Best of 2012
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OFF Festival Katowice 2018 Warsaw Village Band Meets Poznań City Revival
OFF Festival Katowice 2018 Warsaw Village Band meets Poznań City Revival Here at the OFF Festival, we always enjoy reminiscing: there’s the 2007 debut by Muchy, and the songs of our forefathers as reinterpreted by the Warsaw Village Band. But we also look boldly into the future, as personified by a pair of excellent debut artists: Rolling Blackouts Coastal Fever and Fontaines D.C. Kapela ze Wsi Warszawa – mazovian re:action No one has done more to demystify folk music in the ears of popular young audiences than the Warsaw Village Band (known in Poland as Kapela ze Wsi Warszawa), who often resort to audacious experiments that draw the ire of their own musical milieu. No one has been bolder when it comes to combining local roots with musical shoots growing all over the world and in all eras. Only they could spice up a Slavic melody with a voice from India, a solo by an Iranian virtuoso, and a electronic beat lifted from a London dance club. On Warsaw Village Band’s latest album, mazovian re:action (a late 2017 release that’s already scored a Fryderyk Award), the artists head home from their distant travels, playing Mazovian songs learned from old masters and sharing those tunes with the world. Muchy performing „Xerroromans” This Poznań band made their memorable debut in 2007 with Terroromans, an album that launched Muchy into immediate indie-rock stardom. More than a decade later, the group returns with the same lineup, the same material (and an extra track on the re-edition of Terroromans), and the same drive. -
The Case of Thomas Mapfumo's Masoja Nemapurisa
© Kamla-Raj 2015 J Communication, 6(2): 260-269 (2015) Rebuking Impunity through Music: The Case of Thomas Mapfumo’s Masoja Nemapurisa Everisto Benyera Department of Political Sciences, University of South Africa, Pretoria, 0003, Republic of South Africa E-mail: [email protected], [email protected] KEYWORDS Popular Music. Impunity. Zimbabwe. Human Rights. Transitional Justice ABSTRACT Popular music has been used since the colonial times as an instrument of criticizing the various levels of authority in Zimbabwe. It was used as an artistic vehicle for denouncing colonialism. After independence, the same medium was used to agitate for social justice. More than thirty years after independence the same genre is being used to denounce impunity and political violence. Through the years what has changed is the language, which migrated from euphemism to confrontational lyrics, not the message, which has consistently attacked the authorities. The paper begins by theorizing popular music as an arts genre. This is followed by an analysis of songs that were critical of the colonial governments and those that criticized the post-independence government. The music of Thomas Mapfumo was singled out as protest music, which consistently spoke to the authorities about their perceived shortcomings. This view is presented using Mapfumo’s song titled Masoja Nemapurisa. INTRODUCTION poorly resourced communities (Lemieux and Prat- to 2008). However, this changed when listeners The role of popular music in Zimbabwe, be- and critics were surprised to hear the hard-hit- sides entertaining and educating the people, has ting lyrics from Thomas Mapfumo around 2002. been to offer an alternative communication chan- While most were surprised by Mapfumo’s seem- nel to air narratives, which were being crowded ingly undiplomatic lyrics, it is this paper’s ob- out of the mainstream media. -
CENSORED Serious Criticisms of Police Handling of the 1985 Manchester Figures
No. 763 Thursday, 12th March 1987. Price 1 So NEWCASTLE UNIVERSITY LIBRARY © • 3 . § " 7 NOTIX U I TO BE REMOVED C0QR1E a m NEWCASTLE UNIVERSITY STUDENTS NEWSPAPER Union spending continues to be cut ALTERNATIVE STRATEGY Next week the Students' Union will present its sub mission to Senate Development Committee in a des perate attempt to change the University's Draft Academic Strategy. £400 ON We as a Students' Union are jobs and departments. For ex totally opposed to the suggested ample, the University’s catering cuts, which would lead to the operation loses £90,000 per year, closure of the Music and Philos what about saving money on ophy Departments, and the loss such areas of elitism as Senate of 140 academic staff and 65 dinners. Were you invited?! support staff. Our commitment We don't believe that these to the University and Higher savings can salvage all the Education system as a whole, is money that Central Government not based on a belief that things has stipulated, but the Vice Chan are perfect now, but because we cellor should recognise and DespiteU.S. the fact that the Union continues to lose vast sums of TRIP believe higher education does assert the importance of Higher money (£15,000 to date). Executive has sanctioned a £400 trip have a value, and it is our duty as Education to the individual, and, to Boston, U.S.A. for a senior member of staff. CAW '87: more pics p6 students, to speak out for it. as we recognise, to the com munity and the economy. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
African Afro-Futurism: Allegories and Speculations
African Afro-futurism: Allegories and Speculations Gavin Steingo Introduction In his seminal text, More Brilliant Than The Sun, Kodwo Eshun remarks upon a general tension within contemporary African-American music: a tension between the “Soulful” and the “Postsoul.”1 While acknowledging that the two terms are always simultaneously at play, Eshun ultimately comes down strongly in favor of the latter. I quote him at length: Like Brussels sprouts, humanism is good for you, nourishing, nurturing, soulwarming—and from Phyllis Wheatley to R. Kelly, present-day R&B is a perpetual fight for human status, a yearning for human rights, a struggle for inclusion within the human species. Allergic to cybersonic if not to sonic technology, mainstream American media—in its drive to banish alienation, and to recover a sense of the whole human being through belief systems that talk to the “real you”—compulsively deletes any intimation of an AfroDiasporic futurism, of a “webbed network” of computerhythms, machine mythology and conceptechnics which routes, reroutes and criss- crosses the Atlantic. This digital diaspora connecting the UK to the US, the Caribbean to Europe to Africa, is in Paul Gilroy’s definition a “rhizo- morphic, fractal structure,” a “transcultural, international formation.” […] [By contrast] [t]he music of Alice Coltrane and Sun Ra, of Underground Resistance and George Russell, of Tricky and Martina, comes from the Outer Side. It alienates itself from the human; it arrives from the future. Alien Music is a synthetic recombinator, an applied art technology for amplifying the rates of becoming alien. Optimize the ratios of excentric- ity. Synthesize yourself. -
0. C.A.CP Prelim.Pmd
1 Dancing through the Crisis: Survival Dynamics and Zimbabwe Music Industry* Nhamo Anthony Mhiripiri The details of how Zimbabwe – once lauded as the jewel of Africa – slid into a mess over the past decade have been well chronicled (see Melber 2004; Harold- Berry 2004; Vambe 2008). President Robert Mugabe and his ruling ZANU PF blame the economic meltdown on the British and their allies the United States of America, Australia and the European Union, who are vindictive over the fast- track land reform programme that forcibly wrests land from white farmers. Mugabe’s critics blame corruption, dictatorship, gross disrespect for the rule of law and no protection of private property, jeopardizing productivity and foreign currency earnings through the land reform programmes, and the abuse of human rights as the main causes of the country’s problems (Mhiripiri 2008). At a time of very serious political and economic crisis, Zimbabweans seem to be entertaining themselves with music. There has been a massive shut-down of manufacturing industries, but the music industry remains resilient. According to the country’s Central Statistics Office, inflation is the highest in the world, reaching as high as 100,000 per cent by mid February 2008, even exceeding that of war-ravaged Iraq, which is second highest at 60 per cent. Zimbabwe’s crisis has created paradoxes such as poor billionaires and the fastest-shrinking economy outside of a war zone. Unemployment in formal jobs was as high as 80 per cent in January 2008. Despite all this, the music industry looks vibrant, and shows no signs that the big recording companies – Zimbabwe Music Corporation (ZMC), Records and Tape Promotions (RTP), Gramma and Ngaavongwe – will shut down or relocate to South Africa as most other companies have done. -
MEVLANA JALALUDDİN RUMİ and SUFISM
MEVLANA JALALUDDİN RUMİ and SUFISM (A Dervish’s Logbook) Mim Kemâl ÖKE 1 Dr. Mim Kemâl ÖKE Mim Kemal Öke was born in Istanbul in 1955 to a family with Central Asian Uygur heritage. Öke attended Şişli Terakki Lyceum for grade school and Robert College for high school. After graduating from Robert College in 1973, he went to England to complete his higher education in the fields of economics and history at Cambridge University. He also specialized in political science and international relations at Sussex, Cambridge, and Istanbul universities. In 1979 he went to work at the United Nation’s Palestine Office. He returned to Turkey in 1980 to focus on his academic career. He soon became an assistant professor at Boğaziçi University in 1984 and a professor in 1990. In 1983, TRT (Turkish Radio and Television Corporation) brought Öke on as a general consulting manager for various documentaries, including “Voyage from Cadiz to Samarkand in the Age of Tamerlane.” Up until 2006 he was involved in game shows, talk shows, news programs and discussion forums on TRT, as well as on privately owned channels. He also expressed his evaluations on foreign policy in a weekly syndicated column, “Mim Noktası” (Point of Mim). Though he manages to avoid administrative duties, he has participated in official meetings abroad on behalf of the Turkish Foreign Ministry. Throughout his academic career, Öke has always prioritized research. Of his more than twenty works published in Turkish, English, Urdu and Arabic, his writings on the issues of Palestine, Armenia, Mosul, and the Caliphate as they relate to the history of Ottoman and Turkish foreign policy are considered foundational resources. -
Música Infancias Visuales Artes Performáticas Talleres Literatura Podcasts Ferias Cine Audiovisual Transmisiones En Vivo Contenidos
Semana del 4 al 7 de marzo de 2021 música infancias visuales artes performáticas talleres literatura podcasts ferias cine audiovisual transmisiones en vivo Contenidos página 04 / Música Autoras Argentinas Porque sí Homenaje a Claudia Montero Música académica en el Salón de Honor Himno Nacional Argentino Nuestrans Canciones: Brotecitos Mujer contra mujer. 30 años después Un mapa 5 Agite musical Infancias 30/ Mujeres y niñas mueven e inventan el mundo Un mapita 35/ Visuales Cuando cambia el mundo. Preguntas sobre arte y feminismos Premio Adquisición Artes Visuales 8M Performáticas 39/ Agite: Performance literaria Presentaciones de libros Archivo vivo: mujeres x mujeres Malambo Bloque Las Ñustas Vengan de a unx Talleres 50/ Nosotres nos movemos bajo la Cruz del Sur Aproximación a la obra de Juana Bignozzi Poesía cuir en tembladeral 54/ Ferias Feria del Libro Feminista Nosotras, artesanas Audiovisual 59/ Cine / Contar Bitácoras Preestrenos Conversatorios Transmisiones en vivo Pensamiento 66/ Conversatorios Podcasts: Alerta que camina Podcasts: Copla Viva 71/ Biografías nosotras movemos el mundo Segunda edición 8M 2021 Mover el mundo, hacerlo andar, detenerlo y darlo vuelta para modifcar el rumbo. Mover el mundo para que se despierte de esta larga pesadilla en la que algunos cuerpos son posesión de otros, algunas vidas valen menos, algunas vidas cuestan más. Hoy, mujeres y diversidades se encuentran en el centro de las luchas sociales, son las más activas, las más fuertes y también las más afectadas por la desposesión, por el maltrato al medioambiente, por la inercia de una sociedad construida a sus espaldas pero también sobre sus hombros. Nosotras movemos al mundo con trabajos no reconocidos, con nuestro tiempo, con el legado invisible de las tareas de cuidado. -
Live Music Audiences Johannesburg (Gauteng) South Africa
Live Music Audiences Johannesburg (Gauteng) South Africa 1 Live Music and Audience Development The role and practice of arts marketing has evolved over the last decade from being regarded as subsidiary to a vital function of any arts and cultural organisation. Many organisations have now placed the audience at the heart of their operation, becoming artistically-led, but audience-focused. Artistically-led, audience-focused organisations segment their audiences into target groups by their needs, motivations and attitudes, rather than purely their physical and demographic attributes. Finally, they adapt the audience experience and marketing approach for each target groupi. Within the arts marketing profession and wider arts and culture sector, a new Anglo-American led field has emerged, called audience development. While the definition of audience development may differ among academics, it’s essentially about: understanding your audiences through research; becoming more audience-focused (or customer-centred); and seeking new audiences through short and long-term strategies. This report investigates what importance South Africa places on arts marketing and audiences as well as their current understanding of, and appetite for, audience development. It also acts as a roadmap, signposting you to how the different aspects of the research can be used by arts and cultural organisations to understand and grow their audiences. While audience development is the central focus of this study, it has been located within the live music scene in Johannesburg and wider Gauteng. Emphasis is also placed on young audiences as they represent a large existing, and important potential, audience for the live music and wider arts sector. -
Islamic State and Afghan Conundrum: Impact on Political Landscape of Afghanistan
European Journal of Humanities and Educational Advancements (EJHEA) Available Online at: https://www.scholarzest.com Vol. 2 No. 1, January 2021, ISSN: 2660-5589 ISLAMIC STATE AND AFGHAN CONUNDRUM: IMPACT ON POLITICAL LANDSCAPE OF AFGHANISTAN Fayaz Ahmad Chopan* *Research Scholar (Department of political science, Jiwaji University, M.P) Gwalior (India) Niyaz Ahmad Ganie** **Research Scholar (Department of Political Science, University of Kashmir) Srinagar (J&k) email- [email protected]/ 7780848108 Article history: Abstract: Received: December 27th 2020 The Islamic State is a complex global terrorist organization and its ultimate goal Accepted: January 11th 2021 is to establish Caliphate through length and breadth. Following its emergence in Published: January 24th 2021 West Asia, where it established the caliphate for some period before getting defeated, it started to increase its sphere of influence in other regional countries as well including Afghanistan where its ultimate goal is to centralize its supremacy in Khorasan i.e. the heart of Afghanistan under its IS-KP (Islamic State -Khorasan Province) project. Islamic State‟s increasing presence could prove catastrophic for the whole region especially Afghanistan, because it will make Afghan „end-game‟ and more specifically Afghanistan‟s peace process more complex as there are already multiple actors competing for dominance in Afghanistan. In the backdrop of all these events, the proposed study will examine and analyse the impact of presence of ISIS on the precarious Afghan security situation and peace process in Afghanistan, especially when US forces are leaving by May 2020 leaving the war-torn country to fend for itself. Keywords:Islamic State of Iraq and Levant (ISIL), Islamic State Khorasan province (IS-KP), Afghanistan, Afghan endgame, Peace and Security, Taliban. -
Study Guide Zimbabwe
Study Guide World Music in the Schools • Living Room Learning: World Music & Dance Zimbabwe: Music & Storytelling Teaching Artist: Garit Imhoff • Garit's Artist Profile Video link: https://video.link/w/9umkb Teaching Artist Garit Imhoff will introduce students to Zimbabwean music and culture. He performs with Zimbeat, a San Diego-based ensemble that performs the dynamic village music of Zimbabwe, Africa. The music is based on the Shona peoples’ traditional instrument, the mbira dzavadzimu, an instrument consisting of 22 to 28 metal keys mounted on a hardwood soundboard, also known as the karimba. In this interactive assembly students will have the opportunity to learn vocabulary in the Shona language and participate in call and response singing and storytelling. Learning Objectives: Students will . ● Recognize interlocking melodies from traditional karimba songs ● Understand and perform call and response singing ● Tell the story of Anansi the spider ● Explain the role of music and dance in Zimbabwean culture Alignment with California Arts Standards for Public Schools: ● Music: .MU:Cn11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Preliminary Activities Geography: ● Show students a map of Zimbabwe: ○ Identify urban centers (Harare and Bulawayo) and rural village areas (Bopoma Villages) on the map ● Pronounce “Shona,” the word for the people and language of Zimbabwe ● Pronounce “karimba,” the name of the instrument in this assembly ● Zimbabwe is home to the Great Zimbabwe monument (a ruin that was once the capital city of the Kingdom of Zimbabwe that dates from the 12th century), Victoria Falls (considered the largest waterfall in the world because of its combined height and length), famous game preserves (Tshabalala Game Sanctuary) and parks (Hwange National Park), all major tourist destinations. -
Niyaz Featuring Azam Ali Niyaz Featuring Azam
FOR IMMEDIATE RELEASE: April 2929,, 2015 Media Contacts: Laura B. Cohen, LC Media PR, (310) 867867----3897,3897, [email protected] Mia Cariño, (310) 440440----4544454445444544,, [email protected] Skirball Cultural Center presents NIYAZ FEATURING AZAM ALI Iranian duo performs their unique brand of spiritual “folktroni“folktronica”ca” ThursdayThursday,,,, May 2828,, 2012015,5, 888:8:::00000000 p.m. EarlyEarly----bbbbirdird pppricingpricing through May 1313:::: $$$30$30 General | $25 Skirball Members | $20 FullFullFull-Full ---TimeTime Students FREE parking Tickets available on site, online at skirball.org ,,, ororor by phone at (877) SCCSCC----4TIX4TIX4TIX4TIX “An evolutionary force in contemporary Middle Eastern music.” —Huffington Post LOS ANGELES, CA—The Skirball Cultural Center presents a live performance by the mesmerizing Iranian duo NiyazNiyaz, featuring vocalist Azam Ali and multi-instrumentalist Loga Ramin Torkian. Described by the San Francisco Chronicle as “mystical music with a modern edge,” Niyaz—which means “yearning” in both Farsi and Urdu—blend medieval Sufi poetry and folk songs from their native Iran with acoustic instrumentation and modern electronic rhythms. The result is a distinctively twenty-first-century global trance sound that crosses not only stylistic and cultural boundaries but generational ones as well. The music is enhanced by Ali’s rich, plaintive vocals and by conscientious, spiritual lyrics that explore the plight of immigrants and minority ethnic and religious groups. Niyaz—who from the beginning have strived to create social and political awareness through their work—use the beauty of their music and the artistry of their lyrics to speak out against injustice and oppression. Created in 2004, Niyaz released a self-titled debut album in 2005, introducing their groundbreaking fusion of traditional Persian music with elements of electronica and trance.