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fromgreecetoanarchy · 5 months

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Επιστρέφοντας στη Villa Amalias και τη μεγαλύτερη πορεία αντιεξουσιαστών που έχει καταγραφεί στον ελλαδικό χώρο (Βίντεο) Σαν σήμερα, 9 Γενάρη 2013: Υπάρχουν κάτι ξημερώματα…

“Λίγα σκόρπια λόγια, λίγες ανάκατες λέξεις για εκείνο το ξημέρωμα της 9ης Γενάρη 2013 που 92 σύντροφοι και συντρόφισσες καταστήσαμε το «αδιανόητο» σε χειροπιαστή πραγματικότητα. Για εκείνο το ξημέρωμα που το ξυπνητήρι δεν ήχησε σαν καταναγκασμός αλλά σαν προσκλητήριο για την επιβεβαίωση της κυριολεξίας των ιδεών μας, των πράξεων μας, της ίδιας της ζωής μας. Για εκείνα τα γοργά βήματα προς τη Βίλα Αμαλίας που τα κάναμε σχεδόν χωρίς να πατάμε στο έδαφος. Για την ευχαρίστηση που γεμίσαμε μόλις αντιληφθήκαμε ότι ναι τα καταφέραμε να πιάσουμε στον ύπνο τους ένοπλους φρουρούς της αστικής νομιμότητας. Για την ικανοποίηση που νοιώσαμε εκείνες τις 2 ώρες που βρεθήκαμε και πάλι μέσα στο Μεγάλο Σπίτι του Κινήματος. Για τα γρυλίσματα των ματατζήδων και των δελτάδων μόλις συνειδητοποίησαν το κάζο που είχαν πάθει και το οποίο προσπάθησαν να επουλώσουν με ότι είχαν πάνω τους και μέσα τους από βρισιές, απέλπιδες κλωτσιές στις πόρτες, δακρυγόνα και ασφυξιογόνα. Για τις καθαρές κουβέντες που τους ειπώνονταν και σίγουρα θα τις θυμούνται για όλη την υπόλοιπη δολοφονική σταδιοδρομία τους: άντε γεια, εδώ είναι το σπίτι μας, πάρτε τηλέφωνο τον Δένδια, χαιρετίσματα στον Παναγιώταρο. Για την αμηχανία που διακρινόταν κάτω από τις κουκούλες των ρόμποκοπ-εκαμιτών. Για τις συντροφικές αλυσίδες μας, τα αδιάκοπα συνθήματα μας, τα καθαρά βλέμματα μας, τα χαμόγελα μας, τις υψωμένες γροθιές μας προς τους αλληλέγγυους και τις αλληλέγγυες που βρέθηκαν κοντά μας όταν το κράτος των αφεντικών μας αιχμαλώτισε και μας στοίβαξε στις κλούβες του. Για τους συντρόφους και τις συντρόφισσες που κατέλαβαν τα γραφεία της πιο ξεφτιλισμένης εκδοχής της κυβερνώσας «αριστεράς». Για την αυθόρμητη συγκέντρωση στο υπουργείο οικονομικών και τη ματαίωση της φιέστας του ρέιντζερ πρωθυπουργού. Για τη θλίψη στο άκουσμα της εκδικητικής εισβολής στην κατάληψη Πατησίων 61 & Σκαραμαγκά. Για εκείνα τα μερόνυχτα στη γ.α.δ.α που κατά κάποιο τρόπο αποτέλεσε, ακόμα και αυτή η κτιριακή επιτομή της Εξουσίας, μια δική μας προσωρινή κατάληψη. Για τ’ αστεία μας και τους χαβαλέδες μας που τους δημιουργούσαν εκνευρισμό. Για το αντιφέγγισμα απ’ τα φώτα της Μητρόπολης πάνω στα θολά τζάμια των κρατητηρίων. Για τη μασίφ και περήφανη στάση μας μπροστά σε ένστολους και ασφαλίτες, σε ανακριτές και εισαγγελείς. Για τη χαρά στο άκουσμα κάθε κίνησης αλληλεγγύης που πραγματωνόταν εκτός των τειχών. Για τους δικηγόρους που με ανιδιοτέλεια στάθηκαν στο πλάι μας. Για όλους εμάς, αναρχικούς και κομμουνιστές, αυτόνομους και αντιεξουσιαστές, αδέσποτους και ανέστιους, τρελαμένους και σαλταρισμένους, αλάνια και μάγκισσες, «παλιούς» και «νέους», ίσους και διαφορετικούς. Για τις πολλές χιλιάδες των ανδρών και των γυναικών του κόσμου της Αντίστασης και του Αγώνα που στις 12 Γενάρη 2013 γράψανε ιστορία. Για την ατάκα συγκρατούμενου συντρόφου στο άκουσμα του μεγέθους αυτής της ανθρωπόπλημμύρας: το φυτίλι ποτέ δεν βλέπει την έκρηξη. Για όλα αυτά και για άλλα τόσα, για όλους τους λόγους του κόσμου, να μην κάνουμε βήμα πίσω, να μην υποχωρήσουμε, να μην απογοητευτούμε, να μην λιγοψυχίσουμε, να συνεχίσουμε να ζούμε και ν’ αγωνιζόμαστε με αξιοπρέπεια ενάντια στην χούντα της εποχής μας, για τον δικό μας κόσμο, για τους δικούς μας κόσμους, για τον Κομμουνισμό και την Αναρχία. Γιατί ότι δεν μας σκοτώνει μας κάνει πιο δυνατούς. Γιατί ότι είπαμε ισχύει.

Γιατί όπως λέει και ένα παλιό βιλιώτικο άσμα: …Η δύναμη είσαι εσύ, η δύναμη είναι μέσα σου, νιώσε ξεχειλίζει από τη θέλησή σου, ζήσε τη ζωή σου όπως εσύ τη θέλεις, η μόνη εξουσία είναι ο εαυτός σου, μαζί μπορούμε να κάνουμε τα πάντα, μπορούμε να διώξουμε το όραμα του τέλους, που φαίνεται πολύ κοντά, μπορούμε να ζήσουμε σαν άνθρωποι ελεύθεροι, σαν άνθρωποι περήφανοι και άνθρωποι ελεύθεροι, μπορούμε να γκρεμίσουμε τον τοίχο και να δούμε, μια ολόκληρη ζωή χαράς που μας περιμένει…

1 από τους 92 από τους 10.000 από τους… από τα σωθικά της Μητρόπολης 17.1.13″

Το παραπάνω κείμενο δημοσιεύθηκε τον Γενάρη του 2013 στο villa-amalias.blogspot.com και περιλαμβάνεται στη συλλογή Λεωνίδας Βλάσσης. Η ΠΟΛΗ ΕΙΝΑΙ Ο ΘΗΣΑΥΡΟΣ, Ο ΘΗΣΑΥΡΟΣ ΕΙΝΑΙ Η ΠΟΛΗ & ΑΛΛΑ ΓΡΑΠΤΑ [1994 – 2Ο21]. (Εκδόσεις red n’ noir. Αθήνα 2023).

🎥 Video project: Tar + Thiasus 🖥️ Video edit: @thiasusmusic 🎼 Soundtrack: Το τραγούδι γράφτηκε ειδικά για αυτό το βίντεο από τον @thiasusmusic

#Villa Amalias #Βίλα Αμαλίας #κατάληψη #καταλήψεις #αθήνα #ελλάδα #ανακατάληψη #σαν σήμερα #πορεία #Youtube

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exhaled-spirals · 1 year

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Il y a un plaisir non pas d'être seule mais d'être capable de l'être.

Pascal Quignard, Villa Amalia

#quote #pascal quignard #villa amalia #solitude #french

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coolvieilledentelle · 10 months

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Elle pouvait passer des heures devant les vagues, dans le vacarme, engloutie dans leur rythme comme dans l’étendue grise, de plus en plus bruyante et immense, de la mer.

Pascal Quignard- (Villa Amalia)

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andiatas · 2 months

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April 24, 1830 - Princess Charlotta Eugenia Augusta Amalia Albertina was born as the 4th child and only daughter of King Oscar I and Queen Josefina. To friends and family, she was known as Princess Eugénie, but her official name was Princess Eugenia.

She never married, stating that she appreciated the "sweet, independent life" her unmarried status gave her. When a law reform in 1858 allowed unmarried women to be declared legal majority by a simple application, Eugenia was among the first to use this right.

Early on, she had a great interest in the arts and was active as a composer, painter, sculptor and writer. Alongside her brother, Prince Gustaf, she is considered one of the most successful and influential artists of the Bernadottes. She used the income from her art to finance her charities but eventually stopped for health reasons and turned entirely to charity.

In 1860-1861, she had a summer residence built on Gotland after it was recommended that the mild climate on the island would help with her respiratory issues. From 1861 & onwards, she spent summers at her Villa Fridhem & later left it in the hands of her nephew, Oscar Bernadotte. The villa still exists today & is open for visitors.

Photo 1: Closeup of a portrait of Princess Eugenia by Nils Blommér (oil on canvas, 30 x 24 cm, signed 1846). Photo 2: Daguerreotype of Princess Eugenia, ca. 1850, mounted in a cardboard passepartout decorated with gold in the Neo-Rococo style (Nordiska museet via Wikipedia Commons). Photo 3: Portrait of Princess Eugenia, sometime 1865-1875 (Nordiska museet via Wikipedia Commons).

Follow my blog & Instagram to learn more history about the Swedish & Norwegian royals, or check out my page for royal book recommendations.

#swedish royal family #royal history #princess eugenia #princess eugénie #on this day #today in history

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imadudeenaugustsarvahusayn · 1 year

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61) Remember these names 🇮🇩; Mahendra Astu Sanggha Pawitra, Anny Farichah Fathony, Abdul Halim Hasmar(Haji Abdus Samad Umar), Wikan Haryo Rahmantyo, Wagiman Noto Wiyono, Idad Akbar, Mohammad Bekti Hendrie Anto, Ari Wahyudi, Aris Munandar, Abiyoga Gibran, Wildan Salsabila, Nu'aim Hammad Ausi, Yudha Maulana Ahmad, Abikusno Subagyo Subandi Wartoraharjo, Akbar Perdana Putra, Muhammad Salsabil Lasarik, Ghifari Abdus Salam-Moh Abdul Rizak, Rio Maretzky-Hanum Fitriana, Nahal Fathir, Adientya Nur Prihantara, Tsuga Wissangeni, Abdullah Zaky, Kevin Octavian Dendra-Bagaskara Widi Nugroho-Afriza Animawan Arifin-M Afkar Armani, Amin Pratomo Septo Pambudi, Oktavianto Nugroho, Yudhistira Candra Kurniawan, Didie Kusuma Suwardi, Hario Wibowo, Chrysaeta Filian Doni, Sonia Ammar, Fadhilah Ghassani-Aditya Toni Saputra, Dzikra Ramiza Akram, Muhammad Ikmal, Firman Hidayat, Muhammad Hafidz Jo Faesal, Anggi Laksmita Dewi-Mayasari Setyaningrum Suroto-Saviera Yonita, Olivia Rizki Egawati, Pingky Gita Ayuningtyas, Prasasya Kirana, Putri Cahyaningtyas, Ramadhea Laila Afifa Annur Willya Saputri, Khariz Fahrurrozi, Moch Yan Pandu Akbar, Afra Hatim, Wibisono Sulistyo, Aditya Bayu Pratama, Dian Amalia Kahfi, Jatmiko Herjati, Putri Cahyaning Prabandoro Pamungkas, Ratih Sanjaya Wahyuningrum, Diny Aulia Pradiza, Afifah Khoiru Nisa, Damar Adi Prabowo, Nurkholis Majid, Muhammad Noor Ridho Aji, Sidiq Nur Cahyo, Adnan Hendrawan, Imam Nur Kholis, Fadhil Rizky Harenda, Aditya Yudhakusuma, Amalia Dian Utami, Amalia Ichsani, Muhammad Hanif, Sri Widowati Anjarsari, Ganesha Ilham Adhityatama, Cahyarum Ludiana, Lukman Ardhiono, Verly Fazlurrahman, Muhammad Sholikhin, Diky Septa Nugroho, Gilar Ichtiari Mukti, Dina Aulia Nurfiana-Erwina Safitri, Khadafi Ikhsan Muttaqien, Farah Azzahra, Anas Mufid Nurrochman, Syatira Fikriani Azizah, Rizka Islami Ratnasari, Luthfi Hannan, Ricahyo Priyo Utomo, Syaifullah Rangga Haryo Nugroho, Ilham Taufik Akbar, Arvian Raka Pradana, Rizka Aulia Hakmi, Tri Suci Hidayati, Raihan Irsyadi, Alifah Elfmi Fajrina, Salma Karimah, Fakhri Dhia, Yahya Shafiyuddin Hilmi, Nesyamia Yala Widhasuna, Amelia Nugrahaningrum, Arviyan Dendi Mahendra, Putra Anggita, Gana Adikara Yusron, Iskandar Mustofa, Zinda Rahma Ilfana, Avina Alawya, Nooringtyas Damayanti, Satria Taru Winursita, Rizky Fadilla Fitriyanti, Fendy Andra Fahreza, Karina Umma, Mufti Khuzaimah Al Azizah, Meita Candra Sekar Sari, Dedy Kurniawan, Harimurti Yogatama HP, Vidiah Vebrinasari, Teja Aryana Maulana, Ibnu Hudaya Panggrahita, Aulia Azka Januartrika, Gessa Firman Febrian, Ahid Prihanta, Rahman Adianto, Frida Nurrochman, Muhammad Hashfy Habieb Rahardjo, Nur Rahmantyo Aryadi, Muliawan Canggih Arofahna, Putera Yazil Ikram, Zahratul Iftikar Jadna Masyhida, Billy Ibnu Hilman Taqwa, Kalam Majid Biruni, Bernardia Vitri Arumsari, Nurhuda Sarjono Mukti, Riana Desi Putri Ratmawati, Vanelly Rahutami Santosa, Gregorius Bagus Prasetyo, Muhammad Nashrul Malik, Hemas Malia Pangestika, Herditama Galih Firmansyah, Novianda Aditya Istiqomah, Mayang Kirana Candra, Retyan Suci Arthasani, Nizar Caraka Trihanasia-Raka Affa Arasya Maharika, Reza Rully Kusuma, Khusnuli Amalia Nurrafingah, Putri Anjaweni, Sandira Ultra Utami, Muhammad Aliya Imaduddin→Aliya Imadudeen→Imadudeen Muhammad-Ali→Imadudeen August-Husayn→İmadudeen August-Sarva-Husayn, Harimas Shofi Mahatma, Andria Eko Nugroho, Denni Fariz Subekti, Villa Noorlita Marianna, Mutiara Nur Isnaini, Shinta Dewi, Firdausi Farhana, Bella Lailatus Saadah, Zwista Dimas Haryanto, MH Amin Mardhatillah, Ridho Dwi Dharmawan, Afiani Muslikhah, Hanifah Nurkhasanah, Imma Priyansari, Marini, Ezzat Chamudi, Krisnanto Wibowo, Angela Gusti Aprilia, Aryaningtyas Widya Pamungkas, Qanita Qamarani, Lisa Almira, Hilarisa Adriyani, Panduaji Panditatwa, Laurensia Nita Kustanto, Rifka Annisa Pranata, Shafa Intishar, Nabila Hajar Aflaha, Faiq Muhammad Sani, Haidar Muhammad Tilmitsani, Ahmad Alvin Muttaqin, Muhammad Dalton Fisabilillah, Isnan Hidayat, Luthfi Alfikri Kustiyo-Adnan Rifa'i.

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prensauniversitaria · 3 months

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María Lucila Beltrán Ruiz, conocida artísticamente como Lola Beltrán, nació el 7 de marzo de 1932 en El Rosario, Sinaloa. Su voz potente y emotiva, a... https://prensauniversitaria.press/2024/03/07/92o-aniversario-del-nacimiento-de-lola-beltran/?feed_id=132&_unique_id=65ea4eeada743

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en-espoir-de-cause · 8 months

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"Il y a un plaisir non pas d'être seule mais d'être capable de l'être." (Villa Amalia - Pascal Quignard) ph : en Espoir de cause

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lyngecorneliussen98 · 10 months

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Métis Crossing Cultural Heritage Gathering Centre In Smoky Lake, Ab

MNC outsourced the veterans program to MMF by way of a service supply settlement in September 2020. The wider declare seeks $15 million in damages towards Chartier, Chartrand, the MMF and several other others. Chartier and Chartrand deny the allegation of impropriety, saying this system was outsourced to the MMF as a outcome of the MNC isn't a service supplier. The documents had been produced by the MNC's external accountant, Benoit Groulx of Baker Tilly in Ottawa, who believed there have been questions raised by the MMF's books, his Ontario Superior Court affidavit says. The Hollis Halifax - a DoubleTree Suites by Hilton accepts these playing cards and reserves the proper to quickly maintain an quantity prior to arrival. Cash isn't accepted Some mixed-ancestry communities establish as Métis, others as Indian. Within non-Indigenous society, there are two competing ideas of what being Métis means. The first, when spelled with a lowercase "m" (métis), means people or people having mixed-race parents and ancestries, e.g., North American Indigenous and European/Euro-Canadian/Euro-American. This is the oldest meaning of métis and relies on the French verb métisser [sic],[27] to combine races or ethnicities. This property provides access to a terrace, free private parking and free WiFi. Located simply 600 metres from Sainte-Flavie Beach, Villa CARPE DIEM provides accommodation in Sainte-Flavie with access to a backyard, barbecue services, in addition to personal check-in and check-out. Showcasing ocean views, this beachfront Sainte-Flavie motel is 10.5 kilometres from Jardins de Metis. Boasting sea views, Alizé-Sur-Mer options lodging with a balcony and a coffee machine, around a couple of steps from Sainte-Flavie Beach. Madden's core argument nonetheless was that the court docket has no jurisdiction to evaluation the deal because it types part of the legislative course of. Bill C-53, which Ontario First Nations vigorously oppose, would ratify the MNO deal and others signed with Métis associations in Alberta and Saskatchewan. "It defies logic" for First Nations to query the existence of Métis in Ontario, he said, citing the Supreme Court of Canada's 2003 Powley ruling, which affirmed Métis looking rights in and round Sault Ste. But, Shefman countered, First Nations with 1000's of years of occupation behind them have every right to demand the Canadian government verify these it acknowledges are truly Indigenous to the lands they claim. You should due to this fact adjust this setting on every system as essential to replicate your desire. Mitsis Petit Palais Beach Hotel accepts these playing cards and reserves the proper to briefly hold an amount previous to arrival. Cash The staff is pleasant and environment friendly, rooms are clear and comfortable, food is tasty. We were touched by the praise within the room on the primary day of our stay. The woman from the reception (Amalia if I’m not mistaken, and he or she is tremendous helpful and professional by the way) organised a trip for us and supplied snacks, Evening exhibits are additionally good. Using and taking part in a land acknowledgement is a method to acknowledge the enduring presence and resilience of Indigenous peoples in this space for time immemorial. They are also a reminder that we are all accountable to these relationships. The Marcus Whitman is an integral part of the Walla Walla group and has substantial conferences and conventions booked for future years that might be in jeopardy to actualize ought to it be known that a change of ownership was being explored. The Marcus Whitman Hotel also employs a big workers and keeping the method confidential was important to retention. "Our citizens care so deeply about their land they usually're so aware of the connection between the pollinators, between the food they eat, between the areas they take pleasure in," she stated. We have greater than 70 million property reviews, all from real, verified visitors. Located in Saint-Flavie, Motel Saint-Flavie is a beachfront property. Riel had a significant influence on the Métis community in Canada, particularly in the Manitoba region. Directly adjoining to the Métis Crossing Cultural Gathering Centre, our 40-room boutique lodge provides scenic views overlooking the majestic North Saskatchewan river, the very route utilized by our Métis ancestors as they gathered at this very spot. Featuring a terrace and Malcolm Lake views from all rooms, this Sayabec hotel includes free WiFi. Metis Crossing smoky lake hotel A territorial or land acknowledgement entails making a press release recognizing the traditional territory of the Indigenous people(s) who called the land house before the arrival of settlers, and in many cases nonetheless do call it home. Indigenous peoples have been acknowledging the land initially of gatherings, ceremonies and occasions for time immemorial. With the discharge of the Truth and Reconciliation Commission, extra non-Indigenous individuals are changing into aware of the significance. The City of Toronto acknowledges that we're on the normal territory of many countries including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples and is now residence to many numerous First Nations, Inuit and Métis peoples. The City also acknowledges that Toronto is roofed by Treaty 13 signed with the Mississaugas of the Credit, and the Williams Treaties signed with a number of Mississaugas and Chippewa bands. Due to the coronavirus (COVID-19), this property is taking steps to guard the safety of friends and workers.

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lamilanomagazine · 1 year

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Caltanissetta: Al via a Serradifalco Performare Festival, dal 28 giugno all’8 giugno, undici giorni dedicati alla danza contemporanea

Caltanissetta: Al via a Serradifalco Performare Festival, dal 28 giugno all’8 giugno, undici giorni dedicati alla danza contemporanea. Un cartellone ricco di appuntamenti per questo evento ideato e diretto da Simona Miraglia e Amalia Borsellino del Collettivo SicilyMade, prodotto dall’Associazione In Arte e che ha il sostegno di Ministero della Cultura, Assessorato del Turismo dello Sport e dello Spettacolo della Regione Siciliana e Comune di Serradifalco. Al centro dell’azione di Performare c’è la danza contemporanea e la ricerca artistica, con spettacoli, residenze creative, workshop ed incontri di approfondimento. Oltre agli spettacoli, il programma prevede una sezione dedicata alla ricerca e alla formazione: Performare Project, articolata in diverse categorie. Tra gli ospiti, artisti e compagnie di rilevanza nazionale e internazionale, ma anche talentuosi emergenti del territorio: Compagnia Zappalà Danza, Compagnia Virgilio Sieni, Jurij Konjar, German Jauregui & Antia Diaz Otero, Nello Calabrò, Giovanna Velardi, Balletto Civile, Chiara Ameglio/Fattoria Vittadini, Noemi Bresciani/Fattoria Vittadini, Giorgia Briguglio,, Melania Caggegi & Agnese Canicattì, Nicola Simone Cisternino, Collettivo SicilyMade, Silvia Oteri, Maria Stella Pitarresi & Marco Pergallini, Priscilla Pizzol & Edoardo Sgambato, Delfina Stella, Rosada Letizia Zangrì. Il festival, mercoledì 28 giugno alle ore 19.30, sarà inaugurato dalla presentazione del libro “Passi falsi - Drammaturgia come metodo investigativo” di Nello Calabrò in programma alla Villa Comunale Livatino. Oltre all’autore interverrà il coreografo Roberto Zappalà e sarà moderato dalla critica teatrale Tiziana Bonsignore, che curerà inoltre il TeCLAB, laboratorio di visione e scrittura ideato dalla testata Teatroecritica e ospitato dalla sezione Narrazioni dinamiche di Performare Project. A seguire, alle 20.30, si svolgerà Performative Speech: Il Fauno (produzione Scenario Pubblico /Compagnia Zappalà Danza in coproduzione con MILANoLTRE Festival). Da un’idea di Roberto Zappalà e Nello Calabrò, questa ricerca è pensata per spazi alternativi e anticipa un più ampio progetto che vedrà la sua conclusione nel 2024, con la messa in scena di un unico disegno creativo che accosterà l'Après-midi d’un faune al Bolero di Ravel e al Sacre du printemps di Stravinskij. Al Quadrato alle ore 21.30 Jurij Konjar presenterà in prima nazionale la sua coreografia MOVEMENTWORD (prior to languagedance). Jurij Konjar è un danzatore e coreografo sloveno nato a Lubiana, formatosi a Londra e Bruxelles. Attualmente la sua trentennale ricerca si sta concentrando sul tema dell’improvvisazione. Giovedì 29 giugno la Piazzetta San Leonardo Abate alle ore 19.00 sarà il punto di partenza della performance WALK AROUND, a cura di Jurij Konjar in collaborazione con Collettivo SicilyMade. La performance è la restituzione conclusiva di Creazione e Ricerca, percorso di Performare Project sul corpo e il linguaggio del contemporaneo diretto da Konjar, dedicato al rapporto con la comunità e il luogo ospitante. Alle ore 21.00 il Piazzale Teatro Comunale A. De Curtis ospiterà AMANDINA (produzione Fattoria Vittadini), di Noemi Bresciani dedicato ad un pubblico a partire dai 3 anni. Un inno alla timidezza e alla solitudine come ingredienti dell’atto creativo e performativo. L’artista condurrà anche un laboratorio per la sezione KIDS di Performare Project, destinato a coppie di genitori e figli a partire dai 3 anni. Venerdì 30 giugno il Parco delle Rimembranze ospiterà alle ore 18.00 la presentazione del libro Cronicario di Dario Tomasello: una performance poetica a cura di Latitudini con Dario Tomasello (voce) e Francesca Bongiovanni (violoncello). A seguire, alle ore 19.00, 19.30 e alle 20.00 EACH PART EACH PLACE - i linguaggi del corpo a cura di Silvia Oteri, esito della sezione Next Generation di Performare Project dedicata alla formazione di allievi e allieve del del Liceo Coreutico “R. Settimo” di Caltanissetta. Durante questo percorso, condotto da Oteri, i partecipanti si confronteranno con il MoDem Language, ideato da Roberto Zappalà. Protagonisti della performance conclusiva saranno i giovani partecipanti al laboratorio insieme a Silvia Oteri e Melania Caggegi. Alle ore 21.30 il Piazzale del Teatro Comunale A. De Curtis si svolgerà l’incontro con Nello Calabrò “Soglie e attraversamenti: il gesto e la danza”, un personale viaggio tra film e cinema. Sabato 1° luglio al Quadrato alle ore 19.30 è in programma MEMENTO di e con Stella Pitarresi, Marco Pergallini (produzione Twain_Centro Produzione Danza). La performance è una considerazione sulla fugacità della vita e dei suoi piaceri, e sull’esigenza di tornare in spazi già vissuti per mantenersi vivi. Il duo Pergallini/Pitarresi, nato nel 2020, condurrà anche una masterclass destinata ai danzatori del territorio. Il Piazzale Teatro Comunale A. De Curtis alle ore 21.00 ospiterà Priscilla Pizziol e Edoardo Sgambato con la performance AMELIA, un elogio alla fragilità, un invito ad immergersi nella dimensione del ricordo e a lasciarsi attraversare dal senso di vuoto che deriva dalla sua perdita. Il lavoro rientra nei progetti selezionati per “Approach to a creation process”, il workshop-residenza della sezione del festival che indaga le forme dell’atto creativo, in collaborazione con il Marosi Festival di Stromboli, partner di Performare. Pizziol e Sgambato, autori associati di Zerogrammi, condurranno anche una masterclass destinata ai danzatori del territorio. Alle ore 21.30 sarà la volta del Collettivo SicilyMade, artista associato di Scenario Pubblico, con FEMALE ESCAPE | THE THREE OF US, concept, coreografia, interpreti Amalia Borsellino, Silvia Oteri, Marta Greco (produzione: IN ARTE / CSM). La performance rientra nel progetto “Approach to a Creation Process” del Festival. Nella commistione di linguaggio gestuale e verbale, pone le condizioni per una fuga dai luoghi comuni in cui il femminile è ingabbiato. Domenica 2 luglio il Teatro Comunale A. De Curtis alle ore 16.30 ospiterà l’incontro con la giornalista e critica Tiziana Bonsignore sul tema “Nuove dimensioni. lo spazio dei Festival”, un dibattito aperto su danza e territorio, con i partecipanti al TeCLAB. Durante l’incontro si svolgerà la proiezione dei film finalisti de La Danza in 1 minuto Z Generation Edition 2023, a cura di COORPI. Alle ore 21.00 il Piazzale Teatro Comunale A. De Curtis ospiterà uno spettacolo pensato per i più piccoli ma che coinvolgerà anche gli adulti: CLOWN di Giovanna Velardi (produzione PinDoc). Spettacolo storico della Compagnia Giovanna Velardi, che quest’anno celebra i suoi 15 anni di repliche. Attraverso l'espressione della pluralità linguistica e della clownerie, lo spettacolo lascia emergere i tratti tipici di una relazione di coppia: lo sforzo di comunicare, la tenerezza, le buffonate, la cattiveria. L’artista condurrà anche una masterclass destinata ai danzatori del territorio. Dal 3 all’8 luglio si svolgerà la residenza di Antia Diaz Otero e German Jauregui, con il loro workshop-residenza Approach to a Creation Process, destinato agli autori emergenti ospiti del festival. Antia Diaz Otero è coreografa e danzatrice, formatasi presso l’Università di Bruxelles; German Jauregui è coreografo e danzatore storico nella compagnia Ultima Vez/Wim Vandekeybus, con cui ha lavorato per oltre dieci anni e, successivamente, come assistente e rehearsal director. Giovedì 6 luglio si svolgerà, nell’ambito della sezione Kids di Performare Project, il laboratorio "Lo sguardo tattile" condotto da Delfina Stella, danzatrice della Compagnia Virgilio Sieni, collaboratrice del coreografo ed educatrice, che condurrà i giovani spettatori, attraverso l’esperienza concreta, alla visione dello spettacolo Danza cieca programmato per il giorno successivo. Il Piazzale del Teatro Comunale A. De Curtis ospiterà due lavori delle giovani autrici e danzatrici siciliane selezionate per “Approach to a creation process”: alle ore 21.00 la prima nazionale di SYMBIOSIS, di Melania Caggegi e Agnese Canicattì. La coreografia è vincitrice di un premio di produzione Performare Festival assegnato nella scorsa edizione di Teatri Riflessi. A seguire, alle ore 21.30 Giorgia Briguglio sarà la protagonista di DEAR ISLAND, progetto nato sull’isola di Stromboli nell’ambito del MAROSI Festival: l’incontro con l’isola-vulcano, nel giugno 2022, ha provocato nell’artista un’urgenza rispetto ad una ricerca fisica e linguistica. Venerdì 7 luglio la Villa Comunale R. Livatino alle ore 19.30 ospiterà LINGUA di e con Chiara Ameglio (produzione Fattoria Vittadini | Festival DanzaInrete), che ha recentemente vinto il premio della rete Anticorpi XL, network che promuove la giovane danza d’autore. Spettacolo che mette al centro il dialogo tra performer e spettatore, selezionato da Performare nell’ambito di “Approach to a Creation Process”. Alle ore 21.00, il campo da tennis “G. Guttilla” di Serradifalco ospiterà in prima regionale la Compagnia Virgilio Sieni con la performance DANZA CIECA (Produzione Fondazione Matera- Basilicata 2019, Compagnia Virgilio Sieni). Virgilio Sieni e il danzatore non vedente Giuseppe Comuniello sono protagonisti di un duetto sulla tattilità, con musica dal vivo di Spartaco Cortesi. Ascolto, tenuità, spazio, gioco e rito, potenza dell’attesa, incrinatura della materia fonte inesauribile di gesti, parti oscure del movimento, bagliore nel dettaglio, accoglienza dell’amico, apertura dello sguardo: posture e avvicinamenti che trasformano il corpo in un atlante inesauribile di luoghi democratici. Nella serata di sabato 8 luglio il Vicolo Caico alle ore 19.30 ospiterà Nicola Simone Cisternino con il suo progetto site-specific realizzato per Performare Festival 2023 nell’ambito della residenza “Paesaggio e Comunità”. La sua performance, dal titolo VICOLO CAICO, è una produzione Twain_Centro di Produzione Danza. Il Piazzale del Teatro Comunale A. De Curtis alle ore 21.00 ospiterà l’anteprima di BATTICUORE, primo studio di Rosada Letizia Zangrì/Collettivo SicilyMade. Interpreti Amalia Borsellino, Carmelangela Damico, Annalisa Di Lanno, Marta Greco, in collaborazione con Performare Festival 2023 nell’ambito di “Approach to a creation process”. Infine, a chiudere la V edizione del Festival, sempre al Piazzale del Teatro Comunale De Curtis alle ore 21.30, in prima regionale lo spettacolo PAESAGGIO D’INTERNI (produzione Balletto Civile), danzato e creato da Emanuela Serra, Alessandro Pallecchi, Giulia Spattini, Francesco Gabrielli. In questa performance il palco è la strada, la scena un interno, un tavolo e due sedie, come un'isola a cui approdare. Corpi a confronto in partiture ritmiche danzate.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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Mediante labores operativas de la Policía Nacional, realizadas en el casco urbano del municipio de Puerto Gaitán, en las últimas horas se registró en el barrio Villa Amalia la captura por orden judicial de un hombre de 33 años de edad, quien se acuerdo con sus antecedentes se encuentra requerido por solicitud del Juzgado No. 02 de Ejecución de Penas y Medidas de Seguridad de Villavicencio, por el…

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Opatija // Villa Amalia // 1890 // #austrianriviera // Where People Like James Joyce Spent Their Winters During The Austro-Hungarian Period

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Hauk, Minnie (1851–1929)

American dramatic soprano, the first international opera superstar to emerge from the U.S., who was particularly celebrated for her Carmen. Name variations: Minnie Hauck. Born Amalia Mignon Hauck in New York City, on November 16, 1851; died at Villa Tribschen, Switzerland, on February 6, 1929; daughter of James Hauck; married Baron Ernst von Hesse-Wartegg.

The first full-fledged, internationally acclaimed operatic prima donna to be produced by the United States, Minnie Hauk was born Amalia Mignon Hauck (she later chose to drop the c) in New York City during 1851. She was the only child of a German-born father, a carpenter who had fled Germany after the failure of the 1848 revolution, and his American wife. The Hauck family moved to Providence, Rhode Island, where at the age of five, Minnie attended her first theatrical performance while seated on her mother's lap. She later reminisced about this experience, recalling that after returning home she did not even look at her dolls, "sitting in a row near my bed. I had seen at the theatre much larger, much finer ones." Stagestruck, the young girl became obsessed by Jenny Lind , "the Swedish Nightingale." She owned many pictures of the singer, read a biography of Lind "at least once a week," and named her dogs and cats Jenny.

In the late 1850s, the Hauck family moved again, this time to the frontier town of Sumner City, north of Kansas City and situated on the Missouri River. With her father working as a boatbuilder and her mother running a boarding house, Minnie was often on her own. She took advantage of her freedom to stroll across the prairies, often winding up in a nearby Native American camp. As she recalled, "The Indians would call me their 'Prairie flower'; they would give me fruit, carry me in their arms, and take me for a ride on their little ponies. Their children would show me how to string a bow and shoot an arrow, would dance or have a sham battle or a pony race for my amusement, and, towards evening, they would accompany me a good distance on my homeward way." Alarmed by their wandering daughter, the Haucks sent her off to a girl's seminary in nearby Leavenworth. Here, her irrepressible spirits quickly got her expelled.

After a fierce flood on the Missouri River virtually destroyed Sumner City, the Haucks again decided to move on. James Hauck built a boat, loaded it with his small family and all their worldly possessions, and they set sail for New Orleans where life would be easier. Just south of St. Louis, however, their houseboat was rammed by a steamboat and demolished. As Minnie and her parents floated in the water, clutching debris from their vessel, they watched everything they owned sink into the mighty Mississippi. The steamboat's captain rescued the shaken family and took them free of charge to their destination. By the time the Haucks arrived in New Orleans, the Civil War had begun, the city found itself blockaded, and economic life was at a virtual standstill. Soon, however, Minnie's parents were able to find employment and a modest lifestyle was enjoyed by the family. Minnie attended the Belleville School and took singing lessons from a European basso, Gregorio Curto.

Before long, she was facing an audience, singing in the city's grand opera house at a charity concert to raise money for wounded soldiers.

Convinced of her talent, Minnie's parents again relocated. In late 1862, with the Civil War still raging, they sailed from New Orleans to the Florida Keys, and from there to New York City. In Manhattan, Minnie soon became a musical sensation, regularly singing in the homes of the social elite, including Naval Commodore Ritchie, August and Caroline Perry Belmont , and racetrack entrepreneur Leonard Jerome, father of Jennie Jerome (Churchill) . After a brief but intensive course of study with Achille Errani, who had gained fame as a teacher of a number of successful American sopranos, Minnie made her operatic debut, singing in La Sonnambula at the Brooklyn Academy of Music on October 13,1866. A month later, she made her Manhattan debut at the Winter Garden, singing the role of Prascovia in Giacomo Meyerbeer's L'Étoile du Nord. The New York Times' assessment of her performance was highly enthusiastic, noting that she was "an artist who in time will rank among the foremost. Her power is quite equal to her brilliancy, and experience will beyond a doubt develop in her an artist quite equal, if not superior, to any we have yet heard."

Youthful and supremely confident, Minnie Hauk quickly emerged as a prima donna, adding major roles to her repertoire at a dizzying pace. The only component left to secure her career was a trip to Europe, and funds for this undertaking were provided by the music publisher Gustav Schirmer, whose confidence in Hauk's talents was repaid quite literally with interest soon after her first engagements on the Continent. Traveling with her mother—who would serve as Hauk's best friend, constant companion and closest adviser—the young soprano's first stop was London. Although no engagements materialized in the British capital, Hauk attended the opera, made a number of important connections, and carefully studied the singing techniques of several of the city's reigning singing stars including Adelina Patti and Christine Nilsson . In Paris, however, she secured an engagement in the role of Amina in La Sonnambula. Hauk became the instant darling of the French public not only because of her vocal and dramatic talents, but also because her colorful American frontier background provided great copy for the local newspapers, which described her in fantastic terms as a half-civilized Pocahontas figure who in the wilds of the New World was accustomed to riding a mustang bareback.

Within months of her Paris debut, Hauk was singing in the major opera houses of London, The Hague, and Russia. In Russia, she appeared in both Moscow and St. Petersburg's imperial opera houses, and it was during these Russian engagements that she began to earn a reputation for displaying a fiery stage temperament. A simmering artistic jealousy between Hauk and Désirée Artôt , then one of the leading sopranos on the Russian operatic scene, came to a head during a performance of Don Giovanni. Artôt's husband, Mariano Padilla, jerked Hauk's hand at the end of their duet in Act I. Convinced that Padilla was intentionally trying to cause her to break a high note, Hauk slapped him in the face. The audience, entranced by the events, gave both singers such an ovation that the entire duet had to be repeated.

Hauk's Russian successes made her an internationally recognized singing sensation. For the next decade, she would sing mostly in Vienna and Berlin, making her Viennese debut in May 1870. She quickly mastered the German language both to meet the requirements of daily living and because the non-German operatic repertory was customarily sung in German. At the time of her first appearance in Vienna in the role of Marguerite in Gounod's Faust, Hauk had not yet completely mastered the complexities of German. A slip-up she made in performance served to endear her to Vienna's music enthusiasts: responding to Faust, she told him she intended to go home ungekleidet (undressed) instead of the correct word, unbegleitet (unaccompanied). The sophisticated Viennese audience was delighted by the imperfect German of the American girl from the Wild West, and she became an immediate star. She enjoyed a comparable success at the Berlin Opera, where she starred in, among other popular operas of the day, Goetz's Taming of the Shrew.

Despite her late and rather sketchy vocal training, Minnie Hauk was a quick study and mastered not only the German language, adding dozens of roles to her repertory in a brief period, but also learned roles in exotic languages. In Budapest, for example, she sang the role of Maria in Ferenc Erkel's Hunyadi László in the original Magyar, even though she never learned a sentence of conversational Hungarian and learned the words, as she would later note, "like a parrot." Now a world-class artist, Hauk met many of the composers of operas she starred in including Richard Wagner whom she met after a Budapest performance of Der fliegende Holländer. On that occasion, she told him that she always made an effort to "act in accordance with the symphonic indications of the orchestra." A grateful Wagner replied, "That is right, that is right! Thank goodness! Here is an artist who knows how to act and sing according to my intentions."

Always willing to sing in contemporary operas that were fresh to the ear and even controversial, Hauk was glad for the opportunity to sing in Bizet's Carmen. In May 1878, when that opera was only three years old, she sang in the starring role at the Théâtre de la Monnaie in Brussels. Her performance was a huge hit, at least in part because in order to totally master her role she had immersed herself in the French language, read the Prosper Mérimée short story the opera was based on, and took dancing lessons from the Monnaie's ballet master. On June 22, 1879, Hauk performed Carmen in London, singing it in Italian, the operatic language favored by British audiences of the day. Here, too, it was an immense success. Although she married the wealthy Austrian journalist and globetrotter Baron Ernst von Hesse-Wartegg in 1881, Hauk had no intentions of abandoning her immensely successful singing career, which by the 1880s had made her name as well-known in the United States as it had become in Europe during the previous decade. She toured constantly in the United States and Canada, and was invited by President Chester A. Arthur to perform at the White House.

Fearing that her success as Carmen might doom her to being seen as a one-role artist, Hauk was constantly searching for, and mastering, new roles, which included Hector Berlioz' rarely performed La Damnation de Faust. Among other novelties, Hauk introduced Massenet's Manon to the United States in December 1885. She sang at New York's Metropolitan Opera during the 1890–91 season, and her appearance in Carmen on April 2, 1891, marked her final New York performance. As a last hurrah for her fans, she founded the Minnie Hauk Grand Opera Company in mid-1891 to make an American tour. During this tour in Chicago on September 30, 1891, she appeared in Mascagni's sensational new opera Cavalleria Rusticana, in what was one of its earliest American performances. With the death of her mother in 1896, Minnie Hauk retired from the hectic but stimulating life of an operatic prima donna. She and her husband retired to their Swiss villa outside of Lucerne, the same Tribschen that Richard Wagner had occupied at the time he composed his masterpieces Die Meistersinger von Nürnberg and the mighty Ring cycle of music dramas. Here, she and her husband lived an idyllic existence until World War I destroyed their Austrian investments. After her husband died in 1918, Hauk became virtually destitute, a situation she attempted to remedy by dictating her memoirs, even though she was enfeebled and blind. Fortunately, operatic star Geraldine Farrar and the Music Lovers Foundation raised sufficient funds to make Hauk's final years financially comfortable. Minnie Hauk died at Villa Tribschen on February 6, 1929.

On the photo she is seen as Marguerite in Gounod's "Faust".

#Minnie Hauk #dramatic soprano #soprano #opera #bel cano #mezzo-soprano #opera singer #music history #Faust #Marguerite #prima donna #aria #charles gounod #hauk #classical music #covent garden #royal opera house #opera diva #diva

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