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Journal of Mennonite Writing Mennonite Experience | Many Voices
Journal of Mennonite Writing Mennonite Experience | Many Voices VOLUME 9 JANUARY 2016 ISSUE 2 Journal of Mennonite Writing Mennonite Experience | Many Voices About The Journal of Mennonite Writing is a quarterly online journal devoted to literary, artistic, and cultural production. Each issue focuses on a particular theme, author, or genre within Mennonite Writing, and includes poetry, fiction, essays, and criticism. The Journal of Mennonite Writing is published by the Center for Men- nonite Writing, an online community hosted at MennoniteWriting.org. The Center (CMW) provides resources for the study of Anabaptist and Mennonite-related artistic, cultural, and intellectual thought. It also houses Ervin Beck’s bibliogra- phies of Mennonite literature—one for U.S. authors, and one, with Hildi Froese Tiessen, for Canadian authors—updated annually. Co-Editors Ann Hostetler, Professor of English, Goshen College, Goshen, IN Ervin Beck, Goshen College Professor Emeritus, Goshen, IN Advisory Board Beth Martin Birky, Goshen College, Indiana Jeff Gundy, Bluffton University, Ohio Julia Spicher Kasdorf, The Pennsylvania State University Robert J. Meyer-Lee, Agnes Scott College, Atlanta Paul Meyer Reimer, Goshen College Maurice Mierau, author, Winnipeg, Manitoba Barbara Nickel, author, Fraser Valley, BC John D. Roth, Goshen College Kyle Schlabach, Goshen College Duane Stoltzfus, Goshen College Hildi Froese Tiessen, Professor Emerita Conrad Grebel University College Submission Guidelines Address inquiries to Editor at [email protected] and include a biography that describes your connection to Mennonite faith, culture, heritage, or identity. Work should be submitted as a Word attachment. Our issues are thematic, as announced through the Center for Mennonite Writing at www.mennonitewriting. org, but we also accept submissions of poetry, fiction, memoir, and critical essays year round. -
Curt Magazin N/F/E
curt Magazin N/F/E #158 - - - OKTOBER 2011 - - - WWW.CURT.DE Vorwort / curt #158 Ich löse vier Aspirin und zwei Alka-Seltzer in meiner Maß Bier auf, da mir das rechte Ohr pfeift. Eigendiagnose: Tinitus. Tinitus durch Ärger mit den curt-Schreiberlingen. Dabei war es von Anfang an klar: Die Besten sind eben auch immer Exzentriker. Dass mich das krank machen NEUERNEUERNEUERNEUER JOB JOBJOB JOB GEFÄLLIG? GEFÄLLIG?GEFÄLLIG? GEFÄLLIG? könnte und von einem Burn-out in den nächsten treiben würde, daran hatte ich nie gedacht. Und: Keine Besserung in Sicht. Dabei führen sie doch ein Leben in Saus und Braus hoch zehn, die curt-Recken. Denn natürlich ist es nicht unangenehm, in Cannes am richtigen Wochenende nur mit einem güldenen String bekleidet und mit einem Starlet im Arm von der Yacht herab ins Blitzlichtgewitter zu schreiten. Oder bei den MTV Awards lasziv von Gwen Stefanie begrapscht zu werden. Auch die richtige Party nach den Oscar-Verleihungen hat was, oder das Abhängen in Boxengassen. Und ebenfalls okay: die eine oder andere Filmpremiere oder Vernissage (Tach, Neo! Servus, Damien!). „Wie kann sich ein curt-Redakteur das alles leisten?“, wird sich ein Naivling jetzt fragen. Haha, Du ahnungsloser Narr! Du unwis- sender Konsument! Das kostet NISCHT! NULLINGER! Wir sind geladene Gäste im Schlaraffenland, so sieht's aus. Der Firmen-Porsche? Ein Geschenk! Der Akquise-Ferrari? Eine Spende. Der Verteiler-Hummer? Eine Leihgabe von einem Scheich, dessen Sohn wir mal zum Kopulieren NEUER JOB GEFÄLLIG? backstage gebracht haben bei der Comedy Lounge. Warum wir gerade alle in Louis Vuitton gekleidet sind? Eine Koop: Der curt-eigene Kaulquappenhund ist Model der aktuellen Kampagne. -
Ohio University the Glamorization of Alcohol in Contemporary Guyanese
Ohio University The glamorization of alcohol in contemporary Guyanese Chutney music Nadine Sanchara April, 2016 The glamorization of alcohol in contemporary Guyanese Chutney music Introduction/Background Music is an integral part of Guyanese culture. Being a multi-ethnic, multi-religious society, musical encounters, musical interaction and musical exchange are of special importance, especially in exploring the transfer and adoption of musical attributes across and among cultural communities (Cambridge 6). This paper aims at highlighting the extent to which alcohol use is glamorized in Guyanese Chutney music. Since music can influence action (Engels et al. 530) it is important to understand the lyrics of these songs in order to begin to tackle a larger problem. Chutney music is often referred to as an “Indo-Caribbean” genre of music, present in the Caribbean, mainly in Trinidad, Guyana and Suriname. It is largely influenced by Indian music, particularly Bhojpuri folk music (Bhojpuri is a language spoken in some Indian regions such as Utar Pradesh and Bihar, from where many Indian immigrants were brought to Guyana during indentureship). Chutney music does, however, have influences from African, Western and other cultures. It is a fast paced genre of music which makes use of instruments such as the harmonium, dhantaal, dholak and tabla, among others (Ramnarine 12). As much a part of Guyanese culture as Chutney music is the culture of “rum drinking.” As of 2010, the average Guyanese over 15 years old consumed more than eight liters of pure alcohol each year, compared to a global average of 6.2 liters (WHO 155). A study conducted by the Inter-American Drug Abuse Control Commission (CICAD) of the Organization of American States (OAS) in 2008 revealed that alcohol is the number one drug abused in Guyana (1). -
SS05 Naple Full Programme.Pdf
Across the globe the adaptation of Jamaican sound system culture has stimulated an innovative approach to sound technologies deployed to re-configure public spaces as sites for conviviality, celebration, resistance and different ways-of-knowing. In a world of digital social media, the shared, multi-sensory, social and embodied experience of the sound system session becomes ever more important and valuable. Sound System Outernational #5 – “Sounds in the City: Street Technology and Public Space” (4-5-6 April, 2019 - Naples, Italy) is designed as a multi-layered event hosted at Università degli Studi di Napoli L’Orientale with local social movement partners. Over three days and interacting with the city of Naples in its rich academic, social, political and musical dimensions, the event includes talks, roundtables, exhibitions and film screenings. It also features sound system dances hosting local and international performers in some of the city’s most iconic social spaces. The aim of the program is to provide the chance for foreign researchers to experience the local sound system scene in the grassroots venues that constitute this culture’s infrastructure in Naples. This aims to stimulate a fruitful exchange between the academic community and local practitioners, which has always been SSO’s main purpose. Sounds in the City will also provide the occasion for the SSO international research network meeting and the opportunity for a short-term research project on the Napoli sound system scene. Thursday, April 4th the warm-up session Thursday, April 4th “Warm Up Session” (16:30 to midnight) Venue: Palazzo Giusso, Università L’Orientale - Room 3.5 (Largo S. -
Final Report of the Independent Panel for the Election of Inter-American Commissioners and Judges
FINAL REPORT OF THE INDEPENDENT PANEL FOR THE ELECTION OF INTER-AMERICAN COMMISSIONERS AND JUDGES 2 June 2015 Panel Members Marion Bethel (Bahamas) Belisário dos Santos Jr. (Brazil) Cecilia Medina Quiroga (Chile) Juan Méndez (Argentina) Naomi Roht-Arriaza (United States) Table of Contents Introduction 2 Criteria for evaluation of the candidates 3 Methodology 5 Part I: Candidate Assessments Inter-American Commission on Human Rights Esmeralda Arosemena de Troitiño (Panama) 6 Francisco Eguiguren Praeli (Peru) 9 Enrique Gil Botero (Colombia) 13 Margarette May Macaulay (Jamaica) 16 Douglas Mendes (Trinidad and Tobago) 18 Sandra Soriano Bascopé (Bolivia) 20 Inter-American Court of Human Rights Elizabeth Odio Benito (Costa Rica) 22 Patricio Pazmiño Freire (Ecuador) 25 Alberto Pérez Pérez (Uruguay) 28 Eduardo Vio Grossi (Chile) 31 Eugenio Raúl Zaffaroni (Argentina) 33 Part II: Recommendations 1. The current system of election and its deficiencies 36 2. The experience of other advisory mechanisms for 38 international courts 3. Proposals for the selection of candidates to the Inter-American 42 Commission and Court of Human Rights Annex I: Questionnaire for Candidates to the Commission 46 Annex II: Questionnaire for Candidates to the Court 48 Annex III: Panel Member Biographies 50 Annex IV: Endorsing Organizations 52 1 Introduction The American Convention on Human Rights and other relevant instruments have established an Inter-American Commission and an Inter-American Court to supervise the States’ obligations in the area of international human rights. Since they are bodies intended to supervise States’ compliance with treaty obligations, it is clear that they should be composed of the most suitable individuals. Commissioners must have high moral character and have recognized competence in human rights. -
Importancia Del Contexto Historico En El Desarrollo Del Arte Dominicano1
Importancia del contexto historico en el desarrollo del arte dominicano1 Jeannette de los Angeles Miller Rivas2 Republica Dominicana logro su autonomia territorial contra Haiti, el 27 de Febrero de 1844, cuando casi habia transcurrido la primera mitad del siglo XIX. Esa Independencia vino a consolidarse a partir de 1865, ano en que finalizo la Guerra de la Restauracion y comenzaron a verse los resultados de una dominicanidad que presentaba fuertes ribetes hispanicos. Se creo una sensibilidad colectiva que buscaba una identidad asociada con hispanidad, y que se empeno, hasta mucho tiempo despues, en negar el componente negro por asociarlo con esclavitud y lucha territorial. Sin embargo, una dominicanidad subyacente se solidificaba en la condicion cambiante, en el trasiego de hombres y culturas, en la mezcla de razas, en las modalidades del idioma, en los habitos alimenticios y en la creatividad; abonando un sedimento que ha permanecido en la memoria no consciente del pueblo y que pauta y diferencia sus respuestas. El arte del siglo XIX trabajaba un espiritu nacionalista en retratos, temas historicos y paisajes, con los modos del naturalismo, neoclasicismo y romanticismo. La copia de laminas y los profesores europeos que venian de pasada eran las 1. Conferencia pronunciada en el salon de actos de la Academia Domi- nicana de la Historia la noche del lro. de febrero de 2006. 2. Miembro correspondiente nacional de la Academia Dominicana de la Historia. fuentes de aprendizaje, por lo que en los cuadros de esa epoca, los dominicanos aparecian blancos en ambientes europeos realizados con luz invernal. Alejandro Bonilla (1 820- 1901), Leopoldo Navarro (1 846- 1908), Luis Desangles -Sisito- (1 86 1- 1940), Abelardo Rodriguez Urdaneta (1 870- 1933), Angel Perdomo (1 859-1935), Adriana Billini (1 863-1946) y Arturo Grullon (1869-1942), realizaron sus obras dentro del naturalismo, neoclasicismo y romanticismo, y se dejaron sentir como los mejores de ese periodo llamado por Pedro Henriquez Urena de "inteleccion de la idea nacional". -
Eintou Pearl Springer Taitu Heron : Sharon Lake : Bernice L
Vol. 3, No. 2 :: Spring 2018 Caribbean Life + Olympian Feats, pt.2 In this issue: Eintou Pearl Springer Taitu Heron : Sharon Lake : Bernice L. McFadden : Nancy Ann Miller Keisha Oliver : Richard Schrader : Keino Senior : Kristine Simelda Carol Sorhaindo : Celia Sorhaindo : Obediah Michael Smith + more This issue is dedicated to the people of the Caribbean who have been impacted by Hurricanes Irma and Maria, and in particular the people of Dominica and Barbuda. They need our support so help in all ways that you can. Surviving a hurricane and deciding to forge ahead and rebuild is an Olympian feat. Hurricane Irma in the Eastern Caribbean, September 6, 2017 This issue is dedicated to Tamara Natalie Madden August 16, 1975 – November 4, 2017 A Jamaican-born painter and mixed-media artist (whose work was featured in IC Winter 2015) Tamara Natalie Madden - Peacock — In Memoriam — It is with heavy hearts that we bid a sad farewell to two members of the IC family: Kisembe Springer, also known as Ìyánífá Ifáfùnmiláyò Efuntola, and Catherine L. James Palmer. Kisembe was the daughter of Trinidadian poet, Eintou Pearl Springer, and Miss Catherine was the mother of our editor and founder, Opal Palmer Adisa. No words can describe the loss to Kisembe’s and Miss Catherine’s families and communities, so, instead, we honour their legacies of love and dedication. Kisembe and Miss Catherine, walk good with the ancestors. Ase. Ase. Ase. Catherine L. James Palmer Kisembe Springer CONTENTS Editor’s Letter © 2018 Caribbean Visual and Performing Arts. 15 Coalescing Hurricanes Irma and Maria with the Machete-Wielding Mother By Opal Palmer Adisa All rights reserved. -
Bahamas Candidature of Marion Bethel for Re-Election to The
Marion Bethel BAHAMIAN CANDIDATE FOR RE-ELECTION TO THE COMMITTEE ON THE ELIMINATION OF DISCRIMINATION AGAINST WOMEN FOR 2021-2024 Endorsed by: CARICOM MARION BETHEL CANDIDATE OF THE BAHAMAS TO THE CEDAW 2021-2024 NAME: Marion Bethel NATIONALITY: Bahamian WORKING LANGUAGES: English (fluent) Spanish & French (working knowledge) As an active and committed member of the UN Committee on the Elimination of Discrimination against Women and a Bahamian human rights expert, Ms. Marion Bethel has engaged in many activities and roles related to the CEDAW, Women’s Rights, Human Rights, and gender equality. Ms. Bethel has made a positive contribution and impact on The Bahamas, the Caribbean region and the international community through her tenure on the Committee. She wishes to continue to contribute to the elimination of discrimination against women and girls, in order to promote substantive equality and non-discrimination and the advancement of human rights, social justice, and peace for all. EDUCATIONAL BACKGROUND ❖ 1990: Master of Arts, Law (Cambridge University, Cambridge, England) ❖ 1985: Utter Barrister (Honourable Society of Gray’s Inn) ❖ 1985: Certificate in Legal Education (Council of Legal Education, London, England) ❖ 1984: Bachelor of Arts, Law (Cambridge University, Cambridge, England) ❖ 1976: Master of Arts, Curriculum & Teaching (Teacher’s College, Columbia University, New York) ❖ 1975: Bachelor of Arts, Spanish with Honours (Faculty of Arts, McGill University, Montreal, Canada) PROFESSIONAL ACTIVITIES IN THE CEDAW Current positions -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
2014 Graduates Marion Bethel COMMENCEMENT ADDRESS EDLS
[1] COMMENCEMENT ADDRESS EUGENE DUPUCH LAW SCHOOL GRADUATING CLASS OF 2014 SATURDAY, 20TH SEPTEMBER, 2014 BY MARION BETHEL Governor General, Dame Marguerite Chief Justice, Sir Michael Barnett Minister of State in the Ministry of Legal Affairs, Mr. Damien Gomez Justices of the Court of Appeal Justices of the Supreme Court Senior Government Officials Chairman of the Council of Legal Education, Jacqueline Samuels-Brown, QC Principals of the various Law Schools Distinguished Guests Madame Chairman Samuels-Brown, I thank you firstly for your warm and spirited invitation to me in regard to this commencement address to the graduating class of 2014. And I thank you for a creative and memorable introduction of one lawyer’s journey. Principal Galanis, I thank you for enthusiastically reaching out to me in the first instance. It is, indeed, a privilege for me to be here on this very special occasion for both the graduates and their families. A commencement ceremony is a momentous occasion as it signals simultaneously an ending and a beginning. I heartily congratulate you, graduates, on the successful completion of a challenging and engaging course of study at the Law School. I well know the relief, excitement and anticipation you must be feeling at this time. I also know the deep pride and joy of your parents, spouses, extended families and friends on this occasion. This event must, indeed, represent a game-changer for your parents; hopefully, boatloads of money will now dock in the opposite direction. Truth be told, I have never attended any of my many graduations including that of my Bar School. -
La Méthode Du Riddim : Esthétique, Pratique Et Propriété Dans Le Dancehall Jamaïcain the Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall
Volume ! La revue des musiques populaires 13 : 2 | 2017 Inna Jamaican Stylee La méthode du riddim : esthétique, pratique et propriété dans le dancehall jamaïcain The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall Peter Manuel et Wayne Marshall Traducteur : Alexandre Tanase Édition électronique URL : http://journals.openedition.org/volume/5288 DOI : 10.4000/volume.5288 ISSN : 1950-568X Éditeur Association Mélanie Seteun Édition imprimée Date de publication : 21 avril 2017 Pagination : 25-59 ISBN : 978-2-913169-42-5 ISSN : 1634-5495 Référence électronique Peter Manuel et Wayne Marshall, « La méthode du riddim : esthétique, pratique et propriété dans le dancehall jamaïcain », Volume ! [En ligne], 13 : 2 | 2017, mis en ligne le 21 avril 2020, consulté le 08 janvier 2021. URL : http://journals.openedition.org/volume/5288 ; DOI : https://doi.org/ERREUR PDO dans /localdata/www-bin/Core/Core/Db/Db.class.php L.34 : SQLSTATE[HY000] [2006] MySQL server has gone away L'auteur & les Éd. Mélanie Seteun 25 ument Doc La méthode du riddim : Esthétique, pratique et propriété dans le dancehall jamaïcain* par Peter Manuel (City University of New York) Wayne Marshall (Berklee College of Music / Harvard University) Traduit de l’anglais (États-Unis) par Alexandre Tanase Résumé : La scène et l’industrie du disque jamaï- Abstract: The Jamaican system of recording caines, des années 1950 jusqu’à nos jours, ont une and performance, from the 1950s to the present, manière bien particulière d’aborder les notions de constitutes a distinctive -
The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall1
Popular Music (2006) Volume 25/3. Copyright © 2006 Cambridge University Press, pp. 447–470 doi:10.1017/S0261143006000997 Printed in the United Kingdom The riddim method: aesthetics, practice, and ownership in Jamaican dancehall1 PETER MANUEL† and WAYNE MARSHALL‡ †127 Park Ave, Leonia, NJ 07605, USA ‡88 Holworthy Street, Cambridge, MA 02138, USA Abstract The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in decades of practice, of musical materials as public domain. With the spread of the ‘riddim method’ to the sites of Jamaican mass migration, as evidenced by similar approaches in hip hop, reggaeton, drum’n’bass and bhangra, reggae’s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out, through historical description, ethnographic data, and musical analysis, the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial, mass-mediated popular music genres in the twentieth century has contributed to the spread, in many music cultures worldwide, of a certain conventional ‘mainstream’ form of song, comprising an original, autonomous and reproducible entity with a relatively unique integration of lyrics, melody and chordal accompaniment. In mainstream Western music culture, the thirty-two-bar AABA structure, perhaps repeated twice or thrice with some sort of variation, constituted a quintessential type of this conventional song form.