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Arts

ARTS Pick: Coral Kingdoms and Empires of Ice

Water worlds: National Geographic photographers David Doubilet and Jennifer Hayes share their underwater experiences in Coral Kingdoms and Empires of Ice, a photographic journey that captures three unique marine environments—Kimbe Bay in Papua New Guinea, the icy waters of Antarctica, and Canada’s extraordinary Gulf of St. Lawrence. Doubilet jokes that he’s spent more of his waking hours underwater than on dry land, and aquatic biologist Hayes has authored numerous articles on ocean life.

Thursday, October 10. $19.75-29.75, 7pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

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Arts

Focused fortitude: Jodi Cobb looks at life behind the lens

Photojournalist Jodi Cobb is one of those rare people who walks toward danger. And when she meets it, she usually introduces herself.

“I’ve never disguised myself or misrepresented what I was doing,” says Cobb. “I even introduced myself as a National Geographic photographer to the most notorious human trafficker in Bosnia.”

Cobb has spent the better part of four decades as the only female staff field photographer at National Geographic-—the only one in its 130-year history, actually. But she says gender was never top of mind for her. “I was always really surprised when the first thing out of people’s mouths was the woman angle. It’s like asking people what it’s like to breathe.” Still, she admits, “You feel like you need to hold up all of womankind, and it’s an extra thing that men don’t have to think about all that much.”

Cobb grew up in Iran, where her father worked for Texaco, and she had been to 15 countries by the time she entered high school in the U.S. The global exposure gave her a head start in finding her passion. “I spent my life explaining the world to people, then I realized that was what journalism was,” says Cobb.

On Thursday, she hosts a live retrospective about her life behind the camera, including her wide-ranging exposé on human trafficking, her book on geisha culture from the inside, and a look at Venice celebrating Carnival against a backdrop of looming environmental peril.


Geisha  Kyoto, Japan

“I did a book on the geisha of Japan and spent six months over a three-year period just immersed in their world, going to the geisha districts every day.

“You don’t realize how hard that [image] was to get. It was a moment in the geisha house that shows how inside I was at that moment. No one had ever photographed behind the scenes in the geisha world, with candid photographs, so that was a real accomplishment.

“The smoking was common and no one wanted to be photographed smoking. It makes her real to me. Instead of this sort of icon that geisha are. It makes her a real person.”

Brick kiln workers  Agra, India

“This is from the story on 21st-century slaves. I photographed in 11 countries over a yearlong period, trying to put together as many kinds of human trafficking [images] as I could find.

“National Geographic was going out on a limb to do that story—it was my idea—and it was so outside of what they usually did. It was before there was so much consciousness in this country about human trafficking. We knew bits of it–child labor existed and about sex trafficking—but no one had put it all together into a look at how pervasive it was.

“The brick kiln workers are often held in debt bondage for generations. The owners get workers by lending them money for an emergency, then charge outrageous interest rates. The debt can never be repaid and gets passed on for generations. That story broke my heart every single day.”

Carnival  Venice, Italy

“I did a story on Venice that was about whether Venice was going to survive floods and the rising sea levels. That was a party during Carnival. People in their incredible costumes come from all over the world. We are used to seeing all of these setup images taken on the piazzas and things. But I was able to get into the private parties…and that’s where I’ve always wanted to be in my career—on the inside and behind the scenes. That sums up my body of work: being inside these hidden worlds and secret places that outsiders wouldn’t see.”


National Geographic Live will be at The Paramount Theater February 28.

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News

Re-righting history: Katie Couric documents what divides us

During her 15-year tenure as NBC “Today Show” co-anchor, UVA alum and journalist Katie Couric was known as America’s Sweetheart. These days, she’s way past that chipper morning news persona, and having finished a six-part series delving into the most contentious issues facing the country today, she says she’s exhausted.

Couric was in Charlottesville April 4 to screen at the Culbreth and Paramount theaters “Re-righting History,” the first episode of the National Geographic series she’s made called “America Inside Out.” The Virginia Film Festival sponsored the event.

She was already working on the legacy of Confederate monuments and names on public buildings before she came here for the August 12 weekend. A high school friend of her daughter’s was going to Yale, and Couric wondered what it was like for an African-American to live in a dorm called Calhoun College, named for a slavery-advocating U.S. vice president.

And then the Lawn where Couric lived as a student was flooded with tiki torch-carrying white supremacists and neo-Nazis chanting, “Jews will not replace us.”

“Little did we know what happened in Charlottesville would take a young woman’s life and change Charlottesville forever,” she said before the screening to a packed house at the Paramount.

Her documentary calls August 11 and 12 “one of the most savage displays of hate America has seen.”

Locals Zyahna Bryant, the then 15-year-old Charlottesville High student who started the petition to remove the Lee statue, activist Don Gathers and Unite the Right organizer Jason Kessler, who says the rally’s purpose was to prevent the ethnic “cleansing of white people,” appear in the 47-minute episode that took Couric to New Orleans and Montgomery, Alabama, to explore how the Lost Cause rewriting of history came about and still impacts us today.

The August 12 clashes on the screen “look like the civil rights era all over again,” narrates Couric, and images of the July Ku Klux Klan rally here are interspersed with archival footage of the KKK in its heyday.

The Paramount audience, many of whom were present at the white supremacist invasions, booed when President Donald Trump came on the screen to denounce the hatred and bigotry “on many sides.”

Couric interviewed Confederate heritage defenders, descendants of slave owners now shamed by their ancestors and New Orleans Mayor Mitch Landrieu, who described how he came to remove the Big Easy’s monuments after his friend, Wynton Marsalis, told him what it was like to see them through his eyes.

Historians described how the spike in Confederate monuments came around the beginning of the 20th century as Jim Crowe and lynchings reasserted white supremacy, and the Lost Cause narrative sanitized slavery and the Civil War. “Gone with the Wind did more to shape the history than anything I’ve taught,” said UVA Civil War expert Gary Gallagher.

The landmark Brown v. Board of Education decision also led to a spike in naming schools after Confederate generals, a background of which many whites, like actress Julianne Moore, were unaware. Moore, who went to J.E.B. Stuart High School in Fairfax, led a petition to rename the school, whose moniker she now calls “shameful.”

“Why do we have such a hard time coming to grips with our past?” asked Couric.

After the screening, UVA’s Larry Sabato led a panel discussion with Couric, Bryant, Gathers, Gallagher, UVA historian John Mason and religious leader Seth Wispelwey.

Historian Gallagher doesn’t want a rush to remove statues, instead suggesting there’s more history that can be memorialized, such as the 250 black men from Albemarle who “put on blue uniforms” of the Union.

“People of color often have to put our trauma on the back-burner at the expense of teaching other people about white supremacy,” said Bryant.

And Gathers said, “If a monument to a slave owner is necessary to teach history, it’s time to change the curriculum.”

Thomas Jefferson came up as a prime example of America’s complicated past, and Mason suggested the TJ statue in front of the Rotunda be shrouded at least one week a year in recognition of the less-laudable aspects of the Declaration of Independence’s author, whom Mason called the “godfather of scientific racism.”

Mason also pointed out that many race-based issues, like stop and frisks, gentrification and education, were issues in Charlottesville before August 12. “We’re a very self-congratulatory city,”  he said.

Other current events were part of the discussion. Wispelwey called out Commonwealth’s Attorney Joe Platania for prosecuting the three black men charged August 12. He also mentioned City Council’s decision a few days earlier to approve West2nd and asserted that its nearly 100 luxury condos and the 16 affordable units will not help with wealth inequality, with West2nd developer Keith Woodard sitting a few feet away in the audience.

Couric had the last word, and she called for continuing the oft-difficult conversations in which she admitted, “I find myself feeling uncomfortable.” But she said the more she talks to people, the more she’s convinced “people want to do the right thing.”

When Sabato asked what she would change, she said, “I wish we were in a place where there would be a little less harsh judgment.” And she cited the wisdom of her mother, who said, “You get more flies with honey.”

The series premieres at 10pm Wednesday, April 11, on the National Geographic channel.

Clarification April 11: Zhayna Bryant’s comment about African American’s trauma being put on the back burner specifically addressed teaching others about white supremacy.

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Arts

Photographer and UVA researcher track bees in “A Ghost in the Making”

Photographer Clay Bolt is drawn to species he calls the oddballs and little guys. Working internationally with organizations such as National Geographic and BBC Wildlife, Bolt is a natural history and conservation photographer.

“What sets me apart from a ‘nature photographer’ is that a lot of my work records life cycles and tells stories of the species that I focus on,” Bolt says. He seeks out images and videography that bring attention and protection to the creatures that most people overlook.

The rusty patched bumblebee is Bolt’s focus in A Ghost in the Making: Searching for the Rusty-Patched Bumblebee. He wrote, produced and released the short film last June, and it has been featured in environmental film festivals across the country and comes to Violet Crown Cinema on April 5 for the Wild & Scenic Film Festival.


What does a rusty patched bumblebee look like?

A worker has a black head, yellow midsection and a reddish rusty patch on its upper abdomen. Queens are larger and don’t have the reddish patch.

Rusty Patched Bumble Bee (Bombus affinis), female, worker, from Wisconsin. A species that has declined 87% in the past 15 years due primarily to an introduced Eurasian pathogen.
Courtesy claybolt.com

Through visuals such as slow-motion, magnified shots of various pollinators, and research from scientists across the country, Bolt’s documentary explores the rapid decline of the rusty patched bee—once common to the northern Midwest and eastern United States, including Virginia. Over the course of the past decade, the insect disappeared from nearly 90 percent of its historic range.

Bolt found T’ai Roulston, curator for the State Arboretum of Virginia and UVA environmental sciences associate professor, on a “listserv for bee people.” Roulston has studied interactions between insects, plants and pollinators like the rusty patched bumblebee for more than 20 years. He says the decline of this bee can largely be attributed to Nosema bombi, a disease brought to the United States from Europe.

Roulston explains that in the 1980s, two species of North American bees were shipped to Europe to study how to commercialize them for pollinating plants in greenhouses. After undergoing these studies and being exposed to various environments abroad, one species returned to greenhouses in the western United States, and the other returned to greenhouses in the eastern United States.

In the 1990s, the western bee species could no longer be used in greenhouse operations, due to high incidence of Nosema. The eastern species did not seem sensitive to the same disease, and remained in use for pollination.

“We have strong circumstantial evidence that Nosema increased in the wild bee population at the same time that commercial colonies were spreading,” Roulston says. “We’ve been doing surveys for Nosema in my lab in Virginia. We are seeing the pattern of high Nosema in species we consider to be declining,” which include the American bumblebee and its closest relative.

In 2014, Roulston and a team of researchers garnered buzz around the nation when they trapped a rusty patched bumblebee at Sky Meadows State Park in Delaplane, Virginia. It was the first time the bee had been seen in the eastern United States in five years. It was also the first time Roulston saw a rusty patched bumblebee in the wild, though it was postmortem.

“I was very intrigued by the fact that one individual bee suddenly popped up where it hadn’t been seen in a long time,” says Bolt. “It was an amazing little breadcrumb.”

Neil Losin, another producer of “A Ghost in the Making,” knew Roulston from spending time with him at Blandy Experimental Farm, a UVA research facility in the Shenandoah Valley, and home of the state arboretum. Ten years after Losin studied there, he, Bolt and the production crew came to Blandy to interview Roulston and film scenes.

“To go out into the field with T’ai and follow him and see his process, and how diligently he searches, was really amazing,” Bolt says. “It gives you hope that there are people out there who understand why—with all their heart—these species need to be protected.”

In January, the rusty patched became the first bumblebee in the continental United States to be listed under the Endangered Species Act, administered by the U.S. Fish and Wildlife Service. Shortly after, the Trump administration postponed new regulations from federal agencies for at least 60 days, including the ESA listing of the rusty patched.

Last week, in a decision Bolt calls a “miracle,” the listing became official.

“These are the moments that make all the hours of work and worry worthwhile,” Bolt says. “Now the real work begins.”