Happy Belated Birthday To A Very Esteemed & Dedicated British- Iranian Actress On Television 📺 Of Today's Cinema 🎥
She was born on 14 August 1968 in London to a Scottish father, Peter Bell, and an Iranian mother, Mina Ezzati. Peter was working as an architect under contract to an oil company in Iran; Mina had travelled to London to study nursing.
She was raised by her mother and maternal grandparents. The family eventually moved to California's San Fernando Valley where She was exposed to diverse influences.
She is a British-American actress and model known for her roles as Lieutenant Colonel Sarah MacKenzie in the television series JAG from 1997 to 2005, Denise Sherwood in the series Army Wives from 2007 to 2013, and Cassandra "Cassie" Nightingale in Hallmark's The Good Witch films and television series from 2008 to 2021.
Please Wish This Remarkable British American Actress A Happy Belated Birthday 🎂
You May Know Her & If You Dont. You Will Learn To Love What She Does
The 1 & Only
MS. CATHERINE LISA BELL 🔔 AKA LIEUTENANT COLONEL SARAH MACKENZIE OF JAG AKA DENISE SHERWOOD OF THE ARMY WIVES AKA CASSANDRA "CASSIE " NIGHTINGALE, THE GOOD WITCH 🧙♀️
HAPPY 55TH BELATED BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. BELL 🔔
#CatherineBell #SarahMackenzie #DeniseSherwood #CassandraCassieNightingale #Jag #ArmyWives #TheGoodWitch
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Denise Wilson, Karina Cootes, Alayne Mikahere-Hall, Juanita Sherwood, Kay Berryman & Debra Jackson (2020) Reflecting and learning: A grounded theory on reframing deficit views of young indigenous women and safety, Health Care for Women International, 41:6, 690-708, https://doi.org/10.1080/07399332.2019.1621316
This article explores the way young indigenous women keep themselves safe. Young Māori women in Aotearoa are at a higher risk of domestic abuse, and intergenerational consequences mean that these women often experience unsafe situations. This report details some of the situations survey participants found themselves in - often inappropriately underage for the party, drugs and alcohol scene. This report outlines the resourcefulness of these young women in the midst of unsafe situations. This analysis of wāhine Māori being resourceful in keeping themselves safe in unsafe situations is a link to Wilson’s 2022 report ‘E Tu Whanau, keeping safe in unsafe relationships’. These two articles provide a different perspective on the way women are responding to domestic abuse - actions which from the outside seem to make no sense, which are actually explainable when seen in conjunction with cultural background, protecting family and friends, and an inside knowledge of how an abuser will react to different things.
‘Despite being overrepresented as victims of harm and homicide associated with family violence, health and social service responses to M aori (in general) are driven by negative stereotypes, deficit explanations and discrimination. What is apparent is that deficit framing of Maori women (younger and older) leads to blaming, victimization and unhelpful decision-making rather than considering the strengths and activities these young women undertake to keep themselves safe, and the contextual factors impacting their health and wellbeing.’
The purpose of this research, outlining the strategies Māori women use to keep themselves safe, is to create a rounded picture of Māori women, reframing negative stereotypes to instead see the strengths Māori women possess. It is these negative stereotypes, misunderstandings, and deficit views of Māori women which lead to discriminatory, unempathetic and unhelpful experiences with people working in the response services.
‘Keeping safe occurred even though sometimes situations they lived in or encountered appeared unsafe. McIntosh (2006) indicates those people who are
marginalized and sit on the peripheries of society, like Indigenous people,
are familiar and at ease with their environments.’ (13)
Often what look like unsafe situations from the outside looking in are situations marginalised people can function in in a safe manner, because they have a better understanding of their situation, how to protect themselves within that situation, and a different threshold for unsafety. This is important to understand, because often decisions made by women in situations of domestic abuse are considered irresponsible, and the women therefore lose their credibility in the eyes of response service workers. These stories need to be fully heard out, these contexts need to be fully understood.
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Part 1: In Tribute to Reggae Month
The use of reggae music by choreographers of the National Dance Theatre Company (NDTC) is as old as the music itself. The NDTC, which was founded in 1962 before the flowering of reggae, grew up with the music in its progress from ska to rock steady through to its present manifestation.
Back in 1972, Tommy Pinnock created Desperate Silences, a work which drew on the music of Burning Spear, largely to provide ambiance for the piece, which caught the anguish and dread reality of Kingston inner-city.
Original Dancers (Desperate Silences): Madge Broderick, Monica McGowan, Audley Butler, Tony Wilson, Thomas Pinnock
Three years prior Pinnock’s experimentations, Rex Nettleford explored the riddim in his All God’s Children (1969) using it for the downtown characters.
Original Dancers (All God’s Children): Yvonne daCosta/Noelle Chutkan (Hostess), Dorothy Fraser, Bridget Casserley, Mavis Stoppi, Andrea Anderson, Barbara Requa, Barry Moncrieffe, Bert Rose, Audley Butler (Uptowners); Dorothy Sanguinetti, Jean Binns, Fredericka Byfield, Tommy Pinnock, Noel Hall, Jackie Guy (Downtowners); Beverly Kitson, Gertrude Sherwood Joyce Campbell Cheryl Ryman, Dennis Scott (Spirits of the Weed)
By 1973, reggae was in full swing, and the NDTC adopted to the challenge. Rex Nettleford’s Street People (1973) mixed Desmond Dekker’s “Poor Me, Israelites” with Ernie Smith’s “Ben Dung”. The work portrays scenes from the life in the streets of urban Kingston.
Original Dancers (Street People): Jackie Guy (Sufferer); Yvonne Ffrench/Marylin Sanguinetti (Madam Bag-and Pan); Fitzroy Hunt (Bredda Man); Audley Butler (Mr, S-90); Bridget Spaulding, Pansy Hassan (Ladies of the Night); Jean Binns (The Unsaved Girl); Joyce Campbell (Madam Saviour)
In 1974, Nettleford created Tribute to Cliff, a work dedicated to Jamaican composer and singer, Jimmy Cliff. The music which inspired the work were “Price of Peace”, “On My Life”, “Sitting in Limbo”, and “Many Rivers To Cross”.
Original Dancers (Tribute to Cliff): Bridget Spaulding, Pansy Hassan, Monica McGowan, Andrea Nash, Melanie Graham, Patsy Ricketts, Judith Pennant, Neil Summers, Noelle Chutkan, Bert Rose, Barry Moncrieffe, Jackie Guy, Tony Wilson
Reggae artists who have provided much musical inspiration in the mid 1970′s included Bob Marley for the critically acclaimed Court of Jah (1975) choreographed by Rex Nettleford and Toots Hibbert‘s compositions for Backlash (1975) also created by Nettleford.
Marley’s “Rebel Music”, “No Woman No Cry” and “Suh Jah Seh” provided the score for Court of Jah. The work won critical acclaim when the NDTC appeared at City Center in New York and later when Clive Thompson Dance Company, based in Staten Island, performed the work at Lincoln Center, NY.
Backlash utilised “What A Bam Bam” and Toots’ “Christmas Song”. The programme note read:
The gaolers and the gaoled are really all prisoners together. So out of agony of repression and brutality come protest, violence even madness but also individual compassion and hope for redemption...
Original Dancers (Backlash): Rex Nettleford/Michael Richardson, Barry Moncrieffe, Bert Rose, Jackie Guy, Neil Summers, Fitzroy Hunte, Michael Binns, Calvin McDonald, Tony Wilson (as boy with the knife), Noelle Chutkan (Chief Visitor), Joyce Campbell, Barbara Requa, Pansy Hassan, Madge Broderick, Cheryl Ryman, Dorothy Sanguinetti, Gertrude Sherwood, Judy Cunningham, Yvonne Ffrench, Patsy Ricketts, Bridget Spaulding, Monica McGowan, Jean Binns, Melanie Graham, Sandra McLeod, Judith Pennant, Denise Francis, Alison Symes, Pauline Khan
In 1981, Rex Nettleford turned to Marley’s music “Work” and “Redemption Song” for the dance-satire Rockstone Debate. The work appeared in four movements:
(i) Parliament
(ii) The Stonebreakers
(iii) Redemption
(iv) Hope
Original Dancers (Rockstone Debate): Joyce Campbell, Melanie Graham, Pansy Hassan, Monica McGowan, Sandra Minott, Arlene Richards, Alison Symes, Alaine Grant, Gabrielle Harban, Judith Pennant, Cheryl Ryman, Barry Moncrieffe, Jackie Guy, Samuel Bailey, Duran Hylton, Fitzroy Hunt, Oswald Blackwood, Carson Cumberbatch, Christopher Morrison, Glen Dhyll
By 1984, Rex Nettleford’s Vibrations had gone full throttle in the rhythms, sounds, and sensibility of the reggae universe. The work drew on the music from Ya Ya — “Hold Fast”, R. Bromfield and Franklyn — “Namibia”, Gregory Isaac's — “Cool Down The Dub” and Papa Levi “Mi God Mi King”.
Original Dancers (Vibrations): Joyce Campbell, Melanie Graham, Judith Pennant, Monica McGowan, Alaine Grant, Sandra Minott, Jacquie Smith, Gabrielle Harban, Arlene Richards, Alison Symes, Denise Robinson, Judy Wedderburn, Carole Murdoch, Paula Monroe, Monica Potts-Lawrence, Sita Dixon, Tony Wilson, Adrian Fletcher, Fitroy Hunt, Christopher Morrison, Delroy Rose, Glenford Brown, Dwight Lee Eisenhower Williams, Monty Williams
The next major dance-work by the National Dance Theatre Company (NDTC) that utilised reggae music was Children of Mosiah (1987). The work of Bob Marley and Jimmy Cliff dominated the piece, but the choreographer saw others like Burning Spear, Peter Tosh and Mutabaruka. Nettleford’s Children of Mosiah paid tribute to the Rt. Excellent Marcus Mosiah Garvey, and was presented on the Hundredth Anniversary of his birth.
Original Dancers (Children of Mosiah): Joyce Campbell, Monica McGowan, Melanie Graham, Judith Pennant, Alison Symes, Denise Robinson, Sandra Minott, Arlene Richards, Jacquie Smith, Judith Wedderburn, Alaine Grant, Carol Murdock, MoniKa Lawrence, Paula Monroe, Sita Littlewood, Barry Moncrieffe (Narrator), Tony Wilson, Adrian Fletcher, Christopher Morrison, Deroi Rose, Mark Ramsay, Eisenhower Williams, Glen Brown
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