Spectators sitting in a circle, a dirt ground, saturated music, and two opponents (Fagnorolahy) facing each other. That is the atmosphere of the "Moraingy".
Originally this traditional combat practiced by the Sakalava (coastal ethnic group of Madagascar) was used as a game, as a means of defense, and as a training for war.The fights are held on Sunday afternoon and on holidays. Here fair play is required and the opponent is not seen as an enemy but a way to build themselves. Thus the Moraingy shows the Fihavanana, malagasy's philosophy of solidarity and friendship.Over time the Moraingy became a show generating money, some combatants are now Stars and some try to professionalize the sport.Fagnorolahy is an important figure, he comes and fights for his community but also for him. He dances, parade, shook his fist, and receives money from spectators when he fought well. He represents his village, but also himself, and his performance in combat. But Fihavanana does not allow arrogance, and impose humility.
The Slave Ship, originally titled Slavers Throwing overboard the Dead and Dying—Typhoon coming on, is a painting by the British artist J. M. W. Turner, first exhibited in 1840. Measuring 35 3/4 x 48 1/4 in. in oil on canvas, it is now in the Museum of Fine Arts, Boston. In this classic example of a Romanticmaritime painting, Turner depicts a ship, visible in the background, sailing through a tumultuous sea of churning water and leaving scattered human forms floating in its wake.
One hundred years before Wolfgang Amadeus Mozart was appointed a court musician in Salzburg, another well-known musician was in the employ of the Archbishop as composer and violinist. Heinrich von Biber (1644-1704) was generally considered to be the greatest violin virtuoso of his time and the composer of demanding and revolutionary music for solo violin and for the orchestra.
In 1673 von Biber created his Battalia à 10, a descriptive set of movements for string orchestra in the tradition of vocal descriptions of battles by Janequin, Matthias Werrecore and Orazio Vecchi. Composers of battle music for instruments included Andrea Gabrieli, William Byrd and Annibale Padovano and the tradition could be considered to have continued in later times with Beethoven’s Wellington’s Victory, Tchaikovsky’s 1812 Overture and Prokofiev‘s Battle on the Ice from Alexander Nevsky.
In the Battalia à 10, which may have been composed for a carnival pantomime, much of von Biber’s imagery is woven into the music itself. He calls for a number of unusual instrumental techniques, such as: col legno, in which the players use the wood of their bows to beat the strings of their instruments; a percussive pizzicato in Die Schlacht (“The Battle”) to imitate cannon shots; and even instructing the bass player to use a piece of paper to buzz on the strings in Der Mars (Mars, the god of war) to imitate a snare drum, while the solo violin imitates a military fife.
In the second movement, titled Die liederliche gesellschaft von allerley Humor (“The lusty society of all types of humor”), Biber mixes a number of different German, Slovak, and Czech folk songs into a quodlibet (combining of several melodies simultaneously that don’t necessarily fit together) . He even notes on the second violone part that “hic dissonat ubique nam ebrii sic diversis Cantilenis clamare solent.” (“Here it is dissonant everywhere, for thus are the drunks accustomed to bellow with different songs.”) Though this may have been a carnival piece, the realities of seventeenth-century warfare are marked by the pathos of the concluding Adagio: Lamento der verwundten Musquetir (“Lament of the wounded musketeers”).
Music video by Grace Jones performing I've Seen That Face Before (Libertango). (C) 1981 The Island Def Jam Music Group. From Wikipedia:
The song juxtaposes "Libertango", an Argentine tango classic written by composer and bandoneonist Astor Piazzolla (first recorded by Piazzolla himself in 1974), against a reggae arrangement and new lyrics penned by Jones herself and Barry Reynolds. Lyrically, it describes the darker side of Parisian nightlife. The song includes spoken parts in French: "Tu cherches quoi ? À rencontrer la mort ? Tu te prends pour qui ? Toi aussi tu détestes la vie..." which translates "What are you looking for? For death? Who do you think you are? You hate life, you too..." Jones also recorded a Spanish language version of the track entitled "Esta cara me es conocida", and an English version with the French passage recited in Portuguese.
The song was featured in key moments of the 1988 thriller movie Frantic, set in Paris, directed by Roman Polanski and starring Harrison Ford. The track however did not make it onto the film's accompanying soundtrack album. It also features in Raw Deal.
"I've Seen That Face Before (Libertango)" has been described as "one of the highlights of Nightclubbing" and "one of the highlights of Jones' musical career".
Le prix Fondation Louis Roederer de la Semaine de La Critique a été remis au jeune Félix Maritaud, découvert il y a tout juste un an à Cannes dans 120 battements par minute. Dans Sauvage, le premier film de Camille Vidal-Naquet, il campe Léo, jeune égaré épris de liberté, mais taraudé par une quête éperdue d'amour.
PRODUCTION COMPANY: SQUIRE LOCATION: Store X at 180 The Strand DIRECTOR: Róisín Murphy PRODUCER: Phil Tidy DIRECTOR'S ASSISTANT: Jay Creagh PRODUCTION MANAGER: Lisa Turnbull PRODUCTION ASSISTANT: Esteher Reiss 1ST AD: Conor Joyce DOP: Arran Green FOCUS PULLER (Day 1): Marcus Albertsen FOCUS PULLER (Day 2): Jed Darlington GAFFER: Drew Morgan SPARK: Daniele Colucciello SPARK: Rupert Evans PRODUCTION DESIGNER: Maurizio Cianciaruso ART DIRECTOR: Charlotte King WARDROBE DESIGNER: Roisin Murphy / Poppy Bell MAKE UP: Dannielle Farrington RUNNER/ DRIVER: David Burridge OFFLINE EDIT: Jay Creagh / Zoe Desgraupes GRADE / EFFECTS: Jay Creagh ON-LINE: Jay Creagh and Nick Edwards. TITLES: Matt Law CATERING: Phil Tidy CAMERA KIT: Pixie Pixel LIGHTING: Grip Van
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