I’ve lived my entire life in a small country called Brunei 🇧🇳 for 17 years. I'm basically a kampung boy HAHAHA
Later on, I came back to where I was born - MALAYSIA 🇲🇾 it's such a surreal and magical moment 🤩 I have to relearn every culture again and experienced things I’ve never ever imagine.
I met different people here, they guide me and even invite me to celebrate different festival in Malaysia. They all are so kind in giving me advice and create memorable moment.
I recall taking the bus for the first time and encounter a slight problem. Where I only had RM5 in my pocket and none of them in the bus had small change. Thankfully a kind lady approached me and paid for my ticket. Even though it was a small gesture, but it meant a lot to me. I will always remember her, Ratih. We help each other without expecting anything in return.
It makes me feel how lucky I am to be able to live here in Malaysia!
Do check out Raikan Malaysia Kita main film at @tenaga_nasional and share your story today and hashtag #RaikanMalaysiaKita
Happy Merdeka Day to all Malaysian!! 🥳
#RaikanMalaysiaKita
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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encounter film festival 在 Fan-Chiang Yi 范姜毅 Facebook 的最佳解答
Farewell. Ida – Ida Haendel 192?-2020
So Ida has left us – a legend has departed. What a violinist! What a woman! Magnificent, unique, incorrigible – she was a law unto herself.
First, the playing: a film about her was aptly entitled: ‘I AM the Violin.’ And she was! The violin was her life; she mastered it, devoted so much of her existence to it, cared so much about it. Every performance was an event, which she took absolutely seriously, giving each concert her all. She spoke through her violin, proved herself through it, lived within the music she made. She was a marvel, an icon; each note she played was the result of total conviction – and as a consequence was totally convincing. She had been groomed from the beginning to be a star – and a star she was.
But she was also an adorable person. I had heard of her, of course, from my childhood onwards – hadn’t everybody? But I didn’t meet her until - I think - 2000, when I attended a memorable recital she gave at the Wigmore Hall (apparently her debut there!), concluding with a magisterial performance of Enescu’s 3rd sonata. I’d heard, to my delight, that she’d heard me somewhere, and had liked it, so I dared to go backstage afterwards. Having enthused about her playing, I rather uncertainly told her that I was Steven. She looked at me disbelievingly. ‘You’re NOT’ she announced, in her wonderful deep voice. I assured her that I certainly had been last time I looked in the mirror. She accepted this, and proposed that we play the Brahms Double together. It was such an honour; but alas, I just couldn’t do the dates she suggested.
I came across her shortly thereafter, however, at the Verbier Festival. I’d seen that she was giving masterclasses there, so when I saw her, I asked how they were going. She looked at me severely. ‘Steven,’ she boomed, wagging her finger. ‘I don’t teach.’ I was puzzled; she was, after all, advertised as the teacher of the violin class. ‘So you like teaching?’ I said, provoking her. The finger wagged again. ‘Steven,’ she repeated with equal seriousness, ‘I don’t teach.’ ‘So how’s the teaching going?’ I asked. Her finger was on its way in my direction, and she’d started to say my name in the same tone of voice – when suddenly her face broke into a big smile. ‘Oh – so you’re a tease,’ she said. After that, we got on famously. My other main memory of that Verbier encounter was of her examining something – I couldn’t see what - in the hotel lobby, and then calling me over. It turned out that the object in her hands was an album of recent photos of her. ‘Look, Steven,’ she commanded urgently. ‘Don’t I look gorgeous?’
Later, we took her to dinner near her flat in London. Tottering through the streets in her high heels, she suddenly came to a stop in front of a (closed) clothes shop, where either a pair of gold shoes or a gold dress (I can’t remember which) had caught her eye. It was impossible to budge her, late though we were for the restaurant. ‘Wouldn’t I look wonderful in that?’ she asked us challengingly. We agreed that she would. ‘I’m coming back here tomorrow morning,’ she assured us. She spoke that night about her appearance. ‘You think I dress like this just to go out?’ she asked. ‘No! Catch me at breakfast – I’ll look just the same.’ Her pride in her appearance was never-changing. Perhaps in someone else it could have been too much – but with Ida, it was wonderful, admirable; life-affirming, in fact, like her pride in her playing.
It is funny that already I’ve seen two obituaries giving her age five years apart. She’d certainly have preferred the younger estimate… It was impossible to get the truth out of her. I remember asking another glorious violinist-character, Lorand Fenyves, whether he knew Ida. ‘Oh yes, of course!’ he replied. ‘I knew her when I was 16 and she was 15.’ He paused. ‘And now I’m 80 and’ his eyes twinkled, ‘she’s 55!’
Although we never got to play the Brahms Double together, we did perform the Beethoven Triple concerto with Martha Argerich and the Rotterdam Philharmonic under the then little-known Yannick Nezet-Seguin in (I think) 2006. Now THAT was an experience – to put it rather mildly… Playing with those two way-larger-than-life ladies was something not to be forgotten; the two adored each other, and it was great fun to witness their interaction. Ida had only played the piece once before, as I remember; but she played it with utter conviction. And Martha was – well, Martha. And Yannick kept the whole thing together, somehow. So – it was special…
It was supposed to happen again, in Miami (where Ida lived); but alas, it didn’t. Still, I kept in touch with Ida and on one memorable occasion got to interview her at the Wigmore Hall (there’s a recording of that occasion on Youtube). She also came down to Prussia Cove once for three days, her visit culminating in a breathtaking account of the Bach Chaconne (she sported an almost equally breathtaking dress to match!) at the Hall for Cornwall. We also played and taught/didn’t teach together in 2010 at the Summit Music Festival, just outside New York. That was another unforgettable experience. At the concert that concluded the festival, Ida played virtuoso pieces with the orchestra that would have been impressive in someone thirty years younger – even younger – than she was. But equally Ida-ish was the post-concert experience. For some reason, it got very late, and it was well after midnight when we were taken in search of food. Not surprisingly, there were few options in the countryside at that time of night; but eventually we found a 24-hour diner. We went in and occupied a table. Looking around at the bikers and other rather unpredictable-looking types, I was a tad nervous; not Ida. I fortified myself with a margarita; she had tea. At one point, the conversation turned to Schumann, and his 2nd violin sonata (which at that time I didn’t know very well). I asked a question about it. ‘You want to hear how it goes?’ Ida demanded to know. She strode over to her violin-case, pulled out the violin, and to the astonishment (and then, luckily the delight) of the assembled company, began to play it. A photo taken at the time (below) shows me a little less than comfortable – and her absolutely in her element.
Oh, Ida. By the last time I spoke to her – too long ago, but not that long ago – I’d heard that she’d become very forgetful, so wasn’t quite sure whether to call her or not. But I dialled anyway, and the phone was answered. ‘Hello, Ida?” ‘Who is it?’ ‘It’s Steven – Steven Isserlis.” Silence – then the phone went dead. Oh dear. I tried again. This time I was able to hold her attention long enough to remind her who I was. We started to talk, and as the conversation progressed, she evidently remembered more and more about our friendship. It was true that she repeated herself a lot; but still – she was very much Ida, the same wonderful voice, the same love of life.
And now she’s gone. Farewell, Ida the legend; we humanoids will miss you – but thank you, thank you for giving us so much. Everything, in fact.
encounter film festival 在 快樂雲,旅行看世界。 Facebook 的最讚貼文
同學辦的演出,
有在台南的朋友;
別錯過囉。
《臺南公園的身體地圖一百日行走》
Body Map in the Tainan Park -100 Days Strolling
周書毅 x 稻草人現代舞蹈團
Chou Shu-Yi x Scarecrow Contemporary Dance Company
台南公園, 彩虹舞台
Tainan Park, Rainbow Stage
5/13-5/31 (Wed.-Sun.) 10:00-18:00
◇尋◇公園散步身影展《臺南公園的身體地圖一百日行走》Searching - Dance video Exhibition
一起散步,帶著手機,尋找十個散落在公園裡的記憶密碼(QRcode),等待你去發現~
5/23-24 (Sat.-Sun.) 15:30-18:00 (*預計16:00開演)
◆見◆百日行走的記憶終曲《臺南公園的身體地圖一百日行走》Seeing - Live Performance
昔日公園裡的實驗林場、運動場與升旗台,如今閒置的彩虹舞台與草地,我們將在此分享屬於你的故事。
Instagram : https://www.instagram.com/dancinginthepark/
Info: 06-2253218
製作人:古羅文君
藝術總監:羅文瑾
編舞/影像演出:周書毅
演出:羅文瑾、李佩珊、楊雅鈞、林修瑜、何佳禹、蘇微淳、孟凱倫
音樂設計/演出:王榆鈞
服裝設計:邱娉勻
影像創作:周延賢
裝置設計:詹家豪-守宮設計
排練助理:孟凱倫
舞台監督:郭姝伶
平面設計:陳文德
攝影:Yinyun Lu、周延賢、劉人豪、許斌
Producer/ Company Director: Kulo Wen-Chun
Artistic Director: Luo Wen-Jinn
Choreographer/Dancer In the Film: Chou Shu-Yi
Performers: Luo Wen-Jinn, Li Pei-Shan, Yang Ya-Chun, Lin Hsiu-Yu, Ho Chia-Yu, Su Wei-Chun, and Wang Yu-Jun, Meng Kai-Lun
Music Composer: Wang Yu-Jun
Costume Designer: Juby Chiu
Film Director: Bogi Jou
Installation Designer: Chan Chia-Hao - GeckoDesign
Rehearsal Assistant: Meng Kai-Lun
Stage Manager: Kuo Shu-Ling
Photographers: Yinyun Lu, Bogi Jou, Liu Ren-Haur, Hsu Ping
Graphic Designer: Winder Chen
「在有限的人數下相聚,來公園戶外散步看表演,找到一個屬於你與我們之間的美好距離,尋見與自己生命相處最好的選擇,希望這次重逢,能帶來生命力量!
2019年秋天,周書毅x稻草人現代舞團 x 臺南藝術節《臺南公園的身體地圖一百日行走》於百年台南公園裡創造了人們與現代舞邂逅相遇的緣分,大家共處一個自然的空間,隨興的或坐或走,在某個午後,微風吹拂、落日暖照下,每個人分享著屬於自己的公園故事,和我們的舞者們交會彼此對當下匯集歷史與人文的感動。
今年春末夏初我們將再次重返原地,邀請舊雨新知好朋友們重聚相約在公園散步,「尋」「見」彼此人生故事的共鳴交會,讓觀賞舞蹈演出成為日常的一部分,在樹影、身形、舞蹤的輪廓交疊之間,聆聽心底深處的記憶聲響,從公園的百年歷史探望自身微敘事的生命關聯。
In the autumn of 2019, Chou Shu-Yi x Scarecrow Contemporary Dance Company x Tainan Arts Festival "Body Map in the Tainan Park -100 Days Strolling" created the opportunity for people to encounter modern dance in the century-old Tainan Park. Everyone was comfortably and casually sitting, standing, and strolling in a natural environment together. In those afternoons breezing under the setting sun, people shared their own stories about Tainan Park with our dancers, and both were touched by the vivid collection of history and humanities at those beautiful performing moments.
This year, at the end of the spring and early summer, we will return to the same site again. We sincerely invite old friends and new friends to reunite and walk in the park again. Let us "search" and "see" each other's life story and let watching the dance performance become parts of our daily life activity. Together, let us listen to the sound of memories deep inside our hearts through the silhouettes and traces of dancers in the trees, and let us visit and connect our own life stories with the history of the century-old Tainan Park.
encounter film festival 在 コバにゃんチャンネル Youtube 的最讚貼文
encounter film festival 在 大象中醫 Youtube 的最佳解答
encounter film festival 在 大象中醫 Youtube 的最讚貼文
encounter film festival 在 The Encounters | 48 Hour Film Festival 2017 | 4K - YouTube 的推薦與評價
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encounter film festival 在 Encounters South African International Documentary Festival 的推薦與評價
best independent filmmakers from across Africa. The festival, 7 to 9 September, showcases films that demonstrate innovation, creativity, and quality across ... ... <看更多>