikh project.”

Sabherwal said the path to unity may lie in making “meaningful structural changes.”

“The issue is that often, caste is not even acknowledged as a problem,” she said.
…

The arrest of Byuhar, a popular rapper in Myanmar, has caused widespread alarm among his loved ones and fellow artists.

The 38-year-old rapper, whose legal name is Min Oak Myanmar, had strongly criticized the Myanmar junta, calling them “incompetent fools,” on social media because of the worsening power outage situation in Myanmar’s largest city, Yangon. He was arrested at his residence in North Dagon, a suburb of Yangon, on May 24.

In the video posted on Facebook, Byuhar praised the ousted civilian government led by Aung San Suu Kyi for providing “24 hours of electricity, not only that, but the electricity bill was also going down during her five years in office.” After criticizing the junta ministers in the video, the rapper stated his home address, challenging the authorities to arrest him if they disapproved of the post. Two days later, they did just that.

After Byuhar’s arrest, his family and friends were unable to reach him for five days. According to his wife, she went to the police station to find out where he was being held but received no response from the police.

In an interview with VOA by phone Monday, Byuhar’s wife said that her husband cannot hire a lawyer because the ruling junta has declared the area where they live to be in a “state of emergency.” According to the junta’s state of emergency rules, trials in those areas must be conducted in a military court without the need for a civilian court trial.

Police finally let Byuhar’s family visit him five days later, on Monday. “I took our two children to see him at the North Dagon police station, where he was detained,” his wife told VOA. “I was told he will be kept there until June 9th.” She doesn’t know what will become of him after that, but she fears for the worst. “We were so worried about him after false reports on social media that he had died during interrogation. We are very concerned for his safety.”

Section 505(a)

The rapper’s detention is the latest in a string of arrests of artists who have spoken out against the regime. One such artist, Phyo Zaya Thaw, was executed by the military last year for his involvement in the anti-coup movement. The arrests of influential artists are widely viewed as an attempt by the junta to silence its critics.

Byuhar is the son of renowned composer Naing Myanmar, who penned the popular song The World Is Unforgiving during Myanmar’s 1988 uprising, a series of nationwide protests, marches, and riots in Burma (now Myanmar) that culminated in August 1988.

Monday, Myanmar’s state-owned newspaper, Myanmar Ahalin, reported on Byuhar’s arrest. The report stated that “the anti-terrorism law and the electronic communication law can be used to prosecute those who distribute through social networks incitement to destroy government apparatus, propaganda, or threats.” The report goes on to state that Byuhar can be charged under section 505(a), which criminalizes comments that “cause fear, spread false news, or agitate a criminal offense against a government employee.”

Following the 2021 military coup in Myanmar, the military junta amended section 505(a) to criminalize “fake news” and “incitement” against the military.

According to experts, the amendment to the Anti-Terrorism Law issued March 1 permits authorities to eavesdrop on suspects, seize their assets, and take other measures to suppress the opposition.

Byuhar’s wife told VOA that her husband doesn’t know which charges he could be facing. “When I saw him, he was still strong mentally,” she said, “but he has stomach pain and needs medication.” When asked about signs of torture or physical abuse, she declined to comment.

According to a news release issued by Burma Campaign UK on May 30, “more than 22,000 people have been detained [since the beginning of the coup], and political prisoners have been subjected to torture and sexual violence after their arrest. For the first time in decades, executions are occurring again. There is no freedom of speech, media outlets are banned or extensively censored, and internet access is restricted or blocked entirely.”

Lin Htet, a Myanmar musician and composer, told VOA that he and his fellow artists are concerned about being detained and beaten for criticizing the junta over things like the lack of regular electrical service. Lin Htet himself opposed the military revolution in February 2021 and actively participated in anti-coup movements. He escaped overseas and is currently residing in the United States.

“I am concerned for Byuhar’s life and health, especially because the junta is arresting and torturing individuals.” Lin Htet told VOA. “Byuhar expressed what the people were actually experiencing. In addition to not receiving consistent electricity, people are suffering due to the current predicament. Byuhar is incredibly courageous for articulating how people suffer under the junta.”
…

Female artists examine their lives and cultures in an exhibition featuring art from the Middle East and other areas, now on display in Los Angeles. The exhibition, called “Women Defining Women,” explores the roles of women in traditional societies and modern life. Mike O’Sullivan takes a look.
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