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qedavathegrey · 5 years ago

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Untangling The Witch

I have seen things and I have things to say. It’s generally not my policy to be inflammatory (even if doing so is justified), because this is the internet and I know some of y’all don’t listen, can’t read, and love to argue, but on this day I’m gonna say my piece. If you’re trying to start anything but constructive discussion, know that you are not worth my time, I’m am the manager and the customer is not always right. That being said — and in keeping with the (loose) topic of this blog — we need to talk about witchcraft, namely the term “witch” and its definition. That’s where we’re starting anyway. I’ll add that I’m not a scholar of witchcraft specifically (though I do have an applicable degree), I’m not infallible nor do I claim to be. But I do know some things. I’ve been around the proverbial block. And I’m familiar with some of modern witchcraft’s confusing nature. We’re not going to touch on all of that (it would merit a class, this is only a lesson), but we’re gonna broach the surface.

Let’s start with The Witch, uppercase.

Who is The Witch, you ask?

Historically and cross-culturally, The Witch is a scapegoat: the one who sows discord and misfortune. Your cows mysteriously stop producing milk, your garden withers and dies, your children fall ill with fever or seizures? That’s The Witch, up to their old tricks. In this capacity, The Witch is a (semi-)mythical figure, always defined by the culture which produces it. That being said, how The Witch is dealt with varies: sometimes charms or wards are remedy enough (as with most unsavory spirits), but some would seek The Witch amongst themselves, demand responsibility. They would root The Witch out, have them punished for their “imagined” transgressions, force personal responsibility and demand they face the appropriate consequences or make their reparations. That’s the most basic and encompassing breakdown, nonspecific because in this case it doesn’t need to be. I know what you’re thinking: “Wait a minute, so you’re saying The Witch doesn’t exist as a real flesh and blood person, only a mythical scapegoat?” A good, valid question. Yes and no. Yes, The Witch is mythical, but does that mean those who practiced magic did not engage in summoning up blights and misfortunes on their bastard neighbors? Unlikely. Was everyone accused of being a Witch engaging in malicious magic? Absolutely not. Did some? Almost certainly. To be clear, however, what we’re not discussing here is the Witch Trails. The Church complicates matters (shocking) and we’ll touch on that briefly later. Instead, we change course now so that I might make my most important point:

Any user of magic does not a Witch make.

In fact, the aforementioned process of rooting out a Witch usually employs magic in some capacity, be it shooting an effigy with a silver bullet or putting the victim’s urine in a jar (two methods that are culturally specific). The witchmaster — to use a specific term broadly; one whose function is to discover and undo witchcraft — is, obviously, not a Witch, despite his or her magical proficiency. Nor those who practice folk magic, folk medicine, etc. That is until the rise of the Catholic Church, undoubtedly the origin of the conflation we see today (then expounded by Gardner and his various successors). Why is this such an important fact? Besides erasing nuance and betraying a misunderstanding of the term historically, it can be offensive and often times racist. Someone who practices Hoodoo, Curanderismo, or any specific cultural practice is not a Witch (or “witch” lowercase, for that matter) and to deem them such erases the history which produced not only the practice itself, but those who have dedicated themselves to it. These practices are borne from folk magic, often allowing for the survival of those maligned and thus underserved by their oppressors. They are largely passed orally and as such are preserved from unwanted influence. That is not to suggest they are static or unchanging, but curated by the knowledgeable and shared with those who are invited and trusted to put in the labor required. Even those practices which borrow from the magics of Europe and folk Catholicism (popular during the colonial period amongst commoners and thus, transported to the New and Old World alike), are not Witchcraft. During the Inquisition, the distinction between magic and witchcraft was upheld (to an extent that was convenient for the Church). See the Sicilian trials, where the Church bitterly shrugged when they couldn’t place the Devil in their folk practice. In fact, the Church maintained a disbelief in magic and only when they could insert the Devil did they bother with formal prosecution. That, however, is not something I’m going to unpack. Do know that Witchcraft was and is often used to excuse persecution: it is invisible and convenient. Remember, not only The Witch is a scapegoat, but so too the one accused. This does not extend to modern witchcraft, but many of the aforementioned folk traditions are unjustly maligned because of their presumed association with Witchcraft. All the more reason not to include them in your discussions of witchcraft.

But this does bring me to another important point:

Religion is not Witchcraft.

Vodun is not Witchcraft, Santeria is not Witchcraft, just as Hinduism and Islam are not Witchcraft. They are religions, they have frameworks which define all that happens within and without, and without understanding that framework, what magic they produce is not for your consumption. Period. And reading half-baked internet breakdowns will not make you an expert, in the same way watching Jimmy Swaggart or Joel Osteen won’t make you a priest. Have some respect. And while I’m on the topic, please refrain from calling anything belonging to an extant religion “mythology.” The difference between religion and mythology is only one of assigned validity: “religion” is always valid while “mythology” has become coded to mean “interesting, but ultimately primitive ignorance.” Indigenous religions exist, are valid, and attempts to confine them to the past is insensitive, please be mindful. Additionally, the concept of “mythology” only works if you believe the myth (see what I did there) that we are somehow culturally superior to those foreign to us, separated by either space or time (or both). That’s ethnocentrism, baby. Check yourself. That goes for things like Greek, Kemetic and Mesopotamian “mythology,” as well. They were state religions and even if it is not as damaging to the living to refer to them as “mythology,” it does paint a misleading picture and is no less founded on ignorance. Not to mention many such religions have been reconstructed to varying degrees and are being practiced again with what information is at their disposal.

So then, if I can’t call anyone or anything I don’t understand a Witch or Witchcraft, who can I? This one is easy: Anyone who wants to be called a witch. And notice how I didn’t capitalize it this time. I’m distinguishing the modern definition from the historical one. As mentioned above, at this time “witch” has come to mean one who practices “witchcraft,” a sort of magical catchall consisting of traditional folk magic (predominately European, but not exclusively), ceremonial magic, New-Age rituals, etc. For this reason, further distinctions are often made, i.e. I call myself a Red Witch, but my definition varies from others who call themselves the same. In something as varied as modern witchcraft, even specific terms have little weight. Ultimately, “witch” is what we call ourselves because it captures our position well enough without requiring further definition. People understand it (and misunderstand it) universally enough. It’s there, and by looking back we can understand how it came to be the term used. That being said, simply because it has come to be a catchall does not give anyone permission to force the label on those who refuse it. Just because someone does magic does not mean they’re a witch, even if that’s how you’ve come to understand the term or even how the term has been fed to you. And given the reimagining of the definition as the result of ignorance and a series of misunderstandings, they have no responsibility to explain why they would choose to refuse the moniker. Instead, we — witches — have more a responsibility when it comes to outlining our use of the term and explaining ourselves. Or at least those of us who do not corrupt livestock, put blights on our neighbors, or sow inconvenience at our every turn. What justification have we other than its easy, familiar, subversive? Is that enough? You can decide for yourself and leave it at that. If you want to call yourself a witch, then do so, but recognize it is not your position to assign the term as you see fit to those who continue to be harmed by such insouciant associations.

And know that I write this because I have been guilty of all of the above. I’m sharing so that my own transgressions are ones you need not make. It’s called growth and I’m providing a foundation for you to learn the “easy” way. I have learned, I have resolved to be better, so can you. Life’s a journey, knowledge is power, yadda yadda, cliche cliche, don’t disappoint me.Be conscious, be mindful, recognize your privilege and check when your entitlement is showing. That’s what growth is about. It’s work, sometimes hard but rarely as hard as you think. So do it.

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thefranklinoutdoor · 5 years ago

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LOVE ALL POTATOES

Jim Duignan Claire Pentecost Melissa Potter

Opening: Friday, June 14 from 6 to 9pm

From June 14 to September 7, 2019

Love All Potatoes is a garden laboratory project by Jim Duignan, Claire Pentecost, and Melissa Potter. The artists will plant heirloom variety potatoes (e.g. Jersey Yellow and Okinawa Purple) in improvised planters, start a compost bin, and install a handmade garden cart to seed their intersecting dialogues on plant personal histories, microecologies, and intangible heritage craft histories. Over the summer, the potatoes will blossom on vines running from the sacks along strings to parts unknown. The artists will activate the Franklin as an eco-pedagogical space to engender conversations on the Garfield Park community and land in general, and to develop other collective works-in-progress, such as a publication printed on paper made from potato vines.

Jim Duignan is an artist, forming the Stockyard Institute in 1995 as a civic, artist project in the Back of the Yards community of south Chicago. Stockyard Institute was influenced early by community artists, revolutionaries, local activists, and radical teachers who explored the community as sites of contest and considered the social and civic forms of public engagement as much a part of practice as they did their life. Duignan is a professor of Visual Art in the College of Education at DePaul University in Chicago where he is the Chair of Visual Art Education. Recent print publications include; Back to the Sandbox: Art and Radical Pedagogy, (Ed.) Jaroslav Andel, published Western Washington (2019), Poor and Needy; Baggesen and Brackman, Published by Poor Farm Krabbesholm (2018), Building a Gang-Proof Suit: An Artistic and Pedagogical Framework, for the Chicago Social Practice History Series, (Eds.) Mary Jane Jacob and Kate Zeller, published University of Chicago Press (2015) and No Longer Interested for the Blade of Grass Foundation (2014). Select exhibitions include Stockyard Institute Retrospective, DePaul Art Museum (2021), Envisioning Justice, Sullivan Galleries (2019), PUBLIC SCHOOL, Hyde Park Art Center (2017), Smart Museum (2017), the Chicago Cultural Center (2016), Reykjavik Art Museum, Iceland (2016), Interference Archive, Brooklyn, NYC (2015), Sullivan Galleries, Chicago (2014), Kochi-Muziris Biennial, India (2014) and the Hull House Museum (2013). In addition, Duignan’s work has been published in The Atlantic Monthly, The Art Newspaper, Prestel Publications (Nick Cave’s Epitome), New York Times, Chicago Reader, New Art Examiner, Chronicle of Higher Education, New City, Chicago Tribune, and many others. His work has been recognized by the Weitz Family Foundation, Illinois Humanities, Artadia (NYC), and the Art Institute of Chicago. He received a B.F.A. and M.F.A. from the University of Illinois at Chicago in Studio Arts.

Claire Pentecost is an artist and writer whose poetic and inductive drawings, sculpture and installations test and celebrate the conditions that bound and define life itself. Her projects often address the contested line between the natural and the artificial, focusing for many years on food, agriculture, bio-engineering, and anthropogenic changes in the indivisible living entity that animates our planet. Since 2006 she has worked with Brian Holmes, 16Beaver and many others organizing Continental Drift, a series of seminars to articulate the interlocking scales of our existence in the logic of globalization. She is also a founding member of Deeptime Chicago, dedicated to cultural change in the Anthropocene. A sample of Pentecost’s exhibition venues include dOCUMENTA(13), Whitechapel Gallery, the 13th Istanbul Biennial, Nottingham Contemporary, the DePaul Art Museum (Chicago), the Museum of Contemporary Photography (Chicago), the Third Mongolian Land Art Biennial, The Times Museum (Guangzhou), Spencer Museum (Lawrence, KS). Institutions inviting her to lecture include MIT; CalArts; RISD; Northwestern University; Rice University; The University of Virginia; Creative Time Summit and many others. She is represented by Higher Pictures, New York, and is a Professor in the Department of Photography at the School of the Art Institute of Chicago.

Melissa Hilliard Potter is a feminist interdisciplinary artist, writer, and curator whose work has been exhibited in venues including White Columns, Bronx Museum of the Arts, and Museum of Contemporary Art Chicago, to name a few. Her films have been screened at international film festivals, such as the Cinneffable and the Reeling International LGBT Film Festival. Potter’s awards include three Fulbright Scholar grants, which enabled her to build two papermaking studios at university art departments in Serbia and Bosnia & Hercegovina. As a curator, Potter’s exhibitions include “Social Paper: Hand Papermaking in the Context of Socially Engaged Art” with Jessica Cochran and “Revolution at Point Zero: Feminist Social Practice” with Neysa Page Lieberman. Her critical essays have been printed in BOMB, Art Papers, Flash Art, Metropolis M, Hand Papermaking, and AfterImage among others.

At The FLAT SCREEN

Solo Land Dive: Dukan Desert

Hope Ginsburg

Solo Land Dive: Dukan Desert is part of a body of the Land Dive Team body of work that proposes meditation, practicing present-moment awareness with equanimity, for coping with climate change. Breathing on land with scuba makes for a kind of assisted meditation. The mild, if not moderate discomfort of the equipment (its weight, warmth, constraints) keeps the wearer in mind of his or her physical presence. The intensification of each breath becomes a kind of involuntary meditation; one must “show up” for each exhalation when an entire apparatus is calling attention to it. In this video, one of thirteen Land Dives since 2014, I undertook a solo meditation, breathing with scuba gear in a remote desert landscape crisscrossed by all-terrain vehicles. As disjunctive as the image appears, it contains the ominous implication of a “future ocean” as rising sea levels are a threat in the Persian Gulf region.

Each of Hope Ginsburg’s long-term projects builds community around learning. Her work is by turns collaborative, cooperative, and participatory. These artworks are made with peers, students, scientists, members of the public, and experts with knowledge from outside of the field. Rooted in first-hand experience, Ginsburg’s projects are invested in the socially transformative potential of knowledge exchange. Hope Ginsburg has exhibited nationally and internationally at venues such as MoMA PS1, MASS MoCA, Institute for Contemporary Art at VCU, Wexner Center for the Arts, Kunst-Werke Berlin, Contemporary Art Center Vilnius, Baltimore Museum of Art, SculptureCenter, and the Mercosul Biennial in Brazil. Upcoming projects include a solo exhibition at the University of South Florida Contemporary Art Museum funded by the National Endowment for the Arts. Ginsburg is the recipient of an Art Matters Foundation Grant and a Virginia Museum of Fine Arts Fellowship and has attended residencies such as the Robert Rauschenberg Residency, the Skowhegan School of Painting and Sculpture, the Wexner Film/Video Studio, and The Harbor at Beta Local. Her work has appeared in the New York Times, the Wall Street Journal, Hyperallergic, and Artforum.

Solo Land Dive: Dukan Desert 2015 Single channel video with sound 4 min 59 sec

Camera: Dylan Halpern Editor: Tyler Kirby Sound: Joshua Quarles

Edition of three Courtesy of the artist

At The LIVING ROOM

A Metaphor Against Oblivion

Norma Vila Rivero

A Metaphor Against Oblivion is Norma Vila’s latest conceptual body of work, inspired by two themes: landscape and absence. This collection of images references and criticizes the notions of development by metaphorically representing the absent landscape that remains in the collective consciousness. Vila is tempted to convey the impossibility of the landscape that surrounds her by presenting a critical look at the transformation of the landscape -in the broadest sense of the word- while at the same time a contemplative view of the paradox of development in today's world.

Vila Rivero works with analogies and the double meanings of objects, words, and concepts. Media, disciplines, and materials are intertwined, thereby creating an intricate web of multi layered ideas. Vila’s starting points originate with personal experiences within her collective environment. She then directs her interests into an in-depth critical analysis of selected topics. With a deep dive into the origins and meaning of her subjects, she prepares the groundwork for making critical, contemporary and pertinent visual commentary.

Vila Rivero comments: "For this project I am working with the representation of the metaphor 'the skin of memory'... Everything we have seen marks us, and many times when passing by some place, it is inevitable to remember that place as it was before ... And that absent landscape is impregnated in us, it is a mark and a metaphor against oblivion. In order to represent that mark or trace in the memory, in this series of photos I place a stencil on the back of a model and the sun imprints the image to their backs... Then I place the model - marked by the memory of what is no longer there - in the place that corresponds to the vanished landscape. All the images used as stencils are based on stories that I have compiled from friends, family members, or myself. The result is a photo that serves as testimony or record of the specific event ... The aim is to present a clear and manifest absence. Photography as a medium is vital as it makes an absence visible and serves as a certificate of presence. In A Metaphor Against Oblivion themes such as the impossibility of the natural landscape on an island, the excessive urban development, the abandonment of cultural heritage, and the negligence in the communities and public spaces are over layered to contrast the effects caused by failed leadership and bad management today."

Calls for attention on the ways we relate to the environment are a peremptory key in Norma Vila's most recent proposal. Issues that previously emerged in her work are openly formulated today in what will be a long-term research project about environmental sustainability in the face of economic growth. Reflection through the chosen images allows us to think about ideas: memory-event-revelation, games of presence and absence, traces of hidden realities, as activation of the memory, and of updating past marks, cognitively and emotionally.

Norma Vila Rivero (b. 1982, Puerto Rico) is an artist that approaches art making from a diverse number of perspectives while subtly seeking to address emotional issues or intense social themes from a humanist point of view. She is also an active art projects coordinator of numerous innovative projects in Puerto Rico and in Boston and New York. Vila Rivero has a B.A. in Visual Arts from the Universidad del Sagrado Corazón and an M.A. in Arts Administration from the Universidad del Turabo, Ana G. Méndez. Her work has been presented in Mexico, Norway, Switzerland, Argentina, the Dominican Republic, St. Croix and U.S.A. In 2017 was selected to participate with Occupy Museums Debt Fair installation at the Whitney Museum Biennial. Since 2010 she is the Administrator of the Galería de Arte de la Universidad del Sagrado Corazón. In 2011 she co-founded Metroplataforma Organizada an artist run space and since 2015 has been the Director of ÁREA: lugar de proyectos (Founded in Caguas, P.R in 2005). Vila Rivero's work is part of the collection of the Museum and Center for Humanistic Studies Dra. Josefina Camacho de la Nuez (University of Turabo, Caguas, P.R), Luciano Benetton Collection, el Museo de Arte de Puerto RIco (MAPR) and the Foundation FIART (International Foundation Fund of the Arts) in Madrid, Spain, as well as in private collections.

At The FRONT YARD

Are You Ready Kahlil Irving

Previously exhibited at Wesleyan University Center for the Arts, "Are You Ready" is a flag sculpture that connotes the relationship of a surrender flag and a racing flag. There is always a struggle and reality to face. So to use the flag with its complex usage past and present is a symbol I find relevant. "Are You Ready" is a response to the call that Tracy Chapman narrates within her song "I'm Ready". She is singing for passage, for love, for health, for life. So I am responding to her call. This flag flying is a message for Black life and the perseverance of Black people through the constant pressures faced while living today.

Kahlil Robert Irving (b. 1992, San Diego, Ca) is a multimedia artist, currently living and working part time between Saint Louis, Missouri and Brooklyn, New York. Irving completed his BFA in art history and ceramics at the Kansas City Art Institute. In May of 2017, Irving earned his Master of Fine Arts at Washington University in St. Louis. At Washington University in St. Louis Irving was a Chancellor’s Graduate Fellow. Irving was awarded the 2017 Alice C. Cole Fellowship from the studio art department at Wellesley College in Wellesley, Massachusetts. Recently, Irving completed the Turner Teaching Fellow at the New York State College of Ceramics at Alfred University. His work is in the collections of the Riga Porcelain Museum, in Riga, Latvia; Foundation for Contemporary Ceramic Art in Kecskemet, Hungary; The RISD Museum in Providence, Rhode Island; The Carnegie Museum of Art, Pittsburgh, Pennsylvania; The Nerman Museum of Contemporary Art at Johnson Community College in Overland Park, Kansas; The Whitney Museum of American Art, New York, New York. Most recently, his practice has involved making objects that are to challenge constructs around identity and culture in western civilization. He wants to challenge realities of Racism and objects that exist within the history of decorative arts and contemporary life.

Are You Ready by Kahlil Irving 2018 3 x 5 feet polyester digital print Courtesy of the Artist and Callicoon Fine Arts, NY

THE FRANKLIN 3522 W. Franklin Blvd, Chicago IL 60624 (312)823-3632 Hours: Saturdays 2-5PM and by appointment http://thefranklinoutdoor.tumblr.com/ Instagram #thefranklinoutdoor

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aslipblog · 4 years ago

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Mother Tongue XXII

This is to announce the recent publication of the 22nd issue of Mother Tongue Journal. See below for Table of Contents. Further below is a synopsis of the articles in this issue of Mother Tongue, provided by editor John Bengtson.

Mother Tongue XXII | 2020

This issue is dedicated to the memory of Heinz-Jürgen Pinnow (1925-2016), a German scholar who excelled in the historical linguistics of the two major language families in which he worked: (a) Austro-Asiatic (or Austroasiatic, part of Austric), and (b) Na-Dene, a major family of North America. A large part of this issue deals with a discussion of the Na-Dene family.

Eulogies

We celebrate the lives of several eminent scholars who departed this life in the years 2018 and 2019, all of whom contributed immensely to historical linguistics, language in prehistory, and associated historical sciences involved in the “Emerging Synthesis” of understanding human prehistory. These titans were Luigi Luca Cavalli-Sforza (1922–2018), Eric Pratt Hamp (1920–2019), Stephen L. Zegura (1943–2019), and Murray Gell-Mann (1929–2019).

Na-Dene and Beyond (discussion)

When Edward Sapir proposed the Na-Dene family of languages in 1915, it was thought by him to consist of three linguistic units: (a) the Haida language, (b) the Tlingit language, and (c) the Athabaskan family (Tanana, Carrier, Sarsi, Mattole, Hupa, Navajo, etc.). At that time the Eyak language was little known, but it eventually became clear that it belonged to Na-Dene and was close to Athabaskan. The following structure of the Na-Dene family eventually became more or less generally accepted: it was thought that Haida was the most divergent of the languages, and thus had split off first from the rest of the family. Then Tlingit split off, then Eyak, leaving the core Athabaskan family. Even from the beginning some experts were unwilling to accept the Na-Dene family. For example, Pliny Earle Goddard could not even accept the relatedness of Tlingit and Athabaskan (let alone Haida). Decades later Robert Levine published an article purporting to demolish Sapir’s evidence for connecting Haida to the rest of Na-Dene. Many experts, such as Michael Krauss, concurred with Levine, while some eventually accepted the original unity of Tlingit-Eyak-Athabaskan.

In the 1950s Dell Hymes contended “that the positional categories of the verb in Haida, Tlingit, and Athabaskan correlate in a way that can neither be the result of chance nor be the result of borrowing.” Meanwhile, Pinnow, beginning in the 1960s, continued to amass evidence for a Na-Dene family that still, for him, included Haida, correcting and adding to Sapir’s evidence. As part of his book Language in the Americas Greenberg critically examined Levine’s methods and conclusions, maintaining that many of Levine’s criticisms were invalid, and even if all the critiques were accepted, much of Sapir’s evidence remained intact. Alexis Manaster Ramer, while disagreeing somewhat with some of Greenberg’s arguments, also found fault with Levine’s claims. More recently John Enrico, an expert in the Haida language, has adduced powerful evidence of the validity of Sapir’s original Na-Dene hypothesis. Nevertheless, it seems that most of the current North American Na-Dene/Athabaskan establishment continues to deny the membership of Haida.

Heinz-Jürgen Pinnow, Na-Dene and beyond by Jan Henrik Holst.

In Holst’s “anchor” article two topics intimately connected with Pinnow’s research are discussed, and new thoughts are brought into the debate. Holst emphasizes his conclusion that “the ND family is real (including both Tlingit and Haida).” He also discusses problems of subgrouping. The last section deals with possible language relationships beyond Na-Dene. He suggests a possible unit consisting of Na-Dene, Yeniseian and Sino-Tibetan, and bearing the name Lakitisch, English Lakitic, from a shared word for ‘hand’, which is lak or similar in these families. Holst emphasizes also, that although working within a small language family is easier, “one should [not] refrain from any work across the established language families. Especially when good progress can be made, such work should be done. ... Sometimes, however, it is a tiny being ahead in openmindedness that enables one to see, or to hypothesize, a point which others may be unable to reach. It is such open-mindedness that can often be observed when reading Pinnow – which brings us back to the scholar we started out with and who should be remembered.”

Comments on ‘Na-Dene and Beyond’; Sino-Dene (updated); the position of Haida by John D. Bengtson.

These three segments discuss aspects of Holst’s article, more recent work on the ‘Sino-Dene’ subgroup by Pinnow and others, and some lexical and grammatical links between Haida and other Dene-Caucasian languages.

Heinz-Jürgen Pinnow, Na-Dene and beyond by Uwe R. Krämer.

Krämer, who corresponded with Pinnow for several years, brings in some interesting points about the Navajo language, in which “an action (here as an umbrella term for an action, an event, a state, etc.) within the verb, must be depicted in the most precise way possible, almost in photographic form.” Other comments involve verbal “prefix slots” in Tlingit (and other Na-Dene languages) and the system of numbering them, for which Pinnow preferred a numbering from 0 (verb stem) to the left, since “the verb stem is actually the fulcrum of the whole verb body.” Krämer, like some others, bemoans the fact that Pinnow’s “use of German as the language of his works is one of the main problems, and why Pinnow received so little attention.” Krämer defends Pinnow’s work from criticisms, averring that “Pinnow has worked and researched in the field of Na-Dene languages in the same way as we know it from Indo-European studies. He has carried out serious, meticulous research and delivered well-founded, verifiable results with regard to sound development and language kinship.” Krämer also brings in questions about Beringia, such as “the [American-]Indian cultures are much older than previously assumed, which of course throws a far more complex picture on language movement, language development or language emergence. Meanwhile one has arrived already, after evaluation of many findings, at an age of 30,000 years. We will have to wait and see what further research will reveal.” But Krämer remains highly pessimistic about “macro-family” proposals: “it is apparently not only very difficult, but – at least so my impression – almost impossible to show clear compelling research results which prove the existence of such hypothetical linguistic macro-families and their family trees.”

Significance testing of Na-Dene by Carsten Peust:

The author applies a mathematically-based test to the issue of Na-Dene. “A computer-aided statistical lexical permutation test is applied to assess the validity of Na-Dene, a presumed extension of Athabaskan, as a linguistic family. As a result, the existence of Na-Dene is on the whole not supported. Eyak is the only external language whose connection to the Athabaskan family can be confirmed.” On the other hand, Peust rightfully emphasizes that “the failure of proving relationship [with this test] is not the same thing as proving non-relationship. It could be that the lack of success is not due to the absence of relationship, but rather due to some infelicitous decisions made here concerning either data or method. ... It might be that for languages in this area, it is mistaken to focus exclusively on lexical units, but one should rather have compared the numerous available morphological affixes, if it is true that the Na-Dene languages ‘are genetically related and lost their common vocabulary’ by an unusually high rate of vocabulary change, as suggested by Pinnow ... . Pinnow’s (1984) study arguing for Haida as being Na-Dene is largely based on morphology.”

An Outsider’s View on Historical Linguistics by Hartmann Römer.

Römer is “not a professional linguist but rather a mathematical physicist with a permanent keen interest in language and philosophy.” On the Na-Dene family, “Pinnow’s work ... may serve as a model. A novel method of “positional analysis” helped to corroborate the larger Na-Dene family including Haida. The hypothesis of larger Na-Dene is not yet uncontroversial, but one has the impression that the balance starts to tip in favor of it.” After a discussion of Holst’s anchor article, Römer offers a number of compelling “suggestions and warnings,” such as “prudence is necessary, but a well-placed hypothesis is a valuable and challenging contribution to research and should be encouraged. Even refutation of such a hypothesis is a real progress and need not blame its originator.” Römer tenders a kind of defense of Joseph H. Greenberg, whose work is dear to many members of ASLIP and readers of Mother Tongue: “But there is probably more truth in his findings [in Language in the Americas] than in assuming hundreds of unrelated language families in the Americas. This is very implausible, because one can safely assume that most if not all of the population of the Americas goes back to a limited number of small groups arriving rather late in the history of modern man. ... I think justice demands to judge the balance of Greenberg’s work as clearly positive securing him a place among the great linguists of the 20th century. He had an extremely wide view on languages, opened up new perspectives and exerted an emboldening influence against widespread linguistic defeatism.” Römer also endorses the ASLIP policy of multidisciplinary cooperation: “For linguistics, there is no good ideological reason to disregard information from different fields like anthropology, psychology, genetics, archaeology or ethnology.”

Response to discussants of the anchor paper by Jan Henrik Holst. The author responds to the articles by Bengtson, Krämer, Peust and Römer.

Na-Dene Numerals by Václav Blažek:

All relevant data is summarized in table form about the numerals 1-10 in the Na-Dene languages, plus Haida. “On the basis of internal structure or internal reconstructions and external comparisons their etymologies are discussed. ... In 1915 Sapir tried to demonstrate a common origin for Athapaskan, Tlingit and Haida, applying the comparative method developed by the Young Grammarians for Indo-European. Although his comparisons looked convincing, their low number, 98, and some incorrect interpretations caused doubts ... After a series of important studies devoted to comparative Na-Dene linguistics Pinnow (1986) concentrates on the Haida numerals, analyzed from both perspectives of internal reconstruction and external comparison. Although his reconstructions are rather artificial and his explanations do not lack creativity, his approach is inspiring and should be taken seriously.” Blažek investigates all of the numeral lexemes in a comparative-structural analysis.

Some Notes about Dene-Caucasian by John D. Bengtson:

Sergei L. Nikolaev of Moscow presented a report on “Sino-Caucasian Languages in America” at the First International Symposium on Language and Prehistory (Ann Arbor, 1988). The paper was later published in 1991. As far as we know, Nikolaev was the first to make an extensive direct comparison of North Caucasian and Na-Dene, though his effort was no doubt inspired by combining the earlier “Sino-Dene” hypothesis of Sapir and Shafer with the “Sino-Caucasian” hypothesis of S.A. Starostin. In his 1991 article Nikolaev added in the proposed cognates with Sino-Tibetan and Yeniseian already proposed by Starostin, thus going full circle with the first multilateral Dene-Caucasian comparisons that included the four families Na-Dene, North Caucasian, Sino-Tibetan, and Yeniseian. After three decades of study of Nikolaev’s etymologies Bengtson deems that perhaps about half of them still seem plausible and are borne out by research. Perhaps about another quarter of them could be valid or promising, but Bengtson has not yet been able to verify the Na-Dene and/or North Caucasian data. The weakest part of Nikolayev’s study is morphology: only ten “pronouns and particles” are listed (9.1–9.10), of which some appear improbable, and there is no attempt to demonstrate complete or partial paradigms.

Paleolinguistics

Resonant Variation in Proto-Indo-European by Gregory Haynes:

“Upon close inspection, many roots in the reconstructed vocabulary of Proto-Indo-European show similarities, both phonetic and semantic, that suggest ancient genetic affiliations. In particular, cases of resonant variation within the context of a fixed consonant structure often show striking semantic uniformity. The examples provided suggest that, at a very early pre-Proto-Indo-European stage of the language, these resonant-variations were morphological variants of earlier primitive roots. Additionally, when evaluating the likelihood of distant language affiliations, these generalized primitive roots, not their derived variants, are the principal forms that can be meaningfully compared to the lexica of other proto-languages.”

Copious examples are presented and discussed, showing that “pre-Proto-Indo-European used resonant variation as a kind of grammatical ablaut, as a morphological process to express nuance to ancient roots in the same way that modern languages use vowel modifications, as in the English series: sing, sang, sung, song. The resonants changed, but the fundamental semantic value of the primitive root remained relatively constant.”

The Proto-Sapiens prohibitive/negative particle *ma by Pierre J. Bancel, Alain Matthey de l’Etang & John D. Bengtson:

“We report here on a lexical root [prohibitive/negative *ma], very widespread in diverse languages worldwide, including more than 50 ancient languages, long-isolated languages, and proto-languages. Most of these rely on uncontroversial reconstructions, while others, from Proto-Nilo-Saharan to Proto-Trans-New Guinea through Proto-Austric and Proto-Amerind, go back to far more than 10,000 years ago and cover all continents.” We argue that this lexical root could only have been part of the ancestral language common to all modern humans.

Book reviews & notices

Book review | Bengtson on Basque: a radical simplification of the linguistic map of prehistoric Europe by Nicholas Davidson:

Review article on Basque and Its Closest Relatives: A New Paradigm. An Updated Study of the Euskaro-Caucasian (Vasco-Caucasian) Hypothesis, by John D. Bengtson, 2017. “It can be seen, therefore, that the seemingly arcane debate about the origins of Basque is of major and indeed crucial importance to the study of prehistoric Europe for all of the disciplines concerned. It can be expected that John Bengtson’s new book will help place this debate front and center in the coming years.”

Book notice | Altaic Languages: History of research, survey, classification and a sketch of comparative grammar, by V. Blažek (with M. Schwarz and O. Srba). Brno: Masaryk University Press. 2019.

The debate about the existence or non-existence of an “Altaic” language family, with its Turkic, Mongolic, Tungusic (and sometimes) Koreanic and Japonic branches, has raged since the 17th century, when the Chagatai scholar Abu ’l-Ġazi Bahadur Khan wrote that Turkic and Mongolic ‘sprang from some common source’. This book describes in detail the intellectual battle that has been waged ever since between ‘Altaicists’ believing that at least some of the similarities can be attributed to common genetic origin, versus the ‘anti-Altaicists’ who favor the explanation of extensive diffusion among unrelated languages. It catalogs several generations of Altaicists and anti-Altaicists, also denoted as ‘optimists’ and ‘skeptics’, from Ramstedt and Poppe, through Clauson and Doerfer, Vovin and Georg, to the present-day Martine Robbeets, who has proposed a ‘Transeurasian’ language family with a ‘pared down’ body of lexical and grammatical evidence. This new approach by Robbeets has influenced some ‘skeptics’ as well as ‘optimists’ toward a more positive view of the Altaic hypothesis, and attracted cooperation from some younger scholars, including the authors of this book. The book also includes a large amount of data in the form of numerous tables and figures (linguistic trees, phonetic correspondences, numerals, pronouns, etc.) and a comprehensive bibliography (72 pp.).

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didanawisgi · 7 years ago

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The African origin of heroes, super and otherwise

July 7, 2011

by J.D. Jackson

Historically, heroes – super-powered or not – come in all shapes and sizes. But what about colors? If we allow your standard history book and Hollywood small and silver screen productions to answer that question, the overall answer would be that the color is only one – white. Black heroes, it seems, do not exist.

But nothing could be further from the truth, especially for the sharp-witted student of world history or even popular culture. For such a person – though not without long-lived hard work and patience, intense study and research, and steel-spined dedication – would discover that throughout time immemorial, the Black hero – real and imagined – repeatedly appears and impacts culture as well as individuals who either welcome or disregard his or her heroic appearance, words and/or deeds.

Speaking of words, some scholars now agree that the very word “hero” comes from an African (Black) word and an African god. The 19th century scholar, Gerald Massey, states that the word “hero” comes from the Egyptian, “ma haru,” meaning “the typical warrior” or the “true hero.” Whereas another scholar states that the word “hero” is derived from the Latin name of a Greek word for the African god, Heru or Hor, who most Egyptologists call “Horus the hawk, the avenger.”

Interestingly enough, the hawk is an ancient and sacred bird of Africa, particularly Ethiopia, and what the late but legendary African world history scholar, Dr. Chancellor Williams, calls “Ethiopia’s oldest daughter, Egypt.”

Furthermore, based on the testimony of the Greek historian, Herodotus – often dubbed the “father of history” – and other scholars past and present, the very names – if not the very same gods, Greek then Roman, under different names – of the gods from Greek and Roman mythology came from, or were heavily influenced by, the ancient Egyptian and African mythology which predated them.

Those African-derived Greco-Roman gods would consequently serve as the backbone of today’s multi-billion dollar superhero comic book and movie industry.

Obatala, God of Yoroba mythology.But the unmatched impact of Black heroes, real and fictional, would not stop in Greek and Roman mythology or even in Western society today. It would encompass both Asia and the Far East too. Whereas there is little, if any, hardcore evidence that King Arthur truly lived, in the Asian country of Saudi Arabia, there is evidence that over 1,500 years ago, there lived a courageous, 6th century, Black or Afro-Arabic warrior-poet and lover named Antar.

History has dubbed him the “father of knighthood … [and] chivalry” and “the king of heroes.” Greatly admired by the founder and prophet of Islam, Muhammad, he is still widely celebrated for his poetry and warrior spirit throughout the Arab world today.

Those African-derived Greco-Roman gods would consequently serve as the backbone of today’s multi-billion dollar superhero comic book and movie industry.

Then, in the Far East – China, specifically – during the 9th century, there lived a writer named Pei Xing. Although there is virtually no proof that he was Black, during the Tang Dynasty of said century he wrote what some have called “China’s first martial arts short story,” entitled “Kunlun Nu.” It means the “Negrito,” “little Negro” or “little Black” slave and its hero is an enslaved Black man who can fly and has incomparable martial arts skills – just as in the traditional Chinese martial arts films of the 1960s and ‘70s, if not in earlier and even in modern-day movies.

Then there’s Japan, where this ancient but little-known proverb was found: “For a samurai [warrior] to be brave, he must have a bit of Black blood.” Another version says: “For a samurai to be brave, he must have half Black blood,” meaning one of his parents must be Black.

We also find in Japan a noted Black warrior who historians have called “the paragon of military virtue,” a Japanese general and the first person to bear the Japanese title of sei-i tai shogun – meaning “barbarian-subduing generalissimo.” His name was Sakanouye Tammamura Maro, sometimes spelled Sakanouye No Tamuramaro.

Furthermore, let’s not forget about the only “thoroughly documented amazons in world history,” the women warriors of Dahomey, who were West African women often serving as the king’s bodyguards and who, unlike the Grecian “amazons” and the comic book “amazon,” Wonder Woman, truly lived.

And what about the beautiful, fictional or factual, Black warrior-queen, Califia – after whom the state of California is said to be named; or Nzinga, a lioness-hearted Angolan warrior-queen, who fought against the Portuguese for decades to keep them from enslaving her people? Nzinga lived. Xena, the warrior-princess, did not.

Nor let us ignore the Black steel-driving man, John Henry, who not only – according to legend – beat a steam-driving machine with his hammer in his hand, but – according to one scholar – serves as the model for both Superman and Captain America, who is called the “first avenger” in the trailer for the movie to be released July 22.

Then there’s the Black Frenchman, Alexandre Dumas père, who wrote both “The Three Musketeers” and “The Count of Monte Cristo,” which both influenced fictional characters such as Mickey Spillane’s private eye, Mike Hammer, Ian Fleming’s super spy, James Bond, and characters created by the cowboy novelist, Zane Grey.

But what about the gun-slinging, outlaw-catching – catching between 3,000 and 4,000 outlaws – greatly feared, highly respected, often disguised, Black deputy marshal – serving for over 30 years – Bass Reeves? Says one scholar, Reeves may have served as the model for both the Lone Ranger and the Rooster Cogburn characters in the novel and movie, “True Grit.”

And let’s not fail to acknowledge the literal and literary hijacking, if not outright theft, by movie productions of African people’s centuries-long struggle against racial oppression, especially the Civil Rights Movement. Examples of such productions, if not parodies, are the “Planet of the Apes,” “Matrix” – an idea which allegedly was written by and stolen from a Black woman named Sophia Stewart – and “X-Men” movies.

And not one movie has been made about the late Henrietta Lacks, whose legendary cells are considered to be the world’s “first immortal cell lines,” reproducing on their own, adding billions to the coffers of medical researchers and research companies, and having been instrumental in the developments of the polio vaccine, in vitro fertilization, gene mapping and the possible cure for cancer, if not AIDS. It’s her mutated cells – the He-La cells, if you will – that should be the subject of a major motion picture, or several of them.

Truly heroic, African-centered people should make movies about her, her poverty-stricken family and the other Black heroes and she-roes, real and imagined, that may or may not have been mentioned.

For they, like Robert F. Williams – the Black, Marine Corps trained weapons expert and stalwart, armed self-defense advocate and major but little-known Civil Rights Movement activist – clearly indicate that Black heroes do exist, should be studied and known and their lives should be written about and filmed for the small or silver screen by African people. It’s important for us to restore what the Afro-Puerto Rican bibliophile, Arthur Schomburg, once said “slavery took away” – our sense of humanity, self-worth and undying willingness to work together and improve the overall dismal plight of the world’s 1 billion-plus African (Black) people – as crafted by anyone’s hand, mind or faith – come hell or high water. Such people are the real heroes – walking, talking and doing superheroes.

This is dedicated to Brother Obadela Williams, who suggested research on this topic over 20 years ago.

Source: http://sfbayview.com/2011/07/the-african-origin-of-heroes-super-and-otherwise/

#mythology #sumerian mythology #Greek Mythology #american mythology #ancient egypt #superman #african mythology #sociology #egyptian mythology

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eyesonworldcultures · 5 years ago

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Shanghai-New York Twin Cities Theater Forum

By Alex Roe

Convened in a spirit of civic boosterism and international sister city comradery, if some measure of sibling rivalry, the inaugural Shanghai-New York Twin Cities Theater Forum took place on July 12, 2019. An all-day affair at the Huang pu theater in Shanghai’s Huangpu district, the city’s economic and administrative center, the forum featured an array civic leaders from Shanghai and experts in their respective cultural fields from Shanghai and New York. Before an audience of students, scholars, and local arts and civic leaders, the 17 speakers engaged one another with brief addresses, followed by two very brief panel discussions, as well as lunch, tea, and an ample dinner to follow.

In my capacity as Producing Artistic Director of New York’s Metropolitan Playhouse—a resident theater in Manhattan’s East Village—I was more than honored to be one of the featured speakers, and only too happy to spend several days by my own lights beginning to know the City by the Sea as a guest of the generous Shanghai Theatre Academy.

A little background from the event’s program: In 2018, with an eye to “accelerate the high quality development of the Peoples Square theater cluster,” the Publicity Department of the Municipal Government and the Huangpu District Government christened a new initiative “Show Life,” the civic brand around which to develop “an active zone of performing arts with the ‘highest’ theatre density, the ‘biggest’ clustering effect, the ‘strongest’ collaboration, the ‘widest’ market space and the ‘best’ service environment.”

As a contribution to the Show Life mission, Prof. Huang Changyong, president of the Shanghai Theatre Academy, conceived of an annual forum bringing together New York and Shanghai theater experts to exchange perspectives on their respective cities’ theaters. Prof. Huang is uniquely positioned to do so. Established in 1945, the Shanghai Theater Academy (formerly the Shanghai Municipal Experimental Drama School) is a school for professional theater and dance training, as well as study of literature and arts management. The academy is also home to the Marvin Carlson Theatre Center, an office and workspace named for the renowned CUNY Graduate Center scholar and devoted to academic exchange and research between Asia and the Americas through structured cooperation between CUNY and STA. Seminars, courses, symposia and conferences are offered under the aegis of the Center, and it has coordinated study in New York for scholars from Shanghai, as well as instruction in Shanghai by CUNY PhD students and faculty.

Building on this collaboration between the two institutions, President Huang invited Dr. Carlson to gather four New York theater mavens to describe our respective institutions in relation to New York City and its theater. Joining us were Dr. Carlson himself and two officials of the Carlson Center, one based in Shanghai, the other in New York. Altogether, 7 New York and 10 Shanghai delegates, each simultaneously translated, presented their visions of their respective cities’ theater cultures, now and to come.

Over the course of the day, one recalled Oscar Wilde’s framing, that bankers discuss Art, while artists discuss Money, if his quip might be refracted through the lenses worn by the ambitious civic and cultural shapers, on the one hand, and those of the presumed enshrined cultural leaders on the other. The Chinese speakers spoke of money, envisioning the promise of the theater industry in Shanghai, taking as their model a light and power that reaches around the globe, in both cultural prestige and economic strength: Broadway. Meanwhile, the New York speakers—largely artists and scholars in their own right—focused mostly on the content and intent of their art.

Shanghai presenters offered vision and perspective from the promotional to the analytic to the theoretical. With a sleek and energizing video promotion, Cao Xiaomin, Deputy Director of the Publicity Department of the Huangpu District, presented Show Life as a promotion and development effort to build a vibrant theater to equal Broadway, drawing the most elite performers to create the highest level productions in a new era of cultural accomplishment for the cosmopolitan city.

Kaiqi Hu, translator, dramaturg, and Liason Officer of the Carlson Center at the Shanghai Theatre Academy, offered a slide presentation illustrating Shanghai producers’ ability to mount confident Chinese productions of Tony-winning Broadway shows.

Founding his presentation on Abraham Maslow’s hierarchy of human needs, Tu Qiyu, Deputy Director of the Institute of Urban and Population Development at the Shanghai Academy of Social Sciences addressed the need for civil and economic development to adequately support culture, and notably theater, as a part of a fully self-actualized contemporary city’s identity—essential for a city to be an international leader.

He Jianhua, Former Vice President of the Shanghai Academy of Social Sciences, gave a diverting and aspirational description of a Shanghai as historically a cultured city that must continue its development, setting its American sister as a “benchmark.” Such a city could not be, in his words, a handsome and muscled boy with an underdeveloped brain—attractive perhaps, but not one the girls would like—but rather worthy of recognition and equal to its international comrade, a “new New York.”

Ye Changhai, Professor of Dramatic Literature at the Shanghai Theater Academy, took a 40 year historical perspective and reflected on the Chinese stage as recovering from the crisis of the Cultural Revolution.

Sun Wenqian, Executive Director of The Power Station of Art, articulated the need for cross border communication and sharing of influences.

Zhou Hanmin, Vice Chairman of the China Democratic Construction Association and Vice Chairman of the Shanghai Political Consultative Conference, framed an enthusiasm for the energy of the urban environment, for the promise of open and inclusive culture, for the importance seeing culture as an industry, and for an embrace of pluralism. He also took a surprisingly direct aim at “my country firstism” and condemned efforts to “make a country great” that depended on preventing another country’s thriving.

Chen Chao, Director of the Shanghai Library, articulated a vision of the library’s role in preserving and promoting culture, with particular focus on the development of artificial intelligence, questions of the nature of inspiration and creation, and the potential of big data in relation to these questions.

Bao Yaming, Director of Technology and Humanity Research Unit of the Literature Department at the Shanghai Academy of Social Sciences, chose as a case study the Punchdrunk Theater’s Sleep No More -—currently playing in Shanghai and assuredly appraised as “better than New York”—to show how the impact of cultural offerings may be measured and quantified as economic and civic forces. Replete with demographic studies and thermal imaging maps of the city, he demonstrated how patrons, citizens—consumers—were drawn to cultural districts, and commerce and industry are driven by theatrical offerings.

Wang Guowei, Director of the Institute of Art and Media Industry at Tongji University, prioritized the understanding of space as the most important topic for a discussion of theater and culture, a refreshingly theoretical approach to a practical consideration. His talk ranged from considerations of rural and urban spaces, and different types of space, informed by the intersections of our physical with our psychological experience.

Fan Yong, Director of the Asian Institute of Art and Finance, described a mutual reinforcement of financial services and cultural empowerment, citing auction trends in the art market and a thumbnail history of financial support for the fine arts. Interspersed among these corporate presentations were the New York speakers.

Marvin Carlson described the Theatre Center named for him at the Shanghai Theater Academy, its history, philosophy, and programs in international exchange.

To give a sense of the breadth of theatrical offerings in New York, Peter Eckersall, Professor of Theatre Studies at The CUNY Graduate Center (and Deputy Director of the Marvin Carlson Theatre Center at STA), provided an overview of the many different types of production activity there, from off-off-Broadway to Broadway, explaining the defining influence of professional unions and geography on the different categories, and then described the work of a few of the least conventional theater producers.

Jacqueline Z. Davis, Executive Director of the New York Public Library for the Performing Arts, painted a comprehensive picture of the library’s participation in New York’s theater culture through its work as an educator, not only through housing unique and historically valuable resources for research, but also through numerous workshops, performances, exhibitions, and new media creations.

Kate Loewald, Artistic Director of The Play Company, provided an overview of the history of her company and its dedication to introducing new work and international collaborations to New York, followed by a detailed description of two exemplary productions.

Jim Niesen, Artistic Director of Irondale Ensemble Project, spoke of the challenges of producing non-profit theater in New York and the artist’s role as both a “canary in the coalmine” and the sparring partner with culture, bound to speak to the current moment and announce civic and social concerns.

As Producing Artistic Director of Metropolitan Playhouse, I framed the work of Metropolitan Playhouse in context of America’s familiar history and mythology, proposing the rediscovery of forgotten plays and perspectives to be a valuable a reminder of the foundation, challenges, and promises of the past that can be lost in a nation whose defining character is defiance and reinvention.

Following the individual addresses were two brief round tables, the asking what Show Life might learn from Broadway as an industry, the other more broadly comparing the cultural dynamics of the two cities.

Out of this cordial and optimistic gathering emerged a few dominant impressions. The one is a concerted will among the Shanghai sponsors and speakers to see Shanghai as filled with ambition, energy, talent, and promise. The city in this light may be measured against the reputation of New York and found possessed of equal dynamism and skill, ready to take its place in the sun alongside, if not a step above, its American sister.

A second, corollary to the first, is the aspiration to attain the commercial, artistic, and reputational success of Broadway, by learning the practical tools and techniques that support that industry and so reproduce Broadway in Shanghai.

Meanwhile, in response to these assertions, comes a third, held by many of the New York guests and optimistically shared with the hosts: that the dynamism of New York theater depends on its engagement with its local circumstance, and often that which is not Broadway. Alongside those commercial productions are theaters, producers, and artists thriving Off- and Off-Off-Broadway, reaching audiences with work ranging in size, subject, style, and target audience. Indeed, through their work developing new productions, embracing challenging subjects, cultivating new talents, daring new performance styles, and exciting local audiences, these theaters provide glittering, internationally famous Broadway its most enduring and enlivening work.

A professional director for 37 years, Alex Roe studied literature and theater at Harvard University. He began his career directing, acting, writing, and teaching for theaters across the United States and abroad, often producing new English adaptations of Western classics. In 2001, he became Producing Artistic Director of Metropolitan Playhouse, a company in New York City devoted to exploring American culture and history through America’s theater. He has directed 35 productions at Metropolitan, and under his leadership, the theater has consistently been described in the press as an “invaluable” cultural institution.

Alex Roe Artistic Director Metropolitan Playhouse Finding America, One Play at a Time www.metropolitanplayhouse.org 212 995 8410

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fitnesshealthyoga-blog · 6 years ago

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New Post has been published on https://fitnesshealthyoga.com/yoga-mentorship-studentship-how-it-can-help-your-practice/

Yoga Mentorship + Studentship: How it Can Help Your Practice

Looking for a yoga mentorship? Here’s how to find the right yoga mentor, and be a good mentee, according to yoga teachers Elena Brower and Amy Ippoliti.

courtesy Elena Brower and Amy Ippoliti

Elena Brower and Amy Ippoliti first met when they were young yoga students studying to become teachers themselves. Now, they’re leading and mentoring the next generation of students and teachers. We caught up with the yoginis as they sat in Brower’s New York City living room to talk about lineage, mentorship, and what they agree is the key to strong leadership: studentship.

Elena Brower answers her mobile phone excitedly when I call. Sure, the busy New York City–based yoga teacher, life coach, and businesswoman is eager to talk about topics she’s passionate about—leadership, mentorship, and studentship—but she seems downright thrilled to announce on speakerphone that her dear friend, Amy Ippoliti, a Boulder, Colorado–based yoga teacher, is sitting right next to her.

Thanks for watching!Visit Website

See also A Yoga Sequence for Insight with Elena Brower

Brower and Ippoliti go back 20 years, when they met as students of Cyndi Lee. Both would go on to study with John Friend, the founder of Anusara Yoga whose school crumbled in 2012 after allegations of unethical and illegal behavior. (They each turned in their Anusara certifications soon thereafter.) The pair leaned on each other after publicly denouncing their teacher’s behavior and as they figured out how to keep their lineage in mind while they struck out on their own.

Thanks for watching!Visit Website

“I saw it as an opportunity for all of us to go and do what it is that we were always meant to be doing,” says Brower, “which was to teach the finest of what we’d been taught and to lead by example. Even though we couldn’t go forward in the paradigm we had known at that point, I think we paved new paths for ourselves, elegantly. Each of us took what resonated with us about the [Anusara] methodology and the heart space in which we were held for a long time, and we walked forward with it.”

“It’s true,” adds Ippoliti. “We evolved the teachings by bringing what was valuable and infusing our own individual work.”

“My hope is that [the next batch of teachers] have the courage to bring meaning to their yoga classes,” says Ippoliti.

courtesy Elena Brower and Amy Ippoliti

The Art of Studentship

One thing was clear to each of these yogis as they grew as teachers themselves: They were always going to remain students. “If I’m not continuously a student, I have nothing to offer as I’m teaching,” says Brower. “Studentship is an inherent part of being an effective teacher. It’s the backbone of what I do.”

The beauty of always being a student is that it is an ever-evolving practice—one that’s in stark contrast to the instant gratification to which we’ve grown accustomed these days, says Ippoliti. “What I find interesting about many of today’s yoga students is that there’s this perception that you can get all the info you need with Google or that you can become a public figure or yoga teacher simply by putting together an Instagram account and proclaiming you’re an expert,” she says. “But to me, studentship is a deep marinating and immersion into learning, where you are under the wings of a mentor or teacher. That kind of devotion and dedication, over time, is what you need to be a great teacher.”

See also Amy Ippoliti on Finding Happiness Through Seva

Ippoliti and Brower say it feels as if they’ve been in an academic pursuit of sorts over the years, studying under a host of teachers and mentors. Ippoliti talks about working with religion scholar Douglas Brooks and, more recently, connecting with Judith Hanson Lasater—two mentorships, among others, which have influenced her own yoga school, 90 Monkeys, and continue to shape her teaching and personal practice.

Brower says her main yoga mentor, Rod Stryker, and Kundalini Yoga teacher Hari Kaur Khalsa are “extremely skillful, personally and professionally, and have generously shared their wisdom” with her over the years. She also mentions a number of colleagues at doTERRA, an essential-oil marketing brand she works with, who’ve helped her ultimately lead a team of global wellness advocates.

“You’ve got to get under a mama bird,” says Ippoliti. “It is the way to hold a lineage in mind as you become a leader.”

The way to be a leader is clear, says Brower, and it’s intricately associated with your willingness to be a student.

courtesy Elena Brower and Amy Ippoliti

How to find a yoga mentor

So, you’ve found your mama bird—a teacher or mentor from whom you want to learn. Where do you go from there?

You simply stay close, says Ippoliti. “Not in a creepy way,” she says, chuckling. “But in a way that conveys that you’re just going to be around, learning.”

“You know what’s cool?” adds Brower. “There are a few people in my life who’ve done that—they’ve hung around—and those people have become accomplished teachers. Their studentship has helped them advance their own work and teaching.”

See also 10 Best Yoga and Meditation Books, According to 10 Top Yoga and Meditation Teachers

Brower adds that setting up a clear agreement between a mentor and mentee can be especially helpful. “When you’re asking someone if she’ll be a mentor to you, it’s critical to value her time,” she says. And whatever you do, show the person you’d like to be your mentor that you’re willing to do the work. “Very often, people ask if I will be their mentor, and I say, ‘OK, watch this video first or do this reading,’ and then many don’t come back to me,” she says. “If you’d like to be mentored, you have to make a commitment. And if you’re not willing to put in study time, I’m less likely to devote my own. That said, if you do make the commitment and dedicate yourself to your own learning, I’m happy to gently provide guidance.”

Brower says watching and helping other women grow their sense of what’s possible has been one of the greatest privileges of being a mentor. Ippoliti chimes in with eager agreement: “To me, it’s the most fulfilling thing in the world when a student comes forward and says, ‘I’m serious. I want to learn from you.’ Because when I know that student is serious, I also know she will ultimately help others at a level that is far more profound.”

The two friends, now in their 40s, start talking about their biggest hopes for the next batch of teachers—the 20-somethings who will become the next leaders of our community. “My hope is that they have the courage to bring meaning to their yoga classes,” says Ippoliti. “Sure, you can teach a class that helps students simply go through the motions, telling them to inhale and do this; exhale, do that. But yoga is more than that. It’s a practice, not an activity. It’s a means of inspiring people’s lives off the mat, and to ultimately help people feel better about themselves. I hope our next generation of teachers doesn’t gloss over all of that—that they have the courage to make the practice meaningful.”

See also How to Talk About Tough Stuff in Your Yoga Classes

The way to be a leader is clear, says Brower, and it’s intricately associated with your willingness to be a student. “The best leaders are the most humble and the most willing to learn and be corrected and guided,” she says. “So, sit yourself at the feet of your own teachers, even if they’re not physically there. Sit there in energy and in heart. Sit there daily, and in a way, serve them, too. If you do all of this, abundance will flow.”

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#Namaste Blog #teach #Tools for Teachers #yoga basics #yoga exercises #Yoga Teacher Training #Yoga Teachers #Yoga Exercises

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chocolate-brownies · 6 years ago

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The Art of Studentship and Yoga Mentorship

The Art of Studentship and Yoga Mentorship:

Want to really evolve your practice, whether you’re a student or a teacher? Here’s the secret, says Elena Brower and Amy Ippoliti.

Looking for a yoga mentorship? Here’s how to find the right yoga mentor, and be a good mentee, according to yoga teachers Elena Brower and Amy Ippoliti.

Elena Brower answersher mobile phone excitedly when I call. Sure, the busy New York City–based yoga teacher, life coach, and businesswoman is eager to talk about topics she’s passionate about—leadership, mentorship, and studentship—but she seems downright thrilled to announce on speakerphone that her dear friend, Amy Ippoliti, a Boulder, Colorado–based yoga teacher, is sitting right next to her.

See also A Yoga Sequence for Insight with Elena Brower

“It’s true,” adds Ippoliti. “We evolved the teachings by bringing what was valuable and infusing our own individual work.”

“My hope is that [the next batch of teachers] have the courage to bring meaning to their yoga classes,” says Ippoliti.

The Art of Studentship

See also Amy Ippoliti on Finding Happiness Through Seva

“You’ve got to get under a mama bird,” says Ippoliti. “It is the way to hold a lineage in mind as you become a leader.”

The way to be a leader is clear, says Brower, and it’s intricately associated with your willingness to be a student.

How to find a yoga mentor

So, you’ve found your mama bird—a teacher or mentor from whom you want to learn. Where do you go from there?

You simply stay close, says Ippoliti. “Not in a creepy way,” she says, chuckling. “But in a way that conveys that you’re just going to be around, learning.”

See also 10 Best Yoga and Meditation Books, According to 10 Top Yoga and Meditation Teachers

See also How to Talk About Tough Stuff in Your Yoga Classes

0 notes

krisiunicornio · 6 years ago

Link

Want to really evolve your practice, whether you're a student or a teacher? Here's the secret, says Elena Brower and Amy Ippoliti.

Looking for a yoga mentorship? Here's how to find the right yoga mentor, and be a good mentee, according to yoga teachers Elena Brower and Amy Ippoliti.

See also A Yoga Sequence for Insight with Elena Brower

“It’s true,” adds Ippoliti. “We evolved the teachings by bringing what was valuable and infusing our own individual work.”

“My hope is that [the next batch of teachers] have the courage to bring meaning to their yoga classes,” says Ippoliti.

The Art of Studentship

See also Amy Ippoliti on Finding Happiness Through Seva

“You’ve got to get under a mama bird,” says Ippoliti. “It is the way to hold a lineage in mind as you become a leader.”

The way to be a leader is clear, says Brower, and it’s intricately associated with your willingness to be a student.

How to find a yoga mentor

So, you’ve found your mama bird—a teacher or mentor from whom you want to learn. Where do you go from there?

You simply stay close, says Ippoliti. “Not in a creepy way,” she says, chuckling. “But in a way that conveys that you’re just going to be around, learning.”

See also 10 Best Yoga and Meditation Books, According to 10 Top Yoga and Meditation Teachers

See also How to Talk About Tough Stuff in Your Yoga Classes

#sleep sounds #sleep music #white noise app #nature sounds #relaxing sounds #rain sounds for sleeping

0 notes

cedarrrun · 6 years ago

Link

Want to really evolve your practice, whether you're a student or a teacher? Here's the secret, says Elena Brower and Amy Ippoliti.

Looking for a yoga mentorship? Here's how to find the right yoga mentor, and be a good mentee, according to yoga teachers Elena Brower and Amy Ippoliti.

See also A Yoga Sequence for Insight with Elena Brower

“It’s true,” adds Ippoliti. “We evolved the teachings by bringing what was valuable and infusing our own individual work.”

“My hope is that [the next batch of teachers] have the courage to bring meaning to their yoga classes,” says Ippoliti.

The Art of Studentship

See also Amy Ippoliti on Finding Happiness Through Seva

“You’ve got to get under a mama bird,” says Ippoliti. “It is the way to hold a lineage in mind as you become a leader.”

The way to be a leader is clear, says Brower, and it’s intricately associated with your willingness to be a student.

How to find a yoga mentor

So, you’ve found your mama bird—a teacher or mentor from whom you want to learn. Where do you go from there?

You simply stay close, says Ippoliti. “Not in a creepy way,” she says, chuckling. “But in a way that conveys that you’re just going to be around, learning.”

See also 10 Best Yoga and Meditation Books, According to 10 Top Yoga and Meditation Teachers

See also How to Talk About Tough Stuff in Your Yoga Classes

#sleep sounds #sleep music #white noise app #nature sounds #relaxing sounds #rain sounds for sleeping

0 notes

amyddaniels · 6 years ago

Text

The Art of Studentship and Yoga Mentorship

Want to really evolve your practice, whether you're a student or a teacher? Here's the secret, says Elena Brower and Amy Ippoliti.

Looking for a yoga mentorship? Here's how to find the right yoga mentor, and be a good mentee, according to yoga teachers Elena Brower and Amy Ippoliti.

See also A Yoga Sequence for Insight with Elena Brower

“It’s true,” adds Ippoliti. “We evolved the teachings by bringing what was valuable and infusing our own individual work.”

“My hope is that [the next batch of teachers] have the courage to bring meaning to their yoga classes,” says Ippoliti.

The Art of Studentship

See also Amy Ippoliti on Finding Happiness Through Seva

“You’ve got to get under a mama bird,” says Ippoliti. “It is the way to hold a lineage in mind as you become a leader.”

The way to be a leader is clear, says Brower, and it’s intricately associated with your willingness to be a student.

How to find a yoga mentor

So, you’ve found your mama bird—a teacher or mentor from whom you want to learn. Where do you go from there?

You simply stay close, says Ippoliti. “Not in a creepy way,” she says, chuckling. “But in a way that conveys that you’re just going to be around, learning.”

See also 10 Best Yoga and Meditation Books, According to 10 Top Yoga and Meditation Teachers

See also How to Talk About Tough Stuff in Your Yoga Classes

0 notes

nedostajeminasaljubavmila · 6 years ago

Text

7 Unbelievable Facts About SEO 2019

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SEOs conveniently call this effect ‘domain authority' and it appeared in order to be related to ‘PageRank' -- the system Google started in order to rank the web within 1998. When you have more time plus are keen to follow the particular SEO industry, subscribe to Moz and Search Engine Land. Integrating these keywords into the article allows you to add range while still retaining SEO strength. To possess a better SEARCH ENGINE OPTIMIZATION, helps your website can obtain on the top among well-known search engines like Bing plus Google. On the various other side, you can ensure a good effective content marketing campaign just when you apply the SEARCH ENGINE OPTIMIZATION techniques properly. SEO : Search engine optimization: the procedure of making your web site better with regard to search engines. The purpose of SEARCH ENGINE OPTIMIZATION writing is to make your own company more visual, more attractive in website search engines. SEO is definitely the practice of increasing this quantity and quality of visitors to your website through natural and organic search engine results. 31. SEO data can notify a smart social media technique. Solid keyword & marketplace research assist SEO strategy plus allow us to offer realistic projections and forecasts of opportunity inside your market. Nevertheless, when this comes to developing and carrying out an audio SEO strategy intended for your business, just creating content material for the keywords your clients are looking for is each arduous and, well, wrong. In this situation, in, the article ranks correct after the official Google suggestions (and it makes sense that will Google should be number one on their own branded query) but Smashing magazine is proven as a position 0” little of text on the problem Google pop up guidelines” within. Search Engine Land, a top quality SEO blog this is the pillar of the community is definitely ranking after Smashing (which occurs to be really a style blog than an SEO one). A greater number associated with people will stick to tone of voice search, so SEO specialists will certainly need to adjust to this particular relatively new kind of lookup. Seo or SEO is usually a powerful method to generate targeted traffic to your web site and hopefully increase your bottom level line. Whilst many marketing tactics rely upon you reaching out to your own audience, SEO gives you the particular power to achieve people whenever they are actively searching out there information related to your solutions and products. White colored hat SEOs the actual recommendations of Google and other research engines like google. As Google's search engine outcomes become increasingly monetized and some other platforms such as Amazon plus YouTube gain more SoV plus search volume, I think jooxie is overdue for the focus associated with SEO to shift far through Google. Traditional SEO is usually Blog9T focused on building (keyword relevant) links and (keyword relevant) articles. The main reason these kinds of are sometimes misunderstood is because you will find a whole Internet underbelly of alleged SEO companies that you may pay to link to your own site on their networks associated with low-quality articles. However, before we obtain to our main event, We must note that after the 2017 edition of SEO tendencies launched last year on Lookup Engine Journal, we heard the couple of complaints about simply how long it was. After that your boss tells you most likely accountable for search engine marketing (SEO), too. Michael jordan Harling, SEO Specialist at Roman Blinds Direct, agrees with the particular consensus that voice search can be the trend in 2019. SEO firms are able to track almost every aspect of their technique, like increases in rankings, visitors and conversions. The strategies which were the simplest (reciprocal links or directory submissions) perform not work anymore, therefore the particular SEOs spend a lot associated with time trying different approaches. The particular Moz Pro is another place of Tools that check the particular important factors related to your own website's search ranking. Selection of key phrases or phrases plays an important component in an SEO campaign considering that it saves you the photos in the dark. In 2019 the particular digital marketing companies can anticipate a lot of voice lookups, and by 2020, about 50 percent of the searches will end up being either voice searches or image-based searches. Read our Mobile SEO 2019 Checklist before you decide in order to implement. Typically the first element of optimizing images is definitely including your keywords in this image file name (seo_guide. jpg). The inevitable modifications that will occur in SEARCH ENGINE OPTIMIZATION in the near future are usually abolition of keywords stuffing plus spam backlinks, real-time personalized customer care by online marketers, improvement within the quality of visual content material as a result of advancement of video SEO, optimization associated with websites with conversational keywords plus generating massive quantity of current data. SEARCH ENGINE OPTIMIZATION remains one of the lengthy term marketing strategies that function best for companies that are usually looking to improve their on the web visibility. There are usually lots of ways to discover keywords for SEO. SEARCH ENGINE OPTIMIZATION article writing guidelines number two. Keywords, they are little concealed subliminal messages within the composing which are to be within conjunction with the topic which usually is being written on. Key phrases are extremely important to the particular SEO article writing guidelines. SEO is often component of an overall internet advertising strategy and complements other methods like social media marketing, content material marketing and more. The conference brought together thirty eight speakers, 15 sponsors and more than 1500 of the search industry's brightest and the best associated with search for a day regarding actionable SEO advice and marketplace leading content. A principal benefit associated with SEO is its cost-effectiveness since Never Underestimate The Influence Of SEO 2019 there is no payment toward the search engine for getting placed within it. This is definitely very important for the 'search head', high volume low intention searches that are expensive within paid search. In 2019, I believe that will Google will continue to drive paid search ads and state the majority of the over the fold organic SERP. Since, paying a search motor to put your business internet site at the top of the list doesn't come cheap, the particular next smartest thing one may do is to use research engine optimization or SEO strategies to increase the clicks toward the website and help this work its way up the particular search engine's results page. If you are nevertheless sticking with old SEO formula strategies and searching optimized key phrase for the article, Sorry!

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