Cultural Olympiad in the South East September 2010 - September 2012

Total Page:16

File Type:pdf, Size:1020Kb

Cultural Olympiad in the South East September 2010 - September 2012 Cultural Olympiad in the South East September 2010 - September 2012 Premier Partners of the London 2012 Cultural Olympiad Principal Funders of the London 2012 Cultural Olympiad Index 2 Background and Context 4-5 Introduction 6-7 London 2012 Olympic and Paralympic Flame Celebrations 8 The Lone Twin Boat Project 9 Tree of Light 10 World Stories: Young Voices 11 Our Sporting Life 12 RELAY 13 Creative Campus Initiative Background and Context 14-15 Accentuate 16-17 Berkshire This publication is a record of the achievements, events and activities that have made up the Cultural Olympiad in the South East 18-19 Buckinghamshire of England between September 2010 and September 2012. A record of what was achieved between 2008 – 2010 can be found at http://www.artscouncil.org.uk/media/uploads/se_website_images/SouthEastCulturalOlympiadVolumeOne.pdf It includes coverage 20-21 East Sussex and Brighton of Olympic and Paralympic Torch Relay, London 2012 Festival and Major Programming events, and a review of the Inspire Programme. 22-24 Hampshire and Solent Together these components make up the Cultural Olympiad. It does not review every project and event that took place but rather aims 25 BBC Live Sites to illustrate the highlights of the last 2 years with a particular focus on Summer 2012. The content has been derived from in-depth case studies provided by project partners. A full evaluation of the Cultural Olympiad is not yet complete and will be available from Arts 26-27 Kent Council England from late October 2012. 28-29 Milton Keynes The Inspire Programme – An Olympic and Paralympic fi rst, the London 2012 Inspire Programme offi cially recognises outstanding 30-31 Oxfordshire non-commercial projects and events inspired by the London 2012 Games. 32-33 Surrey The London 2012 Festival – was the fi nale of the Cultural Olympiad; a 12 week UK-wide cultural celebration from June 21st - 34-36 West Sussex September 9th 2012. 37-41 National Programmes Open Weekend – was designed as a moment of mass participation; running from 2008 to 2011 they marked the countdown to the 42-43 Word from sponsors Games. During the 4 year programme there were over 550 Open Weekend events in the South East. 44-47 Acknowledgements Within the Cultural Olympiad there were also a range of Major Programming strands including: Artists taking the lead – ‘The Boat Project’ is the South East’s contribution to a series of 12 extraordinary public art commissions created by artists across the nation as part of Arts Council England’s fl agship event for the Cultural Olympiad. Stories of the World – Stories of the World showcased innovation and excellence in museums to a worldwide audience. A national programme, The Royal Pavilion & Museums was the lead organisation for the South East, heading up the World Stories programme. Community celebrations – 4 projects across the UK were awarded £750,000 from Legacy Trust UK to create a celebratory large-scale outdoor arts piece which truly engaged local communities. ‘Tree of Light’ was the successful South East candidate. About the South East region – the South East covers an area of 19,000 square kilometres. It encompasses 19 county and unitary authorities and 55 districts, stretching around London from Thanet in the East to the New Forest in the West and Aylesbury Vale and Milton Keynes in the North. It includes the counties of: Berkshire, Buckinghamshire, East Sussex, Hampshire, Kent, Oxfordshire, Surrey Project: Whispering Woods and West Sussex. The South East has the largest population of any region of England. Photography: ??????????????? 2 3 Statistics for the South East region, Introduction from cultural sector, driving more ambitious The South East took a grassroots Our programme attracted attention September 2008 – September 2012 work and a more knowledgeable and approach to the Cultural Olympiad, from local, national and international Caterina Loriggio challenging market place. In particular working closely with emerging and media which has impacted significantly As at September 2012 evaluation remains on-going and the complete we chose 4 areas of work where we had developing artists and organisations on the profile of the region. Our public Cultural Olympiad statistics will be available from late October 2012. real commitment as well as potential and with Local Authorities and realm and visual arts strands were Creative Programmer to develop national profile, expertise Universities new to this scale of work. particularly successful in this area; the for London 2012, and leadership; these were: Outdoor We made a solid commitment to local launch of ‘The Boat Project’ made the 117 Inspire projects Arts, Disability Arts and Culture, communities in order to encourage BBC national news at breakfast, at 6 and South East Sports Heritage and Higher Education people from all walks of life to take at 10 o’clock reaching at least 12million generating 1,055 events attended by 3.18million people. Institutions. part, thus we developed new audiences. people and print coverage went as far Throughout this publication you will as Australia. The Torch Relay provided To achieve these aims we pushed for read many success stories around another excellent showcase for us and 69,185 attendances work of the highest quality, demanding innovative community based practice with Eddie Izzard carrying the flame at at 5,610 Inspire project workshop events. a ‘Personal Best’ from practitioners at all and large-scale attendance as well De La Warr Pavilion and Tracey Emin at levels. We were able to use the Inspire as the inclusion of new audiences, Turner Contemporary we are in no doubt Mark programme and the ethos of what participants and volunteers. One of our that this provided a huge boost to the it means to be Olympian as a tool for real achievements was the inclusion of 270,000 attendances at their London 29% pushing organisational development Deaf and disabled artists and audiences, 2012 Festival events. of our Inspire Programme delivered by or genuinely including Deaf and year on year to ensure that we always including training over 90 South East disabled people as well as over a dozen Cultural Olympiad commissions offered a ‘Like Never Before’ experience practitioners in how to deliver more In short we created an ambitious, such ‘Starting Line’ and ‘Look About’ led by disabled artists. for project producers, participants and accessible events. Inspired by our imaginative, inclusive programme which audiences. Such a framework enabled Paralympic heritage at Stoke Mandeville built skills, partnerships, audiences The London 2012 Cultural Olympiad and its finale, Local Authorities to win political and supported by our Legacy Trust UK and tourism opportunities. I would the London 2012 Festival, formed the largest arguments around investment into programme, Accentuate, the South East like to thank every single artist and celebration of arts and culture that the UK has 29 culture otherwise lost to them. Many worked with and commissioned more organisation, and there are 100s of ever seen. Spread over 4 years, it gave everyone, London 2012 Festival projects reaching people new partnerships and networks were Deaf and disabled artists than anywhere them, who made all this possible. The 662,289 especially young people, a chance to join in the formed. Talent was nurtured. Through else in the UK. We made sure that South East stepped up to the London celebrations as London made good on its bid this approach, coupled with a great deal access and integration were foremost 2012 challenge with such enthusiasm, promise to deliver a UK wide event and ‘Everyone’s of support to achieve it, this summer in all our stakeholders’ minds and pride, passion and commitment that Games’. But the Cultural Olympiad was not just 57 we saw stakeholders at every level consequently saw developed inclusive I have felt nothing but honoured, about taking part. It was a bold and ambitious new outdoor arts projects and performances. ‘punching above their weight’, changing practice in all programming strands humbled and privileged to have worked programme of work across the outdoor arts, visual their own and others expectations of that led to exciting and ground breaking on this once in a lifetime programme. arts, digital, performance, museum, library, archive what was possible. This experience work in all sectors. There is no doubt I am sorry that this document cannot and heritage sectors that both inspired creativity new toolkits of delivering exciting, excellent and within the region that there has been detail every single project but through 4 and left a very tangible legacy. to improve access and outdoor arts, 31 disabled artists and 10 disabled–led often large-scale work has left many a genuine shift in attitudes towards those that are included you the reader organisations better placed to deliver disabled people and a climate has been will be able to share in what truly was organisations and 90 outdoor arts practitioners underwent training or In the South East we wanted to use the Cultural more ambitious work in the future. created where disabled artists as well as one amazing summer of culture. leadership courses. Olympiad to celebrate the region, enhancing disabled young people can really begin sense of place for those who live and work here to flourish. as well as attracting more visitors and increased business investment. But our mission had one 50 underlining and very clear objective, namely to use “We couldn’t have developed the capacity and skill that we have always wanted without the Cultural Olympiad” of the region’s 74 Local Authorities supported one or more Cultural the London 2012 framework to capacity build the Lorna Brown, 2012 and Cultural Lead Professional, Community and Economic Development, West Sussex County Council Olympiad project. (Source: Arts Council England, 2012) 4 5 London 2012 Olympic and Paralympic Flame Celebrations The Olympic Torch toured the region from Monday 9th to Friday 20th July with evening celebrations Paralympic Flame Celebration in: Oxford, Reading, Southampton, Portsmouth, Brighton, Hastings, Dover, Maidstone and Guildford.
Recommended publications
  • Contemporary Art Society Annual Report 1993
    THE CONTEMPORARY ART SOCIETY The Annual General Meeting of the Contemporary Art Society will be held on Wednesday 7 September, 1994 at ITN, 200 Gray's Inn Road, London wcix 8xz, at 6.30pm. Agenda 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December 1993, together with the auditors' report. 2. To reappoint Neville Russell as auditors of the Society in accordance with section 384 (1) of the Companies Act 1985 and to authorise the committee to determine their remunera­ tion for the coming year. 3. To elect to the committee Robert Hopper and Jim Moyes who have been duly nominated. The retiring members are Penelope Govett and Christina Smith. In addition Marina Vaizey and Julian Treuherz have tendered their resignation. 4. Any other business. By order of the committee GEORGE YATES-MERCER Company Secretary 15 August 1994 Company Limited by Guarantee, Registered in London N0.255486, Charities Registration No.2081 y8 The Contemporary Art Society Annual Report & Accounts 1993 PATRON I • REPORT OF THE COMMITTEE Her Majesty Queen Elizabeth The Queen Mother PRESIDENT Nancy Balfour OBE The Committee present their report and the financial of activities and the year end financial position were VICE PRESIDENTS statements for the year ended 31 December 1993. satisfactory and the Committee expect that the present The Lord Croft level of activity will be sustained for the foreseeable future. Edward Dawe STATEMENT OF COMMITTEE'S RESPONSIBILITIES Caryl Hubbard CBE Company law requires the committee to prepare financial RESULTS The Lord McAlpine of West Green statements for each financial year which give a true and The results of the Society for the year ended The Lord Sainsbury of Preston Candover KG fair view of the state of affairs of the company and of the 31 December 1993 are set out in the financial statements on Pauline Vogelpoel MBE profit or loss of the company for that period.
    [Show full text]
  • Programme: 2014-2015
    Programme: 2014-2015 Exhibitions David Tremlett 3 Drawing Rooms 4 December 2013 – 21 April 2014 David Tremlett (b. 1945) is best known for his large-scale site-specific wall drawings of geometric arrangements: abstract compositions of arcs, circles, trapezoids, text and line. Using pastel pigment applied by hand, Tremlett makes these compositions directly on architectural surfaces. They are orchestrated to shift the viewer’s comprehension of a built environment, opening out, expanding and reducing, creating new vistas, geometric rhythms and pauses. While at once being formally constructed compositions of purely abstract elements which emanate the sensual joy of colour, and illustrate relationships between straight and curved lines, they speak too of things experienced, seen and done by the artist. Jamal Penjweny 19 February – 21 April 2014 An exhibition of work by emerging artist Jamal Penjweny from Iraqi Kursdistan, including a number of photographic series that are as poignant and smart as they are formally straightforward. Saddam is Here consists of twelve images of Iraqi people in familiar surroundings, each holding a life-size picture of Saddam Hussein’s face in front of their own. Saddam’s likeness becomes a mask obscuring any expression of emotion, any gaze, or possibility of sure identification and individuality. It is ludicrous, hilarious and at the same time absolutely ominous, pointing up the insidious influence of a dictator. Another Life, a short film by Penjweny, follows some days in the lives of Iraqis smuggling alcohol from Iraq into Iran. It has the grainy appeal of covert cell phone footage, and is very matter-of-fact in its editing.
    [Show full text]
  • Reflections on the Cultural Olympiad and London 2012 Festival
    Photo Credits: Inside front cover – Battle For The Winds ©Maisie Hill; Page 2 – Peace Camp © Paul Lindsay/Chris Hill Photographic; Page 5 – Piccadilly Circus Circus © Matthew Andrews; Page 6 – BBC Radio 1’s Hackney Weekend - Florence and the Machine 2012 © BBC/Getty Images; Page 8 – Creating The Spectacle! © Norman Lomax, Moving Content; Page 9 – Rio Occupations © Ellie Kurttz; Page 9 – Africa Express © Simon Phipps; Page 10 – Mittwoch Aus Licht Birmingham Opera © Helen Maybanks; Page 11 – Overworlds and Underworlds - the Brothers Quay and Leeds Canvas © Tom Arber; Page 12 – Big and Small ©Lisa Tomasetti ; Page 14 – Battle for theWinds © Kevin Clifford; Page 16 – Anna Terasa Tanks ©?; Page 18 – BBC Radio 1’s Hackney Weekend 2012 - Jay-Z © BBC/Getty Images; Page 20 – Much Ado About Nothing © Jillian Edelstein; Page 23 – Speed of Light © Sally Jubb; Page 28 – Richard III © Marc Brenner; Page 30 – Branches: The Nature of Crisis © Joel Fildes REFLECTIONS ON THE CULTURAL OLYMPIAD AND THE LONDON 2012 FESTIVAL 01 CONTENT INTRODUCTION BY TONY HALL Chair of Cultural Olympiad Board 02 ONCE IN A LIFETIME Summary of Cultural Olympiad 04 THE CULTURAL OLYMPIAD AND LONDON 2012 FESTIVAL EVALUATION 18 02 REFLECTIONS ON THE CULTURAL OLYMPIAD AND THE LONDON 2012 FESTIVAL INTRODUCTION BY TONY HALL, CHAIR OF CULTURAL OLYMPIAD BOARD When London won the bid for the 2012 Olympic and Paralympic Games, we promised that this ‘once in a lifetime’ event would include a great cultural programme involving people all over the UK. When we are asked why, we go back to the example of Ancient Greece, where the Olympic Games included artists alongside athletes.
    [Show full text]
  • High Jinks and Black Jokes: the Art of Sian Bonnell by Mark Haworth-Booth
    High Jinks and Black Jokes: the Art of Sian Bonnell by Mark Haworth-Booth Sian Bonnell was born in London in 1956 and attended a Catholic primary school where she learned about guilt and the soul. Sian saw the soul clearly. It was suspended inside her like a white table-cloth or sometimes a doily. Hers urgently needed washing. A plastic glow-in-the-dark Virgin Mary gleamed from her bedside table. Sian studied sculpture at Chelsea School of Art in 1978-81. She opened up to the extraordinary opportunities available in those relatively grant-rich days – when most materials came free - and to the stimulus offered by London’s galleries and theatres. She arrived at Chelsea the term after Helen Chadwick left, met her briefly and saw all of her major installations over the next few years. There are interesting resonances between the two artists – for example in their teasing feminism, their use of domestic items for art-making (both made startling transformations of cleaning materials), the use of high and low technologies and their gleeful interest in bad taste and black jokes. Like many students at the time, Sian found much to admire in the work of Eva Hesse, shown at the Whitechapel Art Gallery in 1979. Hesse demonstrated, among many other things, a simple but useful truth - that the same objects could be used in a variety of separate art works. Although Sian has a broad appreciation of Western art, including a passion for Piero della Francesca, she has a predilection for intimiste, domestic artists such as Chardin, Morandi, Gwen John and Winifred Nicolson.
    [Show full text]
  • The Darkness Needs to Cry
    Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-14-2020 The Darkness Needs to Cry Damaris Dunham [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Dunham, Damaris, "The Darkness Needs to Cry" (2020). Graduate School of Art Theses. ETD 143. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Dunham 1 The Darkness Needs to Cry By Damaris Dunham A thesis presented to the Sam Fox School of Design and Visual Arts Washington University in St. Louis In partial fulfillment of the requirements for the degree of Master of Fine Arts Director of the Graduate School of Art Patricia Olynyk Thesis Advisor Monika Weiss Primary Advisors Jamie Adams | Cheryl Wassenaar | Monika Weiss Graduate Committee Michael Byron | Richard Krueger Dunham 2 Contents Introduction 3 Painting Transitions, Transformations, and the Terrifying 5 Layering, Touching, Sculpting. Lack and Excess | Void and Grotesque 21 Attraction and Repulsion in my Three-Dimensional Paintings 37 Hiding, Discovering, Darkening. The Affect of the Hidden 45 Naming the Complexity of the Hidden 55 Conclusion 63 Endnotes 64 Bibliography 66 Dunham 3 Introduction I am an artist interested in the subconscious, the uncanny, and the space of dreams. I make large scale, three-dimensional paintings that are both minimalist and baroque, non- representational and yet evoke the body as well as landscape.
    [Show full text]
  • Journal Vol34.No3 Cover.Qxd
    HISTORY THE ROLE OF SPORT IN THE REHABILITATION OF PATIENTS WITH SPINAL INJURIES JR Silver, Emeritus Consultant, National Spinal Injuries Centre, Stoke Mandeville Hospital, England SUMMARY race during a sports festival at Newmarket Heath to the Disabled people have been participating in sport since enthusiasm of the spectators.3 During the First World historical times as a means of improving their physical War in the UK, volleyball was introduced for people health. After the First World War, servicemen who had with amputations and non-competitive swimming was lost limbs or had been blinded took part in competitive being used as a method of rehabilitation.4 sport. Until the development of the modern treatment of spinal injuries, patients with paraplegia died rapidly In Germany, sport was developed for blind people and from overwhelming sepsis but as a result of modern people with amputations. This started during the First treatment people with paraplegia returned to work and World War and between the wars techniques were well- developed their own sports movement. They now developed and competitive meetings were held.5, 6 compete successfully in dramatic wheelchair sports such as marathon racing and the exciting sport of wheelchair Deaf people had their own sports movement and their basketball. This paper describes the development of this own Olympics. The British were predominant in tennis movement. and soccer and at the International Games held in Nuremberg in 1931 complained bitterly not only that the INTRODUCTION foreigners were receiving subsidies, which they were not, There used to be a misconception that there was no but also that there had been cheating in their football treatment for a patient who sustained a spinal injury, game against Czechoslovakia.7 They were thus truly however,this changed with the Second World War when competitive sports.
    [Show full text]
  • Scottish Disability Sport - the First Fifty Years Richard Brickley MBE Foreword
    Scottish Disability Sport - The First Fifty Years Richard Brickley MBE Foreword I was delighted to be asked by Chief Executive Gavin Macleod to record the first fifty years of Scottish Disability Sport, to mark the occasion of the 50th Anniversary of the Association. Initially the project was intended to be small but the more I researched, the more it brought back memories of great athletes, superb volunteers and great times. I became determined to try and do justice to as many as those great people as possible. I am certain I shall have forgotten key people in the eyes of others and if so I apologise profusely. For almost four decades SDS has been for me a way of life. The volunteers I have had the pleasure of working with for almost three decades are those I remember with great fondness, particularly during the early years. I applaud the many athletes who contributed to the rich history and success of SDS over fifty years. Outstanding volunteers like Bob Mitchell, Mary Urquhart, David Thomson, Jean Stone, Chris Cohen and Colin Rains helped to develop and sustain my passion for disability sport. I have been privileged to work with exceptional professionals like Ken Hutchison, Derek Casey, Liz Dendy, Paul Bush, Bob Price, Louise Martin, Sheila Dobie, Fiona Reid, Eddie McConnell, Gavin MacLeod, Mary Alison, Heather Lowden, Lawrie Randak, Tracey McCillen, Archie Cameron and many others whose commitment to inclusive sport has been obvious and long lasting. I thank Jean Stone, Jacqueline Lynn, Heather Lowden, Maureen Brickley and Paul Noble who acted as “readers” during the writing of the history and Norma Buchanan for administrative support at important stages.
    [Show full text]
  • The London 2012 Cultural Olympiad: a New Model for Nation-Wide Olympic Cultural Legacy
    The London 2012 Cultural Olympiad: a new model for nation-wide Olympic cultural legacy By Beatriz Garcia1 Abstract The London 2012 Games will mark 100 years of official Olympic cultural programming and aspire to present the largest Cultural Olympiad yet, reaching out to the whole of the UK and providing full integration between Olympic and Paralympic cultural activity. The original bid for culture promised to engage youth and overcome barriers to participation from all social groups. To make this aspiration a reality, the Cultural Programme is being delivered not only by a culture team within the Organising Committee for the Games, but also thirteen creative programmers based in every UK region and nation. This unprecedented management framework has been made possible by the commitment of public stakeholders to ensure the Games leave a widespread legacy and the establishment of special funding arrangements for cultural activity inspired by the Games. London 2012 has created distinct activity identifiers such as the ‘Inspired by 2012’ mark, to maximise programming inclusion without challenging established Olympic global marketing guidelines. The range of managerial, funding and promotional innovations in the context of the Cultural Olympiad have created opportunities to maximise access and engagement to Games related activity throughout the country. But it has also involved important challenges in terms of synergy of vision, communications and Games association which point at the ongoing struggle to position the Cultural Olympiad as a core dimension of the Olympic and Paralympic experience. Keywords: Cultural Olympiad, Olympic art festival, cultural policy, torch relay, branding, Olympic and Paralympic synergy, UK-wide participation, regional cultural programmes.
    [Show full text]
  • Evaluating Scotland's London 2012 Cultural Programme
    Evaluating Scotland’s London 2012 Cultural Programme www.uws.ac.uk Evaluating Scotland’s London 2012 Cultural Programme Professor David McGillivray & Professor Gayle McPherson School of Creative & Cultural Industries University of the West of Scotland, Paisley Campus www.uws.ac.uk Acknowledgements This report detailing the outcomes of Scotland’s London 2012 Cultural Programme would not have been possible without the collaboration of our consortium partners and others. We would like to thank Dr Beatriz Garcia, of Liverpool Institute of Cultural Capital (ICC) and her invaluable contribution to the overall project, particularly the media analysis carried out for the case studies. Tamsin Cox, of DHA Communication, also provided expertise in data analysis and in designing the outline monitoring and evaluation framework contained in Chapter 7 of this report and we are in debt to her for the hours spent reconciling datasets. Finally, Rachel Granger of Middlesex University brought her expertise in geo-mapping techniques to explore partnerships formed as an outcome of the funding of Scotland’s London 2012 Cultural Programme. Without the support of the 54 project leads from Scotland’s London’s 2012 Cultural Programme in Scotland, the staff of key strategic agencies, Event Scotland, Festivals Edinburgh, Scottish Government and Creative Scotland completing this evaluation would have been much more difficult. Special mentions to Sarah MacIntyre who facilitated access to a range of data sources, Leonie Bell for providing detailed context about the Programme
    [Show full text]
  • ANTONIO ENRÍQUEZ GÓMEZ ( 1600- 1663) Courtesy of Special Collections, Van Pelt Library, University of Pennsylvania Antonio Enriquez Gómez by Glen F
    GLEN F. DILLE Antonio Enriquez Gómez Boston: Twayne Publishers, 1988. ANTONIO ENRÍQUEZ GÓMEZ ( 1600- 1663) Courtesy of Special Collections, Van Pelt Library, University of Pennsylvania Antonio Enriquez Gómez By Glen F. Dille Bradley University Twayne Publishers A Division of G. K. Hail & Co. · Boston Antonio Enriquez Gómez Glcn F. Dille Copyright 1988 by G. K. Hall & Co. AU rights reserved. Published by Twayne Publishers A Division of G. K. Hall & Co. 70 Lincoln Street Boston, Massachusetts 02111 Copyediting supervised by Barbara Sutton. Book produaion by Janet Zietowskl. Book design by Barbara Anderson. Typeset in 11 pi. Garamond by Williams Press, Inc., Albany, New York. Printed on permanent/d urable acid-free paper and bound in the United States of America. Library of Congress Cataioging-in-Publication Data Dille, Glen F., 1940— Antonio Enriquez Gómez / by Glen F. Dille. p. cm.—(Twayne's world authors series ; TWÀS 803) Bibliography: p. 184 Includes index. ISBN 0-8057-8234-6 (aik. paper) 1. Enriquez Gómez, Antonio, 1600-1663—Criticism and interpretation. I. Title. II. Series. PQ6388.E5Z64 1988 862'.3—dc!9 87-35097 CIP To Dean W. McPheeters, Emeritus of Newcomb College, Tulane University: teacher, scholar, and good friend. Contents About the Author Preface Chronology Chapter One Historical Background: Jews and New Christians in Iberia 1 Chapter Two The Life of Enriquez Gómez 9 Chapter Three The Twenty-two Plays of the First Epoch Chapter Pour The Moral Academies of the Muses 44 Chapter Five The Pythagorean Century 63 Chapter Six The Tower of Babylon 85 Chap ter Se ven Samson the Nazarene 104 Chapter Eight Various Works 122 Chapter Nine The Zarate Plays 142 Notes and References 167 Selected Bibliography 184 index 192 About the Author Glen F.
    [Show full text]
  • Shakespeare and the Cultural Olympiad: Contesting Gender and the British Nation in the BBC’S Hollow Crown
    Andrews University Digital Commons @ Andrews University Faculty Publications 1-2016 Shakespeare and the Cultural Olympiad: Contesting Gender and the British Nation in the BBC’s Hollow Crown L Monique Pittman Andrews University, [email protected] Follow this and additional works at: https://digitalcommons.andrews.edu/pubs Part of the English Language and Literature Commons, Television Commons, and the Women's Studies Commons Recommended Citation Pittman, L Monique, "Shakespeare and the Cultural Olympiad: Contesting Gender and the British Nation in the BBC’s Hollow Crown" (2016). Faculty Publications. 265. https://digitalcommons.andrews.edu/pubs/265 This Article is brought to you for free and open access by Digital Commons @ Andrews University. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Shakespeare and the Cultural Olympiad: Contesting Gender and the British Nation in the BBC's The Hollow Crown L. Monique Pittman, Andrews University Abstract As part of the 2012 Cultural Olympiad celebrating both the Queen's Diamond Jubilee and the London Olympics, the BBC launched a season of programs, entitled Shakespeare Unlocked, most notably presenting the plays of the second tetralogy in four feature-length adaptations released under the unifying title The Hollow Crown. These plays so obviously engaged with the question of English nationalism suited a year in which the United Kingdom wrestled with British identity in a post-colonial and post-Great Recession world. Through its adaptative and filmic vocabularies, however, The Hollow Crown advances a British nationalism unresponsive to the casualties — often women and ethnic minorities — incurred over the course of Britain's self-formation and acts of self-defining.
    [Show full text]
  • Authorized Catalogs - United States
    Authorized Catalogs - United States Miché-Whiting, Danielle Emma "C" Vic Music @Canvas Music +2DB 1 Of 4 Prod. 10 Free Trees Music 10 Free Trees Music (Admin. by Word Music Group, 1000 lbs of People Publishing 1000 Pushups, LLC Inc obo WB Music Corp) 10000 Fathers 10000 Fathers 10000 Fathers SESAC Designee 10000 MINUTES 1012 Rosedale Music 10KF Publishing 11! Music 12 Gate Recordings LLC 121 Music 121 Music 12Stone Worship 1600 Publishing 17th Avenue Music 19 Entertainment 19 Tunes 1978 Music 1978 Music 1DA Music 2 Acre Lot 2 Dada Music 2 Hour Songs 2 Letit Music 2 Right Feet 2035 Music 21 Cent Hymns 21 DAYS 21 Songs 216 Music 220 Digital Music 2218 Music 24 Fret 243 Music 247 Worship Music 24DLB Publishing 27:4 Worship Publishing 288 Music 29:11 Church Productions 29:Eleven Music 2GZ Publishing 2Klean Music 2nd Law Music 2nd Law Music 2PM Music 2Surrender 2Surrender 2Ten 3 Leaves 3 Little Bugs 360 Music Works 365 Worship Resources 3JCord Music 3RD WAVE MUSIC 4 Heartstrings Music 40 Psalms Music 442 Music 4468 Productions 45 Degrees Music 4552 Entertainment Street 48 Flex 4th Son Music 4th teepee on the right music 5 Acre Publishing 50 Miles 50 States Music 586Beats 59 Cadillac Music 603 Publishing 66 Ford Songs 68 Guns 68 Guns 6th Generation Music 716 Music Publishing 7189 Music Publishing 7Core Publishing 7FT Songs 814 Stops Today 814 Stops Today 814 Today Publishing 815 Stops Today 816 Stops Today 817 Stops Today 818 Stops Today 819 Stops Today 833 Songs 84Media 88 Key Flow Music 9t One Songs A & C Black (Publishers) Ltd A Beautiful Liturgy Music A Few Good Tunes A J Not Y Publishing A Little Good News Music A Little More Good News Music A Mighty Poythress A New Song For A New Day Music A New Test Catalog A Pirates Life For Me Music A Popular Muse A Sofa And A Chair Music A Thousand Hills Music, LLC A&A Production Studios A.
    [Show full text]