At the convergence of emotion, technique and meaning, Meena Murugesan emanates a compelling intensity which drives her richly textured movement aesthetic.
She hopes to build bridges across issues of race, gender, class and artistic disciplines in order to explore the complexities of human existence, while simultaneously re discovering what intrinsic connections link societies together. Her hybrid choreographic vision is shaped by over twenty years of studying and performing bharatanatyam a classical dance from South India ; four years of training with Zab Maboungou and her form of African dance; seven years of training in eastern energetic bodywork; five years of training in hip hop and house; and over ten years of cinematic creation.
Structured improvisations and collective creations are also an essential part of her work, which she has been developing over the last ten years. Meena Murugesan Meena Murugesan trained and performed with the dance company Nrithyalaya under the artistic direction of Vasantha Krishnan until In addition to her dance career, Meena also works as a community arts educator with over ten years of experience.
She has studied and performed bharata natyam since , while simultaneously pursuing it as a subject of scholarly inquiry and is currently investigating ways of integrating her study of this classical form with her ongoing interest in modern and postmodern dance. Kaveh Nabatian Kaveh is an award-winning filmmaker and musician based in Montreal. With degrees in both Film Production and Jazz Studies from Concordia University, he has directed both fiction and documentary films, music videos, and television series. His films have played at over thirty international festivals, from which he has won numerous awards.
Much of his time as a musician is dedicated to Bell Orchestre, an avant-chamber ensemble in which he plays trumpet, keyboards, and an array of analog and electronic instruments. Kaveh also plays with Little Scream and composes music for films including his own , orchestra, dance, and theatre. He has been lighting for dance since and has been touring extensively since Lee has also designed lights for various independant choreographers, including Chanti Wadge, Chantal Lamirande, and others.
He is currently working with Louise Lecavalier. Lee likes beer and frisbee. Grist is a soliloquy on personal experience, a portrayal of inward musings and a journey tracing personal memory, as recalled when long distant from where one belongs. A Proustian gestalt, it integrates contemporary dance, voice and video design to create a collection of random, vivid memories and reflections on the pride and guilt of self-identity. This is a complex psychological journey about fascination and bewilderment, a recollection tracking its own roots and heritage.
I created movements that are seen as self-sufficient, able to speak of the message and capable of creating a sense of different time and space by themselves. Dance is not used as a medium to decorate theatrical space. Instead it should be seen as having an intelligence of its own, capable of communicating bodily wisdom.
With this stance in mind, I explored movement extensively at the beginning of process by creating movements by improvisations. I found various and stimulating ways to create movement and dialogue such as using alternative metaphors for various memories and elements. I asked and resolved questions and challenged to find physical dynamics of those elements and explore mental or dramatic intentions from certain situations and states. I had the privilege to work closely with Mr.
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Tedd Robinson on the creation of Grist. He has given me insight into a new way of thinking, creating and moving.
The intent is to create a dance inspired from personal experiences and memories without becoming self-indulgent. Consequently, Mr. Robinson was chosen to be an ideal mentor for this work.
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Having spent six year in study and reflection as a monk, he has a deep understanding of Eastern philosophies. I have always admired his works that always focus on simplicity, logic and integrity. I am immensely grateful for his mentoring that guided me and strive to push me to attain transcendence with this work that steers between the dark and light. Save to Library.
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Firsting in the Early-Modern Atlantic World. Routledge, Hashemite Iraq's Relations with Africa This entailed a geographic shift, from This also entailed struggle for control of the Arab world's message, as both nations launched broadcast stations, then clandestine stations. It became clear over time that the Hashemite monarchy used the issue of Algeria's national liberation struggle, to mask the political priorities of Iraq's national opposition. The global phenomenon of decolonization was born in the Americas in the late eighteenth and early nineteenth centuries.
The First Wave of Decolonization is the first volume in any language to describe and analyze the scope and meanings of The First Wave of Decolonization is the first volume in any language to describe and analyze the scope and meanings of decolonization during this formative period. It demonstrates that the pioneers of decolonization were not twentieth-century Frenchmen or Algerians but nineteenth-century Peruvians and Colombians. In doing so, it vastly expands the horizons of decolonization, conventionally understood to be a post-war development emanating from Europe.
The result is a provocative, new understanding of the global history of decolonization. This article reviews seven recent historical perspectives on the imperial and postcolonial production of French peripheries. These works address transformations wrought since the midth century as subjects became citizens in the In light of the referendum in New Caledonia and protests in Guyane, the article shows how historians can tread new paths in order to understand the reformulations of identity and citizenship occurring in the 21st-century French peripheries.
Coslett, Daniel E. Daniel E. Coslett New York Coslett New York: Routledge, , — The citizenship in the French colonial Empire is characterized by its fragmentation. The French citizenship is defined there in many different ways, sometimes as public and private law status and sometimes as public law status, there are different forms of hierarchy within it, some French citizens seeing their political rights limited.
The colonial citizenship, limited to the local elections, is granted to those who do not have the French citizenship : it can take the form of citizenship of residence, attributed to the natives and to the foreigners, or of an imperial citizenship, attributed to the natives, nationals of the colonial Empire only ; it can be established upon different terms, the colonial citizen may be appointed, elected by restricted vote, by selective suffrage, by capability suffrage, or by the chambers of commerce and industry.
Coslett New York: Routledge, , 3— Architectural relics of nineteenth-and twentieth-century European and Japanese colonialism-actively Architectural relics of nineteenth-and twentieth-century European and Japanese colonialism-actively exploited and experienced neocolonialist sites of memory-dot cityscapes throughout our globalizing world, just as built traces of colonialism remain embedded within the urban fabric of many European capitals.
Neocolonialism and Built Heritage addresses the sustained presence and influence of historic built environments and processes inherited from colonialism within the contemporary lives of cities in Africa, Asia, and Europe. Novel in their focused consideration of ways in which these built environments reinforce neocolonialist connections among former colonies and colonizers, states and international organizations, the volume's case studies engage highly relevant issues such as historic preservation, heritage management, tourism, toponymy, and cultural imperialism.
The historiography has neglected the imperial and colonial policies behind the scene of the trial. This article This article proposes to fill this gap by studying the participation of France at the Tokyo Trial.
It focuses on the position of the French Foreign Ministry and its delegates in Tokyo in a triangular relationship between America, Asia and European declining powers. He underlines the failure of France to legitimize the foundations of its power in Indochina.
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It sheds new light on the end of the war, emphasizing the colonial legacy in international law. During the French colonial period , in order to make Madagascar a colony of exploitation, large agricultural areas had been issued to French, Greek, Creole and Indian companies and individuals. At present, most of these