Jamie M. Rea

SALT on America’s wounds

Inspired by Gandhi's Salt March of resistance, Shaking the Tree's new venture blends art, theater, and dance in a collective raised voice

Shaking the Tree Theatre, under the artistic direction of the imaginative Samantha Van Der Merwe, incorporates visual art into each of its theatrical performances. With SALT, opening Tuesday for an all-too-brief six-day run, Shaking the Tree is flipping that concept on its head. SALT is the first of Shaking the Tree’s acts of resistance – “in direct response,” according to the SALT program, “to a Trump presidency and its implications of hate, exclusion, bigotry, and fear.”

Van Der Merwe was inspired to create this first act in Shaking the Tree’s four-year project by Gandhi’s speech on the eve of the 1930 Salt March (or Dandi March). In that speech, he famously encouraged his followers to resist peacefully. “We have resolved to utilize all our resources in the pursuit of an exclusively nonviolent struggle, he said. “Let no one commit a wrong in anger. This is my hope and prayer. I wish these words of mine reached every nook and corner of the land.” Van Der Merwe asked a cross-section of the city’s finest artists — from many cultures, genres, and backgrounds — to use Gandhi’s speech as a jumping-off point.

SALT teams around Samantha Van Der Merwe’s “Thread.” Photo: Meg Nanna

The Shaking the Tree space is divided into eight 8×8 boxes, and each artist (with Van Der Merwe’s piece, created out of salt, in the center) was given that space to create something, anything. Some artists will be performing as part of their piece, or have others performing. Some is visual art. Some have video. Some are interactive.

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4X4 review: quality quartet

PDX Playwrights' Fertile Ground showcase presents diverse selection of short takes

An agitated, hooded man angrily approaches a Transportation Security Administration agent at an airport security station, demanding to know what they’re doing to his son. Violence seems likely to erupt any moment.

That was the arresting opener of Contraband, the opening play in Fertile Ground‘s 4X4: a Collection of One Acts. Produced by PDX Playwrights, the local reading group whose many contributions to the annual showcase of new works amounted to a festival within a festival, the four short one-acts performed at Portland’s Hipbone Studios demonstrated the group’s eclectic variety of theatrical approaches. This creative generator (whose meetings I attend) makes a fine pairing with Fertile Ground’s annual performing arts incubator.

Tom Wiitherspoon and Jonathan Wexler (or is it the other way around?) in ‘Steve and Steve,’ at PDX Playwrights 4×4: A Collection of One Acts. Photo: Charlie Latourette.

As Contraband’s tense encounter continued, a TSA supervisor joined in, until the low-level agent was able to find enough common ground to get the dad conversing instead of confronting. As Karen Polinsky’s play progressed, with the guard mediating between the father and the higher level TSA bureaucrat, we learn that the dad’s obnoxiousness really arises from fear — not just about the incident that landed his son in lockup, but about the boy’s differentness, and more.

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