And Dudu was the and always tragic mythopoeia. Memory is always fiction. No place could be recorded set. His first group with about music you start lying. Although the band won a prize that it never quite decides to unveil. This automatic paternal- spirited playing by ism was to chafe sorely once the band was in Hugh Masekela exile. Mra was a regular favorite of the bone and Cornelius Blue Notes and their future incarnation, the Kumalo baritone Brotherhood of Breath and was also recorded sax and clarinet. The by Hugh Masekela. A fascinating syncretion of on 8th September in the Grand Hall at April 27 Composer and pianist Nxu- Negro and African.
The idea for the Meritone Jazz Series are two Pukwana particular style. A musicologist could write a PhD about number is just up his Street. They had to follow and by Freddie Hubbard. Dudu was a natural And silence cities die beneath your shape. He was utterly in the moment. Mzansi exile community, not to mention every Dutch jazzer that lives in the city.
Alto The jazz performer and composer are the player Joe Malinga from Swaziland is stand- same person and the acts of composing and ing at the bar next to an extremely inebriated performing are essentially simultaneous. He would stop in mid-flow, put the soprano down and pick up the alto and be playing a different tune within seconds, just like that, not even a miniscule nod to the head to guide tradition insist that this inevitably leads to shallow music-making.
His voice grows increas- to-see-you-guys kinda, they were doing that. So to that man who had just played himself out Dudu got mad, you know, I got mad also and of the cosmos and into infinity. You know, this attitude! You become an exile They speak of singing who and exile becomes your only home. He is incredibly amicable, with and feel at home in. I try we forgot that we were in exile. They choose to time. It happens through being part of the Again citing Saul: Developing of American racism, was written as an invitation Frieda Ekotto a strong understanding for self-love and for black readers to join his movement for justice.
Chair, Afroamerican and African Studies appreciation, Coltrane and X fought through In this way, Coltrane and Malcolm both tried to Professor, hardships for more than their own self- affirm their own personal quest for truth without Comparative Literature and Francophone emergence. To understand the Black of self-protection and developing internal American existence in its peace and feelings of safety.
Crime had been a part of his tranquility, one must also fully understand it life, but the intertwining need for change and in chaos and uncertainty. Malcolm X and John revolution came to overshadow and lessen his Coltrane embody this. This had their share of interest in its shady ways. Coltrane chose to chaos, but through it they developed full and make a turn for the better in recognizing his strong understandings of their own internal aggressive self-loathing and dependency on calm and logic.
Presenting their findings harmful drugs. His need for change came from to the Black community, each in his own self-expression, as well as from the observa- beautiful way, both figures gained strength tions that the Black community needed and gave pride and understanding to others. This The energy that pours out of A Love Supreme transition from criticism of the Black Ameri- is one of a violent rebirth, while the narrative can community to an attempt to develop an structure of The Autobiography of Malcolm X, as understanding of community began with it progresses through events and realizations, Black Americans telling their own stories.
The allows for both coherence and chaos. Sound cannot be translated. First is Jacques verse in translation. Rout- New Brunswick, New Jersey: Rutgers University ledge, Let me give a specific example. It is for this reason—this learning to asked: It is often used with other self-evident. Meaning can clearly be evoked or connoted At a very basic level, even onomatopo- course, the sound of explosions.
All by sounds as in onomatopoeia [ This releases us from the sense that determining element. It is my sense, however, that etymology white, sometimes in color, either silent and still Emily Goedde is a PhD candidate in the does not give us as a full an understanding or else grainy and filled with static. It War II footage, punctuated by snippets from where she focuses upon Chinese poetry is this poetry that teaches us how listening to current conflicts. New live, waiting and listening, for bombs to fall, we visual sense. In his poem individuals were lis- Writing from The Iowa Review, as well as in all know the feeling of waiting for a sound.
Women Poets listen for the buzz of a text message, an alarm point is not from above or from a distance. It is of China White Pine Press, These are his lines: We wait, listening, as we go about our Beautiful dreams are broken! And then, when in its suddenness the awaited object sounds, we are startled; we Enemy planes overhead! This because of his endurance and Before Kenya was Kenya, there was the is an anthology of sound and inflexible will to win, goes from British East African Broadcasting Corpora- the ghosts it rouses, a musical conquest to conquest, leaving tion, which started broadcasting in The cartography of Nairobi and Kin- fire in his wake.
A claim to authenticity cannot be state sanctioned. I Independence Cha Cha. At independence in , It is through Radio that I now listen to the represent, we should think, past. Occasionally I wake up on Sunday morn- the flag is lowered one last time. Rituals of driving around Nairobi Kenya becomes a Republic. This view prob- with nostalgia to the recognizable voice of 5. Mobutu declares in Octo- lematises the very authority and Fred Obachi Machoka.
I remember the ber that Congo is no longer authenticity to which the term, coup, or rather reading about it, and how Congo; it is the Republic of Zaire. Stuart Hall, Cultural Identity staging the coup to make the announcement and Diaspora. I am maybe a voice that I listen to when I want to singing it. The government listen to my father. How does one claim to own a voice, or at wounded of Congo, despondent in their least hear yourself or parts of yourself in it?
I been banned on Kenya Radio. That is until wonder if it is possible to translate this to Nai- Tabu Ley wrote the song Nakei Nairobi, sung robi, to how it is that we previously imagined by the illustrious Mbilia Bel. In the essay Kin La Belle, Owour describes the message had been relayed to the nation. Just as my father listens with his own her pilgrimage to Kinshasa. She asks a man What does it mean to have faith in broadcast? Or to question its reli- him, to be back in Nairobi, quietly seated as weeks, and he tells her that to do so she must ability? Independence Cha Cha is a declaration of martial music.
To a stranger, this independence that captures the elation and cacophony is unpolished dissonance, unstruc- rush of freedom. Perhaps on a ters, the illegibility of the coup announcement world. Music itself is a language of expression. There is a pressure in that the existence of bodies in them. In a recent lasting for as long as 16 minutes. This is a interview, speaking on Lingala as a language, sound of extravagance, of self-indulgence, she responds to a question: By harmonies that linger.
Perhaps it is through the length of this music that one experiences and measures time. There is a sociality in listening to Lingala never could be. Stuart partially listening to the lengthy ballads alone. Did it taste the same in Nairobi to the whims of the listeners, those consum- the week dreaming of rhythms and endless as it did in Kinshasa? Or does the music taste of ing live music. Christoph Vogel writes that the nights. Just as differences are erased in Kin loss and the echoes of loss? Live-stream of money, sustaining their bands and their music. With this, too, selves and imagining their world in music.
The listeners situate lifeline, it was where we imagined ourselves of Rhumba that fill a hunger and tiredness, themselves in the exchange and in a specific honestly, shrouded in beauty and engulfing yearning for the hopefulness of the past. Jack Asiyo ni yako tu time, as if it is the first time the song is being heard. Leaving its imprint of beauty, astonish- tion. It is an area that that they are ours alone, they play for us and and the listener alike in ecstasy.
It is a theater of popular us alone. They communicate a sense of own- desires, a theater of popular fantasies. This is our music and our time. Perhaps where we discover and play with the identifi- music was the only thing one could own then, It becomes apparent that I, too, have nostalgia for a time that was never mine, and 60 The band sing in Mangelepa ni Yako Tu the experience of listening or owning and to the audience by announcing their name collecting vinyl, creating an archive of time and instrument they were playing.
To speak to ownership of music at a I recall leaving Nairobi after the Christmas holidays, captured by the lyrics of Les Mangelepa in Embakasi. Embakasi as a metonym Then there is the conversation between recalls the main airport of Nairobi before it was time when owning Kenya or part of it had dis- Kinshasa and Nairobi. Imagining a musical car- Nairobi International Airport or Jomo Kenyatta sipated with promises of freedom and justice. Embakasi airport was The imposition of silence and the ghosts that undoubtedly informed and were informed where farewells were said and returns were live in the echoes of silence are on occasion by diasporic imagination, it was Lingala music made real.
Les Mangelepa sing for a lover a interrupted by the staying power of Rhumba that documented and dreamt of cities. Songs Sue Moraa as a departure becomes immi- music. Perhaps what endures is the conversa- that embody cities and movement allude to nent, tion. There are four national languages city. Congolese, especially Les Kinois, still The movement alluded to reminds us speak of Kinshasa as the heart of Rhumba that the oral is often embodied and given It carries many wounds. It was the official music, le Coeur. Yet by multiple bands voice through the movement of tongues.
Departures are then made reality through the Force Publique, the hand cutting the colonial Existing alongside Nairobi-based bands, movement and migration of bodies. Sound army that served the whims of the greatest the Rhumba of the 70s was perhaps, then, travels through memory, through visions for genocidaire of the modern world, Leopald II. English, Kiswahili, that sustained the push for independence what was and could have been. Imaginary and dreams that the Congolese and Kenyans departures became real as did indefinite found themselves dreaming once again journeys and the promises of returns, as the as the failures of post-colonial Congo and musicians who sang of leaving really did leave that was sang in bars and nightclubs in Nairobi Kenya became apparent.
Where Nairobi and for Paris and Brussels in the s.
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It is produced in conversation. Kinshasa meet in music, the city embodies tanism insists on history. Owing to the large sizes of the bands and the feeling. Those who meet in these two cities Seated at Heathrow, I prepare for my largeness of the sound they produce, recogni- exist beyond and the veneer of the city and return to Nairobi.
Mid-song, the lead singer will brought to life. It is in sound that histories first; I am utterly beguiled by them. The act often call out to each of his band members, and geographies gather and it is where they of listening is one of intent and I find myself acknowledging their skill and bringing them remain. Memory is produced in music, in Lingala 61 Yet the collective imagination for and of the lyrics, leaves my imagination, my musical map of the Mukami Kuria conversation between Nairobi and Kinshasa. Born in Nairobi, Kenya, Mukami Kuria Bibi yangu nakulia we, mpenzi wangu I think of what remains in Nairobi, a tiredness is currently a student of International Rela- mi ni fanye je in the city that has a strained relationship with tions at the London School of Economics Bibi yangu nakulia the State.
An article dated March makes and Political Science. Bibi yangu nakulia we it known that the club where Les Mangelepa Aside from an interest in the Inter- used to play, Garden Square, was shut down Ninakwenda kwetu Zaire, over unpaid rent. Oddly, Garden Square is national, she spends time dabbling in Mpenzi wangu mi ni fanye je a venue that is both of these things: She is Nitarudi tutaonana by the Government and popular venue for interested in thinking about photography Bibi yangu nakulia we funeral arrangement meetings.grupoavigase.com/includes/476/6708-grupo-para.php
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I imagine the and with photographs, cultural studies and Bibi yangu nakupenda silence that engulfs Garden Square now, aban- cultural production. She can occasionally Mpenzi wangu mi ni fanye je doned and haunted by the ghosts of the past, be found in the Kenya National Archives, Mpenzi yangu ni wako Mama empty in contrast to the past nights that it was exploring memory, history and colonial- filled with full sounds, trumpets that occupied ism.
She is the editor of a forthcoming the room. Keguro Macharia reminds me that book on a Kenyan music and art collective. Those who remain after those but as an origin, where one comes from. At once revealing that he mourning and grieving. That which remains is is from Zaire, he also lays claim to belonging. Despite their original ideological transcription technology.
Popular commercial language and geography, and the indigenous used to sound like. The so-called traditional ways thousands of these recordings, either selling pop acts were also played on air, creating a of life were adapted from anthropological them off or sending them off to be chipped quandry for authorities because their content accounts into state ends, to keep its labor and melted down and their components did not perfectly fit their ideology.
Today the copies that remain are for jobs in urban areas. Therefore on the buried in the archives and never played on air, of all commercial music to be played on air Radio Bantu stations, language mixing was while precious few others are dispersed into had first to be submitted to a committee com- discouraged, for instance on the seSotho mostly private collections.
It is one of the many prised of the heads of the SABC departments, station isiZulu should not be spoken or sung. In order to create content even if that preservation has amounted to dom, drugs and booze, clearly non-Christian that fit its ideological program, SABC made its an entombment. One can imagine the SABC i. The click of the cut itself becomes a refused airplay, even if the albums themselves tracks were often literally scratched out with new beat, on top of the original rhythm of the were otherwise commercially available.
Lyrics a nail, sometimes completely obliterated, song, on top of and revealing the hard pulse that mixed words from more than one lan- sometimes with just a single thick cut creating of a former authority, while undermining that guage were sometimes censored. In this people coming together for a meeting, was Looking back upon these records today way their surfaces may be seen as archives censored, even if the actual lyrics were quite from the perspective of one who plays records of events in their and our own history of conventional or the meaning of the song was and plays with records, this other groove also use and abuse.
Basically, anything that sounded like clicks, its own unique beat upon and within scription. In them and on them the paranoia too much fun was avoided on air. Also, the crossings-out of the authoritarian state is made palpable for of the song, if played on a sturdy turntable, all to touch and know and feel and play with banned outright. More often it was only may return the listener again and again to the over and over through the repetition of what specific songs that were forbidden. DJs were given albums with markings on the revealing it above the rest of the tune, display- covers: I can imagine a ing to the objectionable tracks that stated contemporary DJ creating an infinite loop - a LPs with censored content were not always 65 John Peffer is Associate Professor of Art History at Ramapo College.
After having spent this feeling as a sculptor works with used to. VAL, the voices of the audience pro- language. What the artist is doing false: Beyond bounda- drew a kind of geometric path. His is producing metaphoric maps of ries, beyond every kind of concept installation provided the public an the feeling of empathy.
By run- is particularly relevant. I begin to look at my dual interest in the Human beings are visual creatures, so we are to adjust to the proper note. I mean, at least in terms of The installation prompts two people visual art and music as a kind of struggle in our civilization now. The more time I spend to trace over a simple geometric shape. They are both artistic activi- thinking how to connect music and migra- essence, what they have to do is to listen to ties, but there are differences, especially in the tion, the more I see it. As in the two standing their own pitch to adjust to the proper note way you engage your audience.
And perhaps microphone installation where two people they need to create. When the two continue as far as comprehension is concerned, music must simultaneously emit a pitch in different to produce the proper notes on the grid, they can be more abstract and perhaps more frequencies to move the cursor in a frequency- will be able to trace the shape nicely.
It would be very interesting to see can see similarities. VAL, I made it clear that I will explore audio as sor, which in turn draws a continuous line on a base to develop my work. One person controls the position create music. Another controls the y on hori- of tone, phrasing, harmony, the rhythm it can zontal.
The axis is where the line is drawn. I think all those are valid for anyone. You the English Channel. They come from all over, and communicate with what one hears. I think use a metaphoric language to qualify it: Photography by Jun Nguyen-Hatsushiba Calais, Most end up at Calais hoping to hop onto Was the visual aspect of the installation more of a challenge than the sound aspect? So, I was in Calais for a few days with Valerie I think everyone experiences this.
The visit actually What does it take? Some are unaware of this process and lament came after my residency period. Without What does it take? I wish that the political leaders could was the destination for many migrants. The always get to the point of needing to connect project is on hold due to my recent health issues.
Should they leave but for me, it provokes further thoughts. If you look closely, you will see forms their own country and move from one place one point in my residency, I was developing for these features, but they are not identified to another? Should they take the next chance the idea of performing the Star-Spangled clearly. Lots of risk taking.
At one camp I the English Channel. A kind of Romanticist form for me is a depiction of us in the simplest was visiting, one of the migrants came back reflection of the history of art, as in the work way. I think of Jimi Hendrix as one wearing make them humans. They seem to day, 12 are on. And playing the Star- be stripped of self-identity, but for me, these moment. They are prepared with a very small Spangled Banner back in the direction of the rough forms speak about humanity as a bag of belongings; any paperwork from their UK would bring an interesting perspective on whole.
It is also a reflec- people you know. At the same time, they are crossing? And perhaps this is what I saw in my head as are a mass of humans. Perhaps this is one rea- migrants attempting to cross the Channel, a son migrants are treated cruelly by the locals. They are seen as one kind, not as individuals. I am just exploring, as is my usual So, I will be working with these figures to creCould you tell us more about your next projects? They are very small, yet they are human meetings also led him to land on UK ground. What I like about these is the obvious Subsequently, he formed his most influential omission of facial expressions as well as facial band and created what we know of his music.
Basically, we can identify the different Basically, his career exploded in the UK. This kinds of people in different industries and age ate situations. In conversation with them as they are, and is struck by the potency begin. We hear how you must look backwards tance. Recently he has received coverage from to understand, to move forwards and create released, one is struck by their diversity and online-based publication Okayafrica for his something new.
They are captivating and Lo-Fi Odysseys is someone who has an Listening to mixes he has previously Palm Wine Beats Series, and he is gaining trac- This evening the set he is playing ventures make for relaxed listening. Yet because they tion online and in the London music scene. They complicate pleasures, From Lenny White to Gil Scott-Heron, he is a which are often uncomplicated in the politics purveyor of the archive. To represent something means to make it present again, and this is all the more so He has invited friends to the studio to Tonight we take part in an exercise to with music that never ages, to play it again is contribute to the discussion of Black Culture.
He incorporates and to give it an audience - maybe even one from Kahira Ngige, and myself, Mukami Kuria, are offers a thought provoking clip 20 minutes a new generation. At once reviving and re- part of a collective called Sunday Service into the set, from which I pick up the following presenting past sounds in all their goldenness, London, where we create spaces for young fragments: Another as a negotiator of worlds musical and cultural. As we can hear in Palm Wine Beats Volume 1 and 2, the first of three mixes in a five part 72 archive.
But no context is given into the prov- Impassioned, the voice ends by asserting Later, in the studio, we enter a lengthy discussion about humanising. It is , and for people of colour. In bringing the human heard; we make our voices heard. As a chorus black people are still dehumanised. We posit that for black possible. Through it there is an broken-heartedly. Just as we negotiate out own visibility take it away. Nollywood masterpiece, Danger Signal. It is white spaces, at times seeking refuge in creat- making ourselves audible, making our sound what remains, and lingers.
It is what nourishes ing spaces for ourselves, for black people, heard. Here is where we make our music and sustains. Soulignait Crouch, The sounds of politics. Les sons de Baraka sont ses mots. Black Art est un douce. Click Here to read. Hypnotique flot de mots Baraka, Amiri. Somebody Blew Up Flot des motions… America. Photo by Kyle Morland 78 society. He developed an interest in tracing choreography; their choice to listen and their expressions of devotion and fervour, holy what people believe in and how they practice. Prayer is a transcultural their spirituality.
From Buddhism, Christianity pology: Along that, hearing discussions about and pagan cults, sound is a key element to religious extremism was another clincher to transmit divine teachings and transcend the start a long-term exploration of expressions of earthly world. Vocalisations, instruments, belief through a sonic lens. Considered one of the most accomplished melodies or even body clapping create a In this, since , he has been expanding language and soundscape unique to every a multi-channel sound installation conceived religion.
Under the guise of by spiritual communities from the host city1, pious discourses, they may serve as dema- Prayer changes according to the urban context endeavour building bridges between different gogic channels. Taking root in the mind as an where it is broadcasted. The work consists communities and art institutions; and evidenc- integral part of daily spiritual practice, they in a red carpet and 12 disseminated floor- ing the meeting points of various faiths. Plural to Singular Streams Growing up during Apartheid, James Webb South Africa saw how racial and geographic divisions impacted religion and 79 questions religious rigidity and partiality in his multi-channel sound installation Sound African and Middle-Eastern artists capture an entrance point.
In his speech, if The result is powerful as the prayers are the imam describes the value of women as accumulated and looped in an everlasting procreative vessels reproductive subjects flow. The audience can stroll; get dazzled by divested of their bodies , he also explains they the polyphony of voices or decide to hear one are not responsible for the baby sex.
Mostafa of them distinctly by kneeling down in front evidences the role of religion in producing of a speaker. In a sober docu- meaning. The uncertainty and metaphysi- Al Madat by James Webb, for instance, mentary style, the video A Night in Beirut cal anxieties linked to existence push to find subtly and poetically refers to demographics by Sirine Fattouh Lebanon follows sense in an immaterial dimension going and ancient religious migration routes.
Ironically, Younes Baba-Ali project, he recorded a Sufi dhikr: Four standing speakers sur- night he crosses the city to wake people up for verbal communication, he presents the call as morning prayer before the sun rises and the a universal emergency alarm signal. This mysterious nocturnal scene evokes the artist first visited Brussels, a third cultural space, as a way to rediscover his community mostly North African expatriate Muslims in a new context. In this poignant imaginary space, Fat- he is disconnected from his context and his tan Bahu Rehab Centre run by a Sufi mosque.
For her, El Tabbal becomes a symbol inherited through it are linked to an adamant Sufi saints specific to Cape Town particularly of all the landmarks, traditions and memories religious practice whilst the bond with spiritual- touched him. Dhikr is used as a curative tool in vertiginously disappearing in her country: While never provoking this context. The area is predominantly long after. Al Madat is only one of several dhikr of Cape Malay and Cape coloured descent. Religion was a powerful tool for slaves during 80 2 This disappearing tradition bears the name of Boutbila.
Often mumbling a sequence of syllables, outwards. Yet, from the outside view, these the speaker cannot be understood or deci- practices are often misunderstood. In the region of Stellenbosch, Webb and disclosing those recitations in an exhibi- recorded young Pentecostal Afrikaans women tion space enable the audience to learn more.
The atypical rhythm The viewer can interpret and complete the pouring forth elicits a visceral and mesmer- work. Such a flow of unusual words slips out of ordinary definitions on language. The aural presence of acoustic installations The singers abandon themselves in this space based on analysing sounds mediating divine at the periphery of sense where their expres- presence reveals the spatiality and secrecy of sion is neither constrained nor judged.
Preconceptions as suggestive music can include demographic enquiries and formally mislead us. For becomes a shared collective responsibility. Par exemple affects et nous conditionne dans nos actions. Mais les pochettes de disques aussi, et non le rythme est calme ou doux, les formes sont de plus ou moins arrondies, avec des ouvertures par endroits et les couleurs bien harmonieuses.
Le son comme objets artistiques. Djenia signifie la Fela Rocks: Cette technologie toutes ces influences. Ces ruines sous http: Ils semblaient toujours heureux de partager leurs bonnes humeurs quand la musicale nord-africaine retentissaient encore familiales retentissaient tous les vendredi danse les faisait tous tourner ensemble. Une nous emporte encore plus au Nord du monde. Un projet audacieux qui traverse les cultures et les https: Ce prelude est discours. She brings to our atten- ford College, Southern Exposure, ing.
In it she asks us to consider: What power does other sonic language speakers Texas Visual Arts Center. What assumptions do we might too easily assume that lan- of her current projects involve have about it? What rules contain guage is a sonic experience, even teaching about vlogs video it? And how do we listen? Can we though language and sound only blogs , which she co-developed listen with our eyes and our bod- overlap in certain areas. Kim, at the Whitney Museum in New ies?
What might we learn if we do? There is also play with lan- 98 In summer she exhibited the visual interpreter cuing me to repeat or slow down of the time. I suspect that a lot of the reason people in Beijing. This fall you can find her work that space for us, to have the option of having appreciate me as a speaker has as much to do including both the drawings and the interac- and not having a voice interpreter.
It runs from November 27 until make it acceptable to English speakers? I think a lot of people January Should I meet them halfway or tours in ASL per month, one with a voice inter- se, but also about how other factors affect should I go more than halfway in order to initi- preter and other one without voice. And all tion I had with Daniel Kish, [an expert on my reading material was in English, so I would human echolocation, a vocal technique he speakers to expand their language.
Do you sign with English influence to save me some uses to measure space via sound rather than think the fact that you are multilingual has time on translating into pure ASL. I would trust vision]. I A lot of blind people would have con- are? Do you look for the spaces between also sign more English with interpreters I ducted this entire interview facing straight languages as a place to generate new have never worked with before, probably ahead.
Or maybe even with their head down. Blind people often fall into a difference on my work. ASL nice to have a kind of intimate discussion with not really engaging people. I think if I communicated in both What about voicing? Could you speak about your work with interpreters?
Ligne de vie (FICTION ET LITT) (French Edition)
It reminds me of a quote by Yoko Tawada, identity to everyone. Where does a voice come into being? But this is not yet a voice. We hear selectively, we performed into a score. Otherwise it would be impos- a car wash, a band, a freight train, a ringing Courtesy of the Artist sible to understand the person speaking telephone, etc. We contribute to this process by the sounds. In this case, you created your bringing in our own knowledge, precon- voice, your sonic identity with many people.
This drawing is a reference to my relationship with a number of interpreters. It seems ceptions, imagination, and repressed so hard to find the one who represents every thoughts. Thus every act of listening is voices were my voice. If its for a lecture, I would pick the our mouths to reply. What do its linguistic so hardwired to hear a sound coming from me because they want to form my sonic identity in their head. How hearing people automatically want to assign a sonic listening experience will lead each individual to be aware of the passivity implicit in this everyday behavior.
Because of the way you have to move your legs and hold up the I like the fact that listening itself gets labori- It makes me realize how thinking about device, you behave, react and listen much ous, and that you become much more careful, only sound is limiting to the activity of listen- differently than your usual passive listening. I think listening is often taken for ing. Listening is about how we notice and And because there are two or three senses granted and I can get a little jealous of how process information. De telle sorte que posture stable, les pieds sur terre. Voleur, frappeur, flambeur, zonard!
Dans la J'suis Congolais, tu vois j'veux dire? La dimension contestataire ricains. Doit-on penser, pour autant, disque. Si le tu fais du bien. Port-au- sans analyser le parcours biographique Prince: Editions des des pratiquants du rap dans le contexte Delory-Momberger, C. Le culte de la performance. Pourquoi avoir choisi des discours tels https: Je cherchais une rythme des phrases me fascine.
Quel aplomb, quelle intelligence! Sa voix, ses intonations, les contrastes sont beaucoup. Only of a European 19th century explorer, and the artistic backgrounds and practices. Kara Walker, the king of Gaul, father of Norma, is wrapped in New York based-artist who earned critical and animal skin. There are very few right angles, discourse in the realm of art criticism today: The opera peaceful trees turn into a sea of menacing nineties, South African artist William Kentridge tells the story of a Gallic priestess, Norma, who spears, and deep blue turns into bright red.
The road is slippery; the beds parti-pris in itself. It depicts one of the are altars to unforgiving gods. The final New York Metropolitan Opera in , The ship between master and slave, conqueror twist is sad, hopeless, and dramatic. Refusal of Time, and most recently, Notes and conquered, government and citizen. The great destinies of Center for Contemporary Art, Kentridge keeps Twelve Years a Slave, and the Black Lives empires and men, east and west, north and exploring and pushing the form into the 21st Matter protests.
Similarly, Norma blurs the south, the tragedies of gods and mortals, have century. Part of the Beijing exhibition was on boundaries between the victim and the tor- been told and retold countless times with view from September 11th to October 24th at turer, and between love and hate, in a context renewed energy and dedication by a relatively of political and emotional domination.
Marian Goodman Gallery in London, and the From then on we got invited to several festi- some videos of model operas conceived dur- artist is preparing a monumental interven- vals, which eventually turned into a full-scale ing the Chinese Cultural Revolution. I found tion on the shores of River Tiber in Rome, to opera in Brussels; the work was called The interesting the idea to take a late nineteenth be unveiled next spring. The project, titled Confessions of Zeno, and it was previewed century balletic form and infusing it with a "Triumphs and Laments" will be Kentridge's at the Documenta in Kassel, with Okwui revolutionary, communist subject.
There is largest public work to date, an impressive Enwezor. This was followed by The Nose at the such an interesting clash between the form frieze long of metres, which will open with Metropolitan Opera in New York and several and content. So we first had a workshop in a musical collaboration with composer Philip other projects. Johannesburg, which led Dada to come back Miller.
So the piece is infused with operas, and how do you go about working several elements of dance and movements tridge to discuss his approach and most recent on them? For example with The Magic Flute, specific to classical ballet, the language of attempt at making a piece of art total. I We had the chance to meet up with Ken- Gesamtkunstwerk: Each piece takes three to five years to also had in mind the date of , the year in make, with only the last six weeks devoted to which the Cultural Revolution began, and all rehearsal.
The rest is happening in the studio. Could you please tell whole machinery of it, they also take different the early sixties was fighting for its independ- us how your practice in film, drawing and forms, like exhibitions. The process in all of ence, and seeing what these meant for me theater, eventually came together into this them really has to do with finding the formal as a thirteen-year-old boy in South Africa.
With Bringing all these elements together also put WIllian Kentridge: Theater started with The Magic Flute, which is a story about dark- in perspective the relationship between more workshops that I was doing while in university ness and light, it took the form of a metaphor. By that I mean large acting was not for me. After returning, I got and as an ongoing investigation into the amounts of primary resources and com- involved with a puppet theater company in nature of shadow and light, and the imbrica- modities leaving the countries, among other Johannesburg, where I became the artistic tions of both.
It is a subject which I explored in things. These can also be linked to the Paris director. The question was how I could inte- previous works like the Shadow Procession. Thank you for taking the grate the animations I was making with the puppets on stage, and create a four-dimen- revolutionary movements in general.
So we Could you tell us a little more about Notes take something that you think of as a very spe- sional drawing by combining projection and Towards a Model Opera, the project you did cific moment in Chinese history and culture, live performance, all moving through time.
I wanted to keep working with her on a lation. It functions more or less character of images, and how they influ- as a video notebook of what a revolutionary ence what we see and hear. How do you opera today could be made of, in terms of think the operatic form, as a synthesis of content. Maybe, it would be about the chaos several different art forms, comes into that? There are a lot of elements coming in at the What was your experience presenting this work in China?
You have talked about the deceptive same time… Some people think there are too many! But I guess rather than be panic-struck to see this question of confusion and overload of information, because the operatic form itself, starting from the various languages operas are written in to the way the songs are interpreted, is somehow inevitably sure to induce confusion. Most of the time you hear some of the words, and then you drift off and Yes, I also think that way. And if we take only listen to the music. And the same goes in the context of your work emerging at a opera with the libretto.
But ultimately, these time of a complex political history in South are theatre plays set to music, so you have to Africa, it makes sense. This is also what we follow the story, or it loses its purpose and see in the world today in terms of politi- interest. For some previous operas I think I had one more question regarding the there was a complete overload of images, habit that you have to insert yourself in your so at some point you give up and fall asleep.
You have the text, the singing, the of artists talking about their work. And I also had Wemba, or Greek sentimental songs from the hour long aria sung by the late Belita Woods, to be the one performing the result of that 20s for a project in Istanbul, and South African accompanied by an ensemble of metalins. So even- brass bands. The instruments were designed especially for tually the lecture grew into the work, and this became The Refusal of Time.
There is the performance by Jonathan Bepler and his Eugene Perry For the wrath of Seth another body of work that is set in the studio, team, from the carcasses of cars as a reference to the Detroit automobile industry. A little later in the part, a scene is shot at a giant so I was in it as well. I am not a novelist, I can- Let us be honest. Fundament is relatively hermetic. Here and Some authors can imagine what it might there, one could catch a glimpse of the public, be like to be, say, a 14 year-old girl living in who remained bravely focused for the ones the role of Seth, are convincing to the point Arizona.
Now that is an impossible task for me. So it keeps coming back to the self, ultimately hour , but also see the performers throwing They both certainly stood out in the midst of it is an examination of oneself. Their charac- for some, chuckling in amusement at the ter can be seen fighting Horus, screaming in improbable script. So, should you pass on destructive rage as he conducts the incinera- music and opera, and what are key figures River of Fundament? I would say absolutely tion of his brother and enemy, stabbing an in music today that influence your practice? Jonathan Bepler has urinate in a room full of people.
Khu, the second part non-listener.
I was also recently re-listening to of the film, is a true feast for the eyes and the What is your relationship to classical Classical music is the music I grew up furnace, under the watchful eye and voice of Eugene and Herbert Perry. The twin brothers, full of rage and fury in We catch up with Mr.
I think most people actu- voice. I think I was doing a lot. And the number filmmaker or producer. I got a call to audition both show up on screen at the same time. Even during rehearsal, it was as if we of lines to work on. Jonathan Bepler was also in the barge. My brother was the one doing there, and he wanted me to sing a couple of the more physical scenes, such as descending arias, which I did. I am not even sure to this in the water for the final fight. To tell you the day, why they picked my brother and I, but truth, my brother and I did not see each other regarding your experience on set.
You men- the audition I did that day was pretty good, much during the shooting. It was all very finely tioned the fact that there was no text, so and they told me that they would get back tuned, in terms of production. They would how did it work? Were you making up lyrics to me. A few days later they wanted to have call me for my scenes, and call him for his as you sang? We did the audition separately. On set, costumes, and then quickly scheduled my first he made friends with some people, me with set words, and I made them my own, chang- shooting, which was set to happen in Detroit.
Someone would see me on set, come ing them and sometimes, improvising. They It was during the winter, the temperature was say hi and hug me like we knew each other, do say that the best acting is reacting. That about ten degrees below zero. We went over and they actually knew him. I extended to the music, as Jonathan Bepler a couple of lines in my hotel room, without think it reminds you that we are all connected, used all kinds of musicians, in a very creative music. It was a very simple text. An hour later somehow.
I am intrigued by one thing you said They gave me the general idea, several Yes, I saw the metalin ensemble, with inside. It can be better, it can be worse. It was very intense, it difficult to sing towards the water, because Did you get to work with her and the other freezing, obviously. When you sing, singers as well? There were a lot things. We this was what I wanted to do. My brother had versity. He died quite young, in his forties, but were in and out, only showing up when the already made up his mind, but I was hesitant.
That happened in a life of its own. I see that you are very involved in local had, to work with each of you separately, a career. My brother and I were both fortu- including your brother. This way, I guess, nate, in that we were the first set of twins in Yes, I work at a community center every you were able to each give what you had in contemporary opera circles, as far as I know. I provide music, and teach them the way… Which leads me to the question, of to play major roles. We went on to work with songs. Not classical, because it is difficult to how your brother and you both came to Peter Sellars on his Don Giovanni.
The work get them to like it, and inner city kids can be singing opera. You mentioned the church, is had a major impact at the time, and drew a tough. So I that where it started? It started at univer- critics. Some people loved it, some hated it. I provide a band, instrumentalists. I studied the string bass, he early on. But yet I cannot say it was exposed and try to get them to sing. Later to the world. But what happened is modern day, which was very forward thinking German. I have one student there, as he got to Arizona, he discovered the opera at the time. There were three black singers, who is very promising.
It is widely accepted has great potential to grow, and an incredible together with a production company. So he now, to see contemporary adaptations of clas- voice. I also work with a theater company, told me about it, and we both stayed there for sic opera and theater, but at the time, many where the team is taking the text from Shake- three years. At first I did not want to make a liv- people resisted it.
They take existing operas enjoying it, but at one point they needed an side is that it also stereotyped us. I also used to was part of. To be able to have a to worry about being compared to this singer are quite successful, and I teach voice in uni- real set, costumes, a stage mistress, make-up or this production from the past. It showed But my family has always been in classical, me everything that it could be, the way you and as such I have strong ties to it.
My grand- presented yourself as a professional, the pub- father, Herbert Franklin Mells, actually started lic… and I decided right then and there, that the classical program at Tennessee State Uni- projects for the youth. Le don premier de la musique: Combien de regards Quoi?
Mais les des expositions occidentales en live. Les grillages du hors-champs: Parfois il entrouvre la porte. Et il y a encore beau- bre pour faire exister tout cela. Cette chanson est construite un peu mon rapport au sonore. Louisa Babari, Oujda, Maroc. What comes to sharp focus about above, a trans mute -ation caused by of the Christian God attribute broaches this unlikely resonance is that Mqhayi was translation. And Bouk- mobilizes sedition in muzzled de tone - by Mqhayi is able to deploy its recalcitrant man— on a diametrically opposed end, is ation. In a tribute— The This English translation is rather politi- and fugitivity to language.
Why do I say so? Let opportune to add to our stratagem a song river Xesi where King Ngqika of amaXhosa me explain. What becomes appar- a poem he writes in the turn of the 20th routed our forces at Mgwangqa; ent is the image of stomping the ground century— poems like Ithambo LikaNonibe; 1 C. That commonality lifts from herent sound; sounds of Black anguish. Perhaps this is the yawn of inadequacy and nimble-fugitivity. Glissant says that Moreover we discover that this rubric when speech is forbidden, noise becomes needs a reconfiguration.
Because at this verbal that take the rich content of the discourse. A, Rivonia, incognigro, effectively hiding as gross gence of social death as a permanent Sandton. The Apartheid Museum Pty deviation from original meaning, the feature in Black life and psyche; occasion- Ltd. CLR James and The voice peer through a veil that demarcates of white corporeality suckles its vitality Haitian Revolution.
The Unbearable Lightness of Being. The Silence the whistle on music that political order nuggets of story. The Grave into universal Marxism. Minneapolis, University of contributing editor at The Con Mag harassment; suturing violence of royalty Minnesota Press. Aesthetics of Black Radical Tradition, pg. Balthazar dit Bago aux percussions. Ultramarine est le pivot. Il vient de sortir un disque solo. La Ligne Claire https: Patrick se produit en concert solo humaines.
Il y a longtemps - bien entendu qu' un choix personnel. Il y a voix et voies. Live at le 27 septembre Morehouse College in Atlanta, June Elle qui ne jurait que par https: Dans une Publications interview https: Il enregistre en studio, plus tard Heidsieck. Rennes, au Havre ou au Centre Pompidou. Les exemple le saxophoniste Steve Lacy. En plus des ethnies, Heidsieck avec Claude Royer-Journoud. Ce titre, Vaduz, ultime spasme. The voices would ring forth, horns and fumes. Her performance work, ciation, memories, or imagination.
After s creative writing, has been presented at Venice Biennial. She was voted ers situated at different heights along the to the now-affordable high-rise dwellings. I would say about five years. Local seafood pairs well with a locally brewed beer from the Abita Brewing Company in Covington. If you prefer a fine table wine, Pontchartrain Vineyards in Bush is ripe for a tasting tour. For a special treat, slip onto the wooden benches at the Dew Drop Inn Jazz and Social Hall in Mandeville, where Louis Armstrong is said to have graced the stage in the s.
Stroll along the Red River and try your luck in one of six riverboat casinos found throughout Shreveport and Bossier City. Norton Art Gallery, Shreveport. Nestled along the Red River, these two cities serve as the home of the American Rose Center, headquarters of the American Rose Society, where you can enjoy the sights and scents of more than 20, rosebushes.
Norton Gardens features The surrounding lakes, bayous, river and parks give visitors a chance to soak up the natural beauty of the area while providing plenty of things to do. Outdoor enthusiasts can zip-line over alligators, hit a hole-in-one at a golf course, or fulfill a need for speed at Thunder Road Raceway Park.
One of the largest casinos in the state is found in Lake Charles. Delta Downs Racetrack and Casino Hotel in Vinton presents both thoroughbred and quarter horse racing and year-round slot and video gambling, live entertainment and more. Just outside the casino, Fulton Street is a pedestrian promenade that hosts outdoor concerts, music and sports fan events year-round. Come explore the wild outdoors of Louisiana. For theatre locations, go to:. Steering clear of highways and cities, she took to the back roads, aiming her lens at second-string towns to shine a light on the people, places and things that contribute to American heritage in their own manner.
Some 11, kilometres later — with a few taxidermists and memorable motel stays along the way — she finished her loop in Syracuse, New York, having captured what she refers to as the pulse of Middle America. Joannie a un faible pour la Mighty Cone. After my first few steps along the Green Line, she leads me at top speed through the Passage Pommeraye, a shopping arcade built in , adorned with marble statues and wrought-iron banisters. It soon becomes clear that this charming city, southwest of Paris, ticks all the boxes: A bit like the time I dyed my hair with peroxide when I was 15, the capital of the Pays de la Loire has been going for an edgier profile and establishing itself as a creative and cultural centre, throwing open its doors to artists.
Each summer since , Nantes is turned upside down, becoming part open-air art gallery, part playground for kids of all ages and part street theatre on steroids. The famous elephant everyone keeps referring to is the showstomper. However, none of that is visible when we arrive on stage, in a hush of utter darkness. Then, to the beat of electronic music, the seats in the orchestra and the three balconies appear and disappear in the dark, sometimes forming shapes, then going black again, as though Pac-Man was making his way through the venue.
The body is the counter; the eggshells are the seats. Nantes-born graphic artist Jean Jullien, known for his Eiffel Tower peace sign, designed the fanciful space. La Canadienne was created by art collective Fichtre for the terrace of Le 1 restaurant; the Passage Pommeraye shopping centre dates back to Public transportation, parks, stores and even offices are swept up in collaborations with artists, designers and architects. I cross the Loire and pedal down the esplanade of the Parc des Chantiers a former shipyard , passing by a tree of basketball hoops where three gangly teenagers are playing a pickup game.
This same site is where Cape Horners, those robust sailing ships that carried cargo all over the world, were constructed in the 19th century, followed later by even larger commercial vessels. I pause for a moment to imagine a young Verne, who found so much inspiration in marine culture, watching the comings and goings of these magnificent ships loaded with exotic goods from the southern seas. Some houses, especially ones that belonged. It appears as though it ran aground midstream, carried away by the powerful currents and that, in fact, is what happened to the first version of this work.
After several detours along the marshy estuary, much calmer than the river itself, I arrive in Saint-Brevin. And my patience is rewarded: The water is at its highest point, and the grey afternoon skies overhead are gloomy yet atmospheric. Lapped by the cold waters of the ocean, the S-shaped sculpture is mostly submerged except for its head and a few vertebrae that are partially covered in algae and barnacles. The rolling waves make the monster look as though it is slithering onto the shore, its mouth wide open.
Avec le mouvement des vagues, on dirait que le monstre, gueule ouverte, se rue sur le rivage. The former LU cookie factory is now home to a theatre, a centre for experimental art, a bookstore and a resto-bar. A baby giraffe came out of it. On another occasion, the city even cut the tramway lines to allow the giant marionettes to get through since walking a metre puppet in an urban centre is no easy feat. To make up for all the disappearing acts, some former craftspeople from Royal de Luxe decided to build huge permanent puppets.
Before I take off to visit the elephant back at the shipyards, she gives me one last word of advice: Look him in the eye. From my perch on a 4. He looks like something Leonardo da Vinci might have invented, and the children shouting and zigzagging around him seem as tiny as mice. He ambles toward me, bobbing his head and rolling his leather eyes as he cleaves the air with his trunk. He trumpets and sprays the audience with a fine mist. I get a close-up look at his cracked, tulip-tree skin, worn by time and the sun. His big eyelids close over his yellow eyes. Was that a wink? Il en est sorti un girafon.
On dirait que le temps ralentit: Visit the massive World War II-era submarine base, now used for cultural projects. When single, we all secretly wish that the romance of meeting someone while traveling just might happen to us. We sat down with Amin and Rebecca to learn about their dating experience, lifestyle, and why they chose to invest in their pursuit of relationship happiness.
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I can barely hear her over the wind. Captain Jim Jones is at the helm of a foot Boston Whaler, adroitly navigating the craggy Labrador coastline, bringing us back to Battle Harbour, a fishing settlement turned national historic district turned weekend getaway situated on a tiny near-shore island.
Cormac and Ronan, the and year-old sons of my co-passenger, Mandy, are in the bow of the boat, white-knuckling the railings and loving every second. Then again, so am I. For more on the precariousness of life lived by the sea, see page In fact, just getting here is half the… well, you know. Nearly 24 hours after landing in Deer Lake — after a late-evening flight, an early-morning drive through Gros Morne National Park, a lunch of pan-fried cod tongues, a two-hour crossing of the Strait of Belle Isle and kilometres most of them paved on the Trans-Labrador Highway — my travel buddy and I are.
Salted fish hangs to dry. James the Apostle, built in Battle Harbour en fait voir de toutes les couleurs. All this might call to mind the Fogo Island Inn; while Fogo is far-flung, Battle Harbour is farther-flung — about kilometres northwest, as the cod swims. Sitting on a storage box in the stern, I watch the sun and continental North America disappear, putting my hood up to shield myself from the salty spray. I doubt the science though not the sentiment, and besides: Who am I to quarrel with odd years spent on these waters?
Nelson is one of 15 employees — cooks, woodworkers, ferry captains and shopkeepers — of the Battle Harbour Historic Trust, the non-profit that manages this site. Most grew up here, or along one of the nearby coves, and now they spend their summers on the island, when the residential population peaks at around A former fisherman, Nelson retrained as a heritage carpenter when the restoration began. A dozen visitors follow Nelson through the buildings of the mercantile complex that surrounds the wharf.
I meet a pair from Australia, on a tour of the Labrador coast. The rain is doing that horizontal thing it does in the East, so we duck into the Pork Store, the oldest of the buildings, dating from the s. All I can smell is wet wood. These buildings are literally preserved in history. Three dozen buildings, almost all one and a half storeys, whitewashed and with red ochre trim, sit on the sheltered western side of Battle Island.
This community was the social and economic centre of Labrador for centuries — you can thank cod for that — until the decline of the inshore fisheries. Buildings started to fall into disrepair, and it would have gone the way of the other few hundred coastal communities that were abandoned and forgotten by all but those who knew them as home were it not for the Battle Harbour Historic Trust. Battle Harbour became a National Historic District in , the only one where you can stay in a heritage building overnight. More typical signs of the times gone by include archival photos. A pint-size Nelson is also in the shot.
The past has a way of coming to life here — though, given that my energetic goodmorning wave to what turned out to be a life-size cardboard cut-out went unanswered, perhaps not as fully as during, say, a Night at the Museum. We traverse the tickle in less time than it takes to stir up a daydream about being a plucky Basque fisherwoman; Ronan and Cormac are already clambering out of the boat and up a steep incline.
Their father, Peter Bull, leads our little expedition. His actual gig — executive director of the Battle Harbour Historic Trust — seems sweet enough to me, but looking out over the subarctic expanse before us, I can see the appeal. Orange is the new ripe. Bakeapples are red — you might hear locals call them green — until they mature, which is usually in July. The berry itself should be decidedly squishable, and almost ready to fall off the stem. A bit of wisdom on the delicate berries: That squishability comes at a price.
Leur texture mollasse a un prix. Looking out at the subarctic expanse before us, the appeal is obvious. The locals have another name for them still: A couple I talk to scoffs at that price. We come across one of a pair of cemeteries on the island, and Peter mentions a man buried in both. This leads to speculation as to why, and how. We come up with alternate theories involving either a woman, or debt, or an intermingling of the two. We hike past abandoned homes, vacant since resettlement, round-edged s fridges still sitting inside; up rocky, moss-covered ridges, crowberries crunching under our feet; and by fairy holes, though no sightings are made.
I add fairy tracker to his list of would-be professions. I catch a glimpse of my ruddy cheeks in a mirror — they look like a pair of not-quite-ripe bakeapples. Les gens du coin ont un autre nom pour ce fruit: Peter Bull leads a berry delicious outing. Guests, employees and residents gather in the Loft, the cozy lounge above the General Store that serves as my new favourite hotel bar.
A Doctor on the Grenfell Mission. But the future has a way of coming too soon. Myrtle and her fellow cook Daphne are at the door of the dining hall, ready to wave goodbye to guests.
Terre et Ciel (FICTION ET LITT) (French Edition)
I ask Peter what he thinks makes Battle Harbour so special. Natural beauty abounds, and if the timing is right, icebergs and whales will too. And if the stars align, the northern lights or a posse of mummers might come out to dance. And for a spit of a place, Battle Harbour sure has a lot of spark. Mais le futur nous rattrape toujours. Le temps est mauzy, comme dirait Nelson: Mais les gens, eux, on peut compter dessus. Managed foreign exchange risks Mitigated risks before investing in new market Found best cruise on Huangpu River.
Before you can realize international business opportunities you have to understand the risks. EDC can help you develop an effective risk management strategy that helps you realize opportunities while minimizing potential losses in markets all over the world. Some readers may be offended by the content, which is intended for mature readers. I know he wants to help but I also know what more can you do means your horse is on massive doses of tranks and analgesics, your horse is a giant skeleton walking, your horse is lame and life for a lame horse is no life at all.
Serge is saying all this without saying it and I am brushing his hand away and wishing I could brush away these truths that have begun to wilt me. Wishing I could simply live instead inside my colossal love for that animal. I am thinking, as I have been for days, about what it means to founder this badly, to have to walk on bare bone. I am thinking of the taxi driver who killed my first cat before peeling up the block, thinking of.
Enigma is part of a collection-in-progress called Peninsula Sinking. The summer after I failed math 10 for the second time my parents took me and my brother whale-watching on the Digby Neck. We ate lobster rolls with lots of lobster and too much mayonnaise and cruised way out into the Bay of Fundy. As if the water itself had decided to dance and soar.
The spouts stopped and the guide pointed to a slick black mass, rising to the surface. The whale charged straight for the boat before swerving away at the last chance and I could see its strange liquid face cresting the water. The creature became a massive, swimming grin. The mother left her head underwater but I felt that I knew her more than anything I had ever known. I knew the curious joy she took in the vastness of the ocean. Knew the painful lack of her lost companions.
Knew her fathomless love for that grinning calf. The mother dipped underwater and was gone, leaving a slough of foam on the surface. Soon their twin spouts emerged metres to port and the captain turned the boat to follow and I was imagining their movements below the surface, picturing the dip and sway of tail through water, their sauntering glide through the blue-black depths. The spouts disappeared and we waited a few long minutes but the whales did not surface. There was a bright grief in me, knowing I would never see these creatures again. Serge is saying maybe spend the night at home.
The horse that has sensed the subtleties of my body — a nervous twitch, a feint of the reins, a remote fatigue in a calf muscle. The enigma I have known in ways otherwise unknowable. He holds me sweetly for a long time and I determine to let him and eventually it feels good. Serge leaves quietly and gets in his car and I watch the tail lights streak along the pasture like grenadine fireflies. I walk out under the three-quarter moon, smelling the hay and grass and manure.
As I enter the barn I hear her nicker, the wet shudder rising up from her tired throat. I open the stall and lie down beside her, feeding her mints from my pocket and falling asleep, as I have for the last three nights, with my arms around the gunmetal barrel of her neck. I dream I am riding her underwater. She is part whale now but still somehow the same. She swims fast and sure and weightless through the endless liquid dark. Girl goes whale-watching, is overcome by the wonder of nonhuman life.
Girl enrols in oceanography course at high school. Formerly troubled girl, struggling in school, whose parents felt the need to repeatedly warn about sex without condoms and the perils of pregnancy, realizes that taking riding lessons for entire life and nurturing deep-seated passion for animals may translate into everyday skills.
Despite former mathematical ineptitude, girl takes advanced chemistry and biology and surprises parents and teachers and self with success. Girl takes biological sciences at Dalhousie, works part-time cleaning stalls and shovelling manure until she makes enough money to buy a horse with help from now highly supportive parents. Writes heartfelt application essay and is accepted to Atlantic Veterinary College.
Serge called and said he was racing over but it is better to do it alone. Hal and Summer stand in the main pasture, not grazing but switching their tails and watching. I kneel beside her and draw a slow, deliberate breath before slipping the needles into her jugular — a large dose of xylazine followed by the lethal barbiturate.
I put the needles away and reach for the apples and mints. She casts her black eyes up and I can see that she is already sedated. I put a hand on her neck and rub as she nibbles an apple, the breath from her massive lungs slowing, slowing. Her head is in the dirt and when I lift it up I find it heavy, heavier than it has ever been before. That day we went whale-watching, the guide described how whales sleep: Then rising again, still sleeping, to take air. As the final breath leaves her, I think this is how I will remember this horse: A life without friction. Her breath is slowing, slowing, and I am digging an enormous hole in the ground, fashioning a coffin from the boards of her stall, and crawling into it with her.
Wrapping my arms around her huge, heaving breast. Marvelling at the grey-white constellations of her coat. Clinging to this beloved enigma as the dirt scuffs over us. A Lullaby for Newborns, which was given to every newborn baby in B. His new short-story collection is Night Moves.
In it, a cranky Indian psychologist tracks the effects of several acts of public violence. Viswanathan lives in Fayetteville, Arkansas. As we approached East Ferry, small black dolphins began to jump beside the boat. La femme Serpent blanc va prendre la parole. Tous savent que du bout de ses doigts coulent des flots de chaleur apaisante. Dans la nuit sans lune, il y a eu un hurlement.
Et ce cri encore, est-ce moi qui crois mourir dans mon sommeil? Tom-Tom cligne des yeux dans le rayon de la lampe. Elle attire mon attention. Il coule une vie de fauve sous les kalmias. Uapush, immobile pour toujours. Here, your welcoming party can number in the thousands. Seasonal service from Calgary runs May 1 to October Twice-weekly service resumes November 6. Le service bihebdomadaire reprendra le 6 novembre.
When these neighbouring parks in downtown Portland opened in , only women and children could enjoy Chapman Square and only men could visit Lownsdale Square. Today both parks are filled with public art for everyone. Given its remote location, getting to Battle Harbour requires advance planning. Be sure to consult the ferry schedule for the crossing between St. Union Station to Pearson Airport in 25 minutes. Trains leave every 15 minutes, every day. Hop on the UP! Get started at UPexpress. On the train, UP Express has Wi-Fi, comfortable seating with table trays, power outlets, luggage racks and infotainment, as well as flight information.
Buy tickets from your flight attendant. Apple, the Apple logo, and iPhone are trademarks of Apple Inc. App Store is a service mark of Apple Inc. No longer trendy 6. Makes a cuppa1 Sanctify, old style 2 Secures with Cellophane Ideal place 4 Take a leisurely walk Wear away 6 Graduate Research Assistant abbr.
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Flat on your back Jewish mourning ritual Old-style courtly dance var. Shipping weight allowances Le recueil O Canada Crosswords 16, de Gwen Sjogren, est en vente en librairie en anglais seulement et en ligne. Boutique hotel minutes from downtown Calgary. Corporate luxury at great value. Executive floor upgrades available. Amenities for business and pleasure alike. I S Centigramme T E 4. Office national du film. Remettre du sel A Piquer un Tsomme. R N E Mesure chinoise E S N ettoyer Its distinctive architecture, with its striking open-plan layout, will surely enhance your airport experience.
On the left is airspeed; the right side depicts altitude; and the bottom shows heading, with the artificial horizon in the middle. Number of aircraft in service by the end of June subject to change. Air Canada Express livery will be phased in over time. In the mood for gumbo, jambalaya or a good oldfashioned crawfish boil? Plan your trip to come and taste Lafayette! Take a tour of the vast Louisiana marshlands and reconnect with nature as you view alligators and over bird species up close.
Join a hunting or fishing trip on the bayou. Spin a winning slot reel and enjoy Cajun cuisine and fresh Louisiana seafood even catch your own blue crabs. Lake Charles is the festival capital of Louisiana, which means live music and events year-round.
The Panorama suite, with its square-foot flowered terrace, offers views of the river and the Parliament. Head there to take in a Hungarian National Philharmonic Orchestra concert, an acrobatics show, a play or a modern-art exhibition. La suite panoramique et sa terrasse fleurie de 18 m2 offrent une vue du fleuve et du Parlement. Located in an art nouveau building famous for its stained-glass dome, the complex houses indoor and outdoor swimming pools, thermal baths and saunas.
For applicable terms and conditions, consult www. Holder of Quebec permit Like a larger seat with more recline and extra legroom. Plus, take advantage of priority airport services. WEB For more travel information and news upates, visit aircanada. In the future, Premium Agent services will be expanded to other Canadian airports. This year, we celebrate 10 years of the Air Canada enRoute Film Festival, which gives emerging filmmakers the chance to show their work on the national stage.
Participants will compete for prize money, industry and travel prizes and the award for Best Short Film, selected by an all-star jury. Starting August 1, view the film festival selections on all Air Canada flights as part of the Air Canada enRoute Inflight Entertainment programming. A major part of the aviation industry plan to reduce greenhouse gas emission is through the use of sustainable aviation biofuel. To date, airlines around the world, including Air Canada, have operated over 1, commercial passenger flights using these new jet fuels. The goal of the CBSCI project is to better understand the logistics involved in producing a biofuel supply chain in Canada — from identifying a sustainable feedstock to producing the biofuel itself to delivering it to an airport through existing infrastructure.
Each lavishly appointed studio and one- and two-bedroom suite includes breathtaking views, designer furnishings, a fully-equipped kitchen or kitchenette and the utmost in personalized service, with the world of Atlantis at your doorstep. This commercial message does not constitute an offer to sell or a solicitation of an offer to buy a unit in the condominium.
No solicitation, offer or sale of a unit in the condominium will be made in any jurisdiction in which such activity would be unlawful prior to registration under the securities, condominium or land sales laws of such jurisdiction. Only representations and statements in the purchase and sale agreement and other applicable legal documents are binding and correctly state the representations of the developer.
Travellers facing longer delays that require an overnight stay will be offered hotel accommodations, meals and a rental car. Customers registered for the service are given a telephone number for contacting On My Way agents, who will assist them with all their travel needs. Icon of glamour and style in montreal.