November 4, 1995, Jitzchak Rabin was killed by a Jewish Extremist in Tel Aviv. 30 years later Amos Gitai will officially release “Rabin – The Last Day” – a mixed memorial documentary where every word is as it was said then.
The movie was shown this weekend twice (23rd and 25th of October) to sold out audiences at Vienna’s Film Festival – the Viennale. Another Israeli movie- maker plaid it safer – he showed killings in Indonesia. In an interview with the “Wienner Zeitung” – Gitai said that he does not want to end up the same way as Rabin.
The problem is that in the Middle East there seems to be a practical alliance between those that do not want peace. Be those extremist Palestinians or extremist Jews.
The movie includes that stairway scene where Rabin was supposed to pass to the car waiting for him after he spoke at the peace rally. The media film showed in real time the killer coming towards him and shooting.
Every action and every word uttered in the film to be released is what really happened and what was said. Gitai says he checked everything for at least two sources. The film is therefore freitening in its truth that extends to today’s situation in the Middle East.
Let me mention here that Vienna these days is also the locus where the situation in Syria is openly on the operational table and not much hope is there either. The Austrians, after years of denial to themselves – are now clearly embracing the guilt of the Holocaust and this puts them in a situation that they will not be themselves if rejecting true refugees that escape the Middle East mayhem. All this points at this movie becoming a true document
Sub-Sahara Africa comes to Vienna – the Amadinda of Buganda and the Nelson Mandela Hospital Foundation with two terrific opera singers – Pretty Yende and Johan Botha – and the square in front of the South Africa Embassy was renamed Nelson Mandela Square.
kulturen in bewegung <firstname.lastname@example.org>
Außergewöhnliche Klänge – musikalische Dialoge
Einführung: Gerhard Kubik (Universität Wien, Musikwissenschaft)
„Viele haben bereits über die Amadinda geschrieben, sie dokumentiert und erforscht – für mich persönlich ist es wichtiger, diese Kunstform erlebbar zu machen“, meint Lawrence Okello, musikalischer Leiter von Amadinda Uganda.
Erstmals ist hier auch die Akadinda zu hören, ein drei Meter langes Xylophon, das von sechs Personen gleichzeitig gespielt wird.
Das Ensemble AMADINDA UGANDA versteht sich als Übermittler von Kompositionen aus der Zeit des vorkolonialen Königreichs Buganda, die trotz Verbot unter der Herrschaft von Idi Amin im Untergrund überlebt haben und bis heute in Uganda zu hören sind. Hauptinstrument ist die Akadinda, ein Xylophon mit zwölf Klangplatten. Jeweils drei Musiker mit zwei Schlägeln spielen gleichzeitig auf einem Instrument.
Durch die Verzahnung der Schlagmuster entstehen Klänge, die Hörer der nördlichen Hemisphäre in Staunen versetzen. Das Ensemble Amadinda Uganda tritt in dieser Formation erstmals in Europa auf. Klassische Hofmusik der Baganda wird in den Konzerten ebenso zu hören sein, wie zeitgenössische Kompositionen.
TRIBUTE TO NELSON MANDELA CONCERT
Mo 20. April 2015, 20.00 Uhr Wiener Konzerthaus, Grosser Saal
Pretty Yende Sopran
Werke von Verdi, Donizetti, Bellini, Puccini, Lehar, J. Strauß
Dieses Konzert feiert Südafrikas zwanzigjähriges Jubiläum von Freiheit und Demokratie und somit den Beginn des dritten Jahrzehnts. Es ist Südafrikas erstem demokratisch gewählten Präsidenten und weltweiter Ikone, Nelson Mandela, gewidmet. Der Erlös dieses Konzertabends wird für die Errichtung des Nelson Mandela Kinderkrankenhaus in Johannesburg verwendet.
Es war Nelson Mandelas letzter Wunsch, ein Kinderkrankenhaus in Johannesburg zu errichten, die zweite medizinische Einrichtung dieser Art in Südafrika und die fünfte auf dem gesamten afrikanischen Kontinent.
Ein Benefizkonzert zugunsten des Nelson Mandela Children’s Hospital Trust veranstaltet von der Südafrikanischen Botschaft, Wien
On the other hand, the musical group from Uganda performed in the the pre-colonial tradition of the now non-existing old Kingdom of Buganda where the King himself was a musician and composer. In the days of Idi Amin that tradition had to go underground hunted by that literally crazy black dictator who held back the development of independent Uganda. Now, the art of the Kingdom of Buganda is being studied at the school of ethnic musicology of the University of Vienna and the tour of the Amadinda was the occasion of joint performance of the percussionists from Uganda with fully developed local artists and students of the art of percussion from all over the world – including China – that work now in Vienna.
Significant as well was the naming last week of the square in front of the South African Embassy – Nelson Mandela Square.
Neuer Berliner Kunstverein (N.B.K.)
Scott Ritter, former US Marines’ Intelligence operator, with knowledge of the Soviets and the Middle East, Says ISIS baited Jordan into fighting back in order to throw Jordan into chaos. Watching Fareed Zakaria we learned that David Fromkin could have elaborated on this.
Scott Ritter has had an interesting track record that might point at good use of opportunism dangerous for the uninitiated.
But then, after having written the draft of our comments on the Ritter article, I had the good fortune to watch the Fareed Zacharia CNN/GPS hour of today also – Sunday, February 8, 2015.
Fareed hosted a great panel – Former Prime Minister Of Jordan – Mr. Marvin Muasher – now vice president for studies at Carnegie, where he oversees research in Washington and Beirut on the Middle East; Fawaz Gerges, Professor of International Relations at the London School of Economics and Political Science (LSE); and Rula Jebreal a Palestinian-Italian foreign policy analyst, journalist, novelist, and screenwriter (She was a commentator for MSNBC). But more then anything else – Fareed Zacharia reminded us of David Fromkin whose old article in Foreign Affairs explained two examples of terrorism: – the bombing of the King David Hotel North Wing by the Irgun, and a bombing in Paris by the Algerian FLN. In both cases the idea of the bombers was to pull the British and the De Gaul Government of France into over reacting – and by this create chaos that eventually leads to the terror activators victory – the Britsh leaving Palestine and the French leaving Algeria. In those cases continuing the involvement by outside forces was nomore to their advantage. But is this example of value when the two warring sides are both Arab but Islamic of different sects? But then the facts here are that in the Middle East as well – like in the French case – the victims of the perpetrators are Arab Muslims – even Sunnis – like the perpetrators.
Fromkin, noted author, lawyer, and historian, is best known for his historical account on the Middle East, “A Peace to End All Peace” (1989), in which he recounts the role European powers played between 1914 and 1922 in creating the modern Middle East.
In the CNN/GPS debate it became clear that the miserable act of burning the Jordanian pilot with modern media called in to scare the Muslim world into ISIS submission, was a calculated act – not a mere mistake.
Gerges, the most conventional among the members of the panel said that “This is about the Identity of the State in the Islamic World>” He also said that ISIS is self-destructing but the answer must come from inside the Islamic World when it realizes that ISIS is more a danger to Islam then the US and the West.
Rula said that with 20 milion Muslims in Europe – they have to be integrated – we need an economic reform that makes them part of society.
Muasher pointed out that the recent years in the Middle East were marked by (a) the 2011 Arab Uprising which left positive change only in Tunisia, and (b) the more recent ISIS that followed it as an alternative for change. Bottom line – it is for the Arab states to face this reality.
The second half of alf of Fareed’s program today dealt with Putin, the West, and Ukraine – and I found here similarities as well – but will not deal with this here. Simply – I am going back to the original draft – strengthened in the belief that what Scott Ritter writes could have been understood by David Fromkin and I wish Fareed Zacharia gets hold of Ritter’s posting.
By Scott Ritter, Reader Supported News
07 February 2015
he murder by militants from the Islamic State in Iraq and Syria (ISIS) of a Jordanian pilot Moaz al-Kasasbeh is being viewed by analysts as a tipping point for mobilizing public support in the region against the forces of Islamic extremism. Prior to Lieutenant Kasasbeh’s execution, public opinion in Jordan appeared to be evenly split on the issue of their nation’s participation in the US-led coalition targeting Sunni Arab Islamists in Iraq and Syria.
Now, in the aftermath of the pilot’s death, there seems to be a consensus among these analysts that a majority of Jordanians will rally around King Abdullah as he seeks revenge against ISIS by executing prisoners in Jordanian custody and considers expanding the role of Jordan in the anti-ISIS coalition. This may be the outcome in the short term, as passions flare in response to what most Jordanians view as a vicious act on the part of ISIS. The reaction of the Jordanian government (indeed all of the western world and much of the Middle East) has been predictable — so predictable that one must wonder if this is precisely the outcome desired by ISIS in killing Lieutenant Kasasbeh in such a high profile fashion, and if so, why?
The Islamic State has never hidden its desire to create a Sunni Islamic Caliphate that extends over much of the territory that comprises the modern states of Iraq, Syria and Jordan (and elsewhere, as recent events in the Sinai and Libya have shown). In the minds of many who live in the region, these three nations are artificial entities, created at the whim of western imperialists in the aftermath of the dissolution of the Ottoman Empire for the sole purpose of facilitating western economic and geopolitical ambitions at the expense of legitimate Arab nationalism and Sunni Islam. There is a growing level of resentment, especially among the ranks of young and disenfranchised males, that feeds off this perception, creating a rich pool of pre-radicalized talent from which ISIS is able to recruit.
ISIS was born from the chaos and anarchy that erupted in Iraq after the United States invaded and occupied that country, removing from power a Sunni dictator, Saddam Hussein, and replacing him with a pro-Iranian Shi’a government. ISIS was able to exploit similar chaos that engulfed Syria in 2011 during popular unrest against the government of Bashar al-Assad. Assad’s government is dominated by members of a minority Shi’a sect known as the Allawites, and has close ties with Iran and the Lebanese Shi’a militia-cum-political party, Hezbollah.
In addition to playing off of the notion of historical illegitimacy of the pro-western (and anti-Sunni Islam) governments of Iraq and Syria, the Islamic State has created a de facto Sunni-Shi’a sectarian conflict that, in and of itself, serves as a rallying cry for many of its recruits, undermining the legitimacy of any Sunni Arab country that joins in the anti-ISIS fight. It is in this context that Lieutenant Kasasbeh’s murder must be evaluated. By goading Jordan into assuming a larger role — perhaps even a leadership role — in the fight against the Islamic State, ISIS may be seeking to accelerate the process of creating social divides within Jordan that could lead to the kind of internal chaos and unrest that the Islamic extremists have shown themselves so adept at exploiting.
It will be difficult for King Abdullah to control the anger unleashed by the actions of ISIS in killing Lieutenant Kasasbeh. The Lieutenant’s family is from a large and influential tribe which, while proud of their relative’s military service, has not spoken with one voice on the Hashemite Kingdom’s policies vis-à-vis Iraq and Syria. ISIS has a long history in both Iraq and Syria of turning tribal angst to its advantage, and this may be exactly the strategy ISIS is pursuing by its gruesome actions.
There can be no doubt that what ISIS did was not an accident. Lieutenant Kasasbeh was killed on January 3, 2015 — nearly a month before ISIS began “negotiating” a prisoner exchange involving the pilot and a would-be female suicide bomber. ISIS knew that by releasing the video of Kasasbeh’s murder it would be guaranteeing the execution of its fellow Jihadists at the hands of the Jordanians.
The Islamic State also knew that the resulting public outrage in Jordan, especially amongst the influential al-Kasasbeh tribe, would push Jordan toward accepting a larger role in the fight against ISIS. And it also knows that, in assuming this role, the Jordanian King would be even further aligning himself with the United States and, indirectly, with a competing Shi’a alliance involving Iran, Iraq, Syria and Hezbollah.
Rather than serving as a tipping point for mobilizing public sentiment in the Sunni Arab world against ISIS, it seems that a case can be made that the actions of ISIS seem geared toward achieving the exact opposite reaction — the mobilization of angry, disenfranchised Sunni Arab youth inside Jordan against the actions of their King, creating the kinds of social rifts ISIS thrives upon. Jordan should proceed cautiously before agreeing to any expansion of its role in the anti-ISIS coalition. To do otherwise, and surrender to an emotional call for revenge, may very well pull the Hashemite Kingdom into the same vortex of fundamentalist sectarianism that has torn Iraq and Syria apart. And this is exactly what ISIS wants.
We are concerned about a recent drift towards vitriol in the RSN Reader comments section. There is a fine line between moderation and censorship. No one likes a harsh or confrontational forum atmosphere. At the same time everyone wants to be able to express themselves freely. We’ll start by encouraging good judgment. If that doesn’t work we’ll have to ramp up the moderation.
General guidelines: Avoid personal attacks on other forum members; Avoid remarks that are ethnically derogatory; Do not advocate violence, or any illegal activity.
Remember that making the world better begins with responsible action.
- The RSN Team
+14 # Activista 2015-02-07 13:19
+8 # motamanx 2015-02-07 14:20
+6 # REDPILLED 2015-02-07 16:33
The U.S. was a mostly silent partner until WW II, when FDR entered into his Devil’s Bargain with Saudi Arabia: Saudi oil for everlasting U.S. support and protection.
Western greed and powerlust have been the root causes of most of the violent turmoil since then.
+19 # angryspittle 2015-02-07 14:23
-8 # brux 2015-02-07 14:35
-39 # brux 2015-02-07 14:35
+15 # MHAS 2015-02-07 15:43
Classic deflection. How about responding to his analysis rather than mischaracterize his politics…whic h until 2002 were that of a life-long Republican and former Marine. And as to pedophile charges, they just happened to crop up when he was exposing the lies of the W. Bush Admin in the lead up to the Iraq invasion. He has been proved right, btw….
+15 # azei2n 2015-02-07 14:56
+7 # REDPILLED 2015-02-07 16:38
+9 # Kimc 2015-02-07 14:57
+7 # dyannne 2015-02-07 16:25
+3 # Akeel1701 2015-02-07 18:01
+5 # Dale 2015-02-07 15:31
Special Ops secretly assassinate suspects
As retaliatory tactics the violence of Jijad is counterproductive,
+3 # torch and pitchfork 2015-02-07 16:16
The best way to unite the Arab tribes is with a common enemy–those that invade and occupy your land. The Islamic faith has many warring sects but the one thing that unites them all is a trespasser. In America it’s legal to shoot a home invader without consequences, why should we think it would be any different in the Middle East?
0 # Activista 2015-02-07 18:11
Scott Ritter was born into a military family in 1961 in Gainesville, Florida. He graduated from Kaiserslautern American High School in 1979, and later from Franklin and Marshall College in Lancaster, Pennsylvania, with a Bachelor of Arts in the history of the Soviet Union and departmental honors. In 1980 he served in the U.S. Army as a Private. Then in May 1984 he was commissioned as an intelligence officer in the United States Marine Corps. He served in this capacity for about 12 years. He served as the lead analyst for the Marine Corps Rapid Deployment Force concerning the Soviet invasion of Afghanistan and the Iran–Iraq War.
Ritter’s academic work focused on the Basmachi resistance movement in Soviet Central Asia during the 1920s and 1930s, and on the Basmachi commanders Fazail Maksum and Ibrahim Bek. During Desert Storm, the Gulf War, he served as a ballistic missile advisor to General Norman Schwarzkopf. Ritter later worked as a security and military consultant for the Fox News network. Ritter also had “a long relationship [...] of an official nature” with the UK’s foreign intelligence spy agency MI6 according to an interview he gave to Democracy Now! in 2003.
Ritter was a United Nations weapons inspector in Iraq from 1991 to 1998 – Ritter “ran intelligence operations for the United Nations”from 1991 to 1998 as a United Nations weapons inspector in Iraq in the United Nations Special Commission (UNSCOM), which was charged with finding and destroying all weapons of mass destruction and WMD-related manufacturing capabilities in Iraq. He was chief inspector in fourteen of the more than thirty inspection missions in which he participated.
Ritter was amongst a group of UNSCOM weapons inspectors that regularly took Lockheed U-2 imagery to Israel for analysis, as UNSCOM was not getting sufficient analysis assistance from the U.S. and UK. This was authorised by UNSCOM, the U.S. U-2 having been loaned to UNSCOM, but caused Ritter to be subjected to criticism and investigation by U.S. authorities. Iraq protested about the supply of such information to Israel.
When the United States and the UN Security Council failed to take action against Iraq for their ongoing failure to cooperate fully with inspectors (a breach of United Nations Security Council Resolution 1154), Ritter resigned from the United Nations Special Commission on August 26, 1998. In his letter of resignation, Ritter said the Security Council’s reaction to Iraq’s decision earlier that month to suspend co-operation with the inspection team made a mockery of the disarmament work. Ritter later said, in an interview, that he resigned from his role as a United Nations weapons inspector over inconsistencies between United Nations Security Council Resolution 1154 and how it was implemented.
On September 3, 1998, several days after his resignation, Ritter testified before the United States Senate Committee on Armed Services and the United States Senate Committee on Foreign Relations and said that he resigned his position “out of frustration that the United Nations Security Council, and the United States as its most significant supporter, was failing to enforce the post-Gulf War resolutions designed to disarm Iraq.
Later Ritter became a critic of United States foreign policy in the Middle East. Prior to the invasion of Iraq in March 2003, Ritter stated that Iraq possessed no significant weapons of mass destruction (WMD) capabilities. He became a popular anti-war figure and talk show commentator as a result of his stance.
He has written several books on US policy, including “Dangerous Ground,” published by Nation books.
In 1999, Ritter wrote “Endgame: Solving the Iraq Problem — Once and For All” in which he reiterated his claim that Iraq had obstructed the work of inspectors and attempted to hide and preserve essential elements for restarting WMD programs at a later date. However, he also expressed frustration at alleged attempts by the CIA to infiltrate UNSCOM and use the inspectors as a means of gathering intelligence with which to pursue regime change in Iraq – a violation of the terms under which UNSCOM operated, and the very rationale the Iraqi government had given in restricting the inspector’s activities in 1998.
In the book’s conclusion, Ritter criticized the current U.S. policy of containment in the absence of inspections as inadequate to prevent Iraq’s re-acquisition of WMD’s in the long term. He also rejected the notion of removing Saddam Hussein’s regime by force. Instead, he advocated a policy of diplomatic engagement, leading to gradual normalization of international relations with Iraq in return for inspection-verified abandonment of their WMD programs and other objectionable policies.
Ritter again promoted a conciliatory approach toward Iraq in the 2000 documentary In Shifting Sands: The Truth About UNSCOM and the Disarming of Iraq, which he wrote and directed. The film tells the history of the UNSCOM investigations through interviews and video footage of inspection missions. In the film, Ritter argues that Iraq is a “defanged tiger” and that the inspections were successful in eliminating significant Iraqi WMD capabilities.
In 2003 – Just after the coalition invasion of Iraq had been launched, but prior to troops arriving in Baghdad, British Prime Minister Tony Blair told the Parliament of the United Kingdom that the United States and the United Kingdom believed they had “sufficient forces” in Iraq. At that very time Ritter offered an opposing view on Portuguese radio station TSF: “The United States is going to leave Iraq with its tail between its legs, defeated. It is a war we can not win … We do not have the military means to take over Baghdad and for this reason I believe the defeat of the United States in this war is inevitable … Every time we confront Iraqi troops we may win some tactical battles, as we did for ten years in Vietnam, but we will not be able to win this war, which in my opinion is already lost,” Ritter added.
Australian Richard Butler, Scott Ritter’s boss under the United Nations in Iraq, said that Ritter “wasn’t prescient” in his predictions about WMDs, saying, “When he was the ‘Alpha Dog’ inspector, then by God, there were more weapons there, and we had to go find them — a contention for which he had inadequate evidence. When he became a peacenik, then it was all complete B.S., start to finish, and there were no weapons of mass destruction. And that also was a contention for which he had inadequate evidence.”
In February 2005, writing on Al Jazeera’s website, Ritter wrote that the “Iraqi resistance” is a “genuine grassroots national liberation movement,” and “History will eventually depict as legitimate the efforts of the Iraqi resistance to destabilize and defeat the American occupation forces and their imposed Iraqi collaborationist government.” On December 20, 2005, in a debate with Christopher Hitchens at the Tarrytown Music Hall in Tarrytown, NY, Ritter said furthermore that he would “prefer to be an Iraqi under Saddam than an Iraqi under a brutal American occupation.”
In an October 19, 2005 interview with Seymour Hersh, Ritter claimed that regime change, rather than disarmament, has been the primary objective of President George H. W. Bush, and later of President Clinton and the second President Bush, in imposing and maintaining economic sanctions on Iraq after the Gulf War.
Ritter has also been harshly critical of Bill Clinton for politicizing the inspection process during his presidency, and of Hillary Clinton for obfuscating that record.
Ritter was a staunch Republican who voted for G.W. Bush and turned to the left. Personally – he was accused of pedophilia via the internet – first acquitted then convicted on some of the same charges.
From: Beyt Tikkun Synagogue shul at tikkun.org via mail.salsalabs.net - this comes from Oakland, California and shows the Jewish way of love for Planet Earth and all Creation. You do not have to be religious to see this – and we are not religious.
*When: Saturday, February 07 2015 @ 11:00 AM – - 12:00PM
No rain: Frank Ogawa Plaza nr. the Rotuda near the 15th & Broadway entry to the Plaza
We davven the morning service first at Rabbi Lerner’s home from 9 a.m. to 10 a.m. then go to Frank Ogawa Plaza at Broadway and 15th street in Downtown Oakland to set up for a short (one hour) Tu B’shvat Seder.
We will have a few tables and a few chairs in the alley way near the Rotunda on the other side of the plaza from City Hall, assuming it isn’t raining heavily. Please bring a chair to sit on it if you can, and something delicious to nosh, or just come–we’ll have fruit and grape juice for the seder if you tell us you are coming BEFORE Friday 10 a.m. Feb. 6th so we can buy enough!! But if you haven’t done so, come anyway, but get there by 11 a.m. (which requires that you also give yourself at least 15-20 minutes to park if you come by car–there are big parking structures down there around 11 th and 12th streets–but environmentally best to come via the BART).
Rain is predicted but we have no way of knowing whether that is going to be like the heavy rain expected for Friday, or a much lighter rain that won’t be a big deal.
If the rain in heavy, the 1st Unitarian Church of Oakland, at 685 14th street, has graciously agreed to let us hold the seder in their building in their Wendte Hall (NOT the main sanctuary, where something else is happening).
After the Seder we will march up to where the march is happening (a mere four blocks away), and meet up with our already-drenched allies for the march. Be sure to bring clothing and umbrellas just in case.
TIKKUN IS PART OF THE NETWORK OF SPIRITUAL PROGRESSIVES (NSP) – they like to talk of “rEVOLution” for how to EVOLVE into a a decent world. Their kind of true revolution comes about with a little “r” with large “EVOL” so there is no blood-shedding.
We learned that the timing of the March – Sunday, September 21, 2014, has more to do with the release last night (September 16th, 2014) at the Ethical Culture Society New York Headquarters at Central Park West and 64th Street, then with the forthcoming September 23rd UN event on Climate Change.
The movie is -”THE FUTURE OF ENERGY: Lateral Power to The People” – which is in effect a logic – non-UN inspired – sequel to Franny Armstrong’s “THE AGE OF STUPID” that was released in 2009 prior to the Copenhagen COP 15 of the UNFCCC (The UN Convention on Climate Change). That movie belonged still to the time people believed in multilateralism as a way to answer the growing threat to humanity from our super-dependence on fossil-carbon fuels. Today the “People” are sophisticated enough to realize that governments via multilateralism do not stand a chance to an agreement that gives birth to a solution to the on-going changes in the global environment that lead to global warming and climate change. The PEOPLE in their own actions – in their communities – are our only hope. This is now the wave of the future – not the UN.
The UN was good to make it crystal clear that there is a problem that needs a solution – but the UN is impotent when it comes to provide the solution. This belongs now to the PEOPLE – the ethical guardians of their own future and the future of the generations to come.
This was made clear to me as I asked the panel that followed the inaugural viewing of the movie “What they expect of the upcoming event at the UN?” The answer from the Producer/Writer – Mr. Maximilian DeArmon – was very short and clear. What will save us are the People in their LOCALITIES and the fact that the non-fossil-carbon solutions to energy needs are already economical and their introduction will make them cheaper, while the continuing use of fossil-fuels makes those trouble-causing fuels more expensive. The logic is here and the People recognize what that means to politics, the economy, and their daily lives.
March Route: The march will begin at 11:30 am. Assembly starts from 9:00 a.m.
350NYC at the People’s Climate March! Meet us on Central Park West between 71st and 72nd by 10am on Sunday Sept 21st. We’ll be marching in the green “Solutions” section of the march. T
A CHOREOGRAPHY THAT EXPLORES THE IDEA OF RECONCILIATION.
Fishman Space in BAM Fisher, 321 Ashland Place, near Lafayette Avenue, Fort Greene, Brooklyn; 718-636-4100, www.bam.org.
The main purpose of DanceMotion USA, a cultural diplomacy program run by the Brooklyn Academy of Music for the State Department, is to send American artistic troupes abroad. Yet the program also benefits New Yorkers directly by having American companies bring back a foreign one for a free, collaborative stay and performance here of several weeks – sometimes at dance camps out-of-town i.e. in Maine. Eventually a new program is born and it is shown at the Brooklyn BAM which is now blessed o have also the Fisher Building (Fishman Space) next door. These visits have proven to say the least – interesting. The New York Times prefers to say illuminating.
At the BAM Fishman Space on Thursday, David Dorfman Dance which is based at the BAM, back from a four-week tour of Turkey, Armenia and Tajikistan, teamed up with the Korhan Basaran Company from Istanbul, augmented by two Armenian dancers – Karen Khatchatryan and Davit Grigoryan.
The program was not one with pieces from each of the performing triangle’s previous repertory. Mr. Dorfman and Mr. Basaran went all the way, joining forces for an hour-long joint program titled – “Unsettled” with a chosen theme of “reconciliation.” It was remarkable how well the two companies, both packed with powerful dancers did merge.
The work teemed with groups pushing and shoving, but it did not set one troupe against the other. The sharpest contrast — in the opening moments and in two later face-off duets — was between the choreographers: Mr. Basaran, tall, with a tendency to collapse inward, and Mr. Dorfman, squat, always hurling his energy out. Yet the aesthetic kinship between them was also apparent in eruptive rhythms and labile emotions.
The music, composed and played live by Sam Crawford, Liz de Lise, Jesse Manno and Timothy Quigley, beguilingly blended Western and Middle Eastern styles and instrumentation. It borrowed the folk song “Sari Gyalin” (or “Sari Gelin”), which in Turkish, Armenian and English versions laments the failure of love across ethnic divides.
Still, it is to the credit of all involved that “Unsettled,” after a celebratory group dance, had the honesty to remain unsettled. What resonated was a moment before the end, when Mr. Dorfman, having failed to force his friendship on Mr. Basaran, took a line from the folk song and allowed it to expand into a humble question for everyone: “Oh tell me please, what can I do?”
This reporting of mine follows a review in the New York Times and a feeling that many in the audience, including myself, had that though seeing a piece that historically dealt with the Armenian – Turkish relations that included an attempt at genocide, actually today the topic is the Israeli Palestinian conflict and it was obvious that to untrained ears Turkish, Armenian, or Arab music – seem all the same – and thus a presence in the air – reference was being made to the Middle East as if there were some generic to it.
The performances at the BAM went on Thursday – Friday – Saturday evenings, but then there was also a performance Saturday afternoon that I attended because it had also a follow up discussion with TV link to Istanbul and questions via the internet from London, Ankara, Germany and some other places.
On a question about the collaboration we heard an answer that said – in a month we become one but in some things where there were differences we become States.
Before the TV land internet links the conversation was according to the natural language of the speaker with a sometime translation into English – then from Ankara came the notion that something that was said in Armenian needed also Turkish translation. Fair enough.
On the I AM SORRY piece: “Children can easily apologize to each other – forget and forgive.” As he got older, the comment went on, he felt he needed more – the words alone mean less.
Then he saw The Planet of the Apes – they have the capacity of forgive & forget – but we do not have that capacity anymore.
This is our first posting on food – we picked it because rhubarb is hardly known – but it can grow easily – even in city backyards – and is somewhat a dangerous plant because its leaves are poisonous. CUT OFF ANY GREEN PARTS – EAT ONLY THE BOILED PINK STALKS – and you make delicious food.
Rhubarb Flaunts Its Savory Side.
Friday, JUNE 13, 2014
Credit Andrew Scrivani for The New York Times
Credit Andrew Scrivani for The New York Times
Are you ready for the rhubarb revolution?
I, for one, am eager to stand up with other rhubarb lovers who are tired of the suppression of the vegetable’s true, pucker-inducing nature. (Yes, it is a vegetable, not a fruit.) Rhubarb does not have to be sugared into submission to be delicious. “Sour power” is our battle cry.
My own rebellion came after years of following the sweetness status quo and baking the stalks into an array of pies, crumbles and cakes. As good as these classics are, they are not the only way to use the stridently tart stalks.
In fact, when rhubarb is used in savory dishes, its fruity tang becomes an asset much like citrus or pomegranate, without any annoying seeds. Rhubarb works especially well when paired with fatty meat. It slashes through the richness like lemon juice or vinegar, but has the added benefit of falling apart and thickening the sauce.
A piquant rhubarb butter sauce, softened with a drizzle of honey to smooth out the edges, is also a great partner for milky cheeses, eggs and certain vegetables. Once, while exploring the adage of “what grows together goes together,” I paired that rhubarb butter sauce with its seasonal sister, asparagus. It was a hit: bracing, earthy and a change from the usual hollandaise.
In this recipe, I combine rhubarb with chicken. I first stew the stalks with onions, garlic and a little white wine, then use the mix as a bed for braising the bird. The fat rendered by the chicken skin enriches the sauce, while the meat absorbs all the tangy flavors. I use a whole cutup chicken here, but feel free to use an equal weight of your favorite parts instead. Thighs and drumsticks work particularly well.
The only disadvantage to a savory rhubarb sauce is that as it cooks down, it loses its pinkness, turning drab beige. You need plenty of green garnishes on hand to perk it up. Herb sprigs work nicely, as do the tops from the spring onions (or scallions) used in the sauce. Red scallions are pretty here if you run across them.
You end up with a nuanced, spectacularly savory dish that just may revolutionize the way your dinner guests think about rhubarb.
Recipe: Skillet Chicken With Rhubarb
A Solar-backed Currency for the Refugees of Western Sahara.
What the world needs now is the first Bank of the Sun.
The HSBC ads at Newark International Airport could not have been more appropriate for my trek to the Sahrawi refugee camps in Tindouf, Algeria. As I ambled through the jet bridge with my carry-on, color-coordinated images of demure North African women met my eyes, accompanied by some facts assembled by the bank—”0.3% of Saharan solar energy could power Europe”—and a self-aggrandizing but, for me, prescient message: “Do you see a world of potential? We do.”
It was the fall of 2011, and I was on a string of flights from North Carolina to Algeria to participate in an ARTifariti convening of international artists presenting human rights–related projects at the Algerian camps and in Western Sahara. During previous gatherings, a New York–based art critic had presented a slide show to international artists and Sahrawi refugees, sharing pieces by activist artists and filmmakers such as Ai Weiwei and Spike Lee. The get-togethers offered a forum to consider artists who might do a project in the camps.
And in the end, the refugees had chosen a Chinese Texan who had spearheaded Operation Paydirt’s Fundred Dollar Bill Project, an artwork that prompted Americans to draw their own versions of $100 bills (in order to raise awareness of and prevent childhood lead poisoning). Essentially they said, “Bring us the guy with the money.” So I packed my bags and left for the western lands of North Africa.
At an unknown hour on a starless night, I arrived in the 27 February Camp—one of Algeria’s five Sahrawi refugee camps (named after the date in 1976 on which the Polisario Front declared the birth of the Sahrawi Democratic Arab Republic)—and was led to the home of our host, Abderrahman. As we entered his compound, the seasoned warrior, dressed in a blue darrâa, emerged from a UN tent, unfurled a carpet over the sand, ignited charcoal and began to prepare the customary tea for us. We attempted to translate from Hassaniya Arabic to Spanish to English over tea, getting a taste of enthusiastic nomad hospitality.
That night I heard firsthand the history of the Sahrawi people, who today are divided between Algerian refugee camps and a sliver of Moroccan-occupied Western Sahara that they call the “liberated territories.” For nearly four decades, warfare and political powers have trapped more than 150,000 Sahrawis in the camps and separated them from their family members in the liberated territories, which are bounded by the Moroccan wall to the west and Algeria’s border to the east.
When Morocco and Mauritania invaded Western Sahara in 1975 (Mauritania withdrew in 1979), they split up the land and seized the Sahrawis’ natural resources—water, rich fishing grounds and the world’s largest phosphate mine. Now, inhabiting either the arid, landlocked region of Western Sahara or the bare-bones camps of Algeria, the Sahrawi people depend entirely on international humanitarian aid for food, water and medicine. And while Western Sahara has none of the lead-poisoning problems of postindustrial America, its liberated territories have more landmines than any other place on the planet.
In the morning I awoke from this harrowing chronicle in a land of sand and rock that was brutally burnished by the sun—and I can guarantee that there was no bank in sight. I soon learned why the Sahrawi people were so interested in the Fundred Dollar Bill project: they have no currency of their own and deal mostly with Algerian dinars. In response, we created a background template for their currency, printed thousands of blank bills and distributed them through the camps, announcing a design opportunity. After we curated their drawings, the Sahrawis would vote on the designs for what might become their first currency.
The denominations for the currency, called “sollars,” were 5, 10, 20, 50 and 100. Children and teens drew the 5s and 10s; young adults, the 20s; and of course, the elders, the 100s. But the designs for the 50s would have two adult versions, one male and one female. The survivalist family culture that has emerged from the hostile desert climate has enforced a long-standing code of equality between the sexes. In a region where food is scarce and hot summer temperatures and freezing desert nights can kill, whoever survives the elements must be allowed equal rights in the tribe to barter and represent the family, regardless of religious dictates.
While I was in the camps, I came to understand that the symbolic and therapeutic benefits of designing the first Sahrawi currency with the refugees were not worthy enough goals. The Sahrawi people need a real economy. And to make that happen, the fictional currency I helped the refugees design had to be backed by something real and exchangeable on international markets.
As I mulled over the problem under the blazing sun, I realized that the desert holds the potential to bring Sahrawis economic and political independence—and the leverage necessary to help us all combat climate change.
What the world needs now is the first Bank of the Sun. The first solar energy–backed currency in the world could bring the Sahrawi people an independent economy and offer a major breakthrough in an environmental quagmire. We would create a new model of banking and currency, free from the dominance of gold and oil, for first-world countries to follow.
And this model would be delivered by the Sahrawi people, who have been waiting for freedom and self-determination for 39 years! By achieving worldwide renown for freeing people from hydrocarbon dependency, the Sahrawi could then barter with the global community for another form of independence: their right to self-determination.
I admit that it was a pretty far-out and grand idea, but I suppose I did see a world of potential in Saharan solar energy, just like the jetway HSBC ad said. I was thinking like a bank.
After getting back from the Tindouf camps, I found myself in Texas, accepting a national award for my efforts in public art and, most likely, boring everyone with crazy talk about a Bank of the Sun in landmine-laced Western Sahara. My friends were more concerned about my diminishing sense of self-preservation than about anything I said—especially after I told them that my trip to Tifariti had been interrupted by the armed kidnapping of three foreign-aid workers from a neighboring refugee camp. They didn’t even entertain my ideas with any questions about how the bank idea could be pulled off.
As with most such gatherings, there was not much left to do after the award ceremony but drink and dance. So, with friends in tow, we honky-tonked through San Antonio, taking over a bar by the River Walk and proceeding to do what had to be done. While taking a break from the floor, I noticed a man about my age sitting at a table with a beer, tapping his feet to the bluesy beat. I had my posse pull him onto the floor. He began to move in a calculated way, like an engineer. Intrigued, I joined him and the party on the floor.
Over the din, I shouted, “What do you do?”
He shouted back, “I’m an engineer.”
“Really?” I asked. “What kind?”
“A solar engineer.”
I challenged Texas style: “So, ever heard of Western Sahara?”
Matter-of-factly he replied, “Yes, we designed a power station for the refugee camps there.”
For me, a light flicked on, burning away the haze of booze and turning the blaring R&B into a background of sweet birds; the bodies in frantic motion seemed to stand still. I urged him off the dance floor. He told me, in an Australian accent, that he was Dr. Richard Corkish, head of photovoltaic engineering at the University of New South Wales in Australia. Not only that—his colleague had just been in the same refugee camps I had visited, advising on how to power a women’s clinic. It was a profound coincidence, to say the least. We closed the bar, and I left clutching Dr. Corkish’s business card.
For me, a light flicked on, burning away the haze of booze and turning the blaring R&B into a background of sweet birds.
Since our night on the floor, Dr. Corkish has been an adviser to the Bank of the Sun, which is on its way to becoming a reality. He has assigned students the project as part of his curriculum and counseled us on the design of a modular, pragmatic stand-alone solar power plant in Western Sahara, as well as a cost-effective method for transmitting power. Following Corkish’s methodologies, we could generate more than enough energy for Sahrawi needs, creating a surplus to sell to neighboring countries or even to Europe. By working in the Western Sahara to retool our approach to energy, we would prove that the most advanced methods of solar-power storage and delivery are feasible even in a place with no infrastructure. The most appropriate technology for us all could be built from the sand up.
In February 2013 I discussed the project with Ahmad Bukhari, the Polisario representative to the United Nations, and later with Mohamed Yeslem Beisat, the ambassador to the United States for the Western Saharan people. Skeptical at first, they have both become advisers and creative collaborators.
To make the first Bank of the Sun a reality, we have to find a place where electricity can be generated that is both safe from armed conflict and close enough to someone interested in buying energy. Bukhari suggested placing the stand-alone solar power plant not in the camps but in Mijek, a nomadic outpost in the liberated territories. Mijek continues to be the most likely site because the energy could be sold to Zouérat, a town in northern Mauritania where an iron ore mine needs more power than is available. The Mauritanian ambassador recently confirmed that the country would buy any energy offered. I have started to seek funds for a fact-finding trek, during which I will finally step on the sands of Western Sahara.
During my time in the Sahrawi refugee camps, I relearned a lesson I picked up in the flood-wracked and environmentally poisoned parts of New Orleans: you are not inspired by tragedy or human suffering—you are compelled.
My brilliant translator, a young man named Mohamed Sulaiman Labat, was born in the camps and has never traveled beyond his host country, Algeria, or the shameful wall of sand and explosives erected by Morocco in Western Sahara. Sulaiman is majestic in his capacity for optimism and his aptitude for imagining alternative futures based on ideas we discussed during my stay. On our last night together, he spoke with me about staring each night into the vast sky above the camps. He then asked, “No disrespect, but why is it so easy for an artist to see our need for justice when the rest of the world can’t?”
A question like that makes you think about what could be and about how our humanity is challenged if we don’t take action to amplify his question—and to force an answer.
This piece from Creative Time Reports is republished without trying to track down permission. Climate Reports is made possible by the Robert Rauschenberg Foundation. This series is produced in conjunction with the 2013 Marfa Dialogues/NY organized by Ballroom Marfa, the Robert Rauschenberg Foundation and the Public Concern Foundation. We hope that the authors will not mind our trying to publicize their very sound dream for a mos reasonable future. The only question is if the world will be enlightened enough to see that the true realists are the dreamers of today.
Austria is Rising with Queen Conchita Wurst. Chancelor Werner Fayman And Education Minister Dr. Jposef Ostermayer have recognized the transformative moment of Tom Neuwirth’s win of the Eurovision 2014 as self-declared example of diversity. We also mention here Dana International who won the 1998 Eurovision Song Contest in Birmingham.
AUSTRIA, SINCE THE MAY 11, 2014, CROWNING IN COPENHAGEN, HAS A QUEEN -
Eurovision Song Contest 2014 The winner
Performer: Conchita Wurst
Rise Like a Phoenix
Waking in the rubble
Peering from the mirror
You wouldnt know me at all today
Rise like a phoenix
Go about your business
From the fading light I fly
I rise up to the sky
And rise like a phoenix
Eurovision 1998, that was held in Birmingham, the UK, was won by someone very similar to To Tom Neuwirth / Conchita Wurst.
That person was the Israeli performer of Yemenite and Romanian Jewish parentage, named Dana International, whose real registered name was Sharon Cohen born February 2, 1972 as Yaron Cohen. She was a clear trans-gender woman that was born a man.
Dana was chosen to represent Israel in the Eurovision Song Contest with the song “Diva“. Orthodox Jews and others with conservative views were opposed to her appointment and attempted to void her participation in the contest. However, in May 1998, Dana performed “Diva” at the Eurovision final and won the contest with 172 points.
Conchita Wurst, a transvestite dressed in woman’s closing but sporting a beard to match in color her long black hair wig, won the Copenhagen 2014 Eurovision getting the smashing 290 points result. Indeed – in these last 16 years the world made tremendous progress in recognizing the human diversity as stressed by Tom Neuwirth when he chose to himself the name “WURST” which in German signifies – “it does not matter – all is equal to me.”
I am talking here politics and must notice that despite tremendous progress – nevertheless not every thing has changed. This is signified by the fact that nobody in the media has remembered Dana International. Is this because of her Israeli origin? Also, so far as I know, our website was the only example in the media that linked the Mauthausen Memorial of Sunday May 11, 2014 with the Eurovision Song Contest that gave such acclaim to Wurst – the person – and let us also say – the concept.
Further, let me stress that Austria is in the forefront of these achievements – the same Austria that it’s people were responsible for running the Mauthausen extermination plant in the 1940′s established to wipe out all diversity has now a Chancellor, the Honorable Werner Faymann, Who sat for four hours on May 11th, and watched the march of memory at Mauthausen and gave recognition to the honored documentary journalist Arnold Schwarzman who in 1981 helped prepare the Mauthausen documentary GENOCIDE and now was the US Representative at the 2014 Memorial. We wrote this up at:
One week later, on Sunday May 18, 2014, the Chancellor and his Minister of Culture, Dr. Josef Ostermayer, and their wives, stood in the official halls of Austrian Government, in front of the Nation’s cameras – or all to see, and with 10,000 people gathered in front of his windows facing the Balhausplatz, and acclaimed Conchita Wurst’s victory saying this was a victory for Austria. We say – this was a recognition that not only Tom Neuwirth and his friends have risen from the Mauthausen ashes – but all of Austria ought to consider itself as risen from its ashes. Yes, we know that there are exceptions also in Austria – but at least the leadership is stating that the change is welcome.
We are not going to post our notes from the Balhausplatz event, which I watched on location as media, and the Chancellor’s speech. Those were covered by the media in general. Watching the debates towards next Sunday’s elections for the European Parliament we are aware that not all Europe has not overcome the disease of excessive Nationalism and hatred of diversity. We will get back to this after the results of the elections are in and do not want to preempt this.
For now, trying to contribute here something the rest of the media does not focus on to their discredit,
1990–93: Dana International
At 18 years of age, Cohen (still legally male) earned a living as Israel’s first drag queen parodying many famous female singers. During one of her performances, she was discovered by Offer Nissim, a well-known Israeli DJ, who produced her debut single “Saida Sultana” (“My Name is Not Saida”), a satirical version of Whitney Houston‘s song “My Name Is Not Susan“. The song received considerable exposure and helped launch her career as a professional singer.
In 1993, Dana International flew to London for male-to-female sex reassignment surgery and legally changed her name to Sharon Cohen.Returning home with her new name, that same year Cohen released her first album, titled Danna International, in Israel. Soon after, the album was also released in several other countries including Greece, Jordan, and Egypt (In Jordan and Egypt the album sold illegally). Sharon’s stage name Dana International comes from the title track of the album, and was originally spelled with two n:s. Danna International soon became a gold record in Israel.
1994: Umpatampa and Best Female Artist
In 1994, Dana released her second, Trance-influenced album Umpatampa, which built on the success of her debut and provided further hit singles. The album went platinum in Israel and has sold more than 50,000 copies to date. Because of her popularity and the success of this album, she won the award for Best Female Artist of the Year in Israel.
1995: Eurovision song contest
In 1995, Dana attempted to fulfill her childhood dream of performing in the Eurovision Song Contest. She entered the Eurovision qualifying contest in Israel with a song entitled “Layla Tov, Eropa” (“Good Night Europe”) which finished second in the pre-selections, but became another hit single.
In late 1995, Dana released an E.P. called E.P. Tampa with three new songs and four remixes and special versions of her earlier songs.
1996–97: Consolidating popularity
In 1996, Dana released her third album, Maganuna. Although this album was less successful than her previous efforts, it still reached gold record sales in Israel and included the hits “Don Quixote,” “Waving,” and the club smash “Cinque Milla.” In 1997, Dana collaborated with the Israeli artist Eran Zur on his album Ata Havera Sheli, and together they sang the duet “Shir Kdam-Shnati (Sex Acher)” (“Pre-Bed Song (A Different Kind of Sex)”) which became a huge hit.
1998: Diva and mainstream spotlight
Dana was chosen to represent Israel in the Eurovision Song Contest 1998 in Birmingham with the song “Diva“. Orthodox Jews and others with conservative views were opposed to her appointment and attempted to void her participation in the contest. However, in May 1998, Dana performed “Diva” at the Eurovision final and won the contest with 172 points. She became an international superstar, and was interviewed by CNN, BBC, Sky News, and MTV among others mostly focusing on her life as a transsexual person before winning the contest. Dana’s own words “the message of reconciliation” were; “My victory proves God is on my side. I want to send my critics a message of forgiveness and say to them: try to accept me and the kind of life I lead. I am what I am and this does not mean I don’t believe in God, and I am part of the Jewish Nation.”
Dana released “Diva” as a single in Europe and it became a hit, reaching number 11 in the UK charts and the top ten in Sweden, Belgium, Finland, Ireland, and the Netherlands.
1999–2001: Stage falling, Streisand cover and new albums
In 1999, Dana released Woman In Love, a Barbra Streisand cover, but it was not the hit that “Diva” had been. In May 1999, Dana again participated in the Eurovision Song Contest held in Jerusalem. Dana was a part of the interval act and sang the Stevie Wonder song “Free”. She also presented the award to the winners of the contest but accidentally managed to steal their thunder. Whilst she was carrying the heavy trophy, one of the composers of the winning Swedish entry by mistake stepped on the long trail of her dress and she fell over on stage – in front of a television audience estimated be to one billion or more, making it one of the most memorable moments in the 50-year-long history of the contest.
She released her next album Free in Europe in 1999, which enjoyed moderate success. A few months later Dana moved back to Israel and started to work on different projects. Israeli and Japanese editions of Free were released in 2000. That same year, an Israeli documentary film was made about Dana called Lady D.
In 2001, after a break, Dana released her seventh album Yoter Ve Yoter (More and More). The album put her career in Israel back on track and provided two hits called “I Won” and “After All”, which eventually both went gold.
2002–06: Fading from the scene and Sony incident
Dana was about to sign with a major label, Sony/BMG, for an international recording contract but something went wrong in negotiations. These were disagreements that led to Sony cancelling the deal before it was completed. In 2002, she released another album, HaHalom HaEfshari (The Possible Dream), which was a minor chart success. In 2003, she released an exclusive 8-CD box set, containing all singles from The Possible Dream and a new house version of the hit single “Cinque Milla”, titled A.lo.ra.lo.la. A few years later, in 2005, Dana participated in the 50th anniversary of the Eurovision song contest, held in Copenhagen, after “Diva” was selected as one of fourteen songs considered to be the best Eurovision songs. The song did not make it into the final top five but, Dana got the chance to perform both “Diva” and an old Eurovision favourite of hers; Baccara‘s 1978 entry “Parlez-Vous Francais?“. She also recorded the song “Lola” (sung in French), to which she released a video. This video can be found on the CD Hakol Ze Letova, released in 2007 as a bonus CD-rom video.
In 2005, Dana was voted the 47th-greatest Israeli of all time, in a poll by the Israeli news website Ynet, to determine who the general public considered the 200 Greatest Israelis.
2007–11: Return to music and Eurovision comeback
After a few years away from show business, together with the relaunch of her official website, a first single of the upcoming album was released in March 2007: “Hakol Ze Letova” (“It’s All For the Best”). The second single to be released from the album, “Love Boy”, became the most played song on Israeli radio in a decade. It also gained a respectable place on the airplay of the Greek radio station FLY FM 89,7. The following album, also titled Hakol Ze Letova, was released on August 15, 2007. “At Muhana” was the third single and “Seret Hodi” (feat. Idan Yaniv) the fourth to be released from the album, which became a bestseller in many online stores. The next single released from the album was “Yom Huledet”.
On February 26, 2008, Dana gained an additional achievement when the song “Ke’ilu Kan” written and composed by her and performed by Boaz Mauda, was chosen on Kdam Eurovision to represent Israel at Eurovision Song Contest 2008 in Belgrade, Serbia. It came 5th in the semi-final and gained 9th place in the final rank.
Dana also recorded the song “Mifrats Ha Ahava” (“The Love Bay”) for an Israeli version of the TV-show “Paradise Hotel”. She also collaborated with the Ukrainian duo NeAngely (Not Angels), recording “I Need Your Love” and releasing a video. In 2009, Dana starred in a mock reality show called Dana Kama/Nama for cellphone provider Cellcom
Dana campaigned for Kadima chairwoman Tzipi Livni shortly before 2009 legislative elections in Israel. At a women’s political rally in Jerusalem Dana performed a disco song alongside Livni onstage, announcing “I now formally invite you to the diva sisterhood.”
In April 2009, Dana performed in the opening concert of Tel Aviv-Yafo Centennial Year. She performed a cover version of Danny Robas‘ song “Lo nirdemet Tel Aviv” (Tel Aviv Doesn’t Fall Asleep) in front of 250,000 people.
Dana made a guest appearance, as herself, in an episode of the second series of UK sitcom Beautiful People, which was set around her Eurovision appearance.
On March 8, 2011, Dana International won the Israeli National Final for Eurovision with the song Ding Dong, and represented Israel at Eurovision for a second time. However, she did not make it into the final; she was the first Eurovision winner not to do so.
2013–present: new singles, TV show and album
In April 2013, after a two-year break, Dana released a new single, “Ma La’asot”. It was released digitally worldwide on April 24, 2013. On May 29, Dana released a video clip for the song Loca, to promote the Gay Pride Tel Aviv 2013. Dana will perform on the main event for the Gay Pride on June 7. Her third single for that year, “Ir Shlema”, was released in July. Late in January 2014, Dana’s new music reality show “Yeshnan Banot” premiered. Dana is the main judge on the show, attempting to find Israel’s next girl group.
THE WORDS OF THE SONG “DIVA.”
She is all
And when she cries
And when she cries
We have a beautiful show Dark Night Bright Stars
in Kyiv May 9-11, in New York May 18, 2014
In 1858 the Ukrainian poet Taras Shevchenko was set free after 10 years imprisonment.
He met the great African American actor Ira Aldridge and drew his portrait.
created by Yara Arts Group with Julian Kytasty, Maria Pleshkevich, Mykola Shkaraban,
Tell your friends in and in Kyiv May 9, 10 & 11 – 7 PM at the Kurbas Theatre Center in Kyiv
Reservations (050) 385-2758
in New York May 18 at 3:30 PM the Ukrainian Museum in New York
Details & photos www.brama.com/yara
Oil & Water Symposium
The Museum of Chinese in America in New York City (MOCA) will host a scholarly
10:00 AM – 4:00 PM
For more information and to register, click here [r20.rs6.net/tn.jsp?e=
Sponsored by the Museum of Chinese in America
WE HOPE WE CAN CONVINCE THESE CHINESE TO TAKE A LOOK AT OIL & WATER IN THE FUTURE OF CHINA – AND TALK OF OIL & WATER IN TERMS OF SUSTAINABLILITY!
MILAN — The Oprichniks were the murderous henchmen of Ivan the Terrible, torturing and killing the czar’s enemies.
It says a lot about the Russian director Dmitri Tcherniakov’s world view that he has chosen to reimagine these thugs as contemporary television executives in his exhilarating production of Rimsky-Korsakov’s “The Tsar’s Bride” at the Teatro alla Scala here. This lurid tale of jealousy, insanity and the search for a royal wife has become, in Mr. Tcherniakov’s alchemical hands, a vivid, unsettling reflection on the media and the fast-disintegrating line between what seems real and what is.
It isn’t the first time that this director has brought a new angle to an older work. His charged, often claustrophobic interpretations of operas like Mozart’s “Don Giovanni” and Verdi’s “Il Trovatore” over the past few years have revealed fresh narratives and unexpected emphases in well-trodden classics. Just last month at the Metropolitan Opera, his new production of Borodin’s “Prince Igor” added some sections, cut others and rearranged what was left to create a dreamy portrait of a ruler and society thrown out of joint by the hunger for war.
But “Prince Igor” is a torso. Borodin never finished it and, as far as an overarching structure, barely even started it, a fact that even the Met’s strong production couldn’t conceal. While Mr. Tcherniakov’s version of “Igor” showed craft and care, it was bracing on Wednesday, at the second performance of “The Tsar’s Bride,” to see what he is capable of when he actually has a full opera to work with.
Like many Russian masterpieces, this Rimsky-Korsakov piece, which premiered in 1899, is still a relative rarity in the West, and it hasn’t always gotten the respect it deserves. It can seem, at first glance, a rather superficially sumptuous melodrama. But this performance made a strong case for its glimmers of forward-thinking angularity as well as its late-Verdian propulsion: it is an assemblage of set pieces — arias, ensembles, choruses — that presses forward with vigor.
The plot takes its cue from an encyclopedia footnote about which little is known: Ivan the Terrible’s brief third marriage to a commoner who was selected from 12 finalists for his hand and who died mysteriously a few days after their wedding. In the opera, this young woman, Marfa, is the pawn in a tangled love story that leaves her insane, succumbing to poison, and several other people dead.
The odd thing about Rimsky-Korsakov’s telling is that while there’s certainly a bride in it, there’s no czar. The one time in the original libretto that the fearsome Ivan seems to enter the picture, we’re not even sure it’s him: Marfa and her friend think they recognize his dreadful eyes in an anonymous man on horseback.
First at the Berlin Staatsoper in October and now in Milan, and both times with Daniel Barenboim conducting, Mr. Tcherniakov has taken this empty space at the opera’s core and run with it. The curtain rises on a TV studio where what seems to be a storybook pageant about old Russia is being filmed.
Before the overture is over, video projections bring us into an online chat among the Oprichnik-executives, who propose the need to invent a fake czar. A computer-generated leader is swiftly created for the public to revere and fear, and a “Bachelor”-style competition is started to help choose his bride.
At its heart this is yet another iteration of the theater-within-the-theater conceit that has tripped up even gifted directors. (See Stefan Herheim’s London production of Verdi’s “Les Vêpres Siciliennes” last fall.) But Mr. Tcherniakov makes it work with the fresh energy of his concept and the vital performances he draws from his cast.
All the world’s a screen in this “Tsar’s Bride,” a society distinguished most by the ceaseless generation and consumption of “content.” So Lyubasha, driven to desperation by jealousy, performs part of her first-act monologue in front of the cameras in an empty studio.
At the end, the innocent Marfa’s mad scene is filmed — ready to join happier, earlier clips flickering on the studio monitors. Becoming a media spectacle may be the most fitting way for her to go, in a live-by-the-sword, die-by-the-sword way: Throughout the previous acts, the Oprichniks’ product — a manufactured reality, half-news, half-entertainment — has been gobbled up from the television at Marfa’s family’s home. (We glimpse a few seconds of battle footage, too, lest anyone forget what all the fuss about a royal wedding is distracting from.)
Mr. Tcherniakov’s tweaks yield some of the production’s most effective moments. In the original libretto, the vindictive Lyubasha secretly spies on Marfa, her romantic rival. But here the encounter was face to face, making Lyubasha’s furious vows both more terrifying and more pitiable.
This director designed his own set, as is his usual practice, and it is a rotating wonder that makes possible, for instance, an elegant transition into the first-act trio. The world of the opera is rendered as a hermetic, arid interior. Nature is just another image, whether in the form of video of sun-dappled leaves or in the flowered wallpaper of Marfa’s living room.
The intense performances, not least that of the theater’s vibrant chorus, popped against this stark setting. The dusky-voiced mezzo Marina Prudenskaya’s Lyubasha was a small miracle of barely contained despair. The tenor Pavel Cernoch was a bright-voiced wimp as Marfa’s childhood sweetheart, Lykov, and the bass Anatoli Kotscherga a bearish presence as her father, Sobakin.
His baritone husky and lithe, Johannes Martin Kränzle was a bitter cynic at the heart of a cruel game as Gryaznoy, the Oprichnik mastermind of the czar’s bride scheme. The mezzo Anna Lapkovskaja was warm-hearted and warm-toned as Marfa’s friend, Dunyasha. The veteran soprano Anna Tomowa-Sintow was touchingly deluded as her mother, Saburova.
Her voice and manner agile and girlish in the early acts, the soprano Olga Peretyatko was transformed into a bitter Norma Desmond lookalike for a riveting mad scene, her eyes glittering under the studio spotlights. (She gets another descent into insanity next month as Elvira in Bellini’s “I Puritani” for her Metropolitan Opera debut.)
Mr. Barenboim brought out the music’s broad sweep and agitated details in moments like the febrile trembling as Gryaznoy toasts the bride-to-be in Act 3. He led the brass blasts at the start of the fourth act, each of which recedes into quiet unease, with a tautness and weight that revealed their debt to the opening of Wagner’s “Götterdämmerung.”
I wondered how the plusher Metropolitan Opera Orchestra would sound in this score, which has never been performed at the Met. I hope to have the chance to find out before too long, perhaps in Mr. Tcherniakov’s daringly theatrical production, a natural fit if ever there was one for media-driven New York.
The Tsar’s Bride. Directed by Dmitri Tcherniakov. Teatro alla Scala, Milan.Through March 14. teatroallascala.org.
“Their Mothers, their Fathers” – or maybe even ours – a movie that tries to promote thinking about the triteness of the reality of an evolution of crime as a worm that eats into what looks like civilized normalcy.
“Their Mothers, their Fathers” – or maybe even ours - a movie that tries to promote thinking about the triteness of the reality of an evolution of crime as a worm that eats into what looks like civilized normalcy.
These days in New York we host the Carnegie Hall Festival “Vienna City of Dreams” which is a celebration of culture of the last 100 years which is in effect the time-span since the break out of WWI on June 28, 1914, and as a matter of fact includes also WWII.
To above Festival The Calgary, Alberta, CHUMIR FOUNDATION for Ethics in Leadership contributed a three events Symposium – “Vienna’s History and Legacy of the Past 150 Years” – and this morning coincidentally I received the Uri Avnery mailing about the German Film “THEIR MOTHERS, THEIR FATHERS” that is being shown in Israel. We find it all connects – and we start looking into this by bringing here the Uri Avnery article.
Also, these days the Peace Islands Institute, which is connected to a Turkish Cultural Center, had its own events in New York of which one – linked – without mentioning it – to the previous mentioned events – it was a panel on Intergovernmental Relations among Balkan Nations & The EU with the participation of the Ambassadors to the UN from Bulgaria, Albania, Kosovo, and Macedonia, chaired by the President of the Federation of Balkan American Associations, that followed a similar earlier event that included Serbia, Bosnia & Herzegovina, Montenegro, and Croatia but never looked at Slovenia or Austria. Then the same Peace Islands Institute followed on its studies of the three Abrahamic religions with a first inroad into Muslim – Buddhist understanding after quite successful previous activities into ethics of Muslim -Jewish mutual acceptance. These days such are events happening in New York.
March 1, 2014
Their Mothers, Their Fathers
IT IS the summer of 1941. Five youngsters – three young men and two young women – meet in a bar and spend a happy evening, flirting with each other, getting drunk, dancing forbidden foreign dances. They have grown up together in the same neighborhood of Berlin.
It is a happy time. The war started by Adolf Hitler a year and a half before has progressed incredibly well. In this short time Germany has conquered Poland, Denmark, Norway, Holland, Belgium and France. The Wehrmacht is invincible. The Führer is a genius, “the greatest military strategist of all times”.
So starts the film that is running now in our cinemas – a unique historical document. It goes on for five breathless hours, and continues to occupy the thoughts and emotions of its viewers for days and weeks.
Basically it is a film made by Germans for Germans. The German title says it all: “Our Mothers, Our Fathers”. The purpose is to answer the questions troubling many of the young Germans of today: Who were our parents and grandparents? What did they do during the terrible war? What did they feel? What was their part in the horrible crimes committed by the Nazis?
These questions are not asked in the film explicitly. But every German viewer is compelled to ask them. There are no clear answers. The film does not probe the depths. Rather, it shows a broad panorama of the German people in wartime, the various sections of society, the different types, from the war criminals, through the passive onlookers, to the victims.
The Holocaust is not the center of events, but it is there all the time, not as a separate event but woven into the fabric of reality.
THE FILM starts in 1941, and therefore cannot answer the question which, to my mind, is the most important one: How could a civilized nation, perhaps the most cultured in the world, elect a government whose program was blatantly criminal?
True, Hitler was never elected by an absolute majority in free elections. But he came very close to it. And he easily found political partners who were ready to help him form a government.
Some said at the time that it was a uniquely German phenomenon, the expression of the particular German mentality, formed during centuries of history. That theory has been discredited by now. But if so, can it happen in any other country? Can it happen in our own country? Can it happen today? What are the circumstances that make it possible?
The film does not answer these question. It leaves the answers to the viewer.
The young heroes of the film do not ask. They were ten years old when the Nazis came to power, and for them the “Thousand-Year Reich” (as the Nazis called it) was the only reality they knew. It was the natural state of things. That’s where the plot starts.
TWO OF the youngsters were soldiers. One had already seen war and was wearing a medal for valor. His brother had just been called up. The third young man was a Jew. Like the two girls, they are full of youthful exuberance. Everything was looking fine.
The war? Well, it can’t last much longer, can it? The Führer himself has promised that by Christmas the Final Victory will be won. The five young people promise each other to meet again at Christmas. No one has the slightest premonition of the terrible experiences in store for each of them.
While viewing the scene, I could not help thinking about my former class. A few weeks after the Nazis’ assumption of power, I became a pupil in the first class of high school in Hanover. My schoolmates were the same age as the heroes of the film. They would have been called up in 1941, and because it was an elitist school, all of them would probably have become officers.
Half way through the first year in high schooI, my family took me to Palestine. I never met any of my schoolmates again, except one (Rudolf Augstein, the founder of the magazine Der Spiegel, whom I met years after the war and who became my friend again.) What happened to all the others? How many survived the war? How many were maimed? How many had become war criminals?
In the summer of 1941 they were probably as happy as the youngsters in the film, hoping to be home by Christmas.
THE TWO brothers were sent to the Russian front, an unimaginable hell. The film succeeds in showing the realities of war, easily recognizable by anyone who has been a soldier in combat. Only that this combat was a hundredfold worse, and the film shows it brilliantly.
The older brother, a lieutenant, tries to shield the younger one. The bloodbath that goes on for four more years, day after day, hour after hour, changes their character. They become brutalized. Death is all around them, they see horrible war crimes, they are commanded to shoot prisoners, they see Jewish children butchered. In the beginning they still dare to protest feebly, then they keep their doubts to themselves, then they take part in the crimes as a matter of course.
One of the young women volunteers for a frontline military hospital, witnesses the awful agonies of the wounded, denounces a Jewish fellow nurse and immediately feels remorse, and in the end is raped by Soviet soldiers near Berlin, as were almost all German women in the areas conquered by the revenge-thirsty Soviet army.
Israeli viewers might be more interested in the fate of the Jewish boy, who took part in the happy feast at the beginning. His father is a proud German, who cannot imagine Germans doing the bad things threatened by Hitler. He does not dream of leaving his beloved fatherland. But he warns his son about having sexual relations with his Aryan girlfriend. “It’s against the law!”
When the son tries to flee abroad, “aided” by a treacherous Gestapo officer, he is caught, sent to the death camps, succeeds in escaping on the way, joins the Polish partisans (who hate the Jews more than the Nazis) and in the end survives.
Perhaps the most tragic figure is the second girl, a frivolous, carefree singer who sleeps with a senior SS officer to further her career, is sent with her troupe to entertain the troops at the front, sees what is really happening, speaks out about the war, is sent to prison and executed in the last hours of the war.
BUT THE fate of the heroes is only the skeleton of the film. More important are the little moments, the daily life, the portrayal of the various characters of German society.
For example, when a friend visits the apartment where the Jewish family had been living, the blond Aryan woman who was allotted the place complains about the state of the apartment from which the Jews had been fetched and sent to their death: “They didn’t even clean up before they left! That’s how the Jews are, dirty people!”
Everyone lives in constant fear of being denounced. It is a pervading terror, which nobody can escape. Even at the front, with death staring therm in the face, a hint of doubt about the Final Victory uttered by a soldier is immediately silenced by his comrades. “Are you crazy?”
Even worse is the deadening atmosphere of universal agreement. From the highest officer to the lowliest maid, everybody is repeating endlessly the propaganda slogans of the regime. Not out of fear, but because they believe every word of the all-pervading propaganda machine. They hear nothing else.
It is immensely important to understand this. In the totalitarian state, fascist or communist or whatever, only the very few free spirits can withstand the endlessly repeated slogans of the government. Everything else sounds unreal, abnormal, crazy. When the Soviet army was already fighting its way through Poland and nearing Berlin, people were unwavering in their belief in the Final Victory. After all, the Führer says so, and the Führer is never wrong. The very idea is preposterous.
It is this element of the situation that is difficult for many people to grasp. A citizen under a criminal totalitarian regime becomes a child. Propaganda becomes for him reality, the only reality he knows. It is more effective than even the terror.
They could, because it was the natural thing to do. After all, the Jews were out to destroy Germany. The communist hordes were threatening the life of every true Aryan. Germany needed more living space. The Führer has said so.
That’s why the film is so important, not only for the Germans, but for every people, including our own.
People who carelessly play with ultra-nationalist, fascist, racist, or other anti-democratic ideas don’t realize that they are playing with fire. They cannot even imagine what it means to live in a country that tramples on human rights, that despises democracy, that oppresses another people, that demonizes minorities. The film shows what it is like: hell.
THE FILM does not hide that the Jews were the main victims of the Nazi Reich, and nothing comes near their sufferings. But the second victim was the German people, victims of themselves.
Many people insist that after this trauma, Jews cannot behave like a normal people, and that therefore Israel cannot be judged by the standards of normal states. They are traumatized.
This is true for the German people, too. The very need to produce this unusual film proves that the Nazi specter is still haunting the Germans, that they are still traumatized by their past.
When Angela Merkel came this week to see Binyamin Netanyahu, the whole world laughed at the photo of our Prime Minister’s finger inadvertently painting a moustache on the Kanzlerin’s face.
But the relationship between our two traumatized peoples is far from a joke.
THE 90 year young URI AVNERY NEVER ENDED HIGH-SCHOOL BUT HE IS NON-DISPUTABLE ISRAEL’S GREATEST JOURNALIST AND MOST FAMOUS EX-MEMBER OF THE KNESSET (PARLIAMENT). WHO COULD SAY WHAT GERMANY LOST – IF NOT FOR HITLER – HE WOULD HAVE HIMSELF BEEN NOW A SECULAR COMPLETELY ASSIMILATED GERMAN?
Bolivia VP Slams IMF, Talks Up G77.
By Matthew Russell Lee, Inner City Press.
UNITED NATIONS, February 25 — When Bolivia’s Vice President Alvaro Garcia Linera spoke to the media on February 25, he was setting the stage for the Group of 77 and China summit set for Santa Cruz in June.
Inner City Press asked him if at the Summit G77 will adopt a position on what should be in the Sustainable Development Goals, and for his response to comments about Bolivia by the International Monetary Fund which Inner City Press reported back on February 10.
He replied that Bolivia doesn’t much care what the IMF says, that if they criticize the country for being too pro-poor, that’s a matter of pride, they are going to do more of it. [Tweeted photo here; higher resolution photos by Free UN Coalition for Access member Luiz Rampelotto, to follow.]
Back on February 10, the IMF had just released its Article IV review of Bolivia, in which it criticized the country’s new Financial Services Law, specifically that
“the law’s general thrust is to subordinate financial sector activities to social objectives with instruments that could create risks to financial stability. Main features of the law include: (i) provisions to regulate lending rates and set minimum lending quotas for the productive sector and social housing; (ii) discretion to set floors on deposit rates; and (iii) mechanisms to enhance consumer protection and financial access in rural areas.”
On February 10, Inner City Press asked the IMF’s Mission Chief for Bolivia Ana Corbacho to explain this criticism, and more generally to reconcile Bolivia’s and President Evo Morales’ public critique of the IMF with this visit.
In response to a question from Inner City Press at UN headquarters in January, Morales recounted how the IMF dominated Bolivia in the past, but now decision making had passed from the “Chicago to the Bolivia boys.“
The IMF Article IV staff report says they met with “Minister of Economy and Public Finances Arce, Central Bank President Zabalaga, Minister of Planning Caro, other senior public officials, and representatives of the private sector. Mr. Tamez and Ms. Kroytor (LEG) provided inputs on the new Financial Services Law at headquarters.”
The IMF staff report also says that “the instruments chosen (interest rate caps and minimum credit quotas) could reduce the profitability and lending funds of financial institutions, over-leverage target beneficiaries, and complicate the conduct of monetary policy.”
Ms. Corbacho of the IMF, on the February 10 embargoed press conference call, largely in Spanish, on which only three media asked questions, replied that Bolivia for example capping interest rates might impact financial institution’s profitability and thus “financial stability.”
She said the government responded that financial inclusion has not progressed fast enough and so they are taking these steps. She the Article IV discussion, which are held with each IMF member, were “very open and frank” with Bolivia, and thus positive.
To Inner City Press, the IMF’s willingness to criticize consumer protection in Bolivia stands in contrast to the IMF’s deference to the US on the how to manage and communicate the Federal Reserve’s tapering, the debt ceiling — anything, essentially.
On February 25, Bolivia’s Vice President Alvaro Garcia Linera, with his UN Permanent Representative Sacha Llorenti translating, described this is a key time for sustainable development, and that the G77 and China will play a key role, since it has 133 members (2/3 of the UN membership) and represents 70% of the world’s population.
Given that, it was noteworthy that the pro-Western “United Nations Correspondents Association” did not send a single one of their 15 Executive Committee members to the briefing by Bolivia’s vice president about the Group of 77 and China. Tellingly, UNCA last July used the big third floor room the UN gives them to host Saudi-supported Syria rebel leader Ahmad al Jarba for a faux “UN briefing.”
In the same room, also tellingly, the outgoing UN spokesperson Martin Nesirky will hold his farewell on March 7. His deputy Eduardo del Buey held his farewell, more appropriately, in the UN Spokesperson’s office. But this UN is going more and more Gulf and Western, with its spokesperson’s job now passing to France.
We’ll have more on this — for now, we will link to Bolivia’s Vice President’s comments on G77, and on the IMF.
SustainabiliTank actually expected the Bolivian VP to touch also upon the meetings of the SIDS, but seemingly there wee no questions to him on this topic.