#beadseller

[beatricebidelaire]

One of these meager entries, for instance, is something I noticed when I was taken to a local theater troupe’s matinee performance of Murder on the Nile, by Agatha Christie. I remember the performance pretty well because I was going through a fascination with ancient Egypt, and was disappointed that the play had no Egyptian characters in it—just an assortment of traveling Brits, each with a shadowy secret and/or sinister motive. The only locals are some extremely minor figures—the Steward of the cruising boat on which the play takes place, and some Beadsellers, children who pester the Brits when they arrive. The first act ended with a cliffhanging burst of gunfire, and as an intermission diversion, the audience was given scraps of paper in which we were to guess the identity of victim and murderer both. After the play was over, the results of the poll were taped up in the lobby, and here is what struck me most, what I wrote down in a notebook: someone had guessed that the Steward would be murdered by the Beadsellers. That’s what I wrote down when I got home, in a too-fancy notebook, one of those leathery tomes tied shut with a thick cord like a mortifying book of nerdy spells: The Steward was murdered by the Beadsellers. It was such a bright flight of fancy, a cheap joke but also an inventive counternarrative to the stock plot I’d just observed. I loved thinking about it and I still do: in the dead of night, three or four Beadsellers sneaking into the Steward’s quarters for a deadly deed, a plot completely overlooked by the repressed and scheming passengers trading barbed bon mots over gin in the salon. But of course I never wrote this story down, or even attached anything else to this stray idea someone had scrawled during intermission. It was just a shred I kept—one I keep on keeping—something that seemed less like being a writer and more like having a bad habit.

-- And Then? And Then? What Else?

[gatsby-system-folks]

Wow the photography just gets shittier and shittier as the night progresses lol.

But! Arty and Pom!! Inspired by that one post about the Zelda npcs that sell you artichokes and pumpkins. I had the character design of the worm-on-a-string saleswoman and the beadseller lady floating around forever, not knowing what to put them in, so I put them in Big Apple Supernatural... I'm pretty sure that isn't going to be their only appearances tho.

The triceratops lady, Taweret, is also for Basn.

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[sexypinkon]

1900-1925

During this period of Edna’s life, she faced frustration at the lack of Exhibitions in Jamaica, as well as the attitudes the people had towards art. To her, it seemed as if people only considered it to be an unimportant hobby to be enjoyed by amateurs but that did not deter her. She created her first Jamaican work that would go onto be one of her most notable, The Beadseller (1922). Her early years were a transitional period, not only stylistically, but During this period she centred herself around adapting and understanding her new home in Jamaica. She began moving away from the academic ways of creating that she was so accustomed to, into a truer version of modernism seen in The Beadseller- inspired by these new and exciting observations of life in Jamaica.

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[socialelisted]

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[what-makes-a-hero]

So I dropped out of my play this morning

First, I feel like my voice is not quite ready for a part to be quiet AND fast, which was something I worked on throughout my life. I don't think the audience will connect to me because how fast and quiet I will be going. That's not fair to them. Additionally, I feel like I'm personally contributing nothing to the show. You could cut the Beadseller off the show and you will literally miss nothing. Above all, I knew what this part was going to be like, but doing the show last night, I did feel like my disability was exploited and I did feel I was being a fool. I was very uncomfortable. Second, the biggest problem is the driving system with the cast. The cast brings me so much joy and I love them, which is why I'm feeling so bad since plenty of people dropped out of this production (for me, it's the last second). I don't want to give them pressure and worry about getting me to places. I'm also feeling like I'm slowing them down with my disabilities and my cues. Third, personally, my mother needs me so much and after discussion this morning, she really wants me to drop out of the show, so I can be with her in this extremely difficult time and my father would want that too. Lesson: Don't do anything you are uncomfortable with. Put your feelings first.

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[sexypinkon]

Name: Edna Manley 1900-1987 Sculptress

Edna Manley  was born in Yorkshire, England on February 28, 1900 to a Jamaican mother and an English father and died February 2, 1987. She studied at various art schools in England including St Michael’s School of Art, London and privately with Maurice Harding, the animal sculptor. She married Norman Manley in 1921 and in 1922 moved to Jamaica with him. Art as it existed in Jamaica then could not have interested Edna. Sculpture was almost non-existent and painting was limited to a conservative watercolour landscape tradition, practised essentially by amateurs. Yet, her own work changed dramatically after her arrival in Jamaica. There was a tremendous leap from the ‘romantic realist’ studies done up to the time of her departure from England to her first piece of work done in Jamaica, the Beadseller. Shortly after, the Beadseller was to have a male counterpart, the Listener, after which Edna went to England in 1923 with her two plasters. The visit proved fruitful. She had the plasters cast into bronze and she was accepted into the Society of Women’s Artists and had Beadseller displayed in their 1924 Exhibition.

Back in Jamaica in early 1924, she quickly set to work with new carving tools and produced Wisdom and then the Ape. At that time, too, she began to model realistic portraits in clay first of Norman and the two-year-old Douglas and then of a friend, Esther Chapman. Then, testing the possibilities of her new medium, she did a head of another friend, Leslie Clerk in wood.

Edna Manley - The Diggers

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The artist’s various submissions to the exhibitions of the Society of Women Artists began to be noticed and in 1927 two French Journals – Les Artistes D’Aujourd “Hui and La Revue Moderne- singled out her work for praise. In England the interest in her work began to grow and in 1929, Edna returned there with a group of recently completed sculpture including Eve, the Torso of Woman, Boy with Reed and the Ape to exhibit in the Goupil Summer Exhibition.

In London on her 1929 visit, she discovered a new medium. She wrote to Norman, “I’m going eventually to carve stone”. This was the preferred medium of the direct carvers whom she would have been observing at that time, and on her return to Jamaica later that year she began to carve in imported materials – Hopeton-wood stone, Caen-stone, Portland stone and Sandstone.

Throughout her career the artist passed through a series of phases, each representing Edna’ stages in the development of her life and that of Jamaica:

 The sculpture Negro Aroused by Edna Manley on Kingston Waterfront

................................................................................................................

Negro Aroused (1935 – 1940): This represented a search for a new order, a vision of a people being awakened to a new consciousness. Chief among her works at this time were Mountain Girl, Negro Aroused, The Prophet, Pocomania

The Dying God Series (1941 – 1948): Works including Before Thought, the Forerunner, Before Truth, Into the Mist. These are at one and the same time her most private yet universal works. In them are elements of a personal symbolism based on her own intimate relationships with her husband and family.

The Public Year and Public Commissions (1949 – 1969): At this time there is intense pressure on family and political life. Works at this time are isolated pieces, usually commissions. these include The Hills of Papine, The Mountains and all the All Saints Crucifix.

A Period of Mourning (1969-1974): This is the period of illness and death of Norman Manley. She does Angel, the Grief of Mary, Journey among others.

Mrs. Manley has played a major pioneering role in the history of 20th century Jamaican art. Her works are in private collections, galleries and public buildings worldwide. Since 1924 she exhibited in many one woman and group exhibitions mainly in London, the United States, the Caribbean and in Jamaica. In 1929 she was awarded the Institute of Jamaica’s Silver Musgrave Medal. In 1943 she became the first recipient of the gold Musgrave Medal for her outstanding contribution and leadership in the arts in Jamaica.

Edna was co-founder of the Jamaica School of Art in 1950.She stopped carving in wood in 1974 with ‘Journey’ and all her subsequent works were carved in clay and cast. Later in 1977 she received the Honorary Degree of Doctor of Letters from the University of West Indies, Kingston. In 1980 at the National Gallery Retrospective Exhibition “Edna  Manley the Seventies”, she was awarded the Order of Merit.

There is a specialised gallery devoted to her life and work at the National Gallery of Jamaica.

[abosbeads]

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