I bet the majority of people polled would raise their hands when asked if they had a can of Campbell’s Tomato Soup in their pantry somewhere. And I bet when asked how long that can of soup has been sitting in the pantry, most people would say probably more than a couple months. What’s amazing […]

THEN: Supermodel Naomi Campbell covered the March 2019 issue of British Vogue , her first under Edward Enninful as editor-in-chief. Enninful set a historic milestone in 2017 as Condé Nast’s Vogue’s first male editor for any Vogue in its then 101-years history. Edward was well-known — and we

Presented by Mana Contemporary Chicago and the International Sculpture Center Contemporary sculpture is a medium that forms an intimate connection between the artist’s experience and that of the viewer. As a result, it is a unique platform for dialogue, particularly regarding social change. Each piece in this exhibit demands that we pay attention to our current moment and signals us to think about the future. Wake the Town and Tell the People is named for the work by Jamaican artist Cosmo Whyte, one of the eighteen emerging artists working across a dynamic range of materials, from porcelain to plywood and bronze to balloons. Whyte’s piece is a towering eight-and-a-half-foot-tall stack of plywood speakers that arcs like a cresting wave, using ambient sound and music to address themes of post-colonialism and migration. Artist Jamezie will present “…But Will The People Listen?”, a performance piece that focuses on the body as not only a means to create sculpture, but sculpture in and of itself. They will invite participants to consider individuality and gender by providing plates to print imagery on their skin. Jamezie will be performing in the 5th floor gallery among the other works on April 24 and May 1, from 3PM-5PM. International Sculpture Day at Mana is free and open to all ages. It will also include open artist studios and an aluminum casting demonstration in the Keating Foundry, located on Mana’s campus. The T’ang Horse: Anthony Quinn, which highlights a number of sculptures by Anthony Quinn, and Ben Keating: The Piece of Her That’s Missing, will also be on view. The show will be in Mana’s 5th floor gallery and the main entrance lobby.

Create and write a fictional character sketch or profile: Characterization through names, body language, descriptions, roles, jobs, emotions, secrets, weaknesses and more.

Looking for a plotting formula? In this post, we share an infographic of The Hero's Journey, a device used by writers when plotting their books.

J'ai choisi cette photo de Naomi Campbell qui a servi de cover pour le SOON Magazine pour illustrer cet article. Pourquoi? Car elle illustre à merveille ce dont je vais vous parler aujourd'hui. Comme je vous l'avais dit =>ICI, le salon BEYOND BEAUTY 2012 a débuté aujourd'hui. J'ai assisté à une conférence qui avait pour nom: Ce que veulent les femmes noires & metisses. Elle s'adressait à la presse beauté, mais surtout et POUR les marques de cosmétiques qui souhaitent cibler les consommateurs noirs et investir dans les marchés où les communautés multi-culturelles sont fortes. Une conférence menée par Stéphanie Morou qui a su captivé l'attention de tout son auditoire. Elle est la directrice de METIS INSIGHTS et experte de la création multi – culturelle. Conseil en stratégie marketing & tendances prospectives. Elle a obtenu son MBA à l’IFM Paris-Hong Kong-New York, plus de 11 ans d'expérience dans le développement de projets Mode et Beauté chez LVMH et chez L'Oréal Division Luxe. Elle parcourt le monde pour traquer les évolutions sociétales et décrypter avec justesse les nouveaux comportements consommateurs. Et mon choix s'est porté sur cette photo pour illustrer les propos recueillis qui m'ont le plus intéressé. Dans le monde de la beauté, pendant très longtemps, les femmes noires ont été des cyborgs dans cette industrie dédiée à nous sublimer. On ne comprenait pas nos besoins, nous n'existions pas, alors que notre pouvoir d'achat en terme de beauté dépasse largement celui d'une femme blanche annuellement. Et de l'autre côté, cette image ouvre aussi des perspectives vers le futur. Un monde en pleine mutation qui devra dorénavant compter sur le changement et être à l'écoute des besoins de chacun. Voici les principaux sujets qui ont retenu mon attention: 1) L'intérêt des marques à s'intéresser aux consommatrices NOIRES. Le nombre de personnes à la peau non blanche ne cesse d'augmenter au monde avec 50% de non blanc et 38% de peaux foncées. Leur croissance est majoritaire ( de 4 à 8%) dans l'axe Brésil, Amérique du Nord et Sud, Afrique. Et en France, elle est de 2%. En somme 38% de la population mondiale est issue du multiculturalisme. Et l'offre en terme de produits de beauté est largement en dessous par rapport à la demande. Cette pensée collective et généralisée, que je trouve néfaste, et qui véhicule un fantasme vieux comme le monde où tout les noirs se ressemblent ( peau, cheveux) est fausse! Surtout lorsque l'on sait qu'il y' a plus de 35 types de carnations chez les peaux noires. Le marché occidental de la beauté noire en Europe est très OLD SCHOOL, hormis peut être la Grande Bretagne qui est plus en avance que ses voisins. Les USA restent leaders dans le monde marketing de la beauté qui s'adresse à toutes les femmes, car ils ont une population dense et métissée, et ils ont été les premiers à mettre des egéries noires sur des pubs de grande marques de cosmétiques, chose qui a du mal à s'installer en France. Et si beaucoup de femmes noires européennes et même d'Afrique tendent plus vers les marques de beauté US, c'est parce que ces marques sont non seulement fortes de propositions, et les mettent en avant à l'instar des pays européens. Le marché AFRIQUE aussi est très porteur, alors pourquoi snober 1 milliards de personnes parce qu'ils ont un environnement social et culturel différent? 2) Le besoin des femmes noires en Europe: Les besoins en terme de beauté pour les femmes noires vivant en Europe se sont modifiés. Alors qu'une femme blanche consommera plus des produits de soin de visage ou make up. La femme noire devra redoubler d'attention pour les soins du corps et du visage à cause du climat qui n'est pas celui d'origine. Il en va de même pour les pays d'Afrique émergents, qui font face aux problèmes de pollution à cause de l'urbanisation. De ce fait les femmes rencontrent parfois les mêmes problèmes de peau que celles vivant en Europe. Les problèmes communs souvent relevés sont les cheveux => souvent à cause de leur forme hélicoïdale et de leur manque de sébum, les cheveux de type afro ( défrisé, crépu) sont des cheveux très fragiles à la base. La peau => les tâches, teint non uniforme, excès de sébum et blanchiment de la peau pour ressembler aux canons de beauté imposées par les médias. Des femmes qui sont souvent confrontées en Europe à un choix limitée en terme de produits de beauté, mal conseillées car l'intérêt pour la beauté noire en France est encore marginalisé ou cantonné a quelques rayons ou stand dits ethniques. 3) Le Brésil Quand on nous parle du Brésil, on pense à Rio, ses plages, sa musique, ses jolies femmes en bikini,et ses hommes beaux comme des dieux. Mais le Brésil c'est aussi le deuxième pays au monde après les USA où il y'a le plus de métissage soit 45% de sa population sur 83 000 000 de personnes que peuple ce pays! Je vous laisse faire le calcul, en France et Dom Tom compris nous sommes à peine 70 million de personnes (Au 1er janvier 2012, la population française en métropole et dans les départements d'outre-mer était de 65,35 millions d'habitants, hors Mayotte selon l'Insee) Le culte de la beauté au Brésil est omniprésente chez les hommes comme les femmes, en passant par les enfants. Les femmes noires et métissées au Brésil font très attention à leur beauté ( soins de la peau, makeup). Elles ont même été les premières à introduire dans leur rituel de beauté la mode du green écologique. Malgré tout c'est un pays rempli de paradoxe, par exemple la pub MAC avec Nikki Minaj et Ricky Martin pour la collection de rouge à lèvres Viva Glam s'est vendue 3 fois plus au Brésil que dans le reste du monde et de l'autre côté il y'a un énorme décalage entre mythe et réalité dans le milieu de la beauté et mode au niveau des égeries. Au Brésil la référence de la beauté depuis des décennies est une femme noire connue sous le nom de Chica Da Silva de Oliveira, une femme née esclave, qui était très belle , elle épousa son maître et devint une femme très influente et fortunée. Et de l'autre côté, ce pays met quasiment la plupart du temps des mannequins comme Gisèle Bundchen ou d'autres top model blancs brésiliens sur ses covers. Alors qu'un top model noir brésilien comme Emmanuela de Paula, qui a pourtant les traits dit " FINS" ou à l'occidental ( terme que je déteste entendre) et qui a du métissage, ne trouvera que peu de contrats dans son propre pays, mais marchera très bien aux Usa. Pour ceux qui ne le savent pas, c'est la région du sud du Brésil, qui a une forte population blanche, et celle-ci est issue de l'immigration européenne du temps de l'esclavage. Et sur les podiums ou magazine et fashion week de Rio on ne retrouve que 10% de mannequins noirs. Ces filles avaient manifesté contre ce procédé jugé raciste! Quand l'offre ne correspond pas à la demande et à sa population c'est qu'il y'a un vrai problème de mentalité chez les décisionnaires. 4) La beauté en Afrique. Etre belle en Afrique a des significations importantes qui remontent aux temps des grands royaumes et de l'époque nubienne et égyptienne. Les rituels beauté ont une place très importante chez les femmes africaines qui transmettent leur savoir de mère en fille. Mais on constate deux choses importantes dans la perception de la beauté en Afrique. - La perception du propre dans la beauté a une place très importante, en général les femmes qui sont pauvres ou qui vivent dans des zones lointaines de la capitale qui n'ont ni les moyens ou accès aux achats de produits de beauté se valorisent en étant propre, avec une hygiène parfaite. Le continent africain étant très chaud et poussiéreux, sentir bon, se laver, avoir les dents blanches est synonyme de propreté mais aussi de beauté. C'est une façon pour elles de se mettre en avant et se sentir désirables et belles. Elles gardent leur rituel de beauté propre à leur ethnies, peuple ou culture en opposition aux femmes de la ville que l'on reconnaît de suite à leur parures, un maquillage moderne et sophistiqué qui tient toute la journée sous la chaleur car, certaines d'entre elles ont les moyens de s'offrir des produits venus des Usa. En général, la femme africaine privilégiera son hygiène et ensuite tout ce qui concerne le makeup, coiffure. C'est tellement encré ce rapport avec la propreté et l'hygiène, que même en Europe, la première chose qu'une maman africaine apprendra à sa fille est d'être propre dès l'âge de 7 ou 8 ans et aura un oeil sur elle jusqu'à son adolescence, l'âge des premières menstruations en général. C'est en Afrique du Nord qu'on attache une grande importance à la sophistication dans les rituels de beauté comme parfumer le corps entier, gommage, hammam. 5) La beauté noire en France La France est un pays où le foyer d'immigration en Europe est la plus élevée. C'est un pays, ex-colonisateur de nombreux pays africains qui a fait venir beaucoup de mains d'oeuvres dans les années 60 à 70, lorsque la France était en plein essor économique, de reconstruction... Un pays où la minorité comme on nous appelle est en grande majorité oubliée dans beaucoup de domaines de cette société qui se dit évoluée et non raciste. Et concernant la beauté, nous retrouvons le même problème: Pas de représentation des minorités non blanche dans les magazines ou pubs. Si ce n'est lors d'éditions spéciales en été, ou quand l'Afrique est à la mode. A croire que les femmes noires, prennent soins d'elles simplement en été. Comment connaître les besoins d'une population même à travers des sondages, quand on sait que c'est interdit en France de faire des statistiques sur les origines? et à côté on nous sert des lois anti discriminations en veux tu en voilà à toutes les sauces pour l'embauche des gens ou leur représentation dans les médias ou autres qui ne servent à rien?? Plusieurs marques de niches naissent et sont crées par des femmes noires pour répondre aux besoins des consommatrices oubliées des grandes marques, mais faute de moyen, beaucoup disparaissent. Est-ce que les femmes françaises noires seraient-elles passives et de ce fait les marques font ce qui leur plaît?? Devraient-elles revendiquer leur attachement à la beauté? Monter des associations de consommatrices comme aux USA? Difficile, car en France, agir pour des gens qui nous ressemblent ou essayer de véhiculer quelque chose est toujours connoter à du communautarisme au sens NEGATIF, alors que de l'autre côté pour ma part, que le message est négatif, ne pas vouloir s'ouvrir aux autres, et de garder des codes de beauté qui ne correspondent plus à une population qui ne cesse de se transformer. Grâce à internet, nombreuses sont les femmes qui ont trouvé en des sites et blogs, des endroits où trouver de l'aide et des réponses, et surtout des femmes à leur image, des femmes de tout les jours, une image moderne et actuelle de la femme noire, et de sa perception de la beauté et non celle imposée par les grands médias nationaux. Autre paradoxe, là où des grandes marques ou magazines made IN FRANCE ont du mal à mettre des femmes noires sur leur visuel beauté, aux USA, ils ont du se plier au marché et aux exigences des consommatrices, et mettre des top model noirs sur des produits dit de luxe, jusque là réservée à une clientèle qui se voudrait être blanche alors que nous savons toutes que les femmes noires dépensent des sommes folles auprès de ces marques. Elles ont aussi élargi leur gamme de fond de teint et produits de soin pour les peaux noires, et depuis quelques temps en France nous pouvons voir ce type de publicité, encore de manière timide parce que les grands magazines disent que leur lectorat n'est pas noir, et de l'autre côte ces mêmes marques qui rechignent à payer de la pub à des magazines spécialisés dans la beauté noire, car elles trouvent CES MAGAZINES, pas assez luxueux pour y mettre et payer un espace pub et voir leur nom assimilé à ce qui pour elles n'est pas glamour... J'ai envie de dire dans ce cas là on fait comment?? Pub France & USA Pub USA Un autre exemple de ce dont je parlais plus haut, prenons en exemple la marque Chanel qui a depuis quelques mois sorti une nouvelle gamme de fond de teint du nom de perfection lumière vendu à 44.50€ l'unité, et qui a une large palette de couleurs dont pour les carnations noires et métissées ( 21 coloris), ne les vend pas en France. Pour vous procurer ces fonds de teint, il faut aller aux Etats Unis... Même sur le site français de Sephora, on les trouve pas. 6)Perception de la beauté noire aux USA: Il y'a un rapport ambivalent à la beauté aux USA, ce continent qui a un lourd passé d'esclavagiste a vu la communauté noire sous plusieurs coutures. Pendant très longtemps, ce peuple qui a subi les pires atrocités à cause de la couleur de sa peau a même rejeté celle-ci, l'accusant d'être le responsable de tout ses maux. Puis après, il y'a eu la période : BLACK IS BEAUTIFUL, BLACK AND PROUD, MY BLACK IS BEAUTIFUL. Une manière de se réapproprier son image, ses origines, avoir confiance en soi , s'aimer, être fort! Les communautés non blanches aux USA sont si influentes et importantes qu'il serait une erreur stratégique pour ces marques de ne pas s'y intéresser. Les USA ne sont pas que blancs, et chaque citoyen là bas avant de parler de ses origines vous dira qu'il est américain. C'est pour toutes ces raisons, que chaque personne est représentée dans les médias. Mais aussi parce que l'argent n'a ni d'odeur ou de couleur. Business is business, et les communautés noires ont aussi un loby influent avec des personnalités qui contribuent à l'essor de celui-ci en créant des sociétés, des marques de cosmétiques, des magazines, des chaînes ou émissions tv, ce qui leur permet aussi de mettre en avant leur image et mode de vie et besoins. Avec l'élection de Barack Obama, les instituts de sondage us ont affirmé que le dynamisme de Michelle Obama, sa classe et sa beauté, ont eu beaucoup d'effets positifs sur la gente féminine noire qui avait su trouver en elle ce qu'elle n'avait pas vu depuis longtemps : Une femme noire, à la peau foncée, loin des Beyoncé ou Rihanna qui ont été pendant de nombreuses années le symbole de la beauté noire. Alors que toutes les filles noires n'ont pas les yeux noisettes ou le teint miel. Mettre en avant que les femmes au teint clair dans les médias, est aussi l'une des causes du whitenning/ blanchiment de la peau chez les femmes noires dans tout les pays confondus. Ces femmes qui ne correspondent pas à ce modèle noir de beauté imposé par la tv, magazine ne se sent pas valorisées et cherchent à ressembler à ce qu'on lui dit être LA BEAUTE NOIRE ABSOLUE. Ce qu'il y'a de positif avec ce retour à l'affirmation de SOI chez la femme noire, c'est que cela a donné naissance à des nouveaux courants de femmes qui s'assument telles qu'elles sont et le revendiquent sans pour autant être dans une démarche militante. A présent ce que recherchent beaucoup de femmes noires, ce sont des produits qui subliment leur beauté au lieu de la camoufler ou la changer. Ayant peu à peu le choix avec des produits qui conviennent à leur peau, certaines arrêtent de s'éclaircir la peau. Avoir un teint radieux ne passe pas la transformation de sa carnation mais en la rendant lumineuse. Nous voulons toutes être belle, photogénique, c'est pour cela que les nouvelles générations de fond de teint rencontrent un énorme succès. L'effet seconde peau, teint invisible tant recherché est proposé par plusieurs marques au fur et à mesure. Il y'a d'ailleurs Gemey Maybelline qui a un très beau slogan pour la pub de son fond de teint: FIT ME = CA ME VA BIEN Les BB creams pour peaux noires ont fait leur apparition, les soins pour le soir adaptés pour nos peaux. Santé et beauté sont très liés. Ce nouveau courant de consommatrices jeunes et de femmes active qui veulent marquer leur différence, et qui ont appris à prendre soin de leur cheveu au naturel ou défrisé veulent des produits qui marchent, mais qui respectent la nature et qui ne sont pas néfastes pour leur peau. Elles s'intéressent à la fabrication des produits, des ingrédients. Elles ont adoptés leur idées à leur look. Il n'y a qu'à voir, depuis le grand boom qu'est le retour aux cheveux crépus, de nombreuses marques ne cessent de créer des gammes Naturel pour ces femmes qui ont appris à maîtriser leur cheveu, sans avoir besoin de repasser ou passer par la case défrisage. Et même celles qui se défrisent ne veulent plus de tout ces ingrédients toxiques dans leur défrisant et soins. Toutes veulent être belles sans risquer leur santé. Alors, j'espère que cette conférence où étaient présents des grandes marques tels que Clarins, l'Oréal, et bien d'autres marques ont compris que c'étaient elles qui rataient le coche et non nous. Car il ne faut pas oublier que les jeunes générations d'aujourd'hui issues du multiculturalisme seront les nouveaux consommateurs adultes de demain. Et un grand bravo à des marques comme Nuhanciam, Les Secrets de Loly, Noire au Naturel, Black Up, des boutiques en ligne et qui ont pignon sur rues comme Belle Ebène, Nayenka, Colorii, Mix Beauty d'exister, et d'innover. C'est grâce à des personnes comme elles, entrepreneuses et passionnées qui se battent pour nous mettre en avant et nous vendre des produits de beauté qui nous correspondent dans un joli cadre très cosy. On a pas l'impression comme ça, mais même à leur petite échelle, elles poussent les grandes marques à revoir leur façon de faire! Je reviendrais dans un prochain post mercredi soir avec le debriefing de la conférence sur le blanchiment de la peau.

This easy bread recipe goes perfectly with a bowl of Campbell's Soup!

Avec sa silhouette boyish, ses yeux clairs et son style grunge, Edie Campbell fait partie des muses fétiches de Vogue Paris. En couverture du numéro de février 2016 (pour la toute première fois), le top britannique en profite pour se dévoiler avec un jeu de 17 questions-réponses. Rencontre.

Lucy Campbell is a painter and a self-proclaimed "picture-story-teller" from Scotland. Her surroundi...

When you find a writer who really is saying something to you, read everything that writer has written and you will get more education and depth of understanding out of that than reading a scrap here and a scrap there and elsewhere. Then go to people who influenced that writer, or those who were related to him, and your world builds together in an organic way that is really marvelous.

Now available in paperback, Joseph Campbell’s collected writings on dance and art, including Campbell’s unpublished manuscript “Mythology and Form in the Performing and Visual Arts,” the book he was working on when he died Dance was one of mythologist Joseph Campbell’s wide-ranging passions. His wife, Jean Erdman, was a leading figure in modern dance who worked with Martha Graham and had Merce Cunningham in her first company. When Campbell retired from teaching in 1972, he and Erdman formed the Theater of the Open Eye in New York City, where for nearly fifteen years they presented a wide array of dance and theater productions, lectures, and performance pieces. The Ecstasy of Being brings together seven of Campbell’s previously uncollected articles on dance, along with “Mythology and Form in the Performing and Visual Arts,” the treatise he was working on when he died, published here for the first time. In this collection Campbell explores the rise of modern art and dance in the twentieth century; delves into the work and philosophy of Isadora Duncan, Martha Graham, and others; and, as always, probes the idea of art as “the funnel through which spirit is poured into life.” This book offers the reader an accessible, yet profound and provocative, insight into Campbell’s lifelong fascination with the relationship of myth to aesthetic form and human psychology. Product DetailsISBN-13: 9781608688890 Media Type: Paperback Publisher: New World Library Publication Date: 07-18-2023 Pages: 264 Product Dimensions: 5.50(w) x 8.50(h) x 0.50(d)About the Author Joseph Campbell (1904 –1987) is widely credited with bringing mythology to a mass audience. His works, including The Masks of God and The Hero with a Thousand Faces, are bona fide classics. Dancer, choreographer, and filmmaker Nancy Allison is the artistic director of Jean Erdman Dance.Read an Excerpt Read an Excerpt Excerpt from Editor’s Foreword “Art is the funnel through which spirit is poured into life,” Joseph Campbell often said.[i] It was his deeply held belief that art, like mythology, has the power to open the contemporary, individual mind to a direct experience of the timeless, transcendent, wisdom of the universe; a wisdom based in the body and visited in our dreams. According to Campbell, it is the artist’s job to create “significant forms” that stir the modern, fractured psyche, “offering to consciousness an esthetic object while ringing, simultaneously undertones in the unconscious.” [ii] Campbell’s philosophy of art was deeply shaped by his travels in Europe from 1924 to 1929 where he was introduced to the literature of James Joyce and Thomas Mann; the paintings of Cezanne, Picasso and Paul Klee; the work and teaching of the sculptor Antoine Bourdelle; and the groundbreaking psychological theories of Sigmund Freud and Carl Jung. It was through this heady brew of different, yet related influences that Campbell eventually came to his belief that “the individual artist must study the psychological effects produced by the various devices of his particular craft” and that “these devices must then be associated with their appropriate elements of myth” [iii] in order for the artist to fulfill the task of pitching the individual psyche beyond fear or hope to the “wonder of the world harmony that keeps in circulation (whether sorrowful or gay) the spheres of outer space, the electrons of the atom, and the juices of the living earth.” [iv] Throughout his life he patiently explicated the rigorous standards and defining characteristics of what he, following James Joyce, called “proper art,” art that stills the chattering mind and by means of its wholeness and harmonic rhythm illumines the arrested mind with the radiance of beauty. [v] With wit and warmth he inspired generations of young writers, poets, painters, sculptors, musicians, composers, actors, directors and filmmakers to seek radiance in their artistic meditations. But, as can be seen in this small volume, he had a special passion for choreographers and dancers. We know very little about Campbell’s earliest musings on the art of dance. We do know that as a child of just five or six, he had a life-altering experience when his father took him and his brother, Charley to Buffalo Bill’s Wild West Show at Madison Square Garden. There, Campbell “became fascinated, seized, obsessed, by the figure of a naked American Indian with his ear to the ground, a bow and arrow in his hand, and a look of special knowledge in his eyes.” [vi] Did he perhaps also get his first glimpse there of the spiritually organized colors, forms and rhythms of Native American dance? Campbell Sr. also enjoyed what he called “good shows” and perhaps took Joe and Charley to these vaudeville style shows, too. [vii] More than likely the young boys saw amazing African American tap dancers, as well as female chorus line dancing typical of the era. It is well documented in Stephen and Robin Larsen’s biography, A Fire in the Mind: The Life of Joseph Campbell that Campbell was a very good musician and a wonderful social dancer, but we don’t know if he picked up the steps and style of the various dances by watching, or learned them through instruction thereby developing an appreciation for some of the formal aspects of dance. He never mentions in his voluminous journals, or correspondence, that he saw a ballet, either as a boy in New York, or as a young man on any of his European trips between 1924 and 1929. During that time Diaghilev’s Ballets Russes and the students of Rudolph von Laban, most notably, Mary Wigman, the leading figure of German Expressionist dance, were performing regularly. So too, were the Americans, Isadora Duncan and Ruth St. Denis, yet there is no record of his having seen them, or any of the other dance artists who were revolutionizing the art form during this period. But in 1937, something happened that was to change his understanding of dance altogether. At that time, Campbell was living the life he had dreamed up for himself, teaching comparative literature at the all-female Sarah Lawrence College with plenty of time on the side to continue his reading and study of world mythology. The same year he arrived, a young co-ed named Jean Erdman began her studies there, too. Born and raised in Honolulu, Erdman grew up dancing hula at family parties and picnics almost as soon as she could walk. The daughter of Dr. John Pinney Erdman, a Protestant minister and Marion Dillingham, a member of one of the major industrialist families of Hawaii, Jean attended the exclusive Punahou School where she learned Isadora Duncan style interpretive dance.[viii] After a year spent at Miss Hall’s School for Girls in Pittsfield, MA, where her intellect was ignited but her mind was troubled by the prevailing Puritanical attitude towards dance— she was disciplined for teaching hula to her classmates, she arrived at Sarah Lawrence full of youthful enthusiasm and a questing mind. [ix] She dove into the dramatic, percussive dance technique taught there by modern dance pioneer, Martha Graham and members of her company, continuing her study at the Bennington Dance Festival during the summers. She also studied comparative religion and Irish culture and theater. [x] By her junior year, Erdman was committed to a life in dance and wanted to expand the breadth of her studies to include philosophy and aesthetics. Judging by her friends’ descriptions of his classes, she thought that Professor Campbell, heartthrob of the campus, seemed the ideal tutor for her interests and decided to ask him for a private conference course. Self-selected private tutorial courses were a distinguishing feature of the program at Sarah Lawrence. A chance encounter at the library on a rainy night turned into an interview at Campbell’s office where, as the story goes, Campbell asked her, “What do you want to study?” “I want to study aesthetics. I want to study Pluto.” she replied. “Pluto?” he asked. “You mean Plato!” Despite her error, (or Freudian slip), Campbell agreed to the tutorial as long as Erdman also attended his lecture course on Thomas Mann, which included reading assignments on Schopenhauer, Kant and Nietzche. Erdman was happy to comply. [xi] So, much to the envy of the entire campus, the dashing scholar and the beautiful dancer met every Tuesday from 12:30 to 1:30 to discuss art and philosophy. By the end of the semester, neither wanted the relationship to end. But Erdman would not be returning to campus the next year; instead she would take a trip around the world with her family. As a parting gift, Campbell gave her a copy of Oswald Spengler’s The Decline of the West, knowing that she would need to stay in touch with him in order to understand it. As her parting gift, Erdman invited Campbell to see her perform at Bennington later that summer. [xii] What he saw there was not only the talent and beauty of his special student, but a whole new evolving art form, rooted in a glorious exploration of the possibilities of the human body. Here was a whole cadre of young choreographers (Martha Graham, Doris Humphrey, Charles Weidman, Hanya Holm) searching for original aesthetic forms through which to express their keen observations of the human condition, both inner and outer. Here was a field where Campbell could explore his burgeoning theory of the relationship of myth to aesthetic form and psychological structures. [xiii]Here was a dancer, Jean Erdman, with whom he could share his passion for art, myth, and a soul-directed life. By the time Erdman left to join her family in Honolulu the two were already continuing their dialogue through a correspondence that grew ever more intimate as Jean traveled around the world. While Erdman experienced physically all the forms of the world, both natural and man-made, Campbell, traversed the planet through the power of his imagination, elucidating for his beloved, as he would for so many others, the life-enhancing magic of the mythic symb

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Rebecca Campbell is a bestselling author, oracle creator and devotional artist who leads activating workshops internationally, giving people an experience of their soul. Through all of Rebecca's creations she encourages people all over the world to spend more time with their soul and connect to their own Inner Temple. www.rebeccacampbell.me

After Gareth Bale became the 20th British player to score in a European Cup final, he looked fresh enough to go out and do it all again. This is how it must feel to be high on the euphoria of an unstoppable rise to the top of the world.

Cindy Crawford, Naomi Campbell and Chandra North for Christian Dior, Fall RTW 1997

When you find a writer who really is saying something to you, read everything that writer has written and you will get more education and depth of understanding out of that than reading a scrap here and a scrap there and elsewhere. Then go to people who influenced that writer, or those who were related to him, and your world builds together in an organic way that is really marvelous.

Our Smoky Chicken Pasta recipe adds flavour to a busy weeknight. Featuring a creamy smoked paprika mushroom sauce with peas, dinner will be ready in 35 minutes!

Now available in paperback, Joseph Campbell’s collected writings on dance and art, including Campbell’s unpublished manuscript “Mythology and Form in the Performing and Visual Arts,” the book he was working on when he died Dance was one of mythologist Joseph Campbell’s wide-ranging passions. His wife, Jean Erdman, was a leading figure in modern dance who worked with Martha Graham and had Merce Cunningham in her first company. When Campbell retired from teaching in 1972, he and Erdman formed the Theater of the Open Eye in New York City, where for nearly fifteen years they presented a wide array of dance and theater productions, lectures, and performance pieces. The Ecstasy of Being brings together seven of Campbell’s previously uncollected articles on dance, along with “Mythology and Form in the Performing and Visual Arts,” the treatise he was working on when he died, published here for the first time. In this collection Campbell explores the rise of modern art and dance in the twentieth century; delves into the work and philosophy of Isadora Duncan, Martha Graham, and others; and, as always, probes the idea of art as “the funnel through which spirit is poured into life.” This book offers the reader an accessible, yet profound and provocative, insight into Campbell’s lifelong fascination with the relationship of myth to aesthetic form and human psychology. Product DetailsISBN-13: 9781608688890 Media Type: Paperback Publisher: New World Library Publication Date: 07-18-2023 Pages: 264 Product Dimensions: 5.50(w) x 8.50(h) x 0.50(d)About the Author Joseph Campbell (1904 –1987) is widely credited with bringing mythology to a mass audience. His works, including The Masks of God and The Hero with a Thousand Faces, are bona fide classics. Dancer, choreographer, and filmmaker Nancy Allison is the artistic director of Jean Erdman Dance.Read an Excerpt Read an Excerpt Excerpt from Editor’s Foreword “Art is the funnel through which spirit is poured into life,” Joseph Campbell often said.[i] It was his deeply held belief that art, like mythology, has the power to open the contemporary, individual mind to a direct experience of the timeless, transcendent, wisdom of the universe; a wisdom based in the body and visited in our dreams. According to Campbell, it is the artist’s job to create “significant forms” that stir the modern, fractured psyche, “offering to consciousness an esthetic object while ringing, simultaneously undertones in the unconscious.” [ii] Campbell’s philosophy of art was deeply shaped by his travels in Europe from 1924 to 1929 where he was introduced to the literature of James Joyce and Thomas Mann; the paintings of Cezanne, Picasso and Paul Klee; the work and teaching of the sculptor Antoine Bourdelle; and the groundbreaking psychological theories of Sigmund Freud and Carl Jung. It was through this heady brew of different, yet related influences that Campbell eventually came to his belief that “the individual artist must study the psychological effects produced by the various devices of his particular craft” and that “these devices must then be associated with their appropriate elements of myth” [iii] in order for the artist to fulfill the task of pitching the individual psyche beyond fear or hope to the “wonder of the world harmony that keeps in circulation (whether sorrowful or gay) the spheres of outer space, the electrons of the atom, and the juices of the living earth.” [iv] Throughout his life he patiently explicated the rigorous standards and defining characteristics of what he, following James Joyce, called “proper art,” art that stills the chattering mind and by means of its wholeness and harmonic rhythm illumines the arrested mind with the radiance of beauty. [v] With wit and warmth he inspired generations of young writers, poets, painters, sculptors, musicians, composers, actors, directors and filmmakers to seek radiance in their artistic meditations. But, as can be seen in this small volume, he had a special passion for choreographers and dancers. We know very little about Campbell’s earliest musings on the art of dance. We do know that as a child of just five or six, he had a life-altering experience when his father took him and his brother, Charley to Buffalo Bill’s Wild West Show at Madison Square Garden. There, Campbell “became fascinated, seized, obsessed, by the figure of a naked American Indian with his ear to the ground, a bow and arrow in his hand, and a look of special knowledge in his eyes.” [vi] Did he perhaps also get his first glimpse there of the spiritually organized colors, forms and rhythms of Native American dance? Campbell Sr. also enjoyed what he called “good shows” and perhaps took Joe and Charley to these vaudeville style shows, too. [vii] More than likely the young boys saw amazing African American tap dancers, as well as female chorus line dancing typical of the era. It is well documented in Stephen and Robin Larsen’s biography, A Fire in the Mind: The Life of Joseph Campbell that Campbell was a very good musician and a wonderful social dancer, but we don’t know if he picked up the steps and style of the various dances by watching, or learned them through instruction thereby developing an appreciation for some of the formal aspects of dance. He never mentions in his voluminous journals, or correspondence, that he saw a ballet, either as a boy in New York, or as a young man on any of his European trips between 1924 and 1929. During that time Diaghilev’s Ballets Russes and the students of Rudolph von Laban, most notably, Mary Wigman, the leading figure of German Expressionist dance, were performing regularly. So too, were the Americans, Isadora Duncan and Ruth St. Denis, yet there is no record of his having seen them, or any of the other dance artists who were revolutionizing the art form during this period. But in 1937, something happened that was to change his understanding of dance altogether. At that time, Campbell was living the life he had dreamed up for himself, teaching comparative literature at the all-female Sarah Lawrence College with plenty of time on the side to continue his reading and study of world mythology. The same year he arrived, a young co-ed named Jean Erdman began her studies there, too. Born and raised in Honolulu, Erdman grew up dancing hula at family parties and picnics almost as soon as she could walk. The daughter of Dr. John Pinney Erdman, a Protestant minister and Marion Dillingham, a member of one of the major industrialist families of Hawaii, Jean attended the exclusive Punahou School where she learned Isadora Duncan style interpretive dance.[viii] After a year spent at Miss Hall’s School for Girls in Pittsfield, MA, where her intellect was ignited but her mind was troubled by the prevailing Puritanical attitude towards dance— she was disciplined for teaching hula to her classmates, she arrived at Sarah Lawrence full of youthful enthusiasm and a questing mind. [ix] She dove into the dramatic, percussive dance technique taught there by modern dance pioneer, Martha Graham and members of her company, continuing her study at the Bennington Dance Festival during the summers. She also studied comparative religion and Irish culture and theater. [x] By her junior year, Erdman was committed to a life in dance and wanted to expand the breadth of her studies to include philosophy and aesthetics. Judging by her friends’ descriptions of his classes, she thought that Professor Campbell, heartthrob of the campus, seemed the ideal tutor for her interests and decided to ask him for a private conference course. Self-selected private tutorial courses were a distinguishing feature of the program at Sarah Lawrence. A chance encounter at the library on a rainy night turned into an interview at Campbell’s office where, as the story goes, Campbell asked her, “What do you want to study?” “I want to study aesthetics. I want to study Pluto.” she replied. “Pluto?” he asked. “You mean Plato!” Despite her error, (or Freudian slip), Campbell agreed to the tutorial as long as Erdman also attended his lecture course on Thomas Mann, which included reading assignments on Schopenhauer, Kant and Nietzche. Erdman was happy to comply. [xi] So, much to the envy of the entire campus, the dashing scholar and the beautiful dancer met every Tuesday from 12:30 to 1:30 to discuss art and philosophy. By the end of the semester, neither wanted the relationship to end. But Erdman would not be returning to campus the next year; instead she would take a trip around the world with her family. As a parting gift, Campbell gave her a copy of Oswald Spengler’s The Decline of the West, knowing that she would need to stay in touch with him in order to understand it. As her parting gift, Erdman invited Campbell to see her perform at Bennington later that summer. [xii] What he saw there was not only the talent and beauty of his special student, but a whole new evolving art form, rooted in a glorious exploration of the possibilities of the human body. Here was a whole cadre of young choreographers (Martha Graham, Doris Humphrey, Charles Weidman, Hanya Holm) searching for original aesthetic forms through which to express their keen observations of the human condition, both inner and outer. Here was a field where Campbell could explore his burgeoning theory of the relationship of myth to aesthetic form and psychological structures. [xiii]Here was a dancer, Jean Erdman, with whom he could share his passion for art, myth, and a soul-directed life. By the time Erdman left to join her family in Honolulu the two were already continuing their dialogue through a correspondence that grew ever more intimate as Jean traveled around the world. While Erdman experienced physically all the forms of the world, both natural and man-made, Campbell, traversed the planet through the power of his imagination, elucidating for his beloved, as he would for so many others, the life-enhancing magic of the mythic symb

"I have found that I am most happy and I feel so much closer to him when I am doing music," the country up-and-comer tells PEOPLE

The Campbell Kids appeared in Campbell's Soup advertising for decades, always with those little round faces. Here, see dozens of vintage toys, cups and more with their images, find out how they began, and meet the artist!

Find your perfect flavour with Campbell’s® Concentrated Broth! Our concentrated broths are up to 4x concentrated vs. Campbell’s® Ready to Use Broths so that you can customize the flavour intensity of your dishes.

Rebecca Campbell is a bestselling author, oracle creator and devotional artist who leads activating workshops internationally, giving people an experience of their soul. Through all of Rebecca's creations she encourages people all over the world to spend more time with their soul and connect to their own Inner Temple. www.rebeccacampbell.me

Cindy Crawford, Naomi Campbell and Chandra North for Christian Dior, Fall RTW 1997

After Gareth Bale became the 20th British player to score in a European Cup final, he looked fresh enough to go out and do it all again. This is how it must feel to be high on the euphoria of an unstoppable rise to the top of the world.

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Dinner made simple! Check out our top 5 one-pot pasta recipes. Perfect for busy families and hungry mouths. Tonight's dinner is sorted!

The R&B singer who came out to his friends and family around the age of 19 says what his fans think of his orientation is of no importance.