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Art with Meaning: Cover Artist Julie Silvers
by Linda Dautreuil, photos by Candra George
JULIE SILVER SURROUNDS herself with art. In a light-filled room, she overlooks manicured gardens accenting the architecture of Pio Lyons and contemporary sculptures by Arthur Silverman, Steve Martin and other noted Louisiana artists. Indoors, the collection of "high and low" or whatever strikes her as "art filled with soul," is interspersed with her own sculptures and paintings from various stages in her life and artistic career.
Her philosophy has always been "when I sold one, I bought one." The result has been the accumulation of an impressive range of artwork. As intriguing as such a strategy may be, the collection also reveals her interest in the artist as model in contemporary art. The figurative painting by Blake Boyd is one of several images by painters and photographers whose works include Silvers as model. Others are more specific in keeping with contemporary portraits and include images of Silvers and her family or Silvers' photographs of her daughter, Taylor. The integration of Silvers as collector, maker and model fascinates.
Developing skills in the visual arts early in life is common for many artists, even those who may not have formal instruction. Observation, a desire to make things, imaginative expression, creative problem solving and exposure to the visual arts provide a good start. Julie Silvers was raised in in a home where her mother, Susan Wittenberg, actively pursued studio life as an abstract painter in New Orleans. Julie attributes her awareness and love of contemporary visual arts to the many hours she spent watching her mother work. A large painting by Wittenberg, one of many throughout the Silvers home, provides a focal point in the sitting room adjacent to the spacious foyer. Natural light animates the bright colors and atmospheric qualities of the abstract expressionist forms and shapes populating the canvas surface. Silvers describes a special appreciation for the accomplishments of her mother as an artist. "She worked very hard and participated in numerous exhibitions in New Orleans and various places in Louisiana and Mississippi. Her dedication extended beyond the studio. I remember not only watching her paint, but I also remember helping her transport and install her paintings in venues around the city. As a young person, I am not sure I fully appreciated why she worked so diligently."
What Silvers always knew was that she loved all forms of art and especially crafts when she was a student attending Isidore Newman School. "I loved to doodle on paper, in books, even on clothing and fabrics. I was especially interested in the nude and the female form. Abstract Expressionism represented another generation. In some ways I wanted to be myself, not a copy of my mother. I considered being a lawyer, then changed course and graduated from Tulane with an undergraduate degree in social sciences, and later, an MSA in social work, all totally different career paths from the arts. By the '80s, however, I was entranced with Pop Art. I suspected a change was on the way."
Continuing the tour of the Silvers collection reveals an artist intensely interested in the visual arts as an intrinsic part of her everyday life. Approaching her indoor studio, the experience is an eclectic blending of works by established as well as lesser-known artists whose works were purchased from galleries, art markets, interior designers and individuals from Louisiana, other cities around the country and Europe. All were selected with a discerning eye and a fondness for "art with meaning." "There is no background art here," she says with a smile. "I like to feel a connection to the work—my own as well as the artwork in the collection. I like work that has vitality—open, almost primitive and childlike in application."
Silvers' studio is spacious but not pristine. It is a fully functional working space that is obviously in operation, with ample views of the outdoors and a small courtyard for breaks during the workday. A large kiln is easily accessible and expected in the workspace of an artist whose ceramic figurative sculpture, abstract fine/functional vessels and large- and small-scale totems appeal to a broad audience. Her process working with clay evolved over a 30-year period, coinciding with a decision to pursue sculpture and painting with a serious intent to exhibit. "Making art requires opening up to experience. I don't have a formal background in art. I learned my skills through observations of art, the figure and nature. I took a few classes and workshops along the way, but I have always had a strong feeling about the kind of work I like and the kind of work I want to make. I follow my intuition. I use whatever is available, because there is beauty to be explored in so many ordinary things."
It is not surprising that Silvers loves to travel, and she admits it is essential in her process. "When you travel, you learn and grow," she says. I am influenced by a world view that includes what is going on not only in painting and sculpture but also in fashion and music. I travel to New York several times a year. I am receptive to the feeling of creative energy I experience there, and I feel recharged when I return."
Whereas sculptures and many functional vessels by Silvers do not rely on color, it is the neutrality of the white or black clay that emphasizes the form, textures and patterning characteristic of her style. Her paintings and her recent works in ceramics have many qualities in common, but the light, whimsical color palette she uses in a two-dimensional format adds a different flavor to organic shapes and repeating patterns brightly rendered.
It was after Hurricane Katrina that Silvers began making paintings with the idea of exploring her early figurative doodles and embracing the example set by her mother. The response to these pieces was overwhelming. She recalls that she was discovered by a Houston Gallery while unloading a collection of paintings for an exhibition in Texas. "A person I never met before asked to see the works as I pulled them out of my car. As a result of that chance encounter, I exhibited and sold them all. More recently, my work has been exhibited in Laura Rathe Fine Art Houston and at my first New York exhibition, hosted by Ezair Gallery. Over the years, I have been affiliated with several galleries in New Orleans. In 2015, I decided to take the next step. During White Linen Night, I hosted the grand opening of my first gallery, which was on Julia Street, Julie Silvers Art." The premier reception gave full rein to the intensity of Silvers' vision. The gallery was filled with art, music and fashion. "The crowds were huge that evening," she recalls. "It was a great feeling to be a part of that energy."
Then came another opportunity, one that clarified her goals in a way she had not considered. Silvers received an invitation to exhibit in the Southern Style Show House and to be a featured speaker among a select group of artists and designers in the Southern Style Now Festival. In her presentation, she described entering a new phase in her life and career. "I spoke of discovering a sense of myself through my work and of gaining confidence as opportunities presented themselves. I decided to invest in myself. I devised a plan, a marketing strategy, opened my gallery and I maintain a steady work ethic in my studio. I realize my love of all forms of art is my strength. I ignore negative ideas separating craft and fine art, and I use all of my skills in making paintings and sculptures. Many women commented that hearing my story empowered them to move forward with their ideas. That was very gratifying for me."
Today, Silvers' gallery is located on Magazine Street. Bringing her artwork onto the six-mile-long stretch between the Garden District and Uptown has been a dream come true. "This move has been great for me. The excitement on Magazine is palpable—so many wonderful artists, restaurants and shops—it feels right. It feels like I am home."
Silvers work is exhibited at Julie Silvers Art, 3714 Magazine Street, New Orleans. More information may be found at juliesilvers.com.
Lushness and Lines: Cover Artist Nancy Hirsch Lassen
Advocates of the Arts: Collectors Tim and Jan Lantrip
A Creative Mind: Cover Artist Cindy Trist
Uplifting Motifs: Cover Artist Marianne Angeli Rodriguez
Colorful Inspiration: Cover Artist Jessica King-Bernard
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The TMAI member school in the Middle East exists to strengthen churches in the Arabic-speaking world by training pastors, elders, and other teachers to preach God's Word expositionally.
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TMAI has shown me that expository preaching is for men who are willing to study hard, give relevant application to today's world, and deliver with zeal God's living Word. There is a need today in the churches for expository preaching, and few are the men who are willing to give their sweat and tears.
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The Middle East is a region of countries located in West Asia extending into Africa. It is made up of 17 different countries with many different ethnic groups: Arabs, Bengalis, Egyptians, Filipinos, Jews, Hindus, Greeks, Sri Lankans, Sikhs and Pakistanis. Its estimated population of over 411 million includes 13 million Arab migrants.
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Cherif Arif
Cherif Arif was born and raised in Cairo, Egypt. He got an MBS from the National Theological College and Graduate School (NTCGS) in Cairo, Egypt; an MDiv. from Maranatha Baptist Seminary, Wisconsin; a ThM from TMS; and is now working on a PhD at TMS. He has served as a professor at NTCGS since 2011, both in Cairo and other locations: Jordan and Lebanon. He is now working on an exegetical/pastoral commentary on the Book of Ecclesiastes in Arabic. He desires to continue serving by equipping pastors and leaders and writing exegetical/theological works in Arabic for the church in the Middle East. "My heart is that many in this area of the world come to the saving faith in our God and Lord Jesus Christ."
Rodney Andersen
Rodney Andersen is grateful to have grown up at Grace Community Church (GCC) under the ministry of John MacArthur. After working as an engineer for many years, Rodney left that career to pursue missions. After graduating from The Master's Seminary in 2012, he and his family were sent by GCC to serve as missionaries in China until 2018 when he was called to return to GCC to train new missionaries. He currently serves as the Director for Grace Ministries International (GMI), the international missions department of Grace Community Church (GCC). Rodney and his wife, Glenna, have two children.
Aleksey Kolomiytsev
Over the last 30 years, Aleksey Kolomiytsev has been involved in pastoral ministry in Russia and other Russian-speaking countries. He has also led Word of Grace Bible Institute for 22 years and has served as senior pastor at Word of Grace Bible Church or the last 18 years. Aleksey's focus in ministry is spreading the influence of expository preaching, as well as preparing preachers in the Russian-speaking world. His wife Tanya has been faithfully supporting him in ministry over the last 35 years.
Nick Kalena
Nick Kalena has been serving in Berlin, Germany, for six years. He moved with his wife, Jodi, and their six children from Mission Viejo, CA, in the summer of 2014 to work for the European Bible Training Center. Since then he has been serving in and is now the director of the EBTC's Biblical Counseling Program. Alongside of EBTC ministry, he joined a church planting team in 2016 that started the Eckstein Gemeinde Berlin. One year later, Nick and the two church planters from the planting team were ordained as elders. Nick's ministry focus at the EBTC and at the Eckstein Gemeinde is counseling and discipleship. He enjoys bringing people to God's Word to help them grow in their knowledge of the Son of God.
Alexey Prokopenko
Alexey Prokopenko has served as a professor at Samara Center for Biblical Training since 2007 and as pastor of Transfiguration Baptist Church in Samara, Russia, since 2012. He has earned degrees from Medical University of Samara (MD) and The Master's Seminary (PhD). Alexey has authored several books in the Russian language, including commentaries on Genesis and Ruth, as well as annotated translations of Proverbs and Ecclesiastes. He currently serves as pastor of a new church plant in his home city. Alexey and his wife Kate have two beautiful children.
Joshua Mack
Joshua and his family recently moved back to the United States after serving for 14 years in South Africa, where they planted Living Hope Church, began the African Bible Training Center, and started the Muphamuzi Baby Home. He now serves as pastor at Cornerstone Bible Church in Fullerton, California, while continuing to mentor teachers at various African Bible Training Centers. He is particularly passionate about providing solid theological resources in under-resourced areas. He is the author of Compasssion: Seeing with Jesus Eyes and the co-author of several other books. He received his M.A. and M.Div from The Master's University and Seminary, and D.Min from The Southern Baptist Theological Seminary.
Dave Beakley
Both David and his wife Carol were raised in Arizona, and after following David's career in High Tech manufacturing, the Lord called David to ministry and he graduated from The Master's Seminary in 2002. Six weeks after graduating, David, Carol, and their four children were sent out by Grace Community Church as missionaries to South Africa. David was eventually selected by South Africans to serve as the Academic Dean of Christ Seminary, as well as an elder at Christ Baptist Church. He then earned his PhD at the University of Potchefstroom in 2014. His wife Carol also serves in Christ Baptist Church teaching various women's Bible Studies and discipling women. He also serves as the TMAI African Regional Coordinator and the GMI Regional Missions Shepherd for Africa.
Christian Andresen
Christian and his wife Sheryl moved back to Germany over twenty years ago and started the European Bible Training Center (EBTC) in Berlin to train up nationals for pastoral and missionary work and strengthen the local churches. As president of the ever-growing EBTC, Christian oversees the school in Berlin and its extensions in Germany, Switzerland and Austria as well as its publishing ministry. He also serves as one of the pastors at Eckstein Gemeinde Berlin, a four-year-old church plant at the heart of Berlin, and is eager to invest in church-planting ministries across Europe through his role as Regional Shepherd at Grace Ministries International. Christian and Sheryl have four wonderful grown-up children and several grandchildren.
Carlos Montoya
Carlos Montoya is President of Ministerios Evangélicos de Las Americas (MEDA), a TMAI pastoral training center located in Siguatepeque, Honduras. MEDA's main program is The Seminary for Expository Preaching (SEPE) where its motto is Training men to Preach Christ with Power, Passion and Precision. He also serves as a pastor at Iglesia Bautista Betania.
He has a bachelor's degree from the University of North Carolina in Chapel Hill. He then studied at Dallas Theological Seminary, receiving his MABS in 1989, and married his bride Lori the same year. After several years, Carlos felt the need to study the original languages, leading him to attend The Master's Seminary, graduating in 1999. The Montoya family moved to Honduras in 2001. He and Lori have 7 children and 5 grandchildren.
Faly Ravoahangy
Faly Ravoahangy, a graduate of The Master's Seminary currently enrolled in their Doctor of Ministry program, is the founder and Managing Director of Madagascar 3M, a ministry started in 2017, aiming to come alongside the existing structures and to be involved in identifying, training and equipping men to study, obey and teach God's Word. Ultimately, Madagascar 3M desires to open a Bible-teaching seminary, focusing on expository preaching, so to develop a new generation of godly church leaders in francophone Africa.
Faly is also part of the eldership team and a teaching pastor at Ankadivato Biblical Baptist Church in Antananarivo, the capital city of Madagascar. He is married to Lily and they are blessed with 5 children.
David Robles
David Robles serves as the teaching pastor of Iglesia Evangelica de Leon and is the founding president of Berea Seminary, Spain. He has a wide teaching and preaching ministry throughout Spain, Europe, Latin America and the USA. David is a graduate of Multnomah Biblical Seminary and The Master´s Seminary. He and his wife, Loida, have three daughters.
Ruben Videira
Ruben Videira graduated from The Master's Seminary with his M.Div. in 2011 and Th.M. in 2014. The same year he moved to León, Spain, with his family, to serve at the Evangelical Church of Leon and the Berea Seminary. At the seminary he serves as the Academic Dean and professor of Hermeneutics, Bible Exposition and Theology, and at the church his ministry focuses on preaching and discipling. He has been married to Jenn since 2010, and the Lord has blessed them with Oliver (2013), Eden (2015), Caleb (2016), and Zoe (2018).
Greg White was sent out by Grace Community Church in 1992 to serve the Evangelical churches of Ukraine. Over the past 28 years he has had the privilege to be a part of 2 church plants and the start and development of 2 seminaries. Greg is pastor of Grace Bible Church, Chief Academic Officer of Grace Bible Seminary in Kyiv, Ukraine, Regional Pastor of Eurasia for Grace Ministries International and Liaison & Consultant, Eurasia for The Master's Academy International. Beside his administrative responsibilities, Greg also is a professor in the area of New Testament at Grace Bible Seminary and the European Bible Center, Berlin, Germany. Greg is married to Hue Chon and has 3 grown children and 2 grandchildren who live in Southern California.
Both David and his wife Carol were raised in Arizona, and after following David's career in High Tech manufacturing, the Lord called David to ministry and he graduated from The Master's Seminary in 2002. Just six weeks after graduating, David, Carol, and their four children were sent out by Grace Community Church as missionaries to South Africa, where David served as a lecturer at Christ Seminary in the city of Polokwane. During that time, David eventually was selected by the nationals to serve as the Academic Dean as well as an elder at Christ Baptist Church. He also earned his PhD at the University of Potchefstroom in 2014. His wife Carol also serves in Christ Baptist Church teaching various women's Bible Studies and discipling women. The children were all raised in South Africa and are now living as adults in the USA. Currently, David is the Senior Pastor (teaching pastor) of Christ Baptist Church, the Academic Dean of Christ Seminary, teaches various courses in Christ Seminary, and he also serves as the TMAI African Regional Coordinator and the GMI Regional Missions Shepherd for Africa. He and his family have been serving in South Africa for over 18 years.
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China's Tencent Extends NBA Digital Partnership
The China deal becomes the basketball league's biggest international digital partnership.
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Chinese online giant Tencent has signed a deal with the National Basketball Association (NBA) to extend their partnership in China by five years and create the league's largest international digital partnership.
Under the deal, which takes effect from July 1, Tencent will become the exclusive official digital partner of the NBA in China and will feature a record number of live NBA games, as well as enhanced programming and highlights.
"The NBA represents both a widely-followed sport and an active healthy way of life in China," Martin Lau, president of Tencent said in a statement. "This multi-year agreement enables us to bring substantially more NBA games and content to consumers than has even been available in the past, and we look forward to working with the NBA league, teams and players to further enhance the sport's profile and popularity."
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The programming will include NBA preseason and regular-season games, NBA All-Star, the NBA Playoffs, The Finals, NBA Summer League and the NBA Draft.
"NBA fans in China are among the most passionate and knowledgeable basketball fans in the world, and we are thrilled to expand our partnership with Tencent," said NBA commissioner Adam Silver. "Tencent is one of the most innovative, leading brands in China, and their extensive reach will give our fans unparalleled access to the league and its teams."
Chinese fans can access the games through Tencent's NBA sections on Tencent's services, which include QQ, Weixin, Tencent Video app and Tencent News app.
NBA China CEO David Shoemaker said: "As the popularity of the NBA continues to soar in China, our fans will receive unprecedented NBA content, interactive gaming, customized communities, and merchandise on QQ.com, Weixin, Tencent Video and News apps, and other Tencent platforms throughout the year."


Adam Schiff Explains the Recent History of the Second Amendment
By streiff | Feb 06, 2018 9:30 AM ET
Rep. Adam Schiff, D-Calif., ranking member of the House Intelligence Committee, speaks after a closed meeting on Capitol Hill, Tuesday, June 6, 2017, in Washington. (AP Photo/Alex Brandon)
Despite being an obvious mental defective, Adam Schiff continues to lumber through the countryside, frightening the peasantry, molesting the livestock, and being feted by never-Trump pundits of all persuasions.
Last week he was at the University of Pennsylvania and he gave us some valuable insights on not only how he sees Americans, but how he views the Constitution.
Schiff told a University of Pennsylvania audience that much of the Russian content posted during the 2016 election "was just content designed to pit us against each other, to exploit our divisions."
Schiff says the Russians parroted Black Lives Matter online to broaden America's racial divide, and also pushed gun rights.
It is easy to understand why the Russians pushed what appears to be a Marxist-Leninist AstroTurf group dedicated to making the cop-on-the-beat the enemy, but why did they push gun rights, something that is enshrined in the Constitution and upheld by the US Supreme Court despite numerous attacks?
"They also trumpeted the Second Amendment," Schiff said. "Apparently, the Russians are very big fans of our Second Amendment. They don't particularly want a Second Amendment of their own, but they're really glad that we have one. The Russians would be thrilled if we were doing nothing but killing each other every day, and sadly we are."
A few thoughts on all of this horsesh**.
Just because alleged Russian controlled social media accounts are pushing a theme, doesn't invalidate the theme and it doesn't mean people holding that belief are helping Russia or influenced by Russia. There are a lot of people, myself among them, who believe that our police forces have become far too militarized over time. A lot of us hold the view that policing in poor minority neighborhoods, and in downscale white neighborhoods is often a lot more adversarial and violent than need be. Some folks, with whom I do not agree, seek to de-police minority neighborhoods. Holding any of those views is the legitimate prerogative of American citizens. Just because Russia sees them as a fault line says nothing about anything other than Russia seeing an advantage.
The Democrats have been trying desperately to tie gun rights, in general, and the NRA, in particular, to Russia. They realize how much the NRA endorsement helped Trump in 2016 and they want to neutralize the NRA in 2018 and 2020 by labeling them a Russian influenced organization. Ron Wyden is demanding the FBI investigate the NRA for just that reason. That is what Schiff is up to here. He's saying a) there is no legitimate reason for gun ownership, other than slaughtering innocent bystanders and b) the gun rights movement is basically a creation of the Russians.
The Democrats, along with many of the people who are knee-jerk opponents of Trump, are taking the path of delegitimizing legitimate points of view by tying those points of view to alleged Russian social media influence. It won't work and the people who are doing this should be driven from public life.
Former infantry officer, CGSC grad and Army Operations Center alumnus.
RedState member since 2004. Follow me on Twitter.
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Flower Power Is Real: Hair Ornament Elicits Positive Emotion, Fosters Social Relationships Among Strangers
May 8, 2014 12:48 PM By Lizette Borreli @lizcelineb l.borreli@medicaldaily.com
Wearing or holding flowers may actually drive strangers to help you, a study finds. Photo courtesy of Shutterstock
In life we encounter several situations where we need a helping hand, whether we don't have enough change for public transportation or we need to hitchhike because of car troubles. These times of hardship can be remedied with a simple gift from Mother Nature: flowers. We use them to convey compassion, happiness, romance, or regret. Now, according to a recent study published in Psychological Reports, simply wearing flowers in your hair may actually increase the chances a stranger will help you, such as getting free bus fare.
Flowers have been cultivated for more than 5,000 years, but there is limited knowledge about the effects of this behavior. However, while plants have evolved to induce several behavioral responses in a wide variety of species, according to an article "An Environmental Approach to Positive Emotion: Flowers," published in the journal Evolutionary Psychology, scientists believe they have rapidly evolved to encourage positive emotion in humans, too.
A team of French psychologists, Jordy Stefan and Nicolas Guéguen of the Universite de Bretagne-Sud, sought to investigate whether flowers can increase positive responses to an explicit request for help. Two 19-year-old women, who were either wearing barrettes with or without a flower, were recruited to request bus fare from a total of 240 male and female strangers, who appeared to be in their thirties. The women were placed in areas with heavy pedestrian traffic in two different parts of town in the city of Lorient, south coast of Brittany in the south of France.
The women were told to alternate between wearing no hair ornament or a barrette with a synthetic red rose attached. The hair ornament had a diameter of seven centimeters, or nearly three inches, and it was clearly visible to the strangers they approached. The women approached 120 people each, while smiling and politely asking, "Excuse me, sir/madame, would you happen to have a euro for the bus?" according to Pacific Standard Magazine.
The findings revealed the pedestrians responded positively giving bus fare 76.7 percent of the time when the woman was wearing the flower, compared to only 50.8 percent of the time when the participants were without it. In regard to the gender of the strangers, "both men and women more readily helped those with the hair ornamentation," wrote the French researchers. They suggest the sight of the flower encouraged people to stop for a moment to chat with the woman, and therefore, increased the likelihood that they would give her the bus fare.
The results for this French study are in line with other studies that have found exposure to flowers can elicit positive emotions and help social relationships. A 2012 study published in the North American Journal of Psychology, found flowers could positively influence female motorist behavior when hitchhikers held flowers, since environmental cues can have an influence on individual behavior. The researchers believed due to the positive effect of flowers on women, female motorists would be more inclined to stop and offer a ride to a male holding flowers while hitchhiking. The males did solicit a higher response in the number of male and female drivers who stopped to offer a ride while the men held the flowers.
These studies suggest that flower power is in fact real, and it can produce positive emotions such as sympathy and connectedness. Flowers can reinforce positive social behavior, socio-economic acts such as social greeting patterns, and even memories of social events.
Guéguen N and Stefan J. Effect of Hair Ornament on Helping. Psychological Reports. 2014.
Guéguen, N, Meineri S, Stefan, J. "Say it with Flowers"...to Female Drivers: Hitchhikers Holding Flowers and Driver Behavior. North American Journal of Psychology. 2012.
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Essay about The Role of Ethnicity in Literature
Rating: Better Essays
Though it has become less of an issue in recent times, distrust of foreigners has always been an issue. This can be easily observed in Willa Cather's My Ántonia. Within the first few pages, a statement is made about 'alienating foreigners'. Jake, a friend and fellow traveler, tells the main character, Jim, that while Ántonia Shimerda has "pretty brown eyes…", he points out that you are "…likely to get diseases from foreigners." Jim's first impression of the Bohemians is that they are illiterate, uneducated, disease-carrying people. Even after Jim learns to accept the Bohemians' culture, the society around him continues to look down upon the immigrants, proving throughout the book that a culture with outsiders will always scorn those outsiders until they accept the same values and morals.
For instance, on page 16, Otto Fuchs, an Austrian friend, tells Jim's grandmother that due to politics, "Bohemians has a natural distrust of Austrians", regarding, of course, the distinct conflict that began WWI. When the Burdens finally meet the Shimerdas at their run-down home, everyone is surprised by Ántonia's eagerness and impulsiveness. While the Shimerdas are accepting of each other, the Nebraskan-Americans are taken aback by the strange culture with which they're now living. Even Ántonia notices and tells Jim that while life will "be easy for [him]… [It] will be hard for us," because the Shimerdas are immigrants. Ántonia even sees that as a young girl, people will not be accepting of her family or herself just because they come from a different culture.
As she ages, Tony Shimerda begins to accept more and more of the "American Way", even going so far as to change her name from "Ántonia" to "Tony", a less Czech-sounding name. I...
...uld have sold organs on the black market. However, the fact that they were Jewish seemed to play a vital role in the story for many people. Although it isn't fair to bring up religion or nationality when the topic at hand is regarding something completely different such as illegal activity or a fatherless baby, human nature seems to prey upon it.
That is, regardless of what people see, they can always find something to dislike in a foreigner solely because their idea of a model citizen is different than their own. When Tony works hard on a farm to help her family, people see her as a 'man-like woman'. When she plays the part of a girl, people see her as unhelpful. Though she finally ends with an affectionate and happy family, her memories that she shares with Jim all show that the society she lives in has much different morals and values than her own heritage.
Race, Ethnicity, Art and Film Essay
- This paper tries to analyze race relations, ethnicity and how art and film relates to these social issues in their cultural context. Art and film have played vital roles in advocating for a society free of ethnicity and racism. Using vivid descriptions and evidence of both text and a movie this paper seeks to relate accordingly the concerned issues and factors affecting these social vices. It will demonstrate race and ethnic tendencies in diverse cultural contexts. As a demographic phenomenon, ethnicity is belonging to a specific ethnic group possessing distinct culture and common origin.... [tags: Film Studies]
Effects of Socioeconomic Status and Ethnicity on a Child Essay
- The socioeconomic status of a family and their ethnicity has a substantial effect on their child's early learning and determines how much their child will accomplish through life. Life events from before birth to three years old will have significant impact on brain development (Nelson, 1999). Socioeconomic status limits how much a family could provide to aid a child's development. Middle-class families can better prepare their children with opportunities for success than families with low household income.... [tags: family, academic achievement, behavior]
The Leader, Authentic Leadership, And Race Ethnicity And Gender Social Identity
- Servant Leadership, Authentic Leadership, and Race-Ethnicity and Gender Social Identity Effective leadership, commonly regarded as both a learned skill and innate ability, is an essential characteristic of successful organizations (Northouse, 2016). Great leaders are said to define purpose, create a vision for the future, set high ethical standards, and guide their organizations through many circumstances and into new directions (Morrill, 2007; Parris & Peachey, 2012). Leadership is also described as complex – it can mean different things to different people.... [tags: Leadership, Gender, Gender role, Gender identity]
Essay on The Role of Multicultural Literature
- ... In addition, Rosenblatt indicates that it is impossible for a reader to fully comprehend a text except through "seeing, memories and association"(Rosenblatt,1978). The meaning that the reader constructs from the text is called the poem. The poem is vital to how a reader's attitude toward reading and writing is developed, which ultimately affects their literacy skills and academic grades. By using multicultural literature, it allows the reader to " receive affirmation of themselves and their culture through literature" (Bieger, 1995/1996), and create a connection with the text using their background knowledge (Norton 1978).... [tags: English as a second language]
Essay on Literature Review : ' Double System Theory '
- LITERATURE REVIEW AND FEMINISIT THEORY Feminist theory is the extension of feminism into theoretical, fictional or philosophical dissertation. It helps to explain the main nature of gender inequality. It further explains the social roles of women in the society such as education, communication, philosophy, sociology and so on (Chodrow, Nancy 1991). Feminist theory helps to analyze gender inequality and its themes which are discrimination, sexual objectification, oppression, stereotyping and so on.... [tags: Gender, Gender role, Feminism, Sociology]
Decolonization, Nationalism, Imagining and Representing Communities: A review of Post-Colonial Literature
- In the course of Colonization, the world was divided into binary categories of the colonizer and colonized. These binary groups were based on a division of class, gender, race, ethnicity and the oppression of cultural traditions. Traditions of language, religion, labor, and social values were based on theologies of the colonizers, enforced upon the colonized. These binaries can be associated with the Manichean binaries discussed by Frantz Fanon in his book entitled The Wretched of the Earth. In Post-Coloniality, societies gain independence either through diplomatic political transitions or violent revolutions against the occupying force.... [tags: Literature Review]
Cultural Diversity in Early America Essay
- When studying the stories about the lives of early Americans, the discovery of just how culturally diverse they were cannot be missed. Such richness and history in the making, yet such sadness as we read the powerful lines that tell their story. With the great influential writers such as Bryant, Irving and Cooper, whom set stage for all during the Romantic Period between 1830-1865 to the young brilliant novelists who followed with such stamina, passion and strength, such as Hawthorn, Simms and Melvin; how could one not explode with great learning, as their souls were laid out for us to bear.... [tags: religion, ethnicity, gender]
Psy A633 Tests And Measures Assignment 3a Brief Clinical Assessment Questionnaire
- PSY A633 Tests and Measures Assignment 3A Brief Clinical Assessment Questionnaire MEIM The Multigroup Ethnic Identity Measure (MEIM) by Phinney (1992) was originally published in the following article: The Multigroup Ethnic Identity Measure: A new scale for use with adolescents and young adults from diverse groups. The reason for original development was to produce a scale that could be used with diverse samples of adolescents and young adults and that would permit assessment and comparison of ethnic identity and its correlates both within and across groups.... [tags: Ethnic group, Race, Nation, Ethnicity]
The Role Of Gender And Gender Roles Essay
- The Role of Gender Although women still confront many leadership-related challenges, recent research articles try to present leadership as a phenomenon that is primarily gender neutral. This can be accounted to the way researchers operationalize gender by observing the behavior of men or women or by the self-report of their subjects. They call this aspect of gender sociodemographic gender. However, gender is much more than sociodemographic gender, it is a multidimensional and multilevel phenomenon which has intrapsychic aspects like "gender schemas and stereotypes, gender-role identity, and gender-role traits, attitudes, values" to include the manner "men and women interact" (Ayman & Korabik... [tags: Leadership, Gender, Sociology, Geert Hofstede]
Managing Diversity Essay
- Managing Diversity As we enter the new millenium, diversity in the workforce is rapidly increasing. Businesses and organizations are living up to the great melting pot image the United States has always been popular for. Employees now reflect a diversity of cultural perspectives, ethnic backgrounds, ages, genders, physical abilities, and levels of education. This wave of multiculturalism is here to stay and cannot be ignored. It is in need of attention in order to uphold the well-being and success of businesses and organizations all over the country.... [tags: Ethnicity Racial Races Papers]
The Unknown Citizen, Richard Cory and I'm nobody! Who are you?
Pericles Biography
The Impact of Media on Society
Texas Gambling: The Morality vs Legality of Casino Gambling
The Role of Soliloquy's in Othello
The Role of DNA in Cloning


Brexit became a reality on 1 January 2021, after an 11-month transition period that has been overshadowed by the Covid-19 pandemic.
Now that the United Kingdom has left the European Union it is sailing in unchartered waters. It will need to re-establish its relationships with the E.U. and the rest of the world in areas including diplomacy, customs and taxation, professional services, free movement of people and capital, and the border with the Republic of Ireland.
Brexit will affect Hong Kong businesses that have operations in the U.K., and possibly those operating in the E.U., as the departure of Britain will impact the rest of the bloc.
Looking ahead, what role does the U.K. hope to take on the world stage? With freedom from E.U. regulations, can Britain become a "Singapore of the West" as some Brexit campaigners had suggested?
In the first of a series of events on post-Brexit Britain, Paul McComb, Director General Trade & Investment at the Department for International Trade at the British Consulate-General Hong Kong, will discuss the U.K.'s plans on developing its post-Brexit relations with the E.U. and beyond.
He will be joined by Mark McFarland, International Consulting Economist, who will provide his views on the U.K. business sectors' take on the post-Brexit era and how businesses in Hong Kong and the Greater Bay Area might manage the short to mid-term transition.
Register for this webinar to gain a deeper understanding of latest developments and prospects for the U.K. after it has left the E.U.
Upon successful registration, members will receive a confirmation email with a specific link to access the webinar two working days before the event. Please familiarize yourself with the usage of Zoom before the event.
Paul McComb is Director General of Trade and Investment in Hong Kong and Macau in the Department for International Trade; with responsibility for trade promotion, inward and outward investment, trade policy and market access arrangements. Prior to this, Paul was the Department's Director of Transition, with responsibility for establishing the new Department after the UK's decision to leave the European Union.
Paul is a career civil servant and has held a number of senior positions including four years on the Operations Board of the UK's Jobcentre Plus, Managing Director at UK Trade & Investment and Principal Private Secretary to the Secretary of State for Work and Pensions.
Paul holds an MA (Social Policy) from York University, an MSc (Crime Risk Management) from the University of Leicester and BSc (Computer Science) from the Open University. He is married and has two children.
Venue This seminar will take place online
Enquiries Kari Yu
Email: kari@chamber.org.hk
Fee Members @ HK$100 / Non-Members @ HK$200
- The registration fee is non-refundable for this event.
- No refund will be made for last minute cancellations or no-shows. If the booking is cancelled at least 3 working days before the event, and in such cases the refund will be subjected to a 10% administration fee, or HK$100 deduction, whichever is higher.


Man arrested over fatal Orakei crash
9 Feb, 2013 9:45pm 2 minutes to read
Two hospitalised for suspected smoke inhalation
10 Feb, 2013 10:40am Quick Read
Memory of land occupation endures
10 Feb, 2013 5:30am
The Maunganui Bluff dispute was a sad episode in the lives of the people caught up in it. Photo / NZ Herald
By: Edward Rooney
Regional News Editor, NZ Herald
edward.rooney@nzherald.co.nz
In the midst of turmoil over Maori land in 1987, it was still possible to enjoy an idyllic childhood as a tomboy, beachcombing the shorelines of Omarere Beach and Kai Iwi lakes.
Janaya Rehu remembers less about being with her nan and her great-aunt at the occupation of a Maunganui Bluff - farmland owned by Allan Titford and his family - than happily skipping along sand dunes.
Now 34, Rehu says she didn't understand the complexities around the property dispute at the time. "I was probably too young to absorb what was going on but I do remember it was a really traumatic time. The farmer was causing this uproar and a Maori carving was cut down.
"We lived further down at Omarere but my nan and Aunt Kitty had ties to the land and there we were. There were a lot of land claims going on at the time."
Still, the tense days of occupation aren't the enduring memories for Rehu, now a mother-of-three living in Wellington.
"When I think back about those times, I remember more than anything standing on the sand dunes. I was such a tomboy, just out there scratching around the beaches.
"I don't remember the photograph being taken or being in the newspaper."
But she knows the picture well. A large print of it held pride of place on her nan's lounge wall and it was passed to her when her nan died.
"We tried to get it restored but the restorers refused because of the copyright stamp on the back of it."
The dispute over the land lasted nearly a decade. Titford bought the 570ha near Waipoua Forest in 1986 and it wasn't until 1995 that he was persuaded to accept $3.25 million in compensation for his farm, which was bought from him and handed back to Maori. The Titfords moved to Australia.
Foreigners may hold tenth of our land, says unionist
23 Oct, 2012 5:30am
Calls for Maori flag in schools
7 Feb, 2013 6:30pm
Dame Anne Salmond: Let's look after our beautiful land
8 Feb, 2013 5:30am
Rehu was adopted by her grandparents under the customary whangai practice after her mother was struck by a car and disabled. After her grandparents died, she took over her mother's care. This week, she started a new job as a personal assistant.
She says she's still saddened by reports of land disputes in the north.
"I moved to Wellington when I was 13, but I still get upset when I hear about it still going on. I do believe it's just about money for some of them and that's why it's still going on.
"It's really sad that so much energy and time, which could be spent living, is wasted on this."
Allan Titford said this week he is still bitter about the conflict over his farm. He received only $850,000 of the compensation, he says. "I was never treated fairly and that's why I am not a farmer today."


Shellyne Rodriguez
Biography Selected Works Viewing Room Art Fairs News
Shellyne Rodriguez, 2022
Shellyne Rodriguez (b. 1977) is a Bronx-based artist, educator, historian, writer, and community organizer who works in a variety of media, including drawing, painting, collage, and sculpture. Rodriguez stewards the histories and stories of people that have shaped her lived experience, describing her practice as "the depiction and archiving of spaces and subjects engaged in strategies of survival against erasure and subjugation." Through her multidisciplinary practice, Rodriguez documents the ways in which the diverse social fabric of the South Bronx is rewoven as the people and cultures coexist. Rodriguez utilizes language as well as cultural and sociopolitical references to create unified portraits of individuals from various communities formed in what she describes as the "periphery of empire." Engaging with the legacy of the Ashcan School, who bore witness to the rise of the modern metropolis and depicted how the poor and working class in New York enclaves were transformed by this, Rodriguez views figures such as Alice Neel, Jane Dickson, and Martin Wong as an extension of this tradition and situates her practice alongside them. Rodriguez earned her MFA from Hunter College in studio art and her BFA in visual and critical studies from the School of Visual Arts. Her work has been shown at The Nathan Cummings Foundation, New York, NY; Cue Art Foundation, New York, NY; Casa Warmu, Quito, Ecuador; Queens Museum, New York, NY; and El Museo del Barrio, New York, NY, among others. Rodriguez has held residencies at Hunter College, New York, NY and the Shandaken Project, Catskills, NY. She has been an Adjunct Professor at the School of Visual Arts and Hunter College, and a teaching artist at the Bronx Museum and the Museum of Modern Art.
Lives and works in Bronx, NY
M.F.A. Studio Art, Hunter College, New York, NY
B.F.A. Visual & Critical Studies, School of Visual Arts, New York, NY
Shellyne Rodriguez: 80 Blocks From Tiffany's: The Insistence of Life on the Periphery of Empire, The Bronx Museum, Bronx, NY (online)
Fragmentacion, Remix y Reinvento, curated by Maria A. Garcia, Casa Warmu, Quito, Ecuador
Shellyne Rodriguez and Danielle De Jesus: Siempre En La Calle, Calderón, New York, NY
What is Here is Open, Selections from the Trash Collection, Hunter East Harlem Gallery, New York, NY
Pasado y Presente: Art after the Young Lords 1969-2019, The Nathan Cummings Foundation, New York, NY
PELEA: Visual Responses to Spatial Precarity, curated by Shellyne Rodriguez, The Latinx Project, New York University, New York, NY
Original Language, curated by Natasha Marie Llorens, CUE Art Foundation, New York, NY
Bronx Now!, Bronx River Art Center, Bronx, NY
FOUR, We Buy Gold, Sargent's Daughter, New York NY
HER ART WILL BE CANNIBAL, Longwood Art Gallery, Bronx, NY
Living Proof, Hunter East Harlem Gallery, New York, NY
Citicien, Defend Puerto Rico, New York, NY
BLACK FOLK presents: Reclaimed Rage; Resistance, BronxArtSpace, New York, NY
Movement Is Rising: Demystify, Destroy, Rebuild!, The Museum of Impact, Newark, NJ
We Still Imagine, Make and Read Books, Space 776, Brooklyn, NY
Power to the People, Art Connects, New York, Queens, NY
Window Project 4: Rest in Power, #BlackBrownIndigenousSolidarity, Queens Museum (offsite at Immigrant Movement International Corona), Queens, NY
Wild Seeds, Temporary Agency, Happy Lucky No. 1 Gallery, Brooklyn, NY
After the Firmaments Crash Down... What?, Thomas Hunter Space, Hunter College, New York, NY
Power, Protest, and Resistance: The Art of Revolution, Rush Arts Gallery, New York, NY
iPRESENTE! The Young Lords in New York, El Museo Del Barrio, New York, NY
Sublime of the Mundane, FiveMyles, Brooklyn, NY
Clorox/Envy, Stillhouse Group, Brooklyn, N
When You Cut Into The Present, The Future Leaks Out, No Longer Empty, Bronx, NY
New Work New York MFA Biennial, Brooklyn, NY
Immediate Female, Judith Charles Gallery, NY
Respond, Smack Mellon, Brooklyn, NY
RESIDENCIES & AWARDS
Robert Blackburn Printmaking Workshop SIP Fellow
Inaugural Artist in Residence, Latinx Project, NYU
Public Sculpture Percent for Art Commission, Bronx, NY
Finalist for the June Jordan Fellowship at Columbia University
Rema Hort Mann Foundation Grant Nominee
Guest artist, IMI Corona, Queens Museum
Artist-in-Residence, Sculpture Department, Hunter College
Shandaken Project Residency, Catskills, NY
Emily Harvey Foundation, Petrossiants, A., and Rosales, J. "Diversity of Aesthetics," New York, NY.
Rodriguez, Shellyne. "Cake Vol. 1," Printed Matter, 2013.
Stoop, 2022
ceramic relief
18 1/2 x 15 x 9 ins.
Engaño y Desengaño, 2022
15 x 18 x 2 ins.
Libation, 2022
16 1/2 x 11 3/4 x 1/2 ins.
Cornered, 2022
India and Bangladesh on Pugsley Avenue, 2021
color pencil on paper
54 x 40 1/2 ins.
We Took the Kids Outside, 2021
Booth D12 December 1 - December 3, 2022
P·P·O·W to Represent Shellyne Rodriguez
P·P·O·W is pleased to announce the representation of Bronx-based artist, educator, writer, intellectual, and community organizer, Shellyne Rodriguez.


The Diction Domain - Voice Diction Resources for Singers
Choose a Topic Asian Celtic DD RESOURCE English Germanic languages Greek French Hebrew IPA RESOURCES Italian Latin Other Languages Scandinavian Slavic Languages Spanish SUPERSITE Links We Like
The Sounds of Italian
The Sounds of German
The Sounds of French
The Sounds of Latin
Transcription Samples
Diction FAQ
IPA ASCII Equivalents
About the Diction Domain
About the Diction Divas
Credits/Legal
Yvonne Dechance's Frequently Asked Questions
about Studying Voice Diction
Original Copyright 1994; revised 1997, 2002, 2008 by Dr. Yvonne R. Dechance--none of the questions and answers contained on this webpage may be reprinted without permission. Questions and Answers marked with an * in the Question Index are reprinted from the "I Hate Diction" Q & A help files of PhoneticismTM 1.2 and have been specially adapted by the author for use at The Diction Domain. All contents copyright 1994; 1997-2008 by Yvonne R. Dechance.
General Diction-related questions
How important is good diction?*
What should I expect to get out of studying voice diction?*
What if I'm not good at learning languages?*
Why are diction classes so boring/difficult?*
What if I'm really having trouble with voice diction?*
Is voice diction related to linguistics?*
How is singing diction different than speaking diction?*
Why is it when I'm concentrating on my diction it's hard to sing well?*
How does vowel modification affect diction?*
If so much of diction gets modified for singing, why so much fuss about good classroom diction?*
Help! How do I memorize all those diction rules, and why should I even try?*
How much of this diction stuff will apply to what I really want to do?*
What sources should I start with?*
Why don't all the sources agree in their transcriptions?*
What do all those weird terms like fricative mean, and why should I care?*
What are the differences between articulation, pronunciation, enunciation and diction?*
International Phonetic Alphabet-related questions
What is IPA?
Why should I bother learning the IPA symbols, especially the funny-looking ones? Why not just write words the way they sound to me?*
Why should I study all this phonetic stuff? Can't I just learn from hearing my teacher, or from a recording?*
How can I display IPA fonts on the Internet and my web-pages?
Q: How important is good diction?
A: Sounding authentic in a foreign language, communicating with an audience, and avoiding major embarrassment (more on that later!) -- certainly these suggest that good diction should be a goal of every singer. Consider also the words of Pierre Bernac:
"Obviously the literary text deserves the same care, the same scrupulous accuracy, in short the same respect that is demanded by the musical text. This respect will be manifested in the first place on the purely technical level, by means of the concern with articulation and pronunciation. In so far as the vocal difficulties and the tessitura permit, the poetic text must be perfectly intelligible. This is a matter of elementary politeness to the listener, and of fundamental honesty to the poet"(Pierre Bernac, The Interpretation of French Song, p.3).
Q: What should I expect to get out of studying voice diction?
A: The real answer: You should learn how to sound convincing and confident when singing foreign texts, even if you don't speak a word of the language (conversationally, that is!).
Along the way, you should expect to make mistakes, acknowledge your failures gracefully, and learn from them. I know a terrific opera singer who sang a closed vowel instead of an open vowel while singing in German for a German-speaking audience -- the resulting change in meaning was so dramatic that the audience nearly howled the opera to a standstill. Far better to make such an error in the classroom than on the stage.
I was lucky enough to be in the room when a young singer mispronounced a French word while singing for M. Gérard Souzay. At the end of the song the he told the soprano what she had actually sung (it is not fit to print), studied her horrified expression and wiped tears of laughter from his eyes as he said to the class "I should not have told her."
Never underestimate the power of language.
Q: What if I'm not good at learning languages?
A: Well, here's the tough answer: get good at them. Languages are at the heart of what we singers do.
Remember, no-one starts out with equal ability in 7 or more languages, but patience and practice will go a long way toward acquiring it.
Q: Why are diction classes so boring/difficult?
A: Yes, go ahead, dare to ask the tough questions. If anyone out there found diction class to be fascinating, write me and tell me how, then send your diction instructor a note of appreciation. Or a Ferrari.:-)
Let's face it, voice diction is a tough course. All of a sudden you're expected to learn a large set of symbols you've never seen before. When was the last time that happened to you -- a Russian course maybe, or perhaps those giant alphabets on the kindergarten walls come to mind! Add to that enough seemingly contradictory rules of transcription to fill a college linguistics course curriculum. What a combination.
Plus, there's another aspect of the voice diction class that's often overlooked or underestimated -- the students are often (painfully) aware of each other's ability levels. There's no anonymity in the diction classroom -- you're reading out loud, repeating things, probably even singing in front of the class. Let's be honest, this classroom has a kind of stage in it, so it's going to have the stage's moments of competition and camaraderie. Some students will rise to the occasion; others will want to hide under chairs. Even the "stars" will not always welcome the attention -- it takes a lot of energy to perform in front of people, and that's exactly what's required in the diction classroom.
But I think the hardest part is that there are so many different things that must be learned, and each person in the class is going to learn them with various rates of comprehension and success. This also seems to add an often unbearable amount of tension and stress to the exams. I observed a group preparing to walk into a voice diction exam -- some huddled in depressed groups, while others screamed their frustration, and one obvious "star" crammed frantically and muttered "Oh god, I've got to know it all." Pretty comical to witness, except that my classmates and I were exactly the same way before our diction tests.
If you recognize the diction classroom environment for what it is, allow for other students' struggles as well as your own, and above all keep in mind why you're taking the course, a lot of anxiety can be overcome or avoided altogether.
Q: What if I'm really having trouble with voice diction?
A: Try to figure out which specific areas you're having the most trouble with, and focus your study time and/or seek extra help.
Listen to singers who have excellent diction.
Study the language or attend a conversation group; it really does help.
Work with your studio teacher on diction in addition to your studies with your diction instructor.
Apply what you're learning to the repertoire you're currently working on.
Smile-- how many semesters could it be?;-) Besides, some famous singers have had, well, less-than-perfect diction.
Pray you never have to teach diction, or create a diction resource!
Q: Is voice diction related to linguistics?
A: Yes, but it's both more specialized and less exact at the same time. Linguistic studies are concerned with exact, detailed pronunciation and transcription: they use narrow transcription full of highly specialized IPA symbols.
Voice diction uses broad transcription, which uses a simplified set of phoneme symbols, and aims for a reasonably authentic, understandable pronunciation. This pronunciation may then be modified to suit the demands of the music or the needs of the voice.
Q: How is singing diction different than speaking diction?
A: They start out basically the same, but most of the guidelines for sung diction are based on the guidelines for what's known as poetic declamation. Especially in French, the way poetry is read differs from ordinary speech. For instance, there are more required liaisons in poetic declamation (and thus in singing) than there are in speech.
Second, some changes occur precisely because we are singing the language. We may for instance modify some pronunciations because the pitches they are sung to are either high or difficult. And some spoken sounds, like the Parisian "r," are changed to make them more pleasing to the ear.
Q: Why is it when I'm concentrating on my diction it's hard to sing well?
A: When you're first learning voice diction it's easy to concentrate too much on pronunciation, articulation, etc. and not enough on singing techniques. As you gain confidence with your diction skills, you should be able to balance the text to the vocal line, so you can sound resonant, maintain a good singing "line" and modify as necessary for those especially difficult notes that we all must face. See also vowel modification.
Q: If so much of diction gets modified for singing, why so much fuss about good classroom diction?
A: You must first know how to pronounce and articulate the word without modification, before you attempt to modify it. You must also be able to recognize when what an audience (or your recording) is hearing sounds correct, because when diction and vocal technique work together what the audience hears is the word correctly pronounced. See also vowel modification.
Q: How does vowel modification affect diction?
A: Ideally, vowel modification should enhance comprehension for the listener. The tricky part is, in voice diction studies, you will first be asked to speak sounds and words correctly, and then you'll often be asked to modify them for singing--both to accomodate higher pitches and to achieve a pleasing tone throughout your range. Three voice pedagogues in particular have addressed this matter most eloquently. The first is John Moriarty, who wrote that "... detailed instructions about position of tongue, lips, jaw, etc., are for the purpose of leading the singer to a discovery of the authentic vowel sounds. After they have been securely established, the singer will perhaps wish [to put less emphasis on the purely physical aspects of these vowel formations, and will wish] to adapt the formations to his method of vocal production. If the production is at all honest, it should be possible to effect this adaptation without sacrificing the identity of the vowels" (John Moriarty, Diction, p. 23).
Meribeth Bunch addresses the actual changes vowels undergo as they are sung, particularly in the extremes of range."Hundreds of books are concerned with the phonetics and descriptions of spoken vowels (and consonants). However, differences occur when vowels are sung, partially because of the extended range of pitch used in singing compared with that of speaking. A singer ascending a scale requires certain shifts of resonance which are usually achieved by a modification of the vowel sound. On the highest pitches, most vowels are modified... to create more resonating space in the pharynx. The resulting physical appearances of the tongue and mouth are not the same as the patterns described in the texts on speech, although the sung vowels somehow are still perceived correctly by the listener" (Meribeth Bunch, Dynamics of the Singing Voice, p. 89).
Finally, Barbara Doscher summed up the realities of adapting spoken voice diction to the requirements of singing when she stated:
"Modified vowels are often more intelligible than pure vowels. That statement is difficult for singers to believe. What they 'know' cognitively interferes with what they feel, and they logically cannot believe that altered vowels sound anything like the spoken word" (Barbara Doscher, The Functional Unity of the Singing Voice, p. 130).
You can learn to sing vowels that sound good and are clear to an audience, and they will be based upon the vowels you learn in voice diction studies; your voice teacher is your best resource for making any necessary adjustments. Be assured that the time you spend correcting and refining your spoken diction will not be time wasted.
Q: Help! How do I memorize all those diction rules, and why should I even try?
A: Well, first of all, if your diction class is anything like mine, you'll need to know some of the "rules" in order to pass the final exam! More importantly (at least in the long run), you won't really learn the rules until you start using them to make decisions. Like what symbols to use in transcription, and why. Or by trying to figure out why authors made certain transcription choices in their books and articles.
Remember, all "rules" are merely guidelines: different diction books have slightly different sets of rules, and exceptions are inherent in every language. But the more you practice making choices and working with song texts in transcription, the more knowledgable you'll become.
Q: How much of this diction stuff will apply to what I really want to do?
A: Well, if you want to become a diction teacher, you've got it made! (What, no hands raised?) Assuming you probably want to sing, then this stuff can really get you out of a jam, or into some really interesting repertoire. Want to sing in Russian, or Scandinavian, or whatever, but don't speak the language? Get someone who does to make you an IPA transcription. You may still need some serious coaching, but it will speed your learning process along considerably.
What if you're singing in a language you're fairly comfortable with, like French for instance? You'll still come across words and names and all sorts of odd phrases you'll have no idea how to pronounce. That's when you'll be glad you can read books like the Coffin Phonetic Readings of Songs and Arias, or your phonetic dictionaries. Start collecting those reference books early; you never know when you'll need them.
Q: What sources should I start with?
A: Well, you're here, and that's an excellent place to start. A good college course in voice diction is always a good idea if one is available to you. Berton Coffin's Phonetic Readings of Songs and Arias is probably the best-known collection of IPA transcriptions. It's not perfect but it's still one of the biggest reference sources we have. Specialty books are slowly becoming available, such as Claire Rohinsky's The Singer's Debussy, which covers all of the songs Debussy wrote, and our own Diction Diva Dr. Magner's books Phonetic Readings of Brahms Lieder and Phonetic Readings of Schubert Lieder. Companies like Leyerle Publications and Alfred Publishing Company are now publishing growing collections of song anthologies which include phonetic transcriptions; what was considered unusual a few years ago is rapidly becoming a selling feature. You might start by building your library around the composers and genres you like best, then branching out.
The other main sources are voice diction texts and phonetic dictionaries. These texts are probably some of the most frequently used for voice diction classes:
Joan Wall, Diction for Singers: A Concise Reference for English, Italian, Latin, German, French and Spanish Pronunciation
Marcie Stapp, The Singer's Guide to Languages
J. Moriarty, Diction Italian, Latin, French, German...the Sounds and 81 Exercises for Singing Them
Thomas Grubb, Singing in French: A Manual of French Diction and French Vocal Repertoire
In addition, Adler's Phonetics and Diction in Singing is not as easy to read, but it contains a lot of valuable information. As for phonetic dictionaries, buy the best ones you can (make sure they use the International Phonetic Alphabet) then guard them with your life! A good phonetic dictionary is worth its weight in gold.
Q: Why don't all the sources agree in their transcriptions?
A: To begin with, transcribing involves a large set of "rules" (but you probably knew that!) and a certain amount of judgement calls. In general, the older a book is, the more likely the transcribing style may be unique to the author. In recent years, song text transcription has become a lot more standardized in format, syllabic division, etc.
Also, the IPA has been revised. Some books use the older symbols and some have adopted the newer symbols. These symbols are usually not radically different (like using a nasal closed o instead of the older nasal open o symbol) but it can be confusing at first if you don't realize they mean the same thing.
Q: What do all those weird terms like fricative mean, and why should I care?
A: Words like fricative, alveolar, palatal, glottal, etc. have been borrowed from linguistics. While it's true they may not be the most important thing you'll ever learn in a diction class, they can be quite informative. All of those terms refer to how or where a sound is formed. So if you're having trouble making a certain sound, check out its description, follow the "directions" and see if the sound improves. Often it will.
Q: What are the differences between articulation, pronunciation, enunciation and diction?
A: You've probably heard all of these terms before, but have you ever thought about what they really mean? To a certain degree these terms are interchangeable, especially when one considers the definitions below, from The New Webster's Dictionary of the English Language: Deluxe Encyclopedic Edition. USA: Delair, 1984:
Articulate is derived from "joints." It means "to utter by intelligent and appropriate movement of the vocal organs; to enunciate, pronounce, or speak clearly" (p. 57).
To pronounce is "to articulate, as phrases or words; to utter, as letters or words, in a specified manner" (p. 763).
To enunciate is "to utter or pronounce, especially in a particular manner" (p. 328).
Diction refers to "one's manner of voicing sounds in speaking or singing; enunciation" (p. 278).
In studio voice training, you've probably been told to change a word's pronunciation, or to enunciate more clearly. In studying voice diction, you'll also hear a lot about articulation and of course, diction. The best definition I've found comes from Charles Lindsley's Fundamentals of Singing:
"The term articulation refers to the actions of the glottis, lips, tongue, teeth, hard palate, velum (soft palate), and jaws that combine to form word sounds. Diction is the precise formation and arrangement of these sounds into language patterns that accurately convey both the literary and the musical meaning of a song. If a song is sung with poor diction (faulty articulation of vowels and consonants), much more than the literary meaning is lost; the quality of the singing voice is also impaired, resulting in a musical loss" (p. 62).
Q: What is IPA?
A: IPA stands for the International Phonetic Alphabet, a vast collection of linguistic symbols in which each symbol represents a single sound. An IPA transcription is a visual representation of a sound, word, phrase or (for our purposes) a songtext. For instance, the word cat would be represented or transcribed in IPA as [k ae t], and IPA phoneme sets exist for nearly all the world's languages. Singers and teachers of diction use a small set of the symbols or phonemes from the International Phonetic Alphabet to transcribe foreign language texts for study and polishing of pronunciation.
Q: Why should I bother learning the IPA symbols, especially the funny-looking ones? Why not just write words the way they sound to me?
A: Sure, some of the IPA symbols look pretty strange, but there are some definite advantages to using them. First, other people will be able to read and make sense out of them -- people like voice teachers and coaches, linguists and other language specialists. In other words, IPA communicates. Second, the IPA is consistent. A symbol always stands for the same basic sound, regardless of context or language. Third, it's clear. What a word "sounds like" to you today may not make any sense to you later when you try to remember what you meant by a bunch of strange scribble. At least you can always look up what your transcription should sound like.
It's true that the IPA is not a shortcut, as so many people claim. Sometimes the transcription is longer than the original word. But it's the best way we've found to communicate some pretty complex ideas about sounds.
Q: Why should I study all this phonetic stuff? Can't I just learn from hearing my teacher, or from a recording?
A: Most voice students begin learning about diction from their studio teachers and/or recordings. But then you're only as accurate as your sources, and you're limited to what's available.
Non-phonetic sources can be helpful; that's why so many of them have been included as references in The Diction Domain. But IPA is still the tool of choice for most diction classes and professors. I've known too many singers who were "coached" through every song or opera text they ever sang -- what a waste of everyone's time. Coaches, when you're lucky enough to have access to them, should be helping you to fine-tune your pronunciation or accent, not playing what we call Polly Parrot. Also, the day will come for most singers when they get an opportunity to sing something unusual, perhaps a Russian art song, a Parisian ballad, ancient music or "new music," for which coaches may not be readily available. A phonetic transcription can be a professional lifesaver, or at least a timesaver, in these cases.
I encourage my students to think of all aspects of voice training (including diction!) as a tool belt -- gather up all the tools you can, because someday you'll have to do most of the work yourself.
Q: How do I display IPA fonts on the Internet?
A: You have three options:
IPA Display Options
Instructions & Additional Information
Display the phonemes in Unicode. The IPA phonemes are displayed and placed on the page just like regular alphabet characters, using whatever font size is needed.
Pros: IPA and non-IPA characters flow together naturally; very professional-looking results; the most flexible and accessible option.
Cons: Installing the fonts and keyboard software can be awkward; tedious to enter invidual phonemes; all readers must have a Unicode-compatible IPA font installed on your computer.
Excellent instructions are provided by Professor J.C. Wells.
Display the phonemes using their ASCII-equivalents. This method doesn't use the actual IPA phonemes but rather approximations that can be typed in the standard Western/Latin alphabet (A through Z, a through z, plus a few punctuation characters).
Pros: Can be read without any special fonts installed; quick and easy to type.
Cons: Does not use the true IPA phonemes; can be confusing to anyone not familiar with this system.
The Diction Domain provides an ASCII Equivalency Scheme specifically for singers. Four additional systems for ASCII-equivalents are available from Dr. H. Quene.
Display the phonemes as image screen captures. After you complete the IPA transcription on your computer (using method #1 above) you create image files of each sound/word/line and display those files to your readers.
Pros: Does not require readers to have special fonts installed.
Cons: Text does not flow; complicates web page layout; even more tedious than Method #1.
See the instructions for Method #1. You will also need some mechanism for creating image files of the final product, such as Snagit for Windows or the built-in capabilities in Mac OS X.
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Education, Program and Community Development · Greentown Labs Headquarters, Greentown Houston · Hybrid Remote
Greentown Labs Diversity, Equity & Inclusion Senior Program Manager
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UK: Hospital failed to comply with Data Protection Act
Patient data shared without permission.
Val Skelton
The UK's Information Commissioner's Office (ICO) has ruled that the London Royal Free Hospital failed to comply with legislation when it shared patient data with Google's AI division DeepMind.
The data was to be used in developing a health app. However, the patients whose data was shared had never agreed that their private medical data could be used in this way.
The Information Commissioner acknowledged the potential of using patient data but stated "the price of innovation does not need to be the erosion of fundamental privacy rights."
The ICO published additional lessons learned for other organisations. These include the importance of understanding – and complying with – information legislation.
The Hospital was not fined, but has committed to changing the way it handles patient data.
Source ITProPortal.


Update at 12:01 a.m.: Leroy McNish, an 80-year-old Rochester man who went missing Tuesday afternoon, has been located, the Rochester Police Department announced.
McNish was located after a taxi brought him from Genesee Street to his home. He is "safe and sound," police said.
"A citizen called 911 reporting they helped an "elderly man" onto a bus," police said in an earlier email.
"Thanks to all of you who helped us get the word out," police concluded.
Original story: The Rochester Police Department is seeking the public's help in locating a missing man who made be in need of medical attention.
Police said 80-year-old Leroy McNish is a missing "vulnerable adult with dementia."
McNish is 5 feet, 9 inches tall and weighs 120 pounds. He has gray hair, brown eyes, and wears glasses.
He was last seen on Greenlane Drive, near Clifford Avenue, in the city of Rochester around 3 p.m. Tuesday.
He is believed to be on foot, police said.
WCLEVELAND@Gannett.com
Phelps woman indicted in theft of $1.3 million from Finger Lakes Conveyors
Greece man faces 14 felonies after guns, drugs seized from his home


Page 1 of 1 | Total Records : 20 | 1 - 20
With 2.2 million Afghans feared to be on the move, UN agency to begin tracking displacements, aid relief
Amid concerns of a severe humanitarian crisis induced by sudden return home of hundreds of thousands of Afghan refugees and undocumented citizens, coupled with conflict-induced displacement, the...
Welfare organization empowers breadwinner women
Some 180,000 breadwinner women across the country are currently supported by the State Welfare Organization, said Habibollah Masoudi-Farid, the deputy director of the organization.
Urging 'bold decisions' to end Yemen conflict, UN envoy says viable peace plan within reach
Amid attacks and counter-attacks in Yemen, those seeking a military solution will only prolong the suffering caused by the war, allow the terrorist threat to grow and deepen the challenges that...
UNICEF: Over 20 Million in Yemen in Need of Aid
TEHRAN (FNA)- Eighty percent of Yemen's population, or more than 20 million people, need some form of humanitarian assistance as the Saudi-led coalition airstrikes ravage the impoverished country,...
UN refugee agency focuses on sheltering displaced as Iraqi offensive moves to west Mosul
The United Nations refugee agency is focusing efforts on camp construction in and around the Iraqi city of Mosul, where renewed fighting could displace up to 250,000 people.
UN aid chief urges global action as starvation, famine loom for 20 million across four countries
Just back from Kenya, Yemen, South Sudan and Somalia – countries that are facing or are at risk of famine – the top United Nations humanitarian official urged the international community for...
Thousands flee as Iraqi forces advance on ISIL-held Tal Afar – UN
The top United Nations humanitarian official in Iraq has warned against the consequences of displacement as thousands of civilians are expected to flee from Tal Afar and surrounding communities...
Syria: UNICEF calls for unimpeded aid access to children in besieged Deir ez-Zor
The United Nations Children's Fund (UNICEF) today called for unimpeded and unconditional access to children in the besieged city of Deir ez-Zor, noting that they have not received regular...
South Sudan: UN official calls for unfettered relief access to avert further catastrophe
With hundreds of thousands in need of assistance in famine-struck parts of South Sudan and rising insecurity hampering relief work, a senior United Nations relief official in the country has called...
South Sudan now world's fastest growing refugee crisis – UN refugee agency
The number of South Sudanese fleeing their homes is "alarming," the United Nations refugee agency said, announcing that 1.6 million people have either been displaced or fled to neighbouring...
Iraq: UN health agency delivers medical aid to newly retaken areas of Mosul
The United Nations health agency has delivered medical supplies to parts of eastern Mosul, the Iraqi city liberated from the Islamic State (ISIL), where clinics are receiving an influx of people in...
Iraq: UN aid agencies preparing for 'all scenarios' as western Mosul military operations set to begin
With military operations to retake western Mosul starting, United Nations humanitarian agencies in Iraq are rushing to prepare for the humanitarian impact of the fighting amid grave concerns that...
In Bangladesh, UN aid chief urges scaling up response for Rohingya refugee crisis
With over half a million Rohingya refugees having fled their homes in Myanmar since violence erupted in late August, the top United Nations humanitarian official has underscored that the solution...
Humanitarian actors need safe, unhindered access to help Yemen avert famine – UN aid chief
The people of crisis-torn Yemen urgently need humanitarian assistance and protection, especially in the north of the country where there is a threat of famine, the United Nations Emergency Relief...
Half of Central African Republic's people need aid; Security Council discusses peace operations
Senior officials called for strong political support and adequate resources for the United Nations peacekeeping force in the Central African Republic (CAR), where half of the population urgently...
Guterres pledges UN support to Iraqi Government, people in Mosul; $562M needed in aid
Following Iraqi Government's declaration that its forces have liberated the northern city of Mosul from the Islamic State of Iraq and the Levant (ISIL) fighters, Secretary-General António Guterres...
Funding shortfall jeopardizes humanitarian response in Yemen, UN aid chief warns
Efforts to respond to the humanitarian crisis in Yemen, currently the world's largest, are being hampered by insufficient funding and other challenges, the top United Nations relief official warned.
Displaced amid Mosul offensive, close to 10,000 children in urgent need of aid, says UNICEF
20,700 people have been displaced since the operation to liberate the Iraqi city of Mosul from terrorists started on 17 October, the United Nations Children's Fund (UNICEF) said, estimating that...
Central African Republic: UN cites 'dire' situation for children; amid threats, some aid work suspended
Four international humanitarian organizations have temporarily suspended activities in northern Central African Republic (CAR) after dozens of attacks on aid workers in the region, the United...
Aid workers race to contain Yemen cholera outbreak, UN agencies report
A "race" is under way to contain the cholera epidemic in Yemen where 20 out of 22 governorates are affected, United Nations agencies said.
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Department Role
The City's Planning Department plays a key role by helping shape Jurupa Valley's future. It develops policies which guide how, when and where the City grows and reviews new development through zoning, land use and environmental goals and policies. Planning administers programs to help achieve community goals and advises City decision-makers on land use, housing, design, and other important community issues.
Under the direction of the Planning Director, who is appointed by and is responsible to the City Manager, the Planning Department assists Jurupa Valley citizens, developers, property owners and visitors with their planning questions and development proposals. Our mission is to serve all persons in a positive and courteous manner and help ensure that Jurupa Valley continues to be a healthy, safe, attractive, and enjoyable place to live, work, play, or visit.
Planning Defined
Planning helps ensure the orderly and safe development of communities and neighborhoods. It does this by applying land use goals and policies, zoning, and other development standards that help shape new and existing development. Planning staff works with City Building and Engineering staff to review development proposals for compliance with adopted standards and encourages citizens, business and property owners, neighborhood groups, civic groups, and other community stakeholders to participate in the planning process, attend public land use hearings and help identify community goals and values.
The Planning Department also prepares and oversees reports that study the environmental effects of development projects and identify ways of avoiding environmental damage, as required by the California Environmental Quality Act (CEQA).
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The City has adopted laws that regulate the use of land and the design of most commercial and housing projects. The purpose of these laws is to protect the health, safety, and welfare of Jurupa Valley residents and visitors. Laws, such as the Zoning Regulations, architectural review requirements, and Subdivision Regulations, require that people submit applications for project approval to the Community Development Department.
The review evaluates the proposals for consistency with the City's General Plan and all other applicable plans and regulations.
Our mission is to serve Jurupa Valley citizens in a positive and courteous manner and to help ensure that Jurupa Valley continues to be a healthy, safe, attractive, friendly and enjoyable place to live, work or visit. We help plan the City's form, growth, and character and work with citizens to protect health and safety, protect and enhance the community's environment and quality of life, and promote economic health.
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Thomas G Merrell, AICP
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