#duet whit

[cheuro-88]

https://youtu.be/JFm7_HF75BQ MEME DE CRIANÇAS FOFO Esse vídeo é importante para mim, se você puder compartilhar com todo mundo ele pode salvar meu canal no YouTube: @cheuroworldnews É incrível como crianças tão fofas se tornaram tão famosas na web.

[dr-futbol-blog]

The Lost Boys, Pt. 7

They all gather around Ford's ship, a wraith dart of unknown origin, somewhere outside the cave. The dart has been hidden under a camouflage tarpaulin, concealing it from anyone that might be flying above, and some of Ford's men have gone on ahead to uncover it. Jace and Ford seem to be walking together just like Sheppard and McKay, the two of whom only put distance between them as they arrive at the scene. Sheppard is still stationed between McKay and Jace, make of that what you will. Ford is walking slightly ahead of Jace and Sheppard is walking slightly ahead of McKay, and at least for Sheppard is this likely a largely subconscious effort to protect McKay from what ever might be waiting for them at their destination, using his body to shield McKay. Ronon and Teyla are keeping the rear.

Their leisurely stroll from the cave over to the meadows has done very little to calm down McKay but Sheppard seems to be much more in control of himself, able to speak again. The previous time he had stood next to one of these things (Duet, S02E04) he had been forced to gamble with McKay's life which had ended up with one of his new Lieutenants (Cadman) taking up residence in McKay's brain, so it does not exactly bring up warm and fuzzy feelings for him. But he is at the very least curious. Ford has his attention.

Sheppard: OK, where did you get it? Ford: Does it matter? Kanayo: None of us have had much success flying it. Banged it up pretty bad the last couple of landings. It's in need of some repairs. Ford: And a real pilot. Sheppard: This is why you brought us here. Ford: It's the reason I waited 'til now, yes.

Even though he still does not care one whit what Ford and his men are planning to do here, he is at least starting to be able to put the pieces together. He is the best pilot that Ford knows and he wants him to fly the ship. The only thing that Sheppard himself wants to do with darts is to shoot them down from the sky, and since this one already seems to be on the ground, he's good. But he can already see where this is going when Kanayo mentions repairs. McKay looks searchingly at Sheppard, probably to get some inkling of what they are supposed to think about this, but Sheppard seems to be avoiding his gaze, just looking dead ahead as Kanayo is speaking. So McKay turns to look at Kanayo instead, gathering information that would help him understand what they are doing here that Sheppard seems already to have worked out for himself.

Kanayo: Assuming this guy can get it working again. Ford: He can. These people are the best at what they do. Kanayo: Look, you fly it, you scoop us up, you take us to the hive, you drop us off. All we need is time to lay the charge. We'll be in and out of there before the wraith have any idea what's going on.

McKay is looking really uneasy and he is clearly trying to keep his mouth shut so as not to make their situation worse. His breathing seems heavy and he is looking away from everyone and from the dart, toward the forest, probably trying to calm himself down. Sheppard avoiding meeting his gaze does not sit well with him because he does not understand why Sheppard does it--and we see Sheppard actually look heavenward as he turns toward Kanayo as the man is speaking, so as not to accidentally let McKay in on what he is thinking here. It is clear that Sheppard is avoiding McKay's eyes on purpose.

McKay clearly does not like to be touched by this bandit, in a faux-friendly manner as he does it, although he merely turns to look at him in response. Sheppard, on the other hand, draws his lips back in an expression that outwardly resembles a smile but is a smile about as much as a wolf curling its lips back to reveal its incisors is a smile. Sheppard really does not like it when other people touch McKay. We saw him looking daggers at the nurse removing a splinter from McKay's hand in Conversion (S02E08). It is only the fact that what Kanayo said actually seems to give him an idea that he lets it be, for now.

Ford describes his old team with a clear sense of pride, since having once been a member of the flagship team had meant something to him. But it is also curious that he describes them with the words that are frequently used to describe the Canadian superhero Wolverine, the best at what he does (but what he does best is not very nice). This is to say, the whole team are here likened to mutants, those allegories for the gay liberation movement. While Ford knows what Teyla is capable of and has gone toe-to-toe with Ronon, it is clear that he meant mainly Sheppard and McKay with this designation. But flattery is not the way to McKay's heart. In fact, he has had just about as much as he can take.

Ford: It's perfect. McKay: It is far from perfect. Sheppard: But it is possible. Teyla: Colonel... McKay: Are you, are you honestly considering this? Sheppard: It's on its way to a culling, Rodney.

We hear McKay's voice almost break as he interjects, unable to keep himself from speaking out any longer. All this talk of hives and explosives and Sheppard flying a ship into a hive with the explosives just keeps digging up those painful memories, made only worse by the fact that Sheppard actually seems to want to go along with it.

We have seen that wordless communication between Sheppard and McKay, we have seen them understand each other from mere syllables, from looks alone. Here, it is the fact that McKay is so deep in his grief and the fact that Sheppard is (purposefully, so as not to alert anyone to what he is thinking here) avoiding looking at McKay that makes McKay unable to intuit what Sheppard is going for here. Sheppard could have communicated all of it to McKay but McKay has no poker face, and he thinks that they are safer off with him leaving McKay in the dark about his current thoughts. Where McKay is a world-class liar, he is a terrible bluffer, as he described himself in The Eye (S01E11): "I've lost small fortunes at poker. Look, my eye twitches, I laugh inappropriately, it's not pretty." McKay's incredulity here actually plays into Sheppard's hand because by having to convince McKay, he might also be able to convince Ford that he was actually going along with this. But he does not like seeing McKay this way, and so he has to look away from him as he fibs Ford.

McKay: Yeah, and I am sorry about that, but this is insane! Sheppard: Maybe not. Ford: Jace has been trying to get it working, but he's not you, McKay.

McKay is struck speechless by Sheppard's behaviour, convinced that one of them has lost their mind and he is not even sure that it is Sheppard at this point. He is suddenly on Opposite World and nothing makes sense. As mentioned with Aurora (S02E09), it may even be easier for McKay to fall for Sheppard's deadpan delivery because the tone he uses when he is playing innocent is not so different from the soft tones that he uses with McKay when other people are not around. His faux-earnestness is not altogether different from his real earnestness but most people outside of McKay only ever get to witness the first. Someone who knows Sheppard less well might be more suspicious about his sudden about-face here. And it is the fact that McKay's reaction to him is entirely authentic that Sheppard thinks might sell this to Ford.

Note that Jace touches his lower lip with his tongue as Ford mentions that McKay is real good at the kind of thing that Jace wants to be good at, and he genuinely seems to look up to McKay. Unlike with Sheppard, this is not self-soothing behaviour as this man really and truly seems to be into McKay like that. He is looking forward to being able to work with him on this. Only, McKay is not feeling very amenable at the moment.

Ford: Can you fix it? McKay: No, probably not. Sheppard: That usually means yes. McKay: Aren't you the one not taking the enzyme? You're supposed to be the clear voice of reason here!

Sheppard is talking for McKay here, and he is displaying how well he knows McKay because this is absolutely true. Sheppard knows that McKay can very likely fix this and his reluctance to do it is motivated by his upset. McKay says to Ford that he probably cannot do it but they all know that it is a lie. Sheppard would not volunteer McKay to do this unless he was fairly convinced that this might be their ticket out of here because while he does not like putting the pressure on McKay, keeping McKay safe and getting McKay safely out of here trumps all other considerations.

But this is also a clear call-back to Condemned (S02E05) where they had likewise been held captive by bandits that were up to no good and who wanted McKay to fix their jumper to get out of the prison colony. Even though McKay had been trying to hide from their captors that he might have figured something out, Sheppard had been able to tell the truth because he knows what McKay sounds when he is actually at a loss, when he is at the end of his rope. And although it has nothing to do with his ability to fix the dart, he can also hear it here that McKay is very close to the edge, that end of the proverbial rope, is truly and honestly agitated by their situation. He tries to use a soft, calming tone but McKay is simply not hearing him because he is working himself up.

Earlier it was unclear whether Sheppard had actually revealed to his team that Ford had left him off the enzyme plan, but it seems that Sheppard had told at least McKay that he had not been taking it like the others. And because Sheppard was clean, McKay had been trusting him to look after them, to be able to put a stop to it if the enzyme caused them to do something that they should not be doing. He feels betrayed here, most of all because Sheppard is not only not backing him up in this but is contradicting him in public, in front of people, and that is just not something one does with someone they love. Clearly they have not been able to work out the things between them as much as he thought they had. McKay is done.

Ford: Look, can you fix it? McKay: Even if I could, I wouldn't. I'm sorry, drug me all you want, I'm not doing this. Sheppard: Let me talk to him. He'll come round. Ford: OK.

McKay takes off and it has everything to do with his hurt feelings. He is not walking off to get away from Ford and his men, his plan, but to get away from Sheppard. He cannot deal with his emotions, there is just too much going on inside him and he does not even know what part of it is caused by the enzyme. He feels hurt, he feels betrayed, he feels humiliated and he feels abandoned by the person he had been counting on the most. His categorical refusal to do this has nothing to do with any moral qualms but he refuses, flat out refuses to facilitate Sheppard undertaking another suicide mission. He is not going to be lifting one finger to help them put Sheppard into a ship that will fly into a hive with explosives, not even if they kill him, because if Sheppard does that, he might as well be dead. He is not going to survive watching Sheppard die again. To him this is about keeping Sheppard safe and the fact that Sheppard seems not just willing but keen to go along with it is like a blade to his heart, and he cannot deal with this.

Sheppard, on the other hand, could not have played this better because he needed to get McKay alone for a moment. Clearly he needed to explain things to him and would have been unable to do it under the watchful eyes of the others. And it seemed like between Jace and Kanayo, Ford had not been wanting for the two of them to have any privacy, any time for just the two of them. Ford was clearly afraid of what they might come up with, left to their own devices, even if he had learned from McKay that two heads being better than one was a common misconception. But now McKay himself had given him an in to get him alone for a moment, and he was going to take it. It did not feel good to go about it like this but getting McKay off of this planet was the most important thing to him and Sheppard could make up for his hurt feelings later, when they were far away from here.

But notice how Sheppard lifts up his hand as McKay takes off. This is not a wave of good-bye because Sheppard does not do that kind of thing anyway, and certainly not with McKay. It is a visceral and immediate reaction to McKay walking away from him, an attempt to stop him from leaving. His entire body revolts against the idea that McKay is leaving him, is walking away from him, and so his hand has come up to stop him entirely of its own volition, even though his conscious mind knows that McKay will not actually be able to go anywhere and is just venting his feelings. His hand comes up because he wants to touch McKay, to caress him, to tell him that it is all going to be alright, but the man is gone before he has had time to even think about any of this. It is just an automatic response to seeing McKay like this, and although Sheppard is glad that he will be able to talk with McKay alone, seeing McKay walk away is anything but easy for him. It does not make him feel good. He sure hopes he is doing the right thing here.

Continued in Pt. 8

[hartshorn-and-isinglass]

Anyway, I feel like I should take a moment to shout-out Spouse here for being such a good sport about all of this intense road-tripping. He's told me he gets so much compersion seeing me so excited for these concerts and he is enjoying the music even though Baroque is not his usual wheelhouse and he hasn't played an instrument in over two decades. (I love that when MIL heard that I was taking violin back up, she immediately asked if Spouse was going to play flute again. Despite Spouse having not showed a whit of interest in that since middle school. No Boismortier duets in our future, alas.)

I am so on fire with inspiration and... other feelings... after this last concert in the series. I haven't even had a chance yet to feel the disappointment that this is the last I'll see of Senpai for several months at least. I think not seeing him for a while is probably going to make me 900% more unhinged about him. Thanks, limbic system! I might be semi-feral by the time June rolls around.

[faiirytalcs]

Whitney had never considered what her speed at karaoke was, normally she was cajoled into doing whatever duet her friends wanted to do and, either way, it wasn't that great of a performance. But it was still fun and she'd been told a good way to relax ( which was still so hard for her to do ). "Oh, thanks." Whit could feel warmth creeping up her neck at the unexpected compliment. "I - eighties is a good vibe. It's always a good choice."

Angelica gave the woman a little "hmph" in response before she continued like nothing was making her take a moment to pause at all. "I was thinking of something flashy. I'm a sucker for a good 80's song that gets a crowd going. But there's like, so much you can do if that isn't your speed. What is your speed? I don't know if I could guess your musical vibes correctly. So I'll just be forward about it. You're cute, so I feel like the possibilities range."

[cafedanslanuit]

for Aoife ― a dive into your relationship, your love language, your astrology compatibility, romantic headcanons, your playlist, a small story and more [+ info on self-ships scrapbooks, here]

Zen and Aoife have a beautiful ability to make each other better. By learning more and more about each other, they also start slowly transforming into their best version of themselves. Zen feels his heart full of pride when he remembers how he slowly crept his way into their heart and now, after all this time, he gets to hold their hand when they walk down the street.

QUALITY TIME. With a hectic work schedule like his, Zen understands the importance of spending time together. That’s why, no matter how much he adores acting, he knows nothing is more important than spending time together. At first, when he didn’t have that much agency to change his rehearsing schedule, he tried his best to make sure he was spending time with you as well, letting you choose the activity every time. When he got more and more famous and was able to have a vote on his rehearsing schedule, he always made sure he kept you in mind when making any decision.

♡ At first, your friends couldn’t believe who you were with. Casual annoyed sighs had turned into shy smiles whenever this guy, Zen was mentioned. “That was definitely not the type of guy you used to swoon for, you know,” one of your friends mentioned. You sighed at their words. “God, you’re right. Do you think I made a mistake?” At this, your friend laughed. “A mistake? Please, not at all. Don’t you see you liked him so much you even forgot what your type was supposed to be?”

♡ Once Zen discovered how much you liked drawing, he made sure to snap some photos of his favourite pieces. Then, he shoot Saeyoung a text message, asking him if it was possible to change his phone home screen to one of your drawings. Knowing zen isn’t the most advanced in tech, Saeyoung guided him, not missing the opportunity to make fun of him for his incompetence. A few weeks later, you were gladly surprised when, after Zen asked you to check something on his phone for him, you saw one of your drawings staring back at you.

♡ Zen was the first one to pine. Being used to having people ogle at him and find him a dream come true, it was a bit of a shock to meet someone who didn’t fall for his charms. Intrigued, he kept on talking to you whenever you gave him the chance, and his curiosity quickly became yearning. His eyes would light up every time he saw you were online, and he couldn’t wipe off the small smile on his lips even after you had already logged off.

♡ One of Zen’s favourite ideas for a date is to go sightseeing around town until it’s late enough to go to the karaoke. He reserves a room in advance and you notice a small hop in his steps as you walk towards the building. He starts with a show tune or two and then pulls you closer when he chooses a song he knows you know by heart so you can sing along with it. Even if he adores your duets, there’s something he likes even more: to sit back on the couch and listen to you sing. He’s reminded how truly lucky he is not only to know you but to be given the chance to love you each and every day.

Your Sun signs, both Libra and Aries, understand each other’s emotions easily. While you may not be one to show them without thinking it through, Zen’s Aries Sun may help you be more open about them. On the other hand, your Libra Sun helps you understand Zen on a deeper level, rather than just looking at his exterior. You understand him better than most people do. While sometimes you may not understand completely each other’s emotions, both your sensitive personalities may help you finally get each other’s perspectives.

Regarding your Moon signs, his Cancer moon, forever emotional, can help you get more in touch with your feelings as you may sometimes tend to repress them. You, with your Aquarius Moon, can help Zen get more perspective and clarity, as we know he is one to see things black and white and struggle with making decisions.

♡ A Lovely Night (from La La Land) - Ryan Gosling & Emma Stone

This could never be / You're not the type for me / And there's not a spark in sight / What a waste of a lovely night

A good classic for the enemies to lovers storyline. Not enemies per se, but two people who were so different they never thought they would end up falling for the other. Some light-hearted jokes about neither of you feeling sparks, when suddenly― you’re staring a bit too long in the other’s eyes, you start understanding their train of thought and maybe agreeing on some points… and a love story is born.

♡ All I’ve Ever Known (from Hadestown) - Reeve Carney & Eva Noblezada

All I've ever known is how to hold my own / But now I wanna hold you / Now I wanna hold you, hold you close / I don't ever wanna have to let you go

Maybe you aren’t as extroverted or over-the-top as Zen, but once you fall for him, everything changes. At first, it’s small― joining him for a morning run once in a while, or letting him rest his head on your lap and playing with his hair while he’s on his phone. Little by little, you start discovering more and more sides of Zen and falling even more for him.

♡ One Hand One Heart (from West Side Story) - Ansel Elgort & Rachel Zegler

Make of our lives, one life / Day after day, one life / Now it begins, now it starts

And what is love without a vow? Time seems to fly when you’re sharing your life with the one you’re in love with. Especially when that someone is a hopeless romantic like Zen. He’s serious about his relationships and never sees them as something that may once end. He’s in for the long haul, and he’s gonna try his best to make you happy.

“You know I’m in love with you, right?”

You raise your eyes to Zen’s ruby ones. Your hands still for a moment over his tie, but then quickly resume their work.

“Right.”

This wasn’t his original idea, Zen thinks. To begin with, he had planned for both of you to be already at the RFA party before he confessed his feelings. He would ask you for a dance and after two of three songs, he’d escort you to the balcony to get some air. The balcony would offer him the semi-private and romantic space he needed to finally confess his feelings and, if he had luck, you would reciprocate them.

He didn’t plan to confess when you were still at his apartment, with a good thirty-minute wait before the limo Jumin had sent out for all the members was meant to arrive. But seeing you fix his tie made him blurt out his feelings sooner than expected.

“Right? What do you mean ‘right’?”

“It means 'stop joking around when I’m fixing your tie.'”

Zen holds your wrists, stopping their moves. Your eyes shoot back up to Zen’s, like a deer caught in headlights.

“Is it nonsense to say I fallen for you?” The way your eyes widen tell Zen you truly didn’t believe he was being serious at first. “Of course I have. And I know you haven’t exactly been my biggest… fan,” he grimaces. “But you need to know I truly do. Love you, that is. I love the sound of your laugh. That you call me out on my shit. That face you make when you draw and― look, I even have the last one you made saved.”

Zen fumbles with his phone as he takes it out of his back pocket and searches through his Gallery app until he finds the photo he took of your latest drawing and shows it to you.

“See? I do like you, Aoife. I really do. And I was supposed to wait until later to say this but… shit, the face you made as you were fixing my tie? God, it made me remember how much I’m head over heels for you,” he said with a soft chuckle. “I know we didn’t start on a good foot. But I also know the past few weeks have been… they felt different, you know? I’m just― I want to know if they felt different for you too.”

“You had my drawings saved?” you muse quietly, still shocked. Zen’s tense face breaks into a sweet smile.

“Yeah. I really like them, you know?” He releases the grip on your wrists and watches as you slowly put your arms down. You keep looking at his phone screen and he’s never seen you so flustered before, at a loss for words and all thanks to him. “Would you like to be my date for tonight?”

You nod, feeling heat rising to your cheeks. You feel a little light-headed when you look away from Zen’s phone and lock eyes with him once more.

“I’d love that.”

[quickspinner]

Hi, Miss Quickspiner, umm please "you’re good enough" whit Lukanette? I think Lu need hear that so badly. Also I really love all yours art, you are amazing 💙

Thank you so much 😊I continued from this one, hope that’s okay.

When Marinette woke, she was alone, but it didn’t scare her. She was comfortable and more relaxed than she’d been in a long time, and the gentle rock of the Liberty along with Luka’s god awful wallpaper a few inches from her nose were more than enough to ground her as she clawed her way up from sleep. Music was playing from a speaker somewhere, which wasn’t surprising, but the song playing was. Not the usual Couffaine style. Her curiosity gave her enough energy to sit up, drag herself off the bed, and open the door of Luka’s room. 

“The only way to live now is to know you’re gonna fly, don’t listen to the lying liars and there lies,” Luka’s voice rang out, and Marinette followed it to the main room. Marinette covered her hand to keep in her laughter when she saw Luka behind the galley counter, dancing in place as he put together two plates of snacks. Tikki sat on the counter beside him, munching on a cookie. Based on the crumbs on the counter, it wasn’t her first one. She smiled as best she could with her puffy cheeks and waved to Marinette. 

“I know she’s superwoman, I know she’s strong,” Luka sang, “I know she’s got this because she’s had it all along. She’s phenomenal, and she’s enough…” 

Marinette couldn’t stop the giggles anymore when she heard the way he altered the lyrics, and he stopped singing as he looked up. 

“Hey,” he smiled, not the least bit embarrassed that she could. “Feeling a little more rested?”

She nodded. She did, actually. Rested and...lighter. “Much, thank you.” She tilted her head slightly, indicating the music. “Really?” she grinned.

Luka shrugged. “I maybe needed to process a little, and well, if the song fits, it fits.” He winked at her. “We don’t music shame in this house. Probably listened to it a dozen times in the last hour.” He reached over and tapped something on his phone, restarting the song, and then held out his hands to her. When she took them, he pulled her in to dance with him, swinging their hands between them. “I might write a Kitty Section cover. I bet Rose would love it. Maybe we could convince Juleka to make it a duet. They’d be amazing.” 

“Rose would love it,” Marinette grinned, moving with him. Gosh, when was the last time she danced, just for fun? Was it really Clara’s video? “And that would be amazing, the two of them together. Although I like your version too.”

Luka grinned. “I know you’re superwoman,” he sang, as Marinette laughed. “I know you’re strong. I know you’ve got this cause you’ve had it all along. You’re phenomenal, and you’re enough. I don’t need to tell you who to be—” He cut off with a slight oof as Marinette threw herself into him and hugged him tight. 

“Thank you,” she whispered.

“Oh, Marinette,” Luka sighed, slipping his arms out from where she’d pinned them and wrapping them around her. “I only wish I could do more. You’ve got so much piled on you.” He hesitated slightly. “Tikki and I have been talking, and we had some thoughts, if you want to hear them. It’s...it’s not much,” he admitted, blowing out a sigh as he ran his fingers through his hair. “When I think about it it seems like practically nothing at all. I wish—” He broke off and looked away. 

Marinette leaned back a little, and took his face in her hands so she could make him look at her. “Luka. Even before you knew, nobody has done more for me than you. You’ve always let me just be whatever I needed to be, and that’s been so important to me. Now, just...just knowing that you know...that you see me…it’s enough. I feel so much better already.” She stroked his cheeks with her thumbs, not quite able to look in his eyes, afraid that what she might see there would overwhelm her. “I don’t need you to be a hero or fix everything or come up with all the answers. You’re good enough, Luka, just like this.”

Luka let out a shaky breath, and then wound his arms around her, pulling her close, cradling one hand behind her head to guide it to his shoulder. 

“Unbroken and still beautiful,” he sang softly with the end of the song, and Marinette snuggled closer, holding him tight.

In a few minutes, they’d have to let go, and they would have to have that talk, and then she would have to leave, to go back to the lies and the secrets that she lived every day. 

But Luka would still know. And for now, that really was enough.  

So the song here is Kelly Clarkson, Broken and Beautiful, which I’ve probably heard a million times but only really listened to just recently. Of course I went looking for covers, because I love covers, and I didn’t find many, but I did enjoy this one and I keep imagining Rose and Juleka doing it this way together. (not really sure about the whole singing while driving while filming a video thing, but nobody died, so we’ll just ignore that) 

[insectbear]

Everytime i listen to a vocaloid song i think it would be ten times better whit Kaito 👀 - So in Magical Nirai this year Kaito just had one song, and he barely sang since it was a duet, Crypton your cowards give the boy some love 🔫🔫

[hugotontheonbiquiffinarians]

Random Arthur Fleck Headcanons

Inexperienced, (possibly a virgin) but doesn’t care to emphasise its import. Kinky af; initially, will ask his s/o to take sexy photos of themselves (bc too shy to take the wheel) but will later feel comfortable enough to dust off the camcorder for some « home videos »

A formidable terpsichorean, if ever there was one. Challenge this clown to a dance contest, if you dare. Just be prepared to feast upon the worn soles of defeat if your surname isn’t Chaplin, Keaton or Astaire.

Won’t hesitate to make the first move as Joker, occasionally alternating between gentle/concerned lover and callous, mildly sadistic, suffusing his gallows’ humour into the heat of the moment, often without meaning to or by force of habit. As such, will always apologise afterwards if he takes things too far, either by his manner of joking and/or by the intensity of his actions in the bedroom. Arthur, however, is more reluctant in his approach to intimacy, regardless of how long the relationship. Always courteous of his partner’s personal space, perhaps to a fault, considering his amorous relation to the other. He is nevertheless mindful and anxious of how to behave during sexual encounters; a childlike sense of wonder and curiosity is immortalised, in spite of extensive experience with the task at hand. Seldom discomforted by sex, if not simply needing a whit of reassurance to how well he’s doing. Essentially, to tell him that there’s no “right or wrong” in the mutual pursuit of pleasure/basking in the other’s presence.

LOVES singing in the shower. A vocalist to rival a legion of Sinatras. Could literally spend hours pruning under a fluctuating jet of steam and ice, ultimately risking multiple increased digits on the water bill, which is worsened by the addition of a lover to fill that remaining space and join in fervent duet. The crescendo of choir is only enhanced in quality by rhythmic echoes of neighbourhood complaints.

[torianimatesba2a]

Narrative Strategies - Session 5

Screenwriting

- Many screenwriters begin with a ‘ beat sheet’ - often a bulleted list of your story’s key events and incidents anything which moves the story forwards (just the main points)

- Writing an outline - a good way of developing your story before you fully commit to writing your actual screenplay - you may go back and forth between beat sheets and outlines

- Outline - written to visualise your story, like a short story but no need for fancy language, write for clarity in the story - 3rd person present tense, flesh out each beat by adding detail and description, think like a camera, can included scene headings/‘slug lines’ if you want

- Screenplay is about 1000 words, your reflective essay must be at least 800 to be considered substantial enough - the running time is estimated 1min per formatted page, around 150/220 words per page (no specific set word count per page as this depends on dialogue, scene action, formatting and use of whit space)

- Screenplay written in - Courier 12pt Font - BBC Writers Room screenplay formatting, Writer Duet and Celtx offer free screen writing software

- Your script should create the movie in the eye of the reader, think visually and you will write visually - Frensham 1996

- Evidence of Visual thinking - what works on screen/as animation

- 5 basic Conventions:

- - 1. Give each scene a heading (slug line) - Written in Caps INT/EXT, LOCATION, TIME OF DAY - A new scene begins each time there is a change in location or time (use CONTINUOUS to show there is no break in time)

- - 2. The slug line is always followed by scene action/description - the non dialogue part of the script - very briefly describes characters and locations keep description simple clear and present tense - limit to what you can see and hear on screen, character names in CAPS first time only, descriptions are brief, lead the eye - show us visuals in logical order

- Splitting the action - showing a series of actions place each action on a new line, good for MONTAGE/ SERIES OF SHOTS

- Spec Script is for a reader (not a producer) it rarely includes camera angles or scene transitions, however all scripts traditionally begins with FADE IN and end with FADE OUT and THE END (centre of page) but most cuts are not usually included

- - 3. Dialogue: Lay-Out: headed buy the speakers name, appears in a central column down the page with margins, singles spaced, less is more, film is primarily a visual medium, can be broken by lines of action and description

- - 4. Parentheticals: to show who a character is talking to, if tone of delivery contradicts meaning, mostly this lis left to the actors

- -5. V.O Voice over - someone not present in the scene (narrator, or voice on telephone, radio etc) O.S - Off Screen - present but not in shot

- Writing for animation vs Live Action - screenplay formula is mostly the same however animation is much more uniquely visual medium rather then live action

- Read screenplays of existing films you know well to see how things are written down

[ljones41]

“EMMA” (1996) Review

"EMMA" (1996) Review

There are times when I find it hard to believe I have seen at least four adaptation of Jane Austen's 1815 novel, "Emma", in the past year-and-a-half. Four adaptations. There have been a good deal more than four . . . but I have yet to see them. The last adaptation I saw turned out to be writer/director Douglas McGrath's 1996 film, which starred Gwyneth Paltrow.

Although the actress had been working for a few years, it was her performance as Emma Woodhouse that put her on the map to stardom. In fact, I would say that "EMMA" also proved to be a professional milestone for co-stars Jeremy Northam and Toni Collette."EMMA" turned out to be the second movie that featured both Paltrow and Collette as co-stars. And the movie also proved to be the directorial debut of Douglas McGrath. Was the movie worth the importance in the careers of the four mentioned? Perhaps.

I would never claim that "EMMA" was the best adaptation of Austen's 1815 novel. There were aspects of it that I found unappealing or troubling. McGrath's use of the Jane Fairfax character struck me as rather minimal. In fact, poor Polly Walker was barely able to speak more than five or six lines during her entire appearance in the movie. I got the feeling that the director/writer was not particularly interested in the character. And his limited use of poor Jane made me wonder why Emma would harbor any jealousy toward her in the first place. The characters of Isabella and John Knightley were barely used as well. I found this disappointing, since both have proved to be very interesting in other adaptations - especially the slightly rude John Knightley. Another problem I had with "EMMA" proved to be Ewan McGregor's portrayal of Frank Churchill. I do not if the problem was the actor or McGrath's writing. But the portrayal of the character seemed . . . off. Frank seemed more busy trying to hide his feelings for Jane, instead of forming any kind of connection to Emma. In other words, this movie did not do justice to the characters of Frank Churchill, Jane Fairfax, and the John Knightleys.

But despite these flaws, I must admit that "EMMA" turned out to be a very entertaining and first-rate movie. Personally, I believe that the movie's top-notch owned a great deal to McGrath's direction. The director shot "EMMA" with a steady pace that allowed the audience to enjoy the greater details of Austen's tale. This is really a well paced movie, despite the few nips and tuck McGrath inflicted into the story. "EMMA" could never bore me with a slow pacing. Yet, at the same time, it did not race by with the speed of a comet. Another aspect that contributed greatly to "EMMA" proved to be its comic timing. I honestly have to say that the 1996 film might be the funniest adaptation of Austen's novel. This was especially apparent in two particular scenes - the Westons' Christmas party, Emma and Mr. Knightley's conversation about Harriet Smith and Robert Martin, and a specific moment during the Coles' supper party that I cannot really explain with words.

There were changes to Austen's novel that many have protested against, but did not bother me one whit. Some have pointed out that Sophie Thompson had been too young in 1995-96 to portray the middle-aged Miss Bates. She was in her early 30s at the time. Even McGrath had initially rejected her for the role when she first auditioned. But once Thompson donned a pair of glasses that made her seem several years older. And the age range for middle-age is pretty uncertain - even to this day. One range stretches from the mid-30s to the mid-60s, in which Miss Bates would fit. Besides . . . Thompson's portrayal of the chatty Miss Bates is so deliciously funny that in the end, I am glad that McGrath had cast her in the role. Other changes include both Harriet Smith andEmma being rescued from the gypsies by Frank Churchill, the location of Emma's first meeting with Frank, and the convergence of both the strawberry picking and the Box Hill picnic into one outing.

Two of the bigger changes proved to be Harriet's reaction to Emma's engagement to Mr. Knightley and the circumstances that surrounded Emma's insult to Miss Bates. I found these last two changes somewhat of an improvement to Austen's story. I have always thought that Austen had glossed over Harriet's reaction to Emma and Mr. Knightley's engagement. After allowing Harriet to develop a crush over Donwell Abbey's master, Austen went out of her way to avoid or evade how Harriet might have reacted to the news. McGrath, on the other hand, approached the matter with a little more realism by allowing Harriet to react with tears. The other change featured Emma's insult to Miss Bates on Box Hill. In the novel and other versions, Emma's insult regarding Miss Bates' intelligence had been laced with humor. Emma's insult was tinged with malice in this version, due to her anger over the Eltons' cold reaction to Frank's regard for her. And instead of Jane Fairfax refusing to see Emma during the latter's visit to the Bates' home following the picnic, it was Miss Bates who refused to see her. Now many "purists" might have a problem with these changes. I did not. As far as I am concerned, these changes did not harm the story.

I can say this about "EMMA" . . . it proved to be one of the most beautiful looking Austen adaptations I have ever seen. I am not familiar with Ian Wilson's work, other than his photography for the 1981 miniseries, "THE FLAME TREES OF THIKA". And I have not laid eyes on that particular production in many years. I only hope that it looks as beautiful and lush as Wilson's photography in "EMMA". My God, I never thought that such lush and sharp colors could look so elegant. The look and style of Wilson's photography seemed to match Ruth Meyer's costume designs. The light elegance and pastel coloring featured in Meyer's costumes almost gave them an ethereal vision - especially those costumes for the female cast. Meyer had received criticism from those who claimed that her costumes did not accurately reflect the Regency decade or English fashion. I was too busy enjoying Meyer's costume designs to really care.

"EMMA" provided some first-rate performances from the cast. Well . . . let me rephrase that statement. From most of the cast. Poor Ewan McGregor was nearly defeated by McGrath's written portrayal of Frank Churchill and that damn wig he was forced to wear. The London Film Critics' Circle gave him the British Actor of the Year award. I am sorry, but I do believe he did not deserve this award. And he would be the first to agree with me, considering his past criticism of his performance. And poor Polly Walker was damn near wasted in her role as Jane Fairfax, due to McGrath's failure to give her any depth. And lines. There were times I felt that McGrath was more interested in Emma's reaction to Jane's "perfections" than in the character. But the rest of the cast fared just fine. Both Greta Scacchi and James Cosmo gave solid performances as Mrs. and Mr. Weston (Emma's former governess and Frank's father). I could say the same for Phyllida Law's silent portrayal of the defeated Mrs. Bates. Denys Hawthorne gave a charmingly humorous portrayal of Emma's father, Mr. Woodhouse. But I did not find his performance as memorable as some of the other actors who have portrayed the character. But there were performances that really knocked the wind out of me. Juliet Stevenson was hilarious as the verbose and vulgar Mrs. Augusta Elton. She was so perfect (and annoying) in the role that I found myself wishing someone would bash her over the head to stop her prattling. However, I could stand and listen to Sophie Thompson's prattling all day. I really enjoyed her portrayal as the equally verbose and pitiful verbose Miss Bates. I especially enjoyed her habit of loudly repeating a word or line in order for her silent mother to hear. Alan Cummings struck me as deliciously insidious as the fortune seeking Reverend Philip Elton. What I found amazing about his performance was his transformation from the slimy courtier to Mrs. Elton's henpecked and dominated husband.

The three performances that really caught my attention came from Gwyneth Paltrow, Jeremy Northam and Toni Collette. The latter gave one of the best comic performances I have ever seen in an Austen production. Her portrayal of the easily manipulated Harriet Smith reminded me of Debbie Bowen's portrayal in the 1972 miniseries. But I believe Collette injected more comic skill into the role. Although Jeremy Northam was slightly younger than the literary George Knightley, he easily conveyed the character's dignity and wisdom . . . and at the same time injected a great deal of wit and excellent comic timing into his performance. One of my favorite Northam moments turned out to be Knightley's silent reaction to Emma's duet with Frank Churchill at the Coles' party. Northam's Mr. Knightley looked as if he had found a worm in his salad and his expression had me shaking with laughter. Gwyneth Paltrow's portrayal of the well-meaning, yet snobbish Emma Woodhouse projected her into stardom. And I can see why. She not only gave one of the best performances in her early career, but I also believe that she proved to be the funniest Emma I have yet to see in any adaptation. Yet, at the same time, Paltrow did a great job in conveying Emma's more dramatic moments and character development.

Although I do not consider "EMMA" to be the best adaptation of Jane Austen's 1815 novel, I have to admit that Douglas McGrath both wrote and directed an excellent film. He was ably supported by Ian Wilson's beautiful photography, Ruth Meyer's gorgeous costumes and a first-rate cast led by the excellent Gwyneth Paltrow. McGrath's body of work may not have been that perfect, but I believe he can look back on his work for "EMMA" with great pride.

[cheuro-88]

https://youtu.be/JFm7_HF75BQ CUTE KIDS MEME This video is important to me, if you can share it with everyone it can save my YouTube channel: @cheuroworldnews It's amazing how such cute kids have become so famous on the web. These children appear to be musicians or singers from an early age. Happy viewing everyone. Video – AtilaKw. You can see it, comment on it, leave a like and share it, thanks.

[fandom-mess]

Haikyuu dream team

It just popped to my head .. what is your dream team from Haikyuu? If you had to pick your own squad, six players plus libero, who would it be?

my team:

Kuroo [Captain / Middle Blocker] - It took me a while to figure out that I like him. At first, he seemed bizarre to me, but I liked him for sharing his experience whit others, and how caring he is for his teammates. He is fun in private, and very focused and professional on the court. I think he is a good captain, a good player and a good person.

Iwaizumi [Vice Captain / Wing Spiker ] - I know that Iwaizumi's strength is in his duet with Oikawa, but I don't like how Oikawa outshines him. Iwaizumi is a competent player who makes good use of occasions. He is strong not only physically but also mentally. The guy is like a pneumatic hammer, he'll pass over you like a road roller. He is temperamental but rational, stubborn but reasonable.

Akaashi [Setter] - he is a really smart boy. People excite about Kageyama as a genius, respect Suga for experience, or are they finally amazed by the quiet Kenma as a strategist. Meanwhile, Akaashi is like the combo of the three. He is not as brilliant as Kageyama maybe, but he knows a few tricks and thoughts quickly, reacts properly. Just like Suga is competent and well-liked in the team and just like Suga is a bit like a team mum (at least he is a mum for Bokuto). Finally, like Kenma, he copes well with the strategy and uses it not only as a weapon against the opponent, but also as a tool that the team function properly (am I the only one who thinks it's cute as he has numbered all the weaknesses of Bokuto, and for each weakness he has prepared procedure?). Besides, he is simply beautiful, there are never too many beautiful boys on the team.

Bokuto [Wing spiker / Ace] - I still wonder who appointed this big kid to be a captain. Ok, I admit, he's here because he's enjoying me. I'm grinning every time he appears. And I love him in a duet with Akaashi. As a player, he has his weaknesses (Akaashi has a list), but how energetic he is his greatest strength. His attacks are powerful and when he is in a good mood there is no way to stop him. He could run through the wall and not even notice.

Tsukki [Middle Blocker] - Apart from the fact that I love Tsukki, it is not a coincidence that the core of my dream team is also the core of 3rd gym squad. I love this four (Tsukki, Kuroo, Akaashi and Bokuto) together and watching episodes during the training camp, I fell in love with the idea that they could be in one team. Like, how awsome is that? It fits so well, it's seem to be right. But returning to Tsukki. He is my favorite because he is smart, clever, sassy and doesn't tolerate this whole bullshit. The first time I saw him I thought to myself: what a jerk. Then, however, another thought came: ok, this jerk has a point. And then I was like: ooooh he is smartass. When he began to change, when he was learning how to be a better player, when he helped Hinata and Kageyama in class, finally when we get to know his brother's story, it grew in me that I really liked him. And during the match with Shiratorizawa I was in euphoria, like "YAAAS my baby is destroying people! In your face Ushiwaka!". I love his sass, how he is this salty hoe, but also his calm and logical thinking on the court. It's great how he plans a few steps forward, how patiently he can wait for occasions.

Yaku [Libero] - Yaku is great. It's such a small tyrant, it seems sweet, but trust me, you don't want to pissing off Yaku. This is a great Libero, and although he is not as characteristic as Noya,  you must admitted that it's hard to beat him on the court. Nekoma is known for not letting the balls out and he is the quintessence of this. I love how devoted he is to volleyball.

Kunimi [Wing Spiker] - I like him. I don’t know if there is a reason, I just like him. I really liked how he surprised Kageyama when he started attacking when the rest of the team was already tired. I am intrigued and I would like to learn more. He seems to be really smart, he has a good game sense.

these are my favorite guys from haikyuu. This is how they play volleyball is part of why I like them. I like to do such a list, it allows me to take my mind off of a hard day and focus on what makes me happy. Even if it's the little things.

[theladysilvermoon]

Notes for the Eurovision final:

Love the into number. Very dignified and respectful of Portuguese music and culture. And the modern electronic version and the way the countries were introduced was good too.

Ukraine: Melovin defiantly had one of the best stage performances this year, so he was a good opening number.

Spain: Another ballad, but a very beautiful couple whit some good chemistry.

Portugal: Yet another duet ballad, but also a very attractive couple, Claudia’s singing reminds a little of Coldplay.

United Kingdom: Right from the start the crowd is cheering on and it is a very english pop song. And then some asshole jumps the stage and ruins the mood. I hate when that happens, and SuRie was clearly upset but she pulled through and I love her for that.

Serbia is never gonna let us forget “Lane Moje” from 2004.

Germany: Ed Sheeran.

France: Just like the UK the crowd is cheering on for France, and it’s nice that the big five this year have songs that has alot of quality. And most of them are duo’s. However the song was generic.

Denmark: I can’t say enough good things about the danish vikings. It’s the first time we have sent a song with so much Nordic culture, atmosphere and intensity. It’s one of our best songs in Eurovision.

Australia: Me and a friend of mine came to the agreement that this song is like if Shakira did a pop song for a Disney movie - Oh wait.

The danish commentator about the Swedish singer: “those pants were sitting pretty good”.

I still think The Netherlands song is very good. There are so many different genre this year so why not some country rock.

Cyprus song reminds of Bulgaria’s song from 2016, with a touch of Helena Paparizzo’s “My Number One”.

I gotta say this is one of the best finals, so many good songs in different genres and diversity.   

[matwalerian]

AllAboutJazz - magazine and website for jazz enthusiasts and industry professionals - review - Matthew Shipp Quartet with Mat Walerian Michael Bisio Whit Dickey “Sonic Fiction” - by Don Phipps

"Sonic Fiction, an album chock full of bluesy, quirky, sonic landscapes that suggest a late-night visit to a Tom Waits' greasy spoon diner or a starless midnight walk along a creaky fisherman's wharf."

"... blues abstraction combined with elements of free music. The improvisations on Sonic Fiction are at times breathtaking. Explosive, dark, flowing, adventurous, and challenging, this is music that engages and at times explodes. Recommended."

"The music incorporates a mix of bop and free-improv elements. Towards the end, Shipp and Walerian perform a call-and-response with awesome technique (...) an intriguing exploration of blues abstractions and free playing that is as evocative as it is cerebral."

"On "The Station," Walerian sounds part Eric Dolphy and part David Murray (...) Walerian enters on alto at the halfway mark. His elevator runs jet up and down as Shipp and company explore multiple tangents."

Prolific composer and pianist Matthew Shipp demonstrates his craft on Sonic Fiction, an album chock full of bluesy, quirky, sonic landscapes that suggest a late-night visit to a Tom Waits' greasy spoon diner or a starless midnight walk along a creaky fisherman's wharf. Shipp gives his talented cohorts, Mat Walerian on clarinet and sax, Michael Bisio on bass, and Whit Dickey on drums, plenty of room to maneuver and paint their own sonic stories. The result is an intriguing exploration of blues abstractions and free playing that is as evocative as it is cerebral.

"First Step" opens with a bluesy intro. Walerian's alto sax has a closing-time drawl and Shipp paints a dusky picture with his piano chords. The bass and drum float lazily underneath. Shipp stays with the blues on "Blues Addition." This piece has a feel of drunken melancholy. With Bisio providing a bass counterpoint, Walerian uses the clarinet to create extended phrases that scale up and down the registers. He slaps his tongue across the reed for emphasis. Bisio plucks and twangs underneath Walerian's plaintive moans to add color to the late-night ramble.

On "The Station," Walerian sounds part Eric Dolphy and part David Murray. He uses his bass clarinet solo to sculpt legato phrases of deep somber long notes, howls, squeals, boisterous squawks, and soft tones. Another bluesy ramble, "Lines of Energy" gives Walerian the opportunity to improvise over Shipp's pecks and probes. Bisio aggressively works the bass and Dickey explores drum timbres and rolls. As Shipp rumbles on the piano, Walerian's sax lines dance above with squeals before the piece ends abruptly.

Shipp solos on "Easy Flow." He offers up a combination of bluesy formalism and loose counterpoint. The piano phrases are complex and discordant, probing but not dark. Bisio begins "The Problem of Jazz" with a robust walk. Walerian and Dickey enter in a fury. Walerian uses the reed to blow rattling pronouncements and Dickey and Shipp splash beneath. Dickey rolls and snaps the drum kit. Then, Bisio suddenly goes from a bass walk to a kind of slappy abstract blues line. The piece ends on a single bass note.

"The Note," a novelty, consists solely of a single high note that Shipp strikes on the piano.

Shipp commences "3 by 4" with some free playing and Dickey's aggressive drumming flows beneath the piano phrasing. Bisio works the bass up and down the neck. Walerian enters on alto at the halfway mark. His elevator runs jet up and down as Shipp and company explore multiple tangents.

On "Cell in the Brain," Shipp starts inside the piano with an eerie twang. Dickey adds a bass-drum effect. Walerian's legato phrasing on clarinet extends over Dickey's drum rolls. Shipp enters with emphasis and Walerian squeals and laughs his clarinet as Shipp begins a series of single legato notes. Walerian continues to howl and hoot but never loses control. Shipp adds a splash here and there, and as Walerian finishes with a few choice legato notes, he plays a note inside the piano.

On "Sonic Fiction," Walerian dances phrases above Shipp's piano lines. As the duet develops, Shipp plays some all-over blues abstractions before breaking into a full chord march. Walerian blows hot above. The duet ends when Bisio and Dickey enter, with Bisio producing deep bass lines as Dickey adds color underneath. The playing shifts to piano trio as Bisio busily bows the bass beneath Shipp's piano lines and Walerian's sax squeals above. The bass notes turn into hot lava, and Walerian effects the fiery splashes of volcanic eruption. After the extended trio, Bisio bows a long line and Shipp enters with strong piano-chord splashes of his own. Suddenly Bisio initiates a bass walk and the music turns to bop. Shipp plays inside the harmonics and Walerian produces high notes and low. The music incorporates a mix of bop and free-improv elements. Towards the end, Shipp and Walerian perform a call-and-response with awesome technique.

Like other Shipp albums, this one remains true to his vision—blues abstraction combined with elements of free music. The improvisations on Sonic Fiction are at times breathtaking. Explosive, dark, flowing, adventurous, and challenging, this is music that engages and at times explodes. Recommended.

read full review here :

https://www.allaboutjazz.com/sonic-fiction-matthew-shipp-esp-disk-review-by-don-phipps.php

[thedancingwoodpecker]

Inspiration of the month

Last week I had the honour and privilege of participating in LDIF2017 Festival run by Serendipity. Asha, Guille and I performed CLAY at the Attenborough Arts Centre. One of the few times I’ve come off stage saying that felt quite right! Probably a first for me! Amazing how long it takes for things to start settling! I feel like only now is the piece really making sense to me! We got a great audience response and the brilliant questions after the piece seemed to indicate that it really resonated with audience members. [I will be writing properly about CLAY soon!]. The day after the performance the festival screened Gurumbé: Canciones de tu memoria Negra, by Miguel Angel Rosales. The two are connected in so many ways, it’s great that the programers reflected that, I also want to write about Gurumbé properly! So many amazing things have been happening and as someone who processes things slowly, I’ve got a huge backlog of stuff I want to say!!!

What I wanted to write about today was day 3 of the festival (for me, the festival launches annually on International day of dance, 29th of April). Day 3 for me was the conference. This year’s edition centred around Identity and Choreographic Practice, I took part in the Colonial past, New Aesthetics panel. I didn’t end up saying any of what I prepared in my paper, but just the preparation for the talk, got me all excited and reminded me of my uni days (I secretly love ideas and thought and libraries!), it allowed me to analyse and think about my journey so far in a way that I never do. It also helped me realise how much I’ve come to know, over the years, about the unspoken politics of identity and heritage in flamenco!!! Yet again another topic for another day!! So let me get to the point!

I need to shout out loud about the buzz I’m still feeling from the conference! The whole day was a sharing of experiences and ideas from practitioners of African decent from the continent to across the diaspora although mainly the UK and US! Not only did I learn loads about key players in “Black”dance (if there is such a thing but for us to be clear) in the UK and US past and present but I got to meet all these trailblazers and inspiring dancers! Pinch me please! I would like to list everyone that spoke because it was such a pleasure hearing these different perspectives and experiences and then I’d like to focus on a few that have just blown me away! Delia Barker and Sandie Bourne spoke about the continued struggle for visibility for Black dancers in ballet. Sheron Wray, Terry Ofosu, Francis Angol and Kendrik Sandy spoke about recognising the critical place of improvisation as performance in re-inscribing Africa’s multi-dimensional aesthetic, this panel really resonated with me. I had the privilege of sharing the panel with H Patten, Nora Chipaumire and David Hamilton! 

Starting off the day was the incredible Joan Myers Brown. As soon as she started talking the inspiration began! I cannot begin to say how before even finding out about her incredible legacy as Founder and Artistic Director or Philadanco, amongst many other amazing accomplishments, her whit, elegance and poise were quite overwhelming, it felt like being in the presence of real royalty!! Then added to her determination, business mindedness and vision as someone who saw a need to create a nurturing space of excellence for black dancers, and so did, I was awe struck! I also have to add that Joan seemingly effortlessly continues to travel and tour with her company at the age of 84 and doesn’t look a day over 60. Impressed no lo siguiente!!

Here is a little videography of Mrs Myers Brown.

Somewhere during Mrs Myers talk I turned to look through the audience and I spotted Kristina and Sadé Allenye! Another pinch me please moment! I had seen them perform in Akram Khan’s Kaash when it came to The Teatro Central in Seville last year. They are both exquisite and powerful dancers of amazing skill, versed in so many different styles including African dance, hip-hop, contemporary and kathak! It was so heart warming to see them present at this conference, before heading off to their own rehearsals of their duet A Night’s Game which I can’t wait to see!

By the first break I was already enthused and so grateful to Pawlet Brookes the Founder and Artistic director of Serendipity for creating this space for this discussion, or just for bringing all theses amazing people together!

The panel on improvisation was opened by Dr Sheron Way, this is when I almost started jumping in my seat!! She gave us a little introduction into her work around Embodiology: 'A West African-informed theory of improvisation-as-performance’. Everything Sheron went on to describe about the relationship between music and ‘dancer’ ‘audience’ and ‘spectator’, rhythm and repetition was screaming Flamenco out to me!!! WHEN THE DOTS JOIN!!! I will say this, what Gurumbé ultimately suggests is that Flamenco is directly connected to West Africa not so much in its use of specific steps or even specific rhythms, which is what the study of Flamencology so often searches for to construct the history of Flamenco, but in the very construct and expressivity of the form. Here in Dr Way’s work is the actual breakdown, an almost scientific approach to how improvisation works in specific West African cultures such as the Ewe and Yoruba. I have goosebumps! Yes I have intuitively know this, but to sit and hear someone describe it so well was ground breaking for me! Thank you Sheron for this incredible work!

Here is a video of some of Sheron’s work, amazing to see her trajectory and how it has come together in her latests research on Embodiology: 

Last and certainly not least I have to mention the incredible Nora Chipaumire, we were on the same panel, but before seeing her work, just from some of her comments and a brief talk we had over lunch, I could tell she was a badass boss! What I found most inspiring was Nora’s expansive energy and poignant reflections. One of the only practitioners on the panels who was born on the African continent, Zimbabwe to be specific, she seemed to be coming from a place of assertion and working from the idea of being present, whereas I sensed that much of our discussion for those of us from the diaspora was centred around asking to be seen, or somehow looking for validation and to a certain extent inclusion. For me meeting Nora felt like a glimpse at what we should all be looking for: unapologetic dialogue. You come to my side for a minute, why do I always have to come to yours? Yes yes yes!!!

I don’t want to put any words in anyone’s mouth though, Nora speaks beautifully about her work in this recent CNN interview. (click to see)

I am also very excited because next week I will be attending a series of workshops she will be giving as part of Africa Moment created by Aida Colmenero Diaz which opens with a screening of Gurumbé: Canciones de tu memoria negra. Not to be missed!! Details for the full festival programme can be found here: https://www.facebook.com/AidaColmeneroDiaz/ 

Serendipity it is!

Here Nora Chipaumire captured by Andrew Boyle.

I am eternally grateful to people like Pawlet Brookes in her work through Serendipity, and Aida C Gomez for creating spaces, platforms and events where the work of these wonderful artists can be seen and experienced. I left feeling like had learnt so much. I am starved of these sorts of encounters so this was real nourishment!!