Carnival Fêtes and Feasts 1
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Laissez Les Bons Temps Rouler
Laissez les bons temps rouler. AT SAINT MARTIN DE PORES ANOTHER CHAPTER IN OUR CATHOLIC FAMILY’S STORY Septuagesima Sunday Traditionally it kicks off a season known by various names throughout the world; Carnival and Shrovetide This has been a part of our Catholic culture for centuries! Carnival The word carnival comes from the Latin carnelevarium which means the removal of meat or farewell to the flesh. This period of celebration has its origin in the need to consume all remaining meat and animal products, such as eggs, cream and butter, before the six- week Lenten fast. Since controlled refrigeration was uncommon until the 1800s, the foods forbidden by the Church at that time would spoil. Rather than wasting them, families consumed what they had and helped others do the same in a festive atmosphere. Carnival celebrations in Venice, Italy, began in the 14th century. Revelers would don masks to hide their social class, making it difficult to differentiate between nobles and commoners. Today, participants wear intricately decorated masks and lavish costumes often representing allegorical characters while street musicians entertain the crowds. But arguably, the most renowned Carnival celebrations take place in Brazil. In the mid 17th century, Rio de Janeiro’s middle class adopted the European practice of holding balls and masquerade parties before Lent. The celebrations soon took on African and Native American influence, yielding what today is the most famous holiday in Brazil. Carnival ends on Mardi Gras, which is French for Fat Tuesday—the last opportunity to consume foods containing animal fat before the rigors of Lent’s fast begin. -
A Shrove-Tuesday Pancake and Music Extravaganza!!! a FAT ` FORE FAST FETE! Tuesday, March 4, 2014, 7Pm Palmyra United Methodist Church, 122 N 5Th
PALMYRA SCOUTS, PALMYRA UMC & PALMYRA-EAGLE COMMUNITY BAND Present... A Shrove-Tuesday Pancake and Music Extravaganza!!! A FAT ` FORE FAST FETE! Tuesday, March 4, 2014, 7pm Palmyra United Methodist Church, 122 N 5th. St Just A Closer WalK with thee Dixieland Struttin' JOPLIN! JAPANESE Mister Jim Neist Presents The Kettle Moraine Blues IRVING BERLIN: FROM RAGS TO RITZ ORIGINAL DIXIELAND CONCERTO GERSHWIN CLASSICS A Saint- sational Trio! Band Members FLUTE TRUMPET Caitlin Gamble Nancy Campbell Deb Gilbert Sandi Hankowitz Kelley Haddon Jeff Hawes Faustina Jones Ryan Kienitz Erika White Jim Neist Barb Sekula CLARINET Faye Brugge BARITONE Warren Metzger Valerie Cole Jeff Olson Dusty Dusterhoef Ken Olson Bob Miller Connie Sukowski Carol Thomas TROMBONE Lisa Amacher BASS CLARINET Chelsea Kienitz Gina Neist Todd Kienitz Kathy Sudbrink Sonja Pluess Tom Stanley SAXOPHONE Newel Thomas Kristine Dexheimer Ellie Hawes TUBA Kelly Isaacsen Jim Nelson Yvonne Marie Wayne Craig Mike Rubingh FRENCH HORN Jody Garber PERCUSSION Pattie Jaeger Bernie Gilbert Wendy Lucht Melodie Haddon Gwenn Zerull Elaine Ledrowski Margo Kurth Palmyra-Eagle Community Band - 2014 Schedule (we expect several unlisted summer performances still TBD, check website at www.pecb.info for updates) Tuesday March 4 Fat Tuesday Concert Palmyra United Methodist Church 7pm Wednesday April 9 Lenten Service Palmyra United Methodist Church 7pm Monday May 19 Fairhaven Whitewater 7pm Sunday June 15 Father's Day Fly-In Palmyra Airport 10am Sunday July 13 Eagle Historical Society Ice Cream Social Eagle Park 2 pm Monday Aug 4 Park Concert Palmyra Park 7pm Monday September 15 Spaghetti Dinner Palmyra United Methodist Church 5-8pm Monday October 20 Fairhaven Whitewater 7pm Saturday October 25 Pumpkin Day Eagle Firehouse 1pm Sunday Dec 7 Christmas Concert Palmyra United Methodist Church 7pm About the Band We encourage anyone We are an incorporated 501(c)3 non- profit, tax exempt organization. -
Ash Wednesday
THE BLESSING + DISTRIBUTION OF ASHES ON ASH WEDNESDAY a Service of Word and Sign for use in Families in Lockdown at Home. Ash Wednesday marks the beginning of Lent. Lent is a 40 day pilgrimage of ‘repentance’: ‘turning back’ ‘seeking again’. We set out together to prepare for the celebration of Easter, the central feast of our year, when we celebrate and renew our Baptism into the Paschal Mystery of Christ’s death and Resurrection. To mark the beginning of this journey, we use the ashes of last year’s Palms as a sign of a shared aim and purpose, and a reminder of individual sin and falling away from the paschal life and way of Christ since last year’s renewal. If you have palms or palm crosses from last year, or from previous years, these could be used to mark or touch each member of the family, instead of ash. Or, if it is possible to do so safely, outside in a garden, two or three palms could be burned to make ash. This might be part of Shrove Tuesday celebrations in the family. (To prepare ash: first ‘lightly bake’ the palms in the oven, to dry them a little. Then cut them up into smaller pieces and place them in an old baking tray or a [large] tin and light, out of doors and at a safe distance from anything combustible. Allow to burn out and the ashes to cool before use. If you have no palms, you may simply burn a little paper.) On Ash Wednesday the Family could agree to a suitable moment for an Ash Wednesday service. -
God, Life, and Everything Ashes Today Is Ash Wednesday. Each
God, Life, and Everything Ashes Today is Ash Wednesday. Each year, somewhere between February 5 and March 5 (depending on when Easter comes), Christians around the world gather to have ashes smudged on their foreheads. The words accompanying this peculiar custom make it even more curious. The priest who applies the ashes says, "Remember you are dust, and to dust you shall return." What is that all about? You probably know that Ash Wednesday begins the church season known as Lent. It is a 40 day period (not counting Sundays) of penitence and fasting in preparation for the crucifixion and resurrection of Jesus Christ. During this season, we are to increase our prayer, take on a spiritual discipline (such as giving something up) and examine our lives for places where we stray from God. But we start with ashes and those ominous words. Why? Because we are mortal. Because we will all die, that is for certain. Because we believe that we are on this earth for only a very short time, and that this time we have here prepares us for our lives after this. We remind ourselves most especially that we are not God, that we cannot see the whole picture - none of us. Because of our limited view, not to mention our fear of death and weakness, we are prone to sin, that is, to becoming so self-centered as to forget or devalue our relationships with God and our neighbors. So we remind ourselves that we aren't God, that we aren't even all that extraordinary, and that all that self-centeredness is kind of a waste of time and effort. -
The Intersection of Art and Ritual in Seventeenth-Century Dutch Visual Culture
Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture By © 2017 Megan C. Blocksom Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Linda Stone-Ferrier Dr. Marni Kessler Dr. Anne D. Hedeman Dr. Stephen Goddard Dr. Diane Fourny Date Defended: November 17, 2017 ii The dissertation committee for Megan C. Blocksom certifies that this is the approved version of the following dissertation: Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture Chair: Dr. Linda Stone-Ferrier Date Approved: November 17, 2017 iii Abstract This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt’s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city. -
Cane River, Louisiana
''ewe 'Know <Who <We !A.re'' An Ethnographic Ove1'View of the Creole Traditions & Community of Isle Brevelle & Cane River, Louisiana H.F. Gregory, Ph.D. Joseph Moran, M.A. I /'I "1\ 1'We Know Who We Are": I An Ethnographic Overview of the Creole Community and Traditions of I Isle Breve lie and Cane River, Louisiana I I I' I I 'I By H.F. Gregory, Ph.D. I Joseph Moran, M.A. I I I Respectfully Submitted to: Jean Lafitte National Historic Park and Preserve U.S. Department of the Interior I In partial fulfillment of Subagreement #001 to Cooperative Agreement #7029~4-0013 I I December, 1 996 '·1 I I I I I I I I I I I I I I I I I I I I I I Errata Page i - I "Jean Lafitte National Historic Park and Preserve" should read, "Jean Lafitte National I Historical Park and Preserve ...." Please define "emic" as the point of view from the culture as opposed to the I anthropological, descriptive view of the culture - the outsider's point ofview(etic). I Page vi- "Dr. Allison Pena" should read, "Ms. Allison Pena. ." I Page 13 - I "The first was literary-folkloristic which resulted in local color novels and romantic history - all but 'outside' authors and artists ... "should read, "The first was literary-folkloristic which I resulted in local color and romantic history - all by 'outside' authors and artists ...." I Page 14 - "Whenever Creoles tried to explain who they were, who they felt they were, it ultimately was, and is, interpreted as an attempt to passer pour blanc" should read, "Whenever Creoles tried I to explain who they were, who they felt they were, it ultimately was, and is, interpreted as an I attempt to passer pour blanc, or to pass for white... -
Marrying Millennials,Go All Out, Baby!,Congratulations
Marrying Millennials You know a demographic is just too big to be ignored when pro football teams start catering to it. This year, the San Francisco 49ers have begun tackling the challenge of coaching their newest recruits, Millennials, the generation of 18- to 34-year olds taking the world by storm. As a retailer, you need to take a play from the 49ers’ playbook and think about ways you can reach Gen Y. And we’re here to help. Last month, we shared five tips for getting Millennials in your store. Today, we’ll tell you how Ever&Ever, Stuller’s newest bridal offering, appeals to this high-spending group. Styling Millennials represent our present and our future, but this generation loves styles that hearken back to the past. Rather than asking granny to hand over her engagement ring, though, prospective grooms are looking for new rings withvintage looks that can be customized to meet their exact specifications. Ever&Ever offers an assortment of traditional styles that fit the bill. Of course, young brides aren’t completely eschewing on-trend styles. Just as many want engagement rings that reflect the new and popular. Morgan Bares, Stuller’s Bridal Product Manager, explains, “The two-tone look is definitely in right now; we’ve seen it at all the major shows and all over Hollywood. New brides like the idea of mixing and matching metals to create something completely unique.” Fortunately, Ever&Ever offers the two-tone look that many contemporary brides are choosing. Personalization No matter which style they choose as a starting point, Millennials aren’t content to buy off the shelf. -
Shrove Tuesday (Pancake Day) Teacher’S Notes
Shrove Tuesday (Pancake Day) Teacher’s notes Age: Adults and young adults 3. Understanding the article Level: Intermediate to Upper-intermediate (B1–B2) Now that they have read the text twice, students Time: 90 minutes cover the text and discuss with a partner how best to answer the questions. They should imagine Activity: In this lesson, students will: that they have been asked to explain Shrove 1. Read a text about Shrove Tuesday and find out Tuesday / Pancake Day to someone who has why it is also known as Pancake Day; never heard of it before, therefore making their 2. Work with the language involved and talk about answers comprehensive, detailed, but also easy how they make and prefer to eat pancakes; to understand. 3. Hold a short survey and practise talking about Key (suggested answers): survey results and statistics. 1. In February or March, on the Tuesday before Ash Wednesday which is the start of the Christian time Language focus: vocabulary related to Pancake of Lent, which leads up to Easter. Shrove Tuesday is Day and language to describe statistics and always 47 days before Easter Sunday. The moveable survey results date of Easter Sunday determines its exact date. Materials: one copy of the worksheet per student 2. ‘Shrove’ comes from the old English word ‘shrive’ meaning to confess your sins to a priest. Procedure 3. During Lent, people are supposed to give up certain indulgences and start fasting. Eggs, milk and flour 1. Warmer were luxury food items that people would use up on Students do the quiz in pairs and then see how well Shrove Tuesday by making pancakes – providing one they do compared to other students. -
"Throw Me Something, Mister": the History of Carnival Throws in New Orleans
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-20-2011 "Throw Me Something, Mister": The History of Carnival Throws in New Orleans Lissa Capo University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Capo, Lissa, ""Throw Me Something, Mister": The History of Carnival Throws in New Orleans" (2011). University of New Orleans Theses and Dissertations. 1294. https://scholarworks.uno.edu/td/1294 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Throw Me Something, Mister”: The History of Carnival Throws in New Orleans A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History Public History by Lissa Capo B.A. Louisiana State University, 2006 May 2011 i Dedication This work is dedicated to my parents, William and Leslie Capo, who have supported me through the years. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Visitor Guide
Cajun Country Events JANUARY Gumbo Cook-off Sportsmen’s Heritage Festival Opelousas | 337.331.2837 Krotz Springs | 337.566.3527 TheGumboFoundation.org ksSportsmensHeritageFestival.com Last Saturday Last full weekend FEBRUARY JULY Here’s the Beef Cook-off Lebeau Zydeco Festival Opelousas | 337.684.6751 Lebeau | 337.623.5909 | 337.623.4362 Last Saturday LebeauZydecoFestival.com FEBRUARY/MARCH 1st Saturday Cajun Country Southwest Louisiana Courir de Mardi Gras Attakapas Opelousas Eunice | 337.457.7389 Prairie Tribe Festival | Eunice-La.com Opelousas 337.246.0718 5-day celebration beginning the AttakapasOpelousasPrairieTribes.com Friday before Mardi Gras day Last Saturday Lil’ Nate’s Mardi Gras Parade AUGUST/SEPTEMBER & Chicken Run Original Southwest Louisiana Opelousas Zydeco Music Festival 337.319.0639 | 832.217.6935 Opelousas | 337.290.6048 3-day celebration beginning the Zydeco.org Friday before Mardi Gras day Saturday before Labor Day MARCH OCTOBER World Championship Sweet Dough Pie Festival Crawfish Étouffée Cook-off Grand Coteau | 337.662.3058 Eunice | 337.457.2565 SweetDoughGC.com | 4th Saturday EtouffeeCookoff.org NOVEMBER Last Sunday, except when it conflicts Holy Ghost Creole Festival with Easter, then 2nd to last Sunday Opelousas | 337.942.2732 APRIL HolyGhostCreoleFestival.com Arnaudville Étouffée Festival 1st weekend Arnaudville | 337.754.5912 Festival of Words Last weekend Grand Coteau | 337.254.9695 MAY FestivalOfWords.org | 1st weekend Herb and Garden Festival Cracklin Festival Sunset | 337.662.5225 Port Barre | 337.457.1776 SunsetHerbFestival.com PortBarreCracklinFestival.com 1st Saturday 2nd weekend When planning your visit, please refer to the EVENTS PAGE on our website CAJUNTRAVEL.COM for updates and additional events. 2 GUMBO FOR YOUR SOUL! Welcome to St. -
3. Indigeneity in the Oruro Carnival: Official Memory, Bolivian Identity and the Politics of Recognition
3. Indigeneity in the Oruro Carnival: official memory, Bolivian identity and the politics of recognition Ximena Córdova Oviedo ruro, Bolivia’s fifth city, established in the highlands at an altitude of almost 4,000 metres, nestles quietly most of the year among the mineral-rich mountains that were the reason for its foundation Oin 1606 as a Spanish colonial mining settlement. Between the months of November and March, its quiet buzz is transformed into a momentous crescendo of activity leading up to the region’s most renowned festival, the Oruro Carnival parade. Carnival is celebrated around February or March according to the Christian calendar and celebrations in Oruro include a four- day national public holiday, a street party with food and drink stalls, a variety of private and public rituals, and a dance parade made up of around 16,000 performers. An audience of 400,000 watches the parade (ACFO, 2000, p. 6), from paid seats along its route across the city, and it is broadcast nationally to millions more via television and the internet. During the festivities, orureños welcome hundreds of thousands of visitors from other cities in Bolivia and around the world, who arrive to witness and take part in the festival. Those who are not performing are watching, drinking, eating, taking part in water fights or dancing, often all at the same time. The event is highly regarded because of its inclusion since 2001 on the UNESCO list of Masterpieces of the Oral and Intangible Heritage of Humanity, and local authorities promote it for its ability to bring the nation together.