The document announces the world premiere of "Purchase of Manhattan," a concert opera with music by Brent Michael Davids and libretto by Joseph Bruchac and Brent Michael Davids. It will be performed at Marble Collegiate Church in Manhattan. The opera tells the story of Manhattan island from the perspective of its original Lenape inhabitants, focusing on the Dutch "purchase" of Manhattan from the Lenape in 1626. The performance aims to continue the cultural presence of the Lenape people in Manhattan through this musical work commissioned by the Lenape Center.
Charles ansbacher award request for nominations2013charlesansbacher
The document provides information about the Second Annual Charles Ansbacher Music for All Award, which will recognize an individual who has brought free classical music to people. Nominees who use music to promote reconciliation in underserved communities will be preferred. The recipient will receive a $5,000 cash award. Nominations are due January 14th and should include details about the nominee's commitment to free music, the communities they serve, how they have inspired people, and how they embrace reconciliation. The award honors the late Charles Ansbacher's vision of bringing classical music to all people.
Music with no religion, nationality or languageClaudia Ouda
An intercultural musical concert was held in Jaffa featuring Ethiopian immigrant musicians and Arab musicians. The concert brought together the Palestinian-Arab and Ethiopian-Israeli communities, two of the most marginalized groups in Israeli society. Musicians from the groups collaborated to create a new sound mixing their musical traditions, including instruments like the one-stringed mansko from Ethiopia and improvised singing. The concert allowed for an intercultural dialogue through music beyond politics or social divisions.
I am confident that this will be a lot helpful because you don't get such information or slide on any other website. I, myself had a problem finding resources while making this presentation. I made this presentation for the "Music" course while studying in HACC Harrisburg, Pennsylvania.
This presentation describes about music, musical history, festivals, and traditions about Nepal along with some interesting facts and demographics of Nepal.
If you need any help, you can email me at:utsab1905@gmail.com.
The document discusses various music cultures around the world, including Indian, African, Latin American, and North American music traditions. It provides details on the classical and folk music styles of India, describing elements of Indian music like raga, drone, and tala. It also summarizes African music characteristics such as polyrhythmic beats, call-and-response singing, and oral tradition. The document outlines the development of Latin American music from indigenous, European, and African influences and specific genres like samba, salsa and mariachi. It briefly touches on North American music traditions originating from indigenous, European and African ethnic groups.
The document summarizes the upcoming Gala event "Romanza de Romero" at the San Francisco Conservatory of Music on April 14th honoring legendary Spanish guitarist Pepe Romero. The gala will celebrate Romero's career and relationship with the Conservatory. It will include performances by mezzo-soprano Catherine Cook, the Pacific Guitar Ensemble, faculty, students, and Romero. The gala will be chaired by Lisa Grotts with catering by McCall Associates, décor by J. Riccardo Benavides, and sponsorship from Wells Fargo, Nob Hill Gazette, and RedCarpetSF. Romero will also receive an honorary doctorate from the Conservatory.
Jack Oughton - Breizh - Breton Music.pptJack Oughton
The document provides an overview of Breton folk music from Brittany, France. It discusses the origins and traditions of Breton folk music, common instruments used, and how the genre has evolved and been influenced by modern styles while still retaining traditional elements. It also briefly compares Breton folk to other Celtic musical styles from places like Ireland, Wales, and Cornwall.
Music notation was developed in the Middle Ages to help singers learn and perform Gregorian chants. A monk named Guido D'Arezzo invented the first system for writing down pitch in the 11th century by adding lines and colors to manuscripts to indicate vocal ranges. Over subsequent centuries, his system evolved into the modern musical staff with the addition of clefs to assign pitches to specific lines or spaces. Guido's innovations helped spread musical literacy and allowed for the proliferation of new religious music during a time when the Catholic Church was the dominant cultural institution in Europe.
Music education has a long history dating back to ancient civilizations. In classical times, the Greeks considered music vital for shaping character and included it in their education system centered on music and gymnastics. During the Middle Ages, music education was carried out through churches, courts, and schools. The Renaissance saw music instruction become standard in court and parish schools. Modern music education systems have roots in these traditions but have broadened over time, with an emphasis on musical literacy, appreciation of different styles and cultures, and the overall value of music.
Charles ansbacher award request for nominations2013charlesansbacher
The document provides information about the Second Annual Charles Ansbacher Music for All Award, which will recognize an individual who has brought free classical music to people. Nominees who use music to promote reconciliation in underserved communities will be preferred. The recipient will receive a $5,000 cash award. Nominations are due January 14th and should include details about the nominee's commitment to free music, the communities they serve, how they have inspired people, and how they embrace reconciliation. The award honors the late Charles Ansbacher's vision of bringing classical music to all people.
Music with no religion, nationality or languageClaudia Ouda
An intercultural musical concert was held in Jaffa featuring Ethiopian immigrant musicians and Arab musicians. The concert brought together the Palestinian-Arab and Ethiopian-Israeli communities, two of the most marginalized groups in Israeli society. Musicians from the groups collaborated to create a new sound mixing their musical traditions, including instruments like the one-stringed mansko from Ethiopia and improvised singing. The concert allowed for an intercultural dialogue through music beyond politics or social divisions.
I am confident that this will be a lot helpful because you don't get such information or slide on any other website. I, myself had a problem finding resources while making this presentation. I made this presentation for the "Music" course while studying in HACC Harrisburg, Pennsylvania.
This presentation describes about music, musical history, festivals, and traditions about Nepal along with some interesting facts and demographics of Nepal.
If you need any help, you can email me at:utsab1905@gmail.com.
The document discusses various music cultures around the world, including Indian, African, Latin American, and North American music traditions. It provides details on the classical and folk music styles of India, describing elements of Indian music like raga, drone, and tala. It also summarizes African music characteristics such as polyrhythmic beats, call-and-response singing, and oral tradition. The document outlines the development of Latin American music from indigenous, European, and African influences and specific genres like samba, salsa and mariachi. It briefly touches on North American music traditions originating from indigenous, European and African ethnic groups.
The document summarizes the upcoming Gala event "Romanza de Romero" at the San Francisco Conservatory of Music on April 14th honoring legendary Spanish guitarist Pepe Romero. The gala will celebrate Romero's career and relationship with the Conservatory. It will include performances by mezzo-soprano Catherine Cook, the Pacific Guitar Ensemble, faculty, students, and Romero. The gala will be chaired by Lisa Grotts with catering by McCall Associates, décor by J. Riccardo Benavides, and sponsorship from Wells Fargo, Nob Hill Gazette, and RedCarpetSF. Romero will also receive an honorary doctorate from the Conservatory.
Jack Oughton - Breizh - Breton Music.pptJack Oughton
The document provides an overview of Breton folk music from Brittany, France. It discusses the origins and traditions of Breton folk music, common instruments used, and how the genre has evolved and been influenced by modern styles while still retaining traditional elements. It also briefly compares Breton folk to other Celtic musical styles from places like Ireland, Wales, and Cornwall.
Music notation was developed in the Middle Ages to help singers learn and perform Gregorian chants. A monk named Guido D'Arezzo invented the first system for writing down pitch in the 11th century by adding lines and colors to manuscripts to indicate vocal ranges. Over subsequent centuries, his system evolved into the modern musical staff with the addition of clefs to assign pitches to specific lines or spaces. Guido's innovations helped spread musical literacy and allowed for the proliferation of new religious music during a time when the Catholic Church was the dominant cultural institution in Europe.
Music education has a long history dating back to ancient civilizations. In classical times, the Greeks considered music vital for shaping character and included it in their education system centered on music and gymnastics. During the Middle Ages, music education was carried out through churches, courts, and schools. The Renaissance saw music instruction become standard in court and parish schools. Modern music education systems have roots in these traditions but have broadened over time, with an emphasis on musical literacy, appreciation of different styles and cultures, and the overall value of music.
This document provides a lengthy biography of Janice Foy, Ph.D., a cellist, pianist, and ethnomusicologist from Montana. It details her educational background, including degrees from CSUN and UCLA. It outlines her extensive performance career playing with various orchestras and groups. It also describes her teaching experience at multiple universities and her research focusing on musical traditions in places like Croatia and Los Angeles. The document includes reviews praising her musical talents and contributions from figures like Samuel L. Jackson and Yo Yo Ma.
This document provides an overview of different musical genres throughout history. It begins by classifying music into religious/secular, classical/popular, and descriptive/programmatic/dramatic/pure genres. It then covers the history of classical music from ancient Greece to modern times, including genres like Gregorian chant from the Middle Ages, madrigals and villancicos from the Renaissance, and concertos and suites from the Baroque period. Popular music genres discussed include traditional Spanish folk music and urban pop music. The document also includes listening examples to illustrate different genres.
The history of_music_senior_project_do_not_delete_v3[1]patrickst123
The history of music can be traced back to early Christian churches where Gregorian chant was collected. Secular music also developed across Europe in the Middle Ages. During the Renaissance, music flourished with new genres and instruments. The Baroque era saw the creation of opera, and composers like Monteverdi advanced the art form. Various classical styles emerged and the Romantic era added emotion. The 20th century brought greater diversity as artists explored new modes of expression. Music has also been an important part of healing and therapy. Overall, music has evolved significantly over the centuries but has always provided entertainment and meaning to people's lives.
This document discusses the history and evolution of various music genres such as popular music, rock and roll, jazz, folk, country, and western music. It explains that live music performance became important in the late 19th to early 20th century and was dominated by sheet music publishers. The invention of the phonograph in 1877 changed how music was experienced. Popular music emerged as a commercial enterprise to make profits, while genres like rock and roll, jazz, folk, and country served as outlets for cultural expression.
The document discusses Dabkeh, a traditional folk dance from the Middle East, and argues it demonstrates the cultural legacy of the region. The summary would include:
Dabkeh is a circle or line dance performed in Middle Eastern countries to celebrate occasions. It involves foot stomping and represents unity and happiness. The document recommends including Dabkeh in a time capsule to show the world the art and culture of the Middle East beyond its current struggles.
Music serves 15 main purposes according to the document:
1. Religious music is used for devotion and focusing congregations.
2. Entertainment of audiences through concerts and performances.
3. Entertainment of performers through "jamming".
4. Telling stories and enhancing oral tradition through ballads and poems.
5. Accompanying dance.
This document provides information about an upcoming performance of Gabriel Fauré's Requiem by the Carolina Coast Festival Chorus and Orchestra on June 4, 2016 in New Bern, NC and June 5, 2016 in Jacksonville, NC. It includes the program listing works by Fauré, Jennings, Harris, Manz, Scott, Hailstork, Petterson, Bertalot, and Hampton. Biographies are provided for conductor Robert A. Harris, concertmaster Rachel Harmatuk Pino, and soloists Pat Kerr Rowlett and Frederick Angoco. Context on Fauré's Requiem and the Carolina Coast Choral Festival is also given.
- African music brought by slaves had a strong influence on the development of music styles in America. Regional differences between the North and South led to distinct musical traditions.
- Music was an important part of African culture and was integrated into everyday life, ceremonies, and social activities. Rhythmic percussion and call-and-response singing structures were common features.
- Free black communities in northern cities produced professional musicians who performed in a variety of styles for mixed-race audiences, though slavery limited full musical expression in the South to clandestine settings.
The document discusses various genres and styles of 20th-21st century music. It describes popular music genres like country, disco, funk, hip hop, jazz, rock and roll, punk rock, and progressive rock. It also discusses types of rock music including elements from blues and R&B. Additionally, it covers Broadway musicals, electronic music using synthesizers, minimalist music using small amounts of material, and chance or aleatory music where elements are left to chance.
Music has a long history dating back 50,000 years. It is found in every known culture, past and present. The first musical instruments were the human voice, and rhythm instruments like clapping and stones. Main eras of music history include prehistoric, ancient, medieval, renaissance, baroque, classical, romantic, and modern. Social media now plays an important role in the music industry by helping artists connect with fans and gain exposure. It allows listeners easy access to music online through sites like YouTube and streaming services. The future of music is focused on online streaming and social media, giving listeners more control over the genres and artists they choose.
Every asian country has its own music whichNestor Idra
The document provides information about traditional music from China, Korea, and Japan. It discusses the history and characteristics of music from each country. For China, it describes ancient ritualistic music and how popular music is associated with theater. It also discusses traditional instruments. For Korea, it discusses court music (chong-ak) and folk music (sog-ak), as well as traditional instruments. For Japan, it discusses the oldest form of court music and dance (gagaku) and noh theater music. It also outlines traditional Japanese instruments. The document concludes with proposed learning activities for students to explore and perform East Asian music.
The document provides a brief history of music from prehistoric times through the modern period. It describes some of the earliest known songs from ancient Mesopotamia and discusses the lack of knowledge about Greek music despite information about its social role. It then outlines some of the major periods of Western classical music history, highlighting characteristic styles, forms, and influential composers of each era, from the Gregorian chants of the Medieval period through the increasing expressionism and experimentation of Romantic and modern music.
Early music is music of the European classical tradition from after the fall of the Roman Empire, in 476.
Western music known today has its roots in the musical practices found in Europe and the Middle East over twenty centuries ago. These musical practices, in turn, have their roots in ancient Greek and Roman practices which are detailed in musical and philosophical treatises of the time.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
This document provides an overview of the history of music from prehistoric times through the medieval period. It begins by defining music and noting that all human cultures have some form of music, suggesting it may have originated over 55,000 years ago in Africa. Prehistoric music developed prior to written history. Ancient instruments included flutes made from bone and wood. The medieval music period began around 500 AD and featured instruments like harps, lutes, and woodwinds. The Renaissance period around 1400 AD saw the beginning of polyphonic church music composed for important religious institutions.
The Harlem Renaissance of the 1920s-1930s saw the flourishing of African American art, music, dance and literature in Harlem, New York. Migrants brought blues and spiritual musical traditions with African roots. Major influences included the blending of African cultures during slavery, European Christianity, and Negro spirituals. Famous musicians included Louis Armstrong, Dizzy Gillespie, and Duke Ellington. Nightlife venues like the Cotton Club and Savoy Ballroom featured performances and dancing like the Lindy Hop. Music of the time had social and cultural impacts for African Americans and influenced later genres.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working together to build projects, share meals, provide counsel, and celebrate life events. Recurring themes are the music, fellowship, and difference people made through their commitment to each other.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working to build a root cellar and garden to provide fresh food, volunteering in Louisiana to rebuild homes after a storm, and integrating dance into worship services. The congregation celebrates the lives and contributions of those who have passed away.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working to build a root cellar and garden to provide fresh food, volunteering in Louisiana to renovate homes, and integrating dance into worship services. Recurring themes are community support, caring for those in need, and drawing strength and meaning from shared experiences.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working to build a root cellar and garden to provide fresh food, volunteering in Louisiana to renovate homes, and integrating dance into worship services. Recurring themes are community support, caring for those in need, and drawing strength and meaning from shared experiences.
This album brings together jazz musicians and a marine life artist, Wyland, to raise awareness about conservation issues facing the oceans. Vincent Herring arranged and produced songs that connect Wyland's environmental messages to jazz. Featured vocalist Paulette McWilliams sings lyrics written by Wyland about marine life. Instrumentals showcase the conch shell playing of Steve Turre, bringing the sounds of the ocean to the music. The album aims to educate youth about protecting marine life and the planet, carrying on both jazz and environmental traditions to future generations.
This issue of Voices de la Luna magazine features poetry, arts, and culture in San Antonio, Texas. It includes poems by Trey Moore on after-school cello practice and homelessness. The magazine highlights various arts venues in San Antonio and discusses outreach to marginalized groups. The editors discuss hosting workshops for at-risk youth and homeless poets. They also summarize recent cultural events in San Antonio and the magazine's second anniversary celebration.
This document provides a lengthy biography of Janice Foy, Ph.D., a cellist, pianist, and ethnomusicologist from Montana. It details her educational background, including degrees from CSUN and UCLA. It outlines her extensive performance career playing with various orchestras and groups. It also describes her teaching experience at multiple universities and her research focusing on musical traditions in places like Croatia and Los Angeles. The document includes reviews praising her musical talents and contributions from figures like Samuel L. Jackson and Yo Yo Ma.
This document provides an overview of different musical genres throughout history. It begins by classifying music into religious/secular, classical/popular, and descriptive/programmatic/dramatic/pure genres. It then covers the history of classical music from ancient Greece to modern times, including genres like Gregorian chant from the Middle Ages, madrigals and villancicos from the Renaissance, and concertos and suites from the Baroque period. Popular music genres discussed include traditional Spanish folk music and urban pop music. The document also includes listening examples to illustrate different genres.
The history of_music_senior_project_do_not_delete_v3[1]patrickst123
The history of music can be traced back to early Christian churches where Gregorian chant was collected. Secular music also developed across Europe in the Middle Ages. During the Renaissance, music flourished with new genres and instruments. The Baroque era saw the creation of opera, and composers like Monteverdi advanced the art form. Various classical styles emerged and the Romantic era added emotion. The 20th century brought greater diversity as artists explored new modes of expression. Music has also been an important part of healing and therapy. Overall, music has evolved significantly over the centuries but has always provided entertainment and meaning to people's lives.
This document discusses the history and evolution of various music genres such as popular music, rock and roll, jazz, folk, country, and western music. It explains that live music performance became important in the late 19th to early 20th century and was dominated by sheet music publishers. The invention of the phonograph in 1877 changed how music was experienced. Popular music emerged as a commercial enterprise to make profits, while genres like rock and roll, jazz, folk, and country served as outlets for cultural expression.
The document discusses Dabkeh, a traditional folk dance from the Middle East, and argues it demonstrates the cultural legacy of the region. The summary would include:
Dabkeh is a circle or line dance performed in Middle Eastern countries to celebrate occasions. It involves foot stomping and represents unity and happiness. The document recommends including Dabkeh in a time capsule to show the world the art and culture of the Middle East beyond its current struggles.
Music serves 15 main purposes according to the document:
1. Religious music is used for devotion and focusing congregations.
2. Entertainment of audiences through concerts and performances.
3. Entertainment of performers through "jamming".
4. Telling stories and enhancing oral tradition through ballads and poems.
5. Accompanying dance.
This document provides information about an upcoming performance of Gabriel Fauré's Requiem by the Carolina Coast Festival Chorus and Orchestra on June 4, 2016 in New Bern, NC and June 5, 2016 in Jacksonville, NC. It includes the program listing works by Fauré, Jennings, Harris, Manz, Scott, Hailstork, Petterson, Bertalot, and Hampton. Biographies are provided for conductor Robert A. Harris, concertmaster Rachel Harmatuk Pino, and soloists Pat Kerr Rowlett and Frederick Angoco. Context on Fauré's Requiem and the Carolina Coast Choral Festival is also given.
- African music brought by slaves had a strong influence on the development of music styles in America. Regional differences between the North and South led to distinct musical traditions.
- Music was an important part of African culture and was integrated into everyday life, ceremonies, and social activities. Rhythmic percussion and call-and-response singing structures were common features.
- Free black communities in northern cities produced professional musicians who performed in a variety of styles for mixed-race audiences, though slavery limited full musical expression in the South to clandestine settings.
The document discusses various genres and styles of 20th-21st century music. It describes popular music genres like country, disco, funk, hip hop, jazz, rock and roll, punk rock, and progressive rock. It also discusses types of rock music including elements from blues and R&B. Additionally, it covers Broadway musicals, electronic music using synthesizers, minimalist music using small amounts of material, and chance or aleatory music where elements are left to chance.
Music has a long history dating back 50,000 years. It is found in every known culture, past and present. The first musical instruments were the human voice, and rhythm instruments like clapping and stones. Main eras of music history include prehistoric, ancient, medieval, renaissance, baroque, classical, romantic, and modern. Social media now plays an important role in the music industry by helping artists connect with fans and gain exposure. It allows listeners easy access to music online through sites like YouTube and streaming services. The future of music is focused on online streaming and social media, giving listeners more control over the genres and artists they choose.
Every asian country has its own music whichNestor Idra
The document provides information about traditional music from China, Korea, and Japan. It discusses the history and characteristics of music from each country. For China, it describes ancient ritualistic music and how popular music is associated with theater. It also discusses traditional instruments. For Korea, it discusses court music (chong-ak) and folk music (sog-ak), as well as traditional instruments. For Japan, it discusses the oldest form of court music and dance (gagaku) and noh theater music. It also outlines traditional Japanese instruments. The document concludes with proposed learning activities for students to explore and perform East Asian music.
The document provides a brief history of music from prehistoric times through the modern period. It describes some of the earliest known songs from ancient Mesopotamia and discusses the lack of knowledge about Greek music despite information about its social role. It then outlines some of the major periods of Western classical music history, highlighting characteristic styles, forms, and influential composers of each era, from the Gregorian chants of the Medieval period through the increasing expressionism and experimentation of Romantic and modern music.
Early music is music of the European classical tradition from after the fall of the Roman Empire, in 476.
Western music known today has its roots in the musical practices found in Europe and the Middle East over twenty centuries ago. These musical practices, in turn, have their roots in ancient Greek and Roman practices which are detailed in musical and philosophical treatises of the time.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
This document provides an overview of the history of music from prehistoric times through the medieval period. It begins by defining music and noting that all human cultures have some form of music, suggesting it may have originated over 55,000 years ago in Africa. Prehistoric music developed prior to written history. Ancient instruments included flutes made from bone and wood. The medieval music period began around 500 AD and featured instruments like harps, lutes, and woodwinds. The Renaissance period around 1400 AD saw the beginning of polyphonic church music composed for important religious institutions.
The Harlem Renaissance of the 1920s-1930s saw the flourishing of African American art, music, dance and literature in Harlem, New York. Migrants brought blues and spiritual musical traditions with African roots. Major influences included the blending of African cultures during slavery, European Christianity, and Negro spirituals. Famous musicians included Louis Armstrong, Dizzy Gillespie, and Duke Ellington. Nightlife venues like the Cotton Club and Savoy Ballroom featured performances and dancing like the Lindy Hop. Music of the time had social and cultural impacts for African Americans and influenced later genres.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working together to build projects, share meals, provide counsel, and celebrate life events. Recurring themes are the music, fellowship, and difference people made through their commitment to each other.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working to build a root cellar and garden to provide fresh food, volunteering in Louisiana to rebuild homes after a storm, and integrating dance into worship services. The congregation celebrates the lives and contributions of those who have passed away.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working to build a root cellar and garden to provide fresh food, volunteering in Louisiana to renovate homes, and integrating dance into worship services. Recurring themes are community support, caring for those in need, and drawing strength and meaning from shared experiences.
The document contains poems, summaries of events, and reflections from a congregation over many years. It summarizes meaningful experiences of the community, including working to build a root cellar and garden to provide fresh food, volunteering in Louisiana to renovate homes, and integrating dance into worship services. Recurring themes are community support, caring for those in need, and drawing strength and meaning from shared experiences.
This album brings together jazz musicians and a marine life artist, Wyland, to raise awareness about conservation issues facing the oceans. Vincent Herring arranged and produced songs that connect Wyland's environmental messages to jazz. Featured vocalist Paulette McWilliams sings lyrics written by Wyland about marine life. Instrumentals showcase the conch shell playing of Steve Turre, bringing the sounds of the ocean to the music. The album aims to educate youth about protecting marine life and the planet, carrying on both jazz and environmental traditions to future generations.
This issue of Voices de la Luna magazine features poetry, arts, and culture in San Antonio, Texas. It includes poems by Trey Moore on after-school cello practice and homelessness. The magazine highlights various arts venues in San Antonio and discusses outreach to marginalized groups. The editors discuss hosting workshops for at-risk youth and homeless poets. They also summarize recent cultural events in San Antonio and the magazine's second anniversary celebration.
Every 14 Days, a language dies.
Celebrate the world’s 7,000 remaining languages....
2011 INTERNATIONAL MOTHER LANGUAGE DAY
February 21, 2011
Historic Sixth & I Synagogue
Washington, DC
Organized by: Dhroopad, Cafe Luna and Skewers, and the UN Association of the National Capitol Area
Photography by Ellie Van Houtte
www.ellievanhoutte.com
The document discusses modern dance and who defines what dance is. It notes that over the decades, dancers and artists have pushed boundaries on what is considered dance, with some changing the setting of dances and others altering movement or incorporating new elements. The piece references Alwin Nikolais and how artists have questioned definitions of dance. It aims to examine what modern dance is and who gets to determine what dance encompasses.
Vietnamese folk music such as Quan ho, Nha nhac, and Ma River shanty each have their own unique characteristics that reflect the culture of different regions. Quan ho originated in Bac Ninh province and features alternating male and female singers. Nha nhac was the royal court music of Hue featuring intricate instrumentation. Ma River shanty was a simple folk song sung by laborers on the Ma River. While each has their differences, Vietnamese folk music aims to express the spirit and people of their regions.
The document provides information about traditional Arapaho music and instruments. It discusses various Arapaho songs including Sun Dance songs, Ghost Dance songs, and songs from the vision quest. It also describes several instruments used in Arapaho ceremonies such as drums, rattles, whistles, and bullroarers. The document contains lyrics and descriptions of three traditional Arapaho songs that were recorded in 1951: the Skybird Song, Thunderbird Song, and Wolf Song.
Remembering the forgotten graves of ypsilanti’s native peoplessabsalom
The document summarizes the history of Native American peoples who originally inhabited the land around Ypsilanti, Michigan. It describes how their graves were built over or forgotten. It then discusses efforts to memorialize the Native American history and culture through various art installations along the Huron River paying tribute to creation myths and burial sites. It emphasizes that while cultures change over time, the intangible aspects like stories and traditions continue to be practiced by contemporary Native American groups in the area.
Here are a few key points about drum lessons at Matt Burk Music Studio in Frisco, Texas:
- Fun and engaging lessons. Matt Burk aims to make lessons enjoyable for students of all ages and skill levels through a variety of activities, exercises, and performance opportunities.
- Focus on technique and fundamentals. Lessons cover proper grip, stroke technique, rhythmic reading, and more to build a solid foundation.
- Styles for every interest. Students learn styles like rock, jazz, Latin, and Afro-Cuban to suit their musical tastes.
- Performance opportunities. Matt Burk encourages students to participate in recitals, workshops, and other events to gain experience playing with others.
- State
The document summarizes a concert being hosted by Listen for Life Foundation at Carnegie Hall's Zankel Auditorium on January 8, 2012. It will feature 8 musicians from around the world representing different cultures and musical genres, including classical, jazz, and world music. The concert aims to promote Listen for Life's mission of building global peace through music. Sponsors are sought for the event to support the organization's work helping over 9 million people in 55 countries through music programs.
This document announces the 30th annual Jewish Music Festival in Oakland/Berkeley from February 26 to March 22, 2015. It provides details on over a dozen musical performances that will celebrate Jewish musical traditions from around the world, including productions of Di Megileh of Itzik Manger and performances by The Klezmatics, Cantor Jack Mendelson, Kitka, Sway Machinery, Paul Hanson Ensemble, Steve Weintraub, and Diwan Saz. The festival aims to showcase diverse Jewish music and share this cultural experience with the community, building on the history of the klezmer revival that began in the 1970s in Berkeley.
Aboriginal Australians arrived over 40,000 years ago and developed a rich cultural tradition centered around music, dance, art, and spirituality. Their culture is orally passed down through songlines that describe the landscape and history. Music and dance are intrinsically linked to rituals, storytelling, and cultural practices. While colonization disrupted traditional ways of life, aspects of Aboriginal culture have survived and some communities actively work to revive language and traditions. Music varies regionally but is united in its spiritual significance and role in cultural identity.
The document provides information about music during the Renaissance period, including definitions of key terms, comparisons between Renaissance and Medieval music, and descriptions of common musical instruments and forms. It notes that Renaissance music saw the development of polyphonic texture with four or more voice parts. Popular songs of the time were often love songs, while royalty hired musicians to perform. Madrigals were unaccompanied, secular, and vocal pieces with different music for each stanza, while motets were sacred, unaccompanied, and polyphonic works where the music served the words.
John Millard is a composer, performer, and musical director based in Toronto. He has composed original scores and music for over 30 theatre productions, collaborated on numerous music projects, and toured extensively with his band Happy Day. He has also worked as an artist in residence at the Young Centre for the Performing Arts, teaching at various institutions, and researching folk music and festivals.
This document provides information about a Christmas concert featuring the St. Croix Valley Symphony Orchestra and Shepherd of the Valley Choir. The concert is on December 11, 2016 at 4:00 pm at Shepherd of the Valley Lutheran Church in Afton, Minnesota. The concert will include performances by soprano Margaret Jane Wray, flutist James Dutton, and pianist Ivan Konev. The program includes arrangements of Christmas carols and pieces like "The Nutcracker" and "Sleigh Ride". Biographies of the guest performers Dutton, Konev, and Wray are also included.
1. LENAPE CENTER PRESENTS
Purchase of Manhattan
A CONCERT OPERA/WORLD PREMIERE
MUSIC: Brent Michael Davids (Mohican)
LIBRETTO: Joseph Bruchac (Abenaki) & Brent Michael Davids
@LenapeCenter | #PurchaseofManhattan | facebook.com/TheLenapeCenter
2. Welcome to Lenape Center’s World Premiere of Purchase of Manhattan.
This is the first commission of an ongoing series of groundbreaking artist
inventions that will sing to life the drama of New York’s hidden beginning from the perspective of Manhattan’s first inhabitants.
Four-hundred and five years ago, Hendrik Hudson sailed into the harbor of the Muhheconnituck, the river that now bears his name. Three-hundred and eighty-eight years ago, in 1626, a brief mention of a so-called “purchase” of
Manahatta, as it was called, was delivered by ship in a sailor’s letter. So begins the written history of the island, a place populated by Lenapes, Mohicans, Munsees and other indigenous inhabitants for perhaps 13,000 years before Hudson.
“Manhattan” comes from the Munsee description of the ‘place where we get bows’, in reference to the hickory trees on the south end of the island used to make them. Soon the island became “New Netherland,” “New Amsterdam” and “New York”, following the path of supposed ownership transfer. During this time, a Lenape diaspora began as the longtime resident citizenry was systematically driven out. The cultural swap was so complete that even the original meaning of the island has been lost to most modern Manhattan dwellers.
The Lenape Center’s mission is to continue the cultural presence in Manhattan by promoting Lenape language and the creation, development, distribution and exhibition of Lenape arts and culture. In 2009, Lenape Center engaged with Intersections International—a multi-faith, multi-cultural, global social justice initiative of the Collegiate Church of New York—to facilitate a reconciliation event in Manhattan called Healing Turtle Island. “Turtle Island” is a common reference among indigenous people for the land European settlers called
“the new world.”
Given the unique history of the island, it is especially significant that the World Premiere of Purchase of Manhattan takes place in Marble Collegiate Church. The Collegiate Church was the original “company church of the Dutch West
Indies Company” and remains the oldest surviving institution in New York,
dating back to 1628. Thank you for joining us—you are a crucial part of this Lenape musical achievement!
Please share your experience at this special event:
@LenapeCenter | #PurchaseofManhattan | facebook.com/TheLenapeCenter
3. The Program
Welcome & Greeting
Dr. R. Mark King
Executive Minister - Marble Collegiate Church
Opening Remarks
Joe Baker
Executive Director - Lenape Center
Purchase of Manhattan
MANHATTAN
Spirit of the Land introduces
Manhattan island before first contact.
THE INDIANS
Lenapes sing of life in Manhattan
and the importance of Wampum.
THE DUTCH
Director General Minuit and
the Dutch sing of exploration.
THE PURCHASE
The Lenape and Dutch meet
on Manhattan island.
THE AFTERWARD
A century-long reflection on the
founding of New York is recounted.
WIPING OF TEARS
A present-day Lenape “Wiping of Tears” condolence
ceremony is musically brought to life for our modern times.
You are invited to stay in the sanctuary for a Q&A session
with Brent Michael Davids and Joseph Bruchac
immediately following the performance.
There will also be a reception with the artists (and cookies and coffee)
next door at the Marble Loft. Please join us there either immediately after the performance, or if you choose to stay in the sanctuary, after the Q&A.
4. Purchase Of Manhattan was commissioned by the Lenape Center in Manhattan
with support from the Collegiate Church of New York and funded in part by the
Smithsonian National Museum of the American Indian’s Expressive Arts program,
the Indian Arts Research Center of the School for Advanced Research with support from the Ronald and Susan Dubin Artist Fellowship, the Native Arts & Culture
Foundation’s Artist Fellowship, and ongoing support from Sharon Doty Davids.
www.thelenapecenter.com
SOLOISTS
Brent Michael Davids
Composer
Sara Jobin
Conductor
Joseph Bruchac
Libretto
Alexandra Loutsion
Soprano
Spirit of the Land
John Bellemer (Wampanoag)
Tenor
Director General Minuit
Stephen Powell
Baritone
Lenape
PHOTO: Brent M Davis
PHOTO: Eric Jenks
PHOTO: Emily Allen
PHOTO:Ron Rinaldi
PHOTO: christian pollard
PHOTO: Norbert Brein-Kozakewycz
5. NATIVE AMERICAN TRADITIONAL SINGERS
EDWARD BROWNBEAR (Cheyenne-Pawnee)
JESSE BRUCHAC (Abenaki)
JOSEPH BRUCHAC (Abenaki)
JOHN BUCK (Onondaga)
JENNIFER KREISBERG (Tuscarora)
SUSAN TAFFE REED (Lenape)
KEVIN TARRANT (Hopi/Ho-Chunk)
CURTIS WATERMAN (Onondaga)
LENAPE CHORUS
Sopranos
MARSHA ANDREWS
ESHA DATTA
LAURA JOBIN-ACOSTA
ARTEMISZ POLONYI
JOY TAMAYO
JENNIFER WU
Altos
SOPHIE DELPHIS
MICHELLE ELIZA
ALYSON FRIEDMAN
MELISSA GERSTEIN
CHRISTINE HOPE
WENDY REALMUTO (Cherokee)
Tenors
MICHAEL CELENTANO
CHAP JAMES DAY
DAVID GORDON
JON THOMAS OLSON
DAVID WHITE
RESTY YONGCO
DUTCH CHORUS
Basses
RAS DIA
STEVEN EDDY
JEREMIAH JOHNSON
SEAN KROLL
COLIN LEVIN
ADRIAN ROSAS
6. ORCHESTRA
BRENT MICHAEL DAVIDS (Mohican), Native American Flute
ROBERTA MICHEL, Flute
EMILY DIANGELO, Oboe/English Horn
JOHN FRIEDRICHS, Clarinet/Bass Clarinet
CHARLES MCCRACKEN, Bassoon
TYLER OGILVIE, Horn
STEVE FERRE, Bass Trombone
CHRISTIAN CARICHNER, Tuba
BRIAN SMITH, Timpani
MICHAEL COMPITELLO, Vibraphone
KRISTI SHADE, Harp
RACHEL GOLUB, Violin 1
BLAGOMIRA LIPARI, Violin 2
ARVILLA ROVIT, Viola
GEORGE MACERO, Cello
LYDIA PARKINGTON, Cello
DARRYL PUGH, Bass
MARSHALL HENRY, Bass
PRODUCTION TEAM
Lenape Center: JOE BAKER (Delaware Tribe of Indians)
HADRIEN COUMANS, CURTIS ZUNIGHA (Delaware Tribe of Indians)
Producer, premiere of first version (Syracuse, 11/2013) / Society for New Music:
NEVA PILGRIM
Rehearsal Pianist: ZALMAN KELBER
Production Support:
COLLEGIATE CHURCHES OF NEW YORK, INTERSECTIONS INTERNATIONAL
Production Coordination:
ROBERT CHASE, HADRIEN COUMANS
Project Manager:
PAMELA BISHOP
Production Assistance:
ASHLEY ANNESE, JENNIFER CRUMPTON, RAEGAN DESILVA, YASMINE KOHLI FORDHAM, FARIDUDDIN FRED JOHNSON, MARIE MARTINEZ
Public Relations: BERLIN ROSEN
Lenape Center would like to extend a heartfelt thanks to
Marble Collegiate for its gracious hospitality.
7. Glossary
ABENAKI / LENAPE / MOHICAN / MUNSEE VOCABULARY
ahki — The earth. Also used as a greeting.
awanots — Fair-skinned strangers.
lenape — The people.
manhattan — ‘Place where we get bows’.
mawe — All.
mesignw — Animals.
nisnol siboal — Two rivers.
nowat — Long ago.
oligen — Good.
papwungan — Lacrosse game. Also linked with constellations and seasons; thunder is a lacrosse game in the sky and hunting of the celestial bear.
skoks — Snakes.
wampum — White and purple shell beads, considered good, imbedded with stories and memories, cherished as powerful. Also linked to the constellations. Not used as “Indian money” as misinterpreted by the colonists.
wanishi — Thank you.
8. LIBRETTO
A — MANHATTAN
INSTRUMENTAL MUSIC [WITH TRADITIONAL SINGERS]
A GROUP OF LENAPES IN VILLAGE AT SOUTH TIP OF MANHATTAN.
A GROUP OF WOMEN AND CHILDREN ARE PREPARING CORN FOR STORAGE
LENAPE CHORUS
nees-NOHL SEE-boh-awl, nees-NOHL SEE-boh-awl.
SPIRIT OF THE LAND
ah-KEE
I feel the feet of all creatures,
Running, walking and crawling,
Women dancing, shuffling their feet,
Men stomping, voices calling.
ah-KEE
Deer dance, hooves beat,
back and forth across my body,
Bears’ paws, Rabbit’s feet;
They are dancing on me.
ah-KEE
There is nothing so sweet,
As this dance of life could be,
On my head, across my face, On every part of me.
LENAPE CHORUS
nees-NOHL SEE-boh-awl, nees-NOHL SEE-boh-awl.
SPIRIT OF THE LAND
ah-KEE
Hear our voices, drums of thunder.
We throw a ball across the sky,
With each throw a day goes by.
We shout great winds, tearing branches from trees.
ah-KEE
We chase a bear through clouds.
No one plays PAP-wun-gahn like us!
Loud, my brothers hunt with me;
Seasons come with our success.
9. ah-KEE
We laugh flashes of lightning,
As we stomp across the skies.
Still, there is gentle breathing,
Barely stirring wings of butterflies.
LENAPE
noh-WAHT, long ago this came to be,
from the Sky Land there fell down,
A root from the Great Tree.
We are Great Turtle’s grandchildren.
It was he, the Great Turtle who saw that root fall.
He was glad. He knew his hard shell could support a tree.
He knew his grandchildren would need a place to stand.
We are Great Turtle’s grandchildren.
All the water animals dove in,
Buoyantly glad to bring up land,
Spreading mud over Turtle’s back,
Giving us more room to stand.
We are Great Turtle’s grandchildren.
B — THE INDIANS
LENAPE CHORUS
wah-nih-SHEE, thank you.
But what of the AH-wah-NOHTS, the strangers?
LENAPE
All of us who are Lenape,
and all of us who are human beings.
SPIRIT OF THE LAND
ah-KEE.
LENAPE CHORUS
Who are they?
LENAPE
They’re coming soon.
10. The women clans have decided this exchange is a good thing. Not only Lenape, but also meh-SIG-neeoo and
ah-KEE mah-WAY will be listening.
The people, animals and the earth share in this exchange. Our minds are one, by this string of wampum showing the agreement we share.
SPIRIT OF THE LAND
ah-KEE.
LENAPE [WITH TRADITIONAL SINGERS]
Birds catch the spirit on wings.
Snakes sense the earth so tenderly.
Animals show us many things;
Wampum records all in memory.
White of hope, the rising dawn,
Purple of chance and danger,
A gift of the quahog clam,
Inspires us to remember.
Of promises woven into beads,
Strings whispered with honor
Between AH-wah-NOHTS and Lenapes,
Standing on this land we will share.
We’re all related! Wampum establishes.
All woven together, the beads say.
Wampum is ah-KEE mah-WAY, our wishes
Bursting across the Milky Way!
INSTRUMENTAL MUSIC
FOUR NATIVE MEN ENTER, WALKING WITH DIGNITY, WITHOUT WEAPONS
SPIRIT OF THE LAND
Brothers, we’ve seen other men like these.
We offered them friendship before.
They answered with ingratitude,
Violence and acts of war.
Sisters, a floating house first came
Like a dream out of the sunrise.
11. A giant canoe with wings on fire.
The sight astonished our eyes.
LENAPE CHORUS
Crawling with human beings,
Unlike any seen before.
Their faces pale, covered with hair,
Were they part wolf or bear?
SPIRIT OF THE LAND
Fearlessly, a Lenape ambassador
Went to meet them in the ancient way.
In one hand, a wampum belt of war;
The other, a smoking pipe of peace displayed.
They were almost to shore but did not chase;
The Indian was careful to not get caught,
Waiting for them to make their choice.
But they saw his burning stick and fired a shot.
LENAPE CHORUS
We hear your words, but these new men have promise
to live as friends.
LENAPE
We would do well to trade with them.
They bringthings we can use.
LENAPE CHORUS
Let us listen to them. Let us see what they bring us.
SPIRIT OF THE LAND
ah-KEE. ah-KEE. Be careful now.
LENAPE
Our minds are one. We all agree.
LENAPE CHORUS
We see them now.
Who are they?
[PRE-CONTACT DUET]
12. LENAPE
[SINGING TO THE EARTH]
I hear your music in the leaves!
GENERAL DIRECTOR MINUIT
[SINGING TO HIMSELF]
So much lumber in the trees!
LENAPE
My mother’s bones rest in this mound.
GENERAL DIRECTOR MINUIT
I see handsome profits from this ground!
LENAPE
I touch the dirt, find your heartbeat!
GENERAL DIRECTOR MINUIT
I see abundant riches below my feet!
LENAPE
In your whispers my dreams are told!
GENERAL DIRECTOR MINUIT
So dark and rich, the soil is gold!
LENAPE
You give us water and wampum strings!
GENERAL DIRECTOR MINUIT
I can get it with rum and otter skins!
LENAPE
Your strong body is where I stand!
GENERAL DIRECTOR MINUIT
Oh bless me Lord, I want this land!
C — THE DUTCH
INSTRUMENTAL MUSIC
FOUR DUTCH MEN ENTER PAUSE AND STAND
13. DIRECTOR GENERAL MINUIT
What did we bring to purchase this island?
TRADITIONAL SINGERS
[VOCABLES]
SPIRIT OF THE LAND / LENAPE CHORUS
ah-KEE, ah-KEE.
DUTCH CHORUS
Many strings of beads, which they greatly prize. They sweat to make the beads, but we make them so easily.
DIRECTOR GENERAL MINUIT
Sixty guilders worth of trinkets.
DUTCH CHORUS
A good price, our Director General!
DIRECTOR GENERAL MINUIT
I salute the men who discovered this land,
The visionaries here before me,
Christopher Columbus and Hendrick Hudson,
We revere their names, who saw our destiny!
I am following their legacy! Walking in their giant shoes!
Bringing wealth to our Company
This hero’s path is what I choose.
DUTCH CHORUS
To be fruitful on this island is the proper course,
Dominion over earth like those who came before.
Ownership has been our divine right to enforce,
From the blessed day we stepped ashore.
DIRECTOR GENERAL MINUIT
With these trinkets, we shall take title,
This fine island will be Dutch property!
Our purchase of Manhattan is vital,
To bring civility to barbary.
DUTCH CHORUS
It would be cheaper to altogether take it.
We have the guns.
14. DIRECTOR GENERAL MINUIT
We are taking it, but not by force. We need them to
bring us beaver pelts. Remember, West India Company wants to avoid conflict. And they outnumber us.
DUTCH CHORUS
Will they attack us?
DIRECTOR GENERAL MINUIT
Be brave, my men, be brave. They want our goods as
much as we want their land.
D — THE PURCHASE
LENAPE CHORUS
Show them our friendship. Offer them a welcoming song.
SPIRIT OF THE LAND/CHORUS
ah-KEE. Welcome is good.
TRADITIONAL SINGERS
[LENAPE WELCOMING SONG]
DUTCH CHORUS
What is that chanting? It hurts our ears!
LENAPE CHORUS
ah-KEE.
Why don’t they understand?
DIRECTOR GENERAL MINUIT
Answer these pagan cries with a strong hymn!
DUTCH CHORUS
Hear our words, Oh God of Hosts,
Who shepards over faithful sheep,
Lead us to a new Jerusalem,
And protect us in our sleep.
LENAPE CHORUS
OO-lih-GEHN, Good. We have proved we are friends
and mean no harm. They have answered with one of their
15. own welcoming songs. It sounded so strange.
Who are they?
DIRECTOR GENERAL MINUIT
yah-GUHT! We have shown them, we do not fear them.
INSTRUMENTAL MUSIC
LENAPE
We give you friendship, as our tribes meet here.
This Good Road wampum opens good relations.
May we sweep the briars and make the path clear,
Brothers, sisters on the Good Road,
side-by-side as nations.
We give you friendship, as our relatives meet here,
Under the ancient Elm, the tree of respect and peace.
We’ll welcome you to Turtle Island, every year,
Standing together so hearts and diplomacy increase.
DIRECTOR GENERAL MINUIT
We enjoy this simple hospitality.
May we share many such times of interchange.
We offer sixty guilders for Manhattan and this tree.
By right of purchase which we arrange.
LENAPE CHORUS
So we join together, take each other’s hands.
In this sign of friendship, here we all stand.
So we dance together, boots and moccasins,
This is how we will behave, to act as friends.
DUTCH CHORUS
So we join together, shake each other’s hands
In this time of purchase of a fruitful land.
So we dance together, boots and moccasins,
Talking sign language with Indians we befriend.
DIRECTOR GENERAL MINUIT
Bring forth the chest of goods. Let us pay for the land.
LENAPE CHORUS
What fine gifts they offer! A friendship is at hand.
16. DIRECTOR GENERAL MINUIT
[WAVING PAPER]
My friends, come! Sign this deed!
LENAPE CHORUS
What does their chief want us to do?
LENAPE
That wavy sign language I do not read!
LENAPE CHORUS
How can we translate their point of view?!
DIRECTOR GENERAL MINUIT
[WITH QUILL PEN]
Just take hold of this pen.
DUTCH CHORUS
Aaaah! Look out! Over there! A poison snake!
Kill it! Kill it!
LENAPE CHORUS
Oh no, do not harm SKOHKS!
They warn before they strike.
LENAPE
Friends, our people long ago
made peace with the snakes.
DIRECTOR GENERAL MINUIT
Let us hasten from this place.
Where there is one snake there are more.
DUTCH CHORUS
But what of the deed?
E — THE AFTERWARD
[ONE CENTURY LATER]
INSTRUMENTAL MUSIC [WITH TRADITIONAL SINGERS]
17. SPIRIT OF THE LAND
It may seem odd for Spirits of this Land,
To share this story of European conquerors,
Who now seem to have gained command,
Those who pictured our people as wanderers,
Who had no rights, whose own side of this story,
Was not worth remembering in civil history.
But thanks to the knowledge we possess,
Knowing history and earth,
Through turns of seasons from that time to this,
We can tell a truer tale of this nation’s birth;
Our Native home, now shared by many,
Was not sold from Manhattan to Allegany.
My friends, your written accounts of Manhattan
are familiar to you.
Your children read them every day in their school studies;
But they do not read, not conceive, no pen record,
no book review,
The terrible story of recompense for kindness
paid my Aborigines.
First, to be “of and with us” was sought
as a warm privilege, like gold;
But later, demanding assistance from your kings
you assert your hold.
LENAPE CHORUS
Transmitting beyond the waters intelligence of
your possession,
By “right of discovery” but never begging the question.
GHOST OF DIRECTOR GENERAL MINUIT
I highly approve of the recent grant by
Governor Stuyvesant
To Cornelius Jans Vanderveer for a patent
of flatbush land,
Twenty-six hundred guilders for this new city;
Amazing the entire Island was purchased for only sixty!
18. SPIRIT OF THE LAND
It is curious, the history of my Indians,
these past centuries.
Nothing that deserved the name of
purchase was ever made.
Deeds were given, indifferently,
to individuals or treasuries,
Even to governments, for which consideration
was never paid.
Should an Indian, at times, desert his home
to go hunt game,
Abandonment laws were passed to extinguish his claim.
LENAPE
Let it not surprise you, my friends, when I explain,
This very spot on which we stand, where we sit down,
Has never been purchased or rightly obtained;
And by justice it should belong now
To the children of those who from the Sky Tree descended.
Though made to leave by force and hunger,
their title has never ended.
LENAPE CHORUS
The children of those people, the Lenape nation,
From whom their great ancestors descended,
Driven from here by force and starvation,
Their title was not extinguished, it never ended!
F — WIPING OF TEARS
[PRESENT DAY]
INSTRUMENTAL [WITH TRADITIONAL SINGERS]
LENAPE CHORUS
My friends, my friends.
LENAPE
My friends, may we wipe the tears from all our eyes, both AH-wah-NOHTS and Indian, so we can clearly see again?
My friends, can we clear the sorrow and obstruction from our throats, whatever language we may speak,
20. Lenape Center is a non-profit indigenous organization based in the ancestral Lenape
homeland of Manhattan.
Its mission is continuing the Lenape cultural
presence by promoting Lenape language
and the creation, development, distribution and exhibition of Lenape arts and culture; thus
building a pathway for Indigenous people
between inherited cultural traditions and the
dynamic innovations of contemporary global society.
Lenape Center is a fiscally sponsored organization of Artspire, a program of the New York Foundation for the Arts.
Please visit
www.thelenapecenter.com
Supported by:
Program Design by - Robert Sequoia, Karen Inzerillo