TeenTix Blog

Our quarantine art viewing is still going strong! One thing we have noticed during online school, however, is that we find ourselves procrastinating far more than we used to. Our emails are open, our phones are right next to us, and YouTube and Netflix are only one click away…

There’s also a lot to procrastinate! Some may say that because AP tests are only forty-five minutes, they cause less stress; others believe that because many final exams have been canceled, we don’t need to study; still others think that because many schools are going pass/fail, grades don’t matter anymore. To all those people, we say only this: we’re teenagers, and even when it’s not necessary, we make procrastinating a full-time job! (Also, do you see how we slid in an AP-English-worthy concession there? Take notes, College Board.)

Introducing our TeenTix GiveBIG SUPERSTAR, Hana Peoples! Hana is one of fewer than 20 people in the whole world who has donated to TeenTix during GiveBIG every year 6 years in a row! She is a TeenTix alumni who recently moved back to Seattle after graduating from UCLA with a Masters in Cinema and Media Studies. Hana is currently starting a part time internship with Telescope Film where she will be helping with their international film database. In a recent interview, we got to know Hana and hear about her arts experiences with TeenTix and beyond.

Hana was first introduced to TeenTix by a friend, and together they attended a show at Pacific Northwest Ballet. At the time, Hana went to Holy Names Academy for and always felt like she didn’t quite fit in. She enjoyed theater and dance, but didn’t want to perform. Hana (right) and her friend Lena at her last TeenTix event, PNB's The Nutcracker, in 2013.

Referring to people as bodies isn't a turn of phrase I find particularly comfortable. It feels impersonal, even spooky, to separate a person's essence from their physical body; it turns them into something inhuman. However, in the case of Pivot Turn, a series of films that don't always take place in the world we're used to, it feels appropriate. Pivot Turn ran the second night of Northwest Film Forum's Cadence: Video Poetry Festival, which transferred smoothly online in the wake of COVID-19. The films were collected around the theme of a volta, the moment of emotional change in a poem. "Moment of emotional change" might sound like a vague concept, but in practice it's fairly easy to recognize: it's a shift in tone, subject, or feeling. Sometimes you feel the volta as a subtle flip of your heart, sometimes, as the ground moving under your feet. The volta is part of what makes poetry so personal, strange, and effective. As an art form that often relies on dreamy association rather than a clear linear narrative, poetry has to envelop its audience emotionally in order to have an impact. The volta is one way for this to happen: it can bring an everyday object or place into a strange and unfamiliar light, causing the audience to experience the world in a new way.

In Pivot Turn, the voltas were explicitly physical. The shift in feeling was visually represented through movement: dance, animation, bodies of water, human bodies. Different creators interpreted the open concept of "video poetry" in very different ways. Some were visualizations of full poems (think music video for a poem); some focused on fluid physical movement organized in a dream-logic reminiscent of poetry, with very few words. All of the films, however, shared the theme of movement. Black Girl Poem, Daryl Paris Bright + Anatola Pabst. Image courtesy of Northwest Film Forum.

During this time of quarantine, many of us have taken the opportunity to delve deep into the art of cinematography. Portrait of a Lady on Fire, a story of finding freedom and meaning within the bounds of one’s house and the neighboring, barren coastline, may be particularly compelling as we all adjust to the new confines of our lives. The first scene introduces the viewer to the intense sensory overflow in this movie as the gentle sound of charcoal traces out curves on a blank canvas and dominates one’s attention. Little by little, as with everything in this film, an art class in 18th century France is revealed, taught by Marianne, a painter played by Noémie Merlant. Marianne is provoked by a painting from her past that portrays the film’s namesake: the lady on fire. It is then that the film takes a step back in time to introduce the young woman ‘on fire’ in the portrait: Héloïse, played by Adèle Haenel. Héloïse is opposed to her upcoming arranged marriage, but must send a wedding portrait of herself to the gentleman. A younger Marianne must paint Héloïse’s portrait in secret as Héloïse refuses to pose for a painter. Marianne acts as a companion for Héloïse’s daily walks on the coastal cliffs, cliffs that serve as a haunting reminder of Héloïse’s sister’s recent suicide from similar heights. The plot thickens as the two develop feelings for each other while they explore the remaining days of Héloïse as a free woman before she is wed. Adèle Haenel and Noémie Merlant in Portrait of a Lady on Fire, directed by Céline Sciamma

It is a spectacular journey that relies upon every detail’s precise intention, with the use of audio particularly standing out for its vivid texture, adding to the intriguing plot to create a strikingly artful film. While I have to rely on subtitles to experience the film, the sound design speaks more than any dialogue. The loud rustling of their dresses as they walk silently emphasizes the initial unfamiliarity and unease between the two women. The loud crashing of the waves during an emotionally charged, wordless moment between Héloïse and Marianne helps the viewer experience the crashing in their chests as their hearts beat faster while they stare into each other’s eyes. The concise dialogue is also paramount in generating such emotional scenes. The first vocal exchange between the two women is during their first trip outside, after Marianne learns about the recent loss of Héloïse’s sister. Héloïse charges for the edge of the cliff, stopping abruptly at the edge before saying, “Dreamt of that for years.” Marianne then asks, “Dying?” Héloïse’s response is a simple word that conveys so much of how she feels about her life. “Running.” This motif of freedom is seen throughout the film, particularly Héloïse’s lack of it. In a particularly witty exchange, Marianne inquires as to whether or not Héloïse can swim. “I don’t know,” Héloïse replies. Marianne tells her, “It’s too dangerous if you don’t.” The symbolism of swimming grows to be a powerful metaphor for the lady living on the coast’s missing freedom. This symbol is juxtaposed with the imagery of flames; seen in fireplaces, bonfires, and a bounty of candles. The rest of the thoughtful symbology throughout the film adds thought-provoking depth to this gradual journey. The viewer is given time to digest the layered dialogue and engage fully with the world Héloïse is trapped in. Adèle Haenel and Noémie Merlant in Portrait of a Lady on Fire, directed by Céline Sciamma

In honor of International Dance Day, here is a collection of reviews at our Arts Partners, written exclusively by teen writers. Help us celebrate young writers, dancers, choreographers, and venues alike by reading and sharing this article with your network, and thank you to all of the dancers worldwide for sharing your art with us! TeenTix Newsroom review of "Dark Matters" via On the Boards.TV

"The piece pays homage to the Frankenstein-horror sub genre through a dramatic tale of a creator and his puppet, sprinkling in sometimes out-of-place bits of humor before diving fully into themes of manipulation and connection, which can be seen throughout the entire piece, from the loose, puppet-like motion of the dancers to the music." Click here to read the full review, written by TeenTix Newsroom Writer Lucia McLaren. Teen Reviews of the Hiplet Ballerinas at Edmonds Center for the Arts

Arts Essentials pairs young people with arts leaders for conversations that matter. Join us for a new interview every week! Arts Essentials with Sumeya & Betsey

TeenTix New Guard Member and Newsroom Writer Sumeya Block sits down with Betsey Brock, Executive Director of On the Boards for a conversation about how art has impacted their lives and how they find connection in a virtual age - all while painting their nails! Arts Essentials with Eleanor & Becs

As I sat in the same bedroom where I do my homework, hang out with my online friends, and make my own music, I watched Frankie Cosmos lead singer and guitarist, Greta Kline, perform live from her home. Watching from my desk, I felt like we were in this together—not just in quarantine but in this beautiful, confusing mess that is life. I definitely would prefer to see her perform in person, with all the sound quality, lighting, and overall atmosphere that a live venue provides, but honestly, the music lends itself well to an Instagram live video made at home, too. The magic of Frankie Cosmos is not in the production, or in the instrumentation, or even the tune, though those are often enjoyable. It’s in the genuine emotion Frankie Cosmos conveys, and the feeling that the listener is getting a glimpse into her unfiltered life.

Kline’s voice is pretty in all of her work, but it isn’t loud or perfectly blended. Every once in a while it’s drowned out by the accompaniment, despite being the centerpiece of most songs. The rest of the band, Lauren Martin (keyboardist, vocalist, and synth player), Luke Pyenson (drummer and vocalist), and Alex Bailey (keyboardist and bassist) add more character to every piece, despite rarely having surprising technical ability or effects that blow me away. But Kline doesn’t need to belt, the mixing doesn’t have to sound perfect, and the backing band doesn’t need to shred their guitars or have mind-blowing solos.

In these dark times of uncertainty, people have access to a surprising amount of media. From Netflix to YouTube, sites give home viewers a wide library of constantly-updating content, distracting from the often anxiety-inducing situation at hand.

OntheBoards.TV, connected to TeenTix partner On the Boards, is one of these sites and holds a library of high-quality recorded contemporary art pieces. I recently watched one of these pieces, Dark Matters, a modern dance created by Crystal Pite, a Canadian choreographer who’s somewhat of an audience favorite on the site. The piece pays homage to the Frankenstein-horror sub genre through a dramatic tale of a creator and his puppet, sprinkling in sometimes out-of-place bits of humor before diving fully into themes of manipulation and connection, which can be seen throughout the entire piece, from the loose, puppet-like motion of the dancers to the music. Kidd Pivot in Dark Matters by Crystal Pite. Photo by Dean Buscher.

When William F. Buckley and James Baldwin debated each other at Cambridge University in 1965, the auditorium was packed. It was during the height of the Selma campaign and just six months before the Voting Rights Act was passed. As Nicholas Buccola, author of The Fire Is Upon Us, described on February 27, 2020, at Town Hall Seattle, students crowded together on the floor. All were there to see Baldwin, a legendary writer and civil rights advocate, debate Buckley, one of the chief architects of modern conservatism. In his talk, Buccola traces the two men’s upbringings and intellectual journeys that led them to the debate stage to spar over the question, “Is the American Dream at the expense of the American Negro?” In the process, he exposes truths about race relations that still feel relevant 55 years after the debate.

Like any properly interesting debate, the Baldwin-Buckley one is a study in contrasts. Buccola teases apart the differences in the upbringings of these two formidable and influential intellectuals. Baldwin grew up poor in Harlem, and described his household with his eight siblings as “claustrophobic.” Buckley, on the other hand, lived in an expansive estate in Connecticut, and was treated to private tutors and lessons in everything from ballroom dancing to apologetics. The rarefied privilege of Buckley’s upbringing, and the deprivation of Baldwin’s, shaped their views on whether the “racialized hierarchy” was justified and innate, or cruel and discriminatory.

“You not gonna fight ‘em, you not gonna shoot ‘em, you not gonna stab ‘em, you gonna kill ‘em with a needle and thread.”

These are the words spoken by Big Chief Demond Melancon of the Young Seminole Hunters, who stars in the short documentary All on a Mardi Gras Day. Directed and edited by Michal Pietrzyk, the 22 minute film follows Demond and his friends as they prepare costumes for the biggest day in New Orleans: Mardi Gras. Demond makes his own costumes from scratch every year, each one more elaborate and feathered than the last. The film’s perspective on African American men defies many stereotypes and assumptions. There are so many mental benefits from being creative, and the film is especially important due to the stigma surrounding men of color discussing mental health.

Is anyone else very, very, very, bored? It’s weird to think that not even a month ago, we were all living entirely different lives. On March 1st, we were still going about our normal routines: taking buses to school, eating lunch (and sharing food!) with friends, and of course, using our TeenTix passes. But all that has changed. Now, I go to my classes via Zoom, I take a walk around the block, and, like everyone else, I try my best to help contain COVID-19. To fill my boredom, I have participated in lots of virtual art. There are many lessons we have learned since quarantine and one of the big ones is that humans are adaptable; we change to fit our environment no matter how drastic the situation.

Just like how we have had to adapt, so has art, by catering to an online audience. One can no longer fill McCaw Hall or the beautiful MOHAI Museum but can instead fill an infinite number of virtual seats through a computer screen. Currently, Jet City Improv is hosting a virtual happy hour via Twitch. Seattle Opera and Seattle Art Museum have created an interactive page full of weekly podcasts, interviews, and hand-picked playlists. And those are just a few of the events going on this month! I love being able to support local art right from my bed by interacting, sharing, and donating to their websites. But the true power of virtual art is the ability to experience it from anywhere, try something new, and hear the voices of people from all over the world.

This is the second installment of our “Keeping Cultured During Quarantine” series. Enjoy these recommendations from TeenTix Newsroom writers about how to fight the collective cabin fever! ALISON

I’m a big fan of Kanopy, the criminally underrated streaming service you can access for free with a library card. I recently watched The Way He Looks on the platform, a love story so good it made me giddy. It centers on Leo, a blind teenager with a passion for classical music, and his friendship-turned-romance with Gabriel, the new boy at his school who plays him Belle & Sebastian records. The gorgeous cinematography of São Paulo, the witty conversations, and the honest portrayal of disability are all reasons to watch this film. JOSH

Attention: Spoilers Ahead!

There are two types of people in the world: those who have no idea what they’re doing with their life, and those who pretend like they know what they’re doing.

Music is a language without discrimination, giving everyone an opportunity to interpret it on their own. During times of uncertainty, music can act as a binding agent between communities. As we experience quarantine in the Seattle area, Seattle Symphony continues to stream previously recorded broadcasts to bring people together during somber times like these. While I do admit that viewing a concert online does not deliver the same environment and social setting as viewing it live, I admire Seattle Symphony’s effort to share Antonín Dvořák's Symphony No. 8 with us.

The broadcast started with a small delay due to technical difficulties, but the rest of the show went smoothly. Five minutes into the livestream, there were over 1,500 people tuning in. I found this extremely inspiring. When I looked at the comment section, it struck me that there were people from all over the world centered around the same screen. Some were viewing the performance all the way from Tokyo and others were from the local Seattle area. Although this is not a typical concert venue, the live broadcast allowed a greater number and diversity of music enthusiasts to appreciate a performance from the comfort of their own homes. Additionally, the Seattle Symphony provided the virtual concert at no cost, making the experience more financially accessible than the live Benaroya Hall experience. After all, the various camera angles gave the online audience a 360-degree view of the performance at the grand concert hall.

Even though COVID-19 has kept us inside, there are still plenty of ways to stay involved with art while practicing good social distancing. From online exhibitions to performance archives, the Seattle arts scene is still alive and well, even under quarantine.

The coronavirus outbreak not frightening enough? Give Dark Matters at OntheBoards.tv a try—a spine chilling performance combining elements of contemporary dance and theatre. Directed by choreographer Crystal Pite, this performance will take you on a wild emotional journey from the comforts of your own home.

Just because COVID-19 cancelled many arts events, that doesn’t mean art stops! We here on the Teen Editorial Staff have been spending our quarantine keeping cultured with the plethora of great art we now have the pleasure of catching up on. From music, crafts, TV, movies, books, scrapbooks, knitting, and cosplaying, we all have our own way of taking advantage of this time. So if you’ve been sitting at home longing for the outdoors like the Disney prince/princess you are, read on for our recommendations on how to beat the collective cabin fever! OLIVIA:

I’ve been feeling extra nostalgic lately, so a lot of my time has been spent reminiscing about the good ol’ days (that is, before the plague hit). After all, I’m a senior in high school, and it won’t be long before my childhood ends, and the next chapter officially begins. So, I’ve spent a lot of my time at home reliving memories through various arts and crafts.

Warning: Spoilers ahead!

By creating a full world of its own from simple interactions, August Wilson’s Jitney artfully depicts the everyday interactions between employees of a jitney business during the 1970s. (To provide some context, jitney businesses offered unlicensed taxis for the black community when typical services would not due to racial discrimination.) Jitney displays the everyday hustle and bustle of working-class Americans, allowing the audience to create relationships with and appreciate the details and flaws of each of its characters.

1984 is the kind of book I definitely should’ve read, but I think one of the play’s strengths is how seamlessly the material is adapted for the stage. After reading Brave New World and The Handmaid’s Tale, I sort of dismissed 1984. Both of those dystopias have a unique form of control over their citizens: Brave New World controls through pleasure in order to eliminate conflict and for the prosperity of its citizens, and The Handmaid’s Tale controls through language in order to save the declining birth rates of the white race. 1984 controls through fear simply for the sake of the Inner Party’s personal whims, which I always assumed to be sort of basic. Sure, 1984’s influence can be felt in all kinds of media, but I never thought to read the original. However, 18th & Union's adaptation certainly proves the merit of the original work, and I have no shame in saying that this is how I first experienced it.

The play is set in a dystopian future and follows Winston Smith, a “records editor” who seeks to escape and rebel against the ever looming and controlling presence of Big Brother alongside his new love Julia. The play doesn’t start here however, rather the entire show is set in an interrogation room set after Winston has already been captured. The audience is shown his story through a reenactment put on by party members based on the writings they find in Winston’s diary. Marianna de Fazio, Brad Cook, Michael Ramquist, K. Brian Neel and Lyam White; Ryan Higgins facing upstage in 18th & Union's production of 1984. Photo by Marcia Davis.

To the Steadfast TeenTix Family,

Woah - here we are. We are living through an unprecedented and extraordinary moment for Seattle’s arts community - and the world at large. I’ve found myself starting my conversations with “are you OK?” TeenTix, our close family, friends, teens, and all of our TeenTix Partners are doing everything we can to slow the COVID-19 pandemic. Right now, we are all faced with a thousand and one decisions on how to respond, how to do more, how to do less, and how to do the right thing.

Hey TeenTixers!

We hope you’re staying safe and healthy during this uncertain time. With the COVID-19 pandemic and the social distancing measures put in place to protect public health, this is an unprecedented moment in history. We know that you may be spending a lot more time at home, and the arts are a great way to keep you grounded, and lift your spirits when times get tough. So we would love to hear how art is sustaining you right now. Whether you’re letting the creative juices flow and diving into your own art-making practice, reminiscing about a recent arts experience, or binge-ing On the Boards.TV, we want to hear from YOU. Young people are an integral part of the arts community, and by showcasing teen art and experiences we hope to show just how resilient the arts world is.