Letty Stott at Britten Pears Arts Festival of New, Snape Maltings
- Credit: Britten Pears Arts
From ancient horns to ‘fractured punk’, Britten Pears Arts is offering audiences a lockdown mini-festival of music this weekend.
Festival of New is a whirlwind annual showcase of new projects in development, created on residencies at Snape Maltings by musicians representing a large breadth of musical genres.
Usually, it takes the form of a live weekend at Snape in September but, because of Covid, this year it will be broadcast online.
It takes place on Saturday, February 27 on YouTube Live and tickets are free.
TsukuBlog
Some Musings on the History of Japan`s National Foundation Day (Kenkoku Kinenbi, 建国記念日)
11 February, 2021
Before 1872 and the adoption of the Western Gregorian Calendar, the Japanese kept track of the passage of the years in one way – the NENGO system, in which a new ERA (年号) was proclaimed with the accession of each new emperor, with each successive year of rule during that reign numbered, advancing by one on each (Lunar) New Year`s Day (which usually fell in February). In fact, this system is STILL used in everyday Japanese life, with this year being the 3rd year REIWA (零和) – the name of the current NENGO – in addition to it being 2021.
A great debate about the classics took place in American higher education in the 19th century. The debate was about the dominant role of the classics (then), to the exclusion of most other fields. Eric Adler, associate professor of classics at the University of Maryland at College Park, analyzes that debate to look at the humanities today in
The Battle of the Classics: How a 19th-Century Debate Can Save the Humanities Today (Oxford University Press). He argues that learning the right lessons about the debate (and no, that s not just to read the Latin and Greek classics) can inform today s debates about the humanities and lead to a more global sense of the humanities.
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As a child, Suzanne Simard often roamed Canadaâs old-growth forests with her siblings, building forts from fallen branches, foraging mushrooms and huckleberries and occasionally eating handfuls of dirt (she liked the taste). Her grandfather and uncles, meanwhile, worked nearby as horse loggers, using low-impact methods to selectively harvest cedar, Douglas fir and white pine. They took so few trees that Simard never noticed much of a difference. The forest seemed ageless and infinite, pillared with conifers, jewelled with raindrops and brimming with ferns and fairy bells. She experienced it as ânature in the rawâ: a mythic realm, perfect as it was. When she began attending the University of British Columbia in Vancouver, she was elated to discover forestry: an entire field of science devoted to her beloved domain. It seemed like the natural choice.
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The pattern of modernist aesthetics on the dramatic stage which saw a vogue in 20
th century Europe did not simply emerge sans prototype or influence. We may trace the elements which make a dramatic piece categorically modernist to a certain archetype, and for our purpose of examination the most patent of which is
Manfred (1816-17) by Lord Byron (1788-1824), a work that is as much an insult to realism as it is a model of lyrical Romantic excellence.
Manfred introduced to the English canon a new set of anti-rules for the author of drama. To the modernists, art is not meant to produce