ONCE AGAIN, THE MONTREAL JAZZ FESTIVAL

Chronicle by Sergio Martinez

When the old guard of the Montreal International Jazz Festival (FIJM for its
French acronym) stepped down in favour of a new team, questions arose as to how this generational change would impact one of the most emblematic events in the metropolis. Incidentally, there had also already been some doubts when the festival’s production company, Spectra, was acquired by the province's largest entertainment promoter, Evenko. Naturally, there have been some changes, both organizationally and in the programming. One concern was the apparent reduction in the variety of musical genres featured, especially in the 2024 edition. To some extent, that concern was allayed by this year's successful roster of artists, where more diversity was apparent. For those of us who cover the event primarily for the Latin American community, it was satisfying to see a slightly larger Latin musical presence this year.

This diversity is furthermore celebrated by the Director of Programming himself, Maurin Auxéméry, who in his balance of the event said "How proud that this event can connect audiences in such large numbers with music of all genres, to put the spotlight on diverse musical niches and to bring together music lovers in a festive atmosphere! With its cutting-edge programming, the FIJM is exactly what it has always promised to be: irresistibly bold."

THE LATIN AMERICAN PRESENCE

The Mexican Natalia Lafourcade, who performed on June 26 and 27, was the first, in indoor performances, to make the Latin American presence felt at the Festival. With a very pleasing combination of melodic songs, modern themes and others of traditional Mexican music, this artist fully captivated the audience that filled the Wilfrid Pelletier Hall of the Place des Arts.

On the night of her debut, the Mexican singer was awarded the Antonio Carlos Jobin Prize that the FIJM grants each year to artists who reflect creative diversity.

On July 3, Chile's Mon Laferte, who has spent most of her artistic career in Mexico, performed. Not surprisingly, the audience included both Chileans and Mexicans, who also followed the lyrics of her songs with great precision.

Both artists have some similarities in the themes of their songs. However, Mon Laferte also ventures into rhythms closer to rock: she sings accompanied by a sextet, while Natalia Lafourcaude sings accompanied by her guitar.  In terms of audience satisfaction, it can be said that the two singers fully met expectations. It is worth celebrating that the FIJM has, to a certain extent, taken up the tradition of offering, in addition to jazz in its various expressions, musical proposals which, without corresponding to the definition of jazz, do respond to a particularly urban creative environment and, like jazz, also reflect the feelings of the popular sectors.

UNA VEZ MÁS, EL FESTIVAL DE JAZZ DE MONTREAL

Comentario de Sergio Martínez

Cuando la vieja guardia del Festival Internacional de Jazz de Montreal (FIJM) dejó su puesto en favor de un nuevo equipo, surgieron interrogantes sobre de qué manera este cambio generacional impactaría uno de los eventos más emblemáticos de la metrópolis. Por cierto, también ya había habido algunas dudas cuando la productora del Festival, Spectra, fue adquirida por la mayor promotora de espectáculos de la provincia, Evenko. Naturalmente, ha habido algunos cambios, tanto en lo organizativo como en la programación. Una de las inquietudes la produjo la aparente reducción en la variedad de géneros musicales que se vio especialmente en la edición de 2024. En alguna medida esa inquietud se vio disipada en lo que fue la exitosa lista de artistas de este año, donde pudo apreciarse mayor diversidad. Para quienes cubrimos el evento principalmente para la comunidad latinoamericana, fue satisfactorio ver una presencia musical latina un tanto mayor este año.

Esa diversidad es por lo demás celebrada por el mismo Director de la Programación, Maurin Auxéméry que en el balance del evento ha dicho “¡Qué orgullo que este evento sea capaz de conectar al público en tan gran número con la música de todo género, de poner el foco sobre diversos nichos musicales y de congregar a los melómanos en un ambiente de fiesta! Con su programación vanguardista el FIJM es exactamente lo que siempre ha prometido ser: irresistiblemente audaz”.

LA PRESENCIA LATINA

La mexicana Natalia Lafourcade que se presentó los días 26 y 27 de junio, fue la primera—en espectáculos en sala—en hacer notar la presencia latinoamericana en el Festival. Con una muy grata combinación de canciones melódicas, temas modernos y otros de la música tradicional mexicana, esta artista cautivó plenamente al público que repletó la Sala Wilfrid Pelletier de la Place des Arts.

La noche de su debut, la cantante mexicana fue agraciada con el Premio Antonio Carlos Jobin que el FIJM otorga cada año a artistas que reflejan la diversidad creativa.

El 3 de julio se presentó la chilena Mon Laferte, quien ha desarrollado la mayor parte de su carrera artística en México. No era sorprendente entonces que entra la audiencia hubiera tanto chilenos como mexicanos, quienes además seguían las letras de sus canciones con gran precisión.

Ambas artistas tienen algunas similaridades en la temática de sus canciones, aunque Mon Laferte se aventura también en ritmos más cercanos al rock: ella canta acompañada de un sexteto, en tanto que Natalia Lafourcaude lo hace acompañada de su guitarra.  En términos de la satisfacción de la audiencia, se puede decir que las dos cantantes cumplieron plenamente con las expectativas y cabe celebrar que el FIJM haya retomado, hasta cierto punto, la tradición de brindar, además del jazz en sus diversas expresiones, propuestas musicales que, sin corresponder a la definición del jazz, sí responden a un ámbito creativo especialmente urbano y, como el jazz, recogen también el sentir de los sectores populares.

MOVIES AT LA PLAZA— “THE NEW BOY”: There is no magic in the colonial world

Movie Review by Sergio Martinez

This film, directed by Warwick Thornton, is set in a desert region of Australia in the 40s of the last century and touches on a theme, with which, here in Canada, there are some painful coincidences. In the plot's background, there is the eagerness of the authorities to assimilate the indigenous population, first, by stripping them of their own cultural identity, language and even their way of relating to reality. In this context, the “Chief Protector of Aborigines” figure took on special importance. These officials had the authority to remove indigenous children from their families in order to assimilate them into the white culture.

He will be known only as
the New Boy (Aswan Reid)

The story begins with a confusing episode in which the character whom we only know as the “New Boy” (Aswan Reid), who does not speak for most of the time, is taken to a remote mission run by Sister Eileen (Cate Blanchet), a nun with her own way of managing the place, who is assisted by Sister Mum (Deborah Mailman). At the mission reside seven other children who, in addition to being instructed in the basics of religion, perform various jobs under the supervision of George (Wayne Blair).

Soon, the New Boy will mark his difference with the other children, aboriginal boys who have already been Christianized, and with the environment of the site itself. The culture clash will become apparent on several occasions, one in which the New Boy arrives with snakes, part of his normal relationship with nature, but symbols of evil in Christian belief.  This and other occurrences will put Sister Eileen in check when her own faith is shaken by the newcomer's healing powers and his different understanding of the images of the local church.

Sister Eileen (Cate Blanchet) sees
her faith shaken by the presence of the
New Boy

In his introductory statement to the film, the director said, “Aboriginal people are generally happy to embrace Christianity alongside their own spiritual beliefs, but it doesn’t happen the other way around. Christianity must conquer.” That is well portrayed in the film when the New Boy speaks for the first time and when, after being baptized, his life will take on a different character. In a way, this is also an analogy to what happens with the culture of the peoples assimilated by “white civilization”. With its power, the colonial world displaces the old images and beliefs, as well as their magical powers.

Sister Mum (Deborah Mailman) 
and George (Wayne Blair)

The New Boy is a film that focuses on the devastating effects of the clash between the dominant colonial culture and those of the people subjected to it. The cinematography is very effective in transmitting to the viewer, on the one hand, the overwhelming immensity of the territory and, on the other, the characters' intimacy in the reclusive environment of the mission.

Running time: 96 min.