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" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
Created by Philadelphia Performing Arts Charter School, 4th Grade, Philadelphia, PA
Artists: Francesca, Seth, Alexa, Azure
Teacher: Mrs. Dengler
Title: Optical Illusions and My Nighttime Memories
Theme: Your Night Sky, Astronomy
Materials and techniques: Students used a few different materials and technical skills for this project...Materials included pencil, colored pencils, and construction paper. Students learned how to create Op Art, and express a vision in their mind on paper.
Did you enjoy this project? This project took many twists and turns, when initial concepts didn't pan out, and no one was sure how it was going to turn out. However, with a little problem solving and perseverance, we were all very excited about how they turned out!
About: For this project, students learned about Op Art – or optical art, which is abstract, and often gives the impression of movement, hidden images, flashing and vibration, patterns, or of swelling or warping. Students learned about the innovative Op Art artist Edna Andrade and studied her painting 'Night Sea', that told the story of her memory of nighttime as a little girl. Students then created their own traditional and Op Art composition by drawing and coloring a favorite memory they had that took place at night, and adding a zigzag shaped piece of colored construction paper to their compositions. When four of these individual pieces are placed together in a square, they give the illusion of one cohesive artwork telling a story and also creating an optical illusion of a starburst in the center of the composition.
Learn more about the Dream Rocket Project and how to participate at www.thedreamrocket.com
Exhibit A (Cut portion of the shirt worn by John Noga)
Private collection of Mikihiko Hori
" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
A free show at the Chenla Theater, Phnom Penh
This was quite spectacular! Dancers from france, Cambodia and Laos put on perhaps one of the best dance performances i have seen. Im not a theater goer and certainly don't know much about classical dance but I will try and explain. The first performance looked kind of classical khmer combined with intense drumming, the dancers were truly amazing at what they did. Then the second performance, try to imagine synchronized break dancing to classical music, truly exceptional stuff. To finish, some street kids came on stage and continued with some quite acrobatic breaking, all this for free!
This was the first show of it's kind, there are further shows planned, the next being in June. For a taster of the action there will be 8 acts on diamond island this evening.
Set Stills for "Weird Al" Yankovic's music video "Perform This Way", all photos copyright Robyn Von Swank 2011, www.vonswank.com
JoJo performs on February 17, 2017 at the Showbox at the Market in Seattle, Washington, USA. This was the second stop in the North American leg of her Mad Love Tour.
Performance de "bodypainting" de Karl Lakolak, plasticien et écrivain avec JON, performeur à droite et Thomas Lagrève, danseur (à gauche) lors de l'inauguration de l'exposition.
"Quand les couleurs habillent le corps", une exposition du CNRS au Trocadéro à Paris
Created by Philadelphia Performing Arts Charter School, 4th Grade, Philadelphia, PA
Artists: Zayne, Makenzie, Miranda, Lily
Teacher: Mrs. Dengler
Title: Optical Illusions and My Nighttime Memories
Theme: Your Night Sky, Astronomy
Materials and techniques: Students used a few different materials and technical skills for this project...Materials included pencil, colored pencils, and construction paper. Students learned how to create Op Art, and express a vision in their mind on paper.
Did you enjoy this project? This project took many twists and turns, when initial concepts didn't pan out, and no one was sure how it was going to turn out. However, with a little problem solving and perseverance, we were all very excited about how they turned out!
About: For this project, students learned about Op Art – or optical art, which is abstract, and often gives the impression of movement, hidden images, flashing and vibration, patterns, or of swelling or warping. Students learned about the innovative Op Art artist Edna Andrade and studied her painting 'Night Sea', that told the story of her memory of nighttime as a little girl. Students then created their own traditional and Op Art composition by drawing and coloring a favorite memory they had that took place at night, and adding a zigzag shaped piece of colored construction paper to their compositions. When four of these individual pieces are placed together in a square, they give the illusion of one cohesive artwork telling a story and also creating an optical illusion of a starburst in the center of the composition.
Learn more about the Dream Rocket Project and how to participate at www.thedreamrocket.com
Miley Cyrus performs for the Microsoft store opening at Bellevue Square on Saturday November 20, 2010.
The Microsoft Store is coming home and to celebrate, platinum selling artist Miley Cyrus performed live.
If you wish to use my photos for your any purpose please contact me first.
" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
Performing Arts Department Chair and Dance Program Director Gretel Schatz instructs dancers in the co-curicular Ballet Class in the Rowland Theater, February 16, 2021. Photography by Glenn Minshall.
" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
Performed in the Margot Fonteyn Theatre, White Lodge, Sunday 25 March 2018
©The Royal Ballet School. Photo: Annalise Goldingham
isted 11/27/2018
Madison, Tennessee
Reference number: 100003154
Rainbow Ranch (Hank Show House, Office, and Studio), located in Davidson County, Tennessee, is listed on the National Register of Historic Places. Rainbow Ranch is closely associated with the rise of the Nashville music business and recording industry in the post-World War II period from 1950-1979. As well, Rainbow Ranch is closely associated with musician Hank Snow, as his former home, office, and studio.
National Register of Historic Places Homepage
the Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute (RPI) in Troy, New York; completed in late 2008 and designed by Grimshaw Architects with Davis Brody Bond Aedas
northeast corner with downtown Troy reflected in the glass of the north wall
" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
Photo Courtesy of IMR
From the Second survey diary
Onboard the R/V Dr. Fridtjof Nansen we are currently performing an ecosystem survey that will help to increase our understanding about the living resources of the continental shelf, species assemblages and their linkages with the environment. To do so, we are conducting different studies during these 14 days of survey including acoustic assessment of pelagic fisheries, stratified assessment of demersal fisheries, sea-bottom impact of bottom trawling, oceanographic measures, plankton biomass estimation and sampling, marine mammals, birds and turtle’s distribution and the exploration of the sea-mountain and canyons off Cape Lopez. All these activities will generate a great amount of data that will need to be processed and analyzed once at land.
During the survey onboard the R/V Dr. Fridtjof Nansen, we will assess fisheries resources and we will collect benthos samples, both inside and outside the Marine Park with the intention of monitoring changes in the ecosystem between a recently closed fishing zone, previously exploited, and a contiguous currently trawled area. Results from this and following surveys will help us to understand how ecosystems recover after the closure of fishing activities and what effects can bring the creation of new Marine Parks on the marine biodiversity of West Africa. Preliminary results from trawl catches suggest bigger size and higher species diversity inside the park, than outside. One distinguished difference is that inside the park we got several big royal spiny lobsters (Panulirus regius).
So far we have conducted almost 50 bottom trawl stations. In many trawl hauls 20 to 40 different species have been identified. Most of these have been below 30 cm, but occasionally some big individuals have been caught. One African brown snapper (Lutjanus dentatus) was above 1 m long and weighted almost 20 kg. A Gorean snapper (Lutjanus goreensis) was close to 1 m long and 12 kg. One day we got a big Green sea turtle (Chelonia mydas) during the trawl, it seemed to be in good shape and after measuring we could release it again to the sea.
Raul Vilela and Kathrine Michalsen
(cruise leaders)
Performance n°48 de Eltono au M.U.R. XIII, situé au pied de la passerelle Simone de Beauvoir, côté 13ème arrondissement
(Paris 13ème).
Circle Dance: Shinnecock Reservation, L.I., NY: Labour Day Powwow, September 2006.
According to source Annawon Weedon, this is Ginew Benton, of the Shinnecock and Ojibwe Nations.
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Shinnecock Tribe
Rte 27-A, Montauk Hwy
Southhampton, NY 111968
631-283-6143
State recognized; (no BIA office liason - seriously ridiculous!)
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Shinnecock Indian Nation: An Ancient History and Culture.
Since the beginning, Shinnecock time has been measured in moons and seasons, and the daily lives of our people revolved around the land and the waters surrounding it. Our earliest history was oral, passed down by word of mouth from generation to generation, and as far back as our collective memory can reach, we are an Algonquin people who have forever lived along the shores of Eastern Long Island.
Scientists say we came here on caribou hunts when the land was covered with ice. But our creation story says we were born here; that we are the human children of the goddess who descended from the sky. It was she, the story goes, who caused the land to form beneath her feet from the back of Great Turtle, deer to spring forth from her fingertips; bear to roar into awakening, wolf to prowl on the first hunt. It was she who filled the sky with birds, made the land to blossom and the ponds and bays to fill with fish and mollusks. And when all was done, the Shinnecock, the People of the Shore, appeared in this lush terrain. We are still here.
As coastal dwellers, we continue to prize the bounty of the sea, the shellfish, the scaly fish, which for thousands of years provided the bulk of our diet. We were whalers, challenging the mighty Atlantic from our dugout canoes long before the arrival of the big ships, long before the whaling industry flourished in the 19th century.
In the 1700's, we became noted among the northeastern coastal tribes for our fine beads made from the Northern quahog clam and whelk shells. The Dutch, who arrived on our shores before the English, turned our beads (wampum) into the money system for the colonies.
The Shinnecock Nation is among the oldest self-governing tribes of Indians in the United States and has been a state-recognized tribe for over 200 years. In 1978, we applied for Federal Recognition, and in 2003, we were placed on the Bureau of Indian Affairs' "Ready for Active" list.
Traditionally, decisions concerning the welfare of the tribe were made by consensus of adult male members. Seeking to shortcut the consensus process in order to more easily facilitate the acquisition of Indian lands, the Town of Southampton devised a three member trustee system for the Shinnecock people. This system of tribal government was approved by the New York State legislature in February of 1792. Since April 3, 1792, Shinnecock Indians have gone to the Southampton Town Hall the first Tuesday after the first Monday in April to elect three tribal members to serve a one- year term as Trustees. In April of 2007, the Shinnecock Indian Nation exercised its sovereign right as an ancient Indian Nation and returned to one of its basic Traditions: it bypassed the Southampton Town Hall and for the first time since 1792 held its leadership elections at home, where they will remain.
The Trustee system, however, did not then and does not now circumvent the consensus process, which still remains the governing process of the Shinnecock Indian Nation. Major decisions concerning the tribe are voted yea or nay by all eligible adult members, including women, who gained the right to vote in the mid-1990s. Also in that period, the Shinnecock Nation installed a Tribal Council, a 13 member body elected for two years terms. The Council is an advisory body to the Board of Trustees.
Today, we number over 1300 people, more than 600 of whom reside on the reservation adjacent to the Town of Southampton on the East End of Long Island. While our ancestral lands have dwindled over the centuries from a territory stretching at least from what is known today as the Town of Easthampton and westward to the eastern border of the Town of Brookhaven, we still hold on to approximately 1200 acres.
With modest resources, we have managed to build a community to help us better meet the demands of an ever expanding and intrusive world. In addition to the Shinnecock Presbyterian church building and its Manse, our infrastructure includes a tribal community center, a shellfish hatchery, a health and dental center, a family preservation and Indian education center, a museum, and playgrounds for our children. Also on our list of recent achievements is the design and development of an official Shinnecock Indian Nation flag and an official seal.
Our skilled craftspeople and fine artists find employment within the Tribe as well as the surrounding area. The number of tribal members holding advanced degrees in law, business, medicine, social sciences and liberal arts continues to grow, and tribal members hold positions of responsibility in all areas, including teaching, banking and counseling, both within and outside the Shinnecock community.
One of the earliest forms of economic development that the Shinnecock Nation undertook was to lease Reservation acreage to local area farmers for their crops, mainly potatoes and corn. While the project did bring in a small income for the Tribe, the resulting damages from pesticides leaking into the ground water and polluting our drinking water supply were enormous. We had great expectations for our shellfish hatchery (Oyster Project) but brown tide and general pollution forced it to close before it had the chance to develop into the business enterprise it was planned to be. In the summer of 2005, the Tribe began reseeding parts of its waterways with oysters, and celebrated a renewal harvest of Shinnecock chunkoo oysters at the Tribal Thanksgiving Dinner, November 2006.
At the present moment, the Shinnecock annual Powwow is the economic development project of record for the Shinnecock Nation. Revived in 1946 as a benefit for our church, the Powwow has evolved into an event that hosts thousands of visitors. But we are at the mercy of the weather. For the past two years, rainstorms have forced us to drastically revise our budgeting plans. We are now exploring Indian Gaming as a means of attaining the much needed self-sufficiency that will enable us to perform the sacred duties laid out for us by the Ancestors — to protect, manage and maintain the Shinnecock Indian Nation.
By Bevy Deer Jensen
Shinnecock Nation Communications Officer
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For more information on the Shinnecock Nation, please visit: www.shinnecocknation.com/
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photography: a. golden, eyewash design, c. 2006.
The Rogues and Wenches are an incredibly gifted group of performers that call Anchorage home. They play sea ditties and pirate tunes, most with salty and naughty lyrics. They are a definite crowd pleaser and I love watching them perform.
I've had the chance to visit several Renaissance Fairs throughout the Lower 48 this year and I have to say that the Rogues and Wenches are the best performers I've seen - definitely worth checking out if you have a chance!
Performance d'électro-flamenco du groupe post-industriel Von Magnet pour la 22ème édition de la Soirée du Langage des Viscères "Ceci est mon corps" à l'auditorium Saint-Germain rue Félibien dans le 6ème arrondissement de Paris. France.
The musical Beauty and the Beast is performed for coalition forces at Forward Operating Base Eggers in Kabul, Afghanistan by members of the Kabul Dance Studio of Kabul. The studio is affiliated with the International School of Kabul, which is funded by a US aid grant. The dance studio consist of about 70 percent afghan students and the remainder are comprised of children of UN workers, contractors and teachers of ISK. The program is open to all.
Erin Jenson started the studio in 2008 as a way to get women in Kabul involved in a country that doesn’t offer much outside the basic needs of life. The initial thought was to teach a couple of classes, but the program quickly blossomed form a handful of students to more than 80 in the first year. The local community has shown great interest despite any language and cultural differences. Some of the students learn by watching the dance moves because they can’t speak English.
The family of five has spent three years in country, “ Some days its like OK this isn’t so bad and other days you think what am I doing here. It’s pretty intense!” said Jenson. “Its just good for people to see there are positive things going on in the country.” She thinks that people see the news with all the violence going on and they think it is all about military force and they don’t see the training and positive steps being taken.
Jessie Dancing at Albert Nyathi Zimbabwean African Cultural Poet and Musician Performing with Sbusi and His Talented Group at The Africa Centre Covent Garden London August 2000
Patients in Denim Blue Jeans & Pink Crop Top Dancing Onstage at Robert Masako & Congobeat from The Democratic Republic of Congo DRC Performing La Cremeria Soukous Beat Album Launch at The Limpopo Club The Africa Centre Covent Garden London 1st December 2000