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"A Venetian Barge under a Siberian Sky", review of an opera by Andriano Banchieri
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The costume designer, Elena Velizhanina, added more color and freshness to the production. She both designed and made all the costumes for this second project with the ensemble, 'Insula Magica'. The first project was the puppet performance, 'The Play of Daniel'. |
Artist Profile: |
I am a choreographer who uses and gives workshops in a movement technique known as Contact Improvisation. Here the emphasis is on contact with other performers and the ground -to touch points, rather than on moving through the air. There isn't a main dancer with minor dancers but all the performers are equal in they way you work together. The idea is not to grab a wrist to make a particular movement, but to take and limb along or to move against a limb in such a way that the other dancer can move along or away. In this way there is a lot of freedom, not only to improvise but for various performers to move with and against each other.
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Other aspects of my choreography is the dramatology of the moving image and the idea of theatre as an extension of video. For example the piece "Magister Ludi", began with an actor's presence being only visible on the television monitor on the stage. Later when the actor sits in a wheelchair, his face is filmed and shown on the television monitor above the wheel chair. Projection and projected image are in a sense dislocated and change their roles. The video is sometimes part of the theatre like a prop and sometimes active like an actor....
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After two years of doing these pantomime performances I decided to devote myself to theatre and so at the age of 27 I moved to Milan in 1985 to study dance, theatre, voice and circus technique.
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Artist Profile: |
I am currently completing an MA in devised performance, at the Central School of Speech and Drama, in London, which has motivated me to extend and further develop my ideas regarding my own practice.
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The paintings are intended to be sites on which to meditate. Fields of repetitive calligraphic writing that appear distinctly, as well as merge into the flooded ink background to provoke thought in the viewer.
This text from the "Hidden Words" of Bahá'u'lláh is one of those used in the work. The repetitive obsessive writing of these quotes symbolises a reaffirming of self that simultaneously contradicts the meaning of the words being written... This piece developed the theme of layered text in my work by projecting enlarged lettering shapes painted on windows onto a mural of handwriting. The projected image moved across the space according to the position of the sun, only covering the exact area at a certain time of day. Sensors responding to viewers entering at either end of the corridor triggered floodlights positioned outside, adding another layer to the image... |
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I have lived and breathed music. My dad was a professional jazz pianist and both my brothers play guitar. I'm the oldest, so I feel that's at least one good influence I had on them! My grandparents sang in choirs. Grandpa and several of his brothers (who were all blind - I have very poor eyesight myself) were piano tuners. Grandma played music-hall piano in pubs, and several of my uncles play as well. When our parents had parties, other musos would turn up with their instruments and a full-on jam session would develop. They were mostly professional players, so the standard was very high. Our holidays would often include going to jazz festivals - I have fond memories of sliding around on freshly talcum powdered dance floors. Music was all around me as a kid and I just took it for granted... |
After some time, I became aware of a niggling dissatisfaction that wouldn't go away. No matter how stoned I got, or how crazy our latest stunt, or how nice my love life, it was never quite enough. I'd been getting into poetry and we used to have candlelight readings of Kahlil Gibran, Rabindranath Tagore, James K Baxter and others, and it was quite beautiful. But I was aware that, though we held these high ideals, none of us managed to live up to them very well. There had to be something more. I'd also chanted Hare Krishna, done a little TM, yoga and such like, but these philosophies - attractive though they were - didn't resonate with me either.
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This song regularly reduces people to tears and seems to strike a chord with everyone, middle class suburbanites as well as at-risk youth, and may well be my most performed song.
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...Sometimes
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...For the last ten years I've mainly played music with my wife, Brenda Liddiard. Brenda is a fine songwriter and mandolin player, and we make a complimentary team. We've gigged extensively throughout New Zealand, Australia and England and recorded three collaborations, as well as supporting each other on our various projects. As a matter of interest, in 1999 we did 126 gigs, and - in the course of three tours - slept in 58 beds (not counting our own). We play at festivals, churches, folk clubs, house concerts, cafes ... all sorts. Whenever it's practical, we work unplugged (no mics), as intimate as possible.
The Proverb says that "two are better than one" and Brenda and I have been enriched and had our fields of influence and have ended up with a wider audience. This has, for instance, brought more ecology awareness (a strongpoint of Brenda's) into Christian circles and a spiritual perspective into the
folk scene. |
Artist Profile:Thaya Whitten, painter, pianist, Canada.
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Excerpts from an interview and article by Sandra Phinney, Canada.Thaya Whitten graduated from Hood College, Frederick, Maryland, U.S.A. with an Arts Degree in 1949 and has spent the past fifty years painting and continuing her studies.... |
...Since she is primarily kinesthetic, her fingers seem to "carry" the messages back and forth between the piano and the painting. With background and training in both classical and jazz, she has conscientiously explored the interaction between music and art since 1982, when she did a major piece of work on Noel Knockwood, spiritual medicine man to the Mi'kmaq people.
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Poems
A S I W R I T E
D O L P H I N S
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Clone 2000
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Say It |
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Article:
The Creation of Symbols
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...Very often
symbols are derived in response to a theme that I am working on or they
can appear as a reflection of specific past events that relate to an emotion.
Symbolic representations can also result from studying the things that surround
us. Symbols work on different levels, such as representing objects we relate
to directly, or as things that are hidden from us. Symbols can unsettle
or confirm in us certain social values. Symbols have been with us for a
very long time and their application is a natural one. Everywhere you go
- to the shops, cinema, on highways or simply in the street - symbols surround
us. They can lead or direct us, make us purchase goods, fight each other,
make love to each other. |
MF: Are you suggesting that you are driven by a compulsion from within to complete, create and make room for an image to reach visual expression?
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MF: In terms of the alchemical process, could you describe this process as the 'nigredo'- emerging into darkness - in order to bring something from that darkness into physical reality? As you know, it has been suggested that the alchemical process runs through a distinct series of phases, which can be represented as colours.
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After the colour process, a line or figure might
begin to appear, not especially to illustrate or represent something but
rather to exemplify certain feelings, thoughts or emotional sensations.
This is where it becomes a certain kind of search, into the depths of oneself,
in order to reach the unconscious or one's own primitivism. It becomes a
search for one's inner truth. I think that perhaps we have lost the real
creativity belonging to our true nature, our real self. ry often symbols
are derived in response to a theme that I am working on or they can appear
as a reflection of specific past events that relate to an emotion. Symbolic
representations can also result from studying the things that surround us.
Symbols work on different levels, such as representing objects we relate
to directly, or as things that are hidden from us. Symbols can unsettle
or confirm in us certain social values. Symbols have been with us for a
very long time and their application is a natural one. Everywhere you go
- to the shops, cinema, on highways or simply in the street - symbols surround
us. They can lead or direct us, make us purchase goods, fight each other,
make love to each other. |
Letters of nearness: love, mysticism and ghazals |
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Over the following months, I had experiences I had never imagined possible.
At that time, again inspired by Terry's example, I'd developed a special
interest in the mystical writings of Bahá'u'lláh. In particular, I loved
the "Tablet of the Houri" (Lawh-i Huriyyih) and "Ode
of the Dove" (Qasidiy-i Varqa'iyyih). Both of them contain passages
in which Bahá'u'lláh speaks to The Houri (the Being who brought
him the Revelation in the spiritual world) with words of love that I had
never expected to hear from a manifestation. I had thought it was beneath
manifestations to talk to women like that because in the 'real' reality
the Intellect still ruled the heart. So Bahá'u'lláh's expression of intense
desire for The Houri was a bit bewildering, although not unwelcome.
I thought, 'gosh, Bahá'u'lláh is so in love, his perception of the world
around him is heightened by it, just like mine is!' And I liked the way,
at the height of the drama, he stood up for himself and effectively said
to The Houri, 'I know what I experience, don't you try to tell me I don't
love you completely!' If I had limits, they appeared from Thee; (verse 89) And then he goes inside himself, as if he has reached the end of what he can endure and is ready to expire: I call on thee, life-spirit,
to depart; (verses 94 and 95)I recognised that place inside myself. I go there when
my back is against the wall. It's interesting that at that point she
stops criticising him and starts encouraging him. I think God is like
that. He knows when I am pushed to the limit, and that's always the
point at which things change. |
I
was overjoyed to discover that the heart of the mystic's experience was
being in love. The mystic spends her energies devoted to understanding and
enhancing that experience. Many people look at being in love as an embarrassment
we experience in courtship, but then we get over it and get on with real
life. This is not how the mystics see it. For them, it is the heart of the
religious experience. That is not to deny that there are other expressions
of religion, such as formal study, but the mystics would argue that love
is the reason why we do things. It gives religion meaning. This state of
love looks to the objective observer like a life of self-imposed pain. It
is intense, dramatic, overwhelming and devastating. But such is the experience
of those who do not regulate their emotions in order to conform to social
etiquette. The mystics often used the analogy of being drunk to describe
the ecstatic feeling they experienced.... |
For example, Bahá'u'lláh says we should have only love for him in our
hearts: "Hast thou ever heard that friend and foe
should abide in one heart?" (Persian Hidden
Word nr. 26) We think this means we cannot love people,
we must love God. But no, the various objects of love in our lives are
like the manifestations. There are a number of manifestations, but we
are asked to look at them from the point of view of their one Reality. |
...Hardly believing
I could do it, I attempted my first ghazal. The ghazals I had read were
all translations and many did not attempt to capture the metre and rhyme
of the original. So the 'ring' of the ghazal in my head was different
to the 'ring' in the original language. However, I liked the refrain
("radif") at the end of both lines of the first couplet and every second
line of the others and tried to reproduce it. |
He told me that the poem did not belong to me but to humanity and that
I had a duty to let it go. I trusted his judgement and sent the poem off.
It felt like I was giving away my soul. You can hardly imagine my astonishment
when Gene said he wanted to put it up! |
The Arts as Pathways to Global Unity
by Mona Khademi, U.S.A. |
.....How can this sense of common identity be reinforced
throughout the world? One way is through international exchange programs
that make the arts available across borders. As countries become increasingly
interdependent, they need to foster the study of other cultures to ensure
that their citizens learn not only to tolerate their neighbors but also
to appreciate their differences. Cultural and arts exchange programs
are especially needed in countries characterized by racial, ethnic,
and cultural diversity....
Examples of Arts Cultural Exchange Programs: Three Art Exhibits
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Here I will
give examples from three major exhibitions that were held in Washington,
D.C. between 1990 and 1997 and which then traveled to major cities. The
exhibitions were: Dream, Myth and Reality: Contemporary Art from
Senegal; Building Bridges: Israeli and Palestinian Artists
Speak; and Panoramas of Passage: Changing Landscapes of
South Africa. Senegal is rich in Sufi culture. Wars, migrations, and French colonialism has made Senegal rather cosmopolitanism. According to the exhibition catalogue, Senegalese reverse-glass painting is a popular urban art adaptation that originated in Persia and found its way to northern and western Africa via trade routes emanating from a medieval Italian city. |
Senegalese history, myths, customs and beliefs are expressed by the artists in characteristic designs and vibrant colors, evoking
"those of the sunsets, the sea, the countryside, [and] the fabrics worn by Senegalese men and women as they go
about their daily lives." Informative labeling of the artworks gave insight into the cultural, spiritual and intellectual sources that had inspired the artists. The cultural events around the exhibit included a Senegalese dance performance, and lecture by the Ambassador. School tours dealt with Senegal's history, the slave trade, cash crops, clothing design and traditional art. 11 One day of the exhibition was devoted to the theme of Senegal with various Senegalese community organizations presenting their Senegalese food, glass painting, hair braiding, gold jewelry, music and dances, among other activities. |
2. Building Bridges: Israeli and Palestinian Artists Speak:
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...The artists wanted their works to be seen in both political and artistic contexts. In the exhibition brochure they state that, by exhibiting together in Israel and abroad, the artists have
"sought to reshape the relations between the personal and the public, between the political and the artistic."
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3. Panoramas of Passage: Changing Landscapes of South Africa
The project began just before the 1994 free elections in that country.
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The exhibition attracted many people wherever it traveled. The educational programs attracted the largest number of school groups. They attended a one-hour lecture on the background and history of South Africa.
When the exhibition was shown at a university, the university brought in professors specializing in African art for a panel discussion. The exhibition received positive reviews in the local media, which commented that history and cultural consciousness, and democracy and reconciliation were among
"the many themes of history, politics and culture coursing through the visually brilliant, often seductive, gritty and intellectually loaded exhibition."
"The likeness to our own historical memories of decimated natives and enslaved blacks is just too apt to avoid."
(William Wilson, "A Connection to Land 'Panorama'," Los Angeles Times, Nov. 4, 1996. )
...The collaboration of Israeli/Palestinian artists influenced the opinions of people who saw the exhibition and participated in the ancillary activities about the conflict in the Middle East. Seeing and hearing both sides of the issue brought focus and clarified some misunderstandings among the two groups... ...As evidence of the show's success, Jewish and Palestinian communities came together both during and after the exhibition... ...Talks, conferences, and seminars organized by the leaders of the two communities have continued since the exhibition. The South African exhibition, to cite another example, attracted blacks, whites, and interracial school groups when it was shown in Washington, D.C. and on tour. The tour leaders explained the positive steps that have been taken by the South African community and how difficult it has been to establish peace and change prevailing opinions. Comparisons were made with racial issues in the U.S. The experience, thus, helped to increase understanding of race relations. The creativity of Senegalese art served as a reminder of the rich contribution that African culture makes in an increasingly global culture... |
Scripture as Literature: Sifting through the layers of the text : PART 3
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Likewise, in the Lawh-e Ra'is, where Bahá'u'lláh describes a puppet show he viewed in his youth, in which all the pomp and glory of the material world and all the important personages were laid to rest in a box by the puppeteer at the end of the show, the conclusions he draws from this event may be shaped somewhat by the Oshtor-nâme, traditionally attributed to the famous Farid al-Din `Attâr (d. 618/1221),1 who describes a Turkish puppet player folding all the puppets into the box of tawhid, or Divine unity, after the performance.
Also from the Lawh-e Ra'is is this quotation from the poet Sanâ'i (d. 525/1131):
"The sage Sanâ'i has said:
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....Perhaps the most interesting work of Bahá'u'lláh, at least insofar as genre studies are concerned, is his
Hidden Words (Kalemât-e maknune), a work of rhymed prose composed/revealed in 1274/1858 while Bahá'u'lláh was in Baghdad. Though conceived as an organic unity, Kalemât-e maknune consists of short independent ethical and mystical counsels, 71 in Arabic and 83 in Persian. This book was originally known by the Bábís among
whom it circulated in manuscript form as the Sahife-ye Fâtemiye (The Book of Fatima), thus identifying it with the Twelver Shi`i tradition of the moshaf Fâteme (scroll of Fatima), a series of inspiring thoughts supposedly whispered into the ear of Fatima by an angel to console her upon the death of her father -the Prophet Muhammad. The scroll of Fatima was believed to be handed down by the Imams from generation to generation along with the weapons of the Prophet. Of course, we do not now possess any such text, if it ever did exist, so that we have here a curious case of intertextuality with a non-textual text, or more precisely, the apocryphal tradition of a text. Thus the name -"Hidden Words."...
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by Kathleen Hite Babb, Japan / U.S.A.S H A K U H A C H I |
She stared out of the plate-glass window into the midmorning haze, sensing only the movement of the heavy machinery that propelled the ferry across this segment of the Setonaikai --The Inland Sea.
She was oblivious to the tiny isles parading by, dressed in their calico colors heralding yet another season of hibernation. The sight had grown pale from familiarity, since it was there almost daily for her over the past five years. Yes, the recent typhoon had changed the face of the countryside, but even that was now too commonplace to make the view any more worthy of interest... |
She was encouraged and went on. "I played the flute." But she didn't really want to talk about herself, her mind was on his instrument.
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Photographs and Illustrations of work by:Jacomien Souverijn, The Netherlands, Fuad Izadinia, South Africa, Mor Gueye, Senegal, Mark Sadan, U.S.A., Barbara Casterline, Japan, Herve Constant, U.K., Ryoszo Morishita, Japan, Myriam Bargetze, Lichtenstein, Jawa Al-Malhi, Palestine/Israel, Anni Langenhorst Blackmer, France, Jessy Rahman, The Netherlands, & Mehboob Shaik, India, Arnon David, Israel, Derrick Nxumbo, South Africa, Inge Kölle, Germany, Keith Eldridge, Canada, Chris Reid, Australia, Kouhyar Rowshan, Australia, TBA, Australia, Carl O'Kelley, U.S.A., Terry Eichler, Australia, Edward Woodman, U.K., Thaya Whitten, Canada, Bill Skuce, Canada, Alex Samyi, Austria, Janita Appa, U.K., Beth Yazhari, U.S.A., Jacqueline Wassen, The Netherlands.
Sasha Radin, The Netherlands / U.S.A., Kathleen Babb, Japan,
Alison Marshall, Aotearoa / New Zealand,
Steve Marshall, Aotearoa / New Zealand,
Sonja van Kerkhoff, The Netherlands. |
Arts Dialogue, Dintel 20, NL 7333 MC, Apeldoorn, The Netherlands
http://Bahá´í-library.org/bafa email: bafa@bahai-library.com |