DOCSLIB.ORG

National Theatre Wales Egin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Theatre Wales Egin Egin Egin 4 Cyflwyniad | Introduction 6 Myfyrdod | Reflection — Simon Coates | National Theatre Wales 8 Plannu ein Proses | Rooting our Process 10 Ymweliadau wedi’u Curadu | Curated Visits 14 Myfyrdod | Reflection — Joe Roberts | Cyfoeth Naturiol Cymru | Natural Resources Wales 16 Artistiaid | Artists 18 Alison Neighbour 20 Angela Davies 22 David mangenner Gough 26 Dylan Huw 28 Emily Laurens 30 Joanna Wright 34 Jon Berry 36 Owain Gwilym 40 Rebecca Smith Williams 42 Ruth Stringer 46 Shehzad Chowdhury 48 Vikram Iyengar 50 Xenson 54 Sgyrsiau Hinsawdd | Climate Conversations 58 Myfyrdod | Reflection — Lindsey Colbourne | Sgyrsiau Hinsawdd | Climate Conversations 60 Myfyrdod | Reflection — Lowri Rogers | Ymddiriedolaeth Genedlaethol | National Trust 64 Diolch yn Fawr | Thank You Cyflwyniad | Introduction 4 Cyflwyniad Trwy gydol y breswylfa, buodd yr artistiaid – naw ohonom yn Gymry a’r pedwar arall o Uganda, Bangladesh, Tasmania ac Preswylfa i artistiaid oedd Egin a gynhaliwyd India – yn byw a bod ym mhenodolrwyddau’n hamgylchedd. yng Nghapel Curig, Sir Conwy, ym mis Gorffennaf Gwrandawom ar safbwyntiau trigolion Capel Curig a 2019, wedi ei arwain gan National Theatre Wales chymunedau cyfagos sy’n ymwneud â thirweddau cyfnewidiol yn mewn partneriaeth â Chyfoeth Naturiol Cymru, eu bywydau bob–dydd, yn ffermwyr, yn artistiaid ac yn weithwyr â chefnogaeth gan yr Ymddiriedolaeth mynydd, a hefyd ar bryfociadau siaradwyr gwadd, a gynigiodd Genedlaethol, British Council Cymru a Pharc ffyrdd newydd, angenrheidiol o feddwl am y pwnc mewn cyfres Cenedlaethol Eryri. Treuliodd grŵp amrywiol o ddigwyddiadau cyhoeddus dan y teitlau Tir, Arian, Gwrthryfel o 13 artist bythefnos yn ymdrochi yn nhirweddau a Gobaith. Yn fwy na dim, gwrandawom ar syniadau’n cyd– bregus a gwefreiddiol gogledd Eryri ac yn artistiaid – am foddau gwahanol o brotestio ac ymateb, am y cyfnewid syniadau creadigol i ymateb rôl dyngedfennol gall dychymyg ei chwarae wrth herio systemau i newid hinsawdd a dinistr ecolegol. hirsefydlog, ac am yr hyn mae’n ei olygu i berthyn i dir ac, yn fwy penodol, y teimlad hwnnw o hiraethu am dir, rhywbeth tebyg _ i’r gair Bengali desh. Dros y bythefnos, archwiliodd artistiaid Egin gyfyngiadau defnyddio celfyddyd i ymateb i fater mor unigryw enfawr â thrychineb hinsawdd – ond hefyd y posibiliadau diddiwedd. Sylweddolom, os nad oedden ni wedi gwneud cyn hyn, nad oes yr un mater rhywsut tu hwnt i newid hinsawdd. Roedd ymwneud ag amgylchedd cyfnewidiol yn Eryri yn 2019 yn _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Introduction During the residency, the artists – nine of us Welsh or Wales‑based and four from Uganda, Bangladesh, Tasmania Egin was a curated artists’ residency which took and India – were intimately engaged in our surroundings. place in Capel Curig, Conwy, in July 2019, led We listened to the perspectives of residents of Capel Curig by National Theatre Wales in partnership with and neighbouring communities who interact with changing Natural Resources Wales and with support from landscapes in their everyday lives, whether as shepherds, the National Trust, British Council Wales and artist–activists or mountain wardens, and to the provocations Snowdonia National Park Authority. A diverse of invited guests, who interrogated themes of Land, Money, group of thirteen artists spent two weeks Rebellion and Hope in a series of public Climate Conversations. immersed in northern Snowdonia’s immense These events were a way of challenging traditional landscapes, exchanging ideas and creating conceptions of the topic, while engaging local residents work in response to climate change and in provocative and global–facing ideas at the cutting edge ecological collapse. of climate discourse. More than anything, we listened to each other’s ideas – _ about different methods of protest and response, about the role of the imagination in enacting systemic change, and about what it means to experience belonging to, and loss of, land, a sensation often evoked in the Welsh word hiraeth, which is similarly expressed, we learned, in the Bengali word desh. Over the course of the fortnight, the Egin artists explored the limits of using art to respond to an urgency as uniquely enormous as climate catastrophe – but also the rich 5 Egin golygu ymwneud â gwleidyddiaeth cymhleth perchnogaeth Roedd Dylan Huw yn artist ar Egin sy’n ‘sgwennu gwaith tir yn yr ardal; â dadleuon bregus ynghylch pwy sydd â’r hawl beirniadol, ffuglennol a thraethodau. Ar ôl y breswylfa, fe i adrodd straeon pobl eraill; ac i’r natur mae rhyw a rhywedd, ymunodd â thîm National Theatre Wales fel Cynorthwyydd hil a dosbarth yn ymwneud yn annatod â therfysg hinsawdd, a Datblygu Creadigol. sut mae hyn yn galw am solidariaeth y mae angen iddo fod yn lleol ac yn rhyngwladol o hyd. Roedd rhai ohonom yn wynebu rhai cwestiynau hanesyddol ac athronyddol enfawr am y tro cyntaf, rhai na fyddem, cyn Egin, wedi’u gweld fel cwestiynau’n ymwneud â “newid hinsawdd” fel mae wedi cael ei fframio’n draddodiadol. Daeth pob un ohonom o’r breswylfa wedi dyfnhau’n dealltwriaeth o faint sydd angen i’n hymddygiad newid, a sut mae creu celfyddyd yn fodd gwerthfawr o ddatblygu deialog a ffyrdd newydd o feddwl. Does dim dwywaith bod y dylunwyr, perfformwyr, artistiaid sain, ‘sgwennwyr, dawnswyr, beirdd, gwneuthurwyr ffilm, dramodwyr, actifyddion ac actorion a brofodd Egin, ynghŷd â’r cymunedau lleol a chwaraeodd ran mor amhrisiadwy yn y breswylfa, wedi eu herio, eu cyfoethogi a’u hegnïo i ymddwyn yn gasgliadol yn sgil hynny. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ potentialities. It quickly became clear, if it wasn’t already, Dylan Huw was an artist on Egin whose writing practice how there is no issue which can be discussed as somehow spans criticism, fiction and essays. Shortly after the residency, being beyond climate change. To respond to a changing he joined the National Theatre Wales team as Creative climate in Snowdonia in 2019 was to respond to the complex Development Assistant. and contentious politics of land and property ownership in the area; to debates around who is allowed the voice and platform to tell whose stories; and to the gendered, racialised and localised nature of climate disaster, how it calls for a solidarity which must always be both local and global. Some of us were confronting certain big historical and philosophical ideas for the first time, which might not previously have seemed related to “climate change” as it has usually been framed. We all came away from the residency with a deepened understanding of how profoundly set in our ways we are, and how art–making provides a necessary platform for conversation and the development of new ways of thinking. There’s no doubt the designers, performers, sound artists, writers, visual artists, dancers, poets, filmmakers, playwrights, activists and actors who experienced Egin, along with the local community who played such an integral role in it, found themselves challenged, enriched and energised to act collectively as a result. Myfyrdod | Reflection 6 Simon Coates | National Theatre Wales Roeddwn am roi ystyriaeth bellach i hyn. Pam oedd hyn – a sut allwn ni ei wneud yn well? Fel artistiaid, beth wnawn ni nawr? Mae'n anodd meddwl am unrhyw fater mwy Nid ateb i'r cwestiynau hyn oedd Egin, ond yn hytrach ymateb taer, mwy brys, mwy hollbresennol, na hyfywedd greddfol. Cais, mewn gwirionedd, i weithio gydag artistiaid a y blaned hon ar gyfer cenedlaethau o bob chymunedau eraill i roi bob dim sy'n anodd, yn gymhleth, yn rhywogaeth yn y dyfodol. Yn wir, difodiant a anghyson, yn gyfoglyd – ac yn ysgogol? – ynghylch trafodaethau am hil‑laddiad y gorffennol yw'r feirniadaeth fwyaf newid yn yr hinsawdd ar y bwrdd. I edrych arno, i'w gwestiynu, i fod llym posibl ar y ddynoliaeth. Ac wrth geisio beth? yn ddig amdano; i dynnu sylw craff at yr hyn a allai fod yn aneglur, i Rwyf wedi bod yn chwilio am ffyrdd o ymateb bwyntio bysedd (i bob cyfeiriad). Bod yn ddig. Ac yna yn methu wrth i'r cwestiynau hyn – yr hyn y cyfeirir ato'n aml fel wneud hyn ar unwaith, gan gydnabod ei fod yn dreiddiol, ym mhob "newid yn yr hinsawdd" – drwy fy ngwaith. Yn peth a phob man a edrychwn.
Load more

Recommended publications
  • Allegories of Wildness ~ the Cartography of War and Peace: Worlds in Collision
    Allegories Of Wildness ~ The Cartography Of War And Peace: Worlds In Collision For the glory of labor, country and liberty: the recurrence of the intrusion ofcivilization in the republic The previous chapter discussed the documentary sources about the Southern Nambikwara mostly from the conquering society’s perspective. On a few occasions the other point of view, coming from the contemporary Sararé oral tradition, brought out some contrasts and coincidences. One such coincidence worth remembering concerns the new tactic developed by Nambikwara local groups when pressures built up within their own territory. By the 20th century they adapted by concealing villages and gardens in remote places or even may have abandoned horticulture for some time and reverted to a hunting and gathering mode of production. The Nambikwara peoples or local groups may have been temporarily forced to be nomadic and, even when they were not, they appeared to be. Thus the imagery projected to the national society of being nomadic hunters without a fixed abode may simultaneously be a partial truth and a tactical deception. The result of partial conquest (as documentary sources indicate areas not occupied) and the active ruse of the conquered combine in the image of the nomadic and elusive Indians disappearing when pursued. From the early years of the century until the end of the empire, this image must have contributed to relinquishing the conquered territory to the warfare practiced by the formally and formerly vanquished. The Nambikwara probably adapted to the presence of the mining villages and the quilombos by creatively designing a new form of occupancy and a new mode of war.
    [Show full text]
  • Universiv Micrdmlms International Aoon.Zeeb Road Ann Arbor, Ml 48106
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality o f the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • MALAUENE Umn 0130E 22082.Pdf
    A history of music and politics in Mozambique from the 1890s to the present A DISSERTATION SUBMITTED TO THE COLLEGE OF LIBERAL ARTS OF THE UNIVERSITY OF MINNESOTA BY DENISE MARIA MALAUENE IN PARTIAL FULFILLMENT OF THE REQUEREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ALLEN F. ISAACMAN JANUARY 2021 Ó DENISE MARIA MALAUENE, 2021 Acknowledgements Nhi bongide ku womi ni vikelo Thank you for life and protection Nhi bongide gurula ni guhodza Thank you for peace and provision Nhi bongide gu nengela omo gu Thank you for happiness in times of tsanisegani suffering Nhi bongide Pfumu Thank you, God! Denise Malauene song titled “Nhi bongide Pfumu”1 Pfumu Nungungulu, nhi bongide ngudzu! (Thank you, God!) My children Eric Silvino Tale and Malik TSakane Malauene Waete: I thank you for your unconditional love, Support, and understanding aS many timeS I could not be with you nor could meet your needs because I waS studying or writing. Mom and dad Helena ZacariaS Pedro Garrine and João Malauene, nhi bongide ku SatSavbo. My Siblings Eduardo Malauene, GiSela Malauene, Guidjima Donaldo, CriStina AgneSS Raúl, DioníSio, Edson Malauene, ChelSea Malauene, Kevin Malauene, obrigada por tudo. I am grateful to my adviSor Allen IsSacman for the advice, guidance, and encouragement, particularly during the difficult timeS in my Ph.D. trajectory Somewhat affected by Several challengeS including CycloneS Idai, the armed instability in central and northern Mozambique, and Covid 19. Barbara’s and hiS support are greatly appreciated. I am grateful to ProfeSSor Helena Pohlandt-McCormick for her encouragement, guidance, and Support. Her contribution to the completion of my degree in claSSeS, reading groups, paper preSentations, grant applications, the completion of my prelimS, and Michael’s and her support are greatly appreciated.
    [Show full text]
  • Ecstatic Encounters Ecstatic Encounters
    encounters ecstatic encounters ecstatic ecstatic encounters Bahian Candomblé and the Quest for the Really Real Mattijs van de Port AMSTERDAM UNIVERSITY PRESS Ecstatic Encounters Bahian Candomblé and the Quest for the Really Real Mattijs van de Port AMSTERDAM UNIVERSITY PRESS Layout: Maedium, Utrecht ISBN 978 90 8964 298 1 e-ISBN 978 90 4851 396 3 NUR 761 © Mattijs van de Port / Amsterdam University Press, Amsterdam 2011 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents PREFACE / 7 INTRODUCTION: Avenida Oceânica / 11 Candomblé, mystery and the-rest-of-what-is in processes of world-making 1 On Immersion / 47 Academics and the seductions of a baroque society 2 Mysteries are Invisible / 69 Understanding images in the Bahia of Dr Raimundo Nina Rodrigues 3 Re-encoding the Primitive / 99 Surrealist appreciations of Candomblé in a violence-ridden world 4 Abstracting Candomblé / 127 Defining the ‘public’ and the ‘particular’ dimensions of a spirit possession cult 5 Allegorical Worlds / 159 Baroque aesthetics and the notion of an ‘absent truth’ 6 Bafflement Politics / 183 Possessions, apparitions and the really real of Candomblé’s miracle productions 5 7 The Permeable Boundary / 215 Media imaginaries in Candomblé’s public performance of authenticity CONCLUSIONS Cracks in the Wall / 249 Invocations of the-rest-of-what-is in the anthropological study of world-making NOTES / 263 BIBLIOGRAPHY / 273 INDEX / 295 ECSTATIC ENCOUNTERS · 6 Preface Oh! Bahia da magia, dos feitiços e da fé.
    [Show full text]
  • Everyman's Search
    www.accomplishnet.com EVERYMAN'S SEARCH by Rebecca Beard 1 EVERYMAN' S SEARCH by Rebecca Beard First published in England in May 1951 by Arthur James, Evesham, Worcs. This ebook version Copyright ©2008 www.accomplishnet.com All Rights Reserved CONTENTS Materia Medica to Spiritual Therapy . 2. Hurdles . Talking to Your Cells 4. Our Uncharted Emotional Life . Psycho-somatic Medicine 6. Unfasten Your Emotions . Health From Within 8. Still "Man the Unknown" . Establish Your Identity 0. Rename Your World . Everyman's Search 2. One Gave Thanks . Meditations 4. Nuclear Therapy 2 1. Materia Medica to Spiritual Therapy Each man in searching travels his own road, yet his experience can be of value to other seekers. Our experience led us from materia medica to spiritual therapy. This might seem, at first sight, to be more in the nature of a conversion than a transition, yet as I look back upon the steps over which we came it seems an inevitable transition for one trained in the scientific field, if that one be willing to go far enough. Whether one advances along this road or not depends, it seems to me, upon a willingness to explore with an open mind. In my earlier years, science was my religion. I was so fascinated and enthralled by the things I was learning that I was open to nothing else. I owe much to science and to my training in science, for my first deep concept of God came to me through my introduction to the laws of valence, the atomic theory and the periodic system.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • Table of Contents
    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
    [Show full text]
  • Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
    DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays.
    [Show full text]
  • FRANCES (Fannie/Fanny) SOULÉ
    351 After the earthquake in April of 1906 she recreated her studio in Berkeley on Bancroft Way where she briefly shared her space with the “wood carver” Miss Mildred Holden.15 Two of Campbell’s first commissions were to design cover illustrations for The Courier, a weekly magazine in Berkeley, and art work for another journal, Western Tours.16 She was briefly a “staff artist” at the Overland Monthly which later published a very flattering biography of the artist with fine reproductions of her celebrity portraits.17 Of all of Berkeley’s female artists in this period she was by far the most socially dynamic and popular. Campbell was the first to publicize her studio with large conspicuous advertisements.18 She participated in major exhibitions throughout the East Bay, including the Fifth Annual of the Oakland Art Fund at the Starr King Fraternity in 1905.19 Her only portrait miniature to survive the destruction of her San Francisco studio, a “splendid” study of Elsa von Monderscheid, was given a place of honor at Berkeley’s 1906 Studio Building Exhibition.20 In 1906 Campbell contributed to the Inaugural Exhibition of the Carmel Arts and Crafts Club and to the California State Fair.21 At the State Fair in 1908 she won separate medals for the best sketch and the best painted miniature on ivory.22 Several of her miniatures attracted favorable attention at the San Francisco Arts & Crafts Association.23 In 1907 her portraits in miniature were selected for display at San Francisco’s Sketch Club and at the opening of the Del Monte Art Gallery.24 That year she also displayed miniatures at the Alameda County Exposition in Oakland’s Idora Park.25 According to Hanna Larsen of the San Francisco Call, the young Berkeley artist was expanding her artistic horizons, no doubt due to the impact of photography on the demand for miniatures:26 Miss Frances Soule Campbell has branched off into illustrative work and has been very successful.
    [Show full text]
  • 1 – Published Music by Date
    1 – Published music by date The dating of sheet music is notoriously difficult. The dates supplied here have been determined by a combination of: • Publication date on the item • Copyright date on the item • Additional information on the item e.g. an event or reference to earlier works • Address information on the publishers/printer • 3rd part information, e.g. review by a newspaper • Biographical information • Estimate based on style This listing is not intended to follow full descriptive bibliographic conventions. Thus where the date has any sort of collaboration (e.g. advertisement of publication or copyright registration) it is considered to be confirmed. Where no collaboration has been able to be found and an estimate is given, this is indicated by comment “estimated date” in the notes column. First editions only are included, except where a later edition involved a change of publisher. Any queries or comments should be addressed to: Elizabeth Nichol ([email protected]) Abbreviations used: AS Auckland Star BH Bruce Herald DSC Daily Southern Cross (Auckland) EP Evening Post (Wellington) ES Evening Star (Dunedin) ODT Otago Daily Times OW Otago Witness SMH Sydney Morning Herald TH Thames Herald NZ-OW – New Zealand edition of overseas work, published by license or otherwise. No known New Zealand connection to composer or subject. Nichol_NZ published music 1850-1913 by date 1 Date Place of Last name First name Title Publisher Notes published publication Davis Daniel A gallop to the Diggins Robert Cocks London 1852 Davis Daniel Auckland Waltz Robert Cocks London Composed and arranged for the pianoforte. Composed and arranged for the pianoforte on the Davis Daniel Governor Wynyard Polka Robert Cocks London occasion of the inauguration of His Excellency to the government of New Ulster in New Zealand.
    [Show full text]
  • Ella Fitzgerald Collection of Sheet Music, 1897-1991
    http://oac.cdlib.org/findaid/ark:/13030/tf2p300477 No online items Ella Fitzgerald collection of sheet music, 1897-1991 Finding aid prepared by Rebecca Bucher, Melissa Haley, Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Ella Fitzgerald collection of sheet PASC-M 135 1 music, 1897-1991 Title: Ella Fitzgerald collection of sheet music Collection number: PASC-M 135 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 13.0 linear ft.(32 flat boxes and 1 1/2 document boxes) Date (inclusive): 1897-1991 Abstract: This collection consists of primarily of published sheet music collected by singer Ella Fitzgerald. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. creator: Fitzgerald, Ella Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • The University of Chicago Leaving Labor
    THE UNIVERSITY OF CHICAGO LEAVING LABOR: REVERSE MIGRATION, WELFARE CASH, AND THE SPECTER OF THE COMMODITY IN NORTHEASTERN BRAZIL A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE SOCIAL SCIENCES DEPARTMENT OF ANTHROPOLOGY AND THE FACULTY OF THE SCHOOL OF SOCIAL SERVICE ADMINISTRATION IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY GREGORY DUFF MORTON CHICAGO, ILLINOIS DECEMBER 2015 Copyright © Gregory Duff Morton, 2015. This dissertation is dedicated to Maria Silvani Vieira Ferraz, who taught me the most important lesson, a lesson about welcoming other people. Dedico essa tese a Maria Vieira Silvani Ferraz, que me ensinou a lição mais importante, uma lição sobre o acolhimento. Durante muitos dias e noites, eu escutei, assisti, sorri, comi, dormi, e melhorei ao lado dela. Aprendi que saber receber bem é saber amar. Espero mostrar para outras pessoas na vida pelo menos um pouquinho da generosidade que ela tem comigo—e com tantos seres humanos, de todos os tipos, todos bem-vindos na casa dela. Table of Contents List of tables……………………………………………………………………………………….v List of graphs …………..….………………………………..……………………………………vi List of figures……………………………………………………………………………………viii Acknowledgements……………………………………………..……………………………...…ix Introduction………………………………………………………………………………….…….1 Section 1—Labor and Time Chapter 1— How Work Counts: Time, Self-Labor, and Wagelessness in the Sertão…...63 Chapter 2— Not to Know the Hours: The Kinds of Time in the Sertão……………...…87 Chapter 3— Access to Permanence: Gender, Wealth, and Circulations in the
    [Show full text]