Marie Memos

Be water

Marie — Sat, 03 May 2008 02:19:54 GMT

http://video.google.com/videoplay?docid=-5705518582839508545

Martha Graham

Marie — Sun, 02 Mar 2008 22:04:54 GMT

http://www.youtube.com/watch?v=Lr8OqS7glxk&feature=related

Agnes De Mille

Marie — Sun, 02 Mar 2008 21:51:04 GMT

The truest expression of a people is in its dances and its music. Bodies never lie.

Isadora Duncan

Marie — Tue, 12 Feb 2008 04:09:16 GMT

Isadora Duncan : The Russian Years by Ilya Ilyich Schneider. Amazing story, amazing lady.

Isadora Duncan

Marie — Tue, 12 Feb 2008 04:03:40 GMT

http://www.youtube.com/watch?v=mKtQWU2ifOs

Flamenco history

Marie — Sun, 18 Nov 2007 03:57:48 GMT

Flamenco history is not an exact science The origins of flamenco can only be intelligently guessed at by looking at Spanish cultural history. From ancient times, the Iberian Peninsular has been the home for a multitude of different races and cultures. Once you start playing flamenco and listening to the various forms, sooner or later you are very likely to ask yourself questions like, "Why does Tarantos and Granadinas sound so Arabic (Moorish)?" or "How come flamenco Rumba doesn't sound like a Cuban Rumba?" of "Was that a Buleria falseta I heard in that Scarlatti sonata?" Spanish cultural history provides some clues for the curious. What is meant be the term "traditional flamenco" Flamenco and 'traditional flamenco' are generic terms applied the body of music, song and dance normally associated with Andalucian Gypsies. In the broader sense, flamenco is the Andalucian folk art of the poor. The word flamenco is also used to describe a flamenco performer or aficionado. The term traditional tends to imply something we can look back on as some sort of reliable reference which is fixed in stone, but it actually evolved gradually from a combination of Gypsy and non-Gypsy cultural influences. It is still evolving and slowly changing as we speak. In a hundred years the music we call traditional now will probably be referred to as ancient or obsolete, and the modern music styles of today may well be referred to as traditional. Regarding the evolution of flamenco tradition as we know it today, we tend to think of gypsies as being major contributors to flamenco. They were (and are), but they were not the only contributors. The truth is that gypsies were relatively late arrivals on the scene in terms of actual influences. Islamic influences in flamenco history Way back in the 9th century a musician from Baghdad called Ziryab founded a singing school in Cordoba. He is credited with introducing the lute (Al-U'd) to Spain and also with adding a fifth bass string to it. It is said he knew 10,000 songs (more than your Ipod can hold) and he was largely responsible for adding Persian music and poetry to Andalucian culture. There are many examples of Islamic music influence in flamenco. Zambra, a festive dance of the gypsies of Granada is one of the most typically gypsy flamenco dances. Zambra is Arabic for 'flute'. It was originally a lively Moorish dance and dates back to the 15th century. Another example is the Danza Mora. This literally means 'Moorish dance' and has an unmistakable Arabic flavor to it. The Gypsies role in flamenco history A major diaspora of Gypsies started arriving in Spain in the mid 15th century. They had come at a bad time and were not welcome. With the rise of Queen Isabella came the Spanish Inquisition. When the Moors surrendered in 1492 and Spain officially became a Christian country, Moors, Jews and Gypsies were given three simple choices. Basically, you agree to walk with Jesus, or get lost. The other choice was you would get to meet the inquisitors and try to explain why you object to being a Catholic. But conversion didn't mean freedom. It just meant you would be persecuted and live a short, miserable life instead of being killed. Flamenco is born It comes as no surprise that most of the Moors and Jews decided to flee and never come back. Gypsies were also part of the religious cleansing and given the choices, were forced to flee the city troubles along with the Moors and Jews. So this unlikely mix of fugitives, while not bonded to each other by race or religion, were at least allies who had a common enemy and had ample opportunity to steal music and dance ideas from one other as they camped under the stars. That's the simple version of flamenco history. I leave the unpleasant details in the hands of bickering historians. The long and short of it is that many of the gypsies ultimately survived the turmoil and remained in Spain while the others (Moors and Jews) left the country for good. In this context it would be fair to say that at least some of the music and dance traditions of the Moors and Jews (and Christians) were assimilated and adapted by the gypsies. It's clear from this brief overview that flamenco history is not just about Gypsies, but invokes the memory of events that affected other persecuted peoples as well. Flamenco history is all about influences Although the Sephardic Jews disappeared from Spain in the late 15th century, echoes of their haunting music linger on in flamenco melodies such as Peteneras. Personally, I can't listen to Sephardic music without being reminded of flamenco. The well known guitar piece "Romance", (or "Spanish Ballad") is believed by some to be a pre-Inquisition Jewish song. Likewise, the Moors have long gone but the Arabic-Islamic influence is unmistakable in such things as Granadinas and Tarantos. Later influences included the Gregorian musical system as well as the Christmas carols of the Christians. Some of this is wonderful stuff for a lively academic debate, but the main point is that flamenco did not just suddenly appear out of thin air. Flamenco owes it's existence to many cultural "influences", without which there would be no flamenco as we know it. It evolved slowly over many centuries. So although flamenco as we recognize it today has only been around for about 200 years, it's incubation period stretches way back. Flamenco history may be a little vague, but it can never be called boring. Copyright © 2006 Sal Bonavita

Technique

Marie — Sat, 10 Nov 2007 05:27:16 GMT

"The only reason for mastering technique is to make sure the body does not prevent the soul from expressing itself." - La Meri

Audrey Hepburn

Marie — Fri, 22 Jun 2007 23:25:10 GMT

I probably hold the distinction of being one movie star who, by all laws of logic, should never have made it. At each stage of my career, I lacked the experience. Audrey Hepburn

Synchronized Dance

Marie — Fri, 22 Jun 2007 04:51:50 GMT

To know oneself is to study oneself in action with another person. Bruce Lee, Tao of Jeet Kune Do

I am ready.....

Marie — Sun, 29 Oct 2006 20:57:47 GMT

Until you're ready to look foolish, you'll never have the possibility of being great. Cher

more goat quotes...

Marie — Sun, 29 Oct 2006 20:11:10 GMT

The mistakes of the fool are known to the world, but not to himself. The mistakes of the wise man are known to himself, but not to the world. Charles Caleb Colton

Oops

Marie — Mon, 25 Sep 2006 01:27:04 GMT

Warning: Don't try this at home. Try this while walking into the middle of the street.

The language....

Marie — Sat, 23 Sep 2006 04:48:39 GMT

DANCE IS THE MOTHER OF ALL LANGUAGES "Speech is after all only a system of gestures, having the peculiarity that each gesture produces a characteristic sound, so that it can be perceived through the ear as well as through the eye. Listening to a speaker instead of looking at him tends to make us think of speech as essentially a system of sounds; but it is not; essentially it is a system of gestures made with the lungs and larynx, and the cavities of the mouth and nose. We get still further away from the fundamental facts about speech when we think of it as something that can be written and read, forgetting that writing, in our clumsy notations, can represent only a small part of the spoken sound, where pitch, stress, tempo and rhythm, are almost entirely ignored... Every language in this way a specialized form of bodily gesture, and in this sense it may be said that the dance is the mother of all languages." -- R.G. Collingwood, The Principles of Art

The art.....

Marie — Sat, 23 Sep 2006 04:46:49 GMT

"The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing... there are times when the simple dignity of movement can fulfill the function of a volume of words. There are movements which impinge upon the nerves with a strength that is incomparable, for movement has power to stir the senses and emotions, unique in itself. This is the dancer's justification for being, and his reason for searching further for deeper aspects of his art." ~Doris Humphrey, 1937

Dance is...

Marie — Mon, 18 Sep 2006 00:42:28 GMT

Dance is an art in that it is beautiful, creative, never the same, non-repeatable, and emotionally tied to the music, the surroundings, and the dancers partner. Wikipedia

Goat Quote 2

Marie — Sun, 17 Sep 2006 23:40:33 GMT

”The most important thing in communication is hearing what isn't said.” --Peter F. Drucker

Goat Quote

Marie — Sun, 17 Sep 2006 23:35:47 GMT

”The glue that holds all relationships together -- including the relationship between the leader and the led is trust, and trust is based on integrity.” --Brian Tracy

Goat News

Marie — Wed, 22 Mar 2006 01:25:14 GMT

THE MYTHOLOGICAL ROOTS OF PANIC The word "panic" comes from the Greek term "panikos," which means "of Pan." Pan, the son of Hermes, was the Greek god of nature, of shepherds and their flocks (both goats and sheep), and of music. He was not an especially handsome example of a Greek god, having the upper body of a man and the hindquarters and horns of a goat. Nonetheless, within the woods where he made his home, Pan was known for chasing the ladies. The beautiful nymph Syrinx, in an effort to escape him, was changed into a stand of reeds. Pan plucked one of the reeds and made a musical instrument called a panpipe. When lonely travelers wandered through the wild woods at night, it was said that they heard the pipes of Pan in the wind whistling through the trees and were struck with dread and deep fear. This fear of Pan came to be known as panic.

Marie — Wed, 15 Mar 2006 04:12:35 GMT

Red Trillium Trillium erectum L. (Liliaceae) Common Names Purple trillium, bath flower, bathwort, bethroot, bettroot, birthroot, birthwort, bumblebee root, daffydown-dilly, dishcloth, ground lily, illscented trillium, illscented wakerobin, Indian balm, Indian shamrock, lamb’s quarters, nosebleed, orange blossum, purple wakerobin, rattlesnake root, red Benjamin, red trillium, red wakerobin, squaw flower, squaw root, stinking Benjamin, three-leaved nightshade, trillium, true love, wakerobin, wood lily. Description A perennial that grows to 1 to 2 feet in height. It has a single stout stem with a whorl of 3 broad leaves at the top, and a single brown or greenish purple ill-scented flower growing from the center of the whorl of leaves. Flowering Period April to early June. Habitat Rich, damp shady woods. Harvest Root in late summer or fall. Uses The plant has been used as an antispasmodic, emmenagogue, emetic, expectorant, and uterine astringent. The Indians of Appalachia cooked pieces of the root in food as an aphrodisiac.