#MIFF 2015

[greenbirdtrash]

Miff Moof scene, 2015 vs 2021:

Yeah... there's DEFINITELY a different approach💅

You should see the 2021's thneed 2.0 scene, Westman really pushes it over the edge with sussy moves, and i think this scene is not an exception-

[durgalmaple]

okay there's a something i want to talk about.

you ever read or watch something and end up really liking it? so you go online to look for more stuff relating to it? but it turns out that everyone else who watched it likes it in a completely different way than you?

that's me and Monster Musume: Everyday Life with Monster Girls

tl:dr: i like Monster Musume in a way that practically no one else likes because of the nature of the series.

(note: there's a couple descriptions of some ecchi stuff and some kind of yucky stuff, so if you don't want to see that, be warned)

Monster Musume (further shortened down to MonMusu) is an ecchi harem anime/manga about a guy who becomes the host of a bunch of monster girls who all love him. it got an anime adaptation in 2015 which covered the first twenty six chapters, and there are 82 chapters in total, with an 83rd chapter coming soonish.

being an ecchi, the main focus tends to be something along the lines of "what sexy situations can we put this guy in?" and "how can we get a bunch of boobs on screen?"

i went into this series knowing this, and with one goal in mind. i wanted to know if this series was actually good.

the answer: no, but it gets close to being kind of good

the series is positively absurd. the main character has only been refereed to by his actual name once, two kaiju battles have happened, the most recent chapter was about the main character playing yugioh against a mummy so that the company that's puppeteering him could get the rights to yugioh! it's genuinely fucking funny! however, i think it's ecchi nature bogs it down significantly.

in chapter 29, Centorea (who is a centaur)(creative name i know) and her mother (who goes unnamed)(probably named Horsea or something) have a jousting match. they're fighting for their ideals, which sums up to a battle between tradition and progression. at the beginning of the chapter, it was shown that while Centorea is a very skilled jouster, she's not perfect. she hits off the mark, and this bothers her. however, MC has something that he's sure will help. he give it to Centorea and it's a very big bra. I should mention, Centorea has really really big boobs. see, her big boobongos bounce when she runs, which throws off her stance making her miss the mark. i think this is a funny joke. anywho, Centorea and her mom joust a little bit more and in the final round, they give it their all and once the dust settles, because the author hasn't met the Boob QuotaTM, their boobaroobas are out. this really deflates a bunch of the tension from the chapter, and miffs up the ending. i mean it's still alright, but it's just that one bit that brings it down.

this is something that plagues a great deal of the series. there'll be a good chapter and then it gets messed up by the Boob QuotaTM.

the chapter which i think gets hit by this the most is chapter 32. in which MC, Miia (who is a lamia), and Rachnera (who is an arachne) help a shrine maiden (who's also a Nine Tailed Fox) put on a play and it's really nice and cute, and then Okayado (who is the author) fills the Boob QuotaTM. this, along with the next chapter, broke me.

the series has other problems however. it hasn't touched the harem aspect of it in years, characters stagnate, and then there's literally just Suu.

Suu is a slime girl. she's one of my favorite characters. i think her characterization is really fun and interesting most of the time. however, this is Suu

can you see the problem?

(note: Suu has two forms. small Suu and big Suu. pictured above is small Suu, i don't want to picture big Suu. i've kind of just accepted that small Suu and big Suu are two completely different characters which i can attribute different actions to)

i think that anywhere else, Suu would be an amazing character. however, because Suu is in Monster Musume: Everyday Life with Monster Girls, her existence is just really uncomfortable.

i can at least find solace in the just sort of ignoring the parts i don't like about Suu, or even making an actually interesting character trait out of it.

however, i'm not the only person in the world that likes MonMusu.

Monster Musume is an ecchi series for people who like ecchi, so a lot of the fandom for it is ecchi stuff. i like these characters as characters, whereas a lot of the fandom like these characters as something hot to look at, which makes it hard for me to find things i like because everyone else is just posting boobs.

while yes, i like boobs, this is not the place i want to look for boobs.

and that's it. send post.

(this was made because i recently found out that they had announced a second MonMusu game)

[presidentyukisohma]

I have an opinion, and I’m not sure how it will be received, but here goes:

I’ve been seeing a trend recently with the new Fruits Basket anime that really doesn’t sit well with me. Specifically, I’ve noticed that some non-Japanese fans (specifically North American) are trying to take credit for the reboot, claiming that it is foreign interest (and the popularity of the 2001 series) that fueled the Japanese decision to create a new series. 

I don’t believe that for a second. Regardless of how popular the 2001 series was with non-Japanese fans, it is not the 2001 anime that inspired this new series. Repeatedly in Japanese interviews with the 2019 staff and cast, they credit the manga as a  “masterpiece”, which has “endured” in popularity with Japanese fans. Nowhere do the staff credit or mention any popularity of the 2001 anime. Instead, they make sure to clarify that this new series is not connected to the 2001 anime at all, and is its own entity inspired by the manga.

The Fruits Basket 2019 PR staff are obviously putting great effort into marketing to foreign fans, including English on some of their Instagram posts, for example, and appear to be very mindful that Fruits Basket (both the manga and 2001 series) was and is popular in the foreign market. But it is not the foreign market that brought this reboot to life; it is the Japanese market which has been recently rejuvenated by the release of special edition volumes of the manga, and a spin-off sequel manga. 

The only reason Yen Press could re-release the Fruits Basket manga is because the special editions were released for the Japanese market, creating a new licensing opportunity for the best-selling shojo manga in North America. The only reason Funimation can license a new Fruits Basket anime is because Japanese companies created a new series for the Japanese market with plans for additional revenue through foreign licensing. 

One of the things which miffs me the most is the thousand cranes project, hosted in 2005 by Funimation. Not the project itself, which I highly doubt had any real sway in the decision to reboot the series, but the video they released implying its involvement in the eventual production of a new anime. On the English Wikipedia page for Fruits Basket, there is a section which now claims that at the end of the cranes project there was “a 13 year gap which culminated” in the announcement of a new series. 1000 cranes from North American anime conventions would not heavily influence Hakusensha enough to begin working on a new and very expensive series. And while I recognize that Wikipedia is publicly edited, it still reflects on current ideas and informs future ones.  

The release and popularity of special edition manga volumes (2015), and a spin off sequel manga (the first chapter released in 2016) however... If I were to make a guess, I’d say that has more to do with the decision to create a new Fruits Basket anime. The time between the anime announcement and release of the special editions and sequel manga makes much more sense to me. 

I admit that I’m not part of the anime industry and don’t have inside knowledge of these things, but I genuinely think it’s silly to think that Funimation’s crane project inspired a new series, and I certainly don’t think that Japanese companies worked together to create this series exclusively because the foreign market would be interested. 

Thank you to anyone who read to the end of this rambling post. I just think it’s important to recognize the creative efforts and goals of this new series. 

[movies-yahoo-tw-yahoopartne-blog]

亞馬遜買下全球版權《上岸的魚》獲邀大馬影展

橫掃十多個國際影展的台灣電影《上岸的魚》，雖然下月即將在台上映，國際影展邀約卻欲罷不能。該片上月才剛結束曼谷電影節，這月又再獲選「馬來西亞國際影展」（MIFF）觀摩影片，官方更指名邀請導演賴國安及男主角鄭人碩赴吉隆坡宣傳。但由於鄭人碩最近因為《角頭2》宣傳及新戲開拍，忙得兩頭燒、無法赴馬宣傳，導演賴國安明天將單槍匹馬上陣，並與李烈一同頒發該影展「金環獎」。有趣的是，鄭人碩一個多月來如火如荼、全力投入《角頭2》宣傳，人氣高漲到連去上個廁所都遭粉絲包圍，數度被堵在男廁裡動彈不得，外面則「阿慶、阿慶」尖叫聲不絕於耳。害他最後只得憋著尿宣傳，不敢去上廁所。他這部新片《上岸的魚》將於3月16日正式上映。

上岸的魚

已環遊全球四大洲十多個國際影展的電影《上岸的魚》，去年在多倫多舉國際首映讓人印象深刻，獲得極高的評價外，還當場賣出了北美版權，而在剛結束的柏林影展EFM市場展上更傳出捷報，美國亞馬遜(AMAZON)買下該片全球版權。《上岸的魚》最近再獲加國影評人高度評價，認為該片雖以「前世記憶」貫穿，卻更著重於「今生」的描述，不僅呈現台灣過去歷史的錯置，更透露出當今台灣人身分認同的迷惘。該片國際口碑如潮，不僅曼谷影展邀它放映，就連3月盛大舉行的第2屆馬來西亞國際影展，都邀它作為觀摩電影，更邀請導演賴國安及男主角鄭人碩出席影展「金環獎」的頒獎典禮。賴國安並將與李烈一同頒獎。

上岸的魚

憋尿宣傳《角頭2》鄭人碩《上岸的魚》尋找前世記憶 小圖2這部剛獲邀馬來西亞國際影展特別放映的電影《上岸的魚》，劇情描述男主角浩騰(鄭人碩 飾)的5歲兒子怡安，突然要他帶他去找「以前的爸媽」，才驚覺兒子其實擁有「前世記憶」，當他循著線索找到一處叫「Toyama」的地方，才發現更多不可思議的巧合…。電影透過尋找「前世記憶」的故事，點出了台灣與日本難以分割的情感關係，更側寫了台灣2015年推動「老人長照」面臨的困境。片中的「Toyama」似乎就是現今台東杉原的古地名「富山」，使這趟尋找「前世記憶」的旅行，宛若一場穿越70年的輪迴之旅。

上岸的魚

《上岸的魚》迄今已獲選加拿大多倫多、溫哥華、西班牙聖賽巴提昂、德國漢堡及巴西聖保羅等十多個國際影展，成為年度最重要的台灣電影之一。這次獲選馬來西亞國際影展，男主角鄭人碩更在官方力邀名單之列，不時來電「喬」檔期，希望他能遠赴吉隆坡宣傳。由於鄭人碩最近分身乏術，除忙於宣傳《角頭2》，新戲又剛開鏡，只好跟大馬觀眾說抱歉。鄭人碩最近在《角頭2》演出「阿慶」角色爆紅，該片全台票房即將破億，演出亮眼的鄭人碩也人氣直飆，不僅粉絲專頁天天擠爆留言，連他宣傳電影時，熱情粉絲甚至堵住男廁、不讓他離開，逼著他最後只好憋尿宣傳，不敢在戲院上廁所。而他這部遊遍國際影展的新片《上岸的魚》，將於3月16日在台上映。

※不加入Y!電影粉絲團，你就悶了！

[parkerbombshell]

Generating Steam Heat 224

Monday's Bombshell (Bombshell Radio)Generating Steam HeatBombshell Radio 4pm EST 9pm BST 1pm PDT bombshellradio.com#GeneratingSteamHeat#Postpunk #punk #newmusic #60sClassics #Ska #60sGarage #StitcherRadio #Itunes #BombshellRadio Cuir-La Femme (From the self released digital single ‘Single, Single’ 2019) Teenage Hearts-Stupid Life (From the self titled Primator Crew Records EP 2019) The Proletariat-Incarceration Incentive (From the Boss Tuneage Records album ‘Move’ 2019) The Interrupters-Bad Guy (Hellcat Records digital single 2019) Joy Division-The Eternal (From the Factory Records album ‘Closer’ 1980) X-Ray Spex-The Day The World Turned Day-Glo (EMI Records 7’’ 1978) French Vanilla-Move Along, Move Ahead (From the Danger Collective Records album ‘How Am I Not Myself?’ 2019) Fresh-Punisher (From the Specialist Subject Records album ‘Withdraw’ 2019) Muncie Girls-High (From the Specialist Subject Records album ‘Fixed Ideals’ 2018) The Lambrettas-Runaround (From the Rocket Records album ‘Beat Boys In The Jet Age’ 1980)  Lusine feat Jenn Champion-Not Alone (Ghostly international digital single 2019) Dinosaur-Repulsion (From the self titled Homestead Records album 1985) Deep Wound-I Saw It (From the self titled Radiobeat Records EP 1983) Sebadoh-Gimme Indie Rock (Homestead Records 7’’ 1991) Peaness-Ugly Veg (From the Alcopop! Records album ‘Are You Sure?’ 2017) The Defects-Survival (WXYZ Records 7’’ 1982) Bob ‘Miff’ Smith-No Room For You (Live 2015) Read the full article

[brisbanecollection-blog]

Adam Goodes doco The Australian Dream to open Melbourne Film Festival

Loading He also revisits the incident that some believe sparked the campaign against him, when he called out a 13-year-old female Collingwood fan who labelled him an "ape" during the 2013 Indigenous round. But what ultimately persuaded Goodes to speak was the fact the filmmakers wanted to do far more than merely replay the incidents leading up to his decision to quietly retire at the end of the 2015 season. It was, says Grant, that they wanted to place that story within the wider context of an examination of Australia's national identity, including the uncomfortable truths that underlie the assertion that "Australians all" are equally free.

Adam Goodes visits his ancestral lands in the documentary The Australian Dream. Credit:Madman "I think the whole Indigenous question in Australia goes to the heart of what it means to call yourself a nation," says Grant, whose writing on the subject provides the intellectual spine of the film. "And I don't think that journey is ever finished." And for all the footage of Goodes at his best on the footy field, that is what takes it well beyond the scope of a typical sports documentary. "It's an accomplished piece of documentary filmmaking that tackles broader questions of who we are as a nation, together, in deeply affecting terms," says MIFF artistic director Al Cossar. "It's a film for all Australians, and a film for now." Also among the first films announced for the festival is Sydney filmmaker Abe Forsythe's follow-up to Down Under. Starring Oscar winner Lupita Nyong'o(12 Years a Slave, Us) as a zombie-killing, ukulele-strumming kindergarten teacher, the zom-com Little Monsters will make its Australian debut at the newly-restored Capitol Theatre on Swanston Street, following its world premiere to strong reviews at Sundance in January.

Stan Grant.Credit:Madman Making its world premiere is the new film from Strangerland's Kim Farrant, Angel of Mine. Starring Swedish actress Noomi Rapace (The Girl with the Dragon Tattoo) and written by Luke Davies (Catch-22, Lion), the film is a remake of the 2008 French movie L'Empreinte de l'ange (Mark of an Angel), about a woman who believes a young girl she meets at a birthday party is her own daughter, who has been missing for years. Richard Roxburgh, Yvonne Strahovski and Luke Evans also star. Roxburgh will also be seen in H Is for Happiness, the WA-shot adaptation of acclaimed YA novel My Life as an Alphabet. The film will have its world premiere at the Family Gala at the Astor on August 11. Harry Potter's Miriam Margolyes heads the cast, alongside Emma Booth and Deborah Mailman. Hardcore festival goers will have an endurance test worthy of their commitment in the form of the 14-hour La Flor, a six-part multi-genre metamovie from Argentinian writer-director Mariano Llinas. Starring four actresses who appear in each of the mini-movies within, it will screen across three one-off sessions.

Lupita Nyong'o stars in in Abe Forsythe's zom-com Little Monsters. Fans of virtual reality will also be catered to with a new home for the form at Arts House in NorthMelbourne, and a program that will be headlined by The Waiting Room, a collaboration between Molly Reynolds, Rolf de Heer and Mark Eland. On the documentary front, Chinese-born, Berlin-based artist and activist Ai Weiwei continues to focus on the global refugee crisis in The Rest, the follow-up to his 2017 film Human Flow, while Charles Ferguson (director of the Oscar-winning Inside Job) turns his gaze on America's most famous political scandal in Watergate Or: How We Learned to Stop an Out of Control President. Musician PJ Harvey, meanwhile, teams up with Irish photojournalist Seamus Murphy for A Dog Called Money, an exploration of war-ravaged Kosovo and Afghanistan and the poverty-wracked parts of Washington, D.C. Full details of the first glance program can be found at miff.com.au. The full program will be announced on July 9. The Melbourne International Film Festival runs August 1-18. Karl is a senior entertainment writer at The Age and The Sydney Morning Herald. Most Viewed in Entertainment Loading https://www.brisbanetimes.com.au/entertainment/movies/adam-goodes-doco-the-australian-dream-to-open-melbourne-film-festival-20190529-p51sgh.html?ref=rss&utm_medium=rss&utm_source=rss_feed

[sequexofficial]

The Gatekeeper (2018)

SAIFF 2014 (New York), IDSFFK 2015 (Bharat), MIFF 2016 (Bharat)

14 Minutes

U

Synopsis

The Gatekeeper (2018)won the Best Short Fiction Award at International Documentary and Short Film Festival Kerala, (IDSFFK)’ 2015. “The Gatekeeper” was also a part of National Prism in Mumbai International Film Festival (MIFF)’ 2016 and was also a part of South Asian International Film Festival (SAIFF), New…

[familyvisionis2020]

Day 5 - Huntsville

Jeremy’s up the earliest and sends a text to us that he’s getting breakfast with Noah at a place called the Grit. Rather than opt to join I just post up on the porch with Trey and indulge in a long long blog post.The weather is cooler and grayer, joggers and dog-walkers and kids on bikes roll down the streets, slow syrupy sunday morning, humidity and gristle, butter pats wouldn’t melt if you left them out on your plate but they wouldn’t be too taut to sink your teeth into. I feel a fundamental sense of repair from typing, reviving a column of spirit I’d quietly suffocated, knock loose a clot of rust in my clockwork and the machinery is humming along again. Now that I have the link to the blog to share to people I feel like I’m gingerly handing the missing puzzle piece to my patrons and well-wishers and companions, indulging a curiosity and rounding something out to myself that might prove the regard and sensitivity my quietness can bely, might be a kindness or a service to people who find me austere or impenetrable or bristly. I was staring at a picture of a cactus and identifying with it the other day, tall, two arms, tiny head, spiky, full of water, not so bad if you’re careful with them, just like me. 

Later tonight I will watch Tired Frontier play the last set of their tiny tour with us and what will end up being our last show of the tour as well. Watching the face of the guys I see things so so different then when I saw them for the first time, when they were complete strangers, tourmates but sight unseen. What I saw in their faces the first time I saw them play: Royal is tall and broad-shouldered and country and active and maybe a little sloppy and expanive and reminds me a ton of my friend Mike, so I have love for him off the bat, also his weird tuning and rococo pedal board setup and heedless mustache and you know, wife, set off little clockworks of insecurity in me and my mind props up baseless criticisms of him sourced solely from my ignorance of him. After three shows we are not friends but I know him much better, have seen him from more angles, have a better sense of him, he loves doing bits and laughs high and loud and chills endlessly, in this way he matches the tone and cadence of Kabir magnificently. Paul is beautiful and has a face like a svelter Jim Carrey and kneads the keyboard effortlessly, digital dough, his fingers are narrow and elegant and move only enough to play the next keys, the same sort of parsimony of motion I used to see from chefs with expert knife skills. I envy his bouny raven thick-sable hair. Trey looks plainly joyful when he plays drums. He extends his crash cymbal hardware to the maximum length so his crash is preposterously high up. I can’t discern a reason other than it’s kind of fun or different. He’s enthusiastic about my writing, I get to share him some other work I’ve done, he says he loves it, I swell with gratitude and we exchange emails.

The morning in Athens goes more or less like the morning before: me and Kabir and John and Paul all go get breakfast at Donderos’ again, drink tea and coffee, pack up our stuff. We take some group photos with both bands outside on the porch with the orbs and they’re cute and silly. Kabir flipped a coin to decide whether me or John drives the next stretch, it’s me, I’m a little apprehensive because I haven’t driven a 15-passenger van in awhile, but once I’m in it’s like riding a bike, I have muscle memory of driving big vehicles from U-Haul trips and, before that, the box truck I drove to transport food donations to the pantry of the Servant Center in Greensboro. I’m a good driver, I check my mirrors, I put on a halloween mix I made in 2015 and I am feeling myself, focused, caffienated, surrounded by friends, there’s some clouds in the sky and drizzles but it’s not bad and we’re making good time. The boys just listen along with me to the DJ mix for awhile then start up a new crossword puzzle and we all 4 do it collaboratively, one person describing the clue, letters, cross-clues, and we brainstorm for answers, between the four of us we’re really good at this, and we’re all laughing and in great spirits as we methodically complete the puzzle. We stop in Marietta Georgia at one point to use the bathroom, we stop at a KFC with a 20-foot mechanized/animatronic chicken head whose eyes roll back in its head and whose giant beak opens and closes in regular time like a campy pendulum. I buy a postcard and a souveneir cup from here because I think my Mom has family from Marietta Georgia but when we’re back in the car I can’t remember if it’s Marietta Georgia or Marietta Ohio, but I figure it will be well-received either way. We get back on the road and now we’re off the highway and onto some more remote state routes and we pass into Alabama and the rain lets up but its still overcast so the light is gentle and diffuse, the hills are rolling, we pass a colony of tiny homes, weird, livestock, bulls with giant horns that when I see them I just say ‘aurochs’ absent mindedly, livestock and cotton fields and when we see police someone will just say ‘ops’ and the whole drive everyone is just in a good mood, making jokes, kind and breezy. I marvel at how these boys do not seem to carry the same sort of darkness I feel I do, or maybe they just don’t wear it on their sleeves, or maybe none of them are neurodivergent or addicted or traumatized, or maybe they are but hide it well, or have coped and healed…something I’m used to is being around people who require a space to talk about extremely serious and heavy and heartbraking things. Maybe it’s a vestige of a lifestyle I’ve left behind. In all the time I’ve spent with Kabir and Jeremy and John and David (our NC bassist who plays home shows when Jeremy is in NY), I’ve never seen anyone come close to losing their temper, yelling, crying, crumbling, whatever. I marvel at the putative stability of my friends. I like having stable friends, I like having a stable life, it’s not how my life has always been. There is a level of tranquility and calm that washes over me while I’m driving through rural Alabama with my stable friends in a well-maintained van in my healthy body wrapped around a heart that is not broken and a mind that feels as clear and capable as it has ever been. Grace is unearned, I’m told.

We make it to Huntsville on time, the venue is called the Salty Nut, kind of a spacious and tidy bar with a kind bartender my height but with a double thick country accent and the show booker is slight and soft spoken and exceedingly kind, he receives us and then points us in the direction of a nearby restaurant called Banditos Burritos. The restaurant is festooned with vaguely southwestern or hispanic decorations and also random camp like a dirty 1990s Bart Simpson doll, a ruined acoustic guitar, a King Khan poster, a garden gnome on an old-fashioned scale with the sliding thing, a skateboard without trucks painted with a sleeping cactus person wearing a sombrero, etc. The people there are so so nice and when we say we are playing the Salty Nut tonight the guy behind the counter explains that menu items with steak and all beers will cost, but otherwise we can order whatever we want for free. We get burritos, nachos, beans, rice, salsa, hot sauce, ice water in a paper cup. We feast, scarf down, all hungrier than we realized, it’s essentially a non-franchise Taco Bell by my appraisal, which is absolutely perfect as far as I’m concerned, the beans and rice feel good and substantial. Tired Frontier shows up a little after us, gets the same stuff basically, we eat and laugh and finish and go back to the venue and wait around for awhile, I join Jeremy and Royal outside skateboarding and act crazy and try to film them doing tricks but my phone dies and and eventually they stop and we go inside and set up and play. The show goes fine, TF sounds as good as they have so far. They’re playing to a crowd of the other two bands and maybe 8 people in the bar sitting at a table eating food they brought over for Banditos Burritos. The show is fine, unremarkable. When we play, I do the usual routine of trying to play my hardest and with my whole body, and end up dropping sticks more than once and missing some snare hits and not being able to keep up on the driving floor tom parts, mostly because I’m not warmed up and maybe not focusing enough, I’m letting myself get a little carried away trying to play hard and fast rather than keep things tight, I worry this may miff the other guys but after the show there is no indication that anyone even noticed it or cared. There was a cool part where I dropped a stick but instead of it falling to the floor it bounced around on top of the snare and tom and I managed to snatch it out of mid air and keep playing and Jeremy noticed that and that made me feel cool. We played hard and to my ear we got good claps between songs, we are pretty live and high energy and I think even if people don’t like our sound they appreciate the energy, but also some of the songs are earworms and catchy and people like that too, I’ve heard. We finish, the other drummer from the other band, Golden Flakes, says great set man, we perch at the merch table but sell nothng. We listen to Golden Flakes play for close to an hour, very jam band vibe, many many guitar solos, kind of sloppy, sort of high energy rock and roll I guess, I by this time am tired and pretty disinterested, get on my phone for most of it. Toward the end of their sets someone who I assume is a townie is drunk and heckling them between songs in a way that they are clearly fine with and they know the guy and to me for some reason he looks the way I imagine the way the protagonist John from Shit Town the podcast would look. We are in Alabama after all. He sounds like John (not from our band, from the podcast). He’s annoying and I’m being judgy in my head about him when I should maybe feel sorry or indifferent, idk. It feels sad to me, I don’t feel like writing more about it. It’s awkward enough, the heckling and banter from Golden Flakes, that by the end of the set we all kind of joke-rush out of there, quietly agreeing that what’s happening is awkward and unpleasant and we should go. We get put up in Thomas’s apartment, and on on the ride home the guys talk about how Huntsville’s claim to fame is being the place where the Nazi engineers taken during Operation Paperclip were taken after WW2, whose skills were put to use developing rockets, and that all manner of testing has taken place in and around the nearby military base, the Redstone Arsenal. Kabir tells a story about how a nuclear warhead was dropped on NC and by freak chance did not detonate. It would have wiped out the population of the entire Southeast. I didn’t believe it but you can read about it here:

https://en.wikipedia.org/wiki/1961_Goldsboro_B-52_crash?wprov=sfti1

At the apartment I make a b-line for the couch, get my sleeping stuff out, eat an apple and a banana and a bunch of peanut butter out the jar and go to sleep. At the end of every day I feel so much more irritable and grumpy than I do at other times. I still really treasure a quiet space all to myself to sleep in and so this troubles that. But I just listen to a youtube video on European history, learn nothing, and have no dreams I remember.

[micaramel]

Artists: Yason Banal, Sky Hopinka, Cici Wu

Venue: 47 Canal, New York

Exhibition Title: MIFFED BLUE RETURN

Date: October 31 – December 20, 2019

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Video:

Yason Banal, For a long time the glitch remained motionless and in disbelief!_1, Double-Channel Video, 00:32

Yason Banal, For a long time the glitch remained motionless and in disbelief!_2, Double-Channel Video, 00:33

Images courtesy of the artists and 47 Canal, New York. Photos by Joerg Lohse. 

Press Release:

MIFFED BLUE RETURN is an exhibition of moving image installations by Yason Banal, Sky Hopinka, and Cici Wu, each of which addresses the unstable currents that link remembrance, place, and aftermath.

Filmed in Hong Kong and Minneapolis, Cici Wu’s Unfinished Return of Yu Man Hon stars Jonathan Chang—a child actor known for his role in the Taiwanese classic Yi Yi (dir. Edward Yang, 2000)—as a grown-up Yu Man Hon, an autistic boy who crossed the Hong Kong– Shenzhen border into mainland China on August 24, 2000. Occurring not long after the 1997 handover, Man Hon’s unsolved disappearance remains a vivid memory for many in Hong Kong, and has come to symbolize the vanishing of local culture.

Wu’s film subverts familiar interpretations of Man Hon, positioning him not as an avatar of death and loss, but instead as a celestial being. Wu’s camera, like a paper lantern, animistically trails the protagonist as he returns to the material world. Man Hon revisits places of sentiment and attachment, resurfacing lost memories of his own disappearance. In the process, the unfinished return of a city’s sovereignty is associated with the state of incomplete reconstitution that characterizes ghostliness.

Cloudless Blue Egress of Summer, by Sky Hopinka, likewise examines the porous connection between environment and memory in the afterlife of colonialism. Fort Marion, also known as Castillo de San Marcos, was built in 1672, and is located in St. Augustine, Florida. It was used as a prison during the Seminole Wars in the 1830s, and again towards the end of the Indian Wars in the late 1880s. Richard Henry Pratt, as the prison’s warden, developed protocols of forced acculturation that were spread, through boarding schools, across the United States, manifesting his belief “that all the Indian there is in the race should be dead. Kill the Indian in him, and save the man.”

Each section of the two-channel video recounts an aspect of Fort Marion’s history, from Seminole chieftain Coacoochee’s account of escaping, with nineteen other Seminole, from the fort, to ledger drawings made by prisoners given pen and paper in order to sketch recollections from the plains. The work traces the persistence of presence and memory despite the colonial paradigms of confinement and incarceration. In the ebb and flow of the ocean, which is overlooked by the fort, the artist develops a parallel, incomplete narrative thread, finding hope in what is innately unstable and effortlessly resolute.

Yason Banal’s jostling installation For a long time the glitch remained motionless…and in disbelief.. again! centers upon the Parthenon-inspired Manila Film Center, built to provide a venue for the first Manila International Film Festival (MIFF) in 1982, a soft power extravaganza organized at the height of Ferdinand and Imelda Marcos’ plunderous conjugal dictatorship in the Philippines. Scaffolding tragically collapsed during the brutalist design’s hurried construction, fatally trapping a number of workers under quick-drying cement. The constellation around the failed structure and its troubling history of pageantry and power as well as its patrons’ recent, dark, triumphant return is made manifest through video collage, drone painting, hyperlink research, sculpture and intermittent technology.

Yason Banal lives and works in Manila, Philippines. His practice traverses installation, photography, video, performance, text, curating, and pedagogy, employing critical and poetic strategies amidst intersections and frictions as well as mechanisms and mysteries among seemingly divergent systems. His works have been exhibited widely including the Tate, Frieze, Vargas Museum, Christie’s, Singapore Biennale, Shanghai Biennale, Asia Pacific Triennial and more recently at National Taiwan Museum of Fine Arts, Asia Film Archive and Venice Architecture Biennale. He obtained a BA in Film at the University of the Philippines, MA in Fine Art at Goldsmiths, University of London and art residencies at AIT Tokyo and CCA Singapore. He teaches at the University of the Philippines Film Institute and heads its Film Center.

Sky Hopinka (Ho-Chunk/Pechanga) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, and is currently based out of Vancouver B.C. and Milwaukee, WI. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture, and the play between the known and the unknowable. He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee and currently teaches at Simon Fraser University in Vancouver, British Columbia.

His work has played at various festivals including ImagineNATIVE Media + Arts Festival, Images, Wavelengths, Ann Arbor Film Festival, Sundance, Antimatter, Chicago Underground Film Festival, FLEXfest, and Projections. His work was a part of the 2016 Wisconsin Triennial and the 2017 Whitney Biennial. He was awarded jury prizes at the Onion City Film Festival, the More with Less Award at the 2016 Images Festival, the Tom Berman Award for Most Promising Filmmaker at the 54th Ann Arbor Film Festival, the New Cinema Award at the Berwick Film and Media Arts Festival and the Mary L. Nohl Fund Fellowship for Individual Artists in the Emerging artist category for 2018. He was a fellow at the Radcliffe Institute for Advanced Study at Harvard University in 2018-2019 and Sundance Art of Nonfiction Fellow for 2019.

Cici Wu (b.1989) lives and works in New York. She received her BA from The City University of Hong Kong, School of Creative Media. In 2013, she moved to the United States, where she earned an MFA in Sculpture from Maryland Institute College of Art in Baltimore. Wu has had solo exhibitions at Empty Gallery, Hong Kong (2019) ; 47 Canal, New York (2018), Bonnevalle, Noisy-le-Sec, France (2018); and has participated in group exhibitions at Interstate Projects, Brooklyn (2019), Para Site, Hong Kong (2018), and Triangle Art Association, Brooklyn (2017), among others. She also co-founded PRACTICE: a studio, residency, and exhibition space based in New York which has been operating since 2015.

Link: Yason Banal, Sky Hopinka, Cici Wu at 47 Canal 

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2R7H17h

[durfeehtbelloraco98insuranc-blog]

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[billgsoto]

RELEASE: Local FARMS Act Will Make Farm to Fork Investments in American Communities

FOR IMMEDIATE RELEASE

Contact: Reana Kovalcik National Sustainable Agriculture Coalition 202-547-5754, rkovalcik@sustainableagriculture.net

  Local FARMS Act Will Make Farm to Fork Investments in American Communities National Sustainable Agriculture Coalition Praises Bipartisan Effort

Washington, DC, October 4, 2017 – Today, a bipartisan coalition led by principal bill authors Senator Sherrod Brown (D-OH) and Representatives Chellie Pingree (D-ME), Jeff Fortenberry (R-NE), and Sean Maloney (D-NY), introduced the Local Food and Regional Market Supply Act (the “Local FARMS Act”) to catalyze the 2018 Farm Bill’s investment in programs and policies that spur economic development in rural and food producing communities nationwide. The National Sustainable Agriculture Coalition (NSAC), one of the bill’s leading non-profit partners, praised the bipartisan coalition for prioritizing the development of new markets for farmers and expanded healthy food access for American families.

“The Local FARMS Act is a priority for the National Sustainable Agriculture Coalition because it recognizes the vast, untapped potential in our farming and food producing communities and offers ways to transform that potential into economic prosperity,” said Wes King, NSAC Policy Specialist. “As others have rightly noted, the farm bill is not just an ‘agriculture bill,’ it’s a jobs bill too. The Local FARMS Act means opportunity for our family farmers, as well as increased access to fresh, healthy foods for American families.”

The Local FARMS Act will support the continued expansion of new market opportunities for American family farmers by: helping farmers reach new markets through outreach, cost-share, and technical assistance programs; increasing access to fresh, healthy, local food among low-income groups and communities in need; and developing new and strengthening existing infrastructure that connects producers to consumers.

Farmers from across the country have been quick to praise the Local FARMS Act’s farm to fork investment approach:

“From economic development to community health, local food production is key to solving many of the challenges facing Mississippi,” said Will Reed of Native Son Farm, a certified Naturally Grown operation out of Tupelo, MS, and chairman of the board for the Mississippi Sustainable Agriculture Network. “The Local FARMS Act will work to strengthen our local food system by helping to bridge the gaps that exist between local farmers and larger institutional buyers such as schools and hospitals. Continuing the growth and success of our state’s farm to school program is an essential step toward curbing childhood obesity and ensuring that we have another generation of farmers interested in growing food.”

  “Programs that support local and regional food systems are essential to the success of our emerging generation of farmers,” said Jennifer Silveri, Director of Field Operations at Michigan Food & Farming Systems (MIFFS). “They are also vital for the security and integrity of our food system, and for ensuring equitable access to fresh, nutrient dense foods. The farmers and organizations that rely on these programs to support farm and food systems across the country have spent a lot of their time, energy and resources on advocating for Congress’ support. We hope that Congress will take up the measures of the Local FARMS Act and that time and energy will have been well spent.”

  “Times are tight right now, a farmer has to be a jack of all trades to get by,” said Andy Heck, Owner and Operator of Heck’s Harvest in Springfield, Illinois and board president of Illinois Stewardship Alliance. “You’ve got to not only grow the best food, but also have a smart business plan, savvy marketing, the right training. We’re not looking for a handout, we’re looking for a hand up – and that’s what the Local FARMS Act does. This bill gives us an opportunity to reach new markets so that we can make a decent living and keep our farms in business.”

  “The Local FARMS Act will provide small family farmers with the tools they need to transition to value-added enterprises, higher value consumer-driven markets and create valuable linkages to grow a more vibrant regional food economy,” said Cherie Schenker of McCune, Kansas’ Schenker Family Farms, Inc. Over the years, Schenker Family Farms has received three USDA Value-Added Producer Grants (VAPG), which have helped them to develop and launch their value-added product line. Value-added products, which include things like bread, apple cider, and honey, bring in added income for farmers and also help them to diversify their risk and revenue. Schenker is also a member of the Kansas Rural Center.

As the American farm economy struggles through a multi-year downturn, family farmers have increasingly turned to opportunities in the local and regional food markets as a way of sustaining and even growing their businesses. USDA’s Economic Research Service has found that farmers’ bets on local have paid off – farmers who market food directly to consumers have a greater chance of remaining in business than similarly sized farms that market through traditional channels. Additionally, USDA found that in 2015 alone over 167,000 U.S. farms produced and sold food through farmers markets, food hubs, CSAs, and other intermediate and direct market channels, resulting in $8.7 billion in revenue for local producers.

“The local food market has clearly matured into an economic driver of real significance for American farmers and rural communities,” said King. “The historic investments made by the 2014 Farm Bill were a major factor in driving that growth, and as Congress begins work on the next farm bill we hope that they will continue to support America’s family farmers by including the Local FARMS act in the next farm bill.”

For more information, a summary and detailed outline of the Local FARMS Act are available on the NSAC website.

###

About the National Sustainable Agriculture Coalition (NSAC) The National Sustainable Agriculture Coalition is a grassroots alliance that advocates for federal policy reform supporting the long-term social, economic, and environmental sustainability of agriculture, natural resources, and rural communities. Learn more and get involved at: http://ift.tt/NmPMEe

The post RELEASE: Local FARMS Act Will Make Farm to Fork Investments in American Communities appeared first on National Sustainable Agriculture Coalition.

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[chinumeenu]

Keli from Ranjitha Rajeevan on Vimeo.

Ponnu is fascinated by Pottan Theyyam, an ancient rebel who stood for equality. She dreams to be like him, dance like him. But she is realizing how difficult it is for `her’ to be like `him’.

AWARDS Best Animator award - Mumbai International Film Festival (MIFF) – 2014 Special Mention Award – Bangalore International Short Film Festival (BISFF) – 2014 1st place in World Cultures category - Anim!arte (Brazil) – 2014 Best Animated Short Film (student) – 24 FPS International Animation Award - 2014 5th DADASAHEBPHALKE Film festival – JURY AWARD - 2015 NOMINATIONS Chennai International Short Film Festival – 2014 ViBGYOR International Documentary and Short Film Festival – 2014 FICCI BAF Awards 2014 SARDINIA FILM FESTIVAL (Italy)– 2014 ALTA LANGA FILM FESTIVAL (Italy) - 2014 International Documentary and Short Film Festival of Kerala (IDSFFK)- 2014 Reanimania (Armenia) – 2014 Anim!arte (Brazil) – 2014 Jump the cut (Singapore) – 2014 Jaipur International Film Festival – 2015 5th Siliguri International Short film and Documentary Contest – 2015 IAWRT India festival – 2015 WIFTI Shortcase – 2015 SCREENINGS Detour (Rome) - 2014 Beginning Film Festival (Russia) – (Cine Parallel NON Competition section) - 2014 FIC PUEBLA non-competition category – 2014 South Asian Film Festival – 2014 ANIMASYROS International Animation Festival (Women in Cinema section screening) – 2014 Women At Work – 2014 

[films--films--films]

MIFF 2017 // film #9

Phantom Boy (2015)

[hatimtanger]

watch TVM Malawi HD live stream online free Now Today with high quality

watch TVM Malawi HD live stream online free Now Today with high quality

?do you want to watch TVM Malawi HD live stream online free Now Today with high quality

Television Malawi (TVM), founded in 1999, is a public broadcaster run by the Malawi Broadcasting Corporation (MBC) in Blantyre, Malawi. The station transmits its signal throughout the country via satellite.[1] [2] On July 1, 2011, TVM and MBC merged.[2]On February 19, 2013, Television Malawi started broadcasting on Dstv channel 295.

Media of Malawi consist of several different types of communications media: television, radio, cinema, newspapers, magazines and Internet-based Web sites. Malawi also has a growing music industry. Media is either privately owned or government owned.

Radio[edit]

Main article: Radio in the Malawi

See also: List of radio stations in Africa: Malawi

Malawian radio broadcasts in two bands: FM, AM. National Radio stations include MBC 1 and MBC2 that are tun by Malawi Broadcasting Corporation.[1] Privately owned radio station includes Zodiak Broadcasting Station, and Capital Radio Malawi.[2][3] The Malawi Communications Regulatory Authority (MACRA) has recently issued licenses to new radio broadcasters to expand radio offerings in Malawi.[4] This includes Matindi, GoodNews, and Mwadama.

Television[edit]

Main article: Television in Malawi

Television in Malawi is regulated by MACRA.Though Malawi Television penetration is low.The country boasts 20 television stations by 2016 broadcasting on the countries digital network MDBNL e.g.[4] This includes Times Group, Timveni, Adventist, and Beta.

Motion pictures[edit]

Main article: Cinema of Malawi

The motion picture industry in Malawi is in its infancy but there have been a few developments over the years that have given rise to film festival and individual films.There is a Malawi International Film festival that began in 2009.[5][6] The most well known director has been Shemu Joyah is a producer and film maker from Malawi who produced Seasons of a life.[7] Malawi's most well known actors include Michael Usi and Tapiwa Gwaza. Cinema can be viewed at indoor movie cinemas or at the drive-in movie cinema.

Newspapers[edit]

Main article: List of newspapers in Malawi

The Malawi News Agency (MANA) is the largest news network in Malawi. It was established in 1966 to provide and produce news content to the country from the government. It also gathers news from around the country. Its online news content launched in 2012.[8][9]

The oldest privately owned newspaper in the nation is The Daily Times. The widest circulated national papers are The Daily Times and The Nation. Both are sold in most Malawian cities. Many of the newspapers have also branched out online and have online versions with credible content.

There has also been a growth of online newspapers. This includes privately funded papers owned by Malawians in the Diaspora such as Leeds, England based Nyasatimes, Atlanta, US based Maravi Post and Blantyre-based Malawi24.[10][11][12]

Magazines[edit]

See also: List of Malawi magazines

Malawi has both English language and Chichewa magazines that circulate nationally, regionally or within a city.

Social Media[edit]

There has been an increase in Malawians on social media, particularly on Twitter, Facebook. There has been a steady growth of Malawian bloggers as well.[13] Social Media has been an important tool for transparency in Malawi. It has been linked to influencing the outcome of the constitutional crisis in 2012.

See also[edit]

Communications in Malawi

References[edit]

Jump up ^ Freedom House 2015.

Jump up ^ http://ift.tt/2uFxBTk

Jump up ^ About Zodiak Malawi Archived January 15, 2013, at the Wayback Machine.

^ Jump up to: a b Misa-Malawi hail JB govt for issuing 15 broadcasting licenses | Nyasa Times Malawi breaking news in Malawi

Jump up ^ AFRICAN WOMEN IN CINEMA BLOG: Villant Ndasowa, a pioneer in Malawian cinema

Jump up ^ About MIFF

Jump up ^ New Malawian film gets first nominations at international festivals | Nyasa Times Malawi breaking news in Malawi

Jump up ^ Malawi News Agency to be online , says Director of Information | Nyasa Times Malawi breaking news in Malawi

Jump up ^ Malawi News Agency Online - About Malawi News Agency

Jump up ^ Nyasa Times Editors Seek Asylum in Britain

Jump up ^ About the maravipost | Malawi News

Jump up ^ "Malawi News sources". AllAfrica. Retrieved 24 October 2016.

Jump up ^ IPS – Social Media Activism Takes Root in Malawi | Inter Press Service

Bibliography[edit]

"Malawi: Directory: Broadcasting and Communications". Africa South of the Sahara 2004. Regional Surveys of the World. Europa Publications. 2004. p. 673. ISBN 1857431839.

"Malawi", Freedom of the Press, USA: Freedom House, 2015, OCLC 57509361

External links[edit]

MACRA Online

[show] v t e

Malawi articles

Le Malawi, en forme longue la République du Malawi (en anglais Republic of Malawi, en chichewa Malaŵi, ou Nyassaland jusqu'en 1964), est un État situé en Afrique australe, entre le Mozambique, la Zambie et la Tanzanie. Sans débouché sur la mer, il est baigné par le lac Malawi, ou Nyassa, troisième lac d’Afrique par sa superficie, qui couvre environ le cinquième de la superficie du pays et dans lequel affluent huit rivières principales et des centaines de petits cours d’eau.

L’origine du nom « Malawi » est attribuée originairement au nom du lac en langue bantoue mais elle n’est pas certaine ; ce nom évoquerait le scintillement du soleil lorsqu’il se lève sur le lac (représenté sur le drapeau du pays), ou encore serait dérivé du nom d’une population du sud du pays[réf. nécessaire].

Pays de hauts plateaux, le Shire Highlands au sud et le Nyka Uplands au nord, le Malawi culmine à 3 002 m avec le pic Sapitwa dans le massif Mulanje.

Le Grand Rift traverse le pays du nord au sud. Dans cette dépression se trouve le lac Malawi, le troisième plus grand lac d’Afrique ; sa superficie couvre environ 20 % du pays.

À l’extrémité méridionale du lac prend naissance la rivière Shire, qui se jette dans le Zambèze 400 km plus au sud, au Mozambique. À l'est et à l'ouest, le Grand Rift est surplombé par de vastes et hauts plateaux s’élevant de 900 à 1 200 m au-dessus du niveau de la mer.

Au nord, le Nyika Uplands (haut plateau) culmine à 2 600 m ; le Shire Highlands, de 600 à 1 600 m, est dominé par les monts Zomba et Mulanje, culminant respectivement à 2 130 et 3 002 m.

À l'extrême sud du pays, la plaine s'étend de 60 à 90 m au-dessus du niveau de la mer. C’est là que se trouve la plus importante densité de population de l’Afrique subsaharienne.

Lilongwe (capitale depuis 1971) compte plus de 400 000 habitants. Blantyre, principale place commerciale, abrite le siège de la Cour Suprême du pays (la population est pass��e de 109 000 habitants en 1966 à 500 000 en 1998).

Les îles Likoma et Chizumulu appartiennent au Malawi bien qu’elles se trouvent dans les eaux territoriales du Mozambique où elles forment une enclave.

La saison des pluies dure de novembre jusqu’en avril. De mai à octobre, les précipitations deviennent très rares. D’octobre à mai, le climat est chaud et humide le long de la côte du lac, ainsi que dans la vallée de la Shire et dans la zone de Lilongwe ; l’humidité dans le reste du pays est plus faible.

De juin à août, dans la zone du lac et dans le sud du pays, la chaleur est agréable. Dans les mois qui restent, la température des nuits peut devenir relativement rigoureuse, comprise entre 5 et 16 °C.

Le nord et le centre sont constitués de plateaux étagés jusqu'à 2 000 m qui dominent le lac Malawi (25 % du territoire) et s'achèvent par un escarpement tombant directement dans le lac ou surplombant une plaine côtière (plateaux Nyika et Vipya). Au sud, on trouve des fossés tectoniques qui prolongent le fossé du lac Malawi (vallée du Shire et bassin du lac Chilwa) isolant les monts Phirilongwé, le plateau de Zomba et les montagnes Mulanje.

Les Portugais furent les premiers européens, au xvie siècle, à voyager jusqu'au lac Malawi ; et non David Livingstone, qui, remontant la rivière Shire parvint jusqu’au lac en 1859. Après quoi, l’Église presbytérienne écossaise établit autour du lac plusieurs missions, dans l’espoir d’endiguer la traite négrière (mais ce commerce continua jusqu’à la fin du xixe siècle).

En 1878, un groupe de commerçants originaires de Glasgow fondèrent la compagnie African Lakes Company pour assurer l’approvisionnement des missions. D’autres Européens suivirent pour commercer, cultiver et chasser. En 1891, les Britanniques fondèrent le protectorat de l’Afrique centrale britannique et en 1907, le protectorat du Nyassaland (Nyassa en langue Yao veut dire « lac » ; c’est un des noms dont a été baptisé le lac Malawi, qui aujourd’hui encore est appelé Nyasa ou Niassa).

Les Britanniques maintinrent leur domination sur cette région pendant toute la première moitié du xxe siècle, en s’opposant à de nombreuses tentatives des habitants pour leur indépendance. Une élite africaine ayant étudié dans les écoles d’Europe et des États-Unis émerge, permettant la création, en 1944, du Nyasaland African Congress (NAC).

En 1953, le Nyassaland entra dans la Fédération de Rhodésie et du Nyassaland, avec la Rhodésie du Nord et la Rhodésie du Sud.

En 1958, le docteur Hastings Kamuzu Banda (qui avait obtenu son doctorat en médecine aux États-Unis en 1937) retourne au Malawi et devient leader du NAC, qu’il transforme en Malawi Congress Party (MCP)3.

Il participe à la conférence constitutionnelle à Londres. Lors d’élections, le 15 avril 1961, le MCP remporte une victoire écrasante au Conseil législatif, obtenant aussi le contrôle du Conseil exécutif du Nyassaland.

En 1962, le gouvernement britannique accorde l’autodétermination au Nyassaland. Banda devient premier ministre le 1er février 1963, alors que les Britanniques contrôlent encore le système financier, la sécurité et le système juridique du pays. La Fédération de Rhodésie et du Nyasaland est dissoute le 31 décembre 1963, et le 6 juillet 1964, l’indépendance du Malawi est proclamée. Le pays adhère au Commonwealth. Deux ans après, le Malawi adopte une nouvelle constitution avec un parti unique, et Banda comme premier président. En 1970, Banda est déclaré président à vie du MCP, et en 1971 président à vie du Malawi. L’aile paramilitaire du MCP (les jeunes pionniers) contribue à maintenir le pays sous un régime autoritaire jusqu’en 19903.

Les pressions des Églises du Malawi et de la communauté internationale imposent au régime un référendum le 14 juin 1993, où les Malawites votent en faveur d’un régime démocratique pluraliste.

Le 17 mai 1994, les premières élections libres donnent la victoire au Front démocratique uni (United Democratic Front - UDF) de Bakili Muluzi, qui s’unira avec l’Alliance pour la démocratie (Alliance for Democracy - AFORD). Muluzi est élu président en battant le chef de l'État sortant. Malgré la dissolution de la coalition en 1996, Muluzi et ses partisans restent au gouvernement.

En 1995, Muluzi reçoit de la Lincoln University du Missouri le titre de docteur honoris causa. Il rédige une nouvelle Constitution abrogeant les privilèges résiduels du MCP. Le 15 juin 1999, il est réélu, contre une coalition constituée du MCP et de l’AFORD.

En mai 2004, le candidat à la présidence de l’UDF, Bingu wa Mutharika, bat le candidat du MCP. Malgré cela l’UDF n’a pas la majorité au Parlement et forme un « gouvernement d’unité nationale ». Bingu wa Mutharika quitte l’UDF, officiellement à cause d’une significative divergence de vue à propos de la campagne anticorruption amorcée par le président. Le président Bingu wa Mutharika est réélu en mai 2009. À son décès, le 6 avril 2012, il est remplacé par la vice-présidente de la République, Joyce Banda. Peter Mutharika, frère de Bingu wa Mutharika, lui succède à la présidence le 31 mai 2014.

from Blogger http://ift.tt/2wtfYZ6 via IFTTT

[annerase-blog]

MELBOURNE RECITAL CENTRE Central Australian Aboriginal Women's Choir The Song Keepers in Concert Details The Central Australian Aboriginal Women’s Choir has become a musical ‘tour dé force’ since their historic and highly acclaimed concert tour of Germany in mid-2015. This unique Central Australian ensemble sings sacred music in the Western Arrarnta and Pitjantjatjara languages — two living languages of the Northern Territory and South Australia — together with new music introduced through recent collaborations with other Centralian and international choirs. Their signature performance piece Arrkanala Lyilhitjika is a narrative musical work comprising a 90-minute choral performance accompanied by multi-media, sometimes illuminated by lyrical narration, telling the iconic story of approximately 120 years of continuous choral practice in remote Central Australian communities. This work reveals a unique Australian musical conjunction of Baroque and Romantic era choral arrangements, centuries-old Sacred poetry (Hymns) locked and carried in the Western Arrarnta and Pitjantjatjara languages. Arrkanala Lyilhitjika will inform and educate, providing a rare insight into a vital but largely unknown aspect of Aboriginal culture in the Central Desert. With male musicians dominating the contemporary indigenous performance landscape, Arrkanala Lyilhitjika is a story of the cultural resilience of women and represents an unheralded aspect of contemporary Australian Indigenous musicianship. . It is a testament to the resilience of indigenous women in the Central Desert as they preserve and strengthen their identity, languages and culture through song. Supported by the MIFF Premiere Fund, ‘The Song Keepers’ feature-length documentary telling the story of the Choir and its inspirational people will have its world premiere season at Melbourne International Film Festival during 3-20 August 2017. Specific dates and times and ticket bookings will be available from 12 July 2017 at miff.com.au Presented by Melbourne Recital Centre in association with Melbourne International Film Festival www.melbournerecital.com.au/events/2017/the-song-keepers-in-concert (at Melbourne Recital Centre)