#hashtag shanty town

[foolsocracy]

can u two act like you like each other

[swanlake1998]

Article: Why I Left My Classical Ballet Job to Explore My Roots in Javanese Dance

Date: February 6, 2021

By: Cat Woods

At the peak of her career, dancer Juliet Burnett left the Australian Ballet to explore her Javanese roots. Now, the Indonesian-Australian ballerina is drawing on her heritage to expand the often narrow world of performing arts.

When Juliet Burnett smiles, the full gloriousness of her high-cheekbones and angular face are both feline and balletic, not dissimilar to the finely boned, regal faces of Javanese dancers. Her facial expressions, like her body — sculpted by almost two decades of professional dance — are deliberate and refined.

It's been five years since Burnett left The Australian Ballet at the peak of her career, having been steadily promoted, over 13 years, to the role of senior artist within the Melbourne-based company.

From her family home in Sydney, where she is temporarily living while borders are closed for travel due to COVID-19, Burnett is fired up about the attitudes of classical dance. She has memories of feeling like an outsider amongst a largely middle-class, white company that espoused creative adventurism but failed to appeal to — or recruit — more than a couple of Indigenous dancers, nor to make the Asian-Australian dancers in the company feel that their cultural heritage was encouraged in the imperial values of classical ballet. "Black dancers, Asian dancers, and dancers of color aren't made to feel like their cultural provenance is celebrated," she tells Allure.

"I felt like the role of women in classical ballet is to be subservient," she says now, reflective and thoughtful in her wording, though not cautious. Burnett is not one for tip-toeing about. "Not just the roles for women, but the very system of classical ballet.”

The Australian Ballet encountered backlash in June this year after it published a black square on social media. The national ballet company was accused by its Instagram followers of being "lazy," doing the bare minimum in its response to Black Lives Matter.

In 2019, in a review of the Australian Ballet’s version of The Nutcracker for Australian arts publication Limelight Magazine, the critic viewed the production as perpetuating "racialised stereotypes of Chinese characters." The lack of diversity in the ballet industry as a whole has been brought to public conversation by numerous dancers over recent years, including Misty Copeland, who, via a  2019 Instagram post, called out dancers who were in blackface during a rehearsal for a performance for the Bolshoi Ballet in Moscow. (Following the post and media coverage, the New York Times reported that the general director for the Bolshoi said in a statement at the time that the ballet company "will not comment on the absurd allegation" of racism.)

A statement provided to Allure from The Australian Ballet says: "The Australian Ballet aims to reflect the diverse Australian community that we operate in and foster an inclusive environment for all. We’re continuing to learn and we are working on longer-term strategies to increase participation in dance across all communities, and provide more access to The Australian Ballet for all Australians, it may take time, but we are committed to working on the bigger picture."

The statement continues: "The Australian Ballet recruited its first Indigenous dancer [Ella Havelka] in 2012, and since then has recruited a second First Nations dancer."

While Burnett would eventually become an outspoken advocate for diversity in ballet, her experience with dance began without an agenda towards a career, nor even the intention to practice classical ballet.

"My grandmother, Raden Ayu Catherine Ismadillah Brataatmaja, was a professional Javanese dancer," she says. "As soon as I was five, my mother was curious about whether dance was in my blood too, so she enrolled me in ballet with the idea that I could follow in her footsteps. She was totally not a pushy dance mum."

Brataatmaja was the star palace dancer of the Surakarta Sultanate (Javanese monarchy in Indonesia), performing the royal court dance Bedhaya Ketawang for Indonesian royalty. Widyas Burnett, while also fully encouraging her daughter to embrace classical ballet, endeavored to make the costume for 14-year-old Juliet's first school choreographic effort, "Campursari." The final number combined classical ballet moves with Javanese dance positions, set to the soundtrack of traditional gamelan music.

Like many young dancers who are recruited to train endless hours through their pre-teen and teenage years to be auditioned for international ballet schools, her talent was spotted by her dance teachers, Valerie Jenkins and Christine Keith. Her graduation from The Australian Ballet School led to the beginnings of her career in 2003. As a dancer with The Australian Ballet, she embodied Odette in Swan Lake, Juliet in Romeo and Juliet, Giselle, and La Sylphide.

In 2011, Burnett was awarded the Khitercs Hirai International Scholarship, intended to allow members of The Australian Ballet companies to travel internationally. She used the scholarship to visit Indonesia to study her grandmother's art of Javanese dance and to initiate workshops for Indonesian kids — particularly those in underprivileged "slums" along the Ciliwung riverbank in Java. Burnett also trained in the theatrical, dance, and meditation techniques as pioneered by her uncle, the actor, poet, and activist, W.S. Rendra.

"When visiting my Mum's side of the family in Indonesia, we'd arrive in Jakarta and there's this big fly road that was built during Suharto's time, and you go across this modern freeway and you peer down the side and there are all these shanty towns," she recalls. At a young age, Burnett was struck by the financial inequity in such a big, prosperous city. Her parents were very open about the fact that many children didn’t have access to clean drinking water, but "then I'd go to my aunt's place and have a beautiful home-cooked meal and watch their big screen TV and everything’s clean and they’ve got their maid cooking for us." Once her dance career started taking off, she "wanted to go back and try and reconnect and bring something back to [those children]."

"Ballet dancers can live in a bubble," she says. "The level of training, rehearsal and performance becomes more than work, it's a lifestyle. I knew, from early on, that I would have to work to maintain my curiosity for other cultures, other forms of dance, to ensure I was not losing my own spirit."

There was no sudden event that resulted in Burnett's choice to leave The Australian Ballet. In fact, Burnett says she had been open with the Ballet from the beginning of her tenure about the fact that she found the hierarchical structure to be outdated and felt that it clashed with her values, and saw the system of promoting dancers destroy careers. Since leaving The Australian Ballet, Burnett has been more creative and vocal in demonstrating how dance can be a political and social statement, and provocation to limited perspectives on culture, poverty, justice, and gender. She created and shared “Injustice: a short film” on her website last year. To get the clips seen in the film, Burnett made a call out on Instagram, inviting people to submit videos of themselves following her choreographic instructions.

In pre-pandemic times, Burnett resided in Belgium, where she is a dancer for The Royal Ballet of Flanders. Burnett has also just launched her own company, A-Part. "It's purely online for now," she explains, "but obviously, once the travel restrictions allow and it is safe to do so, it will be a real-world dance company that travels and performs."

For Burnett, working with the Pina Bausch Company and alongside Akram Khan as a first soloist dancer with The Royal Ballet of Flanders allowed her to shake off the shackles of rigid, classical training and methodology in favor of the liberation, the sometimes feral and primitive nature of contemporary dance and to finally indulge her need to journey into her own Indonesian roots.

"What's wonderful about the Royal Ballet of Flanders is that it's enabled me to dance the choreography of Pina Bausch, Akram Khan, and Édouard Lock, all these contemporary choreographers who I'd never have had access to in Australia," she says. "After I left The Australian Ballet, I wanted to delve into my artistic identity."

Burnett's activism has been creative, positive, and aligned with her belief that education and collaboration are the only ways to provide inclusive, safe environments for those in the dance world. She has presented master classes in collaboration with Ballet.id (Yayasan Bina Ballet Indonesia), which is a non-profit foundation enabling partnerships between Indonesian and international dancers and academics.

In an essay for Pointe in August, writer and educator Shaté L. Hayes writes that the only meaningful response to racial insensitivity within ballet is to genuinely commit to change within ballet schools through major companies. Posting PR-approved hashtags isn’t enough.

David McAllister left his role as artistic director of the Australian Ballet last year. In the statement provided to Allure, the new artistic director, David Hallberg, says, "The future of The Australian Ballet will continue to uphold the rich repertoire of classical ballet but as well, search for new ways to communicate the spirit of dance in this country. I am absorbing the diversity that makes Australia the great country it is, full of varied voices in dance, music, and art, that will be a part of building the repertoire at The Australian Ballet."

That can't happen too soon. Burnett's bravery in speaking of her own experience of working within the ballet world as an Asian-Australian also echoes the experiences of Black, Latinx, and multiracial dancers internationally. “For those of us who were mixed race or fully Asian, Black, or a dancer of color, the ballet world can feel really homogenous, and difficult to find your place and to find a way to celebrate your cultural identity with truth and authenticity,” Burnett says. “It’s important not to be afraid to question the systems that we work in, to say things to your directors. I really hope for a day when the structures we work in don't ask dancers to be mute, subservient, and to comply all the time."

[newx-menfan]

(Not Comics...but honestly I'm pretty mad about this...) "Hooverville" is- A shanty town built during the Great Depression by the homeless. Named after the 31st President Herbert Hoover; the President during the onset of the Great Depression... News won't call these camps what they are, and in some areas like Denver, camps are being swept despite officials promising not to clear these camps during COVID AND the CDC's advisement against it; because people are "complaining", and to cover up the homeless/housing crisis happening. This isn't just CO; other states are seeing similar camps cropping up. If our Government in not going to provide things like rent relief, Coronavirus testing, or another round of stimulus checks; we should at the very least christen these camps with an accurate name- "Trump Dumps". Have Trump's legacy be marked, not by towers or casinos, but by the people who have been utterly abandoned by this crisis. With mass eviction happening, this problem is only going to get worse. Don't let this be ignored or silenced by officials pushing the homeless out of public eye, so our government can be spared the humiliation that they are leaving people to live in tents because our country doesn't have affordable housing. So our government can cover up its TERRIBLE handling of a pandemic that left thousands of Americans vulnerable. Reblog this. Use the hashtag '#trumpdumps'. Write to government officials, like Denver Mayor Michael B. Hancock, who is currently sweeping these camps. Or to newspapers essentially playing up the moral panic of these camps, ignoring how they came about IN THE FIRST PLACE. But please remember- with rent and eviction, and the high possibility of a second wave hitting the U.S.... The homeless have nowhere to go. They can't stay in shelters because many shelters are seeing Coronavirus outbreaks. Many can't make money panhandling because people are scared to get near them with the virus. Some states are providing things like toilets, showering, and campgrounds...others are not. These are people who are desperate and deserve kindness. Treat people how you would want to be treated- because with the way things are going, anybody could end up in their situation. (Okay- PSA over!)

[fromrusttoroadtrip]

Welcome to the Transfăgărășan, one of the most spectacular and one of the most dangerous driving roads in the world.

The road climbs over 1600m in just 17km of daring switchback turns and hairpin bends. It was crowned by Top Gear as “The Best Driving Road In The World”, and 40 people died whilst building it. It has 830 bridges, 27 viaducts and 5 tunnels, and was constructed using dynamite.

As you begin at Cârţişoara, you pass by wooden chalets and weave between the river, the road begins to climb, and the mountains loom tentatively in front of you. The views are mysteriously withheld from you by the forest of trees as you climb in anticipation. You catch a glimpse of a heart-stopping drop beside you but you press on.

As the network of bridges and tunnels reveals itself in full, you can see why this road is called Ceaușescu's Folly. It’s impossible, inexplicable, as near to a vertical climb up a mountain as you can get in a vehicle. 

The peak beholds Balea Lake, encircled by a sort of shanty shack town of women selling strong wine and honey. Then you pass through a solid half a mile of mountain, the longest, darkest section of mountain road, which brings you out on the descent, an equally as unfathomable snake of Tarmac draped across the sheer edge of the Făgăraș mountains, which surround you and cradle you on your slow decline back to earth.

#Follow the hashtag #Fromrusttoroadtrip to follow our van conversion project and our travels around Europe! 🌍

[himachalguide]

The Earth has music for those who listen🎶 Location: Marhi, Manali Leh Highway Marhi is a "shanty town of roadside restaurants" in Himachal Pradesh, India, located midway between Manali and Rohtang La on the Manali-Leh Highway. Buses traveling the highway often stop in Marhi so passengers can eat. The settlement is seasonal, with most businesses closing for the winter. @wikipedia - Share your HD images with us on himachalguide.in@gmail.com Use Hashtag #himachalguide or simply tag us @official.himachalguide in your photos to get featured on Himachal Guide ☺️ Pic Courtesy: @bhartichandel21 👩‍🌾 - #indiantraveller #mypixeldiary #indianshotz #marhi #lehmanalihighway #rohtangla #cloudyday #cloudysky #hillstation #hillview #hillsabovetheheaven #tophill #gogreen #awesomeview #awesomeweather #travelrealindia #indiafeatures  #himachalgram #himachalwonderland #travelgram #travellinggirl #indiangirlswander #chorionroad #wanderlust #travelphotography #mobilephotography #himachaltourism (at Marhi) https://www.instagram.com/p/B-7RFAiJW296k9l87oFrNaXJK3H6DR5cklA7lA0/?igshid=ex7tl95fprcs

[pandasmash90-blog]

Fish Stories (+ mini-story below) _____ Story extract: "FIND ME" That's what was written on the wall above the body. The wallpaper was starting to curl back. It was an old building and the damp and rot were rolling the lime green floral print down to the floor. If they'd come here a year later the job might have already been finished, then instead of crumbling floorboards the body would have been surrounded by several puke coloured burritos. He smiled at that thought and took another sip from his drink. The words would have still been there, though. "FIND ME", painted in big, red capital letters with the corpse's blood. Fucker. It wasn't enough to kill the guy, the murderer had to boast about it, too. They'd probably get away with it; since the water levels rose and the Thames reclaimed London, everyone got away with everything. The government had been pushed up North, the police force had suffered so many budget cuts that it looked like it had bought a trampoline with a paper shredder underneath, and half of the city was a drowned shanty town. Yeah, everyone got away with everything, but you could make good money from chaos. He looked up at the window of the basement bar. A shark was swimming by it. It flicked it's tail from side to side, and then it was gone. _____ Composite created using: @photoshop Images from: @pexels & @pixabay _____ The hashtag vault: #imagemanipulation #scifi #shark #edit #photoshop #Photoshopart #fantasy #creativegrammer #fxcreatives #digitalart #creativemobs #infiniteartdesign #theuniversalart #thegraphicspr0ject #thecreativers #ministory #shortstory #pulpfiction #alternateworld #waterworld #unknownperspectives #launchdsigns #xceptionaledits #bookcover #red #darkworld #detective #blood #crime (at A Dive On The Dark Side) https://www.instagram.com/p/Bxp1S1pH9jZ/?igshid=1mkq2r72hcven

[brittanyinterviews]

Simone Anne, Wedding, Travel, and Commercial Photographer

Simone Anne, Wedding, Travel, and Commercial Photographer

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This interview was conducted via email in October 2019.

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Brittany: How did you get into wedding, travel, and commercial photography?

Simone: I started with photography my senior year of high school when I took a black and white film photo class. I’d love to say that it was love at first click, but it was just something I enjoyed (although, true to my obsessive nature, I spent hours and hours in the darkroom on weekends, so I must have loved it in some way). I was finishing up a roll of film at the park taking photos of my mom when she got tired of me taking her photo. My mom, who doesn’t love being in front of the camera, pushed me towards another woman in the park. “Excuse me,” I said. “I’m taking a photography class at the high school and need to finish up this roll of film for school. Do you think I could take a few photos of you?” She said yes, I awkwardly manually focused and snapped some images. Then she turned to me and said, “I’m actually a professional photographer.” Shanti, the photographer I met in the park that day, became my mentor, friend, inspiration, and more. She’s a wonderful human, inspiring business owner, and incredible photographer. Without her and this chance encounter in the park, I would not have gotten into photography and it would not have turned into my career in this way.

Brittany: Can you describe a typical day as a professional photographer?

Simone: I am very much not a routine oriented person and one of the big things that I love about my role as an independent business owner is that for the most part, I get to mold my work days to how I’m feeling. There are (of course) photography days where I am working with clients with my camera: Usually we’re outside, exploring around, and having a ton of fun. I love these days so much. I also love editing days, where I tuck myself in at my desk, put on an audiobook or podcast (I listen to a TON of audio in this role and love it very much), and make the images match my vision.

A huge part of my job is also back end things: I send a lot of planning and organizing emails, talk to my clients on the phone a lot to help them plan their day or pick their photographer, and work on various web things. For commercial jobs or travel jobs, I’ll put together fancy pitch / proposal decks to get the job, go back and forth with them on the phone and via email to make sure all of our plans are set, and more. Most of my wedding photography clients find me through Google and I spend quite a bit of time working on my website, dealing with pages and content that drive traffic, and working on the back end things (I don’t have a developer so it’s all just me). There’s always a lot going on and I am a work-a-holic who loves to get everything done as soon as possible, always.

Brittany: Can you describe the process of planning an engagement, wedding, or elopement shoot with a couple, touching on logistical details like timing, picking locations, and mapping out the kinds of photos you'll be taking?

Simone: My biggest goal for a wedding is this: I want my clients to have their dream day, whatever that is. I ask questions to help them narrow in on what kind of day they want and what that might look like and then I make suggestions as to how photography can fit into and augment that. I always tell my clients, “I’ll never tell you what to do, I’ll just tell you what your choices mean.” What this means is that I’m never ever leaving them hanging, but I will make whatever they want work, as long as we’re realistic about the timeline and build in the time they need for their dreams to come true. It sounds very up in the clouds, but ultimately it means that the way that I do it, wedding photography is a super fun and rewarding part of an overall joyful wedding day where we get exuberant, meaningful images that are beautiful, too.

That being said, in terms of locations and timelines, I do make suggestions. For locations, I like to get a general sense of where clients love (ocean, mountains, town, etc.) and make suggestions from there. I have a HUGE library of past work and can often share that to inspire locations, otherwise I am always scouting and exploring and love to share new finds.

In terms of the kinds of images I am going to make, I feel so lucky to have clients that trust my vision completely. I am always happy to work in a request or two, but mostly my clients come to me without anything except love of my work and trust in me and it really opens us up to a super fun and rewarding experience working and creating magic together.

Brittany: Many of the moments you capture seem so natural and your subjects seem far from stiff. Do you find yourself directing your subjects? How do you make them feel comfortable in front of a camera?

Simone: I absolutely direct and pose clients, but never in a way that asks them to stand there and hold a moment. I believe that good “posing” is less about telling you how exactly to position your body or interact with your partner, but more about figuring out where your body is its most comfortable, most you, most beautiful, and how you and your partner most naturally fit together. It’s pretty common for me to get on the phone with a potential client and have them tell me that while they love the natural, candid look of my work and want that for their own photos, they don’t actually feel that relaxed in front of the camera. This is very normal! I do a fun kind of posing that lets my clients relax, have a wonderful time, AND come away with photos they absolutely love.

Brittany: You've worked with brands like CLIF Bar and United Airlines. How does a commercial gig come to be?

Simone: I’ve gotten my biggest commercial gigs through Instagram, where clients are looking for a powerful combination of high quality photography and a strong social media presence. Most of these clients have then licensed images for other use after the fact as well.

These types of jobs have led to other commercial and editorial jobs as well: Word of mouth and experience of course go a long way.

I am not a high production commercial photographer who manages production teams of 30 people over a week in a big company’s office building. That’s just not what I do or what I am interested in, so in that sense “commercial” is perhaps not quite the right industry word, although I am working with commercial partners on big jobs.

Brittany: How has your business grown or changed over the years?

Simone: Over time, I’ve dialed in my voice and my work to really and truly represent who I am, how I approach photography, and how I work on a wedding day. With a strong voice (or brand) and strong images that fit within that story, the clients I work with these days are people who I utterly and truly love and who are SO excited about my work (beforehand, on the day of, and when they get their gallery). It’s ideal because it works as a win-win all around for my clients and myself and I am endlessly thankful for the wonderful relationships and jobs this has brought me.

Brittany: In addition to being an amazing photographer, you're clearly a UC Berkeley grad in that you steep yourself in local and global issues. Is there any issue you think more people should be paying attention to right now?

Simone: I don’t understand why managing climate change isn’t our number one priority at all times, above profit, above politics, above everything. The concept that there are people out there who don’t believe the science boggles my mind and I find our lack of care for the planet embarrassing and upsetting.

Brittany: You're definitely an expert in social media and have a background in marketing. If you could share one tip (or even a pet peeve) on how to use social media better, what would it be?

Simone: Honestly as our social media lives and IRL lives become more and more intertwined, my advice for both is the same: Focus on being interested, not just interesting, and the rest will follow.

I’ll follow an interesting account that doesn’t know how to use hashtags over a glossy, perfect account any day and overall those accounts and people that build a real rapport or community will always have a voice that outlasts the social media platform and usage tactic of the day. All that and you didn’t sell out! ;)

Brittany: Have you always been interested in photography and art in general? Can you describe your first "art memory"?

Simone: I have always been interested in art and writing, but photography was a later interest acquisition. I grew up without a television and while it meant I miss out on a TON of pop culture references, it also meant I just kinda putzed around and created a lot as a kid.

I was really, really into scissors as a young child and created a lot of collages and cut paper art. (I still love doing this, haha).

I also wrote a LOT. My parents still have so many little homemade books: For example, I had an adventure series I wrote about a girl who liked to explore outside named Art with probably five or six “books” in the series. I’ve also kept a journal since I was six years old. I’ve written in them a few times a week pretty consistently my whole life and I have a printer box full of old thoughts, worries, interests, travels, and more. And since everybody asks if this comes up: I don’t really read through them! Maybe one day I will, but for now the joy has been in the writing and exploration of them.

Brittany: I know you're a writer and have been making pottery for a few years now. Have you ever experimented with other creative mediums, like video?

Simone: I’ve never played with video professionally or even with my camera, but I’ve fallen in love with video on Instagram Stories! It’s such a versatile medium, where you can meld sound, movement, and vision to share a true sense of place. I’ve considered experimenting with this “for real,” so to speak, but video editing is time consuming and a true art.

Brittany: You've traveled all over the world, including places as far as South Africa and India and as close as the John Muir Trail here in California. What's on your travel bucket list?

Simone: I want to spend more time in India, for sure. Getting just a month in only a few of the Northern states was seriously not enough. So much to explore (and eat!) and so many interesting, historic, and beautiful things to see. Other than a return to India, I want to spend some time in Bolivia (I have tentative plans to be there for a job next fall!), explore Greece and Portugal, and get back to Africa (not sure what’s at the top of my list, but possibly Egypt, Ethiopia, Tanzania, Rwanda, Morocco… Ahh, so many ideas). In short, everywhere!

Brittany: What can we expect to see from you in the future?

Simone: I want to work on more editorial and travel projects, am interested in pursuing writing more seriously, and will continue to photograph rad couples getting married with joy and intention (so, more of that). I really love the life I’ve built and right now I just want to continue that: Grow and finess my business, travel more, and pursue some personal projects as well.

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Photo by Karen Santos

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Special thanks to Simone for discussing her work with us. You can follow her work on her wedding photographer website, travel and editorial photographer website, travel, editorial, life Instagram, wedding Instagram, Twitter, and Pinterest.

[tempi-dispari]

New Post has been published on http://www.tempi-dispari.it/2017/06/12/ambria-music-festival-dal-13-luglio-ad-ambria-bg-ledizione-2017/

Ambria Music Festival: dal 13 luglio ad Ambria (BG) l'edizione 2017

Due finesettimana di musica, in una miscela di generi che faranno vibrare Ambria (BG) e l’intera Val Brembana. E’ Ambria Music Festival, che torna anche nel 2017 per la sua XV edizione. Un evento ormai ampiamente radicato nel territorio bergamasco all’interno della rete di festival Bergamo Suona Bene nonché uno dei festival più importanti della Lombardia. Per prima cosa le date e il luogo: 13-14-15 luglio il primo weekend; 20-21-22 luglio il secondo, presso l’ampia area coperta (2300 mq) che consentirà lo svolgimento dei live anche in caso di pioggia ad Ambria, 15 km da Bergamo nelle frescure delle terre brembane. E poi il cast: 18 artisti nazionali e internazionali fra rock, folk-metal e reggae per 6 serate di concerti tutti ad ingresso gratuito. Ecco il calendario:

Giovedì 13 luglio Giorgio Canali & Rossofuoco + Pinguini Tattici Nucleari

Venerdì 14 luglio Randy Valentine + Forelock & Arawak Reggae

Sabato 15 luglio Folkstone + Ambramarie

Giovedì 20 luglio Freddie McGregor + Big Ship Band feat. Chino & Di Genius

Venerdì 21 luglio Talco + Gotto Esplosivo + Crancy Crock

Sabato 22 luglio #NoHeroes: MOOSTROO + Arcane of Souls + Pugni Nei Reni + Trevisan + OTU + Rich Apes + I Pesci Solubili

Ambria Music Festival 2017 si aprirà giovedì 13 luglio con Giorgio Canali & Rossofuoco, nome storico e mai domo del rock italiano. Negli anni diventato un autentico culto, la chitarra di CSI e PGR si porta appresso la forza trascinante di una produzione composta da canzoni veloci, potenti e abrasive che non evitano di mettere il dito nelle contraddizioni del nostro tempo grazie a testi spesso sarcastici e incisivi. Con lui i fedeli Rossofuoco, che con Canali formano un portentoso power-trio. In apertura l’indie-rock ironico e dissacrante di una band bergamasca in ascesa come i Pinguini Tattici Nucleari.

Venerdì 14 luglio sarà la prima delle due serate #AmbriaLovesReggae con uno dei giovani artisti reggae più interessanti in circolazione: Randy Valentine, singer versatile proveniente dalla Giamaica, è giunto subito al successo con il suo mixtape di debutto “Bring Back the Love” del 2012, a cui sono seguiti l’ep “Break The Chain” e “Still Pushing” che sono arrivati in vetta alle classifiche consacrandolo definitivamente nella scena reggae internazionale. Nel tour mondiale di promozione del suo ultimo singolo “Same War”, Valentine sarà accompagnato da Forelock & Arawak, voce fra le più promettenti del nuovo reggae italiano.

Sabato 15 luglio tocca ad una band instancabilmente in tour: i Folkstone e il loro folk-metal che unisce chitarre elettriche e strumenti tradizionali come cornamuse, bombarde, arpa, cittern, bouzouki, ghironda e flauti. Porteranno ad Ambria un concerto al contempo energico e suggestivo, una grande festa popolare dove la musica e il pubblico sono entrambi protagonisti. Tuttavia nelle canzoni della band, come ad esempio in quelle dell’ultimo lavoro “Oltre… l’Abisso”, non manca uno sguardo critico sul presente, spesso raccontato attraverso storie di personaggi insoliti. Apertura assolutamente degna quella di Ambramarie, “girl in rock” dalla straordinaria carica live che scalderà a dovere il pubblico.

Il secondo weekend di Ambria Music Festival si apre giovedì 20 luglio con l’altra serata #AmbriaLovesReggae di questa edizione. Acclamato da un pubblico internazionale, vincitore di un Grammy, Freddie Mcgregor ha contribuito a modellare con i suoi testi e il suo stile Philly-Soul il reggae degli ultimi 50 anni. Il suo ultimo progetto “True to My Roots” testimonia quel mix di esperienza, intensità e saggezza che è la sua musica oggi. Ad accompagnarlo la Big Ship Band e i figli Chino McGregor e Stephen Di Genius McGregor, entrambi affermati musicisti della scena reggae mondiale. Ad introdurre lo straordinario show della famiglia McGregor, Vitowar, Shanty Sound e Serious Thing ormai di casa a #AmbriaLovesReggae.

I Talco saranno venerdì 21 luglio ad Ambria per una serata che si preannuncia infuocata. La band veneta rappresenta ormai una delle realtà ska-punk-folk più interessanti d’Europa. Abituati a interminabili tour internazionali e osannati da migliaia di persone nei più importanti festival del continente, i Talco saliranno sul palco brembano per una delle poche date italiane del “Combat Circus Goes to Silent Town Tour 2017”. Ad accendere la miccia della serata il punk-rock dei Crancy Crock Punkrockers e l’energia indomabile dei Gotto Esplosivo.

La chiusura di Ambria Music Festival 2017 sabato 22 luglio è un grande ritorno: quello di #NoHeroes, serata organizzata in collaborazione con #hashtag come omaggio a David Bowie. MOOSTROO, Arcane of Souls, Pugni Nei Reni, Trevisan, OTU, Rich Apes e I Pesci Solubili testimonieranno l’ottimo stato di salute della scena musicale bergamasca. Post-punk, cantautorato, sperimentazione, folk, punk, psichedelia e molto altro saranno gli ingredienti di una serata per tutti i gusti, dove non mancheranno sicuramente le sorprese.

Sarà questo l’arrivederci di Ambria Music Festival al 2018, quando la Val Brembana tornerà a risuonare di amplificatori tirati al massimo, ritmi in levare e serate che rimarranno nella memoria.

Link http://ambriamusicfestival.it/ https://www.facebook.com/ambriamusicfestival/

[himachalguide]

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