Georgy Shishkin (; ; born January 25, 1948) is a Russian painter.

Biography
Born in Ekaterinburg (then Sverdlovsk), Russia, son of a first violinist of the orchestra of the musical theatre, from the age of six, Shishkin began violin classes. As a child he showed an early passion for drawing, and by his tenth year he was enrolled a fine art school. During his youth, he was deeply influenced by the atmosphere at his great-grandparents' house, steeped with authentic Russian traditions conserved during the Soviet regime.

Young Shishkin travelled to the many old cities in his country. With his easel, he visited monasteries and paid close attention to the icons and frescoes. In the Vladimir Cathedral, an ex-capital of Russia, he was struck by the works of Andrei Rublev, considered the first Russian painter.

He was a graduate of the Ural State Academy of Architecture and Arts in his home town, in 1975, then a trainee at the Stroganov Moscow State University of Arts and Industry. Georgy Shishkin was a professor of drawing and painting for about 10 years at this academy where he started as a trainee.

From 1974 he took part in professional art exhibitions, while remaining at home in Socialist Realism.
In the same year, he won the national competition for young creators in Russia and participated in the Prestige Exposition in Moscow.

Experimentation with different techniques led him to favour pastel from 1980 and three years later he created his base preparation under the pastel.

In 1981, during his first personal exhibition, many of his paintings were acquired by the State Fine Arts Museum.

However, being multi-faceted, Georgy Shishkin made the interior decorations for the Ekaterinburg Opera Museum (1982–1985), with two large frescoes and a portrait gallery of the most famous soloists. The portrait of the ballet star Piotr Gusev was acquired by the Saint Petersburg State Museum of Theatre and Music.

At the same time, for nine years, the artist worked as an architect and several buildings were erected according to his plans.

In 1992, after travelling abroad, in Germany and the Netherlands, (from 1989), Georgy Shishkin, in a quest for his roots, began painting his "Russian Dreams" cycle of paintings. This cycle intended to express spiritual content by uniting abstraction and reality.

He was invited by the mayor of Saint Petersburq, Anatoly Sobchak, to show his works in the Russian State Museum.

As for the painting devoted to Chaliapin, it was presented to the Bolshoi Theatre in Moscow.

His arrival in France (1993) and in Monaco (1995) led to a meeting with "White Russians" and a new impulse for his cycle.

Lord Alistair McAlpine, after his visit to the Shishkin exhibition in Paris, wrote an article about him titled "Painter who captured the enigma of Russia" in The European Magazine (21–27 September 1995), noting the great mastery of the painter and high quality of his works.

In 1999, Shishkin won the Taylor Foundation Prize.

At Christie's, during an auction in the Principality, one of his paintings reached fourth place among works of famous artists like Arman, Botero, Folon or Matta (Le Figaro, 20 March 1999).

Living in Monaco since 1998, the artist has participated in many humanitarian and charitable activities.

Georgy Shishkin's works are found in museums and private collections in many countries, notably in the Prince Palace in Monaco, in the collection of Queen Elizabeth II of the United Kingdom, in the collections of Luciano Pavarotti, Lord Alistair McAlpine, brothers Lords David and Frederick Barklay. The artist has made two series of paintings for the Royal Palace of H.M. Sheik Zayed bin Sultan Al Nahyan of Abu Dhabi.

Invited to design Monaco's postage stamps in 2005, Shishkin won the competition for drawing the effigy in profile of H.R.H. Prince Albert II of Monaco.

In month May, 2009 in Monaco two postage stamps « Centenary of Ballets Russians of Diaghilev » went out, created by Georgy Shishkin. He received a congratulation from Mr Geoffrey Marsh, Director of Department of Theatre of the Victoria and Albert Museum, London.

Exhibitions

Personal exhibitions
 1981 -  Artists' Center, Ekaterinburg;
 1982 -  Art Museum, Irbit;
 1983 -  Central Exhibition Room, Tiumen;
 1984 -  Ural State Conservatoire, Ekaterinburg;
 1987 -  Central Arts Center, Moscow; - Central Literature Center, Moscow; - Physicists' town, Dubna; - Astronauts' town "Zvezdny"; - Central Architects' Center, Moscow;
 1989 -  Exhibition room of the Ministry of the Construction of Oil and Gas Products, Moscow;
 1991 -  Burg Vossloch Gallery, Hamburg, Germany; - Hall of the Soviet Supreme, Moscow;
 1993 -  Bolchoi Theater, Moscow; - Exhibition at the XIXe World Philosophy Congress, Moscow; -  Exhibition at the IIe World Congress of Compatriots, Russian Academy of Science, Moscow;
 1994 -  "ADS" Gallery, Paris;
 1995 -  Trianon Palace, Versailles;
 1997 -  Grande Maison, Physicists' town, Bures-sur Yvettes, France;
 1999 -  Palais des Festivals, Cannes; -  Atrium of Casino, Monte-Carlo, Monaco;
 2000 -  Exhibition "Russian Dreams", Gallery des Ponchettes, Nice; -  Château-Museum, Auvers-sur-Oise;
 2005 -  Art 3 Gallery, Paris; - Grand Theater, Luxembourg; -  Museum-Citadelle, Villefranche-sur-Mer;
 2006 -  Grimaldi Forum Monaco;
 2008 -  Exhibition, Center Universitaire Méditerranéen, Promenade des Anglais, Nice;
 2009 -  Exhibition "Centenary of Ballets Russians of Diaghilev", Espace Pierre Cardin, Paris; - Exhibition "A tribute to Nijinsky and the Ballets Russes", Monaco, Monegasque National IAA Committee with UNESCO – Visual Arts, 10, Quai Antoine I, 27 September (Heritage Days) - 26 October 2009;
 2010 - Exhibition "Russian Dreams" of Georgy Shishkin in Paris, in the Year of Russia in France under the patronage of the French Academy;
 2015 - Exhibition "Russian Dreams" of Georgy Shishkin in Monaco, in the Year of Russia in Monaco, Palais des Congres;
 2017 - Exhibition "Russian Dreams" of Georgy Shishkin in the State Russian Museum in Saint Petersburg;

Exhibitions de groupe
 1974 -  Traditional Spring Exhibition, Artists' Center, Ekaterinburg; - Exhibition of the Works of the Students of the Russian Federation, Novosibirsk; - National Exhibition of Young Artists, VDNKh, Moscow;
 1980 -  Regional Art Exhibition, State Gallery, Ekaterinburg;
 1982 -  National Exhibition, Central Exhibition Room "Carousel", Moscow; -  "La Nouvelle Collection", Museum of Art, Ekaterinburg;
 1987 -  Exhibition Russian-American at the International Congress "Cooperation in Space in the name of Peace on Earth", International Trade Center Hammer, Moscow;
 1989 -  Autumn Art Exhibition, Gallery 28, Malaya Grouzinskaia, Moscow; - Art Exhibition International "Kunst und Kosmos", "Kö-Gallery", Düsseldorf;
 1991 -  "Russian Portrait", Artists' Center, Kouznietsky Bridge, Moscow; - "Art russe" (avec Kandinsky), "Burg Vossloch" Gallery, Hamburg; - Exhibition of the International Federation of UNESCO Artists, Central Exhibition Room "Carousel", Moscow;
 1995 -  "Les Artistes du Monde", Espace Montparnasse, Paris;
 1998 -  "XXIIe Prix International d'Art Contemporain de Monte-Carlo"; Monaco;
 1999 -  Christie's (Monaco), Exhibition of 12 Artists: Arman, Botero, Chichkine, Folon, Matta...; -  "Créateurs d'Aujourd'hui", organisé par "Arts Inter" (invité comme président d'honneur), Palais des Congres, Saint-Quay-Portrieux; -  "Les Maîtres du Portrait contemporain", Museum of Art, Menton;
 2000 -  Gallery of Fondation Taylor, Paris;
 2001 -  "Ambassadeurs of Art European", Lincoln Center, New York;
 2002 -  EUROPASTEL (invité d'honneur), Cuneo, Italy;
 2003 -  Maison de Radio-France, Paris;
 2004 -  Château-Museum Grimaldi, Cagnes-sur-Mer;
 2005 -  Ie Exhibition Internationale of Pastel in Moscow, Central Arts Center;
 2006 -  Art en Capital, Grand Palais, Paris;
 2007 -  Ier Salon International of Pastel, Paris;

Works

 interior decorations for the Ekaterinburg Opera Museum (1982–1985), with two large frescoes and a portrait gallery of the most famous soloists;
 Cycle of pictures " Russians Dreams ";
 Series of artists' portraits;
 Pictures, dedicated to the Theatre: " Tribute to Chaliapin ", 1993; triptych " Tribute to Ballets Russians of Diaghilev ", 1997; " Tribute to Nijinsky ", 2000–2001; " Serge Lifar in Ikare ", 2005;
 Stamps of Monaco;
 Stamps of Russia;

Stamps

Stamps of Monaco

Invited to design Monaco's postage stamps in 2005, Shishkin (CHICHKINE) won the competition for drawing the effigy in profile of H.R.H. Prince Albert II of Monaco.

 "Salle Garnier" (Opéra de Monte-Carlo), block of six stamps, November 16, 2005.
 "150th birthday of creation of l`Orchestre Philharmonic of Monte Carlo, 1856-2006", April 6, 2006.
 "40th birthday of the Foundation Prince Pierre of Monaco", June 20, 2006.
 Effigy in profile of H.S.H. Prince Albert II of Monaco, December 1, 2006.
 "Europa: the scouting", diptych, May 4, 2007
 "Johannes Brahms, 175 years old of the birth of the compositor", January 3, 2008.
 "50th birthday of the Nobel prize of Literature to Boris Pasternak", April 8, 2008.
 "48th Festival of Television of Monte Carlo", June 2, 2008.
 "200th anniversary of the birth of Felix Mendelssohn", January 29, 2009.
 "Centenary of Ballets Russians of Diaghilev", May 11, 2009
 "150th anniversary of Anton Pavlovich Chekhov's birth", December 4, 2010.
 "Football in South Africa", Mars 4, 2010.
 Block of H.S.H. Prince Albert II of Monaco' marriage to Miss Charlene Wittstock, July 1, 2011.
 "50th anniversary of the first man to travel into outer space", September 28, 2011.
 "Bicentenary of the birth of Theophile Gautier", October 10, 2011.
 "150th anniversary of the birth of Claude Debussy", August 22, 2012.
 "Centenary of the creation of the ballet "The Rite of Spring" by Stravinsky, May 22, 2013.
 "Christmas 2013", October 30, 2013.
 "2015 Russian Year in Monaco", January 7, 2015.
 "175th anniversary of the birth of Tchaikovsky", September 10, 2015.
 "150th anniversary of the birth of Arturo Toscanini", June 20, 2017.
 "200th anniversary of the birth of Jacques Offenbach" , July 20, 2019.
 "250th anniversary of the birth of Ludwig van Beethoven", June 11, 2020.

Stamps of Russia

 "400th anniversary of the restoration of the unity of the Russian state", November 2, 2012.  (winner of competition "The best stamp of Russia 2012")
 "The 1150th anniversary of the mission Saints equal to the Apostles Cyril and Methodius to the Slavic countries", May 24, 2013.  (winner of competition "The best stamp of Russia 2013")
 "200th anniversary of the birth of Russian writer Ivan Turgenev", August 10, 2018.
 "200th anniversary of the birth of Russian poet Afanasy Fet", July 16, 2020.

References

Publications

- "Gueorgui CHICHKINE/Georgy Shishkin" (fr./en.), peinture, graphique; Paris, 1995, avec une preface d'André Damien, membre de l'Institut de France, maire de Versalles, texte de Pierre-Marc Levergeois, écrivain, critique d'art.

- Alistair McAlpine "Painter who captured the enigma of Russia", London, "The European Magazine", 21–27 September 1995;

- Catalogue de l'exposition "XXIIème Prix International d'Art Contemporain de Monte-Carlo", 1998;

- Catalogue de l'exposition chez Christie's de 12 peintres, Monaco, 1999;

- "WHO'S WHO IN INTERNATIONAL ART: les grands et nouveaux noms du Monde Artistique d'Aujo urd'hui" - International biographical art dictionary, 2000, p.: 36, 81, 94;

- Blandine Seigle "Les rêves pastel de Gueorgui Chichkine" (exposition au château-musée d'Auvers-sur-Oise), Le Parisien, November 2, 2000;

- Delarge J. Le Delarge — Paris: Gründ, Jean-Pierre Delarge, 2001. —

- "Gueorgui Chichkine au Grimaldi Forum", "Nice-Matin", Fevrier 19, 2006;

- Sophie Bastide  "Gueorgui Chichkine"« Dis l'artiste, dessine-moi le timbre de tes rêves... », "L'Écho de la timbrologie", n° 1799, September 2006, p. 12-13;

- "1000 Russians painters", Ed. Bely Gorod, Moscow, 2006, p. 882;

- "Russian Art Guide";

- Catalog "Christie's Interiors", London,  September 28, 2008;

- Victor Ignatov «The Season Russian to Cardin», «La Pensée Russe / РУССКАЯ МЫСЛЬ», Paris - London, № 17 (4744), May 1–7, 2009, p. 22;

- Victor Ignatov "Monte-Carlo and the Russian Ballets" , «La Pensée Russe / РУССКАЯ МЫСЛЬ», Paris - London, № 21 (4748), 29 May  - Juin 4, 2009, p. 24;

- T. Stojanov "Les "Ballets Russes" de Chichkine présentés au quai Antoine Ier", Nice-Matin (Monaco-Matin), October 19, 2009;

- The Year of Russia in France. Exhibition "Russian Dreams" of Georgy Shishkin in Paris, 2010;

- Catalog of Exhibition "Russian Dreams" of Georgy Shishkin in the State Russian Museum in Saint Petersburg, Palace Editions, 2017;

External links

 Chichkine's Official Site
 "Annuaire des Artistes de Monaco" 2008

Video
 Russian artist Shishkin writes portrait of Gerard Depardieu//Channel One.

20th-century Russian painters
Russian male painters
21st-century Russian painters
Russian portrait painters
Russian stamp designers
Living people
People from Monte Carlo
Artists from Moscow
1948 births
20th-century Russian male artists
21st-century Russian male artists
Stroganov Moscow State Academy of Arts and Industry alumni

Georgy Shishkin


Deira (In Arabic: ديرة) is a historically significant district within the city of Dubai, United Arab Emirates bordered by the Creek, Sharjah, and Al Awir.

It is located at the northern end of the Dubai Creek.

History

Deira is one of the oldest and most established areas of Dubai, its origins date back to the mid-1700s, it developed along the canal called Dubai Creek, this saltwater canal separates Deira from Bur Dubai. The canal enabled the area to develop in importance; it facilitated the sea trade, which is still operational today, thanks to the traditional dhow boats which still load and unload hundreds of tons of goods on the canal docks every day.

In 1841, a smallpox epidemic broke out in the Bur Dubai district, forcing residents to relocate east to Deira.

In 1896, a fire broke out alongside Dubai Creek, a disastrous occurrence in a town where many family homes were still constructed from barasti – palm fronds. The conflagration consumed half the houses of Bur Dubai, while the district of Deira was said to have been totally destroyed.

In the following years, more fires broke out and in 1908 the "great storm" struck the pearling boats of Dubai and the coastal emirates towards the end of the pearling season that year, resulting in the loss of a dozen boats and over 100 men. The disaster was a major setback for Dubai, with many families losing their breadwinners and merchants facing financial ruin.

These losses came at a time when the tribes of the interior were also experiencing poverty. In a letter to the Sultan of Muscat in 1911, Sheikh Butti bin Suhail Al Maktoum, the ruler of Dubai at the time, laments, "Misery and poverty are raging among them, with the result that they are struggling, looting and killing among themselves."

Historically it was the most important commercial center of the emirate alongside its twin across the creek, Dubai City (Independent of Deira at the time), It reached its peak during the pearl fishing period before pearls started to be cultivated on a large scale in the early 1930s by the Japanese. The ferrying of people is provided by small boats that constantly go back and forth between the two sides.

Despite its historic importance, it has been losing its significance during the past decades due to recent development and larger focus by the government towards areas along E 11 road (Sheikh Zayed Road) and areas further down the coast towards Abu Dhabi since the Union of the 6 Emirates in 1971.

Deira alongside Bur Dubai, Karama and Satwa, is part of an area that's locally known as 'Old Dubai'. It's due to the fact that these are some of the most historic quarters of the city and home to countless iconic structures, from centuries-old gold and spice souqs to ancient forts and fortresses.

Population
Deira has a population of 400,000 which consists of 20% of Dubai's total population.

Economy
The district contains 30% of Dubai's trading locations and 10% of its GDP.

A large portion of its earnings come from the historic fish, gold, and spice souqs that have been essential to the district for centuries.

City Centre Deira is a flagship shopping mall in central Deira, with the Deira City Centre metro station at its entrance.

The Waterfront Market, retailing fish, vegetables, and meat, opened on the Deira Corniche in 2017.

References

External links

Neighbourhoods in the United Arab Emirates
Central business districts in the United Arab Emirates
Communities in Dubai

Deira, Dubai


David Evans George "Ewan" Davies (23 June 1887 – 2 September 1979) was a Welsh international rugby union player. He won two caps for the Wales national rugby union team. He played club rugby for Cardiff RFC and London Welsh RFC. He also played county rugby for Middlesex. Later he was a solicitor and a businessman. Davies owned a chain of movie theatres.

Personal history
Davies was born in Cardiff in 1887. He went to Cardiff High School. He went to Llandovery College and the University College London. He studied law. He became a solicitor. He owned a group of movie theatres. In 1931 he built the Plaza Cinema in Swansea. It was the biggest movie theatre in Wales.

Davies wanted to be a politician. He ran two times as a Liberal candidate. He did not win. He owned land in Pembrokeshire. He raised Hereford cattle.

Rugby career
Davies played rugby in high school. He joined the first class Welsh team Cardiff RFC during the 1910-11 season. He stayed with the club for three seasons. He played 37 games. He played wing at Cardiff. He scored 27 tries.

Davies was picked for the Wales national rugby union team at the 1912 Five Nations Championship. He played wing in the game with England at Twickenham. Wales lost the match 8-0. He was not picked for the next two games. He was picked again for the last match of the championship. It was a home game with France at Rodney Parade in Newport. His team was losing the game 6-8 down at half-time. They played well in the second half. Davies team won the game 14-8. Davies scored two of the four tries. It was his last international game.

References

Further reading

1887 births
1979 deaths
British businesspeople
Sportspeople from Cardiff
Welsh rugby union players

Ewan Davies


Otto Johann Anton Dütsch  (also Otton Ivanovich Dyutsh; May 25, 1823 – April 23, 1863) was a Danish composer, who worked in St. Petersburg for most of his short career.

He was the son of Joachim Dütsch who worked for the Danish finance ministry and was also a music teacher at the Institute for the Blind. As a 5-year-old junior Dütsch was taught by  Giuseppe Siboni at the Copenhagen Conservatory. In 1840 he went to Dessau in Germany to study for 3 years. He then travelled to St. Petersburg in Russia, where he established himself as a music teacher. In 1852 he became chorus repetiteur and organist at the Imperial Russian Theatre in St. Petersburg, and in 1862 professor of music theory there. He died in 1863 in Frankfurt.

The most notable of his works is the opera Kroaterinden  (The Croatian Girl), which was successfully produced in St. Petersburg in 1860 with success, with excerpts played in Copenhagen in 1866 at the Euterpe music society. In addition he wrote songs and piano music.

See also
List of Danish composers

References

This article was initially translated from the Danish Wikipedia.

Male composers
1823 births
1863 deaths
19th-century Danish composers
19th-century male musicians

Otto Dütsch


"All These People" is the first single from Harry Connick Jr.'s 2007 album Oh my NOLA, and the single was released on iTunes on August 29, 2006. Music and lyrics by Harry Connick Jr.

The lyrics were inspired by the suffering Connick witnessed when he visited New Orleans in the days immediately following Hurricane Katrina. The song is all about the people who were left stranded at the Ernest N. Morial Convention Center. Each verse of the song is describing what he saw as he was led by a man he had met on the street earlier that day, named Darryl.

There were two dead bodies Connick saw when he first arrived at the convention center. Featured singer Kim Burrell asked that her voice specifically represent them. Burrell also asked that a final verse be added for her to sing, which Connick wrote in the studio.

Harry Connick Jr.'s favorite part of the performance is when Kim Burrell improvises the
line 'come see about me,' which, he says "was all those folks wanted that day, someone to come and see about them."

All proceeds from sale of the song will benefit New Orleans Habitat Musicians' Village.

References

External links
Music video "All These People" at CBSNews.com
Photo: "Singer Harry Connick Jr. prays over two dead bodies outside the New Orleans Convention Center", Sept. 1, 2005 at gallery.phillyburbs.com
"Connick devastated by conditions in hometown", Sept. 2, 2005 videoclips at msnbc.com

2006 singles
Charity singles
Harry Connick Jr. songs
Hurricane Katrina disaster relief charity singles
2006 songs
Songs written by Harry Connick Jr.
Columbia Records singles

All These People


Thomas O'Brien Butler (3 November 1861 – 7 May 1915; lost on the Lusitania), was an Irish composer who wrote the Irish-language opera Muirgheis (1903).

Biography
O'Brien Butler, as he was generally known, was born in Caherciveen, County Kerry, the youngest child of Pierce Butler (c.1804–1873), a shopkeeper in the village, and Ellen Webb (c.1818–1876). There is no source for his correct surname. Baker's Dictionary indicates that his surname was Whitwell; when he registered at the Royal College of Music in London, his name was noted as Thomas Whitwell-Butler. He does not seem to have been directly related to another O'Brien Butler family from Ireland who lost three brothers in World War I. He does however claim heritage to Lady Margaret O'Brien in his collection Seven Original Irish Melodies dedicating the first song 'Kincora; or the Lament for King Brian' to "My Great Mother Lady Margaret O'Brien, daughter of Donough O'Brien, Earl of Thomond."

Before going to London he grew up in an environment steeped in traditional music. His musical education began in Italy, but it is not known when and where exactly. He enrolled at the Royal College of Music in February 1897 at the rather advanced age of 35 and stayed for three terms only, studying composition with Charles Villiers Stanford and Walter Parratt. Baker's Dictionary also says that Butler travelled extensively and spent some time in India, where his opera Muirgheis was written, but it is not certain whether these travels took place before or after his London studies. A song composition published in Dublin in 1900 is dedicated to "His Highness Rajendrah Singh, Maharajah of Patiala" (see 'Selected works'). In an obituary, the Kerry Evening Post confirms that Muirgheis was written in Kashmir, northern India. After around 1900 he mainly lived in Kilmashogue, in the mountains above Rathfarnham, Dublin, in a house he had called Muirgheis.

After settling in Dublin, O'Brien Butler tried to align himself with some of Ireland's leading cultural figures. The diary entries of Lady Gregory indicate that in May 1900 he met with W.B. Yeats and George Moore in order to join the Celtic movement, although both were unimpressed by his talents. He did however find more support from the Gaelic League, which promoted his opera Muirgheis in their publication An Claidheanh Soluis.

Butler died during World War I, when a German torpedo hit the passenger vessel Lusitania on 7 May 1915 just off the southern Irish coast near Kinsale. Butler was on his way back from New York. Baker's Dictionary (1958 edition) claimed that he was on his way home from a concert performance of Muirgheis in New York, while other sources suggest he was returning from making "tentative arrangements for the production of his opera the following year". A photograph of the composer from the Cork Examiner, 11 May 1915, was reprinted in a 2004 documentary book. The Evening Ledger newspaper reported on 8 April 1915 under a photo of a moustachioed O'Brien Butler in a fez that "He wrote the music for the first purely Irish opera which has been produced in this country".

A friend of Thomas MacDonagh, O'Brien Butler was working on a trio of operas in Irish with him when he died in the Lusitania; MacDonagh died the next year, executed by a British Army firing squad after the Easter Rising.

Music
Butler wrote a number of songs and some chamber music, but Muirgheis remained his only major score. The plot of the opera abounds in Celticist clichés featuring "names redolent of Irish mythology such as Diarmuid, Donn, and a number of sea fairies", taking place "at the dawn of Christianity". The music makes use of pentatonic scales and numerous melodic and rhythmic allusions to Irish traditional music, but only once quotes from an original Irish lament in a tune Butler claimed he had known from his childhood. Muirgheis was promoted as "The first Irish opera." The libretto was written by Nora Chesson in English, and was translated to Irish by Tadhg Ó Donnchadha in 1909. The vocal score of 1910, published by Breitkop and Hartel contains both the English libretto and Irish translation. As the opera was only performed in 1903, using the English libretto, the first opera to be performed in the Irish language was actually Eithne (1909) by Robert O'Dwyer.

The reception of the work, particularly in terms of its musical quality, was highly controversial – both after a performance of excerpts in June 1902 and after its full performance in December 1903. A critic in the Irish Times wrote: "One would fain encourage Irish art, but it must be confessed that Muirgheis does not possess the elements of popularity. We do not think that it is more characteristically Irish than Stanford's Shamus O'Brien. […] Mr O'Brien Butler has not yet attained the art of writing a good opera." Another critic wrote "We are very sorry to have to criticise so severely a work intended to be thoroughly Irish. But it would be a bad service to Irish music to praise a composition merely because it is Irish." Others including John Millington Synge and Edward Martyn had more positive views.

The few other compositions by Butler that survived are small-scale chamber music pieces and songs, which, like the opera, make obvious attempts at reconciling Irish and European musical traditions. His Irish Sonata (1904) for violin and piano was championed by Arthur Darley for many years, while the song Kincora from the Seven Original Irish Melodies (1903) was a test piece for soprano at the Feis Ceoil (Irish competitive music festival) in May 1915.

Selected works
My Little Red Colleen (Mo Cailin Beag Ruadh), Irish Song ("Ita's Laureate"), Dublin: Pohlmann & Co. 1900 ("Dedicated to His Highness Rajendrah Singh, Maharajah of Patiala G.C.S.I."). See score at DIT Conservatory of Music and Drama, Dublin.
Muirgheis (Thadgh O'Donoghue, English version by Nora Chesson and George Moore), "(The First Irish Opera) in three acts" (1903). First performance: Dublin, Theatre Royal, 7 December 1903 (New York: Breitkopf & Härtel, 1910; plate no. L. 206.). Dedicated "To Clann na hÉireann".
Seven Original Irish Melodies (texts by James Clarence Mangan, Denny Lane, Dan Lynch, P.J. McCall, Ethna Carbery, J.J. Callanan, Edward Walsh; with Irish translations by Dan Lynch) for voice and piano (Dublin: Pigott, Gaelic League Offices, 1903).
Fódhla. Irish Sonata for violin & piano (London: Charles Woolhouse, 1904).

Bibliography
Obituary: The Musical Times 56 (1915) 868 (1 June), p. 352.
Joseph J. Ryan: Nationalism and Music in Ireland (PhD thesis, National University of Ireland, Maynooth, 1991; unpublished).
Axel Klein: Die Musik Irlands im 20. Jahrhundert (Hildesheim: Georg Olms, 1996).
Axel Klein: "Stage-Irish, or The National in Irish Opera 1780–1925", in: Opera Quarterly 21 (2005) 1, p. 27–67.
Axel Klein: "Butler, Thomas O'Brien", in: The Encyclopaedia of Music in Ireland, ed. Harry White & Barra Boydell (Dublin: UCD Press, 2013), p. 142–143.
 David Scott: "Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930" (MPhil, DIT, 2018).

External links
Biography (Irish)

References

1861 births
1915 deaths
20th-century classical composers
20th-century Irish male musicians
Alumni of the Royal College of Music
Deaths on the RMS Lusitania
Irish classical composers
Irish male classical composers
Irish music arrangers
Irish opera composers
Male opera composers
Musicians from County Kerry
People from Cahersiveen

Thomas O'Brien Butler


Tafuna () is a village in Tualauta County, Western District, American Samoa. It is the most populous village in American Samoa, with a population of 7,988 according to the 2020 U.S. Census, and is the center of nightlife on island.

Tafuna is the principal area for the development of housing and industry in American Samoa. It is one of the few places in American Samoa where the most freehold land is found. Public utilities, the international airport, and light industry are based on the Tafuna Plain. Tafuna's commercial strip is lined with businesses, government offices, recreational facilities, school institutions, service industries, and shops. It encompasses the constituent villages of Petesa, Faga'ima, Kokoland, and Ottoville.

Geography
The village of Tafuna compromises the eastern bulk of Tuālāuta County. Its defining geographical feature, the Tafuna Plain, is a Holocene era,  volcanic plain on Tutuila Island. Besides the plateau at A'oloaufou, the Leone-Tafuna Plain is the only major flat land on Tutuila Island. Late-stage volcanic eruptions formed the large flat plain. Near the Catholic church at Ottoville is an archeological park containing a well-preserved ancient Polynesian mound as well as a rainforest reserve.

Demographics

The population in American Samoa doubled in from 1978 to 1997. Most of this population growth took place on the Tafuna Plain and in the Pago Pago area. Nearly all of American Samoa's commercial development lies in the perimeter around Pago Pago and on the Tafuna Plain.

As one of the few places in American Samoa that allow for the private purchase of land, Tafuna has become the largest village in American Samoa and a melting pot of residents with different nationalities. A substantial number of residents who live in Tafuna have immigrated from near and distant villages and districts. As of the 2020 U.S. Census, Tafuna has more housing units than any other village in American Samoa, at 1,914 units.

Economic Activity

Tafuna holds a large concentration of businesses on island. Popular American fast-food franchises such as McDonald's opened in Tafuna in the year 2000. Pizza Hut, KFC, Checkers, and Subway's once operated in Tafuna. The American Samoa Power Authority (ASPA) is headquartered in Tafuna. Cost U Less, a major warehouse retailer, offers a wide variety of fresh groceries and general merchandise. Island's Choice Dairy Factory, which produces dairy products ranging from ice cream to juices, is headquartered in Ottoville.
Tafuna Industrial Park (TIP), also known as Senator Daniel K. Inouye Industrial Park, is operated through the Department of Commerce and its Tafuna Industrial Park Panel. TIP is located on a 100-acre lot near Tafuna Airport.

International Airport
Tafuna International Airport (Pago Pago Airport) is located in Tafuna. Pago Pago International Airport has the headquarters of Inter Island Airways. The construction of an airport at the Tafuna Plain was one of the major consequences of the military buildup in the early 1940s. Bulldozers were used to scrape away and clear a thick jungle, and explosives were later utilized to blast away obstructions and fill underwater areas. In March 1942, the main runway at Tafuna was constructed. It was 200 feet wide and 3,600 feet long and available to use for the first Marine Air Group's arrival.

The first airplanes of Marine Air Group 13 landed at the nearly finished Tafuna Air Base on April 2, 1942. The area surrounding the airstrip was primitive and difficult, mostly consisting of dense jungle. Four days after the air group's arrival, the first runway at Tafuna was constructed by the Utah Construction Company with assistance from the Marine Corps. The Tafuna Airstrip was 2,500 feet long and 250 feet wide. On July 18, 1962, the first jet-plane, Pan Am Boeing 707, arrived at Tafuna International Airport, carrying Stewart Udall, the Secretary of the Interior. Tafuna International Airport was once a major stop for many airlines traveling the trans-pacific route until the extension of Faleolo International Airport.

Hospitality Industry & Service Industry
Tradewinds Hotel on Main Ottoville Road in Ottoville has a day spa, resort pool, tour desk, and ATM. It is also the home of Equator Restaurant where shows such as fiafia performances are held Friday nights. The hotel was built in 2003. Other hotels in Tafuna are Maliu Mai Beach Resort and Pago Airport Inn, which is a motel-style inn with a restaurant and swimming pool. The Bowling Sports Club and Flames Night Club are the two main nightclubs on island. They have bars, laser light displays, and a stage for the DJ to play or remix recorded music. Renowned music artists such as Mr. Cowboy and Victor Elisara have performed at the Bowling Sports Club in 2023.

Other
A modern prison was built near the Tafuna Airport for 28 inmates in 1970. In September 2016, a new Tafuna government prison opened. The prison was built for male prisoners at a cost of approximately $4 million.

Religion
The Cathedral of the Holy Family (1986) located in the village is the episcopal see of the Roman Catholic Diocese of Samoa–Pago Pago. The Christian Church of American Samoa (CCCAS) made plans to construct a church center in Tafuna in 1982. Near the vicinity of the church center, Kanana Fou Private School was built in the village in 1979 for the Congregational Christian Church in American Samoa. The first phase of the construction of the center, which was named Kanana Fou, was completed by 1984. In 1997 a multimillion-dollar gymnasium and athletic facility was completed. Kanama Fou had now become a large religious center for seminars, conferences, athletic- and youth activities, and many more community uses. Tafuna also became the center of American Samoa's Catholic Church. Construction began on the cathedral, church hall, dormitories, and other support buildings in the 1980s and 1990s. Construction of the new complex, known as Fatu O Aiga, was completed at the cost of $3 million.
The Holy Family Cathedral at Fatuoaiga has a display of wood-carvings by artist Sven Ortquist.

Education
Tafuna High School is the largest, most urban, and also the most cosmopolitan high school in American Samoa. It opened in 1982 with a total of 100 enrolled students. It is the newest of the five public high schools in American Samoa and has 1,200 enrolled students as of 2018. The high school's football team practices on a rippled grass expanse in the center of the high school campus. The Tafuna Warriors football team experienced a championship streak from 2011 to 2013 in the American Samoa High School Athletics Association (ASHSAA) football. The team also claimed both the 2018 Varsity and Junior Varsity championship titles, with undefeated records in both divisions.

Currently, the only university with a campus in American Samoa, Wayland Baptist University, is located in Tafuna. It offers bachelor degrees in various fields.
Tafuna is home to the most accessible of American Samoa's star mounds, known as Tia Seu Lupe. This can be seen right behind the statue of St. Mary near the large Catholic cathedral. The name literally translates to "earthen mound to catch pigeons." The star mound is almost ten feet high and is one of the best-preserved mounds on the island. It is believed to have been used in rituals by tribal chiefs to capture pigeons for an unknown rite. Similar step-stone mounds can be found throughout Polynesia.

The Holy Family Catholic Cathedral from 1994 is situated at the Ottoville district on the Tafuna Plain. It contains a picture of the Holy Family on a Samoan beach painted by Duffy Sheridan in 1991. Samoan artist Sven Ortquist did the fourteen deep-relief Stations of the Cross and other woodcarvings and also designed the stained glass windows. Adjacent to the Fatuoaiga Catholic Church Center is a historic park with restored tia seu lupe (a pigeon-catching mound) that resembles the later marae of Eastern Polynesia. The park is located next to the only part of low-land rainforest still found on Tutuila Island.

Lions Park sits along the Pala Lagoon in Tafuna and is a public park under the jurisdiction of American Samoa Government Parks and Recreation. Recreational use of Pala Lagoon is centered around Lions Park. The park is home to picnic tables, tennis courts, and a children's playground. Canoes, rafts, and kayaks are launched from the park. The Pala Lagoon Swimming Center is a community swimming pool at Lions Park which was built in 2017. Pala Lagoon Swim Center has three swimming pools, water slides, and a splash pad. Next to the swim center is Lion's Park, which consists of tennis courts, a playground, a basketball court, and volleyball nets. There are also several fales with grills and picnic tables.

Landmarks
Veterans Memorial Stadium
Cathedral of the Holy Family
Tradewinds Hotel
Lions Park
Tia Seu Lupe historical site at Fatuoaiga
Tony Sola'ita Baseball Field
DYWA Gym
Pacific Horizon School
Tafuna Elementary
South Pacific Academy
Kanana Fou High School
Nu'u'uli Vo-Tech High School
Tafuna High School
American Samoa US Army Reserve Center (AS004)

Notable people
 Jonathan Fanene, former NFL player
 Frankie Luvu, NFL player
 Junior Siavii, former NFL player
 Destiny Vaeao, NFL player
 Tony Solaita, MLB player, killed at Tafuna

References

External links
 GCatolic - Samoa-Pago Pago diocese

Tutuila
Villages in American Samoa

Tafuna, American Samoa


Olivier De Schutter (born 20 July 1968) is a Belgian legal scholar specialising in economic and social rights. He served as the United Nations Special Rapporteur on the right to food from 2008 to 2014. He is a Professor of international human rights law, European Union law and legal theory at the University of Louvain (UCLouvain) in Louvain-la-Neuve, Belgium, as well as at the College of Europe and at Sciences Po in Paris. He was a regular visiting professor at Columbia University between 2008 and 2012 and has regularly contributed to the American University Washington College of Law's Academy on Human Rights and Humanitarian Law. He is the first chair of the Belgian Advisory Council on Policy Coherence for Development and he co-chairs the International Panel of Experts on Sustainable Food Systems (IPES-Food), a group of experts from various disciplines and regions who work together towards developing proposals for food systems reform. A Member of the UN Committee on Economic, Social and Cultural Rights between 2015 and 2020, he was appointed the UN Special Rapporteur on extreme poverty and human rights, and took up his functions on May 1, 2020.

Background
The son of a diplomat, his primary and high school education took place in Bombay (now Mumbai), India; Jeddah, Saudi Arabia; and Kigali, Rwanda. He studied law at the University of Louvain (UCLouvain), Panthéon-Assas University and Harvard University, before obtaining a Ph.D. from the UCLouvain. His doctoral thesis, a comparative study of the role of courts in fundamental rights adjudication, was published in French as Fonction de juger et droits fondamentaux. Transformation du contrôle juridictionnel dans les ordres juridiques américain et européens, Bruxelles, Bruylant, 1999, 1164 pp. His subsequent publications are in the areas of governance and human rights, with a particular focus on the issue of globalization and human rights and economic and social rights more generally, and on the protection of fundamental rights in the European Union. Among his books on human rights are International Human Rights Law. Cases, Materials, Commentary, initially published by Cambridge University Press in 2010 and which went through a second and third, revised editions in 2014 and 2019. He also published extensively on economic globalization and human rights, most notably advocating in favor of improving linkages between trade policies and labour rights and environmental standards (Trade in the Service of Sustainable Development, Hart/Bloomsbury, 2015) and making proposals for a more sustainable and democratic governance of natural resources, such as land and water (Governing Access to Essential Resources, Columbia Univ. Press, 2016, co-edited with K. Pistor; and Foreign Direct Investment and Human Development, Routledge, 2012, co-edited with J.F. Swinnen and J. Wouters).

In his work, he seeks to link the human rights principles of participation, accountability, and non-discrimination, with the idea of learning-based public policies, that are  permanently tested and revised in the light of their impact on the poorest and most vulnerable. His current work focuses on transition towards sustainable societies, in which he mobilizes various disciplines including economics, social psychology, political science, and feminist theory.

Since the mid-1990s, Olivier De Schutter has been involved in various capacities in the debates on improving governance in the EU, and on fundamental rights in the EU. In 1995–1997, he co-organized a seminar on reforming governance in the EU with the Forward Studies Unit of the European Commission, a seminar that later, following the fall of the Santer Commission, was influential in shaping the White Paper on Governance published in July 2001 by the European Commission. Between 2002 and 2007, he coordinated the EU Network of Independent Experts on Fundamental Rights, a high-level group of experts established at the request of the European Parliament to provide recommendations to the EU institutions on the implementation of the EU Charter of Fundamental Rights and to report on the situation of fundamental rights in the EU. In 2013, he was appointed a member of the EU's Fundamental Rights Agency's Scientific Committee.

His key proposals for the introduction of a learning-based governance in the EU, building on local social innovations to accelerate the shift to sustainable societies and thus to support the ecological and social transition, are summarized in a report he presented at the 2014 International Francqui Conference . His views were strongly influenced by democratic experimentalism, as promoted by Roberto M. Unger, a Harvard Law School professor under whom De Schutter studied, and Charles F. Sabel, a Columbia Law School colleague with whom he co-taught a seminar on governance in the EU during a few years. To democratic experimentalism as exposed by Unger or Sabel, De Schutter adds an emphasis on social innovations originating within communities in which sufficient social capital is present to allow for collective action to develop. In that sense, sociodiversity—the proliferation of social innovations, often at local level and linked to local resources and motivations—is seen as a key asset to build resilient and sustainable societies, and governance should support such innovations. The implication is a radical view about democracy: rather than democracy being just a characteristic of the political system, it should be a characteristic of society as a whole, and rather than democracy being about the "People" electing representatives to design solutions for them, it should mean creating space for people to invent their own solutions to surmount the obstacles they face.

This view also permeates his interpretation of food sovereignty, as being primarily about food democracy and the ability for people to invent alternatives to the mainstream food system . It also guides his role within IPES-Food, the International Panel of Experts on sustainable food systems : IPES-Food seeks to develop proposals for food systems reform by involving social actors and building on social innovations, in a transdisciplinary demarche that unlocks obstacles to reform by democratizing food systems and squarely addressing political economy issues delaying change—vested interests, dominant narratives, and economic and political monopolies.

He is also a supporter of the Campaign for the Establishment of a United Nations Parliamentary Assembly, an organisation which campaigns for democratic reform in the United Nations, and the creation of a more accountable international political system.

United Nations Special Rapporteur

As the United Nations Special Rapporteur on the right to food, De Schutter presented reports to the UN Human Rights Council and to the UN General Assembly on various aspects of the right to food. He also conducts official visits that lead to reports being prepared to the attention of the governments concerned and to the international community: such missions took place, inter alia, in Benin, Brazil, Cameroon, China, Guatemala, Madagascar, Mexico, Nicaragua, South Africa and Syria. Although he worked mainly in developing countries, he also took interest in advanced economies such as Canada, conducting an 11-day formal investigation in Canada during 2012. As Special Rapporteur he has released official reports on agroecology, nutrition, contract farming, fisheries, gender and other key issues tied to securing the right to food, and throughout has advocated the need for smallholder farmers to be at the centre of food security strategies and urged countries to reinvest in their agricultural sectors rather than rely on imports from volatile world markets. He has also been critical of large-scale land acquisitions and biofuel production in food insecure countries. A summary of his conclusions is provided in his final report to the UN Human Rights Council .

De Schutter is featured in Marie-Monique Robins 2012 documentary Crops of the Future, where his encouraging study of agro-ecology and the solutions to our planet's food crisis is presented.

Between 2015 and 2020, Olivier De Schutter was a member of the UN Committee on Economic, Social and Cultural Rights, an expert body tasked with the supervision of the International Covenant on Economic, Social and Cultural Rights. The Committee meets for three sessions each year, receiving country reports and assessing individual communications under an Optional Protocol that entered into force in May 2013.

In his capacity of UN Special Rapporteur on extreme poverty and human rights, Olivier De Schutter presented an initial report on how to combat poverty within planetary boundaries, making the case for a "just transition" as part of "building back better" after the Covid-19-induced economic crisis. His subsequent reports focused on the inter-generational transmission of poverty, highlighting discrimination against people in poverty and insufficient investment in early childhood as key factors explaining the perpetuation of poverty. He also worked extensively on the obstacles to the adoption by all countries of social protection floors, advocating since 2012 on the need to establishing a new international financing facility to that effect, called the Global Fund for Social Protection and dedicating a report to the issue of the "non-take-up of rights" in the field of social protection.

Olivier de Shutter maintains autumn 2022 is the wrong time for the UK to bring more austerity.  This may violate international human rights obligations and worsen hunger and malnutrition.  Olivier de Schutter maintained he was "extremely troubled" by probable multibillion-pound spending cuts which may include reductions in welfare payments for millions of the poorest in the UK.  Olivier de Shutter said "You do not impose austerity measures when the whole population is facing a cost of living crisis. What you do is you raise taxes on the rich, you raise taxes on corporations."  Olivier de Shutter fears poor children will eat less and will be malnourished, which will prevent them learning at school.

International Federation for Human Rights
Before being appointed the UN Special Rapporteur on the right to food, De Schutter was the General Secretary of the International Federation for Human Rights, and international human rights non-governmental organisation based in Paris focused on the issue of globalization and human rights (2004–2008).

Distinctions
In 2013, Olivier De Schutter was awarded the prestigious Francqui Prize, in recognition of his contributions to the theory of governance, EU law, and international and European human rights law. He was awarded the James Beard Foundation Leadership Award in 2018, for his work on food systems reform.

Filmography
BBC Horizon: "How Many People Can Live on Planet Earth" m27s19~m28s35 (Dec 2009), with David Attenborough
Tomorrow (Demain): intervention in themes of agriculture and alimentation rights. (2015, Cyril Dion et Melanie Laurent)
Seeds of Profits (2019, Linda Bendali)

References

External links
 Keynote Address by Olivier De Schutter, UC Berkeley Food Institute Inaugural Symposium, May 2013 - YouTube
 Marie-Monique Robin: Les moissons du futur (Crops of the Future- How to feed the world in 2050?), 90', Coproduction: ARTE France, M2R Films, CFRT, SOS Faim Belgique

United Nations special rapporteurs
Academic staff of the College of Europe
Paris 2 Panthéon-Assas University alumni
International Federation for Human Rights
Belgian legal scholars
Living people
Harvard Law School alumni
1968 births
Belgian officials of the United Nations

Olivier De Schutter


A Bayer filter mosaic is a technology used in sensors for digital photography. Eastman Kodak first made the filters and patented them in the 1970s. The Bayer filter uses a grid of filters. Half of them are sensitive to green, a quarter each is sensitive to red or blue. In 2021, most image sensors used in digital cameras used a Bayer filter.

Digital signal processing

Bayer filter


The Institute of American Indian Arts (IAIA) is a public tribal land-grant college in Santa Fe, New Mexico, United States. The college focuses on Native American art.  It operates the Museum of Contemporary Native Arts (MoCNA), which is housed in the historic Santa Fe Federal Building (the old Post Office), a landmark Pueblo Revival building listed on the National Register of Historic Places as Federal Building. The museum houses the National Collection of Contemporary Indian Art, with more than 7,000 items.

History
The Institute of American Indian Arts was co-founded by Lloyd Kiva New (Cherokee, 1916–2002) and Dr. George Boyce in 1962 with funding from the Bureau of Indian Affairs. The school was founded upon the recommendation of the BIA Department of Education and the Indian Arts and Crafts Board. Three factors led to the school's founding: growing dissatisfaction with the academic program at the Santa Fe Indian School, the BIA's emerging interest in higher education, and the influence of the Southwest Indian Art Project and the Rockefeller Foundation.

IAIA began on the SFIS campus in October 1962. From 1962 to 1979, IAIA ran a high school program, and began offering college- and graduate-level art courses in 1975. In 1986, the Institute of American Indian and Alaska Native Culture and Arts Development was congressionally chartered as a nonprofit organization, similar to the structure of the Smithsonian Institution, which separated the school from the BIA. It was designated a land-grant college in 1994 alongside 31 other tribal colleges. In 2001, the school was accredited, including the accreditation of four year degrees. A two-year low-residency MFA in creative writing was accredited in 2013.

Today, IAIA sits on a  campus  south of downtown Santa Fe and also operates the Museum of Contemporary Native Art, which is located in Santa Fe Plaza, as well as the Center for Lifelong Education.

IAIA Museum of Contemporary Native Arts

In 1991 the college founded the Institute of American Indian Arts Museum, now the IAIA Museum of Contemporary Native Arts (MoCNA), in downtown Santa Fe, with a focus on contemporary intertribal Native American art, the MoCNA is housed in the historic Santa Fe Federal Building (the old Post Office), a landmark Pueblo Revival building listed on the National Register of Historic Places. The museum also features the Allan Houser Sculpture Garden.

Partnerships
IAIA is a member of the American Indian Higher Education Consortium, which includes tribally and federally chartered institutions working to strengthen tribal nations and make a difference in the lives of American Indians and Alaska Natives. IAIA generally serves geographically isolated populations of Native Americans that have few other means of accessing education beyond the high school level.

During the early 1970s, faculty member Ed Wapp, Jr.'s E-Yah-Pah-Hah Chanters toured nationally with the Hanay Geiogamah's American Indian Theatre Ensemble, a company in residence at La MaMa Experimental Theatre Club in New York City. A program from this tour describes the musical ensemble as "students from the Institute of American Indian Arts at Santa Fe, N.M., and are under the direction of Ed Wapp, Jr. Their music is presented in both the traditional and contemporary American Indian forms. Songs are selected from the Plains, Eastern, Great Basin, Southwest and Northwest Coast areas of Indian Country."

Notable faculty

 Imogene Goodshot Arquero, Oglala Lakota beadwork artist
Louis W. Ballard, Quapaw/Cherokee composer
Gregory Cajete, Santa Clara Pueblo ethnobiologist and author
Karita Coffey, Comanche ceramist
Jon Davis, European-American poet
Lois Ellen Frank, cultural anthropologist and food historian
Allan Houser, Chiricahua Apache sculptor
Charles Loloma, Hopi jeweler
Otellie Loloma, Hopi potter, sculptor, painter
Linda Lomahaftewa, Hopi/Choctaw printmaker
Larry McNeil, Tlingit/Nisga'a photographer
 N. Scott Momaday, Kiowa writer
 Josephine Myers-Wapp, Comanche textile artist
 Wendy Ponca, Osage Nation fashion designer and textile artist
Fritz Scholder, Luiseño painter
Arthur Sze, Chinese-American poet
James Thomas Stevens, Akwesasne Mohawk poet and writer
Azalea Thorpe; an award for the fiber arts program is named in her honor
Charlene Teters, Spokane painter and installation artist
Gerald Vizenor, White Earth Ojibwe writer
 Will Wilson, Diné photographer
 Elizabeth Woody, Navajo/Tenino (Warm Springs)/Wasco-Yakama artist and author
Melanie Yazzie, Navajo printmaker
 William S. Yellow Robe, Jr., Assiniboine writer

Notable alumni

 Marcus Amerman, Choctaw Nation beadwork artist
 Ralph Aragon, Pueblo painter and sculptor
 Katie Doane Tulugaq Avery, Iñupiaq filmmaker
 Alexandra Backford, Aleut painter
 Esther Belin, Diné multimedia artist and writer
 Sherwin Bitsui, Navajo poet
 Diane Burns, Anishinaabe/Chemehuevi poet
 Jackie Larson Bread, Blackfoot beadwork artist
 T.C. Cannon (Kiowa/Caddo, 1946–1978), painter and printmaker
 Sherman Chaddlesone (Kiowa, 1947–2013), painter
 Eddie Chuculate, Muscogee/Cherokee author and journalist
 Kelly Church, Odawa/Ojibwe/Potawatomi basket maker, birchbark biter
 Karita Coffey, Comanche ceramic artist
 Bunky Echo-Hawk, Pawnee/Yakama painter
 Anita Fields, Osage/Muskogee ceramicist
 Bill Glass Jr., Cherokee Nation ceramic artist and sculptor
 Gina Gray (Osage, 1954–2014), printmaker and painter
 Benjamin Harjo Jr., Shawnee/Seminole painter and printmaker
 Joy Harjo, Muscogee poet and jazz musician, US Poet Laureate
 Allison Hedge Coke, American author
 Kevin Locke, Lakota/Anishinaabe hoop dancer
 Gerald McMaster, Plains Cree Siksika First Nation author, artist, and curator
 Melissa Melero-Moose, Northern Paiute/Modoc mixed-media artist, curator, and cofounder of the Great Basin Native Artists
 America Meredith, Cherokee Nation painter, printmaker, and curator
 Dan Namingha, Hopi-Tewa painter and sculptor
 Jody Naranjo, Santa Clara Pueblo potter
 Jamie Okuma, Luiseño/Shoshone-Bannock beadwork artist and fashion designer
 Tommy Orange, Cheyenne-Arapaho best-selling novelist
 Mary Gay Osceola, Seminole painter and printmaker
 Chris Pappan (Kaw/Osage/Cheyenne River Lakota), ledger artist
 Kevin Red Star, Crow painter
 Layli Long Soldier, Oglala Lakota poet, writer, and artist.
 James Thomas Stevens, Akwesasne Mohawk poet
 Roxanne Swentzell, Santa Clara Pueblo ceramic artist and sculptor
 Charlene Teters, Spokane painter and installation artist
 Randy'L He-dow Teton, Shoshone-Bannock model for Sacajawea Gold Dollar coin
 Hulleah Tsinhnahjinnie, Seminole/Muscogee/Diné photographer, writer, curator, and educator
 Marty Two Bulls Sr, Lakota artist
 Marie Watt, Seneca textile artist, printmaker and conceptual artist
 Terese Marie Mailhot, Sto:lo writer
 Jolene Yazzie, Navajo graphic designer
 Debra Yepa-Pappan, Jemez Pueblo/Korean digital multimedia artist and museum professional
 Alfred Young Man, PhD (Chippewa-Cree), painter, author, professor
Vernon Bigman, Abstract Painter

Notable administration and staff
 Lloyd Kiva New (Cherokee, 1916–2002), co-founder and president
Joseph Sanchez, curator and artist, one of the Indian Group of Seven
Duane Slick, (born 1961) painter, taught at IAIA from 1992 until 1995.

See also

 C.N. Gorman Museum, similar to the IAIA Museum of Contemporary Native Arts, and has a contemporary intertribal Native art focus.

References

External links

Native American arts organizations
Native American museums in New Mexico
American Indian Higher Education Consortium
Art museums and galleries in New Mexico
Art schools in New Mexico
Buildings and structures in Santa Fe, New Mexico
Education in Santa Fe, New Mexico
Museums in Santa Fe, New Mexico
Native Americans in Santa Fe, New Mexico
Pueblo Revival architecture in Santa Fe, New Mexico
School buildings on the National Register of Historic Places in New Mexico
Public universities and colleges in New Mexico
University museums in New Mexico
National Register of Historic Places in Santa Fe, New Mexico
Federal buildings in the United States
1962 establishments in New Mexico
Universities and colleges established in 1962
1962 in art

Institute of American Indian Arts


The Forest Theater is an historic amphitheater in Carmel-by-the-Sea, California. Founded in 1910, it is one of the oldest outdoor theaters west of the Rockies. Actor/director Herbert Heron is generally cited as the founder and driving force, and poet/novelist Mary Austin is often credited with suggesting the idea. As first envisioned, original works by California authors, children's theatre, and the plays of Shakespeare were the primary focus. Since its inception, a variety of artists and theatre groups have presented plays, pageants, musical offerings and other performances on the outdoor stage, and the facility's smaller indoor theatre and school.

History

Forest Theater Society

Herbert Heron came to Carmel in 1908.  He had worked extensively on the stage in Los Angeles and came from a background of writers and dramatists.  On a visit from Los Angeles, Heron fell in love with the village by the sea.  He soon settled in Carmel, bringing with him his young bride Opal Heron, the daughter of a Polish Count.

In 1910, the Herons found a concave hillside looking out, surrounded by oaks and pines, and thought it would be an ideal space for an outdoor theater.  Heron's idea was to stage plays by Carmel authors starring local residents – a true community theater.  He approached James Franklin Devendorf, co-founder of the Carmel Development Company, and asked about purchasing the plot for such a purpose.  Devendorf, wanting to attract artistic spirits and "brain workers" to the nascent village, i.e. teachers, librarians, etc., agreed and let Heron have the space rent-free. He assisted in the clearing the land and building the stage.

By February 1910, construction began on the theater.  It was a simple plan:  a wooden proscenium stage with a scrim of pines and plain wooden benches.  Meanwhile, Heron was busying organizing the first production with the help of the newly minted Forest Theater Society.

The first theatrical production, David, a six-act biblical drama written by Constance Lindsay Skinner under the direction of Garnet Holme of Berkeley, inaugurated the Forest Theater on July 9, 1910. Reviewed in both Los Angeles and San Francisco it was reported that over 1,000 theatergoers attended the production. Heron produced and acted in the play as David. Helen MacGowan Cooke played the character Michal, Joseph W. Hand as Hushai, as well as a cast of other local carmelites.

There was no electricity at the theater. In 1910, Calcium floodlights were brought by covered wagon from Monterey to light the stage. Two bonfires were also lit in semi-circular stone firepits on opposite ends of the proscenium, a tradition which continues today. In 1912, the first electric lights were used.

In July 1911, Shakespeare's Twelfth Night opened the second season at the Forest Theater. Garnet Holme was the producer. The Forest Theater Society produced several other plays in the next few years.  Of note was the 1911 production of the play The Land of Heart's Desire given by the Carmel Arts and Crafts Club, and the 1912 ancient Egyptian production of The Toad, a play written by Bertha Newberry, the wife of Perry Newberry, an early Carmel leader.  Also produced that year was the first children's play staged at the Forest Theater, Alice in Wonderland, adapted by Newberry and painter Arthur Honywood Vachell.

Western Drama Society & Carmel Arts & Crafts Club

There was so much enthusiasm for live theater, and varying ideas on how the Forest Theater should be run, that two additional theater groups began participating – The Western Drama Society (including Heron and other members of the Forest Theater Society), whose goal was to focus on California authors, and the already-established Carmel Arts and Crafts Club, which had been active in the town since 1905.

In 1913 theatergoers witnessed four new productions: the Robin Hood drama entitled Runnymede, Newberry's play for children Aladdin, Mary Hunter Austin's Fire starring George Sterling and directed by Austin herself, and Takeshi Kanno's poem-play Creation-Dawn.  A troublesome split in the ranks of the theater literati caused Sterling and Heron to found an alternative theater society, the California (or Western) Drama Society; the factions were eventually reconciled and returned to the Forest Theater. In 1915, a season that boasted 11 separate productions, audiences saw the premiere of Newberry's Junipero Serra, a historical pageant focusing on the life of Father Junípero Serra with Frederick R. Bechdolt as Serra; and Joseph W. Hand in his 7 Aug 1915 farewell appearance in the play The Man From Home, written by Harry Leon Wilson and Booth Tarkington In 1916 two of the celebrated productions were Yolanda of Cyprus and The Piper, in which four Carmel artists acted and painted scenery: Arthur Vachell, Mary DeNeale Morgan, William Frederic Ritschel, and Laura W. Maxwell.

Other Carmel artists who volunteered their time as actors and set designers include: Cornelius Botke, Ferdinand Burgdorff, Theodore Criley (remembered today for his "duel" outside the theater with Harry Leon Wilson), Josephine M. Culbertson, Homer Emens, William Kegg, Xavier Martinez, Paul Mays, Jo Mora, Ira Mallory Remsen, Herman Rosse, George Seideneck, William Silva, and Hamilton Wolf.  The ensuing decade saw the Forest Theater reach the height of production, with 50 plays and musicals staged between 1915 and 1924, including a 1922 production of Shaw's Caesar and Cleopatra, when director Edward G. Kuster was almost run out of town for erecting a giant backdrop that hid Carmel's beloved canopy of trees. Kuster defended himself admirably, noting that the play was, after all, set in a desert! Photographer Lewis Josselyn (1883-1964) was the official photographer for the Forest Theater Society. The California State Library has a large collection of his images from the plays produced at the theater. Remsen, a local painter and playwright, produced Inchling in 1922 and Mr. Bunt in 1924 at the Forest Theater.

Unfortunately, this overabundance of plays became a serious strain on resources, such as players, donations and attendees, which were, understandably, spread thin.  Inevitably, factional strife erupted between the groups and the quality of theater in Carmel began to decline.  In 1924, in order to solve this dilemma and rebuild a healthy theater scene, the competing producing organizations disbanded, and under the auspices of the Carmel Arts and Crafts Club, the Forest Theater Corporation was created as a unifying entity to produce and manage the plays staged at the Forest Theater. In 1927, the Carmel Arts and Crafts Club and theater were sold to the Abalone League  and the proceeds were used to pay off the Forest Theater debts.

Once again, the picturesque outdoor theater became extremely popular in the small village and everyone, it seemed, added to the creative process.  The town's many carpenters and woodworkers built highly intricate sets; those handy with a thread and needle created costumes. And just about everyone found their way on stage.  Productions at the Forest Theater were truly a village affair.  The resulting success enabled the Carmel Club of Arts & Crafts to buy the land from the Carmel Development Company in 1925.  The Forest Theater Corporation continued to produce plays throughout the 1920s and early 1930s.  While the state of theater in Carmel was in a precarious position due to a glut of indoor theaters and theatrical companies, the Forest Theater continued to flourish.  In 1934, the Forest Theater saw its 100th major production, The Man Who Married a Dumb Wife, by Anatole France.  Heron directed the comedy, which featured set and costumes designs by Helena Heron.

On July 22, 1922, the Carmel Woods subdivision was opened to the public with 119 homesites offered for sale. The opening day, coincided with Serra Day, officially proclaimed as a holiday by the town trustees of Carmel; and the Serra festival featuring Garnet Holme's Carmel Mission play Serra, at the Forest Theater.

Great Depression

The Great Depression struck and it affected all aspects of local life. The Forest Theater had accumulated debt that had taken its toll. In September 1936, Inchling was presented again under the direction of Byington Ford. The revival of Inchling, and accompanied village fair at the theater grounds, brought in a profit of $1,000 (), which reduced the theater's debt. When repairs were needed and no money could be found from local donors, the idea of applying for WPA money was proffered.  Funds were only available to government entities and the private non-profit Arts & Crafts Club was not eligible.  In 1937, it was decided to deed the Forest Theater to the City of Carmel-by-the-Sea in order to obtain WPA funds for major renovations, with the stipulation that the facility would be a public park and "continue outdoor theater performances."  Improvements to the facility included building new benches, laying a concrete foundation for the stage, and replacing the surrounding barbed-wired fences with a traditional grape-stake fence. The Forest Theatre was unused during the three years of renovations.

In 1937, the property was deeded to the City of Carmel-by-the-Sea in order to qualify for federal funding and, in 1939, the site became a Works Progress Administration (WPA) project. The WPA rebuilt the outdoor theatre and created an indoor facility beneath the outdoor stage, the site re-opened as The Carmel Shakespeare Festival, with Herbert Heron as its Director, and, with the exception of the World War II years of 1943–44, the festival continued through the late 1940s. In 1949, Heron and twenty villagers started the first Forest Theater Guild. In 1958, the City Council instituted an Arts Commission, charged with operation and maintenance of the Forest Theater. The guild remained active until it disbanded in 1961, after which the outdoor theatre lay unused and neglected for over a decade.

Carmel Shakespeare Festival

With a rejuvenated space, the Forest Theater was ready to get back into the theater business.  The works of Shakespeare had proven highly popular beginning with Heron's 1911 production of Twelfth Night, and upon completion of the WPA project, Heron formally resumed productions with the inauguration of the Carmel Shakespeare Festival in 1940.  The festival offered Shakespeare, including Macbeth, Hamlet, Julius Caesar and As You Like It, as well as the works of Carmel authors, including the first local production of Robinson Jeffers' The Tower Beyond Tragedy.  With the advent of World War II, however, mandatory blackouts were ordered for coastal towns and cities.  The residents of Carmel participated and halted all Forest Theater activity, essentially closing the facility in 1943–44, and again in 1946.  From 1947 to 1949, the facility resumed annual productions of Shakespeare and local authors. The Carmel Shakespeare Festival was reactivated in 1990 Pacific Repertory Theatre (see below).

Forest Theater Guild
Throughout this time, Herbert Heron maintained his intense involvement with the Forest Theater, continuing to write, produce, direct and star in productions.  Growing tired of the constant activity, Heron retired from active involvement.  Theater was in Heron's blood, though, and he could not completely leave the theater behind.  As part of deeding the Forest Theater to the City of Carmel-by-the-Sea, the City took over responsibility for the physical plant.  Realizing that a supporting organization was needed for the City-owned facility, Heron organized and co-founded the Forest Theater Guild in 1949.  Guided by Cole Weston and Philip Oberg, the Forest Theater Guild began to produce plays by local authors, Shakespeare, and classic drama. In 1961, the original Forest Theater Guild ceased operations.

End of Heron era

In 1960, Herbert Heron finished his 50th year with the Forest Theater with his own play, Pharaoh.  By 1963 the theater had shown over 140 plays, including 64 premieres and dramatizations by California authors. Numbered among these productions were those by Shakespeare, George Bernard Shaw, Greek tragedies, local history, children's plays, light operas and musical comedies. Following a brief illness Herbert Heron died on January 8, 1968, at the age of 84.

Despite some continued play production, parts of the theater were left in disrepair.  Upkeep was not maintained by the city and, during the mid-1960s, the wood in the stage and seating rotted and the grounds became rundown.  By this time, the Forest Theater Guild had closed and abandoned the facility, and, with a few minor exceptions, no plays were being shown on the main stage.  The city began to use the site for other purposes, such as a Boy Scout camp, and a corporate yard.  The Cultural Commission recommended to the City that either repairs should be made to the aging Forest Theater, or it should be unloaded from the city's holdings.  At that time, no action was taken.  In 1966 the usefulness of the Forest Theater was discussed at City Council during the 1966-1967 budget meetings.  Discussions included whether it was cost-effective to keep the theater, resulting in an uproar by Carmelites determined to save the historic site.  In 1968, to keep the Forest Theater in use, Cole Weston, who had then become the city's first Cultural Director, leased the Theater-in-the-Ground to the then-homeless Children's Experimental Theatre.

Children's Experimental Theater
From 1968 to 2010, Marcia Hovick's Children's Experimental Theatre (CET), leased the indoor theater, which is now operated by Pacific Repertory Theatre's School of Dramatic Arts (SoDA). Formed in 1960 by Marcia Hovick to develop "creative confidence" through theatre training, CET had been using space at the Golden Bough Playhouse and Sunset Center, and needed a permanent place for their activities.

In 1969, Hovick formed a new production entity called the Staff Players Repertory Company, staging classic drama on the small Indoor Forest Theater stage. In 1971, a second Forest Theater Guild was established by Cole Weston, and the group began producing summer musicals and community plays on the outdoor stage. In 2010, after 50 years of continuous business, CET ceased operations. The lease on the school was then given to Pacific Repertory Theatre for its ten-year-old School of Dramatic Arts (SoDA).

Threat of Closure and revival of Forest Theater Guild

In spite of this new use of the Forest Theater, the main stage remained dark and, once again, reservations about the usefulness of the theater were voiced.  In 1971, the Cultural Commission considered closing the theater for good. Again, the residents of Carmel rose up and voiced their opposition. A second Forest Theater Guild was created, this time as a nonprofit organization, with former president Cole Weston as the new Guild President. In order to raise needed funds, as well as draw attention to the possible closure, the new group produced a staged reading of Robinson Jeffers' Medea and The Tower Beyond Tragedy, which featured a noted performance by actress Dame Judith Anderson. In 1971, the Guild officially incorporated.

Mayor Gunnar Norberg and Weston played a role in a campaign to preserve the Forest Theater. Recognizing the theater's cultural significance and historical value, they rallied the community, igniting a collective effort to ensure its survival for future generations. In 1972, to raise funds for the Theater's preservation, Norberg and Weston staged their first full production of William Shakespeare's Twelfth Night. The success of this production showed the city that there was still public interest and support for the Forest Theater. The city council commissioned a study to evaluate the efficacy of the theater.  The public was invited to comment and, after several months of often heated discussions, several recommendations were made:  The city council decided to continue city operation of the facility, and the outdoor theater would be leased to the Forest Theater Guild on a two-year trial basis. The trial was a success, and the lease with the Forest Theater Guild was renewed.  Over the next several decades, the Guild produced over 20 major plays, including Moon for the Misbegotten and A Long Day's Journey into Night. In 1997, the guild began Films in the Forest, a series of first-run movies, classic feature films, and documentary film screenings. These cinema favorites included classics such as Band Wagon and family favorites such as Finding Nemo.

In 2019, the Forest Theater Guild was informed by Sunset Center (the organization which currently manages the venue) that they would no longer be able to stage live performances there, limiting their options to showing films. However, this course was later reversed.

Closings and reopenings
On April 23, 2014, the facility was shuttered due to health and safety issues caused by years of deferred maintenance. In a special workshop on May 5, 2014, after declaring a "cultural community emergency", the city council declared a "cultural community emergency" developing a quick consensus that the historic facility should be reopened as soon as possible.

In January 2015, however, anticipating delays in the renovation schedule, the city announced that the reopening of the theatre would be postponed until 2016, and that an agreement was reached with the theater companies that cancelled the 2015 season in the interest of getting the work "done right". After a contentious design period, which raised "concerns about the architect's ADA compliance plan", the two-phase project was approved in a rare split-vote of the city council, and a divided theatre community. Phase 1 of the renovation addressed the "red tag issues" and ADA compliance requirements, while phase 2 will upgrade the concessions and restroom facilities, and make other improvements. As of December, 2019, Phase 2 has yet to be planned or budgeted for.

In June 2016, the Forest Theater was reopened and began performances again starting with a production of The Borrowers, the musical in June by Carmel playwright Walter DeFaria. It was followed by Pacific Repertory Theatre productions of The Wizard of Oz and Shakespeare's Twelfth Night.

In 2017, the nearby Sunset Center signed a 30-year lease with the city of Carmel to manage the site. In 2019, Carmel's oldest community theatre, The Forest Theater Guild, announced that Sunset Center management had drastically cut back the Guild's 12-week season, offering only 12 dates at the historic theatre for film presentations, and no dates, whatsoever, for their theatrical productions. Among other reasons, including seeking greater diversity, the Sunset Center management cited the need to "improve the revenue situation at the Forest Theater." The Forest Theater Guild asked the city council to intervene.

In 2020, the venue was once again closed, this time due to the COVID-19 pandemic. In 2021, the Sunset Center sought an early end to their 30-year lease agreement. The city of Carmel then decided to accept proposals for a new organization to manage the venue and solicited the public for input on how to use the space. In August 2021, the theater reopened with a seven-week run of Shrek, put on by Pacific Repertory Theatre.

In early 2022, the city of Carmel entered into a lease with Pacific Repertory Theatre for the nonprofit to manage the venue for the next five years, with a five-year renewal option. The Forest Theater Guild was designated an "historic user" and will once again be allowed to stage theatrical productions.

The venue is currently open and presents events produced by the Forest Theater Guild, Pacific Repertory Theatre, the Monterey Symphony, as well as other small arts organizations and civic events.

Pacific Repertory Theatre

In 1984, Pacific Repertory Theatre (PacRep) began producing classics, children's theater and musicals on the outdoor stage, reactivating Herbert Heron's Carmel Shakespeare Festival in 1990. In 1997, The Forest Theater Guild added the Films in the Forest movie series, featuring cinema favorites from classics such as It's a Wonderful Life to feature films like Frozen. In 2005, PacRep presented the theater's highest-attended production, Disney's Beauty and the Beast, to a combined audience of over 10,000 ticket holders.

In 1984, a new organization joined the Forest Theater community, GroveMont Theatre.  GroveMont was founded in 1982 by Stephen Moorer, who had participated in the Children's Experimental Theatre program, and had also acted in Forest Theater Guild productions.  In 1984, at the request of the Carmel Cultural Commission, GroveMont began producing shows at the Forest Theater, staging Jeffers' Medea, starring local actress Rosamond Goodrich Zanides.

In 1990, Moorer reactivated the old Carmel Shake-speare Festival of the 1940s, adding the hyphen in "Shake-speare" to denote interest and support research into the Shakespeare Authorship Question. In 1993, the company changed its name to Pacific Repertory Theatre (PacRep), becoming the only professional theater company in residence at the Forest Theater, continuing to stage productions at the Forest Theater every September and October, expanding into August in 2000. In 2011, following the closure of the 50-year-old CET, the City of Carmel awarded the year-round lease of the indoor Forest Theater to PacRep for its educational SoDA program.

Pacific Repertory Theatre's annual family musicals have included "high-flying" technology by ZFX, Inc. for productions of Peter Pan, The Wizard of Oz, and Disney's The Little Mermaid. Among the many successful productions at the Forest Theater over the years, 2006's Disney's Beauty and the Beast proved to be a benchmark for attendance records.  Directed by Walt DeFaria and produced by Moorer, the musical sold over 10,000 tickets.

Plays
The following plays were successfully presented by Carmel residents at the Forest Theater:

 David (1910) - Constance Skinner
 Twelfth Night (1911) - Garmet Holme
 The Land of Heart's Desire (1911) - W. B. Yeats
 Alice in Wonderland (1912) - Perry Newberry
 The Toad (1912) - Bertha Newberry
 Romeo and Juliet (1912), (1927), (1948) - Herbert Heron
 Runnymede (1913) - William Greer Harrison
 Fire (1913) - Mary Austin
 Aladdin And the Lamp (1913) - Elizabeth Field Christy and Perry Newberry
 The Tailsman (1913) - Raine Bennett
 A Wife of Nippon (1913) - Redfern Mason
 The Arrow-Maker (1914) - Mary Austin
 Montezuma (1914) - Herbert Heron
 Junipero Serra (1915) - Perry Newberry
 The Man from Home (1915) - Booth Tarkington and Harry Leon Wilson
 Junipero Serra (1915) - Garnet Holme
 The People's Attorney (1915) - Perry Newberry
 The Spy (1915) - Herbert Heron
 The Columbine (1915) - Helen Parks
 A Midsummer Night's Dream (1915) - Herbert Heron and Helen Parks
 Stop ! Look ! Listen ! (1915) - Irving Berlin and Harry B. Smith, staged by R. H. Burnside
 The Ebb Tide: Tusitala (1916) - John Northern Hilliard and Herbert Heron
 The Black Arrow: Tusitala (1916) - Herbert Heron
 Treasure Island: Tusitala (1916) - Herbert Heron
 Wier of Hermiston: Tusitala (1916) - 191
 Tusitala The Prologue (1916)
 The Piper (1916) - Glenn Hughes
 A Thousand Years Ago (1917) - Percy Mac Kaye
 Arms and the Man (1919) - Herbert Heron
 Tents of the Arabs (1920) - Herbert Heron
 Confounding of the Witch (1921) - Grace Wickham and James Hopper
 Inchling (1922) - Ira Remsen
 Caesar and Cleopatra (1922)
 Mr. Bunt (1924) - Ira Remsen
 Quality Street (1924)
 The Man Who Married a Dumb Wife (1924), (1934)

The following plays were successfully presented by non Carmel residents:

 Creation-Dawn (1915) - Takeshi Kanno
 Sons of Spain (1915) - Sydney Coe Howard
 Yolanda of Cyprus (1916) - Cale Young Rice

See also
 List of contemporary amphitheaters

References

External links

Forest Theater Guild

Outdoor theatres
Theatres in California
Tourist attractions in Monterey County, California
Buildings and structures in Monterey County, California
Works Progress Administration in California
Theatres completed in 1910
1910 establishments in California
Carmel-by-the-Sea, California

Forest Theater


Regina Smendzianka (9 October 192415 September 2011) was a Polish pianist.

Biography
Regina Smendzianka was born in Toruń, and began her public performances as a child of eight surprising the audience with her mature interpretation of the classical works. In 1949 she was awarded the just resumed IV International Chopin Piano Competition's 11th prize soon after graduating from the State Higher School of Music in Kraków (at present Academy of Music in Kraków) with the highest marks. She was a disciple of Zbigniew Drzewiecki from 1950 to 1955, and subsequently launched an international career. Smendzianka held a professorship at the Fryderyk Chopin Music Academy in Warsaw (at present Fryderyk Chopin University of Music in Warsaw) until 1996, briefly serving as the institution's rector. Among her students are contemporary classical pianists such as: Andrzej Dutkiewicz, Elżbieta Karaś-Krasztel, Maria Korecka, Ewa Kupiec, Elżbieta Tarnawska, Sławomir Dobrzański, Maciej Grzybowski, Nina Drath, Jesús María Figueroa, Rosa María Delsordo, Kazimierz Brzozowski, Moto Harada, Artur Cieślak, Yumi Toyama. Smendzianka was a juror at the 1970, 1980, 1995 and 2000 editions of the Chopin Competition.

References

External links
 Great Women Pianists at the www.forte-piano-pianissimo.com.
 Biography at The Fryderyk Chopin Institute in Warsaw.

1924 births
2011 deaths
Alumni of the Academy of Music in Kraków
Academic staff of the Chopin University of Music
Prize-winners of the International Chopin Piano Competition
People from Toruń
Polish classical pianists
Polish women pianists
Women classical pianists
20th-century classical pianists
Polish women academics
Recipient of the Meritorious Activist of Culture badge
20th-century women pianists

Regina Smendzianka


Burns Park was a baseball park located in Detroit, Michigan that served three seasons as the exclusive Sunday home of the Detroit Tigers baseball club in the American League from 1900 through 1902.

Burns Park was built in response to blue laws, which prevented Sunday games from being played at Bennett Park, the team's primary baseball park. The park was named for the Tigers' then-owner, James D. Burns, who built the ballpark on his own property.

Sources are in some conflict about the exact location of the ballpark. Some have placed it on a triangular block between Livernois Avenue, Vernor Highway, and railroad tracks. However, contemporary sources place it at "south of the stock yards, at the corner of Waterman and Dix Avenues" [Detroit Free Press, April 25, 1900, p. 8]; and Polk's 1901 Detroit City Directory states "southwest corner Toledo and Waterman Avenues." Toledo was later renamed Vernor Highway, and Dix Street merges into Vernor Highway at the Waterman intersection. Marc Okkonen, in his book Minor League Baseball Towns of Michigan (Dickinson Press, 1997) also places the ballpark at the southwest corner of Waterman and Vernor. One source described the location as "near the stockyards in Springwells Township, just past the Detroit city line." Being outside the city limits was key to being able to play Sunday ball there.

The April 25, 1900, newspaper report stated that park was to have covered seating for 1,200 and open bleachers for about another 2,300. The only known references to the park are text; no photographs or diagrams of the park are known to exist.

The American League of 1900 was a minor league, previously called the Western League. The first game at the park was held on May 6, 1900, with the Tigers losing to the Indianapolis Hoosiers 11–5.[Detroit Free Press, May 7, 1900, p. 8]

The American League declared itself a major league in 1901 and broke relations with the National League. On April 28, 1901, the first major league game was played at the ballpark in which the Tigers defeated the Milwaukee Brewers 12–11.

With peace between the leagues for 1903, the Tigers were advised to abandon Burns Park as being in an unsavory part of town, by which time Burns had sold the club anyway, so Burns Park ceased being a host to professional baseball.

The Tigers wrapped up their usage of Burns Park on September 7, 1902, with an 11–6 win over the Baltimore Orioles. In subsequent years they played a handful of Sunday "home" games in other cities, until finally securing permission to play Sunday ball at Bennett Park in August 1907.

External links
 Burns Park at RetroSheet.org
 Burns Park game log at RetroSheet.org
 Detroit Tigers past venues

Defunct Major League Baseball venues
Detroit Tigers stadiums
Sports venues in Detroit
1901 establishments in Michigan

Burns Park (Detroit)


A water bottle is a container that is used to hold water, liquids or other beverages for drinking. Using a water bottle allows people to transport, and drink, a beverage from one place to another.

Water bottles can be either disposable or reusable. Some water bottles are reusable and can help save the environment by reducing waste.

Containers

Water bottle


George London (born George Burnstein; May 30, 1920 – March 24, 1985) was an American concert and operatic bass-baritone.

Biography
George Burnstein was born to U.S. naturalized parents of Russian origin in Montreal, Quebec, Canada, and grew up in Los Angeles, California. His operatic debut was in 1941 as George Burnson, singing Dr Grenvil in La traviata at the Hollywood Bowl. In the summer of 1945 Antal Doráti invited his longtime friend, the Hungarian bass Mihály Székely, to sing at the first concert of the newly reorganized Dallas Symphony Orchestra. Due to travel difficulties, Székely was unable to arrive in time, so Doráti called upon young George London as a substitute.

After performing widely with tenor Mario Lanza and soprano Frances Yeend as part of the Bel Canto Trio in 1947–48, London was engaged by the Vienna State Opera, where he scored his first major success in 1949. In 1950, he sang the role of Pater Profundis in Mahler's Eighth Symphony, conducted by Leopold Stokowski.

He was among the most famous exponents of his five signature roles: Don Giovanni, Boris Godunov, Wotan, Scarpia and Amfortas. He never recorded any role in Die Meistersinger von Nürnberg, although recital performances of Hans Sachs' monologues exist on record.

In 1951 he sang at the Bayreuth Festival as Amfortas in Parsifal, and reappeared frequently in the 1950s and early 1960s as Amfortas and in the title role of The Flying Dutchman. He made his debut with the Metropolitan Opera in 1951 as Amonasro in Aida, and sang over 270 performances, both baritone and bass roles, such as Figaro and Count Almaviva in The Marriage of Figaro, The Speaker in The Magic Flute, Mandryka in Arabella, Scarpia in Tosca, the title role in Don Giovanni, Boris in Boris Godunov, Escamillo in  Carmen, Iago in Otello, Amfortas in Parsifal, Wolfram in Tannhäuser, the four villains in The Tales of Hoffmann, Golaud in Pelléas et Mélisande, and Mephistopheles in Faust.

In 1964, he created the role of Abdul in the American premiere of Gian Carlo Menotti's The Last Savage. He was the first North American to sing the title role of Boris Godunov at the Bolshoi Theatre in Moscow, at the height of the Cold War in 1960.

He frequently performed in English: Broadway show tunes and negro spirituals. He recorded many of his roles for RCA Victor, Columbia Records, and Decca. He recorded Verdi's Requiem with Richard Tucker and Lucine Amara, under Eugene Ormandy. He also recorded a Puccini's Tosca with Del Monaco and Tebaldi under Francesco Molinari-Pradelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia. A recording of a live concert with piano accompaniment is also available from VAI, which includes Mussorgsky's Songs and Dances of Death, as well as several Schubert Lieder and a variety of songs in English.

During his Met career, in 1956, he appeared on Ed Sullivan's television program in an abridged version of act 2 of Tosca, opposite Maria Callas, conducted by Dimitri Mitropoulos. A kinescope of that performance was preserved. Another black-and-white videotape of him in the same role, opposite Renata Tebaldi in a complete performance, is sometimes available. In 1958, London performed the leading role of Wotan, in the groundbreaking recording of Richard Wagner's opera Das Rheingold, conducted by Georg Solti, and produced by John Culshaw for Decca.

Having already sung the Rheingold Wotan and the Siegfried Wanderer roles at the Met in New York in December 1961 and January 1962, he was ready to sing his first complete Ring Cycle. This was to be the now legendary new production mounted by Wieland Wagner at the Cologne Opera in West Germany in May 1962. Wieland Wagner was ready to try out new singers and production ideas in advance of his new Bayreuth Festival production which was scheduled for the summer of 1965 with London as Wotan and the Wanderer.

The Cologne Ring proved to be a great success (a private recording of Das Rheingold from this cycle exists to verify this) but London's vocal health began to deteriorate rapidly during the 1963/64 season; subsequently the problem was diagnosed as a paralysed vocal cord. This problem increased so much that shortly after singing Wotan in Die Walküre at the Met in March 1965, he canceled his upcoming appearances at the Bayreuth Festival to rest and ideally recover his voice.

However, his vocal decline continued so severely that by March 1966, he performed his last appearance at the Metropolitan Opera: the role of Amfortas in Parsifal. London subsequently received injections of Teflon in his paralyzed vocal cord – then the state-of-the-art treatment for this condition – which filled it out and therefore restored his voice to some extent. But he decided the improvement did not let him achieve again his self-imposed highest standards. He therefore ended his singing career in 1967, at 46.

George London Foundation
In 1971, London established the George London Foundation for Singers, which gives grants to young opera singers early in their careers. $80,000 is given each year to the winners of an annual competition.

Directing
In 1975, he directed the first Ring Cycle produced by Seattle Opera, creating its "Pacific Northwest Wagner Festival". From 1975 until 1977 he was general director of the Washington Opera.

Vocal signature
His voice was large, dark and resonant with a massive, penetrating top. Although it was also rather thickly-textured, London at his best commanded a wide range of dynamics, from delicate pianississimi to resounding fortes. His musicianship won him acclaim on three continents. London was also a fine actor with a robust stage presence; he was tall, powerfully built and striking.

London's talent was celebrated twice before his death. In the Carnegie Hall concert of 1981, introduced by Beverly Sills, performances were given by a long list of colleagues. In Vienna, 1984, some of the world's greatest singers assembled to honor the artist.

Health issues and death
In the 1960s, his voice began to deteriorate and partial vocal paralysis was diagnosed.  He took injections of silicone and teflon, but did not improve.  In 1977, a massive heart attack left him half paralyzed, with brain damage. After that, his health inexorably declined. A few years later, he managed to survive a second heart attack. On March 24, 1985, he died in Armonk, New York, after a third heart attack. He was 64 years old.

References

Bibliography
London, Nora. "ARIA FOR GEORGE"'. Fort Worth: Baskerville, 2005;

External links

1920 births
1985 deaths
American operatic bass-baritones
American people of Russian-Jewish descent
20th-century American male opera singers
Jewish opera singers

American expatriates in Canada

George London (bass-baritone)


The Resistance Memorial Cross or Resistance Commemorative Cross () is a medal awarded in the Netherlands to members of the Dutch resistance during the Second World War.

The medal was instituted by Royal Decree (No. 104) on 29 December 1980, after the 35th anniversary of the liberation of the Netherlands. It is worn after the War Memorial Cross and before the Medal for Order and Peace. The cross is only awarded at the request of a person eligible to receive it. Approximately 15,000 have been awarded, recorded in the Gedenkenboek verzetsherdenkingskruis.

Criteria
The Resistance Memorial Cross may be awarded to:
Members of resistance groups recognised in the Royal Decree dated 5 September 1944 or to any resistance group known to the Council on Extraordinary Pensions or the 1940–1945 Foundation.
Anyone recognised by the Council on Extraordinary Pension as a participant in the resistance, regardless of whether they were awarded a pension.
Individuals defined by the Law on the Improvement of the Legal Status of Resistance Fighters (law of 1/20/76, Stb. 19) adjudged as having spent time in service to the resistance.
Soldiers of the Dutch Internal Armed Forces in occupied territory.
Those who participated in actions during World War II in Japanese or Japanese-occupied territory, which after the war, were designated as resistance of the enemy by the committee.
Anyone who does not meet any preceding provisions, may still be considered a participant in the resistance in the judgement of the committee.

Appearance
The medal comprises a silver cross hung from a striped ribbon. The obverse of the cross bears a vertical flaming sword, surmounted by the Dutch royal crown. Below the sword are the dates 1940 above 1945. The horizontal arms of the cross are inscribed with the words DE TYRANNY VERDRYVEN (Dutch: "to expel tyranny"), a line in the Dutch national anthem. The reverse bears a Dutch lion, and the date of institution, 1980. The cross is suspended by a ring from a ribbon coloured with asymmetric stripes: the left half is red-white-blue (for the Dutch flag) and the right half orange (the national color of the Netherlands) with a black border on each edge.

Notable recipients

 Aart Alblas
 Willem Arondeus
 Coosje Ayal
 Tex Banwell
 Ina Boekbinder
 Titus Brandsma
 Jan van Borssum Buisman
 Jaap Burger
 Boy Ecury
 Joke Folmer
 Hendrika Gerritsen
 Sietje Gravendaal-Tammens
 Karl Gröger
 Bert Haanstra
 Erik Hazelhoff Roelfzema
 Cornelis Pieter van den Hoek
 Hans Hoets
 Ernst de Jonge
 Patrick Edward de Josselin de Jong
 Ingeborg Kahlenberg
 Pieter Koenraad
 Anton de Kom
 Jan de Koning
 Hans de Koster
 Hannie van Leeuwen
 Prince Bernhard of Lippe-Biesterfeld
 Caecilia Loots
 George Maduro
 Sicco Mansholt
 Selma van de Perre
 Johannes Post
 Atie Ridder-Visser
 Hannie Schaft
 Norbert Schmelzer
 Pieter Meindert Schreuder
 Pierre Schunck
 Bram van der Stok
 Peter Tazelaar
 Christiaan Tonnet
 Marten Toonder
 Gerrit van der Veen
 Ida Veldhuyzen van Zanten
 Johan Hendrik Weidner
 Leonard Willmott
 Petrus Wijtse Winkel
 Francien de Zeeuw

Dutch Cross of Resistance
It should not be confused with the rarer and more prestigious Dutch Cross of Resistance (Dutch: Verzetskruis), the second highest decoration for valour in the Netherlands, which was instituted in 1946 and awarded to only 95 people. There was a belief after the War that awarding medals would make distinctions between different acts of resistance, all of which would have been punishable by death. After a first round of awards were made of the Dutch Cross of Resistance in 1946, it became politically difficult to agree a list of further recipients.

References

External links
 The legacy of Nazi occupation: patriotic memory and national recovery in Western Europe, 1945-1965, Pieter Lagrou, Cambridge University Press, 2000, , p. 74-77
 onderscheidingen.nl
 tracesofwar.com

Orders, decorations, and medals of the Netherlands
Awards established in 1980
Dutch resistance

Resistance Memorial Cross


Augustinus Hendricus Martinus (Guus) Albregts (22 November 1900, in Vught – 8 June 1980, in 's-Hertogenbosch) was a Dutch economist and politician. As a member of the Catholic People's Party (KVP) he was a minister without portfolio, dealing with enhancing productivity in the first Drees cabinet from 1951 to 1952.

He studied and lectured economy at Tilburg University.

In 1952 he was awarded Knight of the Order of the Netherlands Lion.

References
  Parlement.com biography

1900 births
1980 deaths
Catholic People's Party politicians
20th-century Dutch politicians
Knights of the Order of the Netherlands Lion
Ministers without portfolio of the Netherlands
People from Vught
Tilburg University alumni
Academic staff of Tilburg University
20th-century Dutch economists

Guus Albregts