Journal articles on the topic 'His Singing Seven'

<p>Seven bodies of Nezamy is rich trove from symbols, attitudes and different themes that with studying of them, in addition to understanding of global character of Nezamy and his deep thoughts, can went to the beliefs and religious infrastructures of poet. Amir Khusrau Dehlavi as the largest imitator of Nezamy had a particular attitude towards all aspects of seven bodies singing eight heaven. Both poets in singing of common concepts, have placed poetry as a means to express their high ideas. This idea expresses social situation of the age of every poet and on the other hand, it expresses the governing religious, doctrinal, moral principles on that time. In the present article it has been tried that most religious themes are extracted that they are most imitated and adapted themes in terms of terms, combinatory and the rhymes in the two system; they amount the frequency of them is been determined in each system. Also, the most obvious evidences of example are mentioned that it indicates imitation and similar writing. It is obvious in this study that innovative aspects and innovations of Dehlavi in eight heaven are also taken into consideration.</p>

Alma redemptoris mater is one of the four ancient antiphons or anthems in honour of the Blessed Virgin Mary. This anthem may recall Chaucer’s Prioress’s Tale, and the image of a choirboy, seven years of age, who, having learnt his Alma redemptoris, sang daily the Virgin’s praises even beyond death. Primer in hand he learnt his Alma by heart, only to be murdered in a Jewish ghetto for singing the anthem that he took such pains to perfect. With the song on his lips his throat was cut; but Mary intervened, placed a precious pearl on his tongue, saying, My litel child, nowe wol I fecche thee,Whan that the greyn is fro thy tonge ytake.Be not agast; I wol the nat forsake.

The voices of 42 students studying classical opera singing at the Estonian Academy of Music were investigated to find any objectively definable qualities possibly correlating with the length of training. Each student's singing of a four-bar seven-word initial phrase from a well-known Estonian classical solo was recorded. The recordings were digitalized and subjected to acoustic analysis yielding the long-term average spectrum (LTAS) for each voice studied. It turned out that the longer a singing student had been trained professionally, the higher was the level of the so-called singer's formant in her/his LTAS. Subsequently the voice quality in each recording was evaluated by four experts using a five-point scale, five points marking the best quality and one point the poorest. It turned out that the average ratings did not show any positive correlation with the length of training, rather, a slightly negative trend (notstatistically significant) could be observed. The results seem to support the critical remarksmade bysome Estonian specialists about domestic teaching of vocal music being perhaps inadequate in some respects (Pappel, 1990). The teaching process seems to be focused on the development of those qualities that enable the singer to be audible in large halls and with a symphony orchestra, while the timbral qualities recede into the background.

This study was designed to investigate the effects of vocal f o on vowel spectral noise level (SNL) and perceived vowel roughness for subjects in high- and low-pitch voice categories. The subjects were 40 adult singers (10 each sopranos, altos, tenors, and basses). Each produced the vowel /a/ in isolation at a comfortable speaking pitch, and at each of seven assigned pitches spaced at whole-tone intervals over a musical octave within his or her singing pitch range. The eight /a/ productions were repeated by each subject on a second test day. The SNL differences between repeated test samples (different days) were not statistically significant for any subject group. For the vowel samples produced at a comfortable pitch, a relatively large SNL was associated with samples phonated by the subjects of each sex who manifested the relatively low singing pitch range. Regarding the vowel samples produced at the assigned-pitch levels, it was found that both vowel SNL and perceived vowel roughness decreased as test-pitch level was raised over a range of one octave. The relationship between vocal pitch and either vowel roughness or SNL approached linearity for each of the four subject groups.

Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of the creative work of J. Kaufmann. The objective of this study is to determine the main features of Kaufmann’s singing style from the point of view of the phenomenological approach. Methods. The complex research methodology is based on the theoretical substantiation of the analysis of a performer style through the positions of the phenomenology of creativity (research by E. Husserl, A. Losev, M. Arkadyev, G. Tsypin). The application of a systematic approach led also to the involvement of the theory of the performing style (research by V. Medushevsky, V. Moskalenko, and Yu. Nikolaievska). Results. The results of the research support the idea that J. Kaufmann’s singing style is a system of interrelated parameters. There are three components of the singing style. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of dialogue and communication between the performer and the composer (according to V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of the performing style (component 2) the definition of V. Kholopova is relevant, that style is a «category-introvert» and the concept of «style of creative personality» (S.Shyp), «style of musical creativity» (V. Moskalenko), «type of creative personality» (E. Liberman),»archetype of a musician» (O. Katrych), which focus on individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his own creative thinking and personality type. Thus, the definition is proposed: The performing vocal (singing) style is the integrity of the highest order, which manifests itself as a type of music-making, based on the characteristics of the timbre colouring of the sound and formed vocal techniques (orientation on language phonetics, rigor or improvisational freedom, expression, etc.). The noted theoretical provisions allow revealing more fully the specifics of J. Kaufmann’s performing style. In addition, basing on journalistic research, interviews and biographical materials, the periods of J. Kaufmann’s creative work has been proposed. Based on the guidelines of the phenomenology of creativity (G. Tsypin) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. 1. Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer’s interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by H. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer’s interpretations in the compositions by Ch. Gounod, F. Busoni, H. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe’s poem), which forms the integrity of the singer’s interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of liberabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk’s Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. 2. Commitment to director’s theatre. J. Kaufmann shares the views on the dominance of director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist”s personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director’s interpretations). 3. Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann’s interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann’s performance, masculinity always prevails. Conclusions. The essence of the phenomenon of J. Kaufmann’s work is the desire not to stand still, to move forward, to open new pages of music or to rethink already known ones, i. e. the tendency to constant self-development, in terms of phenomenology This applies to the interpretations of the works by F. Schubert, G. Mahler, R. Strauss, the mentioned interpretation of the image of Faust in the works of various composers, which demonstrates his constant rethinking. J. Kaufmann’s chamber performing is of great interest for the study of his style. The complexity and diversity of images, texts of works, the unity of style, the ability to distribute the power of the voice, to subordinate its capabilities to the artistic idea – these are the features that characterize a true master. In addition, in his control is to almost the entire tenor repertoire – opera, concert, and chamber. Overall, we regard him a singer of universal type.

One bright winter afternoon in 1992, in the mountains of Yunnan Province, China, Li Yong told me a story. Li Yong and I were crowded into a courtyard in his largely Yi (or Lòlop'ò) village, at a mortuary ritual for one of his affines. In the courtyard's center, where the corpse had lain in its coffin seven days before, a crude trough had been scratched into the earth, with a shallow hole at the end where the corpse's mouth had been. The dead woman's daughter, her husband's sisters and their daughters, and some of their female friends sat on benches on either side, singing formal poetic laments about labor and pain. To accompany her tears, the daughter ladled water from a bucket into the hole in front of her. The water overflowed into the trough and gradually turned the lower surface of the courtyard to mud. Women from the dead woman's son's family moved about the courtyard pouring alcohol for the hundreds of guests, who drank while squatting, sitting or standing, their feet in the mud.

Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musicodramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.

One new recording is a landmark of sorts, for the line of choirmasters at Solesmes runs from Dom André Mocquereau (1889–1914), Dom Joseph Gajard (1914–71), Dom Jean Claire (1971–96), and an interim visitor from St Benoît-du-Lac, Dom Richard Gagné (1996–2003), to a young monk of Solesmes, frère Yves-Marie Lelièvre. His first recording (no. 1 in the list below) offers the Mass Propers for the first three Sundays of Ordinary Time, formerly the Sundays after Epiphany, a programme that matches Dom Gajard’s last recording directing the nuns of Argentan in 1971 (7536 in my discography). Two of those chants have been replaced here, as in the Graduale Triplex, and the expanded playing time of a CD has been given over to seven organ selections played on the abbey’s Schwenkedel organ by Jacques Kauffmann of Paris. Frère Lelièvre selected a schola of twenty-one monks, perhaps not much smaller than Dom Claire used, and elicited a lightness of execution that simply must be heard. There is a forward motion in the singing that is particularly effective in the melismas. Just hear the seldom-recorded gradual ‘Benedictus Dominus’. This is the portent of a fine series of recordings.

The article deals with the formation of sacred music by Christians in the early Middle Ages. Basing on the historical sources and scientific literature, the authors show a connection between the musical traditions of Rome, the Western Goths of Spain and the empire of Charlemagne. The teaching of professional church singers, the birth of Mass, the complexity of the musical pattern of Christian singing, the educational ideas of Isidore of Seville and Alcuin of York, the metriz school timely opened by Christian mentors – all of it contributed to the formation of the early medieval educational process. Alcuin is the author of many (about 380) Latin instructive, panegyric, hagiographic, and liturgical poems (among the most famous are The Cuckoo (lat. De cuculo) and The Primate and Saints of the York Church (lat. De pontificibus et sanctis Ecclesiae Eboracensis )). Alcuin also wrote puzzles in poetry and prose. Alkuin conducted the extensive correspondence (with Charles the Great, Anguilbert, Pope Leo III and many others, a total of 232 letters to various people); Alcuin's letters are an important source on the history of the Carolingian society. At the Palace Academy, Alquin taught trivium and quadrivia elements; in his work On True Philosophy, he restored the scheme of the seven liberal arts, following Kassiodor’s parallel between the seven arts and the seven pillars of the temple of Wisdom of Solomon. He compiled textbooks on various subjects (some in a dialogical form). The Art of Grammar (lat. Ars grammatica) and the Slovene of the Most Noble Young Man Pipin with Albin Scholastic (Lat. Disputatio regalis et nobilissimi juvenis Pippini cum Albino scholastico) became very famous. Alcuin’s textbooks on dialectics, dogmatics, rhetoric, and liturgy are also known.

ABSTRACTIn the mid-fourteenth century the Black Death inflicted one of the most devastating losses of life in human history. This was met by exercises of collective piety such as the singing of psalms and the celebration of special votive masses, which encouraged social cohesion in the face of the tragedy. This article presents results from an analysis of fifty-seven manuscripts containing copies of the monophonic ‘Recordare domine’ Mass, reportedly created at the behest of Clement VI at Avignon during his Black Death-spanning pontificate. Of these, seven manuscripts contain fully notated renditions of each of the chants for the Mass Propers, enabling us to decouple questions concerning the organisation and transmission of the melodies from those of the texts set to them. When the different versions of the Mass are compared, two major findings emerge. First, differential patterns of consistency within the texts and melodies suggest that the texts of the ‘Recordare domine’ Mass may have circulated separately from the melodies set to them, with the choice of music left to the discretion of the local performing clergy. Second, the patterns of variation between different versions of the Proper texts and melodies allow us to see how a variety of composition strategies (including mnemonic processes) were used to create new music for the mass. The ‘Recordare domine’ Mass thus sheds light not only on the performance of organised sacred music at a pivotal point in European history, but also more generally on the processes of chant composition as a tool for use in response to social stress.

The purpose of this study was to test the effect of daily singing instruction on the singing accuracy of young children and whether accuracy differed across four singing tasks. In a pretest-posttest design over seven months we compared the singing accuracy of kindergarteners in a school receiving daily singing instruction from a music specialist to a control school receiving no curricular music instruction. All children completed four singing tasks at the beginning and end of the study: matching single pitches, matching intervals, matching short patterns, and singing a familiar song from memory. We found that both groups showed improvement on the pitch-matching tasks from pretest to posttest, but the experimental group demonstrated significantly more improvement. Performance on the familiar song task did not improve for either group. Students achieved the highest accuracy scores when matching intervals. Regular singing instruction seems to accelerate the development of accurate singing for young children, but the improvement was evident only in the pitch-matching tasks. It is possible that singing skill development proceeds from pitch-matching to the more difficult task of singing a song from memory. If so, this has implications for how we structure singing instruction in the early grades.

It has been proposed that singing evolved to facilitate social cohesion. However, it remains unclear whether bonding arises out of properties intrinsic to singing or whether any social engagement can have a similar effect. Furthermore, previous research has used one-off singing sessions without exploring the emergence of social bonding over time. In this semi-naturalistic study, we followed newly formed singing and non-singing (crafts or creative writing) adult education classes over seven months. Participants rated their closeness to their group and their affect, and were given a proxy measure of endorphin release, before and after their class, at three timepoints (months 1, 3 and 7). We show that although singers and non-singers felt equally connected by timepoint 3, singers experienced much faster bonding: singers demonstrated a significantly greater increase in closeness at timepoint 1, but the more gradual increase shown by non-singers caught up over time. This represents the first evidence for an ‘ice-breaker effect’ of singing in promoting fast cohesion between unfamiliar individuals, which bypasses the need for personal knowledge of group members gained through prolonged interaction. We argue that singing may have evolved to quickly bond large human groups of relative strangers, potentially through encouraging willingness to coordinate by enhancing positive affect.

Although it has been shown that singing together encourages faster social bonding to a group compared with other activities, it is unknown whether this group-level “collective” bonding is associated with differences in the ties formed between individual singers and individuals engaging in other activities (“relational” bonding). Here we present self-report questionnaire data collected at three time points over the course of seven months from weekly singing and non-singing (creative writing and crafts) adult education classes. We compare the proportion of classmates with whom participants were connected and the social network structure between the singing and non-singing classes. Both singers and creative writers show a steeper increase over time in relational bonding measured by social network density and the proportion of their classmates that they could name, felt connected with, and talked to during class compared to crafters, but only the singers show rapid collective bonding to the class-group as a whole. Together, these findings indicate that the process of creating a unitary social group does not necessarily rely on the creation of personal relationships between its individual members. We discuss these findings in the light of social cohesion theory and social identity theory.

The International Society for the Scholarship of Teaching and Learning (ISSOTL) annual conference presents an exciting opportunity to meet with international colleagues from diverse backgrounds and situations to commune on our common interest in the Scholarship of Teaching and Learning (SoTL). As with every ISSOTL conference, the enthusiasm for SoTL was palpable in Los Angeles in 2016. Rich discussions took place, networks were formed, and promises to keep in touch were made. Unfortunately, previous conference experiences have taught us that these good intentions often fall short once the conference bubble has burst and the reality of daily life sets in once more. In an attempt to circumvent this phenomenon, we—seven colleagues from three different countries—embarked on a research project that enabled us to maintain the relationships and fruitful discussions we had initiated at ISSOTL16. We established Small, Significant Online Network Group, or SSONG, inspired by a conference workshop on small significant networks. As a group, we met regularly online using Adobe Connect© and engaged in significant conversations around SoTL that were private, trustful, and intellectually intriguing. This article reflects our experiences in establishing and maintaining the group. We discuss how the group was formed; its alignment with the concept of small, significant networks; and the benefits and challenges we encountered. Four key principles of the group that have emerged will also be discussed in detail, enabling readers to consider how they could adapt the concept for their own purposes.

Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.

First a Man - then a Christian. Grundtvig and Missonary ActivityBy K.E. BuggeThe aim of this paper is to clarify Grundtvig’s ideas on missionary activity in the socalled »heathen parts«. The point of departure is taken in a brief presentation of the poem »Man first - and then a Christian« (1838), an often quoted text, whenever this theme is discussed. The most extensive among earlier studies on the subject is the book published by Georg Thaning: »The Grundtvigian Movement and the Mission among Heathen« (1922). The author provides valuable insights also into Grundtvig’s ideas, but has, of course, not been able to utilize more recent studies.On the background of the revival movement of the late 18th and early 19th century, The Danish Missionary Society was established in 1821. In the Lutheran churches such activity was generally deemed to be unnecessary. According to the Holy Scripture, so it was argued, the heathen already had a »natural« knowledge of God, and the word of God had been preached to the ends of the earth in the times of the Apostles. Nevertheless, it was considered a matter of course that a Christian sovereign had the duty to ensure that non-Christian citizens of his domain were offered the possibility of conversion to the one and true faith. In the double-monarchy Denmark-Norway such non-Christian populations were the Lapplanders of Northern Norway, the Inuits in Greenland, the black slaves in Danish West India and finally the native populations of the Danish colonies in West Africa and East India. Under the influence of Pietism missionary, activity was initiated by the Danish state in South India (1706), Northern Norway (1716), and Greenland (1721).In Grundtvig’s home the general attitude towards missionary work among the heathen seems to have reflected traditional Lutheranism. Nevertheless, one of Grundtvig’s elder brothers, Jacob Grundtvig, volunteered to become a missionary in Greenland.Due to incidental circumstances he was instead sent to the Danish colony in West Africa, where he died after less than one year of service. He was succeeded by his brother Niels Grundtvig, who likewise died within a year. During the period when Jacob Grundtvig prepared himself for the journey to Greenland, we can imagine that his family spent many an hour discussing his future conditions. It is probable that on these occasions his father consulted his copy of the the report on the Greenland mission published by Hans Egede in 1737. It is a fact that Grundtvig imbibed a deep admiration for Hans Egede early in his life. In his extensive poem »Roskilde Rhyme« (1812, published 1814), the theme of which is the history of Christianity in Denmark, Grundtvig inserted more than 70 lines on the Greenland mission. Egede’s achievements are here described in close connection with the missionary work of Bartholomäus Ziegenbalg in Tranquebar, South India, as integral parts of the same journey towards the celestial Jerusalem.In Grundtvig’s famous publication »The Church’s Retort« (1825) he describes the church as an historical fact from the days of the Apostles to our days. This historical church is at the same time a universal entity, carrying the potential of becoming the church of all humanity - if not before, then at the end of the world. A few years later, in a contribution to the periodical .Theological Monthly., he applies this historicaluniversal perspective on missionary acticity in earlier times and in the present. The main features of this stance may be summarized in the following points:1. Grundtvig rejects the Orthodox-Lutheran line of thought and underscores the Biblical view: That before the end of time the Gospel must be preached out into all comers of the world.2. Our Lutheran, Biblically founded faith must not lead to inactivity in this field.3. Correctly understood, missionary activity is a continuance of the acts of the Apostles.4. The Holy Spirit is the intrinsic dynamic power in the extension of the Christian faith.5. The practical procedure in this extension work must never be compulsion or stealth, but the preaching of the word and the free, uninhibited decision of the listeners.We find here a total reversion of the Orthodox-Lutheran way of rejection in principle, but acceptance in practice. Grundtvig accepts the principle: That missionary activity is a legitimate and necessary Christian undertaking. The same activity has, however, both historically and in our days, been marred by unacceptable practices, on which he reacts with forceful rejection. To this position Grundtvig adhered for the rest of his life.Already in 1826, Grundtvig withdrew from the controversy arising from the publication of his .Retort.. The public dispute was, however, continued with great energy by the gifted young academic, Jacob Christian Lindberg. During the 1830s a weekly paper, edited by Lindberg, .Nordisk Kirke-Tidende., i.e. Nordic Church Tidings, became Grundtvig’s main channel of communication with the public. All through the years of its publication (1833-41), this paper, of which Grundtvig was also an avid reader, brought numerous articles and reports on missionary activity. Among the reasons for this editorial practice we find some personal motives. Quite a few of Grundtvig’s and Lindberg’s friends were board members of the Danish Missionary Society. Furthermore, one of Lindberg’s former students, Christen Christensen Østergaard was appointed a missionary in Greenland.In the present paper the articles dealing with missionary activity are extensively reported and quoted as far as the years 1833-38 are concerned, and the effects on Grundtvig of this incessant .bombardment. of information on missionary activity are summarized. Generally speaking, it was gratifying for Grundtvig to witness ho w many of his ideas on missionary activity were reflected in these contributions. Furthermore, Lindberg’s regular reports on the progress of C.C. Østergaard in Greenland has continuously reminded Grundtvig of the admired Hans Egede.Among the immediate effects the genesis of the poem »First the man - then the Christian« must be mentioned. As already observed by Kaj Thaning, Grundtvig has read an article in the issue of Nordic Church Tidings, dated, January 8th, 1838, written by the Orthodox-Lutheran, German theologian Heinrich Møller on the relationship between human nature and true Christianity. Grundtvig has, it seems, written his poem in protest against Møller’s assertion: That true humanness is expressed in acceptance of man’s fundamental sinfulness. Against this negative position Grundtvig holds forth the positive Johannine formulations: To be »of the truth« and to hear the voice of the Good Shepherd. Grundtvig has seen a connection between Møller’s negative view of human nature and a perverted missionary practice. In the third stanza of his poem Grundtvig therefore inserted some critical remarks, clearly inspired by his reading of Nordic Church Tidings.Other immediate effects are seen in the way in which, in his sermons from these years, Grundtvig meticulously elaborates on the Biblical argumentation in favour of missionary activity. In this context he combines passages form the Old and New Testament - often in an ingenious, original manner. Finally must be mentioned the way in which Grundtvig, in his hymn writing from the middle of the 1830s, more often than hitherto recognized, interposes stanzas dealing with the preaching of the Gospel to heathen populations.Turning from general observations and a study of immediate impact, the paper considers the effects, which become apparent in a longer perspective. In this respect Grundtvig’s interpretation of the seven churches mentioned in chapters 2-3 of the Book of Revelation is of crucial importance. According to Grundtvig, they symbolize seven stages in the historical development of Christianity, i.e. the churches of the Hebrews, the Greeks, the Romans, the English, the Germans and the »Nordic« people. The seventh and last church will reveal itself sometime in the future.This vision, which Grundtvig expounds for the first time in 1810, emerges in his writings from time to time all through his life. The most impressive literary monument describing the vision is his great poem, »The Pleiades of Christendom« from 1856-60.In 1845 he becomes convinced that the arrival of the sixth stage is revealed in the breakthrough of a new and vigourous hymn-singing in the church of Vartov. As late as the spring of 1863 Grundtvig voices a contented optimism in a church-historical lecture, where the Danish missions to Greenland and to Tranquebar in South India are characterized as .signs of life and good omens.. Grundtvig here refers back to his above-mentioned »Roskilde Rhyme« (1812, 1814), where he had offered a spiritual interpretation of the names of persons and localities involved in the process. He had then observed that the colony founded in Greenland by Hans Egede was called »Good Hope«, a highly symbolic name. And the church built by the missionaries in Tranquebar was called »Church of the New Jerusalem«, a name explicitly referring to the Book of Revelation, and thus welding together his great vision and his view on missionary activity. After Denmark’s humiliating defeat in the Danish-German war of 1864, the optimism faded away. Grundtvig seems to have concluded that the days of the sixth and .Nordic. church had come to an end, and the era of the seventh church was about to commence. In accordance with his poem on »The Pleiades« etc. he localizes this final church in India.In Grundtvig’s total view missionary activity was the dynamism that bound his vision together into an integrated process. Through the activity of »Denmark’s apostle«, Ansgar, another admired mis-sionary, the universal church had become a locally rooted reality. Through the missions of Hans Egede and Ziegenbalg the Gospel was carried out to the ends of the earth. The local Danish church thus contributed significantly to the proliferation of a universal church. In the development of this view, Grundtvig was inspired as well as provoked by his regular reading of Nordic Church Tidings in the 1830s.

Around 1600, students in France learnt to read with printed primers. They began with the letters of the alphabet, learning them by playing with little wooden or cardboard tablets or picking them out of books, and then moved on to syllables, which were learnt from syllabaries printed in large letters and containing the Pater noster, Ave Maria, Credo, Confiteor and the Benedicite. When they began to spell out whole words, children moved on to another syllabary containing the Magnificat, the Nunc Dimittis, Salve Regina, the Seven Penitential Psalms and the litanies of the Saints, all of them common prayers. Two pages from Jacques Cossard's Methodes pour apprendre a lire, a escripre, chanter le plain chant, et compter (Paris, 1633) can give us some idea of what these early modern primers looked like (see Figures 1–2). In the first lesson the text of the Pater noster is broken into syllables, whereas in the second lesson the students must discern the syllables of the Ave Maria themselves, a task aided by the small numbers Cossard has placed beneath the text to show how many letters should be read together as a syllable.

The use of English language for very young learners in kindergarten has become fundamental in recent global teaching development, including in Aceh, Indonesia. Therefore, this qualitative research is aimed to discover the English language teaching strategies applied for very young Muslim learners’ at Kiddos English School (KES) Kindergarten, Banda Aceh. The research participants were selected by using non-probability sampling method. Furthermore, semi-structured interview towards four English teachers and participant observation was conducted in two classes of KES. The result of this study showed that KES teachers implemented at least seven strategies to teach English for their students from engaging learners in daily oral language activity, to establishing a nurturing environment, playing games, storytelling, audio-visual, singing, and teaching face to face. Furthermore, the teachers faced four constraints in applying those strategies, which are: students’ misbehavior, inconsistency of students’ attendance, lack of parental involvement, and insufficient number of teacher.

This research is to study about the mother behavior to their daughters as seen in "Pride and Prejudice" and "Little Women". The mother behavior to their daughters show the different way of women as a mother in bringing up their children according to their social and condition at the time. The data were taken from two novels entitled "pride and prejudice" and "little women" is the topic of the study. The women held in the early 19th century and the late 19th century was described as one that belonged in the home as a wife and mother, and that should marry a man who can support their family. Also throughout the novel women's role in society was described as one that is to be accomplished in household chore and those of entertainment, such as singing and playing music. The role of women in society was a major theme throughout the novel "Pride and Prejudice" and "Little Women" The method used in this research is a study of comparative literature to analyze mother behavior especially for Mrs. Bennet, Lady Catherine de Bourgh, These women have similarities and different behavior in find the right mate for their daughters. This study shows that every woman has characteristics in caring for their children and paying attention to the survival of their children.

The article deals with the phenomenon of communication in religious spheres and its role in the changing and transformation of the category of the “other”. It is about how religion, as a social institution, used the principles of social (artificial) kinship by imitating the principles of biological kinship and thus turned the “alien” people into co-religionists. Singling out the religious communication as an independent issue (along with other types of communication, such as social, political, ethnic, economic, legal, cultural, etc.) is one of the components of the recently introduced system-communication approach to the study of history. Another aspect of this approach is the use of a “cross-cultural method”. Among its working principles this method has a reference to semantically equivalent (or similar) phenomena, which occur in different cultures and traditions.

<p>The purpose of this study was to determine reproductive efficiency, population dynamics, natural increase and estimated output of the Kuantan cattle in the Kuansing Regency, Province of Riau. A total of 311 Kuantan cattle and 99 Kuantan cattle farmers were used in this study through a survey study. Respondent samples were taken from seven districts. Data sampling using purposive sampling with survey methods. Data collection was carried out by interviewing farmers and observing and was analyzed descriptively. Parameters measured were reproductive efficiency, natural increase, estimated output and population dynamics of Kuantan cattle. Results showed that the reproductive efficiency of Kuantan cattle was 1.04%, natural increase 5.14%, the balance of male and female 1: 5, the value of male NRR 50% and female NRR 100.56%, total cattle out 18.69% and total incoming cattle 18.69%, output value 48.88% and estimated population dynamics 2.85%. In conclusion, Kuantan cattle reproduction has not been efficient with the natural increase of the Kuantan cattle was very low, and the replacement stock availability for male and female cattle has not been fulfilled. It is recommended not to release Kuantan cattle in the next 5 years to maintain population balance.</p>

AbstractObjective:Except for a single case report, musical ear syndrome in cochlear implantees has not been studied. We aimed to study the prevalence and nature of musical ear syndrome among adult cochlear implant patients, as well as the effect on their emotional well-being.Study design, patients and intervention:A cross-sectional survey of patients aged 18 years and above who had received cochlear implants for profound hearing loss between 1997 and 2010.Results:Of the 82 patients studied, 18 (22 per cent) were found to have experienced musical ear syndrome. Seven and 11 patients had musical ear syndrome prior to and after cochlear implantation, respectively. The character of musical ear syndrome symptoms was described as instrumental music (n = 2), singing (6) or both (10). Fourteen patients reported an adverse emotional effect, with three expressing ‘intolerance’.Conclusions:In this study, 22 per cent of cochlear implantees experienced musical ear syndrome. These symptoms affected patients' emotional state, but most coped well. Musical ear syndrome can occur prior to and after cochlear implantation.

This study considered that the pursuit of nature in a city in the restoration projects of Cheonggye Stream and Suseongdong valley was the main motive of the landscape concept premised on humanity and, furthermore, found that it originated from Korean thoughts and cultures about nature. Based on these findings, the study aimed to investigate the influence and sustainability of historical and cultural backgrounds in the planning features of nature in the two restoration projects. The concept of landscape that started from the desire to go out of a city is premised on the secular world of humans. In Korean society, the concept has been developed based on the above common premise, through cultural exchanges with China, and in its regional specificity. In particular, the Korean culture of singing and painting the beauty of landscape using the words “Gyeong (景)” and “Gok (曲)” can be found in the backgrounds and landscape architecture plans of the Cheonggye Stream and Suseongdong Valley restoration projects. Therefore, the historical and cultural thoughts that pursued natural beauty were in the work for the restoration of the two streams, and these concepts should be considered for sustainable development for harmony between the city with nature and between nature with cultures.

A novel method of bionic Morse coding mimicking humpback whale vocal is presented for covert underwater acoustic communication. The complex humpback whale song is translated as bionic Morse codes based on information entropy. The communication signal is made akin to the natural singing of male humpback whales. The intruder can detect the signal but will not be able to recognize the communication signal due to unified resemblance with the natural sound. This novel technique gives an excellent low probability of recognition characteristics. A flawless stealthy underwater acoustic communication has been established which has negligible chances of deciphered with high imperceptibility. Standard mimicry Morse codes have been developed for the characters of the English language and compared with Morse coding. Covert information of one character per second can be watermarked with perfect stealth and clandestine communication. This novel concept has been verified at transmission distance of five km and less than 10−3 Bit Error Rate (BER) is achieved at Signal to Noise Ratio (SNR) down to negative seven dB. Zero BER is attained by estimating the channel by a matching pursuit algorithm and equalizing the errors by virtual time reversal mirror technique.

Motor performance in familiar tasks is often advantaged when performers focus on the effects of their movements rather than on the movements themselves. But, this phenomenon has yet to be studied systematically in the context of vocal production. I evaluated 20 trained singers’ vocal tone as they varied their focus of attention. Each participant performed a short vocalise, a phrase of “My Country ’Tis of Thee,” and a prepared solo piece under six different conditions in which they focused attention on either keeping the vibrato steady, the position of their soft palate, directing their sound to points in the room at three different distances from the singer, or imagining “filling the room” with sound. Each session began with singers performing with no focus instructions, which served as a baseline for comparison. Expert listeners rated all performances on seven variables. Multivariate analyses of variance (MANOVA) revealed significant effects for the evaluation variables of ring and overall tone quality in all singing tasks. Ratings were higher for ring and overall tone quality when the focus of attention moved farther from the singer.

Gold mining activities cause damage the soil. This study aims to know soil chemical properties in post gold mining area (natural forest site, Cyperus kinglia site, open sedoment site and tailing site) after seven years. This research has been conducted from July to December 2017 in Kenegerian Kari gold mining area and central plantation laboratory. The research method used was quantitative descriptive with parameter of observation: pH, kation exchange, N, P, K, C-Organic and C/N ratio. The result showed that N, P, Phosphorus K, KTK content in the low and very low category. KTK, N, P, Phosphorus and K are categorized as low and very low. As well, the organic C content is low except in natural forests. While the C / N ratio category is high for all areas.

The bagana is a paraliturgical lyre played by the Christian Amhara of Ethiopia. It is used to perform spiritual music. Bagana is an intimate instrument, accompanied by the singing voice only. It has a special role in Christian Amhara music, as its myth of origin closely connects it to God, the biblical King David and King Menelik I. It is reputed to be very powerful and its performances arouse intense reactions in both players and listeners. Some of these reactions were observed directly (immediate calming, tears, overwhelmed faces). Inner reactions to bagana were investigated by means of 108 statements collected from 32 participants (from virtuoso players to simple listeners) during interviews or discussion. Statements were classified by using the Strong Experiences related to Music (SEM) descriptive system ( Gabrielsson & Lindström Wik, 2003 ). Results show that the inner reactions bagana elicits are varied (statements fall into six of the seven categories of the SEM descriptive system) but a majority of the statements can be classified into the Feelings/Emotions (5) and Existential and Transcendental (6) categories. The least commonly admitted reactions fall into the Physical Reactions and Behaviours (2) and the Perception (3) categories. These results are discussed in detail and confronted with the direct observations. The utility and difficulties of the SEM descriptive system in ethnomusicological contexts are also discussed.

Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.

Studies on play therapy in other disciplines have been done but post-operative pain management in pediatric patients has not been considered. This study determined the effects of play therapy using storytelling, bubble blowing, singing and film viewing on the pain management of post-operative pediatric patients. The single-group pretest-posttest design was employed. Post-operative pediatric patients of the orthopedic ward ages 2-7 years old assessed to have acute pain were chosen; seven out of 12 patients qualified and were given a pretest to assess the level of pain. Experimental treatment was administered; a posttest was administered thereafter. The level of pain was assessed before and after the intervention with the use of Wong-Baker FACES Pain Rating Scale, FLACC technique scale to assess the behavior and assessment of the vital signs. Play was used as the intervention and significant differences in the level of alleviated pain using self-assessment was computed by getting the decrement level of pain from pre to post assessment and subjecting it to the Kruskal-Wallis test. Storytelling was found to be the most effective resulting to lowered respiratory rate, heart rate and a normal blood pressure reading; however, it did not prove statistical significance as indicated by p-values greater than the 0.05 alpha level. Computed W coefficients associated with p-values revealed that pre-assessment data results were statistically different from the post-assessment data results in terms of self, behavioral and physiological assessments across the four types of play. The pain decrement from the pretest to posttest was statistically significant. A pain management program was proposed.

<p class="MDPI17abstract"><strong>Objective: </strong>The objective of this research is to examine the antioxidant properties of gathot and its potential as edible film.</p><p class="MDPI17abstract"><strong>Methods: </strong>The materials used were dry <em>gathot</em>, carrageenan, and glycerol. The method was conducted experimentally, antioxidant activities test of <em>gathot</em> flour were analyzed descriptively. Physicochemical test of the chicken sausage was analyzed quantitatively by RAL with a 2x5 factorial pattern. The first factor was the types of edible film (0.00 and 0.75%), and the second factor was storage time (0; 2; 4; 6; 8 days) with seven repetitions each variables. The quantitative data were processed by Minitab 19.0.<strong></strong></p><p class="MDPI17abstract"><strong>Results: </strong>The results of the antioxidant test of <em>gathot</em> flour were antioxidant activities of 26.174 ppm; scavenging ability of 49.37%; phenol of 4,852.84µg/g; flavonoids of 4,520.30µg/g. The chicken sausage for eight days at room temperature has a decrease in pH value, a* and b*, and an increase in TBA (Thiobarbituric Acid) value and water content.<strong></strong></p><p class="MDPI17abstract"><strong>Conclusions: </strong>The antioxidant level of <em>gathot</em> flour is classified as a weak antioxidant, the results in the application of <em>gathot</em> flour edible film with a concentration of 0.75% were able to maintain the quality of chicken sausage until day six at room temperature storage (28 ºC).</p>

The ability to cryopreserve gametes and embryos has been a valuable tool for reproductive management in all mammalian species, especially livestock. Embryo vitrification involves exposure to high concentrations of cryoprotectants and osmotic stress during cooling and warming. These factors have to affect gene expression. The elongating embryo is a stage of embryo development that can be recovered noninvasively in the cow on day (D) 14 and represents a critical stage of development when many embryos die. In this study, we aimed to evaluate the effect of vitrification on the transcriptome dynamics of D14 embryos by RNA sequencing (RNA-seq). Invitro blastocyst-stage embryos were vitrified by exposure to dimethyl sulfoxide and ethylene glycol solution, followed by placing on Cryo Loks and plunging in liquid nitrogen. After warming, embryos were loaded into straws and transferred into eight synchronized recipients, four cows received nonvitrified embryos and four cows received vitrified embryos (20 embryos per cow). Embryo flushing yielded 12 nonvitrified and 9 vitrified viable D14 embryos. Whole embryos (six nonvitrified and two vitrified embryos) or isolated trophectoderm (TE; four nonvitrified and seven vitrified) were processed for RNA-seq. The Smart-sEqn 2 protocol was followed to prepare RNA-seq libraries. Sequencing reads were prefiltered and aligned to the bovine genome, and gene expression values were calculated as fragments per kilobase of transcript per million mapped reads. Genes were deemed differentially expressed between treatments if they showed a false discovery rate P-value&lt;0.05 and fold-change &gt;2. Ingenuity pathway analysis was used to reveal gene ontology and pathways. Expression of 927 genes was changed in D14 embryos as a result of vitrification, with 782 and 145 genes upregulated and downregulated, respectively. In TE, vitrification resulted in 4096 and 280 upregulated or downregulated genes, respectively. Several pathways were upregulated by vitrification in both whole embryos and TE, including epithelial adherens junctions, sirtuin signalling, germ cell-Sertoli cell junction, ATM signalling, nucleotide excision repair, and protein ubiquitination pathways. Downregulated pathways included EIF2 signalling, oxidative phosphorylation, mitochondrial dysfunction, regulation of eIF4 and p70S6K signalling, mammalian target of rapamycin signalling, sirtuin singling, and nucleotide excision repair pathways. In addition, we found 671 and 61 genes upregulated and downregulated in both vitrified whole embryos and TE. Mitochondrial dysfunction and oxidative phosphorylation signalling were upregulated, whereas epithelial adherens junction and sirtuin signalling were downregulated, suggesting mitochondrial function and energy production were impaired in TE after vitrification. Our analysis identified specific pathways and implicated specific genes affected by cryopreservation and potentially affecting embryo developmental competence.

<p>Gejala busuk akar cokelat pada tanaman jambu mete di Sumbawa, khususnya Kecamatan Pekat, Dompu-NTB diasosiasikan dengan serangan Phellinus noxius. Secara ilmiah jamur ini belum dapat dibuktikan patogensitasnya. Penelitian ini betujuan menguraikan hasil penelitian tentang uji patogenisitas isolat P. noxius pada bibit jambu mete dan 6 jenis tanaman berkayu lainnya. Penelitian dilakukan pada tahun 2003 di laboratoium dan rumah kaca Balai Penelitian Tanaman Rempah dan Obat. Isolat P. noxius diperoleh dari tanaman jambu mete sakit Kecamatan Pekat, Dompu-NTB, kemudian diperbanyak pada medium campuran beras jagung (1:1) dalam botol selai (vol. 250 ml.). Biakan inokulum jamur berumur salu bulan diinokulasikan pada pangkal batang dai tujuh jenis tanaman berkayu, yaitu: jambu mete (Anacardium occidentale) jenis Balakrisnan, kayu manis (Cinnamomum casia dan C. burmanii), kopi (Cofea arabtca), jarak pagar (Jatropa curcas). kapok (Ceiba pentandra), dan singkong (Manihot utilissima) yang ditumbuhkan di dalam kantong plastik. Hasil penelitian menunjukkan bahwa enam dai tanaman yang diinokulasi dengan P. noxius menghasilkan gejala penyakit daun menguning dan layu, sama sepeti gejala penyakit di lapangan. Bibit yang diinokulasi mati dalam waktu 2-3 minggu sampai dengan 2 bulan setelah inokulasi. Satu-satunya jenis tanaman yang menunjukkan gejala berbeda dan tidak mati, adalah singkong yang menunjukkan gejala kcrdil. Tanaman jambu mete dan jarak pagar merupakan tanaman inang yang baru untuk P. noxius. karena tanaman lainnya sudah pemah dilaporkan sebelumnya.. Mengingat ganasnya serangan P. noxius pada bibit yang diinokulasi maka kcwaspadaan perlu ditingkatkan untuk mencegah tersebamya penyakit ini ke daerah pengembangan mete lainnya di NTB.<br /><br />Kata kunci: Anacardium occidentale, jambu mete, Phellinus noxius. patogenisitas<br /><br /><strong>ABSTRACT</strong></p><p>Pathogenicity of Phellinus noxius isolatedfrom diseased cashew and other woody plants</p><p>Brown root rot symptom on cashew in Sumbawa, especially in Pekat Distict, Dompu - West Nusa Tenggara is associated with the attack of Phellinus noxius. The pathogenicity of this fungus has not been proven scientiically. This experiment was aimed to analyse the result of pathogenicity test of P. noxius isolate on the seedlings of cashew and 6 other woody plants. This research was done in 2003 in the laboratory and glass house of the Indonesian Spice and Medicinal Crop Research Institute. The P. noxius isolate was obtained from the infected cashew in Pekat District, Dompu - West Nusa Tcnggara, then multiplied in the mixture of rice and com medium in the 250 ml jam bottle. The one month fungus culture was inoculated on the stem base of the seven woody plants, namely cashew (Anacardium occidentale) Balakhrisnan cullivar, cinnamon (Cinnamommum casia and C. burmanii), coffee (Coffea arabica), castor (Jatropa curcas), kapok (Ceiba pentandra) and cassava (Manihot uilissima) grown in plastic pots. The result of this expeiment indicated that the six kinds of plants inoculated with /' noxius showed disease symptoms, such as wilting and yellowing of the leaves and died in about 2-3 weeks up to 2 months ater inoculation. The only plant that was not died but showed different symptom was cassava, its growth was very stunted but not died. The two plants, i.e. cashew and castor were new host plants for P. noxius. Considering the viciousness of /'. noxius atack on the inoculated seedlings, therefore the awareness to prevent the spread of this disease to other cashew plantations in West Nusa Tenggara should be raised.<br /><br />Key words : Anacardium occidentale. cashew, Phellinus noxius. pathogenicity</p>

Anthony Johnson Showalter (c. 1853–1924) was a music educator, gospel composer, publisher, and considered a pioneer in gospel music and education in the late nineteenth century and early twentieth century. Showalter is notably mentioned in numerous texts and studies related to gospel music; however, little data has been collected regarding the tools he used in singing schools—namely, the rudiment books he wrote and the schools where he used the curriculum. The purpose of this study is to discover Showalter’s possible motivation to begin his career, his determination in writing music education curriculum, organizing singing schools, his reasonings for focusing on seven-shape note style, and his influence into the twenty-first century. Materials analyzed included Showalter’s rudiment books, extant copies of his periodical, “The Music Teacher and Home Magazine,” and interviews at present-day gospel singing schools. Extant research related to four-shape and seven-shape hymnody and education was also reviewed. Findings indicate that Showalter was a progressive student-centered educator who utilized alternate tools in helping many with literacy by organizing the Southern Normal Musical Institute. Showalter created materials and opportunities which were accessible to the advanced and the beginner, hence providing a future for gospel singing schools well into the twenty-first century.

PurposeDuring choir rehearsals, a conductor continuously holds choir members accountable for what they do and how they sing. Hence, members are held accountable through action. This allows a conductor to emphasize his/her expertise and underline his/her authority. Choir members typically respond in certain ways when this is done, for instance by commenting on the feedback they receive or by trying to improve their singing. The interplay between these accounts, how they develop over time, and what they (do not) accomplish in terms of human relatedness are the focus of this study. We use Bauman's (1993) conceptualization of social space to investigate these issues.Design/methodology/approachBy providing reasons for their conduct and behaving in a certain way, a conductor and choir members, but also a choir's management, can alter their position in social space. Thereby, they solidify or change how they relate to other individuals in the choir. Bauman assumes that processes of social spacing require so-called “misunderstandings”. We examine seven misunderstandings that occurred in a particular rehearsal of a top-level amateur choir, analyzing their impact on human relatedness. Video analysis methods, interviews and photo-elicitation are the main research methods used.FindingsWe find both short-term and long-term effects of misunderstandings on human relatedness, and offer two extensions of Bauman's (1993) conception of social space. Firstly, we assert that there is a reflective side to processes of social spacing that needs to be taken into account when changes in human relatedness are discussed. Secondly, we find that the emotional impact of accountability on how individuals behave ought not to be underestimated, as this can have lasting effects on how people relate to one another.Originality/valueThis research makes two contributions to the extant literature. It is shown how accountability through action unfolds when people engage in leisurely activity, and how this affects the way they relate to one another – in sometimes unintentional and unpredictable ways. It also extends a well-known theoretical framework on social space that has seen little application in the accounting literature. This framework is adapted so that it may be used more fruitfully in future accounting studies.

The purpose of the study was to (1) determine the internal potential of tourism objects in Kuantan Singingi Regency, Riau Province, (2) determine the external potential of tourism objects in Kuantan Singingi Regency, Riau Province, (3) determine the potential of tourist attraction development in Kuantan Singingi Regency, Riau Province. This type of research is quantitative. Population in this research are all tourism objects in Kuantan Singingi Regency, Riau Province. The sample in this study is total sampling where the number of samples is equal to the population. The analysis technique used is scoring ang typology analysis. This study found that: (1) This tourist attraction in Kuantan Singingi Regency has four main priorities to developmnet. The tourism object that becomes the main priority to development is Waterpark.(2) Four attractions which become the second periority to development potencial. These attraction are Air Terjun Guruh Gemurai, Danau Seroja, Danau Sei Soriak, and Danau Baru. (3) Seven attractionswhich become the third periority in the development potential. These atraction are Ngarai Batang Ogan, Panorama Bukik Cokiak, Pesona Rawang Bonto, Danau Cekdam, Danau Sikuran, Danau Panjang, dan Tabijo Sei Tepi. (4) One tourist attraction become the fourth priority to development potential is Sungai Jernih.

Abstract Study question Can artificial intelligence (AI) algorithms identify spermatozoa in a semen sample without using training data annotated by professionals? Summary answer Unsupervised AI methods can discriminate the spermatozoon from other cells and debris. These unsupervised methods may have a potential for several applications in reproductive medicine. What is known already Identification of individual sperm is essential to assess a given sperm sample’s motility behaviour. Existing computer-aided systems need training data based on annotations by professionals, which is resource demanding. On the other hand, data analysed by unsupervised machine learning algorithms can improve supervised algorithms that are more stable for clinical applications. Therefore, unsupervised sperm identification can improve computer-aided sperm analysis systems predicting different aspects of sperm samples. Other possible applications are assessing kinematics and counting of spermatozoa. Study design, size, duration Three sperm-like paint images were manipulated using a graphic design tool and used to train our AI system. Two paintings have an ash colour background and randomly distributed white colour circles, and one painting has a predefined pattern of circles. Selected semen sample videos from a public dataset with videos obtained from 85 participants were used to test our AI system. Participants/materials, setting, methods Generative adversarial networks (GANs) have become common AI methods to process data in an unsupervised way. Based on single image frames extracted from videos, a GAN (SinGAN) can be trained to determine and track locations of sperms by translating the real images into localization paintings. The resulting model showed the potential of identifying the presence of sperms without any prior knowledge about data. Main results and the role of chance Visual comparisons of localization paintings to real sperm images show that inverse training of SinGANs can track sperms. Converting colour frames into grayscale frames and using grayscale synthetic sperm-like frames showed the best visual quality of generated localization paintings of sperm frames. Feeding real sperm video frames to the SinGAN at different scaling factors, which is defining the resolution of the input image, showed different quality levels of generated sperm localization paintings. A sperm frame given to the algorithm with a scaling factor of one leads to random sperm tracking, while the scales two to four result in more accurate localization maps than scaling levels five to eight. In contrast, scales from six to eight result in an output close to the input frame. The proposed method is robust in terms of the number of spermatozoa, meaning that the detection works well for samples with a low or high sperm count. For visual comparisons, visit our Github page: https://vlbthambawita.github.io/singan-sperm/. The sperm tracking speed of our SinGAN using an NVIDIA 1080 graphic processing unit, is around 17 frames per second, which can be improved by using parallel video processing capabilities. This shows the capability of using this method for real-time analysis. Limitations, reasons for caution Unsupervised methods are hard to train, and the results need human verification. The proposed method will need quality control and must be standardized. Unsupervised sperm tracking SinGAN may identify blurry bright spots as non-existing sperm heads which may restrict the use of SinGAN sperm tracking for sperm counting. Wider implications of the findings: Assessment of semen samples according to the WHO guidelines is subjective and resource-demanding. This unsupervised model might be used to develop new systems for less time-consuming and more accurate evaluation of semen samples. It may also be used for real-time analysis of prepared spermatozoa for use in assisted reproduction technology. Trial registration number N/A

As populations age, it is critical to understand how psycho-social wellbeing supports successful ageing. The health sector is increasingly asking how best to improve social connection and affective state because of their positive influence on overall health. Choral participation has been proposed as a particularly effective way to improve socio-emotional wellbeing, due to benefits of music exposure, social opportunities, and the act of singing. It may be, however, that improvements in wellbeing are also dependent on individual attitudes towards participation, including preference, motivation, and exercising agency. There is a need for studies that account for the influence of choice and preference as they may predict benefits for wellbeing. Findings are presented here from a quasi-experimental study exploring whether choral participation yields greater benefits for wellbeing in the long term (seven months) than does participation in an exercise group that shares some of the nonspecific characteristics of choirs such as social interaction and exposure to music. Emotional wellbeing increased for both groups, while there was a small but significant decrease in mental wellbeing for both groups between the first and second time points; no other statistically significant changes were observed. Analysis of qualitative data indicated that members of choirs found the act of singing to be intrinsically rewarding, while members of exercise groups relied instead on the benefits of social interaction to keep them committed to an exercise regime; however, themes such as the importance of social connection, confidence, improved mental and emotional state, and overall improved wellbeing were common to both groups. Effects on the wellbeing of the members of the two kinds of group did not differ significantly despite differences in their self-reported motivation for joining and participating. No changes were observed in measures of social connection or empathy across the length of the study.

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.

Although the wider Eastern Tropical Pacific has been systematically surveyed during summer/fall, relatively little effort has focused on shelf and slope waters of Nicaragua and Costa Rica. Such data are useful for establishing baseline information and assessing potential changes in cetacean occurrence and distribution relative to natural (e.g., El Niño-Southern Oscillation, climate change) and anthropogenic factors. A visual-acoustic survey for cetaceans occurred as part of a monitoring and mitigation program during an academic geophysical seismic study off Nicaragua and Costa Rica, during November-December 2004. Approximately 2 067 cetaceans representing at least seven species were seen in 75 groups during 373 h (3 416 km) of daytime observations from the seismic research vessel (R/V) Maurice Ewing. The humpback whale (Megaptera novaeangliae) and the pantropical spotted dolphin (Stenella attenuata) were the most frequently sighted species (30 % of all groups sighted); both were seen in shelf waters < 100 m deep and in slope waters. The bottlenose dolphin (Tursiops truncatus; 10 % of sightings) was the third most frequently sighted species and was only seen in water > 100 m deep. In addition, sightings were made of spinner dolphins (S. longirostris), short-beaked common dolphins (Delphinus delphis), Risso’s dolphins (Grampus griseus), short-finned pilot whales (Globicephala macrorhynchus), and unidentified dolphins and whales. Unconfirmed sightings of a minke whale (Balaenoptera acutorostrata) and a pod of false killer whales (Pseudorca crassidens) were also recorded. An additional six groups of dolphins (50 % confirmed to species, all pantropical spotted dolphins) were made during 187 h (1 549 km) of observation effort during darkness, two of which were detected within 30 m of the vessel bow using a night vision device. A total of 217 cetacean detections occurred during 633 h of passive acoustic monitoring. A small concentration of 12 humpback whales was seen in eight groups, and two humpbacks were recorded singing in the Gulf of Fonseca on 9 December 2004. To our knowledge, such concentrations of humpback whales, particularly singing humpbacks, have not been previously reported in this specific area. In addition, a humpback mother-calf pair, likely from the Northern Hemisphere population, was seen off Northern Costa Rica on 25 November 2004. Although cetacean sighting rates were significantly different during seismic and non-seismic periods even when corrected for differential detection probability related to sea conditions, our survey results do provide information to address previous data gaps on cetacean occurrence in shelf and slope waters off the Pacific coast of Central America during late fall.

In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique way.Clearly, different creators, working with different plots and in different genres will have different ways of representing the past. Redfern Now and Cleverman are both produced by Indigenous creators whereas the creators of The Secret River and Glitch are white Australians. Redfern Now and The Secret River are in a realist mode, whereas Glitch and Cleverman are speculative fiction. My argument proceeds on two axes: first, speculative genres allow for more creative ways of representing the past. They give more freedom for the creators to present affective representations of the historical past. Speculative genres also allow for more interesting intellectual examinations of what we consider to be history and its uncertainties. My second axis argues, because it is hard to avoid when looking at this group of texts, that Indigenous creators represent the past in different ways than non-Indigenous creators. Indigenous creators present a more elliptical vision. Non-Indigenous creators tend to address historical stories in more overt ways. It is apparent that even when dealing with the same histories and the same facts, the understanding of the past held by different groups is presented differently because it has different affective meanings.These television programs were all made in the 2010s but the roots of their interpretations go much further back, not only to the history they represent but also to the arguments about history that have raged in Australian intellectual and popular culture. Throughout most of the twentieth century, indigenous history was not discussed in Australia, until this was disturbed by WEH Stanner's reference in the Boyer lectures of 1968 to "our great Australian silence" (Clark 73). There was, through the 1970s and 80s, increased discussion of Indigenous history, and then in the 1990s there was a period of social and cultural argument known locally as the 'History Wars'. This long-running public disagreement took place in both academic and public arenas, and involved historians, other academics, politicians, journalists and social commentators on each side. One side argued that the arrival of white people in Australia led to frontier wars, massacre, attempted genocide and the ongoing oppression of Indigenous people (Reynolds). The other posited that when white people arrived they killed a few Aborigines but mostly Aboriginal people were killed by disease or failure to 'defend' their culture (Windschuttle). The first viewpoint was revisionist from the 1960s onwards and the second represented an attempt at counter-revision – to move the understanding of history back to what it was prior to the revision. The argument took place not only among historians, but was taken up by politicians with Paul Keating, prime minister 1993-1996, holding the first view and John Howard, prime minister 1996-2007, aggressively pursuing the second. The revisionist viewpoint was championed by historians such as Henry Reynolds and Lyndall Ryan and academics and Aboriginal activists such as Tony Birch and Aileen Moreton Robinson; whereas the counter-revisionists had Keith Windschuttle and Geoffrey Blainey. By and large the revisionist viewpoint has become dominant and the historical work of the counter-revisionists is highly disputed and not accepted.This argument was prominent in Australian cultural discourse throughout the 1990s and has never entirely disappeared. The TV shows I am examining were not made in the 1990s, nor were they made in the 2000s - it took nearly twenty years for responses to the argument to make the jump from politicians' speeches and opinion pieces to television drama. John Ellis argues that the role of television in popular discourse is "working through," meaning contentious issues are first raised in news reports, then they move to current affairs, then talk shows and documentaries, then sketch comedy, then drama (Ellis). Australian Indigenous history was extensively discussed in the news, current affairs and talk shows in the 1990s, documentaries appeared somewhat later, notably First Australians in 2008, but sketch comedy and drama did not happen until in 2014, when Black Comedy's programme first aired, offering sketches engaging often and fiercely with indigenous history.The existence of this public discourse in the political and academic realms was reflected in film before television. Felicity Collins argues that the "Blak Wave" of Indigenous film came to exist in the context of, and as a response to, the history wars (Collins 232). This wave of film making by Indigenous film makers included the works of Rachel Perkins, Warwick Thornton and Ivan Sen – whose films chronicled the lives of Indigenous Australians. There was also what Collins calls "back-tracking films" such as Rabbit-Proof Fence (2002) and The Tracker (2010) made by white creators that presented arguments from the history wars for general audiences. Collins argues that both the "blak wave" and the "back track" created an alternative cultural sphere where past injustices are acknowledged. She says: "the films of the Blak Wave… cut across the history wars by turning an Indigenous gaze on the colonial past and its afterlife in the present" (Collins 232). This group of films sees Indigenous gazes relate the past and present whereas the white gaze represents specific history. In this article I examine a similar group of representations in television programs.History is not an innocent discourse. In western culture 'history' describes a certain way of looking at the past that was codified in the 19th century (Lloyd 375). It is however not the only way to look at the past, theorist Mark Day has described it as a type of relation with the past and argues that other understandings of the past such as popular memory and mythology are also available (Day). The codification of history in the 19th century involved an increased reliance on documentary evidence, a claim to objectivity, a focus on causation and, often though not always, a focus on national, political history. This sort of history became the academic understanding of history – which claims to be, if not objective, at least capable of disinterest; which bases its arguments on facts and which can establish its facts through reference to documentary records (Froeyman 219). Aileen Moreton-Robinson would call this "white patriarchal knowledge" that seeks to place the indigenous within its own type of knowledge production ("The White Man's Burden" 414). The western version of history tends to focus on causation and to present the past as a coherent narrative leading to the current point in time. This is not an undisputed conception of history in the western academy but it is common and often dominant.Post-colonialist analyses of history argue that western writing about non-western subjects is biased and forces non-westerners into categories used to oppress them (Anderson 44). These categories exist ahistorically and deny non-westerners the ability to act because if history cannot be perceived then it is difficult to see the future. That is to say, because non-western subjects in the past are not seen as historical actors, as people whose actions effected the future, then, in the present, they are unable to access to powerful arguments from history. Historians' usual methodology casts Indigenous people as the 'subjects' of history which is about them, not by them or for them (Tuhiwai Smith 7, 30-32, 144-5). Aboriginal people are characterised as prehistoric, ancient, timeless and dying (Birch 150). This way of thinking about Indigenous Australia removes all agency from Aboriginal actors and restoring agency has been a goal of Aboriginal activists and historians. Aileen Moreton Robinson discusses how Aboriginal resistance is embodied through "oral history (and) social memory," engaging with how Aboriginal actors represent themselves and are represented in relation to the past and historical settings is an important act ("Introduction" 127).Redfern Now and Cleverman were produced through the ABC's Indigenous Department and made by Indigenous filmmakers, whereas Glitch and The Secret River are from the ABC drama department and were made by white Australians. The different programs also have different generic backgrounds. Redfern Now and The Secret River are different forms of realist texts; social realism and historical realism. Cleverman and Glitch, however, are speculative fiction texts that can be argued to be in the mode of magical realism, they "denaturalise the real and naturalise the marvellous" they are also closely tied ideas of retelling colonial stories and "resignify(ing) colonial territories and pasts" (Siskind 834-5).Redfern Now was produced by Blackfella Films for the ABC. It was, with much fanfare, released as the first drama made for television, by Aboriginal people and about Aboriginal people (Blundell). The central concerns of the program are issues in the present, its plots and settings are entirely contemporary. In this way it circumvents the idea and standard representation of Indigenous Australians as ancient and timeless. It places the characters in the program very much in the present.However, one episode "Stand Up" does obliquely engage with historical concerns. In this episode a young boy, Joel Shields, gets a scholarship to an expensive private school. When he attends his first school assembly he does not sing the national anthem with the other students. This leads to a dispute with the school that forms the episode's plot. As punishment for not singing Joel is set an assignment to research the anthem, which he does and he finds the song off-putting – with the words 'boundless plains to share' particularly disconcerting. His father supports him saying "it's not our song" and compares Joel singing it to a "whitefella doing a corrobboree". The national anthem stands metaphorically for the white hegemony in Australia.The school itself is also a metaphor for hegemony. The camerawork lingers on the architecture which is intended to imply historical strength and imperviousness to challenge or change. The school stands for all the force of history white Australia can bring to bear, but in Australia, all architecture of this type is a lie, or at least an exaggeration – the school cannot be more than 200 years old and is probably much more recent.Many of the things the program says about history are conveyed in half sentences or single glances. Arguably this is because of its aesthetic mode – social realism – that prides itself on its mimicry of everyday life and in everyday life people are unlikely to set out arguments in organised dot-point form. At one point the English teacher quotes Orwell, "those who control the past control the future", which seems overt but it is stated off-screen as Joel walks into the room. This seeming aside is a statement about history and directly recalls central arguments of the history wars, which make strong political arguments about the effects of the past, and perceptions of the past, on the present and future. Despite its subtlety, this story takes place within the context of the history wars: it is about who controls the past. The subtlety of the discussion of history allows the film makers the freedom to comment on the content and effects of history and the history wars without appearing didactic. They discuss the how history has effected the present history without having to make explicit historical causes.The other recent television drama in the realist tradition is The Secret River. This was an adaptation of a novel by Kate Grenville. It deals with Aboriginal history from the perspective of white people, in this way it differs from Redfern Now which discusses the issues from the perspective of Aboriginal people. The plot concerns a man transported to Australia as a convict in the early 19th century. The man is later freed and, with his family, attempts to move to the Hawksbury river region. The land they try to settle is, of course, already in use by Aboriginal people. The show sets up the definitional conflict between the idea of settler and invader and suggests the difference between the two is a matter of perspective. Of the shows I am examining, it is the most direct in its representation of historical massacre and brutality. It represents what Felicity Collins described as a back-tracking text recapitulating the colonial past in the light of recovered knowledge. However, from an Indigenous perspective it is another settler tale implying Aboriginal people were wiped out at the time of colonisation (Godwin).The Secret River is told entirely from the perspective of the invaders. Even as it portrays their actions as wrong, it also suggests they were unavoidable or inevitable. Therefore it does what many western histories of Indigenous people do – it classifies and categorises. It sets limits on interpretation. It is also limited by its genre, as a straightforward historical drama and an adaptation, it can only tell its story in a certain way. The television series, like the book before it, prides itself on its 'accurate' rendition of an historical story. However, because it comes from such a very narrow perspective it falls into the trap of categorising histories that might have usefully been allowed to develop further.The program is based on a novel that attracted controversy of its own. It became part of ongoing historiographical debate about the relationship between fiction and history. The book's author Kate Grenville claimed to have written a kind of affectively accurate history that actual history can never convey because the emotions of the past are hidden from the present. The book was critiqued by historians including Inge Clendinnen, who argued that many of the claims made about its historical accuracy were largely overblown (Clendinnen). The book is not the same as the TV program, but the same limitations identified by Clendinnen are present in the television text. However, I would not agree with Clendinnen that formal history is any better. I argue that the limitation of both these mimetic genres can be escaped in speculative fiction.In Glitch, Yurana, a small town in rural Victoria becomes, for no apparent reason, the site of seven people rising from the dead. Each person is from a different historical period. None are Indigenous. They are not zombies but simply people who used to be dead. One of the first characters to appear in the series is an Aboriginal teenager, Beau, we see from his point of view the characters crawling from their graves. He becomes friendly with one of the risen characters, Patrick Fitzgerald, who had been the town's first mayor. At first Fitzgerald's story seems to be one of working class man made good in colonial Australia - a standard story of Australian myth and historiography. However, it emerges that Fitzgerald was in love with an Aboriginal woman called Kalinda and Beau is his descendant. Fitzgerald, once he becomes aware of how he has been remembered by history, decides to revise the history of the town – he wants to reclaim his property from his white descendants and give it to his Indigenous descendants. Over the course of the six episodes Fitzgerald moves from being represented as a violent, racist boor who had inexplicably become the town's mayor, to being a romantic whose racism was mostly a matter of vocabulary. Beau is important to the plot and he is a sympathetic character but he is not central and he is a child. Indigenous people in the past have no voice in this story – when flashbacks are shown they are silent, and in the present their voices are present but not privileged or central to the plot.The program demonstrates a profoundly metaphorical relationship with the past – the past has literally come to life bringing with it surprising buried histories. The program represents some dominant themes in Australian historiography – other formerly dead characters include a convict-turned-bush-ranger, a soldier who was at Gallipoli, two Italian migrants and a girl who died as a result of sexual violence – but it does not engage directly with Indigenous history. Indigenous people's stories are told only in relation to the stories of white people. The text's magical realism allows a less prescriptive relationship with the past than in The Secret River but it is still restricted in its point of view and allows only limited agency to Aboriginal actors.The text's magical realism allows for a thought-provoking representation of relationships with the past. The town of Yurana is represented as a place deeply committed to the representation and glorification of its past. Its main street contains statues of its white founders and war memorials, one of its main social institutions is the RSL, its library preserves relics of the past and its publican is a war history buff. All these indicate that the past is central to the town's identity. The risen dead however dispute and revise almost every aspect of this past. Even the history that is unmentioned in the town's apparent official discourse, such as the WWII internment camp and the history of crimes, is disputed by the different stories of the past that the risen dead have to tell. This indicates the uncertainty of the past, even when it seems literally set in stone it can still be revised. Nonetheless the history of Indigenous people is only revised in ways that re-engage with white history.Cleverman is a magical realist text profoundly based in allegory. The story concerns the emergence into a near future society of a group of people known as the "Hairies." It is never made clear where they came from or why but it seems they appeared recently and are unable to return. They are an allegory for refugees. Hairypeople are part of many Indigenous Australian stories, the show's creator, Ryan Griffen, stated that "there are different hairy stories throughout Australia and they differ in each country. You have some who are a tall, some are short, some are aggressive, some are friendly. We got to sort of pick which ones will fit for us and create the Hairies for our show" (Bizzaca).The Hairies are forced to live in an area called the Zone, which, prior to the arrival of the Hairy people, was a place where Aboriginal people lived. This place might be seen as a metaphor for Redfern but it is also an allegory for Australia's history of displacing Aboriginal people and moving and restricting them to missions and reserves. The Zone is becoming increasingly securitised and is also operating as a metaphor for Australia's immigration detention centres. The prison the Hairy characters, Djukura and Bunduu, are confined to is yet another metaphor, this time for both the over-representation of Aboriginal people in prison and the securitisation of immigration detention. These multiple allegorical movements place Australia's present refugee policies and historical treatment of Aboriginal people within the same lens. They also place the present, the past and the future within the same narrative space.Most of the cast is Aboriginal and much of the character interaction is between Aboriginal people and Hairies, with both groups played by Indigenous actors. The disadvantages suffered by Indigenous people are part of the story and clearly presented as affecting the behaviour of characters but within the story Aboriginal people are more advantaged than Hairies, as they have systems, relationships and structures that Hairy people lack. The fact that so much of the interaction in the story is between Indigenous people and Hairies is important: it can be seen to be an interaction between Aboriginal people and Aboriginal mythology or between Indigenous past and present. It demonstrates Aboriginal identities being created in relation to other Aboriginal identities and not in relation to white people, where in this narrative, Aboriginal people have an identity other than that allowed for in colonialist terms.Cleverman does not really engage with the history of white invasion. The character who speaks most about this part of Aboriginal history and whose stated understanding of himself is based on that identity is Waruu. But Waruu is also a villain whose self-identity is also presented as jealous and dishonest. However, despite only passing mentions of westernised history the show is deeply concerned with a relationship with the past. The program engages with Aboriginal traditions about the past that have nothing to do with white history. It presents a much longer view of history than that of white Australia. It engages with the Aboriginal tradition of the Cleverman - demonstrated in the character of Uncle Jimmy who passes a nulla nulla (knob-headed hardwood club), as a symbol of the past, to his nephew Koen and tells him he is the new Cleverman. Cleverman demonstrates a discussion of Australian history with the potential to ignore white people. It doesn't ignore them, it doesn't ignore the invasion but it presents the possibility that it could be ignored.There is a danger in this sort of representation of the past that Aboriginal people could be relegated to the type of ahistorical, metahistorical myths that comprise colonialist history's representation of Indigenous people (Birch). But Cleverman's magical realist, near future setting tends to undermine this. It grounds representation in history through text and metaphor and then expands the definition.The four programs have different relationships with the past but all of them engage with it. The programs are both restrained and freed by the genres they operate in. It is much easier to escape the bounds of formal history in the genre of magical realism and both Glitch and Cleverman do this but have significantly different ways of dealing with history. "Stand up" and The Secret River both operate within more formally realist structures. The Secret River gives us an emotional reading of the past and a very affective one. However, it cuts off avenues of interpretation by presenting a seemingly inevitable tragedy. Through use of metaphor and silence "Stand up" presents a much more productive relationship with the past – seeing it as an ongoing argument rather than a settled one. Glitch engages with the past as a topic that is not settled and that can therefore be changed whereas Cleverman expands our definition of past and understanding of the past through allegory.It is possible to draw further connections. Those stories created by Indigenous people do not engage with the specifics of traditional dominant Australian historiography. However, they work with the assumption that everyone already knows this historiography. They do not re-present the pain of the past, instead they deal with it in oblique terms with allegory. Whereas the programs made by non-Indigenous Australians are much more overt in their representation of the sins of the past, they overtly engage with the History Wars in specific historical arenas in which those wars were fought. The non-Indigenous shows align themselves with the revisionist view of history but they do so in a very different way than the Indigenous shows.ReferencesAnderson, Ian. "Introduction: The Aboriginal Critique of Colonial Knowing." Blacklines: Contemporary Critical Writing by Indigenous Australians. Ed. Michele Grossman. Melbourne: Melbourne University Press, 2003.Birch, Tony. "'Nothing Has Changed': The Making and Unmaking of Koori Culture." Blacklines: Contemporary Critical Writing by Indigenous Australians. Ed. Michele Grossman. Melbourne: Melbourne University Press, 2003.Bizzaca, Chris. "The World of Cleverman." Screen Australia 2016.Blundell, Graeme. "Redfern Now Delves into the Lives of Ordinary People." The Australian 26 Oct. 2013: News Review.Clark, Anna. History's Children: History Wars in the Classroom. Sydney: New South, 2008.Clendinnen, Inga. “The History Question: Who Owns the Past?” The Quarterly Essay. Melbourne: Black Inc., 2006.Collins, Felicity. "After Dispossession: Blackfella Films and the Politics of Radical Hope." The Routledge Companion to Cinema and Politics. Eds. Yannis Tzioumakis and Claire Molloy. New York: Routledge, 2016.Day, Mark. "Our Relations with the Past." Philosophia 36.4 (2008): 417-27.Ellis, John. Seeing Things: Television in the Age of Uncertainty. London: I.B. Tauris, 2000.Froeyman, Anton. "The Ideal of Objectivity and the Public Role of the Historian: Some Lessons from the Historikerstreit and the History Wars." Rethinking History 20.2 (2016): 217-34.Godwin, Carisssa Lee. "Shedding the 'Victim Narrative' for Tales of Magic, Myth and Superhero Pride." The Conversation 2016.Lloyd, Christopher. "Historiographic Schools." A Companion to the Philosophy of History and Historiography Ed. Tucker, Aviezer. Oxford: Wiley-Blackwell, 2009.Moreton-Robinson, Aileen. "Introduction: Resistance, Recovery and Revitalisation." Blacklines: Contemporary Critical Writing by Indigenous Australians. Ed. Michele Grossman. Melbourne: Melbourne University Press, 2003.———. "The White Man's Burden." Australian Feminist Studies 26.70 (2011): 413-31.Reynolds, Henry. The Other Side of the Frontier: Aboriginal Resistance to the European Invasion of Australia. 2nd ed. Ringwood, Vic.: Penguin Books, 1995.Siskind, Mariano. "Magical Realism." The Cambridge History of Postcolonial Literature. Vol. 2. Ed. Ato Quayson. Cambridge: Cambridge University Press, 2012. 833-68.Tuhiwai Smith, Linda. Decolonizing Methodologies Research and Indigenous Peoples. 2nd ed. London: Zed Books, 2012.Windschuttle, Keith. The Fabrication of Aboriginal History. Paddington, NSW: Macleay Press, 2002.

Critics are always trying to catch up with the phenomena they analyse, and critics of celebrity culture are no different. For most of its history, the celebrity apparatus has had a vested interest in staying invisible. So long as it remained illegible to cultural analysis, it could claim to be simply a transparent medium for exhibiting star quality. The celebrity’s public profile could appear to be the well-earned result of talent and determination, or the seemingly magical crystallization of his or her personality. But recently, some of the mechanics of celebrity culture have gained their own prominence. This hypertrophic state produces new cultural mutations and opens new possibilities for critique. Celebrity culture has a long history of structuring the production, distribution and reception of texts around the mystique of a particularly fascinating individual (Braudy). While apparently revealing the deep selfhood of a famous person to a mass audience, the cultural apparatus of celebrity concealed the industrial conditions in which its texts were produced. The hagiographic writings of journalists and biographers, meanwhile, focussed on the unique qualities of celebrated individuals and thus functioned as an adjunct to the apparatus. Recently, an academic critique of celebrity has emerged, which strategically brackets the experience of the individual in order to focus on the phenomenon’s cultural scaffolding. P. David Marshall theorised celebrity’s place in the circulation of power, Joshua Gamson used audience interviews to broaden our understanding of how it is consumed, and Tyler Cowen analysed its effect on the economy. Richard Dyer, Joe Moran and Charles L. Ponce de Leon considered celebrity’s place in film, literature and journalism respectively. And critics such as Carl Freedman, David Shumway and Sharon O’Dair observed its incursions into politics and the academy. These studies made it possible to think critically about the mechanisms that celebrity culture had traditionally kept hidden. But I contend that celebrity culture has changed the way it operates, reflexively revealing some of its mechanisms. The structure of the apparatus is becoming as much an object of fascination as the individuals it promotes. An organic structure becomes hypertrophic when it grows in such an exaggerated way that its function in the organism or ecosystem is affected. Hypertrophic celebrity now requires cultural critics to develop new kinds of insight and sophistication. Hypertrophic celebrity culture has seen the rise of several formats for interactive cross-platform content; they include Pop Idol, Pop Stars, Fame Academy and Big Brother. Generically related to “reality TV” – whose affinities with surveillance and social control have been remarked by Andrejevic, Grindstaff and Johnson, among others – these formats also have wider significance for celebrity culture. Whilst they remain primarily broadcast television programmes, their makers are keen to maximise the possibility of interacting with them via digital TV, the Internet, email, WAP, PDAs, SMS and the telephone. Moreover, they thrive on the free publicity provided by talk shows, magazines and so on. This platform-hopping exploits an important characteristic of celebrity culture that has not previously been so apparent. Although it appears to be centred on an individual, celebrity culture is in fact radically rhizomatic. It operates as an intertextual network in which texts from several media (film, TV, photography, print) collectively create a public profile that is not, finally, under anyone’s control. The first symptom of this hypertrophy is a shift in how celebrity culture holds our attention. Each new celebrity product has to be dynamically different from what the celebrity has done before, yet also reassuringly familiar. The new work must offer new satisfactions, without detaching itself completely from a winning formula. The “classic” response to this dilemma was to structure a celebrity career around a developmental narrative of subjective growth. This marketing strategy underwrote a key element of bourgeois subjectivity. At the limit, it could lead to the multiple reinventions practised by, for example, Madonna or David Bowie, where the celebrity’s different incarnations appear to be linked by nothing but their own will to self-creation. With nothing else to lend continuity to their protean careers, we fall back on the assumption that it must be the hidden depths of their subjectivity that fascinate us so much. But the new celebrities, like other consumables, come with built-in obsolescence. Rather than developing, they are discarded. Take David Sneddon, winner of the first UK Fame Academy. His first single went straight to the top of the charts in January 2003, but by 2004 he’d quit singing to write songs instead. Or take One True Voice, the boy band constructed by Pop Stars: The Rivals. They split after releasing only two singles. As these examples suggest, what endures now is not the celebrity but the format. Just as postmodern architecture displays the ducts and pipes that make a building function, so hypertrophic celebrity foregrounds the mechanisms that manufacture celebrities. The Idols format, developed in the UK by Fremantle Media, has now reached 100 million viewers around the world. Its marketing rhetoric reveals its inherent contradictions. On one hand, it presents itself as “the televised search for a new national solo pop idol”. On the other it “continues to create major recording artists in all territories in which it airs”. Are these people discovered or created? The producers try to pander to our supposed preference for “organic” artists (The Beatles) over “manufactured” ones (The Monkees), by maintaining that they are seeking out star quality, and exposing performers to a public that can recognise talent when it sees it. But they remain fascinated by the structures that support a celebrity profile, and the Frankenstein-like possibility of creating a celebrity from scratch. Fame Academy, developed by Initial (part of Endemol UK), is even more conflicted about the status of its contestants. On one hand it presents them as hard-working young hopefuls who undertake a “gruelling” schedule in an “Academy” which appears as a parody of an English boarding school. (The press release specifies that they have to sew name-tags into their underwear and go to bed at 11pm.) They compete for a record deal with Polydor, “the UK’s leading record company”. On the other hand the producers recognise that they are not nurturing talent but constructing celebrities. The prize also includes “a show business lifestyle for a year”. The producers are clearly aware that to nurture another modestly successful recording artist is not their aim. Musical success is only one element of a package that comprises a flat, a car, a holiday, a personal stylist and tickets to “VIP events”. Since these undertakings are more concerned with the mechanics of celebrity culture than with any particular individual, it seems fitting that the formats have been far more successful than any of the contestants. The Idols format has been broadcast in 22 territories, from the USA to Kazakhstan; 6.9 million votes were cast in the first season of Fame Academy; and a third season of Pop Stars is planned. Most successful of all, however, has been Big Brother, the format developed by Endemol in the Netherlands, and exported to twenty other countries. While the other formats discussed here remain caught between paradigms of discovery and construction, Big Brother makes no pretence of searching for exceptional or talented individuals. Instead, it explores the idea that anyone can be turned into a celebrity. Exhibit A: Jade Goody. A 21-year-old dental nurse, Jade was a contestant (not the winner) on Big Brother 2 in the UK. During the series, she appeared on the front page of tabloid newspapers eighty-seven times. She went on to appear on the cover of the highest-selling issue of Heat magazine (547,000 copies), to feature in her own documentary (What Jade Did Next), to release two diet and exercise videos and to return to reality TV in Celebrity Wife Swap. Since Jade’s selling point is her entertaining ignorance, the publicists had some difficulty describing her, relying on the vague tautology “irrepressible and unstoppable”. Daniel Boorstin’s classic definition of the celebrity as someone who is “famous for being famous” does not begin to describe Jade. She is famous for having been made famous. She is the product of our new fascination with the mechanisms that make celebrity function. But while some of the mechanisms that drive that apparatus now appear on the surface, they conceal a further layer of manipulation. Behind the pseudo-democracy of American Idol lies the watertight contract that the contestants were required to sign with 19 Group, founded by Simon Fuller. It owns the rights to the names, voices, likenesses and biographies of the contestants, everywhere and forever. It also has an option on the recording, merchandising and management of the ten finalists. Behind the disembodied voice of Big Brother lies the work of a production team driven to improve audience share, advertiser revenue and viewing figures. And behind them lie the four men who form the Executive Board of Endemol, whose companies turned over 914 million Euros last year. The hypertrophy of celebrity culture leaves us once again trying to catch up. No sooner had academic critics begun to theorise the apparatus of celebrity than it started to spawn new and self-conscious mutations in which the apparatus no longer relied on its own invisibility to do its work. We will need to be light on our feet to keep up with its ongoing metastases. References Andrejevic, Mark. “The Kindler, Gentler Gaze of Big Brother: Reality TV in the Era of Digital Capitalism.” New Media and Society 4.2 (2002): 251-70. Boorstin, Daniel J. The Image, or, What Happened to the American Dream. London: Weidenfeld and Nicolson, 1961. Braudy, Leo. The Frenzy of Renown: Fame and Its History. New York: Vintage Books, 1997. Cowen, Tyler. What Price Fame? Cambridge MA: Harvard UP, 2000. Dovey, Jon. “Reality TV.” The Television Genre Book. Ed. Glen Creeber. London: British Film Institute, 2001. 134-5, 7. Dyer, Richard. Stars. London: British Film Institute, 1998. Freedman, Carl. “Polemical Afterword: Some Brief Reflections on Arnold Schwarzenegger and on Science Fiction in Contemporary American Culture.” PMLA 119.3 (2004): 539-46. Gamson, Joshua. Claims to Fame: Celebrity in Contemporary America. London: U of California P, 1994. Grindstaff, Laura. “Trashy or Transgressive? ‘Reality TV’ and the Politics of Social Control.” Thresholds: Viewing Culture 9 (1995): 46-55. Johnson, Katie N. “Televising the Panopticon: The Myth of ‘Reality-Based’ TV.” American Drama 8.2 (1999): 1-26. Marshall, P. David. Celebrity and Power: Fame in Contemporary Culture. Minneapolis: U of Minnesota P, 1997. Moran, Joe. Star Authors: Literary Celebrity in America. London: Pluto Press, 2000. O’Dair, Sharon. “Stars, Tenure and the Death of Ambition.” Michigan Quarterly Review 36.4 (1997): 607-27. O’Dair, Sharon. “Academostars Are the Symptom: What’s the Disease?” Minnesota Review: A Journal of Committed Writing 52-54 (2001): 159-74. Ponce de Leon, Charles L. Self-Exposure: Human Interest Journalism and the Emergence of Celebrity in America, 1890-1940. Chapel Hill and London: U of North Carolina P, 2002. Shumway, David. “The Star System Revisited.” Minnesota Review: A Journal of Committed Writing 52-54 (2001): 175-84. Shumway, David R. “The Star System in Literary Studies.” PMLA 112.1 (1997): 85-100. Links http://www.popidols.tv/theshow.stm – Official Pop Idol site from the UK’s ITV Network. http://www.19.co.uk/site3s.html – 19 Group, who manage the finalists of American Idol. http://www.fremantlemedia.com/page.asp?partid=12 – Fremantle Media, producers of the Idols format. http://www.salon.com/ent/feature/2002/09/18/idol_contract/index.html – Salon.com article revealing details of the contracts Idols contestants were required to sign. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/07_july/15/fame_academy2.pdf – Fame Academy Press Pack from the BBC. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/07_july/15/fame_academy_series2.shtml – Fame Academy Press Release from the BBC. http://www.tvtome.com/PopstarsTheRivals/ – Unofficial guide to the second season of the Pop Stars format. http://www.endemol.com – Endemol, producers of the Big Brother format. http://www.endemoluk.com – the UK arm of Endemol, parent company to Initial, who produce the Fame Academy format. http://bigbrother.channel4.com/bigbrother/ – Big Brother website from the UK’s Channel Four network. http://backtoreality.gonna.co.uk/celebs/jadegoody.htm – Profile of Jade Goody. http://www.channel4.com/entertainment/tv/microsites/B/bigbrother/news/newsstory00015.html – Press release for What Jade Did Next. http://www.davidsneddon.tv/ – Official David Sneddon Website. http://www.endemoluk.com/initial/ – Initial, “the UK’s leading producer of music entertainment and live event television”, responsible for the Fame Academy format. Part of Endemol UK. http://idolonfox.com/ – Fox TV’s American Idol Website Citation reference for this article MLA Style Mole, Tom. "Hypertrophic Celebrity." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/08-mole.php>. APA Style Mole, T. (Nov. 2004) "Hypertrophic Celebrity," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/08-mole.php>.

1909–22: Turkey exterminated over 1.5 million of its ethnically Armenian, and hundreds of thousands of its ethnically Greek and Assyrian, citizens. Most died in 1915. This period of decimation in now widely called the Armenian Genocide (Balakian 179-80).1910: Siamanto first published his poem, The Dance: “The corpses were piled as trees, / and from the springs, from the streams and the road, / the blood was a stubborn murmur.” When springs run red, when the dead are stacked tree-high, when “everything that could happen has already happened,” then time is nothing: “there is no future [and] the language of civilised humanity is not our language” (Nichanian 142).2007: In my novel The Edge of the World a ceramic bowl, luminous blue, recurs as motif. Imagine you are tiny: the bowl is broken but you don’t remember breaking it. You’re awash with tears. You sit on the floor, gather shards but, no matter how you try, you can’t fix it. Imagine, now, that the bowl is the sky, huge and upturned above your head. You have always known, through every wash of your blood, that life is shockingly precarious. Silence—between heartbeats, between the words your parents speak—tells you: something inside you is terribly wrong; home is not home but there is no other home; you “can never be fully grounded in a community which does not share or empathise with the experience of persecution” (Wajnryb 130). This is the stubborn murmur of your body.Because time is nothing, this essay is fragmented, non-linear. Its main characters: my mother, grandmother (Hovsanna), grandfather (Benyamin), some of my mother’s older siblings (Krikor, Maree, Hovsep, Arusiak), and Mustafa Kemal Ataturk (Ottoman military officer, Young Turk leader, first president of Turkey). 1915–2013: Turkey invests much energy in genocide denial, minimisation and deflection of responsibility. 24 April 2012: Barack Obama refers to the Medz Yeghern (Great Calamity). The use of this term is decried as appeasement, privileging political alliance with Turkey over human rights. 2003: Between Genocide and Catastrophe, letters between Armenian-American theorist David Kazanjian and Armenian-French theorist Marc Nichanian, contest the naming of the “event” (126). Nichanian says those who call it the Genocide are:repeating every day, everywhere, in all places, the original denial of the Catastrophe. But this is part of the catastrophic structure of the survivor. By using the word “Genocide”, we survivors are only repeating […] the denial of the loss. We probably cannot help it. We are doing what the executioner wanted us to do […] we claim all over the world that we have been “genocided;” we relentlessly need to prove our own death. We are still in the claws of the executioner. We still belong to the logic of the executioner. (127)1992: In Revolution and Genocide, historian Robert Melson identifies the Armenian Genocide as “total” because it was public policy intended to exterminate a large fraction of Armenian society, “including the families of its members, and the destruction of its social and cultural identity in most or all aspects” (26).1986: Boyajian and Grigorian assert that the Genocide “is still operative” because, without full acknowledgement, “the ghosts won’t go away” (qtd. in Hovannisian 183). They rise up from earth, silence, water, dreams: Armenian literature, Armenian homes haunted by them. 2013: My heart pounds: Medz Yeghern, Aksor (Exile), Anashmaneli (Indefinable), Darakrutiun (Deportation), Chart (Massacre), Brnagaght (Forced migration), Aghed (Catastrophe), Genocide. I am awash. Time is nothing.1909–15: Mustafa Kemal Ataturk was both a serving Ottoman officer and a leader of the revolutionary Young Turks. He led Ottoman troops in the repulsion of the Allied invasion before dawn on 25 April at Gallipoli and other sites. Many troops died in a series of battles that eventually saw the Ottomans triumph. Out of this was born one of Australia’s founding myths: Australian and New Zealand Army Corps (ANZACs), courageous in the face of certain defeat. They are commemorated yearly on 25 April, ANZAC Day. To question this myth is to risk being labelled traitor.1919–23: Ataturk began a nationalist revolution against the occupying Allies, the nascent neighbouring Republic of Armenia, and others. The Allies withdrew two years later. Ataturk was installed as unofficial leader, becoming President in 1923. 1920–1922: The last waves of the Genocide. 2007: Robert Manne published A Turkish Tale: Gallipoli and the Armenian Genocide, calling for a recontextualisation of the cultural view of the Gallipoli landings in light of the concurrence of the Armenian Genocide, which had taken place just over the rise, had been witnessed by many military personnel and widely reported by international media at the time. Armenian networks across Australia were abuzz. There were media discussions. I listened, stared out of my office window at the horizon, imagined Armenian communities in Sydney and Melbourne. Did they feel like me—like they were holding their breath?Then it all went quiet. Manne wrote: “It is a wonderful thing when, at the end of warfare, hatred dies. But I struggle to understand why Gallipoli and the Armenian Genocide continue to exist for Australians in parallel moral universes.” 1992: I bought an old house to make a home for me and my two small children. The rooms were large, the ceilings high, and behind it was a jacaranda with a sturdy tree house built high up in its fork. One of my mother’s Armenian friends kindly offered to help with repairs. He and my mother would spend Saturdays with us, working, looking after the kids. Mum would stay the night; her friend would go home. But one night he took a sleeping bag up the ladder to the tree house, saying it reminded him of growing up in Lebanon. The following morning he was subdued; I suspect there were not as many mosquitoes in Lebanon as we had in our garden. But at dinner the previous night he had been in high spirits. The conversation had turned, as always, to politics. He and my mother had argued about Turkey and Russia, Britain’s role in the development of the Middle East conflict, the USA’s roughshod foreign policy and its effect on the world—and, of course, the Armenian Genocide, and the killingof Turkish governmental representatives by Armenians, in Australia and across the world, during the 1980s. He had intimated he knew the attackers and had materially supported them. But surely it was the beer talking. Later, when I asked my mother, she looked at me with round eyes and shrugged, uncharacteristically silent. 2002: Greek-American diva Diamanda Galas performed Dexifiones: Will and Testament at the Perth Concert Hall, her operatic work for “the forgotten victims of the Armenian and Anatolian Greek Genocide” (Galas).Her voice is so powerful it alters me.1925: My grandmother, Hovsanna, and my grandfather, Benyamin, had twice been separated in the Genocide (1915 and 1922) and twice reunited. But in early 1925, she had buried him, once a prosperous businessman, in a swamp. Armenians were not permitted burial in cemeteries. Once they had lived together in a big house with their dozen children; now there were only three with her. Maree, half-mad and 18 years old, and quiet Hovsep, aged seven,walked. Then five-year-old aunt, Arusiak—small, hungry, tired—had been carried by Hovsanna for months. They were walking from Cilicia to Jerusalem and its Armenian Quarter. Someone had said they had seen Krikor, her eldest son, there. Hovsanna was pregnant for the last time. Together the four reached Aleppo in Syria, found a Christian orphanage for girls, and Hovsanna, her pregnancy near its end, could carry Arusiak no further. She left her, promising to return. Hovsanna’s pains began in Beirut’s busy streets. She found privacy in the only place she could, under a house, crawled in. Whenever my mother spoke of her birth she described it like this: I was born under a stranger’s house like a dog.1975: My friend and I travelled to Albany by bus. After six hours we were looking down York Street, between Mount Clarence and Mount Melville, and beyond to Princess Royal Harbour, sapphire blue, and against which the town’s prosperous life—its shopfronts, hotels, cars, tourists, historic buildings—played out. It took away my breath: the deep harbour, whaling history, fishing boats. Rain and sun and scudding cloud; cliffs and swells; rocky points and the white curves of bays. It was from Albany that young Western Australian men, volunteers for World War I, embarked on ships for the Middle East, Gallipoli, sailing out of Princess Royal Harbour.1985: The Australian Government announced that Turkey had agreed to have the site of the 1915 Gallipoli landings renamed Anzac Cove. Commentators and politicians acknowledged it as historic praised Turkey for her generosity, expressed satisfaction that, 70 years on, former foes were able to embrace the shared human experience of war. We were justifiably proud of ourselves.2005: Turkey made her own requests. The entrance to Albany’s Princess Royal Harbour was renamed Ataturk Channel. A large bronze statue of Ataturk was erected on the headland overlooking the Harbour entrance. 24 April 1915: In the town of Hasan Beyli, in Cilicia, southwest Turkey, my great grandfather, a successful and respected businessman in his 50s, was asleep in his bed beside his wife. He had been born in that house, as had his father, grandfather, and all his children. His brother, my great uncle, had bought the house next door as a young man, brought his bride home to it, lived there ever since; between the two households there had been one child after another. All the cousins grew up together. My great grandfather and great uncle had gone to work that morning, despite their wives’ concerns, but had returned home early. The women had been relieved to see them. They made coffee, talked. Everyone had heard the rumours. Enemy ships were massing off the coast. 1978: The second time in Albany was my honeymoon. We had driven into the Goldfields then headed south. Such distance, such beautiful strangeness: red earth, red rocks; scant forests of low trees, thin arms outstretched; the dry, pale, flat land of Norseman. Shimmering heat. Then the big, wild coast.On our second morning—a cool, overcast day—we took our handline to a jetty. The ocean was mercury; a line of cormorants settled and bobbed. Suddenly fish bit; we reeled them in. I leaned over the jetty’s side, looked down into the deep. The water was clear and undisturbed save the twirling of a pike that looked like it had reversed gravity and was shooting straight up to me. Its scales flashed silver as itbroke the surface.1982: How could I concentrate on splicing a film with this story in my head? Besides the desk, the only other furniture in the editing suite was a whiteboard. I took a marker and divided the board into three columns for the three generations: my grandparents, Hovsanna and Benyamin; my mother; someone like me. There was a lot in the first column, some in the second, nothing in the third. I stared at the blankness of my then-young life.A teacher came in to check my editing. I tried to explain what I had been doing. “I think,” he said, stony-faced, “that should be your third film, not your first.”When he had gone I stared at the reels of film, the white board blankness, the wall. It took 25 years to find the form, the words to say it: a novel not a film, prose not pictures.2007: Ten minutes before the launch of The Edge of the World, the venue was empty. I made myself busy, told myself: what do you expect? Your research has shown, over and over, this is a story about which few know or very much care, an inconvenient, unfashionable story; it is perfectly in keeping that no-one will come. When I stepped onto the rostrum to speak, there were so many people that they crowded the doorway, spilled onto the pavement. “I want to thank my mother,” I said, “who, pretending to do her homework, listened instead to the story her mother told other Armenian survivor-women, kept that story for 50 years, and then passed it on to me.” 2013: There is a section of The Edge of the World I needed to find because it had really happened and, when it happened, I knew, there in my living room, that Boyajian and Grigorian (183) were right about the Armenian Genocide being “still operative.” But I knew even more than that: I knew that the Diaspora triggered by genocide is both rescue and weapon, the new life in this host nation both sanctuary and betrayal. I picked up a copy, paced, flicked, followed my nose, found it:On 25 April, the day after Genocide memorial-day, I am watching television. The Prime Minister stands at the ANZAC memorial in western Turkey and delivers a poetic and moving speech. My eyes fill with tears, and I moan a little and cover them. In his speech he talks about the heroism of the Turkish soldiers in their defence of their homeland, about the extent of their losses – sixty thousand men. I glance at my son. He raises his eyebrows at me. I lose count of how many times Kemal Ataturk is mentioned as the Father of Modern Turkey. I think of my grandmother and grandfather, and all my baby aunts and uncles […] I curl over like a mollusc; the ache in my chest draws me in. I feel small and very tired; I feel like I need to wash.Is it true that if we repeat something often enough and loud enough it becomes the truth? The Prime Minister quotes Kemal Ataturk: the ANZACS who died and are buried on that western coast are deemed ‘sons of Turkey’. My son turns my grandfather’s, my mother’s, my eyes to me and says, It is amazing they can be so friendly after we attacked them.I draw up my knees to my chest, lay my head and arms down. My limbs feel weak and useless. My throat hurts. I look at my Australian son with his Armenian face (325-6).24 April 1915 cont: There had been trouble all my great grandfather’s life: pogrom here, massacre there. But this land was accustomed to colonisers: the Mongols, the Persians, latterly the Ottomans. They invade, conquer, rise, fall; Armenians stay. This had been Armenian homeland for thousands of years.No-one masses ships off a coast unless planning an invasion. So be it. These Europeans could not be worse than the Ottomans. That night, were my great grandfather and great uncle awoken by the pounding at each door, or by the horses and gendarmes’ boots? They were seized, each family herded at gunpoint into its garden, and made to watch. Hanging is slow. There could be no mistakes. The gendarmes used the stoutest branches, stayed until they were sure the men weredead. This happened to hundreds of prominent Armenian men all over Turkey that night.Before dawn, the Allies made landfall.Each year those lost in the Genocide are remembered on 24 April, the day before ANZAC Day.1969: I asked my mother if she had any brothers and sisters. She froze, her hands in the sink. I stared at her, then slipped from the room.1915: The Ottoman government decreed: all Armenians were to surrender their documents and report to authorities. Able-bodied men were taken away, my grandfather among them. Women and children, the elderly and disabled, were told to prepare to walk to a safe camp where they would stay for the duration of the war. They would be accompanied by armed soldiers for their protection. They were permitted to take with them what they could carry (Bryce 1916).It began immediately, pretty young women and children first. There are so many ways to kill. Months later, a few dazed, starved survivors stumbled into the Syrian desert, were driven into lakes, or herded into churches and set alight.Most husbands and fathers were never seen again. 2003: I arrived early at my son’s school, parked in the shade, opened The Silence: How Tragedy Shapes Talk, and began to read. Soon I was annotating furiously. Ruth Wajnryb writes of “growing up among innocent peers in an innocent landscape” and also that the notion of “freedom of speech” in Australia “seems often, to derive from that innocent landscape where reside people who have no personal scars or who have little relevant historical knowledge” (141).1984: I travelled to Vancouver, Canada, and knocked on Arusiak’s door. Afraid she would not agree to meet me, I hadn’t told her I was coming. She was welcoming and gracious. This was my first experience of extended family and I felt loved in a new and important way, a way I had read about, had observed in my friends, had longed for. One afternoon she said, “You know our mother left me in an orphanage…When I saw her again, it was too late. I didn’t know who they were, what a family was. I felt nothing.” “Yes, I know,” I replied, my heart full and hurting. The next morning, over breakfast, she quietly asked me to leave. 1926: When my mother was a baby, her 18 year-old sister, Maree, tried to drown her in the sea. My mother clearly recalled Maree’s face had been disfigured by a sword. Hovsanna, would ask my mother to forgive Maree’s constant abuse and bad behaviour, saying, “She is only half a person.”1930: Someone gave Hovsanna the money to travel to Aleppo and reclaim Arusiak, by then 10 years old. My mother was intrigued by the appearance of this sister but Arusiak was watchful and withdrawn. When she finally did speak to my then five-year-old mother, she hissed: “Why did she leave me behind and keep you?”Soon after Arusiak appeared, Maree, “only half a person,” disappeared. My mother was happy about that.1935: At 15, Arusiak found a live-in job and left. My mother was 10 years old; her brother Hovsep, who cared for her before and after school every day while their mother worked, and always had, was seventeen. She adored him. He had just finished high school and was going to study medicine. One day he fell ill. He died within a week.1980: My mother told me she never saw her mother laugh or, once Hovsep died, in anything other than black. Two or three times before Hovsep died, she saw her smile a little, and twice she heard her singing when she thought she was alone: “A very sad song,” my mother would say, “that made me cry.”1942: At seventeen, my mother had been working as a live-in nanny for three years. Every week on her only half-day off she had caught the bus home. But now Hovsanna was in hospital, so my mother had been visiting her there. One day her employer told her she must go to the hospital immediately. She ran. Hovsanna was lying alone and very still. Something wasn’t right. My mother searched the hospital corridors but found no-one. She picked up a phone. When someone answered she told them to send help. Then she ran all the way home, grabbed Arusiak’s photograph and ran all the way back. She laid it on her mother’s chest, said, “It’s all right, Mama, Arusiak’s here.”1976: My mother said she didn’t like my boyfriend; I was not to go out with him. She said she never disobeyed her own mother because she really loved her mother. I went out with my boyfriend. When I came home, my belongings were on the front porch. The door was bolted. I was seventeen.2003: I read Wajnryb who identifies violent eruptions of anger and frozen silences as some of the behaviours consistent in families with a genocidal history (126). 1970: My father had been dead over a year. My brothers and I were, all under 12, made too much noise. My mother picked up the phone: she can’t stand us, she screamed; she will call an orphanage to take us away. We begged.I fled to my room. I couldn’t sit down. I couldn’t keep still. I paced, pressed my face into a corner; shook and cried, knowing (because she had always told us so) that she didn’t make idle threats, knowing that this was what I had sometimes glimpsed on her face when she looked at us.2012: The Internet reveals images of Ataturk’s bronze statue overlooking Princess Royal Harbour. Of course, it’s outsized, imposing. The inscription on its plinth reads: "Peace at Home/ Peace in the World." He wears a suit, looks like a scholar, is moving towards us, a scroll in his hand. The look in his eyes is all intensity. Something distant has arrested him – a receding or re-emerging vision. Perhaps a murmur that builds, subsides, builds again. (Medz Yeghern, Aksor, Aghed, Genocide). And what is written on that scroll?2013: My partner suggested we go to Albany, escape Perth’s brutal summer. I tried to explain why it’s impossible. There is no memorial in Albany, or anywhere else in Western Australia, to the 1.5 million victims of the Armenian Genocide. ReferencesAkcam, Taner. “The Politics of Genocide.” Online Video Clip. YouTube. YouTube, 11 Dec. 2011. 6 Mar. 2013 ‹http://www.youtube.com/watchv=OxAJaaw81eU&noredirect=1genocide›.Balakian, Peter. The Burning Tigress: The Armenian Genocide. London: William Heinemann, 2004.BBC. “Kemal Ataturk (1881–1938).” BBC History. 2013. 6 Mar. 2013 ‹http://www.bbc.co.uk/history/historic_figures/ataturk_kemal.shtml›.Boyajian, Levon, and Haigaz Grigorian. “Psychological Sequelae of the Armenian Genocide.”The Armenian Genocide in Perspective. Ed. Richard Hovannisian. New Brunswick: Transaction, 1987. 177–85.Bryce, Viscount. The Treatment of the Armenians in the Ottoman Empire. London: Hodder and Stoughton, 1916.Galas, Diamanda. Program Notes. Dexifiones: Will and Testament. Perth Concert Hall, Perth, Australia. 2001.———.“Dexifiones: Will and Testament FULL Live Lisboa 2001 Part 1.” Online Video Clip. YouTube, 5 Nov. 2011. Web. 6 Mar. 2013 ‹http://www.youtube.com/watch?v=mvVnYbxWArM›.Kazanjian, David, and Marc Nichanian. “Between Genocide and Catastrophe.” Loss. Eds. David Eng and David Kazanjian. Los Angeles: U of California P, 2003. 125–47.Manne, Robert. “A Turkish Tale: Gallipoli and the Armenian Genocide.” The Monthly Feb. 2007. 6 Mar. 2013 ‹http://www.themonthly.com.au/turkish-tale-gallipoli-and-armenian-genocide-robert-manne-459›.Matiossian, Vartan. “When Dictionaries Are Left Unopened: How ‘Medz Yeghern’ Turned into a Terminology of Denial.” The Armenian Weekly 27 Nov. 2012. 6 Mar. 2013 ‹http://www.armenianweekly.com/2012/11/27/when-dictionaries-are-left-unopened-how-medz-yeghern-turned-into-terminology-of-denial/›.Melson, Robert. Revolution and Genocide. Chicago: U of Chicago P, 1996.Nicholson, Brendan. “ASIO Detected Bomb Plot by Armenian Terrorists.” The Australian 2 Jan. 2012. 6 Mar. 2013 ‹http://www.theaustralian.com.au/in-depth/cabinet-papers/asio-detected-bomb-plot-by-armenian-terrorists/story-fnbkqb54-1226234411154›.“President Obama Issues Statement on Armenian Remembrance Day.” The Armenian Weekly 24 Apr. 2012. 5 Mar. 2013 ‹http://www.armenianweekly.com/2012/04/24/president-obama-issues-statement-on-armenian-remembrance-day/›.Polain, Marcella. The Edge of the World. Fremantle: Fremantle Press, 2007.Siamanto. “The Dance.” Trans. Peter Balakian and Nervart Yaghlian. Adonias Dalgas Memorial Page 5 Mar. 2013 ‹http://www.terezakis.com/dalgas.html›.Stockings, Craig. “Let’s Have a Truce in the Battle of the Anzac Myth.” The Australian 25 Apr. 2012. 6 Mar. 2013 ‹http://www.theaustralian.com.au/national-affairs/opinion/lets-have-a-truce-in-the-battle-of-the-anzac-myth/story-e6frgd0x-1226337486382›.Wajnryb, Ruth. The Silence: How Tragedy Shapes Talk. Crows Nest: Allen and Unwin, 2001.

The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the mainstream perception is that these new iterations promote gender equity, new cultural awareness around gender stereotypes, and cultural insensitivity, this is illusory. Tangled, for example, was a popular film selling over 10 million DVD copies and positioned as a bold new female fairy tale character; however, academics took issue with this position, writing articles entitled “Race, Gender and the Politics of Hair: Disney’s Tangled Feminist Messages”, “Tangled: A Celebration of White Femininity”, and “Disney’s Tangled: Fun, But Not Feminist”, berating the film for its lack of any true feminist examples or progressiveness (Kilmer). One way to assess the impact of Disney is to look at the use of shape shifting and transformation in the narratives – particularly those that include women and young girls. Research shows that girls and women are often stereotyped and sexualised in the mass media (Smith et al.; Collins), and Disney regularly utilises body modification and metamorphosis within its narratives to emphasise what good and evil ‘look’ like. These magical transformations evoke what Marina Warner refers to as part of the necessary surprise element of the fairy tale, while creating suspense and identity with storylines and characters. In early Disney films such as the 1937 version of Snow White, the queen becomes the witch who brings a poison apple to the princess; and in the 1959 film Sleeping Beauty the ‘bad’ fairy Maleficent shapeshifts into a malevolent dragon. Whilst these ‘good to evil’ (and vice versa) tropes are easily recognised, there are additional transformations that are arguably more problematic than those of the increasingly terrifying monsters or villains. Disney has created what we have coined the ‘princess bubble’, where the physique and behaviour of the leading women in the tales has become a predictor of success and good fortune, and the impression is created of a link between their possession of beauty and the ‘happily-ever-after’ outcome received by the female character. The value, or worth, of a princess is shown within these stories to often increase according to her ability to attract men. For example, in Brave, Queen Elinor showcases the extreme measures taken to ‘present’ her daughter Merida to male suitors. Merida is preened, dressed, and shown how to behave to increase her value to her family, and whilst she manages to persuade them to set aside their patriarchal ideologies in the end, it is clear what is expected from Merida in order to gain male attention. Similarly, Cinderella, Aurora, and Snow White are found to be of high ‘worth’ by the princes on account of their beauty and form. We contend, therefore, that the impression often cast on audiences by Disney princesses emphasises that beauty = worth, no matter how transgressive Disney appears to be on the surface. These princesses are flawlessly beautiful, capable of winning the heart of the prince by triumphing over their less attractive rivals – who are often sisters or other family members. This creates the illusion among young audiences that physical attractiveness is enough to achieve success, and emphasises beauty as the priority above all else. Therefore, the Disney ‘princess bubble’ is highly problematic. It presents a narrow range of acceptability for female characters, offers a distorted view of gender, and serves to further engrain into popular culture a flawed stereotype on how to look and behave that negates a fuller representation of female characters. In addition, Armando Maggi argues that since fairy tales have been passed down through generations, they have become an intrinsic part of many people’s upbringing and are part of a kind of universal imaginary and repository of cultural values. This means that these iconic cultural stories are “unlikely to ever be discarded because they possess both a sentimental value and a moral ‘soundness’” (Rutherford 33), albeit that the lessons to be learnt are at times antiquated and exclusionary in contemporary society. The marketing and promotion of the Disney princess line has resulted in these characters becoming an extremely popular form of media and merchandise for young girls (Coyne et al. 2), and Disney has received great financial benefit from the success of its long history of popular films and merchandise. As a global corporation with influence across multiple entertainment platforms, from its streaming channel to merchandise and theme parks, the gender portrayals therefore impact on culture and, in particular, on how young audiences view gender representation. Therefore, it could be argued that Disney has a social responsibility to ensure that its messages and characters do not skew or become damaging to the psyche of its young audiences who are highly impressionable. When the representation of gender is examined, however, Disney tends to create highly gendered performances in both the early and modern iterations of fairy tales, and the princess characters remain within a narrow range of physical portrayals and agency. The Princess Bubble Although there are twelve official characters within the Disney princess umbrella, plus Elsa and Anna from the Disney Frozen franchise, this article examines the eleven characters who are either born or become royalty through marriage, and exhibit characteristics that could be argued to be the epitome of feminine representation in fairy tales. The characters within this ‘princess bubble’ are Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Tiana, Rapunzel, Merida, Elsa, and Anna. The physical appearance of those in the princess bubble also connects to displays around the physical aspects of ethnicity. Nine out of eleven are white skinned, with Jasmine having lightened in skin tone over time, and Tiana now having a tanned look rather than the original dark African American complexion seen in 2009 (Brucculieri). This reinforces an ideology that being white is superior. Every princess in our sample has thick and healthy long hair, the predominant colour being blonde. Their eyes are mostly blue, with only three possessing a dark colour, a factor which reinforces the characteristics and representation of white ethnic groups. Their eyes are also big and bulbous in shape, with large irises and pupils, and extraordinarily long eyelashes that create an almost child-like look of innocence that matches their young age. These princesses have an average age of sixteen years and are always naïve, most without formal education or worldly experience, and they have additional distinctive traits which include poise, elegance and other desired feminine characteristics – like kindness and purity. Ehrenreich and Orenstein note that the physical attributes of the Disney princesses are so evident that the creators have drawn criticism for over-glamorising them, and for their general passiveness and reliance on men for their happiness. Essentially, these women are created in the image of the ultimate male fantasy, where an increased value is placed on the virginal look, followed by a perfect tiny body and an ability to follow basic instructions. The slim bodies of these princesses are disproportionate, and include long necks, demure shoulders, medium- to large-sized perky breasts, with tiny waists, wrists, ankles and feet. Thus, it can be argued that the main theme for those within the princess bubble is their physical body and beauty, and the importance of being attractive to achieve success. The importance of the physical form is so valued that the first blessing given by the fairies to Aurora from Sleeping Beauty is the gift of physical beauty (Rutherford). Furthermore, Tanner et al. argue that the "images of love at first sight in the films encourage the belief that physical appearance is the most important thing", and these fairy tales often reflect a pattern that the prince cannot help but to instantly fall in love with these women because they are so striking. In some instances, like the stories of Cinderella and Snow White, these princesses have not uttered a single word to their prince before these men fall unconditionally and hopelessly in love. Cinderella need only to turn up at the ball as the best dressed (Parks), while Snow White must merely “wait prettily, because someday her prince will come" (Inge) to reestablish her as royalty. Disney emphasises that these princesses win their man solely on the basis that they are the most beautiful girls in the land. In Sleeping Beauty, the prince overhears Aurora’s singing and that sets his heart aflame to the point of refusing to wed the woman chosen for him at birth by the king. Fortunately, she is one and the same person, so the patriarchy survives, but this idea of beauty, and of 'love at first sight', continues to be a central part of Disney movies today, and shows that “Disney Films are vehicles of powerful gender ideologies” (Hairianto). These princesses within the bubble of perfection have priority placed on their physical and sexual beauty (Dietz), formulating a kind of ‘beauty contest motif’. Examples include Gaston, who does not love Belle in Beauty and the Beast, but simply wants her as his trophy wife because he deems her to be the most beautiful girl in the town. Ariel, from The Little Mermaid, looks as if she "was modeled after a slightly anorexic Barbie doll with thin waist and prominent bust. This representation portrays a dangerous model for young women" (Zarranz). The sexualisation of the characters continues as Jasmine has “a delicate nose and small mouth" (Lacroix), with a dress that can be considered as highly sexualised and unsuitable for a girl of sixteen (Lacroix). In Tangled, Rapunzel is held hostage in the tower by Mother Gothel because she is ‘as fragile as a flower’ and needs to be ‘kept safe’ from the harms in the world. But it is her beauty that scares the witch the most, because losing Rapunzel would leave the old woman without her magical anti-aging hair. She uses scare tactics to ensure that Rapunzel remains unseen to the world. These examples are all variations of the beauty theme, as the princesses all fall within narrow and predictable tropes of love at first sight where the woman is rescued and initiated into womanhood by being chosen by a man. Disney’s Progressive Representation? At times Disney’s portrayal of princesses appears illusively progressive, by introducing new and different variations of princesses into the fold – such as Merida in the 2012 film Brave. Unfortunately, this is merely an illusion as the ‘body-perfect’ image remains an all-important ideal to snare a prince. Merida, the young and spirited teenage princess, begins her tale determined not to conform to the desired standards set for a woman of her standing; however, when the time comes for her to be married, there is no negotiating with her mother, the queen, on dress compliance. Merida is clothed against her will to re-identify her in the manner which her parents deem appropriate. Her ability to express her identity and individuality removed, now replaced by a masked version, and thus with the true Merida lost in this transformation, her parents consider Merida to be of renewed merit and benefit to the family. This shows that Disney remains unchanged in its depiction of who may ‘fit’ within the princess bubble, because the rubric is unchanged on how to win the heart of the man. In fact, this film is possibly more troublesome than the rest because it clearly depicts her parents to deem her to be of more value only after her mother has altered her physical appearance. It is only after the total collapse of the royal family that King Fergus has a change of patriarchal heart, and in fact Disney does not portray this rumpled, ripped-sleeved version of the princess in its merchandising campaign. While the fantasy of fairy tales provides enthralling adventures that always end in happiness for the pretty princesses that encounter them, consideration must be given to all those women who have not met the standard and are left in their wake. If women do not conform to the standards of representation, they are presented as outcasts, and happiness eludes them. Cinderella, for example, has two ugly stepsisters, who, no matter how hard they might try, are unable to match her in attractiveness, kindness, or grace. Disney has embraced and not shunned Perrault’s original retelling of the tale, by ensuring that these stepsisters are ugly. They have not been blessed with any attributes whatsoever, and cannot sing, dance, or play music; nor can they sew, cook, clean, or behave respectably. These girls will never find a suitor, let alone a prince, no matter how eager they are to do so. On the physical comparison, Anastasia and Drizella have bodies that are far more rounded and voluptuous, with feet, for example, that are more than double the size of Cinderella’s magical slipper. These women clearly miss the parameters of our princess bubble, emphasising that Disney is continuing to promote dangerous narratives that could potentially harm young audience conceptions of femininity at an important period in their development. Therefore, despite the ‘progressive’ strides made by Disney in response to the vast criticism of their earlier films, the agency afforded to their new generation of princesses does not alter the fact that success comes to those who are beautiful. These beautiful people continue to win every time. Furthermore, Hairianto has found that it is not uncommon for the media to directly or indirectly promote “mental models of how a woman should look, speak and interact with others”, and that Disney uses its pervasive princess influence “to shape perceptions of female identity and desirability. Females are made to measure themselves against the set of values that are meted out by the films” (Hairianto). In the 2017 film Beauty and the Beast, those outside of the princess bubble are seen in the characters of the three maidens from the village who are always trying to look their very best in the hope of attracting Gaston (Rutherford). Gaston is not only disinterested but shows borderline contempt at their glances by permitting his horse to spray mud and dirt all over their fine clothing. They do not meet the beauty standard set, and instead of questioning his cruelty, the audience is left laughing at the horse’s antics. Interestingly, the earlier version of Disney’s Beauty and the Beast portrays these maidens as blonde, slim, and sexy, closely fitting the model of beauty displayed in our princess bubble; however, none match the beauty of Belle, and are therefore deemed inferior. In this manner, Disney is being irresponsible, placing little interest in the psychological ‘safety’ or affect the messages have upon young girls who will never meet these expectations (Ehrenreich; Best and Lowney; Orenstein). Furthermore, bodies are shaped and created by culture. They are central to self-identity, becoming a projection of how we see ourselves. Grosz (xii) argues that our notions of our bodies begin in physicality but are forever shaped by our interactions with social realities and cultural norms. The media are constantly filled with images that “glorify and highlight some kinds of bodies (for example, the young, able-bodied and beautiful) while ignoring or condemning others” (Jones 193), and these influences on gender, ethnicity, sexuality, race, and religion within popular culture therefore play a huge part in identity creation. In Disney films, the princess bubble constantly sings the same song, and “children view these stereotypical roles as the right and only way to behave” (Ewert). In The Princess and the Frog, Tiana’s friend Charlotte is so desperate to ‘catch’ a prince that "she humorously over-applies her makeup and adjusts her ball gown to emphasize her cleavage" (Breaux), but the point is not lost. Additionally, “making sure that girls become worthy of love seems central to Disney’s fairy tale films” (Rutherford 76), and because their fairy tales are so pervasive and popular, young viewers receive a consistent message that being beautiful and having a tiny doll-like body type is paramount. “This can be destructive for developing girls’ views and images of their own bodies, which are not proportioned the way that they see on screen” (Cordwell 21). “The strongly gendered messages present in the resolutions of the movies help to reinforce the desirability of traditional gender conformity” (England et al. 565). Conclusion The princess bubble is a phenomenon that has been seen in Disney’s representation of female characters for decades. Within this bubble there is a narrow range of representation permitted, and attempts to make the characters more progressive have instead resulted in narrow and restrictive constraints, reinforcing dangerous female stereotypes. Kilmer suggests that ultimately these representations fail to break away from “hegemonic assumptions about gender norms, class boundaries, and Caucasian privileging”. Ultimately this presents audiences with strong and persuasive messages about gender performance. Audiences conform their bodies to societal ‘rules’: “as to how we ‘wear’ and ‘use’ our bodies” (Richardson and Locks x), including for example how we should dress, what we should weigh, and how to become popular. In our global hypermediated society, viewers are constantly exposed to princesses and other appropriate bodies. These become internalised ideals and aid in positive and negative thoughts and self-identity, which in turn creates additional pressure on the female body in particular. The seemingly innocent stories with happy outcomes are therefore unrealistic and ultimately excluding of those who cannot or will not ‘fit into the princess bubble’. The princess bubble, we argue, is therefore predictable and restrictive, promoting female passiveness and a reliance of physical traits over intelligence. The dominance of beauty over all else remains the road to female success in the Disney fairy tale film. References Beauty and the Beast. Dirs. Gary Trousdale and Kirk Wise. Walt Disney Productions, 1991. Film. Beauty and the Beast. Dir. Bill Condon. Walt Disney Pictures, 2017. Film. Best, Joel, and Kathleen S. Lowney. “The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims.” The Sociological Quarterly 50 (2009): 431–449. doi:10.1111/j.1533-8525.2009.01147.x. Brave. Dirs. Mark Andrews and Brenda Chapman. Walt Disney Pictures, 2012. Film. Breaux, Richard, M. “After 75 Years of Magic: Disney Answers Its Critics, Rewrites African American History, and Cashes in on Its Racist Past.” Journal of African American Studies 14 (2010): 398-416. Cinderella. Dirs. Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. Walt Disney Productions, 1950. Film. Collins, Rebecca L. “Content Analysis of Gender Roles in Media: Where Are We Now and Where Should We Go?” Sex Roles 64 (2011): 290–298. doi:10.1007/s11199-010-9929-5. Cordwell, Caila Leigh. The Shattered Slipper Project: The Impact of the Disney Princess Franchise on Girls Ages 6-12. Honours thesis, Southeastern University, 2016. Coyne, Sarah M., Jennifer Ruh Linder, Eric E. Rasmussen, David A. Nelson, and Victoria Birkbeck. “Pretty as a Princess: Longitudinal Effects of Engagement with Disney Princesses on Gender Stereotypes, Body Esteem, and Prosocial Behavior in Children.” Child Development 87.6 (2016): 1–17. Dietz, Tracey, L. “An Examination of Violence and Gender Role Portrayals in Video Games: Implications for Gender Socialization and Aggressive Behavior.” Sex Roles 38 (1998): 425–442. doi:10.1023/a:1018709905920. England, Dawn Elizabeth, Lara Descartes, and Melissa A. Collier-Meek. "Gender Role Portrayal and the Disney Princesses." Sex Roles 64 (2011): 555-567. Ewert, Jolene. “A Tale as Old as Time – an Analysis of Negative Stereotypes in Disney Princess Movies.” Undergraduate Research Journal for the Human Sciences 13 (2014). Grosz, Elizabeth. Volatile Bodies. London, Routledge, 1994. Inge, M. Thomas. “Art, Adaptation, and Ideology: Walt Disney's Snow White and the Seven Dwarfs.” Journal of Popular Film and Television 32.3 (2004): 132-142. Jones, Meredith. “The Body in Popular Culture.” Being Cultural. Ed. Bruce M.Z. Cohen. Auckland University, 2012. 193-210. Kilmer, Alyson. Moving Forward? Problematic Ideology in Twenty-First Century Fairy Tale Films. Central Washington University, 2015. Lacroix, Celeste. “Images of Animated Others: The Orientalization of Disney's Cartoon Heroines from The Little Mermaid to The Hunchback of Notre Dame.” Popular Communications 2.4 (2004): 213-229. Little Mermaid, The. Dirs. Ron Clements and John Musker. Walt Disney Pictures, 1989. Film. Maggi, Armando. Preserving the Spell: Basile's "The Tale of Tales" and Its Afterlife in the Fairy-Tale Tradition. Chicago: University of Chicago Press, 2015. Orenstein, Peggy. Cinderella Ate My Daughter: Dispatches from the Front Lines of the New Girlie-Girl Culture. New York: HarperCollins, 2011. Parks, Kari. Mirror, Mirror: A Look at Self-Esteem & Disney Princesses. Honours thesis. Ball State University, 2012. Pinocchio. Dirs. Hamilton Luske, Ben Sharpsteen, Wilfred Jackson, Jack Kinney, Norm Ferguson, Bill Roberts, and T. Lee. Walt Disney Productions, 1940. Film. Princess and the Frog, The. Dirs. Ron Clements and John Musker. Walt Disney Pictures, 2009. Film. Richardson, Niall, and Adam Locks. Body Studies: The Basics. Routledge, 2014. Rutherford, Amanda M. Happily Ever After? A Critical Examination of the Gothic in Disney Fairy Tale Films. Auckland University of Technology, 2020. Sleeping Beauty. Dirs. Clyde Geronimi, Eric Larson, Wolfgang Reitherman, and Les Clark. Walt Disney Productions, 1959. Film. Smith, Stacey L., Katherine M. Pieper, Amy Granados, and Mark Choueite. “Assessing Gender-Related Portrayals in Topgrossing G-Rated Films.” Sex Roles 62 (2010): 774–786. Snow White and The Seven Dwarfs. Dirs. David Hand, Wilfred Jackson, Ben Sharpsteen, William Cottrell, Perce Pearce, and Larry Morey. Walt Disney Productions, 1937. Film. Tangled. Dirs. Nathan Greno and Byron Howard. Walt Disney Pictures, 2010. Film. Tanner, Litsa RenÉe, Shelley A. Haddock, Toni Schindler Zimmerman, and Lori K. Lund. “Images of Couples and Families in Disney Feature-Length Animated Films.” The American Journal of Family Therapy 31 (2003): 355-373. Warner, Marina. Fantastic Metamorphoses, Other Worlds. London: Oxford UP, 2002. Wasko, Janet. Understanding Disney: The Manufacture of Fantasy. Polity Press, 2001. Wohlwend, Karen E. “Damsels in Discourse: Girls Consuming and Producing Identity Texts through Disney Princess Play.” Reading Research Quarterly 44.1 (2009): 57-83. Zarranaz, L. Garcia. “Diswomen Strike Back? The Evolution of Disney's Femmes in the 1990s.” Atenea 27.2 (2007) 55-65.

Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge in saving a town considered by authorities to be “undefendable” (Kennedy) is yet to be widely appreciated. In accounting for a creative scene that survived the conflagration, this case study sees culture mobilised as a socioeconomic resource for conservation and the healing of community spirit.Northcliffe (population 850) sits on a coastal plain that hosts majestic old-growth forest and lush bushland. In 2006, Southern Forest Arts (SFA) dedicated a Southern Forest Sculpture Walk for creative professionals to develop artworks along a 1.2 km walk trail through pristine native forest. It was re-branded “Understory—Art in Nature” in 2009; then “Understory Art in Nature Trail” in 2015, the understory vegetation layer beneath the canopy being symbolic of Northcliffe’s deeply layered caché of memories, including “the awe, love, fear, and even the hatred that these trees have provoked among the settlers” (Davin in SFA Catalogue). In the words of the SFA Trailguide, “Every place (no matter how small) has ‘understories’—secrets, songs, dreams—that help us connect with the spirit of place.”In the view of forest arts ecologist Kumi Kato, “It is a sense of place that underlies the commitment to a place’s conservation by its community, broadly embracing those who identify with the place for various reasons, both geographical and conceptual” (149). In bioregional terms such communities form a terrain of consciousness (Berg and Dasmann 218), extending responsibility for conservation across cultures, time and space (Kato 150). A sustainable thematic of place must also include livelihood as the third party between culture and nature that establishes the relationship between them (Giblett 240). With these concepts in mind I gauge creative impact on forest as place, and, in turn, (altered) forest’s impact on people. My abstraction of physical place is inclusive of humankind moving in dialogic engagement with forest. A mapping of Understory’s creative activities sheds light on how artists express physical environments in situated creative practices, clusters, and networks. These, it is argued, constitute unique types of community operating within (and beyond) a foundational scene of inspiration and mystification that is metaphorically “rising from the ashes.” In transcending disconnectedness between humankind and landscape, Understory may be understood to both culturalise nature (as an aesthetic system), and naturalise culture (as an ecologically modelled system), to build on a trope introduced by Feld (199). Arguably when the bush is cultured in this way it attracts consumers who may otherwise disconnect from nature.The trail (henceforth Understory) broaches the histories of human relations with Northcliffe’s natural systems of place. Sub-groups of the Noongar nation have inhabited the southwest for an estimated 50,000 years and their association with the Northcliffe region extends back at least 6,000 years (SFA Catalogue; see also Crawford and Crawford). An indigenous sense of the spirit of forest is manifest in Understory sculpture, literature, and—for the purpose of this article—the compilation CD Canopy: Songs for the Southern Forests (henceforth Canopy, Figure 1).As a cultural and environmental construction of place, Canopy sustains the land with acts of seeing, listening to, and interpreting nature; of remembering indigenous people in the forest; and of recalling the hardships of the early settlers. I acknowledge SFA coordinator and Understory custodian Fiona Sinclair for authorising this investigation; Peter Hill for conservation conversations; Robyn Johnston for her Canopy CD sleeve notes; Della Rae Morrison for permissions; and David Pye for discussions. Figure 1. Canopy: Songs for the Southern Forests (CD, 2006). Cover image by Raku Pitt, 2002. Courtesy Southern Forest Arts, Northcliffe, WA.Forest Ecology, Emotion, and ActionEstablished in 1924, Northcliffe’s ill-founded Group Settlement Scheme resulted in frontier hardship and heartbreak, and deforestation of the southwest region for little economic return. An historic forest controversy (1992-2001) attracted media to Northcliffe when protesters attempting to disrupt logging chained themselves to tree trunks and suspended themselves from branches. The signing of the Western Australian Regional Forest Agreement in 1999 was followed, in 2001, by deregulation of the dairy industry and a sharp decline in area population.Moved by the gravity of this situation, Fiona Sinclair won her pitch to the Manjimup Council for a sound alternative industry for Northcliffe with projections of jobs: a forest where artists could work collectively and sustainably to reveal the beauty of natural dimensions. A 12-acre pocket of allocated Crown Land adjacent to the town was leased as an A-Class Reserve vested for Education and Recreation, for which SFA secured unified community ownership and grants. Conservation protocols stipulated that no biomass could be removed from the forest and that predominantly raw, natural materials were to be used (F. Sinclair and P. Hill, personal interview, 26 Sep. 2014). With forest as prescribed image (wider than the bounded chunk of earth), Sinclair invited the artists to consider the themes of spirituality, creativity, history, dichotomy, and sensory as a basis for work that was to be “fresh, intimate, and grounded in place.” Her brief encouraged artists to work with humanity and imagination to counteract residual community divisiveness and resentment. Sinclair describes this form of implicit environmentalism as an “around the back” approach that avoids lapsing into political commentary or judgement: “The trail is a love letter from those of us who live here to our visitors, to connect with grace” (F. Sinclair, telephone interview, 6 Apr. 2014). Renewing community connections to local place is essential if our lives and societies are to become more sustainable (Pedelty 128). To define Northcliffe’s new community phase, artists respected differing associations between people and forest. A structure on a karri tree by Indigenous artist Norma MacDonald presents an Aboriginal man standing tall and proud on a rock to become one with the tree and the forest: as it was for thousands of years before European settlement (MacDonald in SFA Catalogue). As Feld observes, “It is the stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability” (201).Adhering to the philosophy that nature should not be used or abused for the sake of art, the works resonate with the biorhythms of the forest, e.g. functional seats and shelters and a cascading retainer that directs rainwater back to the resident fauna. Some sculptures function as receivers for picking up wavelengths of ancient forest. Forest Folk lurk around the understory, while mysterious stone art represents a life-shaping force of planet history. To represent the reality of bushfire, Natalie Williamson’s sculpture wraps itself around a burnt-out stump. The work plays with scale as small native sundew flowers are enlarged and a subtle beauty, easily overlooked, becomes apparent (Figure 2). The sculptor hopes that “spiders will spin their webs about it, incorporating it into the landscape” (SFA Catalogue).Figure 2. Sundew. Sculpture by Natalie Williamson, 2006. Understory Art in Nature Trail, Northcliffe, WA. Image by the author, 2014.Memory is naturally place-oriented or at least place-supported (Feld 201). Topaesthesia (sense of place) denotes movement that connects our biography with our route. This is resonant for the experience of regional character, including the tactile, olfactory, gustatory, visual, and auditory qualities of a place (Ryan 307). By walking, we are in a dialogue with the environment; both literally and figuratively, we re-situate ourselves into our story (Schine 100). For example, during a summer exploration of the trail (5 Jan. 2014), I intuited a personal attachment based on my grandfather’s small bush home being razed by fire, and his struggle to support seven children.Understory’s survival depends on vigilant controlled (cool) burns around its perimeter (Figure 3), organised by volunteer Peter Hill. These burns also hone the forest. On 27 Sept. 2014, the charred vegetation spoke a spring language of opportunity for nature to reassert itself as seedpods burst and continue the cycle; while an autumn walk (17 Mar. 2016) yielded a fresh view of forest colour, patterning, light, shade, and sound.Figure 3. Understory Art in Nature Trail. Map Created by Fiona Sinclair for Southern Forest Sculpture Walk Catalogue (2006). Courtesy Southern Forest Arts, Northcliffe, WA.Understory and the Melody of CanopyForest resilience is celebrated in five MP3 audio tours produced for visitors to dialogue with the trail in sensory contexts of music, poetry, sculptures and stories that name or interpret the setting. The trail starts in heathland and includes three creek crossings. A zone of acacias gives way to stands of the southwest signature trees karri (Eucalyptus diversicolor), jarrah (Eucalyptus marginata), and marri (Corymbia calophylla). Following a sheoak grove, a riverine environment re-enters heathland. Birds, insects, mammals, and reptiles reside around and between the sculptures, rendering the earth-embedded art a fusion of human and natural orders (concept after Relph 141). On Audio Tour 3, Songs for the Southern Forests, the musician-composers reflect on their regionally focused items, each having been birthed according to a personal musical concept (the manner in which an individual artist holds the totality of a composition in cultural context). Arguably the music in question, its composers, performers, audiences, and settings, all have a role to play in defining the processes and effects of forest arts ecology. Local musician Ann Rice billeted a cluster of musicians (mostly from Perth) at her Windy Harbour shack. The energy of the production experience was palpable as all participated in on-site forest workshops, and supported each other’s items as a musical collective (A. Rice, telephone interview, 2 Oct. 2014). Collaborating under producer Lee Buddle’s direction, they orchestrated rich timbres (tone colours) to evoke different musical atmospheres (Table 1). Composer/Performer Title of TrackInstrumentation1. Ann RiceMy Placevocals/guitars/accordion 2. David PyeCicadan Rhythmsangklung/violin/cello/woodblocks/temple blocks/clarinet/tapes 3. Mel RobinsonSheltervocal/cello/double bass 4. DjivaNgank Boodjakvocals/acoustic, electric and slide guitars/drums/percussion 5. Cathie TraversLamentaccordion/vocals/guitar/piano/violin/drums/programming 6. Brendon Humphries and Kevin SmithWhen the Wind First Blewvocals/guitars/dobro/drums/piano/percussion 7. Libby HammerThe Gladevocal/guitar/soprano sax/cello/double bass/drums 8. Pete and Dave JeavonsSanctuaryguitars/percussion/talking drum/cowbell/soprano sax 9. Tomás FordWhite Hazevocal/programming/guitar 10. David HyamsAwakening /Shaking the Tree /When the Light Comes guitar/mandolin/dobro/bodhran/rainstick/cello/accordion/flute 11. Bernard CarneyThe Destiny Waltzvocal/guitar/accordion/drums/recording of The Destiny Waltz 12. Joel BarkerSomething for Everyonevocal/guitars/percussion Table 1. Music Composed for Canopy: Songs for the Southern Forests.Source: CD sleeve and http://www.understory.com.au/art.php. Composing out of their own strengths, the musicians transformed the geographic region into a living myth. As Pedelty has observed of similar musicians, “their sounds resonate because they so profoundly reflect our living sense of place” (83-84). The remainder of this essay evidences the capacity of indigenous song, art music, electronica, folk, and jazz-blues to celebrate, historicise, or re-imagine place. Firstly, two items represent the phenomenological approach of site-specific sensitivity to acoustic, biological, and cultural presence/loss, including the materiality of forest as a living process.“Singing Up the Land”In Aboriginal Australia “there is no place that has not been imaginatively grasped through song, dance and design, no place where traditional owners cannot see the imprint of sacred creation” (Rose 18). Canopy’s part-Noongar language song thus repositions the ancient Murrum-Noongar people within their life-sustaining natural habitat and spiritual landscape.Noongar Yorga woman Della Rae Morrison of the Bibbulmun and Wilman nations co-founded The Western Australian Nuclear Free Alliance to campaign against the uranium mining industry threatening Ngank Boodjak (her country, “Mother Earth”) (D.R. Morrison, e-mail, 15 July 2014). In 2004, Morrison formed the duo Djiva (meaning seed power or life force) with Jessie Lloyd, a Murri woman of the Guugu Yimidhirr Nation from North Queensland. After discerning the fundamental qualities of the Understory site, Djiva created the song Ngank Boodjak: “This was inspired by walking the trail […] feeling the energy of the land and the beautiful trees and hearing the birds. When I find a spot that I love, I try to feel out the lay-lines, which feel like vortexes of energy coming out of the ground; it’s pretty amazing” (Morrison in SFA Canopy sleeve) Stanza 1 points to the possibilities of being more fully “in country”:Ssh!Ni dabarkarn kooliny, ngank boodja kookoorninyListen, walk slowly, beautiful Mother EarthThe inclusion of indigenous language powerfully implements an indigenous interpretation of forest: “My elders believe that when we leave this life from our physical bodies that our spirit is earthbound and is living in the rocks or the trees and if you listen carefully you might hear their voices and maybe you will get some answers to your questions” (Morrison in SFA Catalogue).Cicadan Rhythms, by composer David Pye, echoes forest as a lively “more-than-human” world. Pye took his cue from the ambient pulsing of male cicadas communicating in plenum (full assembly) by means of airborne sound. The species were sounding together in tempo with individual rhythm patterns that interlocked to create one fantastic rhythm (Australian Broadcasting Corporation, Composer David Pye). The cicada chorus (the loudest known lovesong in the insect world) is the unique summer soundmark (term coined by Truax Handbook, Website) of the southern forests. Pye chased various cicadas through Understory until he was able to notate the rhythms of some individuals in a patch of low-lying scrub.To simulate cicada clicking, the composer set pointillist patterns for Indonesian anklung (joint bamboo tubes suspended within a frame to produce notes when the frame is shaken or tapped). Using instruments made of wood to enhance the rich forest imagery, Pye created all parts using sampled instrumental sounds placed against layers of pre-recorded ambient sounds (D. Pye, telephone interview, 3 Sept. 2014). He takes the listener through a “geographical linear representation” of the trail: “I walked around it with a stopwatch and noted how long it took to get through each section of the forest, and that became the musical timing of the various parts of the work” (Pye in SFA Canopy sleeve). That Understory is a place where reciprocity between nature and culture thrives is, likewise, evident in the remaining tracks.Musicalising Forest History and EnvironmentThree tracks distinguish Canopy as an integrative site for memory. Bernard Carney’s waltz honours the Group Settlers who battled insurmountable terrain without any idea of their destiny, men who, having migrated with a promise of owning their own dairy farms, had to clear trees bare-handedly and build furniture from kerosene tins and gelignite cases. Carney illuminates the culture of Saturday night dancing in the schoolroom to popular tunes like The Destiny Waltz (performed on the Titanic in 1912). His original song fades to strains of the Victor Military Band (1914), to “pay tribute to the era where the inspiration of the song came from” (Carney in SFA Canopy sleeve). Likewise Cathie Travers’s Lament is an evocation of remote settler history that creates a “feeling of being in another location, other timezone, almost like an endless loop” (Travers in SFA Canopy sleeve).An instrumental medley by David Hyams opens with Awakening: the morning sun streaming through tall trees, and the nostalgic sound of an accordion waltz. Shaking the Tree, an Irish jig, recalls humankind’s struggle with forest and the forces of nature. A final title, When the Light Comes, defers to the saying by conservationist John Muir that “The wrongs done to trees, wrongs of every sort, are done in the darkness of ignorance and unbelief, for when the light comes the heart of the people is always right” (quoted by Hyams in SFA Canopy sleeve). Local musician Joel Barker wrote Something for Everyone to personify the old-growth karri as a king with a crown, with “wisdom in his bones.”Kevin Smith’s father was born in Northcliffe in 1924. He and Brendon Humphries fantasise the untouchability of a maiden (pre-human) moment in a forest in their song, When the Wind First Blew. In Libby Hammer’s The Glade (a lover’s lament), instrumental timbres project their own affective languages. The jazz singer intended the accompanying double bass to speak resonantly of old-growth forest; the cello to express suppleness and renewal; a soprano saxophone to impersonate a bird; and the drums to imitate the insect community’s polyrhythmic undercurrent (after Hammer in SFA Canopy sleeve).A hybrid aural environment of synthetic and natural forest sounds contrasts collision with harmony in Sanctuary. The Jeavons Brothers sampled rustling wind on nearby Mt Chudalup to absorb into the track’s opening, and crafted a snare groove for the quirky eco-jazz/trip-hop by banging logs together, and banging rocks against logs. This imaginative use of percussive found objects enhanced their portrayal of forest as “a living, breathing entity.”In dealing with recent history in My Place, Ann Rice cameos a happy childhood growing up on a southwest farm, “damming creeks, climbing trees, breaking bones and skinning knees.” The rich string harmonies of Mel Robinson’s Shelter sculpt the shifting environment of a brewing storm, while White Haze by Tomás Ford describes a smoky controlled burn as “a kind of metaphor for the beautiful mystical healing nature of Northcliffe”: Someone’s burning off the scrubSomeone’s making sure it’s safeSomeone’s whiting out the fearSomeone’s letting me breathe clearAs Sinclair illuminates in a post-fire interview with Sharon Kennedy (Website):When your map, your personal map of life involves a place, and then you think that that place might be gone…” Fiona doesn't finish the sentence. “We all had to face the fact that our little place might disappear." Ultimately, only one house was lost. Pasture and fences, sheds and forest are gone. Yet, says Fiona, “We still have our town. As part of SFA’s ongoing commission, forest rhythm workshops explore different sound properties of potential materials for installing sound sculptures mimicking the surrounding flora and fauna. In 2015, SFA mounted After the Burn (a touring photographic exhibition) and Out of the Ashes (paintings and woodwork featuring ash, charcoal, and resin) (SFA, After the Burn 116). The forthcoming community project Rising From the Ashes will commemorate the fire and allow residents to connect and create as they heal and move forward—ten years on from the foundation of Understory.ConclusionThe Understory Art in Nature Trail stimulates curiosity. It clearly illustrates links between place-based social, economic and material conditions and creative practices and products within a forest that has both given shelter and “done people in.” The trail is an experimental field, a transformative locus in which dedicated physical space frees artists to culturalise forest through varied aesthetic modalities. Conversely, forest possesses agency for naturalising art as a symbol of place. Djiva’s song Ngank Boodjak “sings up the land” to revitalise the timelessness of prior occupation, while David Pye’s Cicadan Rhythms foregrounds the seasonal cycle of entomological music.In drawing out the richness and significance of place, the ecologically inspired album Canopy suggests that the community identity of a forested place may be informed by cultural, economic, geographical, and historical factors as well as endemic flora and fauna. Finally, the musical representation of place is not contingent upon blatant forms of environmentalism. The portrayals of Northcliffe respectfully associate Western Australian people and forests, yet as a place, the town has become an enduring icon for the plight of the Universal Old-growth Forest in all its natural glory, diverse human uses, and (real or perceived) abuses.ReferencesAustralian Broadcasting Commission. “Canopy: Songs for the Southern Forests.” Into the Music. Prod. Robyn Johnston. Radio National, 5 May 2007. 12 Aug. 2014 <http://www.abc.net.au/radionational/programs/intothemusic/canopy-songs-for-the-southern-forests/3396338>.———. “Composer David Pye.” Interview with Andrew Ford. The Music Show, Radio National, 12 Sep. 2009. 30 Jan. 2015 <http://canadapodcasts.ca/podcasts/MusicShowThe/1225021>.Berg, Peter, and Raymond Dasmann. “Reinhabiting California.” Reinhabiting a Separate Country: A Bioregional Anthology of Northern California. Ed. Peter Berg. San Francisco: Planet Drum, 1978. 217-20.Crawford, Patricia, and Ian Crawford. Contested Country: A History of the Northcliffe Area, Western Australia. Perth: UWA P, 2003.Feld, Steven. 2001. “Lift-Up-Over Sounding.” The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Ed. David Rothenberg and Marta Ulvaeus. Middletown, CT: Wesleyan UP, 2001. 193-206.Giblett, Rod. People and Places of Nature and Culture. Bristol: Intellect, 2011.Kato, Kumi. “Addressing Global Responsibility for Conservation through Cross-Cultural Collaboration: Kodama Forest, a Forest of Tree Spirits.” The Environmentalist 28.2 (2008): 148-54. 15 Apr. 2014 <http://link.springer.com/article/10.1007/s10669-007-9051-6#page-1>.Kennedy, Sharon. “Local Knowledge Builds Vital Support Networks in Emergencies.” ABC South West WA, 10 Mar. 2015. 26 Mar. 2015 <http://www.abc.net.au/local/stories/2015/03/09/4193981.htm?site=southwestwa>.Morrison, Della Rae. E-mail. 15 July 2014.Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA: Temple UP, 2012.Pye, David. Telephone interview. 3 Sep. 2014.Relph, Edward. Place and Placelessness. London: Pion, 1976.Rice, Ann. Telephone interview. 2 Oct. 2014.Rose, Deborah Bird. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Ryan, John C. Green Sense: The Aesthetics of Plants, Place and Language. Oxford: Trueheart Academic, 2012.Schine, Jennifer. “Movement, Memory and the Senses in Soundscape Studies.” Canadian Acoustics: Journal of the Canadian Acoustical Association 38.3 (2010): 100-01. 12 Apr. 2016 <http://jcaa.caa-aca.ca/index.php/jcaa/article/view/2264>.Sinclair, Fiona. Telephone interview. 6 Apr. 2014.Sinclair, Fiona, and Peter Hill. Personal Interview. 26 Sep. 2014.Southern Forest Arts. Canopy: Songs for the Southern Forests. CD coordinated by Fiona Sinclair. Recorded and produced by Lee Buddle. Sleeve notes by Robyn Johnston. West Perth: Sound Mine Studios, 2006.———. Southern Forest Sculpture Walk Catalogue. Northcliffe, WA, 2006. Unpaginated booklet.———. Understory—Art in Nature. 2009. 12 Apr. 2016 <http://www.understory.com.au/>.———. Trailguide. Understory. Presented by Southern Forest Arts, n.d.———. After the Burn: Stories, Poems and Photos Shared by the Local Community in Response to the 2015 Northcliffe and Windy Harbour Bushfire. 2nd ed. Ed. Fiona Sinclair. Northcliffe, WA., 2016.Truax, Barry, ed. Handbook for Acoustic Ecology. 2nd ed. Cambridge Street Publishing, 1999. 10 Apr. 2016 <http://www.sfu.ca/sonic-studio/handbook/Soundmark.html>.