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Stonehenge Summer Solstice Open Access 2019
Stonehenge is an ancient prehistoric world heritage site which has been a place of worship and celebration at the time of Summer Solstice for thousands of years. Stonehenge is a world renowned historic Monument and part of a World Heritage Site. It is seen by many who attend as a sacred place.
Summer Solstice Sunrise Celebrations at Stonehenge
Please note that last normal admissions to Stonehenge is on Thursday 20th June at 13:00 and the site will close at 15:00 in preparation for Summer Solstice Managed Open Access. Stonehenge will re-open for normal admissions on the afternoon of Friday 21et June. Please check our social media channels for the exact time.
English Heritage is pleased to provide free Managed Open Access to Stonehenge for Summer Solstice. We ask that if you are planning to join us for this peaceful and special occasion that you read the Conditions of Entry and the information provided on the following pages before deciding whether to come.
Stonehenge is a significant World Heritage Site and to many it is sacred – please respect the stones and all those who are attending.
Admission to the Summer Solstice at Stonehenge is free of charge. We hope the weather will be kind and wish you a peaceful and celebratory solstice.
SOLSTICE CAR PARK OPENS 19.00 hours
ACCESS TO STONEHENGE MONUMENT FIELD 19.00 hours
SUNSET 21.26 hours
SUNRISE 04.52 hours
LAST ADMISSION TO SOLSTICE CAR PARK 06.00 hours (or when full)
STONEHENGE MONUMENT FIELD CLOSES
SOLSTICE CAR PARK TO BE VACATED 08.00 hours
12.00 hours (Noon)
USEFUL SOLSTICE INFORMATION
Respect The Stones
Travelling to Stonehenge for Summer Solstice
What (and what not) to bring
At Stonehenge – safety, facilities and welfare
For further information about Managed Open Access for Summer Solstice at Stonehenge, please call English Heriage Customer Services Solstice Information Hotline on 0370 333 1181.
Summer Solstice at Stonehenge. From Past to Present. Stonehenge New Blog
Why Thousands Of Pagans Gather At Stonehenge For The Solstice Stonehenge News Blog
Respect the Stones: Stonehenge News Blog
The Stonehenge News Blog
Follow us on Twitter and Facebook for all the latest Stonehenge News and Summer Solstice updates
http://www.Stonehenge.News
Tags: english heritage, managed open access, open access, summer solstice
Categories : Stonehenge Summer Solstice 2019
Hundreds of pagans and druids descend on Stonehenge to celebrate the 2019 Spring (Vernal) Equinox.
Visitors headed to the famous 5,000-year-old stone circle in Wiltshire in the dark to ensure they got to see the sun rise. And they made the most of one of only four public annual events that allows people to get so close to the stones.
Big event: The equinox happens twice a year around March 20th and September 22nd, between the summer and winter solstices. On the equinox, day and night are nearly equal because the sun appears to rise before its centre is at the horizon
WHY CAN PAGANS AND DRUIDS GET SO CLOSE TO THE STONES FOR THE EQUINOX?
The famous Stonehenge circle is normally roped off to the public, but special access is granted four times a year.
This is only on the mornings of the summer solstice, winter solstice, spring equinox and autumn equinox.
English Heritage has 'managed open access', meaning the public can stand among the stones on these days.
Anyone can turn up on the day to get close to the stones, but people are asked not to touch or climb on them.
Organisers also have a ban on bringing glass bottles or pets onto the site and on playing amplified music.
Today Stonehenge was opened at 5.45am when it was deemed light enough to safely allow people into the field.
Visitors began to leave at 8.30am and then the area was opened to the paying public as normal at 9.30am
Follow us on Twitter and Facebook for all the latest Stonehenge news
Tags: druid, managed open access, pagan, Stonehenge news, Vernal Equinox, visit wiltshire
Categories : Stonehenge Spring Equinox 2019
Stonehenge Spring (Vernal) Equinox Open Access: 21st March 2019
The exact time of the 2019 Spring (Vernal) Equinox is 09.58pm
English Heritage are expected to give a short period of managed open access from approximately 05.45m to 8.00am.
Sunrise on the March 21st is at 6.11am. A rare supermoon is set to stage a nocturnal spectacular in what will be the third and final occurrence of the phenomenon in 2019. On Wednesday and Thursday, the full moon will be closer to Earth, and so brighter than it usually appears.
This is the second of the four 'sky points' in our Wheel of the Year and it is when the sun does a perfect balancing act in the heavens.
At the Spring (or Vernal) Equinox the sun rises exactly in the east, travels through the sky for 12 hours and then sets exactly in the west. So all over the world, at this special moment, day and night are of equal length hence the word equinox which means 'equal night'.
Of course, for those of us here in the northern hemisphere it is this equinox that brings us out of our winter.
For those in the southern hemisphere, this time is the autumnal equinox that is taking you in to your winter. And this is very much how I think of the equinoxes – as the 'edges' of winter. This is why they can be quite hard on our bodies as it is a major climatic shift, so it is a good time to give a boost to your immune system with natural remedies and cleansing foods.
Here in Wiltshire (as with the rest of rural Britain), it was traditional to drink dandelion and burdock cordials at this time as these herbs help to cleanse the blood and are a good tonic for the body after its winter hardships.
As the Vernal Equinox heralds the arrival of spring, it is a time of renewal in both nature and the home, so time for some spring-cleaning!
This is more than just a physical activity, it also helps to remove any old or negative energies accumulated over the dark, heavy winter months preparing the way for the positive growing energy of spring and summer.
As with all the other key festivals of the year, there are both Pagan and Christian associations with the Spring Equinox.To Pagans, this is the time of the ancient Saxon goddess, Eostre, who stands for new beginnings and fertility.
This is why she is symbolized by eggs (new life) and rabbits/hares (fertility).
Her name is also the root of the term we give to the female hormone, oestrogen.By now, you may be beginning to see the Christian celebration derived from this festival – Easter.
And this is the reason why the 'Easter Bunny' brings us coloured eggs (and if you're lucky chocolate ones!) at this time of year.
So, as nature starts to sprout the seeds that have been gestating in her belly throughout the winter, maybe you can start to think about what you want to 'sprout' in your life now and start to take action.
Visiting Stonehenge this year for the Spring Equinox Celebrations? RESPECT THE STONES
If you are unable to visit Stonehenge on the Equinox you can watch our FACEBOOK or LIVE PERISCOPE STONEHENGE BROADCAST
Tags: druid, Eglish Heritge, Full moon, managed open access, Openn Access, pagan, spring equinox, Vernal
Categories : Stonehenge Spring Equinov 2019, Stonehenge Spring Equinox 2019
Stonehenge Summer Solstice Celebrations: 2018 Open Access Arrangements.
English Heritage are pleased to provide free Managed Open Access to Stonehenge for the Summer Solstice 2018 and ask that if you are planning to join the celebrations for this peaceful and special occasion that you follow these Conditions of Entry. These are written to ensure enjoyment and safety for everyone attending summer solstice at Stonehenge.
Stonehenge is an ancient prehistoric site which has been a place of worship and celebration at the time of Summer Solstice for thousands of years.
This important site is seen by many as a sacred site – if you are planning to visit for summer solstice we ask that you please respect the stones and each other.
2018 SOLSTICE DATES AND TIMES
ACCESS TO MONUMENT FIELD 19:00hrs
SUNSET 21:26hrs
THURSDAY 21st JUNE 2018
SUNRISE 04.52hrs
MONUMENT FIELD CLOSES 08:00hrs
The Solstice Car Park opens at 19:00hrs on 20th June 2018 with last admissions at 06:00hrs (or when full if earlier) on 21st June. The car park will close at 12.00 noon on 21st June.
ADMISSION, PLANNING YOUR JOURNEY AND PARKING
Admission to the Summer Solstice at Stonehenge is free of charge.
We strongly recommend travelling by public transport or arranging to car share with friends. You can also request or offer a lift to Stonehenge by following this link.
COME PREPARED
Stonehenge is in a field on Salisbury Plain and the weather in June can be cold and may be wet and windy. Even if it isn't raining, the ground will be wet from the dew. There may also be frost.
Please be prepared for a 30 minute walk (in low light or darkness), from the bus drop off and from parking areas to the monument. You are strongly advised to wear warm and waterproof clothing and footwear and bring a torch with you.
Toilets at the Monument Field will only be available once the access period begins. There are no catering facilities in the monument field, however the café at the visitor centre is open for hot drinks and breakfast rolls from 6am.
Please note that there are no other amenities or facilities available to visitors until the Monument Field opens.
Please note to reduce risk to those attending and to the monument itself, alcohol is not allowed in the monument field during summer solstice.
GETTING HERE:
Parking for the Summer Solstice is very limited and English Heritage cannot guarantee that you will be able to park near to Stonehenge. If you are planning to travel by car, wherever you park there may be a 30 minute walk to the Monument. We strongly recommend car sharing or using public transport.
Car Sharing – Request or offer a lift to Solstice at Stonehenge
Travel by bus – Salisbury Reds buses will be running from 06:30 from Salisbury (New Canal, Stop U and Salisbury Rail Station). Check timetable.
Organised Solstice Tours – If you are considering visiting Stonehenge for the Solstice celebrations you can even join an organised tour. Use a reputable tour operator who respect the conditions. Stonehenge Guided Tours are the longest established company and offer guided tours and transport from London and Solstice Events offer small group Summer Solstice Tours from Bath using local expert guides.
Blue Badge Parking – Blue badge parking is in the visitor centre car park and permits must be booked in advance. There is accessible transport to the monument field from the visitor centre beginning at approximately 6.30am. Permits available from Solstice.Stonehenge@english-heritage.org.uk
As you approach Stonehenge, there will be signs to direct you to the car park – please ensure that you follow these. Please do not arrive early as there is no waiting on the roads in the area and you will be moved on.
Parking may involve a shuttle journey to the visitor centre and wherever you park there may be a 30 minute walk.
There is a parking charge of £15 per car, live-in vehicle and non-commericial minibus (up to 19 seats) at Stonehenge during Summer Solstice.
Motorbikes £2
Commercial coaches £100
The car parking charge is designed to encourage people to car share and will help the charity offset the costs of providing additional staffing and lighting in the car parks.
Please note, car parking charges apply to all users of the Winter Solstice car parks, including Blue Badge holders, and members of English Heritage and National Trust.
Motorists have access to a park and ride shuttle from the off-site solstice car parking to the visitor centre. A shuttle will also be provided between the visitor centre and Stonehenge, however visitors are asked to note that disabled people have priority on this bus and should therefore be prepared for a 30 minute walk, in low light, from parking areas to the monument.
English Heritage cannot guarantee entry to the car parks and recommend coming by public transport as cars will be turned away when the car parks are full.
Please visit the official English Heritage website for full details.
Respecting the Stones
Salisbury Reds Local Bus Service
English Heritage Conditions of Entry
The Salisbury Reds special solstice shuttle service
Traveling to Stonehenge for the Summer Solstice
Please note parking charges apply.
Further details, and information to help you plan your journey, including details of local accommodation providers, will be published on these pages shortly, along with other helpful advice for summer solstice.
Visiting Stonehenge this year for the 2018 Solstice Celebrations?
Please read this blog:
Follow @St0nehenge @EH_Stonehenge @VisitStonehenge @HighwaysEngland and @Wiltshirepolice @Stonehenge_King for #summersolstice updates on the night.
If you are unable to visit Stonehenge on the Solstice you can watch our LIVE PERISCOPE STONEHENGE BROADCAST
Follow us on Twitter and Facebook for all the latest Stonehenge New
Tags: Celebration, druid, english heritage, Festival, June 21, managed open access, open access, pagan, Sacred Site, Stonehenge news, summer solstice, Surise sunset
Categories : 2018 Stonehnege Summer Solstice
Summer Solstice at Stonehenge. From Past to Present.
Although there was historically a Summer Fayre at Stonehenge held on traditional midsummer's day of the 24th of June, it was only comparatively recently that the association between Stonehenge and the Summer Solstice Sunrise was realised.
Before Britain adopted the Gregorian calendar in 1752, the summer solstice had slipped out of sync with the old Julian calendar by 11 days. This meant that the Sun didn't appear to rise from the Heelstone on 24th June. People somehow knew that they should be at Stonehenge on "midsummer's day", but the reason had long been forgotten.
Indeed, it was only in 1771 that the first link between the Heelstone and the Summer Solstice Sunrise was mentioned by Dr. John Smith, even though William Stukeley had identified that the Avenue lead off towards the solstice sunrise point some 30 years earlier. Smith churlishly didn't even acknowledge Stukeley's work in his book.
These days, of course, everyone knows about it.
From about 3pm on the 20th June, Stonehenge closes to regular visitors in order for preparations to begin for the largest mass pilgrimage to a solar temple in modern times.
Up to 40,000 people begin arriving across the landscape on foot, or by car and coach to the fields by the Visitor Centre (parking charges are £5 per motorbike, £15 per car, live-in vehicle or minibus up to 19 seats, £100 per coach with coach-space pre-booking essential, and there is no discount for disabled badge holders) in advance of the monument being reopened at 7pm.
This is the one time in the year when anyone can spend the night inside the stone circle, and it gets crowded very quickly with travellers, drummers, pagans, druids, cosplay wizards and faeries, as well as more "ordinary" folk. Alcohol has been banned in recent years but evidence is obvious of prior indulgence in that and other recreational substances amongst the revellers. This "managed open access" has the feeling of a massive outdoor party rather than a respectful observance but most people seem to have a good time.
The locals tend to come for the evening on the 20th before escaping ahead of full nightfall, and the atmosphere is more family-friendly between 7pm and sunset around 9.30pm.
Ahead of sunset a number of groups tend to perform "all welcome" ceremonies in the centre of the circle, including the modern Druids usually led by Archdruid Rollo Maughling, King Arthur Pendragon or Merlin of England.
As night falls the entire field around the monument fills up and people gather in groups on and under blankets (no sleeping bags permitted) and while away the hours until the much-anticipated solstice dawn on the 21st.
A number of concession stands near the field entrance serve up tea, coffee and a variety of food to keep everyone warm, and there are first aiders, security marshalls, volunteer peace stewards and a low-key police presence to ensure everyone's safety. Portaloos are installed all around the site as well as lighting gantries which are gradually dimmed as dawn approaches. Bags are security checked at the entrances to the field to intercept glass bottles or other dangerous items, and no animals are allowed apart from the drugs sniffer dogs on the gate.
The "managed open access" at summer solstice has been in place since 2000 and I have attended all bar two of them. In 15 years, I've seen a clear solstice sunrise only twice – so if you plan to come, be prepared for a cloudy morning with no sight of the Sun.
Bring waterproofs and wear many layers – it can be unexpectedly cold at 2am in the middle of a field in Wiltshire, and it frequently rains (on occasion very, very heavily) overnight. Umbrellas are forbidden but a black plastic binbag makes an acceptable, if unfashionable, substitute.
Dawn occurs at 4.52 BST, but the Sun is always a few minutes late because the trees on the horizon to the northeast delay its appearance. As the centre of the circle is by now absolutely rammed solid, the Druid ceremony usually takes place by the Heelstone after sunrise.
The monument field has to be cleared by 8am so that the site can be tidied up and put back to normal in time for it to re-open to regular visitors by about 3pm on the 21st.
The attendees drift away back towards the car park and peace, of a sort, descends.
Now the real work begins for the on-site Historic Property Stewards who care for the monument all year round, and the army of temporary contractors.
The grass in the centre of the circle is "groomed" with rakes having been trampled flat by thousands of feet for 13 hours and the whole area of the monument within the henge bank and ditch perimeter is litter-picked on hands and knees. Lost property is gathered together in case the owners come back for it – though how anyone can forget a baby buggy is hard to imagine.
The visitor barrier ropes are re-installed around the circle, the interpretation panels are re-erected, the bench seats on the path are returned and the overnight infrastructure is taken away, along with several tons of rubbish. Sprinklers are deployed to revivify the turf.
The Stonehenge Summer Solstice experience is unlike any other – for some people it's a lifetime's ambition, for others it's an excuse for a party.
For Stonehenge, this year will be something like the 4,517th time it's seen people gather at this turning point in the seasonal round – it must have some stories to tell, and Stone 28 is probably the one to tell them – you just have to listen closely.
Article by guest blogger and local Stonehenge historian Simon Banton
If you are considering visiting Stonehenge for the Solstice or Equinox celebrations you can join an organised tour and save all the hassle. Use a reputable tour operator who respect the conditions. Stonehenge Guided Tours are the longest established company and Solstice Events offer small group Solstice tours using only local expert guides.
Stonehenge Summer Solstice Open Access Arrangements.
Stonehenge Summer Solstice Tours and transport from London
Stonehenge Summer Solstice Tours from Bath
Follow @St0nehenge @EH_Stonehenge @VisitStonehenge @HighwaysEngland and @Wiltshirepolice for #summersolstice updates on the night.
Tags: druid, english heritage, guided tours, HeelStone, June 21st, managed open access, pagan, pendragon, Pilgramage, Solar Temple, Solstice Celebrations, Sunrise
Categories : Stonehenge Summer Solstice
Vernal (Spring) Equinox at Stonehenge.
The Spring Equinox in 2017 falls on March 20th and occurs at 10:28am GMT. The time is for the instant when the Sun crosses the celestial equator moving northwards and has a celestial longitude of 0°. Everywhere on Earth has a day and night of almost equal length and it marks the beginning of the northern spring season.
Druids and Pagans enjoying the Equinox sunrise celebrations at Stonehenge. Copyright
There is considerable debate in the archaeoastronomy community as to whether the Equinox had any special meaning for the builders of Stonehenge. They had no accurate clocks by which they could determine when the day and night were almost exactly equal and discovering the mid-point between the Winter and Summer solstice can be done in a couple of obvious ways.
You can count the days and divide by two. Or you can mark the summer and winter sunrise positions along the horizon and divide that line into two equal parts. These two methods give different results.
For example, counting the days between Winter Solstice 2016 (December 21st) and Summer Solstice 2017 (June 21st) gives 182 days. Half of that is 91, meaning the midpoint would fall on March 22nd 2017 – two days after the actual Equinox.
The time is for the instant when the Sun crosses the celestial equator moving northwards and has a celestial longitude of 0°
Using the "divide the horizon" approach causes an additional problem – at the Solstices do you mark the first gleam of the Sun appearing, the point when half of it is above the horizon or when it has fully risen and the full orb is standing exactly on the horizon?
The difference in position between using "first gleam" and "full orb" is about 1.5° because the Sun rises at an angle. As a result the halfway position could be 0.75° different depending on your choice and that is one and a half times the width of the Sun's disc, potentially putting your Equinox out by a day or so.
In any event, there is no alignment through Stonehenge for the Equinox and what's more there isn't even a clear sightline directly through the monument that runs true East-West towards the Equinox sunrise position, in the way that there are clear sightlines for the Solstice sunrises and sunsets.
That doesn't mean you can't get a nice photo of an equinox sunrise when it's clear, because you can.
English Heritage Charitable Trust allows everyone in to the centre of the monument for the Spring Equinox sunrise, in the same way that they do for the Autumn Equinox and the two Solstices, through their "Managed Open Access" events. It's one of only four occasions in the year when open access is allowed.
It's worth checking with their customer services department (0370 333 1181) a week or so ahead because sometimes they set the actual day of the open access to be different to the day when the Equinox occurs.
Equinox open accesses attract fewer people than the Solstices – in the several hundreds rather than tens of thousands – and there are modern Druid ceremonies which are held in the circle around dawn, so if you prefer a quieter experience then attending an Equinox is a good choice.
If you do visit Stonehenge on the Equinox please respect the special terms of entry and read this blog: 'Respecting the Stones'
If you are considering visiting Stonehenge for the Solstice or Equinox celebrations you can join a specialist organised small group tour. Use a only a reputable tour operator who respect the conditions of entry. Stonehenge Guided Tours are the longest established company offering award winning discreet tours from London. Solstice Events offer small group sunrise tours using only local expert guides.
Tags: archaeoastronomy, druid, english heritage, managed open access, pagan, Solstice, spring equinox, Sunrise, Vernal
Visiting Stonehenge this year for the Equinox or Solstice Celebrations? #ManagedOpenAccess
The conditions of entry for the Managed Open Access events at the Solstices and Equinoxes contain the following statements:
Stonehenge is a world renowned historic Monument and part of a World Heritage Site. It is seen by many who attend as a sacred place. Please respect it and please respect each other.
Do not climb or stand on any of the stones – this includes the stones that have fallen. This is in the interest of personal safety, the protection of this special site and respect for those attending. As well as putting the stones themselves at risk, climbing on them can damage the delicate lichens.
… but some people seem happy to ignore these requests. I'm going to take a little time to explain that, strange as it may seem, the monument is actually quite delicate and damage to it does occur.
The popularity of the summer solstice has grown over the years
In 1953 during an archaeological investigation a set of carvings were noticed on the inner face of one of the stones of the central trilithons (Stone 53, to be precise). These carvings weren't the usual graffiti that've been incised into many of the stones over the last 200 years or so – people's names, initials, dates and so on. They were in fact very ancient indeed, dating back to the middle Bronze Age around 1700BC and were of bronze axe heads and a dagger.
Here's a photo from 1953 showing the ancient carvings, followed by a more recent one:
The ancient carvings are noticeably "softer" around the edges in the modern shot and this is largely due to the action of people's fingers tracing their outlines over the course of the last 63 years. Sarsen may be hard, but it's still a sandstone.
Some bluestones exist only as stumps and many are fallen. These get trampled over by thousands of feet at the solstices and equinoxes, and many have acquired a polish as a result.
One of two examples of bluestone are so soft that they crumble away at a touch and these have eroded down to stumps that barely break the surface of the ground.
It's been a while since tourists were rented hammers by the local blacksmith so they could take souvenirs, but it's not unknown even in modern times for people to try it.
Although deliberate damage is rare, it does happen. At the 2014 Summer Solstice, someone thought it'd be a good idea to start writing the date (in US format – 6.21.14) in letters about 3" high, using a marker pen, near the bottom of Stone 3.
This damage is permanent. The ink has been carried deep into the stone surface and the conservators have been unable to remove it.
At the winter solstice that year, another bright spark decided to annoint the sides of about a dozen stones with some kind of oil, leaving dark streaks over 18" long that will take decades to fade. If you're going to annoint the stones with anything, then use pure spring water and not some nasty goo you've bought off eBay.
Thoughtless damage happens every year – candlewax from spilt tealights, rubbings with crayon that goes through the paper, forcing random items like crystals or coins into crevices, digging in the ground and even trying to light a fire on a stone.
Disrespectful damage – vomiting, urinating or even defecating on the stones – is less common but also occurs. It's hard to imagine the kind of person who thinks that sort of behaviour is acceptable anywhere, let alone at our most famous ancient monument.
While standing on the stones is bad enough, climbing up them is far worse.
The fuzzy grey-green lichen that coats the upper reaches of most of the sarsen stones is a species called Sea Ivory (Ramalina Siliquosa) and usually only grows on marine cliffs, particularly in southwest England and Wales. It's very easily knocked off by people brushing against the stones and large areas are destroyed by someone sliding back down having scaled any of the uprights.
There are at least 9 marine cliff species of lichen present, and how they ended up 50km from the sea is something of a mystery.
The last major study of the Stonehenge lichens was carried out in 2003. It found 77 different species, including two that are found in a particular recess of one specific stone and nowhere else on site, and another that only grows on one single stone at Stonehenge and nowhere else in southern England.
So the next time you decide to come along to an Open Access Equinox or Solstice Dawn, please be one of the people who understands how fragile the monument is and who treats it with respect.
Tell your friends too and – even better – if you find any litter that other people have dropped, please pick it up and put it in one of the bins. Please share this article on social media and help raise awareness.
The stones, the ancestors, and the staff who do the tidying up after you've gone home and who genuinely love Stonehenge, all thank you! (This article was submitted with thanks by Simon Banton who worked at the monument for many years)
Stonehenge is protected under the Ancient Monuments and Archaeological Areas Act and you must adhere to the regulations outlined in the act or face criminal prosecution. No person may touch, lean against, stand on or climb the stones, or disturb the ground in any way. The Ancient Monuments Protection Act 1882 was an Act of the Parliament of the United Kingdom of Great Britain and Ireland (as it then was). It was introduced by John Lubbock, 1st Baron Avebury, recognising the need for a governmental administration on the protection of ancient monuments – more information
If you are considering visiting Stonehenge for the Solstice or Equinox celebrations you can join an organised tour. Use a reputable tour operator who respect the conditions. Stonehenge Guided Tours are the longest established company and Solstice Events offer small group Solstice tours using only local expert guides.
Tags: Ancient Monuments Act, Autumn Equinox, Bluestones, english heritage, managed open access, spring equinox, summer solstice, Winter Solstice
Categories : Stonehenge Solstice Managed Open Access
Druid Leader King Arthur Uther Pendragon, Head of the Loyal Arthurian Warband.
King Arthur Uther Pendragon is the Chosen Chief and titular Head of the Loyal Arthurian Warband, a highly political modern Druid order that campaigns on a variety of issues primarily to do with Stonehenge.
These issues include protesting against the inclusion of human remains in English Heritage's visitor centre exhibition, championing the right of celebrants to freely attend Solstices and Equinoxes at Stonehenge without having to "pay to pray" and calling for the return of the cremated remains that have been excavated from the Aubrey Holes and removed from the site by archaeologists.
He's also got a long history as an eco-warrior and civil rights activist, protesting against road developments (notably the Newbury Bypass and Twyford Down) and of standing as an independent Parliamentary candidate for the Salisbury constituency.
When the media are looking for a soundbite from the rapidly growing pagan community in the UK, they invariably call Arthur and as a result the perception of many of the public is that he is the King of all the Druids. This tends to annoy some other people in the pagan and Druid community who resent the implication that Arthur speaks for all of them. Arthur, however, doesn't claim this for himself.
What Arthur does believe is that he's the modern reincarnation of the archetypal King Arthur of legend – returned to do battle for Truth, Honour and Justice in Britain's hour of need.
In 1986 he changed his name from John Rothwell (ex biker and ex Army serviceman) by deed poll and he is unique in that his passport – in the name of Arthur Uther Pendragon – shows him wearing his crown.
The sword that he carries – Excalibur, naturally – is one of the originals made for the film of the same name. Its previous owner initially refused to part with it, on the basis that he'd only sell if the real King Arthur showed up to claim it. Arthur promptly presented his passport, much to the surprise of the owner!
His life story is too involved and full of startling magical coincidence to go into here but his biography "The Trials of Arthur" (C. J. Stone and A. U. Pendragon, Element Books, 2003) is worth reading if you want to better understand the man and his motivation.
After the government shut down the Stonehenge Free Festival with the infamous and appalling police violence of the Battle of the Beanfield in 1985, an exclusion zone was established around Stonehenge for the Summer Solstice complete with roadblocks, razor wire, helicopters, horses and dogs. Years of conflict between the festival community and the authorities followed.
Arthur was a key figure in the campaign to re-open Stonehenge to celebrants and eventually took the government to the European Court in 1998, claiming that the exclusion zone breached his freedom of thought, conscience, religion and freedom of expression, in contravention of Articles 9, 10 and 11 of the European Convention on Human Rights.
The exclusion zone was lifted in 1999 and in 2000 the first of the Summer Solstice Managed Open Access events took place, with around 5000 people attending a celebration through the night in pouring rain.
These open accesses have continued ever since at Solstices and Equinoxes and it is doubtful that they would have ever begun if not for the campaigning of Arthur and others.
In the great British tradition of eccentrics, Arthur stands out proudly – he is the grit in the oyster, a thorn in the side of bureaucracy and passionate about the causes he champions.
You may or may not agree with him, you may like or dislike him, but you can't deny that he gets out there and tries to change things in the face of almost overwhelming odds.
Without him the world would be a much less colourful place – as a nation, we could do with more of his kind.
Loyal Arthurian Warband website: http://www.warband.org.uk
"The Trials of Arthur" Book review
Follow King Arthur on Twitter
King Arthur live periscope broadcast at the Autumn Equinox
King Arthur and Stonehenge images on Flickr
Follow us on Twitter and Facebook for all the latest Stonehenge news and stories
Tags: Druid King, Eco-Warrior, Excalibur, King Arthur, managed open access, Neo Druid, pagan, Pay to Pray, pendragon, Round Table, stonehenge free festival, Stonehenge news, summer solstice
Categories : Arthur Uther Pendragon
Ordnance Survey Benchmarks at Stonehenge
Amongst all the various carvings on the stones at Stonehenge, from the modern graffiti of the 17th to the 20th century and the ancient axe heads and daggers from about 1700BC, there are three that are not often noticed.
These are the Ordnance Survey (OS) benchmarks.
The OS website says: "Bench marks are the visible manifestation of Ordnance Datum Newlyn (ODN), which is the national height system for mainland Great Britain and forms the reference frame for heights above mean sea level."
The original reference datum levelling survey was begun in Liverpool in 1840 using a benchmark on St. John's Church, and in 1844 it was changed to the tidal pole in Victoria Dock. The reference Mean Sea Level (MSL) for the datum was established over a nine day period of tidal observations.
A second levelling survey was carried out in 1912-21 and the datum was changed to MSL at Newlyn in Cornwall. In the 1950s a third survey was performed, still making use of the Newlyn datum.
The OS benchmarks at Stonehenge are in the traditional form of three lines / | \ beneath a horizontal bar which is the indicator of the reference height above the datum's MSL at that spot.
Coincidentally, this is a similar form to that of the Druidic "Awen" emblem which also uses three lines / | \ but positioned below three dots rather than a horizontal bar. See https://en.wikipedia.org/wiki/Awen for the history and an explanation of this symbol.
At Stonehenge two of the benchmarks are on the Heel Stone and one is on Stone 16.
Stone 16 is the tooth-like stone at the southwest side of the monument directly behind the tallest stone on the site, and the benchmark is low down on the left of the southeast face.
This references the Newlyn datum, is 103.114m above MSL and was last verified in 1957.
The Heel Stone is the massive leaning stone some 80m northeast of the stone circle which famously (but only roughly) indicates the position where the sun appears on the horizon at the summer solstice as seen from the centre of the stone circle.
Its benchmarks are low down on the right hand side of the northeast face
The upper one references the original Liverpool datum, is 101.346m above MSL and was last verified in 1900.
The lower one references the Newlyn datum, is 100.7m above MSL and was last verified in 1957.
From the Newlyn benchmarks, you can work out that there's a drop of 2.414m from the one on Stone 16 to the one on the Heel Stone.
None of these benchmarks are visible from any of the visitor paths around the monument, although if the light is right (early morning or evening in summer) the upper one on the Heel Stone can just be made out from the National Trust field.
To see them properly you'll need to come to one of the Managed Open Accesses at the solstices or equinoxes.
Alternatively, you can book a private Stone Circle Access visit which take place most days of the year before and after regular opening times.
STONE CIRCLE ACCESS
Stone Circle Access visits, give you a unique opportunity to experience up close this world famous monument. The visits take place outside of our normal general admission opening hours and are subject to very limited availability. Please note that this is not a guided tour, and touching of the stones is not permitted. You can try Stonehenge Guided Tours for these special access tours
Follow us on Twitter and Facebook for all the latest Stonehenge news and discoveries
Tags: Benchmark, Drudic, Equinox, Heel Stone, inner circle, managed open access, Solstice, Stone Circle Access
Categories : Stonehenge Close Up
WINTER SOLSTICE AT STONEHENGE 2015
English Heritage will once again welcome people to Stonehenge to celebrate the Winter Solstice. Sunrise is just after 8am on Tuesday 22nd December and visitors will be able to access the monument as soon as it is light enough to do so safely.
Why 22nd December?
Many people – not least diary manufacturers – believe that the Winter Solstice always falls on 21st December. But the celebration of Winter Solstice at Stonehenge is not fixed to a specifiic date – this is because of a mismatch between the calendar year and the solar year.
MANAGED OPEN ACCESS PRACTICAL INFORMATION
Please read and respect the Conditions of Entry for Winter Solstice 2015 and the English Heritage website.
Public Transport is being provided by Salisbury Reds buses and will be running from 06:00 from Salisbury. Stonehenge Guided Tours are offering their usual transport with expert guide service from London and Bath. Booking essential (click here to book direct)
Please be aware that parking is very limited. There is a thirty minute walk, depending on where you are parked, in low light or darkness, from the parking areas to the monument. You are therefore strongly advised to bring a torch with you for personal use.
Accessibility – parking provision for people with disabilities
A limited number of permits will be avaialable for blue badge disabled parking and there will be dedicated accessible transport to the stone circle – which will begin just prior to the opening of the monument field. Please apply to Sandra.Ross@english-heritage.org.uk
Please note that there are no other amenities or facilities available to visitors until such time as commences.
Please read and respect the Conditions of Entry.
Stonehenge Audio Tour: Free Download from English Heritage
Follow Stonehenge and English Heritage on Twitter for Stonehenge Solstice news and updates
Tags: 22nd December, Celebration, Ceremony, Conditions of Entry, druid, english heritage, managed open access, Midwinter, open access, pagan, stone circle, Stonehenge, Winter Solstice
Categories : Stonehenge Winter Solstice 2015
Stonehenge News on Twitter
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Winter Solstice: A Small Group Gathered at Stonehenge for a Soggy Solstice.
The Sun Stones: The Story of the Winter Solstice at Stonehenge
The Rebirth of the Sun: the Winter Solstice at Stonehenge
ONLINE LECTURE: Stonehenge: new light on its origins. 9th December 2020
Stonehenge versus Avebury
Stonehenge News
We aim to make this the ultimate source of the latest Stonehenge news available on the web. This blog is updated almost daily and promises to deliver accurate 'up to date' information on new theories, new digs, solstice events, Druid gatherings, the new visitor centre, general megalithic links and some fun along the way. We welcome your input.... "There is so much misinformation about Stonehenge on the web, so it's really refreshing to see such a clear and lucid presentation, what you have here looks like best general overview of Stonehenge to date, well done!"
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Mystery surrounds this 5,000 year old monument in the centre of the World Heritage Site. Visit this prehistoric South West site near Salisbury in Wiltshire, and decide for yourself whether Stonehenge was a place of sun worship, a healing sanctuary, a sacred burial site, or something different altogether!
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Home > Drama, Theatre and Dance home > Research > Profile > Publications
Show 2 research groupings
Centre for Asian Theatre and Dance
Centre for Contemporary British Theatre
Applied and Participatory Theatre
Theatricality and Public Space
Centre for International Theatre and Performance Research
Contemporary British Theatre and Politics
Theatre Making Theatre History
Transnational Performance
Other contribution → Other contribution Chapter in Book/Report/Conference proceeding → Chapter → Entry for encyclopedia/dictionary → Conference contribution → Foreword/postscript → Other contribution → Chapter (peer-reviewed) Contribution to non-peer-reviewed publication → Newspaper article → Internet publication Contribution to journal → Article → Comment/debate → Book/Film/Article review → Editorial → Special issue → Review article Contribution to conference → Paper → Poster → Abstract Thesis → Doctoral Thesis → Master's Thesis Book/Report → Book → Anthology → Scholarly edition → Commissioned report → Other report Working paper → Working paper Non-textual form → Data set/Database → Digital or Visual Products → Web publication/site → Exhibition → Performance
1201 - 1300 out of 1,435Page size: 100
Chapter › Research
Sovereign Ontologies in Australia and Aotearoa–New Zealand: Indigenous responses to Asylum Seekers, Refugees and Overstayers
Cox, E., Aug 2013, Knowing Differently: The Challenge of the Indigenous. Devy, G. N., Davis, G. V. & Chakravarty, K. K. (eds.). Routledge, p. 139-157
Suriashi - a meditation on the local through artistic research
Skanberg Dahlstedt, A., 7 Mar 2018, Artistic Research: Being There - explorations into the Local. Greenfield, L., Trustam, M. & Abrantes, E. (eds.). Copenhagen: NSU Press, p. 29-41 12 p.
Tahrir Square EC4M: the Occupy movement and the dramaturgy of public order
Nield, S., 2015, The Grammar of Politics and Performance. Rai, S. M. & Reinelt, J. (eds.). London and New York: Routledge, p. 121-133 13 p. (Interventions).
Taking farce seriously: recent critical approaches to Plautus
Wiles, D., 1987, Farce: Themes in Drama Vol.10. Redmond, J. (ed.). Cambridge: Cambridge University Press, p. 261-271
'Talking Country': Place and Displacement in Jack Davis's Theatre
Gilbert, H., 1994, Jack Davis: A Critical Study. Turcotte, G. (ed.). Sydney: Collins-Angus & Robertson, p. 60-71
Talking in Class: Spoken Language and Effective Learning
Nicholson, H., 1999, Use of Language in the Secondary Curriculum . London: Routledge, p. 26-34
Taming, Shaming and Displaying; Katharine Hepburn's trousers, Australia 1955
Schafer, E., 17 Oct 2018, Robert Helpmann; The Many Faces of a Theatrical Dynamo . Cave, R. & Meadmore, A. (eds.). Dance Books, 17 p.
Technicolour Twelfth Night
Schafer, E., 2013, Shakespeare Beyond English: a Global Experiment. & Bennett, S. Carson, C. (eds.). Cambridge: Cambridge University Press
Technologies of Performance
Nield, S., 8 Aug 2019, A Cultural History of Theatre in the Age of Empire . Marx, P. W. (ed.). 1 ed. Methuen Drama, Vol. 5. p. 203-226 24 p. (The Cultural Histories Series).
Textual Notes
Dymkowski, C., 1987, The Plays of Susan Glaspell. Bigsby, C. (ed.). Cambridge: Cambridge University Press
The Alchemist on the Stage: Performance, Collaboration, and Deviation
Schafer, E. & Cox, E., 2013, Ben Jonson: A Critical Reader. Ostovich, H. & Julian, E. (eds.). Methuen Drama, p. 43-74
The Arts Britain Utterly Ignored: or; Arts Council revenue funding and state intervention in British East Asian theatre in the late 1990s and early 2000s.
Thorpe, A., 31 Aug 2018, Contesting British Chinese Culture. Thorpe, A. & Yeh, D. (eds.). Palgrave Macmillan Ltd., p. 195-222 27 p.
The Beginning of Spoken Theatre: Colonialism and Colonial Modernity
Cohen, M. I., Singh, A., Isaka, M. & Liu, S., 2016, Routledge Handbook of Asian Theatre. Liu, S. (ed.). 1st ed. Routledge, p. 393-412 20 p.
The Care Home as a Creative Space
Nicholson, H. & Lloyd, J., 2017, Applied Theatre: Creative Ageing. McCormick, S. (ed.). London: Bloomsbury, p. 125-146 21 p.
The carnivalesque in A Midsummer Night's Dream
Wiles, D., 1998, Shakespeare and Carnival: after Bakhtin. Knowles, R. (ed.). Basingstoke: Palgrave Macmillan, p. 61-82
The Choreography of Performance
Nicholson, H. & Taylor, R., 1998, On the Subject of Drama. Hornbrook, D. (ed.). London: Routledge, p. 112-128
The Dystopian City: Gendered Interpretations of the Urban in Um Céu de Estrelas (Tata Amaral, 1996) and Vagón Fumador (Verónica Chen, 2001)
Gleghorn, C., 2011, New Trends in Argentine and Brazilian Cinema. Rêgo, C. & Rocha, C. (eds.). Bristol, UK; Chicago; USA: Intellect Books, p. 225-242 18 p.
'The Girl Defies': A Kenyan Merry Wives of Windsor
Cox, E., 2013, Shakespeare Beyond English: A Global Experiment. Carson, C. & Bennett, S. (eds.). Cambridge University Press, p. 53-62
The Greek tragic chorus and its training for war: movement, music, and harmony in theatrical and military performance
Shuler, W., 30 Oct 2016, (In preparation) War and Theatrical Innovation: "Palgrave Studies in Theatre and Performance". Emeljanow, V. & Wilmeth, D. (eds.). Palgrave
The Heat Signatures of Refugee Transit: Incoming by Richard Mosse
Cox, E., Sep 2021, Performance and Migration. Abingdon and New York: Routledge, p. 87-104 18 p.
The Hidden Dialogue between Sarah Kane and Edward Bond
Chen, C-C., 2019, (Accepted/In press) After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. Boles, W. (ed.). Palgrave
The Imperial London Stage: A Tale of Two Australians: Haddon Chambers and Gilbert Murray
Schafer, E., 2003, Playing Australia: Australian theatre and the International Stage. Schafer, E. & Bradley Smith, S. (eds.). p. 108-125
The International Noh Institute of Milan: Transmission of Ethics and Ethics of Transmission in a Transcultural Contex
Pellecchia, D., Dec 2011, Japanese Theatre Transcultural: German and Italian Intertwinings. Scholz-Cionca, S. & Regelsberger, A. (eds.). iudicium, p. 32-50
The Internet: History 2.0?
Bratton, J. & Peterson, G., 2012, The Cambridge Companion to Theatre History. Dymkowski, C. & Wiles, D. (eds.). Cambridge University Press, p. 299-313 14 p.
The little by little suddenly
Williams, D., 2007, Slow. Abbot, I. (ed.). Devon: Elusive Camel Books, p. 81-100 20 p.
The Management of Laughter: Jane Scott's Camilla the Amazon in 1998
Bratton, J. & Bush-Bailey, G., 2000, Women in British Romantic Theatre. Burroughs, C. (ed.). Cambridge University Press, p. 178-204
The Mystery of Revival: Performance and Reception of Susanna Centlivre on the modern stage
Bush-Bailey, G., 2009, The Public's Open to Us All: Essays on Women and Performance in Eighteenth-Century England. Engel, L. (ed.). Cambridge Scholars
The mythical Medea and her historical counterparts
Wiles, D., 2003, European Cultural Centre of Delphi IX International Meeting on History and Myths (1995). Delphi: ECCD, p. 81-86
Cohen, M., 2003, Malaysia: Riches from the Golden Land. Biswas, R. K. (ed.). Vienna: Springer, p. 120-127
The poetics of the mask in Old Comedy
Wiles, D., 2008, Performance, Iconography, Reception. Revermann, M. & Wilson, P. (eds.). Oxford: Oxford University Press, p. 374-392
The Politics of Innocence in Contemporary Theatre about Refugees
Cox, E., 2016, Twenty-First Century Drama: What Happens Now. Adiseshiah, S. & LePage, L. (eds.). Palgrave Macmillan, p. 213-235 23 p.
The Promise of Experience: Immersive Theatre in the Experience Economy
Alston, A., 2014, (In preparation) Framing Immersive Theatre and Performance. Frieze, J. (ed.). Palgrave Macmillan
The Proteus Cabinet, or, 'Here but Not Here'
Nield, S., 2008, Research in Drama Education: Performance and Asylum. Gilbert, H. & Nield, S. (eds.). Routledge
'The ruins of time (I've forgotten this before)'
Williams, D., 5 Nov 2015, Rethinking the Theatre of the Absurd: Ecology, Environment, and the Greening of the Modern Stage. Finburgh, C. & Lavery, C. (eds.). London: Bloomsbury Methuen Drama, p. 241-8 8 p.
'The State We're In': Tribunal Theatre and British Politics in the 1990s
Megson, C., 2008, Theatres of Thought: Theatre, Performance and Philosophy. Watt, D. & Meyer-Dinkgräfe, D. (eds.). Newcastle: Cambridge Scholars, p. 110-126
The tears of things (for Pina)
Williams, D., Mar 2011, The Live Art Almanac Vol. 2. Keidan, L., Mitchell, CJ. & Mitchelson, A. (eds.). Live Art Development Agency, p. 125-8 4 p.
The Use of Masks in Modern Performances of Greek Drama
Wiles, D., 2003, Dionysus since 69. Hall, E., Macintosh, F. & Wrigley, A. (eds.). Oxford: Oxford University Press, p. 245-263
Theatre History and Historiography
Davis, J., Normington, K., Bush-Bailey, G. & Bratton, J., 2011, Research Methods in Theatre and Performance. Kershaw, B. & Nicholson, H. (eds.). Edinburgh: Edinburgh University Press
Theatre in Indonesia under occupation
Cohen, M. I., 2016, A History of Japanese Theatre. Salz, J. (ed.). Cambridge: Cambridge University Press, p. 260 1 p.
Theatre in Roman and Christian Europe
Wiles, D., 1995, The Oxford Illustrated History of Theatre. Brown, J. R. (ed.). Oxford: Oxford University Press, p. 49-92
'There are children here somewhere, I can smell them'. Robert Helpmann and the making of an on-screen villain: the Child Catcher in Chitty Chitty Bang Bang (1968).
Worth, L., 1 Dec 2018, Robert Helpmann : The Many Faces of a Theatrical Dynamo. Cave, R. & Meadmore, A. (eds.). Binstead, Hants: Dance Books, p. 169-183 15 p.
There is another world: space, theatre and global anti-capitalism
Nield, S., 2006, Contemporary Theatre Review: Theatre and Globalisation. Harvie, J. & Rebellato, D. (eds.). Routledge, p. 51-61
This Island's Mine: Theatre, Nationhood and Identity.
Nicholson, H., 2008, International Interventions in Theatre Education. Guven, I. (ed.). Ankara: Ankara University Press, p. 56-67
Thisworldly Wonderment: Contemporary British Theatre and Postsecularism
Megson, C., 15 Sep 2017, (E-pub ahead of print) Performing the Secular: Religion, Representation, and Politics. Gluhovic, M. & Menon, J. (eds.). London: Palgrave Macmillan, p. 71-91 21 p.
Time Moves: Temporal experiences in current London-based training for traditional clog and rapper sword dances
Worth, L., 12 Feb 2019, Time and Performer Training. Evans, M., Thomaidis, K. & Worth, L. (eds.). 1st ed. Abingdon, Oxon: Routledge, p. 208-223 16 p.
To Come Between: Refugees at Sea, from Representation to Direct Action
Cox, E., 2022, (Accepted/In press) Handbook on Theatre and Migration. Wilmer, S. & Meerzon, Y. (eds.). Palgrave Macmillan
Towards a Philosophy of the Moving Body
McCaw, R., 1 Sep 2018, Bakhtin's Heritage in Literature, Arts, and Psychology: Arts and Answerability. Gratchev, S. & Mancing, H. (eds.). Lanham, Maryland: Rowman & Littlefield, p. 237 - 254 18 p.
Towards a theatrical history of the picket line
Nield, S., 2020, (Accepted/In press) Oxford Handbook of Performance and Politics. Jestrovic, S., Saward, M., Rai, S. & Gluhovic, M. (eds.). Oxford University Press
Towards an art of memory: Peter Brook, a foreigner in Paris
Williams, D., 2002, The Paris Theatre Jigsaw: Internationalism and the City's Stages. Bradby, D. & Delgado, M. (eds.). Manchester: Manchester University Press, p. 37-52 16 p.
Traditional and Post-traditional Wayang Kulit in Java Today
Cohen, M. I., 15 Jul 2014, The Routledge Companion to Puppetry and Material Performance. Posner, D., Orenstein, C. & Bell, J. (eds.). 1st ed. Routledge, p. 178-191 13 p.
Traditional Theatre: The Case of Japanese Noh
Pellecchia, D., 2012, The Cambridge Companion to Theatre History. Wiles, D. & Dymkovski, C. (eds.). Cambridge University Press
Troublesome histories: performance and early modern drama
Schafer, E., 2012, The Cambridge Companion to Shakespeare and Contemporary Dramatists. Hoenslaars, T. (ed.). Cambridge University Press, p. 244-268 25 p.
Two: Duologues and the Differend
Rebellato, D., 2014, Ethical Speculations in Contemporary British Theatre. Aragay, M. & Monforte, E. (eds.). Basingstoke: Palgrave Macmillan, p. 79-95 17 p.
Unrecognisable Lives: Narrating the Right to Be
Tsanikidou, A., 15 May 2016, Separated children: Minori, identità e pratiche dell'appartenenza. Angelini, A. (ed.). Ariccia: aracne, p. 71-84 13 p. DOI: 10.4399/97888548915176
Unsilencing Elizabeth Cary: Worldmaking in The Tragedy of Mariam, Fair Queen of Jewry
Schafer, E., Jan 2017, Worldmaking : Literature, language, culture. Clark, T., Finlay, E. & Kelly, P. (eds.). Amsterdam: John Benjamins, p. 41-54 14 p. (FILLM Studies in Literatures and Languages).
Vancouver Opera's Coast Salish-inspired Magic Flute: a Conversation with Robert McQueen, with responses by Lorna Williams, Cathi Charles Wherry, Tracey Herbert, and Marion Newman
Robinson, D., McQueen, R., Williams, L., Newman, M., Charles Wherry, C. & Herbert, T., 2011, Opera Indigene: Re/presenting First Nations and Indigenous Culture. Karantonis, P. & Robinson, D. (eds.). Ashgate, p. 309-24 (Interdisciplinary Studies in Opera; no. 1).
Voices on Stage
Nicholson, H., 1996, Voices Off: Texts, ontexts, Readers. Styles, M., Bearne, E. & Watson, V. (eds.). London: Cassell, p. 248-284
Wayang Kulit and Islam: Perspectives from Cirebon
Cohen, M., 2006, Dimensions of Shadow Play in Malay Civilisation. Noor, F. N. M. (ed.). Kuala Lumpur: Centre for Civilisational Dialogue, University of Malaya, p. 39-61
Wayang kulit as a contact zone: tradition in global flux
Cohen, M., 2005, Ethnicity and Identity: Global Performance. Chaturvedi, R. & Singleton, B. (eds.). Jaipur, India: Rawat, p. 423-441
Wayang kulit as contact zone
Cohen, M., 2004, Performing Objects: Museums, Material Culture and Performance in Southeast Asia. Kerlogue, F. (ed.). London: The Horniman Museum and Gardens, p. 135-152
'Wesker's Flawed Diamond: "Their Very Own and Golden City"'
Megson, C., 2021, Arnold Wesker: Fragments and Visions. Etienne, A. & Saunders, G. (eds.). Bristol: Intellect Publishers, p. 89-107
Whig Heroics: Shakespeare, Cibber, and the Troublesome King John
McGirr, E. M., Mar 2010, Shakespeare in Stages: New Theatre Histories. Dymkowski, C. & Carson, C. (eds.). Cambridge: Cambridge University Press, p. 22-36
Will we ever have a black Desdemona? Casting Josette Simon at the Royal Shakespeare Company
Goddard, L., 22 Jul 2016, Shakespeare, Race and Performance: The Diverse Bard. Jarrett-Macauley, D. (ed.). 1 ed. London: Routledge, 16 p.
Włodzimierz Staniewski: Gardzienice and the Naturalised Actor
Hodge, A., 2000, Twentieth Century Actor Training. London and New York: Routledge
Writing (after) the event: notes on appearance, passage, and hope
Williams, D., 2006, A Performance Cosmology: Testimony from the Future, Evidence from the Past. Christie, J., Gough, R. & Watt, D. (eds.). London and New York: Routledge, p. 103-107 5 p.
Writing Plays: Taking Note of Genre
Nicholson, H., 1998, On the Subject of Drama. Hornbrook, D. (ed.). London: Routledge, p. 73-91
You Can't Out-Do Black People: Soul Train, Queer Witnessing, and Pleasurable Competition
Blanco, M., 2018, The Oxford Handbook of Dance and Competition. Dodds, S. (ed.). Oxford University Press
解构主义哲学观下的中国传统戏曲程式的跨文化交流
Li, X., 1 Oct 2018, 京剧传播研究. Yu, J. (ed.). Beijing: 文化艺术
Entry for encyclopedia/dictionary › Research
McGirr, E., 2014, The Encyclopedia of British Literature, 1660-1789. Brooks, H. (ed.). Wiley-Blackwell
Megson, C., 2003, Continuum Encyclopaedia of British Literature. Serafin, S. & Grosvenor Myer, V. (eds.). New York and London: Continuum Group, p. 446-447
Megson, C., 2006, Encyclopedia of British Literature. Kastan, D. S. (ed.). Oxford: Oxford University Press, Vol. 2. p. 510-514
Ecrivaines polynésiennes et Littérama'ohi
Castro, E., 2013, (Accepted/In press) Dictionnaire des créatrices. Edition des femmes
Femmes auteures aborigènes
Flora Devatine
Heroic Drama
McGirr, E., 2014, Encyclopedia of British Literature, 1660-1789. Wiley-Blackwell
Jackie Huggins
Manjusri Chaki Sircar and Ranjabati Sircar
Purkayastha, P., 9 May 2016, Routledge Encyclopedia of Modernism. Ross, S. (ed.). Routledge
Marie-Claude Teissier-Landgraf
Not Mere Beauties: Women on the Restoration Stage
McGirr, E., 2016, Eighteenth Century Drama: Censorship, Society and the Stage. Adam Matthew
Romaine Moreton
Sexuality: The Mulatta Figure in the Cuban Imaginary
Blanco Borelli, M., 2012, Cuba: History, Culture, Society. West-Duran, A. (ed.). First ed. Charles Scribner's Sons
Social Movement and Modern Dance [Bengal]
Purkayastha, P., 2010, The Sage Encyclopedia for Social Movement Media. Downing, J. D. H. (ed.). Thousand Oaks, California: Sage publications
Stéphanie-Ariirau Richard
Terri Janke
The Indian People's Theatre Association
Purkayastha, P., 2010, Sage Encyclopedia for Social Movement Media. Downing, J. D. H. (ed.). Thousand Oaks, California: Sage publications
Yvette Holt
"Archive and Asylum – experiential memories of Kneehigh Theatre's performance venue and theatre archive" at Shared Memories II Eastap Conference at the University of Lison, Portugal
Trenchfield, C., 24 Sep 2019, (Submitted) Shared Memories II Eastap Conference at the University of Lison, Portugal.
"Kneehigh Theatre Company and Cultural Hybridisation"at Hybrid Practices: Methodologies, Histories, and Performance hosted by the School of Performing Arts at the University of Malta
Trenchfield, C., 14 Mar 2019, (Submitted) Hybrid Practices: Methodologies, Histories, and Performance hosted by the School of Performing Arts at the University of Malta.
A Buddhist monks' performance and a play, in the context of the Buddhist ritual event of giving
Utairat, M., 2015, International Federation for Theatre Research (IFTR) 2015, Hyderabad, India .
Aesthetics of Conventionalisation and the Contributions to Xiqu's Intercultural Communication
Li, X., 2018, (Unpublished) Intercultural Communications, Translation, and Methods of Teaching Foreign Languages.
After Beckett: Edward Bond's Post-Auschwitz Dramaturgy of Ruins
Chen, C-C., 5 Sep 2016, TaPRA.
Buddhist Monks' Performance and a Play in the Context of the Buddhist Ritual Event of Giving
Utairat, M., 2014, Theatre and Stratification, IFTR World Congress, Warwick, UK.
Casting the Outcast: Perspectives on Acting Style
Conroy, C., 2003, Conference Proceedings: Finding The Spotlight.
Directionality of Cultural Flows in Intercultural Performance: Power Politics and Intercultural Identities
Li, X., 5 Dec 2019, (Unpublished) 2019 Performance as Method from Global Perspectives: Historical Memory, Technologies of the Self, and Cultural Production.
Intercultural Communication of Chinese Traditional Opera Programs under the View of Deconstructionism
Li, X., 13 Aug 2018, (Unpublished) Second World Conference of Chinese Studies & 17th Intl. Conference on the Digitalization of Premodern Chinese Novel & Drama.
Reassuring Literary Legitimacy of Traditional Chinese Theatre Texts Through Translation Database Research
Li, X., 21 Jul 2019, (Unpublished) Fourth International Symposium: Dialogue between Chinese Language Teaching and Culture and the Arts.
Rhythmic Routes: Developing a nomadic physical practice for the daily commute
Overend, D. & Bissell, L., 2014, Scottish Journal of Performance.
Shifting the mainstream: Conference Keynote Speech
Conroy, C., 2003, Shifting Aesthetic: Disability and Performance: Conference Proceedings. London Arts Board
The 'reinvention' of the Mahachat Sung Sermon as a theatre play for new generations of Thai Buddhist audience in the context of urban migration
Utairat, M., 2018, Theatre and Migration: Theatre, Nation and Identity between Migration and Stasis, IFTR World Congress 2018, Belgrade, Serbia .
The care home as a performative space: possibilities for creative practice
Hatton, N., 2014, (Unpublished) The care home as a performative space: possibilities for creative practice.
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Beijing | 24 hours of fashion
Imran Amed
BEIJING, China - My first glance at Beijing's brand new airport (BCIA) was also the first sign of China's stylish transformation since my previous visit here 7 years ago. I couldn't take my eyes off the ceiling, which seemed to go on forever, as I zoomed through immigration and retrieved my bag. I was in and out in less than 30 minutes.
When I commented on the airport's breathtaking design and efficiency to locals, they proudly informed me that BCIA was completed in only 4 years and has run without a hitch from day one. This is particularly notable when compared to the disastrous opening of London Heathrow's Terminal 5, which opened around the same time as BCIA, but took 6 years to build and is still not running as expected. And, the success of BCIA also provides the perfect analogue for China's nascent fashion industry.
First, it must be noted that the Beijing airport was designed by the UK's Foster and Partners. So, whereas the Chinese are in the midst of a full-on architectural boom, their own design aesthetic is still in its infancy. For now, they must borrow design-savvy from the West, and combine it with local resourcefulness and entrepreneurship.
The fashion business here works very much the same way. Well-run Chinese factories churn out beautifully made, high-quality garments that are designed and sold in the West by fashion brands that we all know. Local Chinese retailers hire European and American designers who act as consultants and bring an advanced design sensibility to their collections. And, department stores like Lane Crawford employ fashion-savvy Westerners who up the style and sophistication quotient, while also educating local staffers on how to achieve international standards in luxury customer service and experience.
Beijing's new Lane Crawford emporium, for example, is amongst the most sophisticated, well-curated specialty stores I have seen anywhere in the world. Six hundred brands are creatively mixed together in a welcoming and innovative environment designed by Canadian design agency Yabu Pushelberg. American department stores in particular could take a page out of the Lane Crawford book to bring their stores up to this world leading standard.
And, while there are certainly logo-happy Chinese looking for Gucci and Louis Vuitton, there are also sophisticated locals who are willing to spend serious money on world-class design. To wit, at the Walpole Luxury Seminar held in London in May, Bonnie Brooks, President of the Lane Crawford Group, noted that the very first item to sell after the Beijing store opened was a $45,000 Alexander McQueen dress. The second item to sell was the only other $45,000 McQueen dress that the store had ordered.
The other highlight of my first 24 hours in China was a visit to Beijing's Danshanzi 798 Art District, currently home to noteworthy exhibitions by Maison Martin Margiela and Nike, two brands which have smartly planted their flags in this fertile ground for local contemporary art and design. The budding creativity in Dashanzi shows the promise for fashion design from China in the years to come. I don't think the Chinese will be importing designers forever.
Lane Crawford (courtesy of Lane Crawford)
Lane_crawford_2
798 Art District - Martin Margiela
798_art_district_martin_margiela_2
798 Art District - Nike
798_art_district_nike_2
Bonnie Brooks
Lane Crawford
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An open source nodejs server implementation for slither.io

Currently, the server is in a very early stage. Just a few packets are implemented. A real gameplay is actually not done.

!WARNING! The Server is not fully working so far

[How To Use Guide](https://github.com/circa94/JSlither/blob/master/HowToUse.md)

If you like our work you can visit our Website www.TheHardCoders.de

####Team

Circa94 (Project Lead/Dev)

Kogs (Project Lead/Dev)

Thanks to all guys helping to create some funny stuff!

redpajama_set_name: RedPajamaGithub


Legendary keyboardist Rick Wakeman recently recorded a live version of his successful 2017 'Piano Portraits' release in front of an audience at Lincoln Cathedral. Longtime Wakeman studio engineer / producer Erik Jordan employed an Allen & Heath dLive system for the project, comprising an S7000 surface with M-Dante card, DM64 MixRack and DX32 Expander, supplied by Tech-Serve Audio Consultants.
Jordan was also impressed at how the interface options made it simple to set up multi-track recording to various devices and capture high-quality audio.


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About Weekly Program Articles Video Audio Contact Donate
Day 1 with host Peter Wallace is the voice of the historic Protestant denominations. Through sermons, blogs, and video & audio resources, Day 1 proclaims a positive, passionate faith for the real world. Formerly "The Protestant Hour."
The Most Rev. Katharine Jefferts Schori: 50 Years Later: The State of Racism in America
The Rt. Rev. Katharine Jefferts Schori
Organization: The Episcopal Church
Denomination: The Episcopal Church
"Let us dream of a world where every family, language, people, and nation is gathered in the commonwealth of God," Presiding Bishop Katharine Jefferts Schori said at the groundbreaking public forum Fifty Years Later: The State of Racism in America. "Learn vigilance, teach and work for justice, that we might become the beloved community of God's rainbow people - every family, language, people, and nation gathered before the Lamb, himself one of the lowly and rejected. Dream that world into being here on earth, and drive out hell to bring it to birth!"
Fifty Years Later: The State of Racism in America, presented on November 15, explored racism in today's society and was sponsored by The Episcopal Church and the Diocese of Mississippi.
The on-demand video of the 90-minute Fifty Years Later: The State of Racism in America includes the Presiding Bishop's keynote address as well as two panels, moderated by well-known journalist Ray Suarez. The first, Racism in America today - why does it persist? featured the Rt. Rev. Michael Curry, bishop of the Episcopal Diocese of North Carolina; Mrs. Myrlie Evers-Williams, civil rights activist and journalist and widow of slain civil rights leader Medgar Evers; the Honorable William F. Winter, former governor of Mississippi and founder of the William Winter Institute for Racial Reconciliation. The second panel spoke to Racism in America's future - where is there hope for change? and included the Honorable Byron Rushing, Massachusetts State Representative, civil rights leader and vice president of the Episcopal Church House of Deputies; Dr. Randy Testa, author, vice president of education at Walden Media LLC; Dr. Erma J. Vizenor, chairwoman of White Earth Band of Ojibwe, educator and community organizer; and Tim Wise, educator and author of White Like Me,Colorblind and Affirmative Action.
This year marks significant landmark anniversaries in the struggle to end discrimination, provide equal rights and combat racism: the 150th anniversary of the Emancipation Proclamation, the 50th anniversary of the pivotal March on Washington, the 50th anniversary of the assassination of Medgar Evers, the 100th birthday of Rosa Parks. In 1964 the Civil Rights Act was signed into law.
Presiding Bishop's keynote address
The Presiding Bishop's keynote address follows:
Fifty Years Later: The State of Racism in America
St. Andrew's Cathedral, Jackson, MS
The Most Rev. Katharine Jefferts Schori
Presiding Bishop and Primate
... there was a great multitude that no one could count, from every nation, from all tribes and peoples and languages, standing before the throne and before the Lamb, robed in white, with palm branches in their hands. ...
Who are these?...
'These are they who have come out of the great ordeal; ... they are before the throne of God, [who] will shelter them. They will hunger no more, and thirst no more; the sun will not strike them, nor any scorching heat; for the Lamb ... will be their shepherd, and ... guide them to springs of the water of life, and God will wipe away every tear from their eyes.'[[1]](http://www.episcopalchurch.org/#ftn1)_
That vision shows humanity restored, living in peace in the near presence of God, their diversity a cause for celebration rather than division. Racism exploits and demeans the diverse nature of human creation, diminishing the spirit within each person, and despoiling the possibility of abundant life.
It is sinful, indeed evil, to identify some as lesser or worthy of exclusion because of their created nature. The concept of race is a human construct, often designed to quickly identify the "other," a way to recognize threat by association with skin color. Human beings have used countless ways to distinguish who is kin and who is not - accent, facial characteristics, hair color, bodily adornments, tattoos, and scarification. The distinctions may not even be evident to those outside the social system - most Americans cannot easily distinguish between Hutu and Tutsi, but the genocide in Rwanda made those distinctions in the blink of an eye.[2]
The history of human oppression of other human beings is a depressing litany of fear, domination, and power-seeking that has almost always been abetted by defining another group as less than fully human. Those boundaries and definitions are the foundation of racism, and they are legion:
the yellow stars and pink triangles of the Nazi regime
the prohibition of women's headscarves in France
incarceration of American citizens of Japanese descent during WWII
the Chinese exclusion act of 1882
the racial categories of South Africa's apartheid regime
removing citizenship from people of Haitian descent in the Dominican Republic
taking indigenous children from their families to teach them "whiteness"
struggles over immigration everywhere
slavery and its continuing consequences.
Racism depends on defined difference and division. Racial distinctions are taught, often based on largely unconscious cultural assumptions. Unlearning them is not easy, but it is essential to that vision of human flourishing and celebration that we know as the Reign of God.
Redeeming these divisions takes hard work, and it begins with the conscious will to love and include as fully and equally human everyone identified as other. In the larger society that becomes the work of justice - formal, legal assurance that every human being has the same access to dignity, rights, and all available social possibilities. The founders of this nation called that "life, liberty, and the pursuit of happiness," and asserted its necessity for all men - meaning adult, white, male, landowning human beings. Our history has seen a lurching expansion of that definition from one category of human being to ever larger ones, as boundaries and divisions are removed.
Robert Frost famously said, "Something there is that doesn't love a wall."[3] The human heart is larger than the fences we build between us. The Christian story is about the leveling of all such walls and borders, that we might all be one.[4] We dream of a society filled with all sorts and conditions of people, as an image of heaven on earth, creation restored to true and just peace.
We are still a long way from seeing that dream realized, but many continue to tread the stony road - moving together toward a dawning reality.[5] The wall of division is being deconstructed stone by stone, in spite of rearguard attempts to reinstitute barriers to voting and equal representation in government, in spite of racially targeted denial of benefits to the poor, in spite of attempts to remove affirmative action as a way of leveling the road. There is good news in the increased crossing of old boundaries, and hope in the shrinking ability of younger generations to recognize those boundaries.
Yet continuing vigilance is required, beginning with our own interior lives. What happens when we first meet a stranger? What assumptions have we already made as we see that person? How do we then decide to interact?
Vigilance is about keeping watch, and it is an essential spiritual discipline, linked to examination of conscience and to repentance. That kind of conscious awareness is equally necessary in all human relationships - in families, local communities, and the larger world. Are our actions loving and just? Is the social practice and legal structure of our city, state, and nation leading to greater justice or to increased oppression of some group of others? If the path is increasingly stony, our response is demanded. Will you respect the dignity of every human being, loving your neighbor as yourself, and urge others to do the same?
My start on this path began in early 1966 as I entered a new school in the middle of 8th grade. At age 11, it was my first experience in a racially mixed environment, and I was wholly naïve about the anger I was beginning to notice. My English teacher challenged me to write a paper on something I had never heard of - the Ku Klux Klan. It horrified me, and it started me on the journey down this road of justice.
Will you be vigilant, and watch for the morning?[6] Will you seek after justice, encouraging others to join you on this road? Jesus called us friends, and challenged us to see all humanity as friend, rather than enemy. The decision to love our enemies begins with the decision to treat the other and the stranger with justice and dignity, as bearers of the image of God.
Let us dream of a world where every family, language, people, and nation is gathered in the commonwealth of God. Learn vigilance, teach and work for justice, that we might become the beloved community of God's rainbow people - every family, language, people, and nation gathered before the Lamb, himself one of the lowly and rejected. Dream that world into being here on earth, and drive out hell to bring it to birth!
[1] Revelation 7:9,13-17
[2] http://www.pbs.org/hopes/rwanda/essays.html
[3] Mending Wall, Robert Frost, 1914.
[4] John 17:21
[5] Lift Every Voice and Sing, James Weldon Johnson, 1900.
[6] Psalm 130:6
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Dental Office in La Puente for Lease!
This Dental Office is the corner lot in a strip mall facing main streets on Sunkist Drive and Puente Avenue, exceptional street visibility and signage.
Consists of 4 plumbed operatories, approximately 1,400 sq.ft. Affordable Rent.
Great opportunity for someone who is looking to relocate or build up their own practice.


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R. Kelly allegedly said he was a "genius" who should be allowed to date young girls
A third accuser testified at the singer's trial.
A third accuser took the stand to testify about the abuse she endured during her sexual encounters with R. Kelly.
On Thursday afternoon (Aug. 26), a woman named Stephanie testified that she was 17 when she went out to dinner with the 12 Play singer and two unnamed rappers. She said that Kelly defended his choice to be with young girls. "Even look at Jerry Lee Lewis," Kelly allegedly said, according to Stephanie. "He's a genius and I'm a genius. We should be allowed to do what we want — look at what we give to the world."
Elsewhere in her testimony, Stephanie, who is now 39 years old, said Kelly first preyed on her at the beginning of the summer in 1999. When she was 17, she approached the singer and asked if she could audition for him. "He said, yeah, that he thought he could arrange that, but also he'd like to get to know me," she said. "And also that he likes to cuddle and would I be OK with that?"
Stephanie agreed and soon she and Kelly began having sex. "That was definitely the hardest time of my life," she testified. "I had very low self-esteem. I'd already been through sexual trauma within my family, by my first boss, by men on the street. I was very vulnerable."
The woman said that Kelly was very controlling, especially during sex. "It was humiliating," Stephanie said. "He would be very specific about how he would want me to be. He would put me in positions he wanted me to be in." She said that Kelly would tell her to get completely naked, get in a position and stay there. Sometimes he would leave the room — for hours — and would get angry if he returned and Stephanie was in a different position.
Kelly is currently charged with eight violations of the Mann Act — a federal anti-sex trafficking law — and racketeering.
R. Kelly victim claims he controlled girlfriends during Gayle King interview
R. Kelly witness says she was forced to smear feces on her face and urinate in a cup


Stain drugs are some of the most popular (and profitable) drugs of the modern world. They net $19 billion annually in the United States alone. The misguided notion that blood cholesterol levels are the end-all be-all predictor of heart disease has been pushed on the American people for decades. I will not address this issue in this post (although there are many great resources on this topic). Instead, I would like to cover a "not-so-rare" side effect statin drug users encounter that is commonly seen in a chiropractor's practice: muscle pain.
So, while the pharmaceutical companies claim that these side effects are "rare" in clinical trials, nearly 1 out of 6 people are experiencing statin-induced muscle pain in the real world. 1 out of 6 is not rare, if you ask me. Furthermore, the risk increases with elderly patients as well as those who are using more than one cholesterol lowering medication, which is quite common these days.
When I have a patient that I suspect is experiencing these symptoms, I tell them to ask their doctor about it. Every time they do, they are met with a dismissive response. Why? Like I have said before, medical doctors are told by their pharmaceutical reps that these risks are "rare." Of course, like I mentioned before, rare can be pretty common. And rare certainly doesn't mean impossible.
If you or a loved one has noticed recent symptoms of increased muscle soreness after starting a new or different statin medication, please ask your doctor. If they will not at least listen to your concerns, find one who will. Any doctor that will just stick their head in the sand and completely ignore a patient's symptoms is not someone I would entrust with my health. If you are concerned about your blood lipids, there are many natural methods that can help get before putting all your hopes on a drug with known side effects.


Sample Lesson Plan With Differentiated Instruction - 16 development reporting and assessment player success may be measured by way of a aggregate of the subsequent: a. An evaluation of player's 15 development reviews. (Results 1, 2, 3, and four.) Every progress file may be evaluated for: completeness and quality of responses. Accuracy of statistics. Appropriateness of study room utility. Exceptional of mirrored image. B. An assessment of participant's professional paper. (Effects five, 6, and 7.) The professional paper will be evaluated for: inclusion of required additives. Synthesis and analysis of course standards. Presentation in an organized, expert way. Differentiated educational strategies page 16.
12 consultation #15: participant mirrored image and making plans for future use of route standards targets: to have individuals reflect on their route enjoy and on insights gained within the direction; to have participants discover those course ideas that most observe to their teaching situations; to have members increase a plan for the future use of the information and skills gained in this course. Assignments and sports: required studying in route textual content, review of movies and assignments, discussions with examine team, and the advent of a plan for the future use of the knowledge and capabilities advantage on this direction. Differentiated educational techniques web page 12.
14 c.) Route of look at. This e book carries supplemental articles, summaries of route content material, pre-video viewing activities, dialogue questions, group activities, person activities, worksheets, school room utility assignments, and gaining knowledge of reviews. D.) Bibliography. E) advocated reading. F) internet assets. Differentiated instructional techniques page 14.
Eleven session #eleven: differentiated instructional strategies: multiple intelligences, grouping (ms. Ties-math calculator game-decrease basic) targets: to have members recognize the role collaboration and peer tutoring can play in reviewing cloth and assessing comprehension; to have members create, implement, and examine a lesson or unit primarily based both on the strategies proven inside the video or techniques advised within the route textual content and readings. Video, route of look at supplementary reading and sports, and the introduction and assessment of a lesson or unit. Session #12: differentiated instructional techniques: jigsaw classes/mastering stations (ms. Valdez/mr. Shepler - sun machine/learning stations--lower standard) goals: to have participants develop an know-how of ways a topic count fabric may be divided among agencies in the class to sell teamwork and peer tutoring; to have members create, enforce, and evaluate a lesson or unit primarily based both on the techniques proven in the video or strategies advised within the course textual content and readings. Video, direction of examine supplementary analyzing and sports, and the introduction and evaluation of a lesson or unit. Session #thirteen: differentiated instructional strategies: open ended questioning (ms. Kerr-esl/analyzing-top essential) goals: to have participants broaden an information of the cost of the usage of open-ended wondering to assess ongoing analyzing comprehension in a class dialogue approximately a unique; to have members create, implement, and examine a lesson or unit based totally both at the techniques confirmed within the video or strategies cautioned in the route textual content and readings. Session #14: differentiated educational techniques: self-pick out study targets: to have contributors select a video from one of the preceding lesson to view once more and broaden some other lesson based on its content; or, to select a subject in their choosing for similarly research. Video, course of study supplementary analyzing and sports, and the creation and assessment of a lesson or unit. Differentiated instructional techniques page eleven.


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Big Cactus, Little Cactus
Solo Exhibition by Sara Berman
Galerie Huit is delighted to present the worldwide solo debut exhibition 'Big Cactus, Little Cactus' by British artist, Sara Berman.
Exhibition Period: 26 May – 22 July 2017
In-conversation: 25 May 2017, 5 – 6 pm
Preview: 25 May 2017, 6 – 9 pm
Since Berman (b. 1975) graduated last year with an MFA from the Slade School of Art, London, she has built a unique oeuvre comprising textile sculptures, paintings and works on paper. Her deep interest in the dialogue between design, commerce and identity has inspired such connections within her work and practice as she explores the tension between authenticity and construct.
'Big Cactus, Little Cactus' consists of new paintings, including three triptychs, a diptych, a pair of single paintings to be viewed together, and ink drawings depicting furniture design classics, objects, potted plants and patterned floors juxtaposed with glimpses of an individual person. The painterly assemblages evoke the surreal, an altered perspective of a domestic interior. Reality is both suspended and anchored as familiar desirables are abstracted in a game of narrative trickery.
The tradition of portraiture places the sitter central to the image, the subject its focal point. Trinkets and costumes symbolised wealth and stature and projected as much in the commissioned portraits from the 16th Century onwards – in Berman's paintings, the protagonist is viewed in part, a discrete revelation of limbs indicate the presence of the feminine – representations of historical design pieces take precedence and the figure is held in the same regard as these cultural icons.
Formerly, a fashion designer, Berman is familiar with the constitution of a 'look'. The photogenic Arne Jacobsen Egg chair, the Alvar Aalto vase, the Venini bottles, and the Richard Neutra dining chairs act as signifiers within her fictional constructs. They are considered pieces in a game – a system for building an allegorical image.
Structurally, accumulative layers of delicate colours bind the focal points within each composition. Motifs such as the hexagon, often painted in clusters and traversing each painting, connect the individual works. The cactus plant, another recurring motif is inserted in varied dimensions, creating a shift in scale within the same painting. In doing so, Berman deconstructs normal perspective and reassembles it, thus providing an alternative view.
In each of the triptych paintings, 'Neutra's Legs Eleven', 'Big Cactus, Little Cactus' and 'Spider Plants and Harlequin' the overall image is composed of three separate narratives, conjoined and treated like film stills that run in consecutive order. The edges of each panel introduce a new 'scene' to assert the construction of a fiction. The use of multiple panels in certain set dimensions afford a further element in the game of constructed narratives.
In '10 Green Bottles', the contours of the bottles that seem to float on the curved Saarinen table, reflect the curves on the seated female nude; the object and person are as one. Berman focuses solely on the interior in 'Potted Venini'. The aspiration that the image projects through the portrayal of the Venini bottles and the archetypal Eames armchair is cast in the Art Deco mirror. The mirror performs a binary function in reflecting both the interior of the image and our own internal world.
'Big Cactus, Little Cactus', the exhibition, offers paradoxes in how a projection, an aspiration or an image is formed. Berman inserts the popular cultural icons into her constructs to suggest our analogous relationship with the commercial image, and its persuasive content. However, her decisive mark making and application presents a new hierarchy where naked sections such as raw canvas reveal a disintegration of the construct. Her succinct deployment of proportion, repetition and abstract motifs perform a different visual articulation within this context, giving pause to our own image and how it is made manifest.
'Big Cactus, Little Cactus' opens on the 26th May 2017 and runs through to 22nd July 2017.
Carmen Ng at carmenng@galeriehuit.com.hk or 852 2803 2089.
About Sara Berman
Sara Berman lives and works in London.
Recent group exhibitions include Dark Wood, Transition Gallery, London curated by Henry and Hussey, Young Gods, Charlie Smith Gallery, London.


Is there an update to this thread somewhere?
Warmups App has been updated. Look for version 4.0 on the app store. Per the usual if you have any suggestions please send them to me.
V4 includes breakdown of each warmup including individual video of each. Warmups Schedule for Dec and all of 2018.
None of the videos work. Anywhere else to find them?
In a thread this old it is usually a good idea to start at the end and go backwards.
Will there be a March 2018 calendar posted onto the Instagram - 10pwarmups page?
I was curious about something. I've seen Eddie talk about new student learning the warm ups first, but if a student has no prior BJJ knowledge, and the warmups consist of a string of transitions, how do you teach that? Does the student learn the transitions in class, first, and then put it all together, or are they expected to learn the whole warmup first? Thanks.
They are not available any more!
A good piece of advice on forums is read from the last post backward.
Here is a link to the last set that was released. I suggest you download the 10th Planet Warmup App if you want the latest and greatest.


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text:
Thomas Gilmer may refer to:

 Thomas Walker Gilmer (1802–1844), American statesman
 Thomas Lewis Gilmer (1849–1931), American oral surgeon

redpajama_set_name: RedPajamaWikipedia


text:
Will Smith Apologizes To Chris Rock For The Slap And The Academy Weighs In Action
Kay Jimenez
LOS ANGELES (March 28) (Reuters) – Will Smith apologized to Chris Rock on Monday for slapping the comedian at the Academy Awards on Sunday night, issuing a statement after the Film Academy said it may take action against Smith in an incident that overshadowed major industry awards. .
Smith, in an Instagram post, said his behavior at the televised party was "unacceptable and unforgivable".
"I would like to publicly apologize to you, Chris," Smith wrote. "I was out of line and I was wrong."
Register now to get free unlimited access to Reuters.com
Smith walked onto stage and hit Rock in the face after the comedian made a joke about Smith's wife's appearance. Less than an hour later, Smith won Best Actor for his role as the father of tennis stars Venus and Serena Williams in "King Richard."
Rock, in a joke about Jada Pinkett Smith, had referenced the 1997 movie "GI Jane" in which actress Demi Moore shaved her head. It was not clear if Rock was aware that Smith's wife had a disease that causes hair loss.
"The jokes on me are part of the job," Smith said Monday, "but the jokes about Jada's medical condition were too much for me to handle, and her reaction was emotional."
"I am embarrassed and my actions are not indicative of the man I want to be," he added.
Earlier on Monday, the 9,900-member Academy of Motion Picture Arts and Sciences condemned Smith's actions and said it was reviewing the matter.
"We have officially begun a formal review of the incident and will explore further actions and consequences in accordance with our internal regulations, standards of conduct and California law," the academy added.
See also Mandy Moore and Chrissy Metz responded to This Is Us Emmys snub
The group's policy of conduct states that it "opposes any form of abuse, harassment or discrimination" and expects members to uphold the values of "respect for human dignity, inclusion, and a supportive environment that fosters creativity".
Violations may result in suspension or expulsion from the organization, cancellation of the Academy Awards, or disqualification for future awards, depending on the policy.
SAG-AFTRA, the union that represents the actors, called Smith's actions "unacceptable" and said it had been in contact with the academy and ABC "to ensure this behavior was appropriately addressed."
Will Smith (right) hits Chris Rock as Rock speaks on stage during the 94th Academy Awards in Hollywood, Los Angeles, California, US, March 27, 2022. REUTERS/Brian Snyder
It is rare, but not unprecedented, for the Film Academy to withdraw its membership. Producer Harvey Weinstein was fired in 2017 after more than thirty women accused him of sexual assault.
In his statement, Smith also apologized to the Academy and Show producers, attendees and viewers, the Williams family, and "My Family of King Richard."
Studio managers remained publicly silent about Smith on Monday. The 53-year-old actor has projects working with Netflix Inc (NFLX.O)The Walt Disney Company (DIS.N) and Apple TV + (AAPL.O). The companies did not respond to requests for comment. Read more
One of Hollywood's most bankable stars, Smith has given franchises to lucrative films such as "Independence Day" and "Men in Black". His films have grossed more than $9 billion at the global box office, according to researcher comScore.
Oscars producers were hoping for an unforgettable Sunday night to recover from record lows during the COVID-19 pandemic. They brought in three hosts, opened the show with Beyoncé and cut out some acceptance speeches.
See also The 'racist' AI rapper from Label Drops who made music with Fortnite Pro
But Smith's anger spread quickly, with photos and videos bouncing back across social media.
TV viewership has jumped sharply this year, to an average of 15.36 million people, up 56% from 2021, according to preliminary estimates.
Feel-good "CODA" won Best Picture, marking a turning point in Hollywood as the film was broadcast by Apple TV+ (AAPL.O) Instead of appearing exclusively in theaters.
Many Hollywood celebrities denounced Smith's actions. Read more
"Will Smith owes Chris Rock a huge apology. There is no excuse for what he did," film director Rob Reiner said on Twitter.
Others supported Smith to defend his wife.
"That's what your husband is supposed to do, isn't it?" comedian Tiffany Haddish told People magazine.
(Reporting by Lisa Richwin) Additional reporting by Daniel Trotta and Don Shmielfsky; Editing by Jonathan Otis, Margarita Choi and Sandra Mahler
Our criteria: Thomson Reuters Trust Principles.
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