Sri Lanka: The Island from Above by Dominic Sansoni, Sebastian Posingis & Richard Simon …. Published by Barefoot Books
For years, Dominic Sansoni dreamed of photographing Sri Lanka from the air. Having extensively documented the island’s multicultural populace, its urban and rural beauties, its architecture, its culture and festivals and even its wars, he had come to be acknowledged as the most successful and artistically committed Sri Lankan photographer of his generation; yet he found himself still unable to attain the longed-for aerial perspective.
Filed under art & allure bewitching, citizen journalism, cultural transmission, economic processes, heritage, historical interpretation, island economy, landscape wondrous, life stories, performance, photography, self-reflexivity, sri lankan society, the imaginary and the real, transport and communications, travelogue, unusual people, wild life, world events & processes
Dear GOD. It’s me The Dog
Dear God: Is it on purpose that Our Names are spelled the same, only in reverse? Continue reading
Filed under art & allure bewitching, asylum-seekers, atrocities, psychological urges, pulling the leg, self-reflexivity, the imaginary and the real, tolerance, trauma, truth as casualty of war, world affairs, zealotry
Jerzy Lewinski (Jorge Lewinski), photographer: born Lwów, Poland 25 March 1921; Senior Lecturer in Photography, London College of Printing 1968-82; twice married (two sons, one stepdaughter); died London 31 January 2008.
Mike von Joel: “Jorge Lewinski: Portrait photographer who captured a generation of British artists on film,” 8 February 2008, The Independent Obituary
Jorge Lewinski’s career was filled with opportune moments – quirks of fate which diverted his life in new directions and opened up fresh possibilities. Indeed, his portfolio of 20th-century artists’ portraits came about fortuitously – he had intended to record writers but had doubts about how visually interesting they might be – when his fellow Pole Feliks Topolski suggested the idea of painters. It was the start of a decades-long obsession that resulted in a photographic documentation of a whole generation of British artists.
Filed under accountability, art & allure bewitching, cultural transmission, education, heritage, life stories, military strategy, performance, the imaginary and the real, travelogue, truth as casualty of war, world affairs
Nan, in Island, 4 November 2017 where the title reads as “The Portuguese Burghers and Kaffirs”
Ethnic groups are disappearing and thus the research interest on these endangered human groups, their language and culture. One such research that is on-going is on the Portuguese Burghers by the Universidade de Lisboa with funding from the Endangered Languages Documentation Programme of SOAS, University of London. The International Centre for Ethnic Studies (ICES) which is collaborating with the research, facilitated a discussion on the Sri Lankan Portuguese Burghers and their heritage with those on the research project: Hugo Cordosa, Patricia Costa, Rui Pereira, Mahesha Radakrishna – all of the University of Lisbon; Dinali Fernando of the University of Kelaniya and Earle Barthelot, representative of the Portuguese Burgher Community and former secretary of the Burgher Union of Batticaloa.. This was on Tuesday 31 October.
Filed under art & allure bewitching, British colonialism, caste issues, cultural transmission, discrimination, disparagement, economic processes, ethnicity, female empowerment, heritage, historical interpretation, island economy, landscape wondrous, life stories, politIcal discourse, Portuguese in Indian Ocean, power politics, racist thinking, self-reflexivity, sri lankan society, the imaginary and the real, tolerance, unusual people, welfare & philanthophy, working class conditions, world events & processes
Fortunately the priest was walking by the ward. He wore a black hat like a gentleman of my father’s vintage, when they wore such hats as a style when the British ruled us. He was also quite dark skinned like my father and had well chisselled features, a round chin, a proportionate nose and mouth—what my mother said about my father in spite of him being quite dark skinned that he was a handsome man. And this priest was well dressed in his white cassock and black waist band and he had a cross with Christ tucked in it. “Father,” I asked, “are you a Catholic priest? Can you come and see my friend? He is very ill. In this ward.” I pointed to the interior where the 12 o’ clock crowd had already filled the spaces between the beds.
Filed under art & allure bewitching, British colonialism, caste issues, charitable outreach, cultural transmission, heritage, historical interpretation, Left politics, life stories, meditations, politIcal discourse, self-reflexivity, Sinhala-Tamil Relations, sri lankan society, unusual people
Justin Burke, courtesy of The Weekend Australian Review, 28/29 October 2017 where the title is “Homecoming Queen”
When opera superstar Danielle de Niese returns to Australia next month to perform in The Merry Widow, among the audience will be one particular fan from her past: Johnny Young. For it was in the final year of Young’s long-running TV talent show in 1988 that de Niese, then a precocious nine-year-old singing Whitney Houston ballads and musical theatre standards, got her first big break.
“Young Talent Time never ‘made’ anybody’s talent, Danielle’s wonderful voice was a gift from God,” says Young, of the series that aired on Channel 10 for an astonishing 18 years. “Danielle was a sweetheart, and she became more and more relaxed as that season went on, and by the time she won it you could see this girl was going to be something special.”
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Darshanie Ratnawalli, in Island, 21 October 2017, with title as “A long, beautiful woman carries a garland,”
An elongated woman, not as elongated as a fashion designer’s sketch, but in exactly the right proportion for visual grace sits on the floor at her ease. The gold colour of her jacket and cloth shimmers, almost blazes out, creating a pearlescent cloud of luminance, behind which the darkness of the room is a solid backdrop. Both the luminance and the golden colour have texture that leaps out of the canvass inviting touch. An invitation revoked by norms of polite society, which insists that touching is the exclusive province of ownership. And ownership will not change at any price. Iromie Wijewardena will never part with her ‘Artist Collection’ of which ‘After the performance’ just described is part. One can only admire from the safe confines of her art deco living room, while under a guest’s obligation to respect the host’s possessions.
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