robertbrook / collective

There are thirteen people in robertbrook’s collective.

Huffduffed (7331)

  1. Chervona Kalyna

    Powerful stories linked to this beautiful and stirring Ukrainian folk song which inspired Pink Floyd to reform so they could release their own version, 'Hey Hey Rise Up', alongside Andriy Khlyvnyuk of Boombox.

    Chervona Kalyna is a clarion call with roots stretching back to 17th century Cossack history; as meaningful now as then, this episode of Soul Music reflects how music can be a unifying force in the most dangerous and difficult of times.

    Anti-Russian, it was banned prior to Ukrainian independence in 1991 with one of its lyrics calling to 'free our brothers Ukrainian from Muscovites shackles'. Its full title 'Oi u luzi chervona kalyna' translates as 'Oh the red viburnum in the meadow': red viburnum is a common plant in Ukraine and in the song it's a metaphor for the country itself.

    Telling their stories on Soul Music: Taras Ratushnyy, journalist turned soldier, discusses his beloved son, Roman, and the heroic role he played in Ukrainian society both before after the war began.

    Elizaveta Izmalkova is a young Ukrainian singer who now lives in Lithuania. She performed Chervona Kalyna as part of a flash-mob co-organised by Egle Plytnikaite who describes why she and other Lithuanians wanted to demonstrate their support for Ukraine.

    Nadia Morykvas wrote a book about the cultural polymath, Stepan Charnetskyi, who - in the early 20th century - adapted Chervona Kalyna for one of his plays. (Volodymyr Oleyko translates for Nadia Morykvas).

    Andrij Halushka is a Ukrainian who now lives in London. He describes how his family history, down multiple generations, connects with the song.

    Julia and Kateryna came to England under the 'Homes for Ukraine' scheme when the war began. Under the name 'Dvi Doli' they raise money for Ukraine by staging concerts where they perform traditional songs on the Bandura.

    Taras Filenko is a pianist and ethno-musicologist. Originally from Zaporizhzhia in Ukraine, he now lives in Pennsylvania, USA. He discusses the musicology of the song, and recalls a neighbour from his childhood who was imprisoned for performing Chervona Kalyna in the 1940s.

    Myroslava Hartmond is a British-Ukrainian cultural diplomacy expert. She explains how the current popularity of Chervona Kalyna began when Andriy Khlyvnyuk, the lead singer of Boombox, recorded an a capella version in the centre of Kyiv. This inspired Pink Floyd to collaborate with Khlyvnyuk and release their own version.

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  2. TASTE Podcast 146: Craig Mod | TASTE

    Tokyo-based journalist Craig Mod is part journalist, part ethnographer, and part performance artist, and we’re really happy that he stopped by the studio for a lively chat. While he may not be a household name (yet), those in the know about such topics as digital book publishing, Japan, and multiday walks around Japan respect Craig’s incredible body of work. This is a wide and deep conversation about food trends in Japan, where you should visit in the country outside Tokyo, and Craig’s unique style of publishing—all based around his Special Projects membership program. It was such a pleasure to get to know Craig Mod, and we hope you enjoy this conversation.

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  3. Annie-B Parson on Choreography as a Way of Life - Time Sensitive

    To Annie-B Parson, choreography isn’t confined to the studio and the stage; rather, practically everything around us abounds with movement that’s worth paying attention to. In her new, aptly titled book, The Choreography of Everyday Life, an inventive, observant, and witty ode to her relationship with dance and movement over the course of her lifetime, she delves into exactly that belief.

    Dance has long, or perhaps always, been a part of Parson’s sensibility. From a young age, she began exploring the art form, taking choreography classes in high school and at age 16 starting her 20-year-long ballet training. Initially focused on the visual arts and set on a career in painting, Parson eventually shifted to the world of performance in college, and went on to earn her master’s in dance at Columbia University. Soon after graduating, at the age of 25, she choreographed her first major theater production, Bertolt Brecht’s The Good Person of Szechwan, through which she met the actor and director Paul Lazar, whom she later married. In 1991, together with Lazar and their collaborator Molly Hickok, Parson co-founded Big Dance Theater.

    From that point forward, Parson threw herself into the world of dance. Over the past 30-plus years with Big Dance Theater, her work has amounted to more than 20 choreographed and co-created works—ranging from pure dance pieces, to adaptations of literature and plays, to original works. She has been commissioned by theaters including the Old Vic Theatre in London, the Théâtre National de Chaillot in Paris, and Les Subsistances in Lyon, and back in New York, institutions such as The Japan Society, The Kitchen, and the Brooklyn Academy of Music. Beyond Big Dance, Parson’s inventive oeuvre extends in seemingly infinite directions: opera, pop music, television, movies, ballet, marching bands, symphonies. A frequent and close collaborator with the legendary David Byrne, Parson has choreographed two of his world tours; his musical with Fatboy Slim, Here Lies Love; and most recently, his highly acclaimed Broadway hit American Utopia. Other collaborations include two large-scale works in repertory with the Martha Graham Dance Company; a solo for Wendy Whelan, commissioned by the Royal Ballet; and choreography for Ivo Van Hove’s rendition of David Bowie’s musical Lazarus. The eclecticness of Parson’s body of work is rivaled only by that of her choreographic style, which finds inspiration in everything from traditional ballet, to Russian folk dances, to pedestrians on the sidewalk. A meticulous attentiveness and a whimsical ingenuity are the hallmarks of everything she does.

    On this episode, Parson speaks with Andrew about how the pandemic has altered our understanding of the ways our bodies relate to one another, why she considers TikTok a new kind of folk dance, and choreography as a means of controlling and testing time.

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