Other Voices
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Other Voices, Other Worlds
Leading Anglican writers from around the world challenge the assumption that the communion is split between a liberal 'north' and an orthodox 'south'. Anglican churches worldwide are sharply divided on homosexuality. The dominant stereotype is that of a "global south" unanimously lined up against homosexuality as immoral and sinful, and of a liberal and decadent global north. The differences between the two sides are seen as fundamental, and irreconcilable. Nothing is further from the truth: homosexual behavior exists across the whole Anglican Communion, whether it is openly celebrated or quietly integrated into local churches and cultures. In this extraordinary book, in development for several years, this is exposed as a myth. Christians throughout Africa, Asia, and the developing world - bishops, priests and religious, academics and lay writers - open up dramatic new perspectives on familiar arguments and debates. Topics include biblical interpretation, sexuality and doctrine, local history, sexuality and personhood, the influence of other faiths, issues of colonialism and post-colonialism, homophobia, and the place of homosexual persons in the church. Other Voices, Other Worlds reveals the rich historical and cross-cultural complexity to same-sex relationships, and injects dramatic new perspectives into a debate that has become stale and predictable.
Bad Boy
In Bad Boy, renowned American artist Eric Fischl has written a penetrating, often searing exploration of his coming of age as an artist, and his search for a fresh narrative style in the highly charged and competitive New York art world in the 1970s and 1980s. With such notorious and controversial paintings as Bad Boy and Sleepwalker, Fischl joined the front ranks of America artists, in a high-octane downtown art scene that included Andy Warhol, David Salle, Julian Schnabel, and others. It was a world of fashion, fame, cocaine and alcohol that for a time threatened to undermine all that Fischl had achieved. In an extraordinarily candid and revealing memoir, Fischl discusses the impact of his dysfunctional family on his art—his mother, an imaginative and tragic woman, was an alcoholic who ultimately took her own life. Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as Wall Street money begins to encroach on the old gallery system and change the economics of the art world. Fischl rebelled against the conceptual and minimalist art that was in fashion at the time to paint compelling portraits of everyday people that captured the unspoken tensions in their lives. Still in his thirties, Eric became the subject of a major Vanity Fair interview, his canvases sold for as much as a million dollars, and The Whitney Museum mounted a major retrospective of his paintings. Bad Boy follows Fischl’s maturation both as an artist and sculptor, and his inevitable fall from grace as a new generation of artists takes center stage, and he is forced to grapple with his legacy and place among museums and collectors. Beautifully written, and as courageously revealing as his most provocative paintings, Bad Boy takes the reader on a roller coaster ride through the passion and politics of the art world as it has rarely been seen before.
A Different Voice, a Different Song
Author: Caroline Bithell
language: en
Publisher: Oxford University Press
Release Date: 2014
A Different Voice, A Different Song traces the history of a grassroots scene that has until now operated largely beneath the radar, but that has been gently gathering force since the 1970s. At the core of this scene today are the natural voice movement, founded on the premise that "everyone can sing", and a growing transnational community of amateur singers participating in multicultural music activity. Author Caroline Bithell reveals the intriguing web of circumstances and motivations that link these two trends, highlighting their potential with respect to current social, political and educational agendas. She investigates how and why songs from the world's oral traditions have provided the linchpin for the natural voice movement, revealing how the musical traditions of other cultures not only provide a colourful repertory but also inform the ideological, methodological and ethical principles on which the movement itself is founded. A Different Voice, A Different Song draws on long-term ethnographic research, including participant-observation at choir rehearsals, performances, workshops and camps, as well as interviews with voice teachers, choir and workshop leaders, camp and festival organisers, and general participants. Bithell shows how amateur singers who are not musically literate can become competent participants in a vibrant musical community and, in the process, find their voice metaphorically as well as literally. She then follows some of these singers as they journey to distant locations to learn new songs in their natural habitat. She theorises these trends in terms of the politics of participation, the transformative potential of performance, building social capital, the global village, and reclaiming the arts of celebration and conviviality. The stories that emerge reveal a nuanced web of intersections between the local and global, one which demands a revision of the dominant discourses of authenticity, cultural appropriation and agency in the post-colonial world, and ultimately points towards a more progressive politics of difference. A Different Voice, a Different Song will be an essential text for practitioners involved in the natural voice movement and other vocal methodologies and choral worlds. As a significant study in the fields of ethnomusicology, music education and community music, the book will also be of interest to scholars studying the democratisation of the voice, the dynamics of participation, world musics in performance, the transformative power of harmony singing, and the potential of music-making for sustaining community and aiding intercultural understanding.