Month: May 2006

  • Plastination: The Populist Approach

    Dr. Gunther von Hagens’ plastinates have taken over the Science Museum
    of Minnesota; The Rake proposes taking them into the streets. What
    better way to raise awareness–and spur body donations for von Hagens–than
    to “plastinatize” some of the glorified lawn ornaments that masquerade as
    public art in the Twin Cities?

  • Best of India

    Clock-watchers in the St. Louis Park area can’t wait to get over to Best of India’s stellar lunch buffet. There’s a palpable feeling of escape, as diners sample a spread that encompasses more than twenty items. The non-buffet menu is also stacked with winners, including nine different kinds of buttery tandoori breads. The beef vindaloo and lamb biryani are perfectly spiced, and the chicken palak, with fresh herbs and spinach, is simply vibrant. In the expanding local Indian restaurant scene, Best of India is a veteran: Its owners already have many fans with their Chapati restaurant in Northfield, and Best of India brings that same fine cooking to the Twin Cities. 8120 Minnetonka Blvd. (TexaTonka Mall); St. Louis Park; 952-935-2320; www.bestofindiausa.com

  • The Lost City

    Andy Garcia was five years old when his family moved from Cuba to Florida, but the memories of his birthplace left an indelible impression on the actor, who makes his directorial debut with this film. Equal parts love song to Cuban culture and critique of the political events that ended Havana’s brief reign as the “Paris of the Caribbean,” The Lost City captures the last days of an elegant nightclub that is deemed “incompatible with revolutionary ideals.” Garcia, who is also an accomplished musician, hand selected nearly forty songs for the film’s amazing soundtrack. 3911 50th St. W., Edina, 651-649-4416; www.landmarktheatres.com

  • No Way Home

    The dorm house where Khan Moek works is on the outskirts of Phnom Penh, the capital of Cambodia. It is run by the Returnee Integration Support Program (RISP), a venture supported by the Vietnam Veterans of America Foundation. The program offers a number of support services to help Cambodian felons who are deported from the U.S. learn to live in a country where they are nominal citizens, but utter foreigners in every other way.

     

    The house is a dusty fifteen-minute ride on the back of a motor scooter. I wrap a scarf around my nose and mouth as my motor-scooter driver weaves through heavy traffic, heading from the Independence Monument in the city center to a lesser-developed neighborhood. There are no traffic lanes and few stop lights, but everyone drives courteously. From the paved street the driver turns onto a narrow dirt road, barnacled with rocks, leading to the RISP house. Chickens loiter inside the concrete-walled yard and Toby, a pet monkey given to one of the staff members, swings about in his cramped cage, excited to see new people on the premises.

    The two parts of the city are worlds, and seemingly decades, apart. Near the urbane square, you can pay U.S. prices for an iced latte in a café run by a Westerner and patronized by expats, or check email at any of a handful of internet cafés. Meanwhile, in the neighborhood where the RISP house is located, many homes lack indoor plumbing.

    Moek greets me as I pay my driver what amounts to about one U.S. dollar. Warm and soft-spoken, with a fit, slim build, Moek is obviously proud of the condition of the home and its grounds—he is in charge of managing this place. He invites me to sit beneath a banana tree at a chunky wooden picnic table. The heat and humidity is indescribable. “Oppressive” and “stifling” mean nothing, even though I scribble these words on my notepad. I’ve only been in Phnom Penh a couple of days, and when I breathe, it’s with the same heaviness as if I were in a sauna. Sweat drips, clothes stick. You forget about even attempting to look as cool or composed as the Cambodians seem to be. Moek looks at me and smiles. He knows what it’s like to be dropped into this climate from Minnesota’s cooler temperatures.

    “It’s not easy to acclimate,” I say, rolling up my pant legs. “I know,” he replies. A resident at the dorm house brings us shade-cooled bottles of water (ice is out of the question). Like the others, he was deported from the U.S. for committing a felony. I’m curious to know what he was convicted for, but I don’t ask—due to the recent tightening of immigration laws, it could have been anything from rape to theft.

    Moek, however, wants to tell me his story. As he begins talking, he sounds sincere and, well, honest. “I’ll tell you the truth because you can find it out anyway,” he says. He bounces back and forth between the past and present with unease and trepidation. Moek, who is twenty-four, says he has two big regrets: joining a gang and not encouraging his parents to become U.S. citizens. If they had, citizenship would also have been conferred upon their children under the age of eighteen. By the time Moek was eligible to take the test for himself, his trouble with the law disqualified him from pursuing citizenship. He didn’t know it at the time, but those choices sealed his fate: not only to be convicted of a crime, but also to be banished from the only country he knew.

    Moek was three-and-a-half years old when he—along with two younger sisters, Savan and San—arrived in the U.S. with their parents. It was 1984, and the family had been living in a Thai refugee camp since 1977, when Moek’s parents fled the Khmer Rouge in Cambodia. Their story is not unusual. The conditions of life in Cambodia under the Khmer Rouge are well-known. Eighty-five percent of the population was subjected to brainwashing and forced labor, and suffered lack of food, water, shelter, and medical care. Thirty-six percent of the people reported torture; seventeen percent reported rape or sexual abuse; and fifty-four percent experienced the murder of a family member or friend. In all, an estimated two million of Cambodia’s eight million citizens perished from disease, starvation, overwork, or outright execution during one of the world’s most notorious genocides. Meanwhile, those who made it to refugee camps suffered from depression, post-traumatic stress disorder, and a host of other psychological ailments.

    With the help of U.S.-sanctioned policies and programs, Cambodian refugees began arriving on our shores in the mid-seventies. However, critics say poor preparation, as well as a lack of resources and other support, laid the groundwork for an immigrant community that would remain at risk for all kinds of problems associated with poverty and racism—including drug use, gangs, and crime. Even those Cambodians who came here as toddlers or were born here would suffer.

    Moek’s parents had two more children, his brothers Sokhen and Sohkom, after arriving in the U.S. They were U.S. citizens from birth, while the rest of the family lived here as permanent residents. It’s a common scenario. “My mother and father never became citizens because they couldn’t pass the language requirements,” Khan tells me. “I never even thought about citizenship for myself—honestly, I didn’t think I needed it.”

    As a teenager, Moek was a good son, said his mother, Sath Soa. “Family was important to him,” she told me, while sitting cross-legged on the floor in her living room in St. Paul, cradling a newborn grandchild. “He helped take care of the younger children and was good in school.” Moek worked at the United Cambodia Association of Minnesota translating letters and organizing events for Cambodian youth, she said. He scored A’s and B’s at Guadalupe Alternative Programs, an alternative school in West St. Paul. Jody Nelson, the principal, remembers Moek well. “He was a leader—that was clear early on,” she told me. She cannot seem to say enough glowing things about him as a student. “He was respectful to his peers and teachers and was very involved in extracurricular activities, including the student government board.” Nelson and other staff members at the school were saddened by the “mistake,” as she called it, that lead to his arrest. “But that didn’t make a difference to me.”

    Nor, apparently, did Moek’s involvement in the Red Cambodian Bloods gang. “It’s an urban reality,” Nelson said. “Many of our students are gang members, but I wouldn’t categorize them as serious gangsters. Many of them belong out of safety or the need to belong to something. But what I see is that most of the kids eventually grow out of the gang activity when they are ready to graduate, have kids, or find girlfriends.” She saw that in Moek. “He was close to his girlfriend, they seemed to have a good relationship, and he was really involved in their baby’s life.”

    Unlike Sath Soa and Jody Nelson, Moek readily admits that he wasn’t a perfect teenager. But he echoes Nelson in explaining why he joined the Bloods. “It doesn’t matter if you’re not in a gang,” Moek says. “Members of other gangs figured I was and targeted me anyway, just because I was Cambodian. I guess I joined the RCB so I’d have some power and they’d know to leave me alone.”

    Nelson said that Guadalupe Alternative Programs only admits students whom teachers and other staff members believe they can invest in. “[Moek] was one of those students,” she said. “He was someone who had a lot of potential to make a difference in the world.”

    Before he could do that, however, Moek was one of seven men indicted on charges stemming from five bank robberies that took place in the St. Paul area in 1998 and 1999. Between December 1998 and March 1999, authorities tracked guns, body armor, ammunition, and cars that they believed were used to carry out the robberies. One gun was linked to Moek. He was arrested in July 1999 and charged with conspiracy to commit robbery, for supplying one of the weapons.

    “I had it, but it wasn’t mine,” Moek says of the gun. He doesn’t offer any further explanation, but does note that “it was my first charge as an adult.” He had faced previous offenses as a juvenile—and spent time one summer in a correctional program that involved living and working on a family farm—though again, he won’t elaborate. “I never hurt anyone,” he insists.

    Moek was eventually let out of jail pending trial. In 2001, he was convicted on the conspiracy charge and sentenced to three years in the Allenwood Federal Correctional Institution in Union Country, Pennsylvania. Only after serving those three years did he find out that his lifelong sentence had just begun. Upon his release from Allenwood in 2004, he was immediately transferred to a nearby county jail. That’s when U.S. Immigration and Customs Enforcement stepped in to begin what is called the “removal process.”

    The U.S. removes, or deports, any non-citizen of any status who is convicted of an aggravated felony, following an administrative procedure to find the person removable on that basis. This includes people who are convicted on misdemeanor charges that are then elevated to the status of an aggravated felony. That elevation became possible with legislation passed by a Republican congress during the height of anti-immigrant sentiment in 1996. The Illegal Immigration Reform and Immigrant Responsibility Act (IIRAIRA) greatly expanded the number of crimes that are considered an aggravated felony for immigration purposes, including non-violent misdemeanors like shoplifting and possession of marijuana. Conspiracy charges are also considered an “aggravated felony” under the act. What’s more, the law is retroactive—which means that officials have leeway to target, round up, and banish untold thousands of non-citizens years after they had done time for a misdemeanor. By cementing relationships among local law enforcement, the Justice Department, and immigration officials, the act has ensured that increasing numbers of immigrants caught up in local judicial systems will also find themselves facing the feds. In the four years after the act passed, the number of defendants in federal courts facing immigration charges more than doubled, from 6,605 in 1996 to 15,613 in 2000.

    According to the most recent statistics, in fiscal year 2005, a total of 204,193 people were deported—usually back to their country of citizenship. Most were categorized simply as non-criminal removals, but 87,256 of those people had been convicted of crimes and so were categorized as criminal removals.

    Moek is one of 145 Cambodians convicted of crimes in the U.S. who have been removed by the U.S. government in the last four years. They also include a man in his eighties and a woman who left her children behind in the U.S. with relatives. According to the Southeast Asian Action Center in Washington, D.C., twelve Cambodians were sent to Phnom Penh this February, and an estimated 1,500 more are caught in the removal process, perhaps to be deported. Removals to Cambodia began only in 2002, after the country signed a repatriation agreement with the U.S. in March of that year—just months after Moek went to prison in Pennsylvania. The terms of the agreement were hashed out in secret talks that determined Cambodia would receive its citizens who had been convicted of crimes and had completed their jail or prison sentences in the U.S. The U.S. would pay the Cambodian government two hundred dollars per person, money intended to help the person get settled.

    Before 2002, the U.S. didn’t deport anyone—refugees, permanent residents, or convicts—to communist countries. After all, it was held, these people (or their parents) had fled persecution; what’s more, U.S. diplomatic ties with such countries weren’t particularly strong. Now, the U.S. is negotiating agreements with Vietnam and Laos that are similar to its deal with Cambodia; however, Cuba is not on the list. Given how the U.S. government portrays Fidel Castro, forcing Cubans on our soil to go back there would be politically explosive—remember Elian Gonzalez? Cambodia and Laos, however, don’t carry the same political and diplomatic stigmas, and have even become legal tourist destinations. Deporting Cambodians to that country—despite the fact it is foreign to them—doesn’t seem so harsh when more and more Americans are traveling there to see Angkor Wat, or reading about Angelina Jolie adopting a child from one of its orphanages.

    By far, Mexicans make up the largest number of deportees in both criminal and non-criminal cases. Some Asian, African, and Central American countries represent most of the rest of the removals from the U.S. But unlike those countries, Cambodia suffered an intensive U.S.-led conflict—at least one that’s in the history books. Between 1969 and 1973, American planes dropped 540,000 tons of bombs on Cambodia in a campaign aimed at wiping out the Vietcong. The bombings, secretly ordered by President Nixon without congressional approval, killed as many as 150,000 civilians and displaced hundreds of thousands more, eventually destabilizing the country enough for the Khmer Rouge rebels to take over.

  • Zero for Conduct

    The upside of a miserable school experience: It might help you become a great artist. Take French director Jean Vigo. His traumatic years in a substandard boarding school helped turn him to a life in art; in his 1933 film Zero for Conduct, he draws upon those years for inspiration. In the film, the students stage a rebellion to protest the conditions in which they are forced to live and learn. The grand-scale pillow and food fights are quaint by modern American standards, but this comic drama, which was banned for twelve years in France, has fantastical special effects and surrealistic interludes that made it far ahead of its time. 612-375-7622; www.walkerart.org

  • Design That Gives a Damn

    Humanitarian architecture: On the glamour meter, the term is right up there with “FEMA trailer.” But during a recent discussion on the topic at a noisy Dinkytown bar, my ears perked up when an “elephant migration specialist” was listed along with soil engineers, architects, and government officials as a crucial collaborator on a relief project in a tsunami-struck Sri Lankan village. Cameron Sinclair, who had just finished a semester as a visiting professor at the U of M, was talking about how designers were granted permission to rebuild several buildings on a vacant lot. But after meeting with community members, they learned why the lot had stood empty so long: “It was on a migrational route for elephants, and when elephants get really tired, they lean against trees and fall asleep … They lean on poorly built houses and then the houses collapse.”

    The housing was built elsewhere.

    While perhaps not truly glamorous, this bit of trivia does offer a glimpse into Sinclair’s work as humanitarian architecture’s foremost advocate. Sinclair founded Architecture for Humanity six years ago with his wife, Kate Stohr, and since then they’ve hosted design competitions to address systemic health and housing problems. In post-disaster situations, they raise funds and work with pro bono architects who move to their host countries to work for up to two years. Their low-budget, sustainable solutions have ranged from a mobile HIV/AIDS clinic in Africa to earthquake-proof homes in Kashmir, transitional housing in war-torn Kosovo to, yes, structures that drowsy elephants won’t topple. Beyond its official work as a nonprofit organization, AFH is also something of a movement: Dozens of independent chapters have formed in cities like New York, London, and Minneapolis. Our chapter (afh-mn.org), is particularly active, with about fifty designers doing pro bono projects in Sri Lanka, New Orleans, and outstate Minnesota.

    Born in Great Britain and trained at the University of Westminster and the Bartlett School of Architecture in London, Sinclair’s pedigree is impressive, but his realm is far removed from that of celebrity architects—“starchitects” in the vernacular—both in terms of process and ego. “If you’re working in a slum situation, for instance, if a project becomes your baby and you take total ownership of it, then it’ll never be implemented. Some of the designs we’ve worked on look beautiful on paper, but weren’t as sexy when implemented,” he admits. “Your vision isn’t the same as the people who are going to eventually live in these homes.”

    Most projects are collaboratively designed, hatched and revised during long meetings in church basements or at late-night sessions over curry and beer. The goal is to arrive at solutions that emerge from, rather than are imposed on, communities. For instance, one village in Sri Lanka now generates electricity from the wind. Residents, remembering the agricultural windmill used there fifty years ago, suggested it. “They didn’t want solar technology,” he says. “They didn’t want rainwater collection. They were like, ‘We had a windmill, we know how that works, so we want to have a wind farm.’”

    Sinclair admits that experimentation in his line of work is different from that of, say, Frank Gehry or Steven Holl. Since he’s dealing with the lives of people, often devastated by grief, buildings must conform not only to their needs but to their often culturally specific definitions of beauty. Sinclair’s mantra, which is also the title of AFH’s just-released book Design Like You Give a Damn: Architectural Responses to Humanitarian Crises, calls architects to be sensitive to their cause and their clients. “When you’ve lost everything, it doesn’t just mean you’ve lost all your clothes and all your equipment. It’s almost like the eradication of any memory you’ve ever had,” Sinclair says. “If you design the technically sophisticated but aesthetically challenged house, but it’s not beautiful, nobody’s going to care for it … The community ends up painting and decorating the building with their own traditional crafts. And it turns out really beautiful because it’s got part of that community in it, and there’s a level of honesty in the aesthetics.”

    Modest as his working methods might be, celebrity has nonetheless found Sinclair. He’s been nominated for the Designer of the Year award at London’s Design Museum, and was awarded one hundred thousand dollars to “make a wish come true” at the prestigious Technology Entertainment Design conference this year. He’s using the winnings to develop an open-source network for architecture. The system will provide copyright protection for designers’ work, while at the same time offering those plans for free to be adapted and modified as geography, culture, and community needs dictate. He hopes it’ll further his aim of bringing good, safe design to people in the world who normally couldn’t afford it.

    “I was joking about the fact that [celebrated Iraqi-born architect] Zaha Hadid probably has twenty people who can afford her services,” he says. “But we have 5.6 billion potential clients. That’s job security.”

  • The King

    The sins of the father are visited upon just about everyone when a disturbed young man, recently discharged from the military, tracks down his birth father. However, Dad (played by William Hurt) wants nothing to do with his half-Mexican love child (Gael García Bernal, best known to Americans for his roles in The Motorcycle Diaries and Y tu mamá también). It would only ruin his high-profile career as a Corpus Christi Baptist pastor, not to mention tear apart his new, church-sanctioned family, which includes a comely teenage daughter. Naturally, an incestuous Romeo-and-Juliet plot unfolds, including a twisted revenge scheme, in which a son named Elvis attempts to claim his place as heir. 612-825-6006; www.landmarktheatres.com

  • Twin Cities Noir Publication Party

    Spawned by the success of Brooklyn Noir, Akashic Books, the tiny New York City publishing house, launched a series of noir anthologies, each pegged to individual cities and their neighborhoods, and featuring all-new stories by local writers. With seventeen titles either in print or in the works, stories from the series are racking up a passel of literary awards. The brand-new Twin Cities franchise includes hard-boiled tales—some of them tongue-in-cheek—set in locales ranging from Uptown Minneapolis to Duluth. The Rake’s own Brad Zellar contributes a story set in Columbia Heights, David Housewright goes in for Frogtown, and even Kenwood and Linden Hills get the treatment from Mary Logue and Pete Hautman, respectively. 604 26th St. W., Minneapolis; 612-870-3785; www.onceuponacrimebooks.com

  • An Inconvenient Truth

    Al Gore’s book Earth in the Balance was a relatively early, mostly ignored, and extremely prescient look at global warming and the fate of our planet. Thirteen years after its publication, we’re still waiting to see the kind of widespread social and political awareness that could bring about change and slow the planet’s demise. So is Gore; since his defeat in the 2000 election, he has ramped up his efforts to pull people’s heads out of the sand, and this documentary could do what his book couldn’t—it’s surprisingly engrossing. It catches him at work, trying to convince those in power to make a difference before it’s too late. We applaud these efforts, but can’t help but get exercised at Gore himself. Where was all that passion during his campaign? Winning the election surely would have been a more effective way to help avert environmental disasters yet to come—which are presented here intelligently, rather than sensationally. 612-825-6006; www.landmarktheatres.com

  • The Proposition

    Fans of Nick Cave and his band, the Bad Seeds, recognize that Cave has something of an obsession with murder and the torment that so often leads to it. So it’s not so surprising that, with his first screenwriting effort, the Aussie rock icon should focus on some other bad seeds—the gunslingers and thugs who ran rough-shod through the Australian Outback in the 1880s. Cave was originally tapped to write the score for this Australian Western, but director John Hillcoat ended up asking him also to pen the script, given the narrative gifts that come through in his songs. The proposition of the title is this: Three brutish brothers stand accused of a bloody crime. One of them—played by Guy Pearce—is ordered to hunt down the brother regarded as the greatest threat, in order to save the life of the third. Gun fights, jail busts, and bloody scraps with Aborigines thereby ensue, in what is being hailed as a gorgeous and original film. www.landmarktheatres.com