Dance Day🩰 International💃Apr 29

🩰 International Dance Day 🕺

International Dance Day is a global celebration of dance, created by the Dance Committee of the International Theatre Institute (ITI), the main partner for the performing arts of UNESCO. 

The event takes place every year on 29th April, the anniversary of the birth of Jean-Georges Noverre (1727–1810), the creator of modern ballet.

The day strives to encourage participation and education in dance through events and festivals held on the date all over the world. UNESCO formally recognize ITI to be the creators and organizers of the event.

Every year, since its creation in 1982, an outstanding dance personality is selected to write a message for International Dance Day. ITI also create a flagship event in a selected host city, at which there are dance performances, educational workshops, humanitarian projects and speeches made by ambassadors, dignitaries, dance personalities and the selected Message Author for that year.
The day is a celebration day for those who can see the value and importance of the art form dance, and acts as a wake-up-call for governments, politicians and institutions which have not yet recognised its value to the people.

To mark International Dance Day each year, on the 29 April, the International Theatre Institute invites its members along with dancers, choreographers, dance students and enthusiasts to join them in a Gala Celebration.
The Gala Celebration takes place in a chosen host city decided on by the Executive Council of the International Theatre Institute – for instance in 2017 it was held in Shanghai, China, and in 2018 it will be held in Havana, Cuba.

The programme of the Gala Event can vary, but usually consists of top-quality dance performances from around the world, student performances, keynote speeches, and a recital of the Message for that year’s event read, in person, by that years selected message author.
In Shanghai 2017 for instance, the event became a three-day celebration with greater emphasis on education through dance workshops and presentations led by an international cast of dance experts. The evenings were reserved for performances, the finale of which was the Gala Celebration. The Shanghai event also had a humanitarian aspect, with much of its focus being on celebrating the achievements of disabled dancers and encouraging disabled children to dance.

Beyond the Gala itself, ITI Centres across the globe are encouraged to mark the 29th April in their own country through special educational initiatives, humanitarian drives, dance performances and festivals.

Message Authors

To help publicise International Dance Day each year the International Theatre Institute selects an outstanding personality from the world of dance to be the Message Author for the event. In the message, it is hoped that the author can underline the relevance and power of dance. Past authors have included Trisha Brown, Alicia Alonso, and Merce Cunningham. 

As 2018 marked the 70th Anniversary of ITI, 5 Message Authors were selected for the 2018 event, one from each of the 5 UNESCO Regions. The 5 authors were; Georgette GEBARA (Lebanon, Arab Countries), Salia SANOU (Burkina Faso, Africa), Marianela BOAN (Cuba, The Americas), Willy TSAO (China, Asia-Pacific) and Ohad NAHARIN (Israel, Europe).

https://en.wikipedia.org/wiki/International_Dance_Day

 

 

International Dance Day
Celebrated on April 29th every year, International Dance Day is a day that was created to increase the public profile of dancing as an art form. This holiday was created by the International Dance Committee of the International Theater Institute and is a day in which both amateurs and professionals alike can hit the dance floor and get their groove on. After all, dance is both an art form and a form of cultural expression for many cultures all over the world.

 

The Dance Committee of the International Dance Committee of the International Theater Institute created this holiday in 1982. April 29th was picked as the day to celebrate it by the committee because that was when Jean-Georges Noverre, the creator of the modern ballet, was born in 1727. They created the day to help bring people together in the language of dance. A language that can transcend borders and cultural barriers.

International Dance Day Customs & Traditions
Every year, except for 1983, a speaker is chosen to deliver the message of the International Dance Council around the world. This speaker is someone who is somehow connected to the art of dancing. These could be dancers, choreographers or other dance professions. Some of the past speakers have included Yuri Grigorovitch, Robin Howard, Germaine Acogny, Maguy Marin, William Forsythe, King Norodom Sihamoni, Sasha Waltz and Sidi Larbi Cherkaou.

🩰 🕺  🩰 💃🏻 👣

Origin and history of WORLD DANCE DAY

http://www.narthaki.com/info/hl/idd12.html

• International Dance Day – April 29 💃🏻
• National Dance Week – last week of April 🕺
  
• National Tap Dance Day – May 25  👣
• 
  
• https://en.wikipedia.org/wiki/National_Dance_Day

Pyotr Ilyich Tchaikovsky

🩰 Nina Kaptsova 🩰

Dance of the Sugar Plum Fairy

Ballet Terms

1. Adagio - in a classical ballet class, the adagio portion of the lesson concentrates on technique by using slow movements i.e. exercises at the barre consisting of plies, developpes, attitude, arabesque, rond de jambe.
2. Allegro -applied to all bright, fast or quick movements i.e. canbriole and jete. The most important thing to achieve is lightness, smoothness, and make it seem effortless
3. Tendu - extension of the leg most commonly from 1st or 5th position; going from front, side, back, side (en dehors); while extending the leg your floot goes from flat to demi pointe and to just the toes; when extending to the front and side lead with your toes then pull back to position with your heel leading vice versa to the back

https://giphy.com/favorites
http://shutupanddancealready.tumblr.com/archive

Moon 🌜 Lunar 🚀 NASA

🚀  Moon Lunar  NASA 🌛

🌜🌗🌘🌑🌒🌓🌔🌕🌖🌚🌛

 

via GIFER

🌜🌗🌘🌑🌒🌓🌔🌕🌖🌚🌛

Guernica 🎨Pablo Picasso 🖌 1937

Pablo Picasso
« Guernica »
Bombing of 26 April 1937

Guernica has become a universal and powerful symbol warning humanity against the suffering and devastation of war. Moreover, the fact that there are no obvious references to the specific attack has contributed to making its message universal and timeless.

Medium            Oil on canvas
Dimensions      349 cm × 776 cm (137.4 in × 305.5 in)
Location            Museo Reina Sofia, Madrid, Spain 

Guernica is a mural-sized oil painting on canvas by Spanish artist Pablo Picasso completed in June 1937, at his home on Rue des Grands Augustins, in Paris. The painting, which uses a palette of gray, black, and white, is regarded by many art critics as one of the most moving and powerful anti-war paintings in history. Standing at 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) wide, the large mural shows the suffering of people wrenched by violence and chaos. Prominent in the composition are a gored horse, a bull, and flames.

The painting was created in response to the bombing of Guernica, a Basque Country village in northern Spain, by Nazi Germany and Fascist Italian warplanes at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris International Exposition) in the 1937 World's Fair in Paris and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief. The painting became famous and widely acclaimed, and it helped bring worldwide attention to the Spanish Civil War.

Historical context

Bombing of 26 April 1937

Guernica is a town in the province of Biscay in Basque Country. During the Spanish Civil War, it was regarded as the northern bastion of the Republican resistance movement and the center of Basque culture, adding to its significance as a target.

The Republican forces were made up of assorted factions (Communists, Socialists, Anarchists and others) with differing goals, but united in their opposition to the Nationalists. The Nationalists, led by General Francisco Franco, sought a return to pre-Republican Spain, based on law, order, and traditional Catholic values.

At about 16:30 on Monday, 26 April 1937, warplanes of the German Condor Legion, commanded by Colonel Wolfram von Richthofen, bombed Guernica for about two hours. Germany, at this time led by Hitler, had lent material support to the Nationalists. Later, intense aerial bombardment became a crucial preliminary step in the Blitzkrieg tactic.

See also: Bombing of Guernica; Spanish Civil War; and Spanish Civil War, 1937

In his journal for 30 April 1937, von Richthofen wrote:
When the first Junkers squadron arrived, there was smoke already everywhere (from the VB [VB/88] which had attacked with 3 aircraft); nobody would identify the targets of roads, bridge, and suburb, and so they just dropped everything right into the center. The 250s toppled a number of houses and destroyed the water mains. The incendiaries now could spread and become effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete annihilation. Most inhabitants were away because of a holiday; a majority of the rest left town immediately at the beginning [of the bombardment]. A small number perished in shelters that were hit."

Other accounts state that the town's inhabitants were in fact congregated in the center of town, as it was market day, and when the bombardment commenced, were unable to escape because the roads were full of debris and the bridges leading out of town had been destroyed.

Guernica's location was at a major crossroads 10 kilometers from the front lines and between the front lines and Bilbao, the capital of Bizkaia (Biscay). Any Republican retreat towards Bilbao and any Nationalist advance towards Bilbao had to pass through Guernica. "During 25 April, many of the demoralized (Republican) troops from Marquina fell back on Guernica, which lay 10 kilometers behind the lines." Wolfram von Richthofen's war diary entry for 26 April 1937 states, "K/88 [the Condor Legion bomber force] was targeted at Guernica in order to halt and disrupt the Red withdrawal which has to pass through here." Under the German concept of tactical bombing, areas that were routes of transportation and troop movement were considered to be legitimate military targets, and tactical aircraft tended to operate just outside the range of friendly artillery; in the German mindset, Guernica was thus a major target in support of the Republican offensive. The following day, Richthofen wrote in his war diary, "Guernica burning."^[ The Republican retreat towards Bilbao did pass through Guernica, before and after the bombing, and, as Beevor points out, "At Guernica the communist Rosa Luxemburg Battalion under Major Cristobal held back the nationalists for a time".

Guernica was a quiet village. The nearest military target of any consequence was a factory on the outskirts of the town, which manufactured various war products. The factory went through the attack unscathed. Thus, the motivation of the bombing was one of intimidation.

Guernica in ruins, 1937

Aftermath

Because a majority of the town's men were away, engaged in fighting on behalf of the Republicans, the town at the time of the bombing was populated mostly by women and children. These demographics are reflected in the painting because, as Rudolf Arnheim writes, for Picasso: "The women and children make Guernica the image of innocent, defenseless humanity victimized. Also, women and children have often been presented by Picasso as the very perfection of mankind. An assault on women and children is, in Picasso's view, directed at the core of mankind." Clearly, the Nationalists sought to demoralize the Republicans and the civilian population as a whole by demonstrating their military might on a town that stood for traditional Basque culture and innocent civilians.

After the bombing, the work of the Basque and Republican sympathizer and The Times journalist George Steer propelled this event onto the international scene and brought it to Pablo Picasso's attention. Steer's eyewitness account was published on 28 April in both The Times and The New York Times, and on the 29th appeared in L'Humanité, a French Communist daily. Steer wrote:

Guernica, the most ancient town of the Basques and the centre of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The bombardment of this open town far behind the lines occupied precisely three hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German types, Junkers and Heinkel bombers, did not cease unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields."

While Picasso was living in Nazi-occupied Paris during World War II, one German officer allegedly asked him, upon seeing a photo of Guernica in his apartment, "Did you do that?" Picasso responded, "No, you did."

Commission

In January 1937, the Spanish Republican government commissioned Picasso to create a large mural for the Spanish display at the Exposition Internationale des Arts et Techniques dans la Vie Moderne at the 1937 World's Fair in Paris. At the time, Picasso was living in Paris, where he had been named Honorary Director-in-Exile of the Prado Museum. He had last visited Spain in 1934 and never returned. His initial sketches for the project, on which he worked somewhat dispassionately from January until late April, depicted his perennial theme of the artist's studio. Immediately upon hearing reports of the 26 April bombing of Guernica, the poet Juan Larrea visited Picasso and urged him to make the bombing his subject. However, it was only on 1 May, having read George Steer's eyewitness account of the bombing (originally published in both The Times and The New York Times on 28 April), that he abandoned his initial project and started sketching a series of preliminary drawings for Guernica.

Establishment in Spain

As early as 1968, Franco had expressed an interest in having Guernica come to Spain. However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He later added other conditions, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years later, in 1975. After Franco's death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MoMA was reluctant to give up one of their greatest treasures and argued that a monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.

Upon its arrival in Spain in September 1981,  it was first displayed behind bomb-and bullet-proof glass screens at the Casón del Buen Retiro in Madrid in time to celebrate the centenary of Picasso's birth, 25 October.  The exhibition was visited by almost a million people in the first year. Since that time there has never been any attempted vandalism or other security threat to the painting.

In 1992, the painting was moved from the Museo del Prado to a purpose-built gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about two dozen preparatory works. This action was controversial in Spain, since Picasso's will stated that the painting should be displayed at the Prado. However, the move was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the capital's national collection of 20th-century art, was the natural place to move it to. At the Reina Sofía, the painting has roughly the same protection as any other work.

Basque nationalists have advocated that the picture should be brought to the Basque country, especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim that the canvas is now thought to be too fragile to move. Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao.

https://en.wikipedia.org/wiki/Guernica Picasso

Brainteaser 1900s🤔Still Mesmerizes a Century Later

🤔 This 1900's Brainteaser 🤔

Still Mesmerizes a Century Later

 

Which woman did you see first?

It’s incredible how much can change with a tiny shift in perspective. And we don’t just mean it in a soul-searching philosophical way, either!

The human brain has an incredible talent for looking at things from a variety of angles, whether that means reviewing all facets of a complicated problem, or literally looking at an image in more than one way.

In fact, there’s a rich history of creating optical illusions that force us to look at two sides of a situation, and test our brain's ability to adapt.

Of these illusions, a handful are more famous than any of the others, like the notorious and old-fashioned illustration that appears to simultaneously show a duck and a rabbit.

Somehow, even in an age where we are spoiled for entertainment on every tech gadget imaginable, people still get caught in the amazing spell of these images that seem to be two things at once.

Though the rabbit and duck image is a famous example, it’s likely that no image depicts duality quite like the illustration “My Wife and My Mother-In-Law,” by William Ely Hill.

 

What did you see in this old brainteaser? 

The cartoon — published in Puck, a humor magazine, in 1915 — appears differently to different people. Some folks, upon glancing at the drawing, immediately see a young woman. Others instantly know that it’s an illustration of an old woman.

So how could different groups of people be looking at the same image and seeing something so different? Well, as it turns out, both camps are right. The aptly titled illusion depicts two women at the same time.

The clever illustration — which includes several variations, like this German postcard — seems to say that in every young woman, there is the promise of the woman she will grow into, and in every older woman, there is the memory of the young woman she once was. Fascinating, right?

 

Unfocus your eyes for a moment to readjust, then look closely at the pink area of the picture. If you focus on this area, you should see a young woman, drawn in a quarter-profile. She’s looking away from the viewer over her right shoulder, with a veiled hat flowing behind her.

 

Now perform the same exercise, but focus on the blue area of the illustration. By looking closely at this area, you should see the other side of the picture, an older woman in profile. Drawn in half-profile, she is stooped, she wears her hair and kerchief differently, and her face is more visible.

Combine the color palettes together, and you can easily see how the two opposing images fit into the same space. The young woman’s chin becomes the older woman’s nose, the older woman’s chin become the younger woman’s neckline, and so on.

 

Published Feb 22, 2016 - By Rebecca Endicott

https://littlethings.com/lifestyle/old-young-woman-illusion

It’s a classic optical illusion, but a new university study found age matters when it comes to perception.
People who are younger instantly see the young woman. Older people see the old lady.
That is according to researchers at Flinders University in Australia.
The illusion is called "My Wife and My Mother-in-Law", or even the Boring Figure.
Take a look – what do you see.
OK, so if the research team is right, young people will probably see a young woman looking away.
Older folk will spot the profile of a sad looking granny.
And it seems 30 is generally the cut-off point, said the university which added in its findings that "own-age biases affect subconscious face perception".
For those confused, take a closer look. The young woman's chin doubles as the older woman's nose, and the old woman's chin is also the young woman's chest.
The Australian study was conducted by two psychology professors and they concluded that it has to do with the age of the viewer.
According to the study a younger person will see the younger woman first, while older people will see the older woman first.
They surveyed 393 participants made up of 242 males and 141 females.
The ages ranged from between 18 and 68 with an average of 32.
They were then shown the image for half a second, and were asked the gender and age of the person that they saw.
The pair of boffins were amazed at the answers.
While most participants first saw the younger woman, this could be due to the fact that many of the participants were on the younger side. When the researchers separated the oldest 10 per cent and the youngest 10 per cent of those surveyed, they found that the older set saw the older woman first, and the younger set the young woman.
The point of the study was to determine if "own-age biases affect the initial interpretation of an image at a subconscious level."

  

Which woman did you see first? 

 

Growing Plants 🌱Time Lapse Compilation

Growing Plants

Time Lapse Compilation #2 

190 Days Of Growing In 3 minutes

👇 ♪  📽️ ♪ 👇

 

 Original videos 

1. Basil: https://youtu.be/fQRDwgg2fkQ​ 
2. Pea: https://youtu.be/jiVIz8R0JWI​ 
3. Spinach: https://youtu.be/kwiCD0eha00​ 
4. Beans: https://youtu.be/A3RiWa-vmJI​ 
5. Cucumber: https://youtu.be/NgK-Z5Gs67E​ 
6. Dandelion: https://youtu.be/dxtmmq5_wfs

If you are thinking about getting a grow light check out Mars Hydro grow lights on their website (link below), and use the discount code "box" to get a small discount and at the same time support our channel. Link to Mars Hydro website: https://bit.ly/2RzOTPB​ Discount code: box Music: Waddaya Know - Ivy-Rose Lyon feat. Annica Svensson

 Growing Plants

Time Lapse Compilation #3 

 73 Days Of Growing In 2 minutes

👇 ♪ 📽️ ♪ 👇

 

It's that time again, compilation time! We will be back next week again with fresh footage. 

Original videos 

Radish: https://www.youtube.com/watch?v=4EbpN...​ 

Purple Basil: https://www.youtube.com/watch?v=9iSeo...​ 

Broccoli Sprouts in a jar: https://www.youtube.com/watch?v=mrOSg...​ 

Fennel: https://www.youtube.com/watch?v=LEe1u...​ 

Kale: https://www.youtube.com/watch?v=MWouu...​ 

Jack O'Plantern: https://www.youtube.com/watch?v=iInjJ...​ 

 

Growing Plants

Time Lapse Compilation

 https://www.youtube.com/results?search_query=Growing+Plants+Time+Lapse+Compilation

 

 

Édith Piaf 💗Cri du Cœur🎼

Édith Piaf

💗  Cri du Cœur  💗

French, meaning approximately
« A cry from the heart » 
An impassioned outcry, appeal, protest or entreaty.

Grito del Corazon 

Grido del Cuore 

Cette chanson exprime la quintessence de Piaf, sublimée par les grands J. Prévert et H. Crolla.

👇 ♪  📽️ ♪ 👇

A song written for  Édith Piaf in 1960 by  poet Jacques Prévert

Music and guitar solos by Henri Crolla.

C'est pas seul'ment ma voix qui chante,
C'est d'autres voix, une foule de voix,
Voix d'aujourd'hui ou d'autrefois,
Des voix marrantes, ensoleillées,
Désespérées, émerveillées,
Voix déchirantes et brisées
Voix souriantes et affolées,
Foll's de douleur et de gaieté
C'est la voix d'un chagrin tout neuf,
La voix de l'amour mort ou vif,
La voix d'un pauvre fugitif,
La voix d'un noyé qui fait plouf.
C'est la voix d'une enfant qu'on gifl',
C'est la voix d'un oiseau craintif,
C'est la voix d'un moineau mort de froid
Sur le pavé d'la rue d'la Joie.

😞
Et toujours, toujours quand je chante,
Cet oiseau-là chante avec moi ;

Toujours, Toujours encore vivante,
Sa pauvre voix tremble pour moi.
Si je disais tout ce qu'il chante,
Tout c' que j'ai vu et tout c' que j'sais,
J'en dirai trop et pas assez
Et tout ça je veux l'oublier.
D'autres voix chantent un vieux refrain
C'est leur souv'nir, c'est plus le mien.

Je n'ai plus qu'un seul cri du coeur :
J'aim' pas l'malheur,
J'aim'pas l'malheur
Et le malheur me le rend bien.
Mais j' le connais,
Il m'fait plus peur.
Il dit qu'on est mariés ensemble :
Mêm' si c'est vrai, je n'en crois rien.

Sans pitié j'écrase mes larm's,
Je leur fait pas d'publicité ;
Si on tirait l'signal d'alarme
Pour des chagrins particulier,
Jamais les trains n'pourraient rouler.
Et je regarde le paysage ;
Si par hasard il est trop laid.
J'attends qu'il se r'fasse une beauté.
Et les douaniers du désespoir
Peuv'nt bien éventrer mes bagages,
Me palper et me questionner,
J'ai jamais rien à déclarer.
L'amour comm' moi part en voyage,
Un jour je le rencontrerai ;
A pein' j'aurai vu son visage
Tout d'suite je le reconnaîtrai.

 

 Édith Piaf 💗 du Cœur

French 🇫🇷 & English 🇬🇧 Subtitles

👇 ♪  📽️ ♪ 👇

We know Henri Crolla as the guitarist in the film "Black Orpheus."

Thanks once again to philipchek of Paris and YouTube for explanations and help with the translation.

 

 Hervé Vilard
Cri Du Coeur
👇 ♪  📽️ ♪ 👇

💗

https://youtu.be/hALK9nTptTE

💗

https://youtu.be/Mk2nQI8ZTlY

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https://youtu.be/tsYmhLCGnOY