Gymnastics sets season record defeating Stanford with perfect 10s, personal records

Pauley Pavilion was silent as Kyla Ross dismounted from the balance beam.

The only thing louder than the crowd after the junior stuck her landing were the chants of “Kyla Boss” when it was announced that Ross had scored a perfect 10.

“I would never call myself that, but it’s definitely fun to have that be my ‘gymnastics name,'” Ross said.

No. 2 UCLA gymnastics (8-1, 7-0 Pac-12) posted a 198.325 − its highest score of the season − in its defeat of No. 24 Stanford (1-6, 1-6) on Sunday in Pauley Pavilion. The sold-out crowd totaled 12,907, setting a UCLA gymnastics attendance record.

UCLA’s score ties the top score in the country, posted by No. 1 Oklahoma. The win comes one week after the Bruins suffered their first loss of the year to the Sooners.

Ross extended her streak of straight meets with a perfect 10 to six. The junior’s perfect score on beam was her eighth of the year and the 13th of her UCLA career.

The Bruins posted their season bests on both vault and balance beam against the Cardinal.

UCLA recorded a 49.450 on vault behind Ross’ first-place score of 9.950, while sophomore Pauline Tratz recorded a season-high 9.900.

Junior Felicia Hano and sophomore Nia Dennis tied their career bests on uneven bars, with Dennis’ 9.925 earning her first place on the event.

“I try to do my routines for my teammates,” Dennis said. “I always pick someone out and say ‘this is for you,’ and tell them that I have their back and they always have mine. Today I picked (junior Madison Kocian).”

UCLA’s top five balance beam scores were all 9.900 or higher, giving them a 49.700 on the event − the highest balance beam team score in the country this season.

Ross said that she had been struggling with focus during her beam routines before Sunday.

“It felt really good to finally have a solid beam routine,” Ross said. “Over the last few meets I have found my rhythm on beam. I always get really excited when I am having a good beam routine and I mess up right before the dismount, so I was glad I was able to calm myself and really dial into my cues.”

Freshman Margzetta Frazier opened floor exercise with a 9.950, tying her career high on the event. Hano’s 9.950 on the event tied her season-high. All six Bruins posted a 9.900 or higher on floor, giving them a 49.700 total score on the event.

Frazier, Hano and senior Katelyn Ohashi tied for first on the event. Ohashi said that she decided to compete despite having the flu on Sunday.

“I thought about if I was capable,” Ohashi said. “I decided I was, but it got harder once I was doing it. It all worked out in the end because I just couldn’t make excuses. People (compete while sick) all the time.”

Ross has scored a perfect 10 on every event except floor exercise this season − an event in which she did not compete Sunday.

There have been 22 total perfect scores in the nation this season and as a team, the Bruins have posted 13 of them.

The last time the Bruins posted a score below 49 on an individual event was 24 meets ago, on Jan. 6, 2018. UCLA holds the longest active streak of above-49 scores in the country, with 99.

The Bruins’ two highest scores this season have been at home.

Coach Valorie Kondos Field said that their home stadium makes it possible for the Bruins to perform the way they do.

“We call it the magic of Pauley,” Kondos Field said. “It’s holy ground. The greatest humans on the planet have chosen to share their message in this arena. We’ve had the Dalai Lama, presidential debates, the Grateful Dead − even Justin Bieber. You feel the energy of excellence of the human beings that have stood on that floor when you walk in the door. I’ve been walking through those doors for 37 years and I still feel it.”

UCLA’s dual meet against Utah State (5-9, 0-6 MW) on Saturday will be their final home meet and Kondos Field’s last meet at Pauley Pavilion.

Second Spark Change Summit examines ability of mainstream media to make an impact

Social justice entertainment may carry a lesson, but it’s far from homework.

The creation, reception and impact of social change films formed the focus of one panel discussion at the second annual Spark Change Summit, which took place in UCLA’s James Bridges Theater on Friday. Presented by the Skoll Center for Social Impact Entertainment, the event featured a total of five panels, with prominent industry figures such as “The Office” star Rainn Wilson, who founded digital entertainment company SoulPancake, and Amy Ziering, an Emmy Award-winning producer of “The Bleeding Edge.”

Devon Dansky, project coordinator for the Skoll Center, said this year’s summit focused on specific issues rather than broad social justice entertainment like last year’s. Topics included mobilizing audiences online and the role of technology in the next generation of filmmaking, among others.

Though it has existed for years, social justice entertainment is only now gaining popularity, said Laura Herb, the center’s program manager. Such entertainment doesn’t have to feel like homework, she said – even a lighthearted and enjoyable children’s movie such as “Zootopia” has a clear message of tolerance and diversity.

“There can be many formats (of social justice entertainment); it’s anything from ‘An Inconvenient Truth’ to ‘Will and Grace,'” Herb said. “People are just very conscious of the effect that media has and what you can do with it, and they really seem to want to use it for good.”

Bonnie Abaunza, founder of human rights organization Abaunza Group, moderated the panel centered on making an impact in mainstream entertainment. She first asked how the panelists walked the line between simply depicting social issues in their films, and making their work a full-fledged “message movie.”

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Erin Siminoff, the executive vice president of production of Fox 2000, said she aims to portray social justice issues, such as LGBTQ rights, in a way that draws people to the theater and makes audiences feel like they are part of a larger conversation. She said audiences don’t like to be pandered to, and movies that portray firsts – like a first love in “Love, Simon,” – tend to be more impactful. Even though a film may tackle specific issues, popular appeal is necessary in establishing a platform large enough to change audience’s perspectives and have a wider impact, said Chris Weitz, a director, producer and screenwriter who has worked on titles including “Rogue One: A Star Wars Story.”

“You get to get hold of someone’s waking consciousness for two hours and get them to empathize with someone they might have just thought of as a statistic before,” Weitz said.

Addressing the same topic, William Goldenberg said a film’s platform, in addition to its content, is important in conveying its message – the Oscar-winning editor has previously worked on war films including “Argo” and “Zero Dark Thirty.” Goldberg cited the example of “22 July,” which details a terrorist attack in Norway; the film’s director originally wanted to show his work in an exclusive, artistic setting, but was convinced to release it on Netflix. As a result, millions of viewers have been exposed to the dangers of the “alt-right” and gun violence.

Abaunza also asked the panelists about the often mixed receptions of socially conscious films. Although there was a successful marketing campaign for “Love, Simon” – including billboards customized for different cities – Siminoff said she was still worried about its reception in more conservative areas. However, she said she would never forget the moment when theater audiences in Kansas stood up and cheered as the protagonist and his male love interest shared a kiss on screen.

“It felt like the movie was really needed in that area,” Siminoff said. “Movies help people connect to things that are in their own lives, or give them insight into something they aren’t familiar with.”

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Several panelists said the choice to infuse social justice into their films stemmed from a deeply personal place. Weitz said he felt personally connected to the issue of immigration because his father was a German refugee and his grandmother a Mexican immigrant. It was important for him to represent the immigrant experience accurately in “A Better Life,” he said. Meanwhile, having grown up only seeing a handful of characters who looked like her, “Nappily Ever After” producer Tracey Bing was inspired by the film’s script and the way it represented black women. Ultimately, Bing said the film struck a chord with the natural hair movement, which represents African pride as well.

“Women around the world really related to appearance pressure,” Bing said. “It was for a target audience, but appealed much more broadly.”

All panelists agreed that any film, not just documentaries, can be a powerful medium to give an audience insight into the lives of people who do not share their own experience. Weitz said every form of entertainment has a social impact, yet many are often overlooked because their message only reinforces the status quo. This status quo, however, can be changed when filmmakers and audiences alike step up to share their stories, Ziering said.

“We’re now living through a revolution that’s being fought with words and not weapons,” Ziering said. “It’s remarkable what one movie can do.”

Theater review: Los Angeles Ballet’s ‘Serenade’ and ‘La Sylphide’ accentuate each other’s charm

Los Angeles Ballet’s double bill of “Serenade” and “La Sylphide” put two drastically different performances head to head.

Performed at Royce Hall on Saturday, the two works complemented one another unexpectedly, highlighting the strengths of each production. The works were tied together thematically through elegant, ethereal figures in long flowing costumes.

“Serenade,” originally choreographed by George Balanchine, featured 28 dancers on an undecorated stage, illuminated by soft blue lighting. The movement within the dance, best described as soft and graceful, culminated in a scene during which one dancer embraced another. The moment of intimacy, filled with a surprising amount of strength seen through her physicality in her arms, evoked a sense of simultaneous camaraderie and vulnerability between the dancers.

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In stark contrast, “La Sylphide,” originally choreographed by August Bournonville and adjusted by Thordal Christensen, features a convoluted but entertaining plot. The ballet details the complicated relationship between lovers James (Tigran Sargsyan) and Effy (Chelsea Paige Johnston), which is put to the test when a scorned witch named Madge (Colleen Neary) and a mischievous Sylph (Petra Conti) enter the picture. After a series of poor decisions and deceptions, James finds himself heartbroken as Effy marries another man named Gurn (Magnus Christoffersen).

Bournonville lives up to his reputation as a choreographer known for intricate footwork, and the complexity of his work shines. In the first scene, Conti performs a series of small but technically demanding jumps, while maintaining a light, flowing quality in the arms to give the illusion of floating. She later succumbed to the difficulty of this feat, as her arms tensed from time to time. She also appeared tired as her legs wobbled in slower steps that required more control. Though her acting skills were commendable, her unsteadiness led to an underwhelming performance.

Exhaustion appeared to be the theme of the night. During the second act, the corps de ballet – a large group of dancers that perform the same choreography – portrayed the sylphs. In their moments of stillness, physical exhaustion seeped through their fairylike appearance. Though their dancing was a wondrous feat, with the difficult and intricate footwork executed flawlessly, tiredness seeped through their smiles and eyes as they settled into the perimeter of the stage.

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Perhaps the most commendable dancing of the evening, however, took place in the first act of “La Sylphide,” in which Effy and her friends dance in an upbeat tableau. Los Angeles Ballet School student Naomi Mohn, dancing the role of Little Girl, held her own in the group choreography, despite standing a head shorter than all the company members. Mohn’s incredible maturity while acting demonstrated skill beyond the capabilities of most young dancers.

The energetic scene also featured Effy wearing braids, tasseled socks and character shoes, or black heeled shoes meant for dancing. Her bubbly attitude made her appear an eager bride. The large group dance proved to be a whirlwind of color, featuring different reds, forest greens and mustard yellows all in various forms of plaid to create an aesthetically pleasing, exhilarating celebration against the brown wood setting.

In conjunction with the elaborate scenery, the emphasized role of humor in “La Sylphide” made LAB’s iteration engaging for younger audiences. Gurn kisses Effy’s hand while she fights with James, and Madge physically knocks Gurn down to one knee to get him to propose to Effy, as he appears too nervous to profess his love without her help

Further, Christoffersen and Neary served as comic relief as Gurn and Madge, who refreshingly drive the plot along. Madge, after being scorned by James, spits on his body at the end. In the bows, Madge was also bequeathed a bouquet of sticks, causing an audible chuckle throughout the audience.

“La Sylphide” yielded more than just laughs, however, with impressive technical elements atypical in ballet. In the first scene, the Sylph magically ascends up the fireplace, and later mysteriously disappears from under a blanket. Madge stirs a smoking cauldron, which is eventually pulled offstage by unseen forces. Executed seamlessly, these technical feats created a sense of awe.

Ultimately, the clever yet unusual double bill emphasized the works’ differences but also allowed each to shine for what it was – “Serenade” for its simple staging, and “La Sylphide” for its incredible intricacy. Despite its shortcomings, the production brought a sense of fun to a serious art form.

Curator discusses historical insights held within Benin bronzes at Fowler Museum

Increasing exposure to 16th-century altars may deepen our understanding of the relationship between art and ancestral connection in Benin.

Kathryn Gunsch led a talk on “Altars and Ancestors in Benin” on Saturday at the Fowler Museum at UCLA, providing insight into the tradition of bronze altars as a means of connecting with ancestral history in the Kingdom of Benin. Gunsch, curator of African and Oceanic art at the Museum of Fine Arts, Boston, discussed two types of bronze objects from southern Nigeria – bells, as well as effigies called ofos. The event evaluated the analysis of art through a Western lens, and touched on historical implications of the bronze pieces in the context of Benin’s 16th-century history.

“The corpus of work had been studied more from an ethnographic or anthropological perspective and not from the perspective of art history,” Gunsch said. “While the subject matter may be specific, a breadth of historical knowledge can be reaped from the patterns in which these bells and effigies were used, including key dates and a clear leadership lineage.”

Hoping to provide both an educational and cultural experience, Greg Sandoval, curator of public programs at the Fowler, collaborated with the Ethnic Arts Council of Los Angeles to host the talk. The event served to supplement the overall exhibit, “Summoning the Ancestors: Southern Nigerian Bronzes.”

A large donation of bronze bells by collector Mark Clayton comprises most of the exhibit. However, Gunsch also discusses a number of bronze plaques and actual altars not on display, said Matthew Robb, chief curator at the Fowler. Sourcing from a few key regions, Gunsch spoke about the historical and cultural geography and its development over time, as reflected in the pieces themselves.

“Even though some of the specific works discussed in the talk may not be in our show, it just gives a context to demonstrate what other practices related to bronze are occurring in West Africa and the Benin/Nigeria area,” Sandoval said.

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The talk focused mainly on how 16th-century bronze art pieces influenced the role of ancestry in both everyday and royal Benin. Bronze plaques and effigies of heads, for example, portray the ideal leader with a strong profile, indicating a youthful vitality extending beyond the grave. Gunsch said the works provide insight into Benin’s cultural association of royalty with spirituality. The oba, or king, remains “alive” in the sense that his presence remains at the altar, and does not decease in the mortal way. The art is still valued in local Nigerian markets today, supplied by those continuing the fairly rare practice, Gunsch said.

“The brass-casting guild continues, and you see a very literal connection to this tradition with these people descending from the original bronze casters making art in a more modern style, but definitely still related to this long history of the court,” Gunsch said.

The talk made comparisons between both the ancestral and warfare roles of bells. The bells were used to summon ancestors in times of need, especially during war, ringing on the uniforms of militia as they entered into battle, Gunsch said. Both the common citizen and oba would maintain altars to signal their own patrimonial lineage, with the obas’ altars being more ornate, often containing other expensive materials like ivory. Gunsch said the designs on bells and effigies provide elements of ethnographic evidence still being pieced together by academics.

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During the event, a member of the audience raised concerns about how the pieces are also shrouded in controversy over repatriation, given that a wealth of them are still kept in Europe despite requests from past Beninese leadership to have them returned. While acknowledging the validity of this controversy, Gusch said she sees the availability of this collection to Western academia as an obligation to learn more about them from more angles than just historical or anthropological.

These art pieces endemic to Southern Nigeria and Benin help expand the Western perception of African art, Gunsch said, and their untapped potential lies in the details of each piece. According to her research, simple ornaments on effigies may indicate the place of reign, diplomatic associations or familial background of the depicted individual.

Despite the artifacts being studied in Europe since their arrival, Gunsch said they were analyzed with a lack of depth in the realm of art history. She urged those concerned by the repatriation controversy to not let the pieces’ presence in Europe go to waste, providing a takeaway for the audience and a message for the academic world.

“The inheritance of all people of all great art over time begs us to ask questions and to learn more about the history in which they were made and how they were made and why,” Gunsch said. “It also helps us learn so much about history, which I personally think helps us learn something about ourselves.”

Rowing blows out San Diego State in smooth start to season

The Bruins opened their season with a sweep.

UCLA rowing won all four of its races against San Diego State in Marina del Rey, California, on Saturday.

“We have pretty solid team depth,” said coach Amy Fuller Kearney. “We still have some work to do to make sure we have all the right people in the right boats, but I was really excited with how everybody stayed focused on execution and intensity and just trying to do the right things to make the boat go.”

In the first race of the day, UCLA’s third varsity eight and fourth varsity eight both crossed the finish line ahead of San Diego State, notching times of 6 minutes, 59.60 seconds and 7:11.70, respectively, in front of the Aztecs’ 7:11.75.

The Bruins’ second varsity eight narrowly defeated Aztecs, crossing the finish line in 6:48.30, ahead of San Diego State’s 6:49.10.

UCLA’s varsity four crew defeated San Diego State by 17 seconds, clocking in at 7:27.20.

The Bruins’ varsity eight rounded out the day with a 6:38.90 finish, edging out the Aztecs by just under 20 seconds.

Senior varsity eight coxswain Clare Fina said UCLA came into the race with a different mentality that helped spark a victory.

“The team really just came together,” Fina said. “We have a completely different attitude than we’ve had in years past and everyone has just really bought into our progress and going fast.”

Despite winning all four races, Fuller Kearney said the Bruins still have some fine-tuning to do given that it was their first matchup of the year.

“We’re just going to continue to work on our race plan,” Fuller Kearney said. “We’ll take a close look at the times and the splits of this race, we’ll listen to the coxswain recordings (and) we’ll see what we did well (and) what we need to work on.”

UCLA will stay at home to take on Loyola Marymount next weekend.

“It was a really exciting first race of the season,” Fina said. “It’s definitely a confidence builder coming out and sweeping San Diego State and winning every race, but I think there’s definitely things we can continue to improve and work on.”