Saturday, October 27, 2007
We each were handed a program and prayer book for the ceremony. Pierce was a bit befuddled by the book, not knowing that it starts at the "back" and goes in the opposite direction of a standard English book. As he sat there struggling with it, I whispered to him "Manga style," and he got it instantly. A piece of knowledge of one foreign culture helped him grasp another one in no time; I couldn't have planned a better demonstration of the importance of knowledge and understanding.
Wednesday, October 24, 2007
Tuesday, October 23, 2007
Wednesday, October 17, 2007
Tuesday, October 16, 2007
Thursday, October 11, 2007
And now I must be off to Syracuse to see the Chicago Afrobeat Project at Funk'n'Waffles!
Tuesday, October 09, 2007
I said, is it loud enough for you?! This narrow tie of intensely-colored barkcloth comes from Virgin Island Ties, probably of 1960s vintage. I wore it in honor of the Dalai Lama speaking at Cornell today. Well, actually, I did wear the tie today, and the Dalai Lama did speak at Cornell today, but the two events are unrelated. However, the tie is just as colorful as the Wheel of Life sand mandala that the Namgyal monks constructed at the Herbert F. Johnson Museum in honor of the Dalai Lama's arrival.
Thursday, October 04, 2007
Wednesday, October 03, 2007
Tjapaltjarri's art gained enormous popularity and he was ultimately awarded the Order of Australia.
In the late 1950s he was employed, along with his older brother Tim Leura Tjapaltjarri and other Aborigines, to assist in the construction of Papunya settlement. This was the last Aboriginal settlement built under the Menzies Liberal government’s racist assimilation policy. According to the government, Aborigines were not ready to live as “white Australians” and had to be re-educated. This meant removing them from tribal lands and herding them into settlements.
In 1971, Geoffrey Bardon, a young teacher, arrived at Papunya. Bardon, who later described the settlement as “an unsewered, undrained, garbage-strewn death camp in all but name,” won the respect of the older men and encouraged them to paint their ancestral stories. In contrast to Namatjira’s realistic watercolours, Bardon supplied them acrylic paint and discouraged references to Western images. This approach help give birth to the unique Papunya Tula style, which is an abstract representation of tribal myths and legends that is derived from traditional ceremonial designs.