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Polyphony A significant, though not the only aspect of Corsican traditional music is polyphony many voices: It is closely associated with the island’s identity and its rebirth coincided with the resurgence riaquistu of national political ambition in the seventies. Thirty years on polyphony is widely celebrated as the country’s cultural expression – more than any other art form. Dorothy Carrington , doyenne of living Corsican chroniclers described singers of polyphony, who ” Fathers and sons and brothers and cousins stand or crouch in close formation, body to body, ear to ear, linked in the communion of singing with each other, with their race and with the hosts of their ancestors. Song from the beginning of the world,” she said after hearing singing one Christmas eve in a chapel in the Fiumorbu. The origins of Corsican polyphony are much disputed and since until recently they have been undocumented, no clear evidence exists of its source. Though I’m no musician, I sense it as inheriting a bit of everything Mediterranean from the north, south, east and west. Friends often ask about the Arab influence. Traditional Corsican polyphony, following its revival in the s, is now a central part of the expression of Corsican culture.

Introduction

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22nd Anniversary Update! January 21, 2018

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In July of my good friends Bill and Belenna Lauto directed me to the website of digital artist Dean Packwood in Taupo, New Zealand and shared his beautiful, photorealistic rendition of Mary, Mother of Jesus with me.

This has changed over the past few decades because of the dramatic advances in digital imaging technologies and computer power. One of the best examples of this was the computer artistry of Ray Downing, whose digital re-creation of Jesus based on the Shroud was documented in “The Real Face of Jesus” program that appeared on the History Channel. In the past few years, digital artists around the world have been able to render their own interpretations of how Jesus may have appeared based on the Shroud and these show up from time to time on the internet.

However, throughout all those years, not one artist has attempted to create an interpretation of what Mary, Mother of Jesus looked like based on the Shroud image. Until now, that is. In July of my good friends Bill and Belenna Lauto directed me to the website of digital artist Dean Packwood in Taupo, New Zealand and shared his beautiful, photorealistic rendition of Mary, Mother of Jesus with me.

Dean chose the Shroud of Turin image as the structural basis for his truly beautiful, completely digital artwork and I wanted to share it with you. So I sent Dean a request for permission to include his painting here on our website and he graciously agreed to share it with us. What is most exciting to watch is the time-lapse video 3: Posted January 21, 1, , Visits in !

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This oddity of locution — black people calling their magical practice hoodoo and white people calling it Voodoo, as if by doing so they could convince black folks that rootwork is a West African or Haitian religion — is clearly noted in Zora Neale Hurston’s important book on the subject, “Mules and Men,” published in Hurston was an African American folklorist with a fine ear for dialect who also wrote a book on Haitian Voodoo “Tell My Horse” , so she spoke with authority when she referred to her subject as “Hoodoo, or Voodoo, as it is pronounced by the whites.

Now, it could be argued that Hurston was from Florida and that she preferred the word hoodoo to Voodoo, even though the latter was the more common term in New Orleans — but such an idea can definitely be countered by referring to an interview that Ferdinand “Jelly Roll” Morton, an African American Creole native of New Orleans and a famous jazz musician in his own right gave to the folklorist and musicologist Alan Lomax of the Library of Congress in Morton, who was quite conscious of the recording of the interview and its historical importance, went out of his way to explain many local idioms and turns of speech to Lomax, who was a white man basically ignorant of such matters.

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Berlioz Bicentenary Special a collection of invited articles Table of contents An invitation extended to all of you We would like to invite you to contact us and tell us about events, news, publications, concerts or any other information related to Hector Berlioz in your community, so that we can circulate them among Berlioz admirers around the world via this site. May we take this opportunity to thank our visitors who have emailed us their contributions, comments, and feedback.

They have all been thanked individually on the site as well via their email address. Table of contents Who we are and how to contact us This personal site is the result of a private initiative by the husband and wife team of Michel Austin and Monir Tayeb.

The village site of Vescavato has a nice little section on their Confraternity the Brotherhood of Sacred Cross.

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HOODOO, CONJURE, and ROOTWORK

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These names have led many Caucasians trained in European herb-magic to think that hoodoo is “fake magic,” but when the formulae themselves are examined, one will find remarkable similarities between, for example, neo-pagan “Oil of Venus” and hoodoo “Love Me Oil.

The Dream of Rhonabwy c. They were not original compositions, drawing as they did on pre-existing traditional material, whether from oral or written sources. But these traditions were reworked, often to reflect contemporary concerns. We might read the Mabinogion as both an interpretation of a mythological past and a commentary on the medieval present. The two and half centuries during which the Mabinogion texts were being composed represent a threshold of critical transition in Welsh history and literature.

Here, in this little-known corner of the European Middle Ages, we find the thought-worlds of oral antiquity and literate proto-modernity face-to-face in curious proximity. The transition between the two can be traced as a literary process – which we can observe unfolding on the very pages of the Mabinogion. By the end of the twelfth century, Middle Welsh narrative prose was in its second or third generation, and along with poetical and triadic material formed part of an expanding, self-referencing literary tradition.

Vernacular literary self-confidence, as well as foreign influence, accounts for the gilded splendour of thirteenth-century works such as the Three Romances and the Dream of Macsen Wledig. The conclusion of this tradition is marked by the Dream of Rhonabwy, where literary self-consciousness has come full-circle and finally turned in on itself — anticipating the sloughing of the medieval spirit that took place throughout Europe in the following centuries.

Far from being ‘a ruin of antiquity’ — as Matthew Arnold misunderstood the Mabinogion i — these texts are better understood as constituent parts of a complex and ongoing literary conversation. Within this unfolding tradition, each name, motif and reiterated incident would have formed part of a cumulative constellation of meaning. To understand this intertextual culture, we need to taken in something of the broader historical development of Medieval Welsh literary prose: This introduction will consider a number of themes bearing on the early development of Medieval Welsh literature.

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