Premier Magazine PH Vol. 2 - Issue 10 October 2022 The Human Spirit

Pr emier SAPERE AUDE ISSN2799-0702 Vol. 2.10 OCTOBER, 2022 ISSUE

© repiashenko.com

ABOUT THE COVER SPIRIT is Yevgeniy Repiashenko's series of photographs which received various citations and awards globally. Our featured cover photographer is a master of his craft, specializing in dance dynamics and sculpture, portrait, and fashion photography, but his primary genre is nude female photography. His interest is evident in his works, as only the eye that can see through physicality can achieve such moving visuals. Our October cover represents, nonetheless but the human spirit.

Yevgeniy Repyashenko was born in Kyiv, Ukraine, in 1979.

Portrait and fashion photography were his early influences, as his interests were in glossy fashion magazines and music. At 20, while studying at the National Technical University, he started to work with his first SLR camera. After graduation, he created his High -End audio salon as he pursued his passion for music and technology. He worked on his music in the morning and fine art photography in the evening. He studied photography lighting techniques and did his post-processing. He eventually created his fully equipped studio and made his passion into his profession.

His works always reflect poetic beauty, naked grace, and harmony. Being fascinated with classical sculpture and Renaissance painting, Yevgeniy finds a new creative direction - sculpture photography and the plastic movement. The flawless nudity of ballerinas' and gymnasts' bodies freezes in a dance fit, leaving the most substantial feelings and passion in the frame. At first glance, they do not seem real but are sculpted by the hands of the master. His SPIRIT series combines the texture of classical sculpture with the feeling of modern rhythm and emotions.

His most recent awards include the Monovision Awards 2022, Nude - Honorable Mention, and the 15th International Color Awards Fine art 2022 - Honorable Mention.

The Night City Tango.

It was unreal, something from another world, a piece of the past and forgotten epoch. It looked like you were in a time machine.

Among the crowded streets of Lviv City, we ran into a small platform filled with light and excellent music. About five pairs were dancing the tango. Slowly, sensual, savoring with every movement. They weren't artists, just ordinary people who preferred body language to words. The show was stunning. Maksym Kaharlytskyi, Photo taken in Lviv, Ukraine , 2019 © Maksym Kaharlytskyi

IN THIS ISSUE Khalil Gibran said, "Life without liberty is like a body without spirit." Artists breathe freedom to express themselves as soldiers do to defend their country. This October, we explore the strength and beauty of the human spirit in praise of the living and revisit things from the past that inspired us and shaped our lives today. We visited our friends from Ukraine but this time, sharing more about their love for the arts. The world knows only of the war-torn country, but there is much to learn and discover.

Movements. One of the art forms close to our hearts is Dance. Unknown to many, Dance is not only a form of expression and discipline; it is also a part of philosophy imbibed throughout history and has a significant role in every culture. It is a form of thinking done physically through our bodies. For Socrates, Dance was the optimum way of moving the body in simultaneous symmetry with all of its parts, unlike other physical activities, such as running or wrestling. The relationship between beauty (kalos) and more beautiful (kallion) is of movement and proportion.

Across our pages are photos and depictions of Dance through photography; architectures that still stand with the spirits of the old world; new creations that come about with the spirit of great innovativeness; and as we look into the future with our heads up, we imagine a better life ahead. And more importantly, the best of human kindness grows in a garden of inspiration and compassion as people show their support for each other at the most challenging times. Let the heart of goodness reverberate; let it move your senses. Pain only exists to remind us that we are alive and that even from scars come brave spirits.

The Publisher

LVIV, t he soul of Ukraine ?A cent ral European miracle?: w hy t he cit y of Lviv is so import ant for Ukraine Christoph Mick, Author Professor of Modern European History, University of Warwick originally published on The Conversation.

Concerns are mounting that Russian invading forces are seeking to push into western Ukraine, after the region of Lviv was subjected to missile strikes fired from the Black Sea on March 18. Lviv lies 550km west of the Ukrainian capital, Kyiv and its residents have been preparing for war for months.

The strategic importance of their city cannot be overstated. As mayor Andriy Sadovy repeatedly said: ?Kyiv is the heart of Ukraine, but Lviv is the soul.?

Sadovy was referring to the city?s pivotal role in creating the modern Ukrainian nation. Lviv and the wider Eastern Galicia region (today Lviv, Ivano-Frankivsk and Ternopil regions) have played a central role in the Ukrainian nation-building process since the second half of the 19th century. But the city?s history and importance ? political, religious and cultural ? far predate those tempestuous times.

The city has long been both the place where people most strongly identify with Ukraine and a multicultural hub ? you only have to look at the many languages in which the city has a name ? Lwów in Polish, Lemberg in German, Leopolis in Greek. Like the country as a whole, the city?s cultural, political and economic development is firmly embedded in European history.

© Alexander Zvir

Adam Mickiewicz Monument ? ??'?? ??? ???????? ????????

The Adam Mickiewicz Monument, also known as the Adam Mickiewicz Column, (Polish: Kolumna Adama Mickiewicza we Lwowie, Ukrainian: ? ??'?? ??? ???????? ????????), is a Neo-classical column commemorating the Polish Romantic poet Adam Mickiewicz (1798?1855) located at the Mickiewicz Square in the centre of Lviv, Ukraine, and opened in 1904.

Bandinelli Palace is a late Renaissance townhouse facing Market Square in Lviv, Ukraine. It was built in 1589 by a pharmacist Jarosz Wedelski, and in 1634 it was bought by a Florentine merchant, Roberto Bandinelli, known as the founder of the first post office in eastern Galicia. © Alexander Zvir

The cit y of Leo Lviv?s many names are variations on a theme: the city of Leo. In 1256, King Daniel of Galicia-Volhynia, a descendant of the rulers of the Kyivan Rus, built a fortress for his son and heir, Leo. He situated it beside an old settlement on the site of contemporary Lviv.

For the first 100 years, the city was ruled by Daniel and his successors. From 1349, it was part of Poland (with a short Hungarian interlude). And in 1772 it was annexed

by Austria, under whose rule it remained until the first world war.

But well before the 19th century Lviv was a spiritual centre of the Orthodox world. Between the 15th and 18th centuries, it was the seat of influential Orthodox brotherhoods and home to Ivan Fedorov, who printed the first Bible in Church-Slavonic (the liturgical language shared by Slavic Orthodox Churches).

Lviv also became the seat of three archbishops, from the Roman-Catholic (in 1412), Armenian-Catholic (1630) and Greek-Catholic (1807) churches.

On April 1 1656, in the Latin Cathedral of Lwów, King John II Casimir entrusted the Polish-Lithuanian Commonwealth to the protection of the blessed Virgin Mary and proclaimed her queen of Poland. Two years later, Pope Alexander VII bestowed on Lviv the heraldic motto, Leopolis semper fidelis, meaning: ?The city of Leo is always faithful?(to the Catholic Church).

The Greek Catholic denomination is known today as the Ukrainian Greek Catholic Church. It follows the Byzantine (Greek) liturgy but, like the Armenian-Catholic Church, is in full communion with the worldwide Catholic Church in that it recognises the Pope, in Rome, as its head. And most Ukrainians in the region are Greek-Catholics.

Lviv was also a centre of Jewish life. It hosted a Progressive synagogue ? Eastern Europe?s first Reform temple, which was destroyed in 1941 by the Nazis ? as well as Orthodox and Hassidic synagogues.

Ukrainian nat ional movement In the second half of the 19th century, Lviv and the Eastern Galicia region (two-thirds of whose population were Ukrainians) became the centre of Ukrainian political activism. This was made possible by the liberal climate in Austria-Hungary.

To the east, in its Ukrainian provinces, the Russian Empire was arresting Ukrainian activists, shutting down organisations and banning publications in Ukrainian in an attempt to suppress the growing national movement. Lviv, meanwhile, was an intellectual and political centre, hosting the headquarters of several societies (the Ukrainian Scientific Shevchenko Society, the Ukrainian educational society Prosvita), and many cooperatives and political parties.

On the eve of the first world war, the city had 206,100 inhabitants, half of whom were Polish Roman Catholics, with significant Jewish (28%) and Greek-Catholic (19%) minorities. Polish elites and Polish culture dominated, but in the decades that followed, Lviv was increasingly a contested city. Between 1914 and 1944, the city changed hands seven times.

After the collapse of Austria-Hungary, Ukrainian soldiers took control of Lviv on November 1 1918, making it the capital of the newly proclaimed Western Ukrainian People?s Republic. They were driven out three weeks later by Polish troops who immediately started a pogrom against the Jewish population. The Ukrainians became unwilling citizens of the Second Polish Republic.

In the second world war Lviv was first occupied by Soviet troops, then by the German Wehrmacht ? which murdered the city?s Jewish population ? and was finally absorbed into the Soviet Union in 1945. Ukrainian nationalist organisations had initially sided with Nazi Germany before they were forced underground. For them, the main enemy was the Soviet Union and they continued their fight until the early 1950s. After the Soviet Union expelled the region?s Polish inhabitants, Ukrainians moved to the city and became the overwhelming majority, with Russians as the largest national minority amid an influx from other parts of the Soviet Union too.

Pékarska Street Pekarska Street is one of the streets of Lviv , located in the Lychakiv district . It stretches from Ivan Franko Street to Mechnikova Street (near the main entrance to the Lychakiv Cemetery ). It passes between Lychakivska and Levytskogo streets , parallel to them. The construction of Pekarska Street is diverse: Viennese classicism , modernism , Zakopane style , constructivism , Stalinist empire , new buildings. A significant amount of educational and medical infrastructure is located on the street. © Alexander Zvir

As part of the Ukrainian Soviet Socialist Republic, Lviv was industrialised and its population more than doubled. Lviv became a scientific hub with several universities and many research centres. It also became an important centre of the Ukrainian dissident movement. In 1991 Lviv was finally able to celebrate Ukrainian independence. The city has maintained its reputation as the place where people most strongly identify with the Ukrainian nation. Russia?s invasion, though, has spurred a similarly potent sense of identification with Ukraine in Mariupol or Kharkiv.

Lviv and Lvivians have a unique flair, which is difficult to adequately express in words. Since 1998, the historic centre has been listed as a Unesco world heritage site for its architecture, left largely, and remarkably, untouched by the two world wars.

More akin to Vienna or Krakow than Moscow, it boasts gothic, renaissance and baroque influences, with classicism, historicism, art nouveau, art deco, interwar modernism and ? mostly in the outskirts ? Soviet brutalism, all shaping its skyline.

But in contrast to Kyiv, Lviv is less of a bridge between eastern and western Europe and more of a miracle ? a central European miracle. - PremierMagazinePh

The baroque building of the modern church was laid in 1749 according to the project of the engineer and architect Jan de Witte . From that time until the Second World War , the Church of the Corpus Christi of the Roman Catholic monastery of the Dominican order was located in the premises of the modern church .

In Soviet times, warehouses were set up in the cathedral and monastery cell buildings, and since 1973, the Museum of the History of Religion and Atheism has been housed in these buildings .

In the 1990s, the church was handed over to the UGCC and consecrated in honor of the Holy Eucharist . © Alexander Zvir

LVIV Lives Lives continue in photo images Earlier this October, Alexander Zvir, one of Premier's contributing photographers, held an exhibition of his works called PASTELS of LVIV at the FIXAGE Cafe Museum in Lviv, Ukraine. We asked why the exhibit was titled as such; Alexander replied, "Why "Pastels"? - because almost all the photos made were in pastel colors, I used Kodak Vision color film for this effect."

As a sign of commitment and support, the proceeds will go to the needs of the Armed Forces of Ukraine, including the medical unit of their 103rd separate brigade of TRO and the legendary 80 s.

His work can be purchased directly at the exhibition in the cafe museum. Special thanks were likewise extended to the organizer and curator of the event, Roman Biliavskyi, and the exposure curator, Valery Leshchynsky.

Note from the editor: A few days after the exhibit, Russian missiles hit their power supply, making it difficult for their citizens to live normally. Nevertheless, they were able to keep connected with us for the completion of this feature? our sincere gratitude to all the participants and the people of Lviv.

Lviv is a city where the streets smell of coffee and chocolate.

Lviv is a city where the Middle Ages and modern architectural trends met.

Lviv is a city to which you want to return again and again.

To return to the city, where the streets are made of cobblestones, and the warm light of family coziness pours from the windows.

In a city where it often rains, and an umbrella is an invariable attribute that should always be at hand.

To the city where lions rest on stone pedestals, protecting the peace of the townspeople.

Lviv is an ancient city in the west of Ukraine. Founded at the end of the 12th century, Lviv absorbed the rich culture of various ethnic groups that inhabited it - Ukrainians, Poles, Armenians, Jews, Greeks, Italians and many travelers from all corners of the world. This photo exhibition is about the life of our city.

A life that goes on, despite all the troubles.

Despite the war.

Since February 2022, Lviv has become one of the main hubs that received hundreds of thousands of refugees from the east of Ukraine who were forced to leave their homes due to danger.

Our city has become a new home for tens of thousands of people who have lost a roof over their heads.

Because life always wins.

And our eternal city is our life.

Thanks to the people who love him.

Thanks to the soldiers who protect him.

Thanks to artists who capture moments on film.

- Lyudmyla Zvir ?? ????? ????

© Alexander Zvir

The husband and wife team at the photo exhibit.

At the opening of the photo exhibition «??????????? ??» - ??? ??????? ?????????? ????? / ?????

2022 in ???'???? ?????? ????-??? ?? ?????? ? ????? .

Alexander Zvir is a well-known Lviv photographer. With him is Roman Biliavskyi, organizer and curator of the photo exhibit. His work can be purchased directly at the exhibition in the Fixage cafe museum.

Opening of Fotoproêktu "Pastelí lviv", author Alexander Beast Cafe Museum of film-phototechnics "Fixage", St. Prince Romana, 6, Lviv, Ukraine October 1, 2022

The FIXAGE Cafe Museum of Film and Phototechnics is a treasure trove for collectors, photographers and photo enthusiasts. It is brimming with history and ancient photo and camera collections, which can only be found at this one-of-a-kind cafe museum.

All photos used for the feature are courtesy of Alexander Zvir

FIXAGE Cafe Museum of Film and Phototechnics owner, ???? ???? ?? ????? (Lyubomyr Yanushevych)

"Kherson region is Ukraine" is an arts charity project where artists, illustrators, artists create paintings and illustrations, and further sales of paintings, merch and NFTs bring funds to the liberation of Southern Ukraine. The mission of the art project in moral support of the residents of the occupied Kherson region and IDO from Kherson, Nikolaev, Zaporizhzhia, Dniprovsk and other regions, and the liberation of Ukraine from the occupiers.

20 artists, nine of them included in the National Union of Artists of Ukraine, created more than 50 art paintings within the art residence in Uman and about 50 more works the artists have submitted for participation in exhibitions. In the future, the sale of art works will be carried out on offline and online auction. Funds from the sale of paintings will go to the needs of the Armed Forces of Ukraine, and after the liberation of the occupied territories will be directed to the reconstruction of cultural monuments of the South.

Everyone interested can financially support the art project, and if you can't buy a painting author's work, copies made in canvas / prints of the works of famous artists and beginners will be available / .

Active link to the site of bf "this craft" where all images of artwork are collected: https:// itscraft.com.ua/ kherson-tse-ukraina/ We invite you to visit the art charity project: "Kherson ??ina is Ukraine" The exhibition will be available for review from October 14, 2022.

Opening of the exhibition - October 14, 2022 / 17:00 pm.

At: Ukraine, Lviv city / basement street, 4 Creative Union Enterprise "Center of Architecture, Design and Urbanism "POROKHVA TOW ER" Curators of charity art project "Kherson »ina is Ukraine": - Victoria Kulakova / m. Kherson / , Paul Yarmiy / m. Kherson / , Roman Bilyavsky / m. Lviv / EVENT: https:// www.facebook.com/ events/ 829371438186743/ permalink/ 829373804853173/ ?notif_id=1665517693411093&notif_t=feedback_reaction_generic&ref=notif MEDIA PARTNER: "Nowy Kurier Galicyjski" Chairman of the lviv regional organization of the national union of architects of Ukraine / Nikolai Sheremet Project coordinators at the "Center of Architecture, Design and Urbanism "Porokhov Tower" / Angelina EFIMENKO / , Nazar CEDULYAK / .

Volunteers of the Center: / Sofia Yaremchuk / , Anastasia Pristupa / / contact tel. : +38 067 748 50 02 / +38 098 736 08 20 / ????????????? ??????????? ? ??? , ? ??????? ???????? , , @PERSON.firstname , ????? ????? ,@PERSON.lastname , . , , zyll, Mila Kvitka , ?@TAG , ,@TAG , ? ??? ? ?? ???????? , , , , , @PERSON.firstname , ?????????? ?????? ? ?? ???????? ??????????? ? ? ? , @Yuri Melnyk, , @ ? ???????? ???????? Alexander Zvir ,@TAG , Alexander Zvir ... / Thank you to everyone who joined... Together for the win! / / Everything will be UKRAINE!!! / Organizers of the project: NGO "Agency of Regional Development of Tavríjs?kogo Association of Territorial Communities" Charity Foundation "It's a CRAFT" NGO "Center for Initiatives for Social and Cultural Development in Ukraine" Civitas LEOPOLIS International Art Association The organizers of the event: Creative Union Enterprise "Center of Architecture, Design and Urbanism "Porokhov Tower" Lviv Regional Organization of the National Union of Architects of Ukraine Lviv Regional Military Administration Kherson Regional Military Administration The Department of Culture, Nationalities and Religion.

Lviv Regional State Administration The event will be held with the assistance of official partners: Ukrainian Cultural Foundation Tourism and Resorts Management of Lviv Regional State Administration NGO "Center for Promotion of Cultural and Social Development in Ukraine" NGO "Center for assistance and development of international projects UNESCO in Ukraine" Public Organization Rotary Club "Lviv" NGO «Art Photographic Association of Ukraine» / APAU / Public Organization "Art - Cultural Association ART - SPECTR" AMBROSIA 21 NGO Public Organization "POKUTSKI INITIATIVES" W ELCOME! GLORY TO UKRAINE! GLORY TO THE HEROES!!! © All rights reserved

A Prophecy Fulfilled

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THE NUTCRACKER The Classic Christmas Story Ballet The origin of the Nutcracker, a classic Christmas Story, is a fairy tale ballet in two acts centered on a family?s Christmas Eve celebration. Alexandre Dumas Père?s adaptation of the story by E.T.A. Hoffmann was set to music by Tchaikovsky and originally choreographed by Marius Petipa. It was commissioned by the director of Moscow?s Imperial Theatres, Ivan Vsevolozhsky, in 1891, and premiered a week before Christmas 1892. Since premiering in western countries in the 1940s, this ballet has become perhaps the most popular to be performed around Christmas time. The story centers on a young girl?s Christmas Eve and her awakening to the wider world and romantic love. The composer made a selection of eight of the more popular pieces before the ballet?s December 1892 premiere, forming what is currently known as the Nutcracker Suite, Op. 71a, as is heard in Moscow Ballet productions. The suite became instantly popular; however the complete ballet did not achieve its great popularity as a Christmas performance event until almost 100 years later.

Performance History and the St. Petersburg Premiere The first performance of the Christmas ballet was held as a double premiere together with Tchaikovsky?s last opera, Iolanta, around the Christmas holiday season on December 18 [O.S. December 6] 1892, at the Imperial Mariinsky Theatre in St. Petersburg, Russia. It is generally agreed that Lev Ivanov, Second Balletmaster to the St. Petersburg Imperial Theatres, worked closely with Marius Petipa, Premier Maître de Ballet of the St. Petersburg Imperial Theatres and widely regarded as the Father of Russian Ballet, to create the holiday ballet. It was conducted by Riccardo Drigo, with Antoinetta Dell-Era as the Sugar Plum Fairy, Pavel Gerdt as her Prince, Stanislava Belinskaya as Clara/ Masha, Sergei Legat as the Nutcracker Prince, and Timofei Stukolkin as Uncle Drosselmeyer. More about Tchaikovsky?s classic ?Nutcracker?score In Europe and the U.S. The Christmas ballet was first performed outside Russia in England in 1934. Its first United States performance was in 1944 by the San Francisco Ballet, staged by its artistic director and Balanchine student W illam Christensen. The New York City Ballet first performed George Balanchine?s Nutcracker in 1954 but the holiday ballet did not begin to achieve its great popularity until after the George Balanchine staging became a hit in New York City. The now well known Christmas story has been published in many book versions including colorful children-friendly ones. The plot revolves around a German girl named Clara Stahlbaum and her coming-of-age one Christmas holiday. In Hoffmann?s tale, the girl?s name is Marie or Maria, while Clara ? or ?Klärchen? ? is the name of one of her dolls. In the Great Russian Nutcracker, she is affectionately called Masha.

Composition History Tchaikovsky accepted the commission from director of Moscow?s Imperial Theatres, Ivan Vsevolozhsky, writing to a friend while composing the ballet, ?I am daily becoming more and more attuned to my task.?

W hile composing the music for the charming Christmas story, Tchaikovsky is said to have argued with a friend who wagered that the composer could not write a melody based on the notes of the octave in sequence. Tchaikovsky asked if it mattered whether the notes were in ascending or descending order, and was assured it did not. This resulted in the Grand Adage from the Grand Pas de Deux of the second act where Clara/ Masha dances with her magical Christmas present, the Nutcracker Prince. Among other things, the score of The Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad, The Voyevoda (premiere 1891). Although well-known in The Nutcracker as the featured solo instrument in the ?Dance of the Sugar Plum Fairy?from Act II, it is also employed elsewhere in the same act. - nutcracker.com

IAN OCAMPO Transcending Adversity

The Philippines is a melting pot of many talents and artists, and dancers are one of them. Unfortunately, only a few are in the field of ballet and are mostly ballerinas. One of the few who has made a name in Ballet Philippines is Ian Ocampo. He has been featured and written about numerous times in the most prominent publications in Asia over the last twelve years, and he never tires of dancing professionally.

Here's our current conversation with him as shows and live performances are back on stage.

P: How did your interest in dance start, and why ballet in particular?

IO: I w as a t rack and field player before I entered t he world of Dance. I w as 12 w hen my brot her-in-law (a former ballet dancer) int roduced me to ballet . I w as skept ical at first , know ing t he st igma t hat we have for male dancers in ballet . But I immediately fell in love w it h t he physicalit y and lyricism of ballet ; It 's somet hing t hat you wouldn't find anyw here.

P: Who are your influences? How long have you been dancing professionally?

IO: Mikhail Baryshnikov in Dance and several ot her people I have worked w it h and w atched. I have been dancing professionally for 12 years.

P: Ballet is heavy on physical, mental, and emotional discipline, and should we include spiritual?

IO: I guess you could say t hat . Because w hen t hose t hree t hings took t heir toll, it w as t he spirit ual side t hat balance t hings out . Professional dancing, in general, is spirit ual. Because for you to st ick to t his very demanding art form, you have to believe in w hat t his art form is capable of giving to you.

P: What is your typical day like?

IO: How I st art my day is not far from t he usual of many people. First , I check my email w hile having coffee. Then I prepare my t hings for work and t ake a shower. After t hat , I go st raight to work. Our company class usually st art s at 10 am and ends around 12:30 pm. Then we'll have our lunch break for about an hour. After t hat , we w ill go to rehearsals w hich usually end around 6 pm.

P: Male Filipinos have a different perspective on Dance in general; how was your experience, and how do people react when they see you perform or discover that you are a ballet dancer?

IO: I grew up loving basket ball and running. So w hen I t ransit ioned to classical ballet , I w asn't too vocal about my "new found sport ," but everyt hing changed w hen I discovered t hat many know n names in different sport s use classical ballet as cross-t raining. I realized t hat it 's how how you enlighten people to be on t he same page as you.

P: How is it being with the Ballet Philippines over the years? Please share with us your memorable experiences/ performances.

IO: It 's t he ballet company I grew up w atching. That 's w hy w hen I got t he chance to be part of BP, I went for it . In t he last five years, I've been part of every major product ion of t he company. But my most memorable experience w as dancing w it h Don Jose in Bam Damian's Carmen. It 's a very humbling and nurt uring experience t hat I w ill be forever grateful for.

P: Ballet originated in Europe. Do you think there's still opportunities for Asians?

IO: I believe at t his point and t ime, opport unit ies in Dance have never been more dist ributed. May it be in t he Americas and Europas, Asians cont ribute well.

"Everything will follow if you motivate yourself to do great things and give a helping hand to those who need it."- IAN OCAMPO Principal Dancer, Ballet Philippines

P: With tech at the center of our lives now, we still think the arts must be experienced personally to appreciate them better, as films are far better viewed on the big screen. Will technology help or depreciate the value of the arts in general, from your point of view as a dancer? There is already an app called Dance Like that teaches dancing.

IO: From my perspect ive, technology helped t he art s great ly during t he pandemic. As an educator and dancer, it helped me connect , work, and educate people from different part s of t he world t hrough Zoom. But st ill, not hing beat s live performances and physical coaching/ classes.

Ballet is a physical art form, and I st ill believe it should be t aught and w atched face to face to t horoughly feel and underst and.

P: You teach ballet; how are your students in general?

What is the current situation from your end as an instructor? Has the pandemic lessened the interest in ballet?

IO: Our st udent s in AMON performing art s school are very passionate and hardworking kids. I couldn't be more proud of how t hey learned to be t he next dancers of t his generat ion. I work seven days a week. Dancer on weekdays and ballet teacher on weekends. It 's not t he easiest to do, but it 's very fulfilling. It great ly decreased during t he first year. But it 's slow ly recovering, especially w it h t he opt ion of online and face-to-face classes.

P: What are your plans for the time being?

IO: My plan is to maximize my dancing career before going full-t ime in my school. I believe t hat prolonging my career a lit t le bit more w ill help me to be a more effect ive educator in Dance by gat hering as much informat ion and experience as I can.

P: Can you say, at this time, that ballet can be inclusive?

IO: It is already. I st rongly believe t hat t he ballet scene and it s audience have changed in a posit ive w ay in t he last fift y years. The communit y has been more welcoming and helpful, especially to t hose individuals w ho have t he skills to be professional ballet dancers but cannot afford dance educat ion.

P: Lastly, what is your motivation?

IO: To be a bet ter human being. Everyt hing w ill follow if you mot ivate yourself to do great t hings and give a helping hand to t hose w ho need it . PremierMagPH

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Canning Rise, Fort Canning Park Tree Tunnel, Singapore

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?It's time to write our own story.?

- Misty Copeland Born in Kansas City, Missouri and raised in San Pedro, California, Misty Copeland began her ballet studies at the late age of thirteen. At fifteen, she won first place in the Music Center Spotlight Awards. She studied at the San Francisco Ballet School and American Ballet Theatre?s Summer Intensive on full scholarship and was declared ABT?s National Coca-Cola Scholar in 2000. Misty joined ABT?s Studio Company in September 2000, joined American Ballet Theatre as a member of the corps de ballet in April 2001, and in August 2007 became the company?s second African American female Soloist and the first in two decades. In June 2015, Misty was promoted to principal dancer, making her the first African American woman to ever be promoted to the position in the company?s 75-year history.

In 2008, Misty was honored with the Leonore Annenberg Fellowship in the Arts, a two-year fellowship awarded to young artists who exhibit extraordinary talent providing them additional resources in order to attain their full potential. Performing a variety of classical and contemporary roles, one of Misty?s most important roles was performing the title role in Firebird, created on her in 2012 with new choreography by much sought after choreographer Alexei Ratmansky. In December 2014, Misty performed the lead role of ?Clara? in American Ballet Theatre?s production of The Nutcracker, also choreographed by Alexei Ratmansky. In the fall of 2014, she made history as the first black woman to perform the lead role of ?Odette/Odile? in American Ballet Theatre?s Swan Lake during the company?s inaugural tour to Australia. Misty reprised the role during ABT?s Metropolitan Opera House spring season in June 2015, as well as debuted as ?Juliet? in Romeo & Juliet.

Misty has been featured in numerous publications and television programs, including CBS Sunday Morning, 60 Minutes, The Today Show, This Week with George Stephanopoulos, MSNBC?s Melissa Harris Perry, Vogue, Essence, Ebony, and People Magazine. She was honored with an induction into the Boys & Girls Club National Hall of Fame in May 2012 and received the ?Breakthrough Award? from the Council of Urban Professionals in April 2012. She was named National Youth of the Year Ambassador for the Boys & Girls Clubs of America in June 2013. She received the Young, Gifted & Black honor at the 2013 Black Girls Rock! Awards.

Her endorsements, past and present, include American Express, COACH, and Diet Dr. Pepper. In 2014, Under Armour launched Misty as one of the faces of their ?I Will What I Want? campaign with a commercial that went viral, gaining over 9,000,000 views to date.

Misty?s passion is giving back. She has worked with many charitable organizations and is dedicated to giving of her time to work with and mentor young girls and boys. In 2014, President Obama appointed Misty to the President?s Council on Fitness, Sports, and Nutrition.

Misty is the author of the New York Times Bestselling memoir, Life in Motion, co-written with award-winning journalist and author Charisse Jones, published March 2014. She has a picture book titled Firebird in collaboration with award-winning illustrator and author Christopher Myers, published September 2014. She received an honorary doctorate from the University of Hartford in November 2014 for her contributions to classical ballet and helping to diversify the art form. -mistycopeland.com Photo shows Misty Copeland and Alexandre Hammoudi Born in Paris, France, Alexandre Hammoudi began his training at ten with Max Bozzoni of the Paris Opera Ballet. He continued his training at the Academy of Dance Salle Playel in Paris from 1996-1999, and received further training at the English National Ballet School in London and at the School of American Ballet, both on full scholarship.

Hammoudi has won numerous international competitions, including the Trophee Arabesque and the Biarritz Dance Competition. At 17, Hammoudi became a member of the National Ballet of Cuba and toured South America with that company, dancing roles in Carmen, Cinderella, Don Quixote, the peasant pas de deux in Giselle and the pas de six and mazurka in Swan Lake. - ABT

© Rolls - Royce Motor Cars

?Spectre possesses all the qualities that have secured the Rolls-Royce legend. This incredible motor car, conceived from the very beginning as our first fully-electric model, is silent, pow erful and demonstrates how perfectly Rolls-Royce is suited to electrification. Spectre?s all-electric pow ertrain w ill assure the marque?s sustained success and relevance w hile dramatically increasing the definition of each characteristic that makes a Rolls-Royce a Rolls-Royce. ?At Rolls-Royce M otor Cars, perfection is about more than making the very best products. It is a culture, an attitude and our guiding philosophy. Indeed, it is our founding father Sir Henry Royce w ho said, ?strive for perfection in everything you do?. Spectre has been conceived w ithin this culture. It is perfectly in tune w ith the sensibilities of our time. It states the direction for the future of our marque and perfectly answ ers a call from the most discerning individuals in the w orld to elevate the electric motor car experience, because Spectre is a Rolls-Royce first and an electric car second. ?This is the start of a bold new chapter for our marque, our extraordinary clients and the luxury industry. For this reason, I believe Spectre is the most perfect product that Rolls-Royce has ever produced.?

Torsten M üller-Ötvös, Chief Executive Officer, Rolls-Royce M otor Cars

From New York Times bestselling and award-winning author and American Ballet Theatre principal dancer Misty Copeland comes an illustrated nonfiction collection celebrating dancers of color who have influenced her on and off the stage.

As a young girl living in a motel with her mother and her five siblings, Misty Copeland didn?t have a lot of exposure to ballet or prominent dancers. She was sixteen when she saw a black ballerina on a magazine cover for the first time. The experience emboldened Misty and told her that she wasn?t alone? and her dream wasn?t impossible.

In the years since, Misty has only learned more about the trailblazing women who made her own success possible by pushing back against repression and racism with their talent and tenacity. Misty brings these women?s stories to a new generation of readers and gives them the recognition they deserve.

With an introduction from Misty about the legacy these women have had on dance and on her career itself, this book delves into the lives and careers of women of color who fundamentally changed the landscape of American ballet from the early 20th century to today.

Misty Copeland made history by becoming the first African American female principal dancer for the American Ballet Theatre. The bestselling author of Life in Motion and the children?s books, Firebird, Bunheads, and Black Ballerinas, she is the recipient of the Leonore Annenberg Fellowship in the Arts and an inductee into the Boys and Girls Club Alumni Hall of Fame. In 2015, Misty was named to Time magazine?s 100 list and was one of Glamour magazine?s ?Women of the Year.? She lives in New York City. Visit her online at MistyCopeland.com.

Simon and Schuster

©Rolls-Royce Motor Cars

© Rolls - Royce Motor Cars

QUICK STYLE is the Norwegian dance group formed in 2006 by the Pakistani-Norwegian twin brothers Suleman Malik, Bilal Malik and their Thai-Norwegian childhood friend Nasir Sirikhan. The passionate dancers decided to change lives and build a dance culture amongst youth worldwide.

Their big break came when they were invited to compete against all their idols and friends, such as Les Twins, Jabbawockeez, Keone, and Mari. The whole competition was a significant learning experience and one of the best times in their dance journey. The bonus was when they got praised by J.Lo and Neyo at NBC World of Dance for looking like the most stylish boy band.

Their name, Quick Style, was derived from the Youtube comment section they adopted, and it now represents their movement in any field of creativity. Keywords for what they consider «Quick Style» would be universal, timeless, precise & soulful. © Quick Style

QUICK STYLE Creating A Sustainable Impact on the World In June this year, the group was a major hit when they performed during a wedding to a medley of mostly Bollywood hits at a Pakistani wedding in Oslo, Norway, which went viral on TikTok and Instagram and had more than 84 million views on Youtube. While it is standard practice at most South Asian weddings, their dancing style expresses finesse, class, and energy. And when asked about their ambitions, they have this to say, "Our ambitions in life would be to create a real, sustainable impact on the world. One of our ongoing projects is to provide a place for the next generation to build their future in a safe and secure environment."

"Seeing the unexpected is part of what makes things go viral.? In one of their interviews for The National News, Bilal says he's proud of the group's diversity. ?Our dance studio in Oslo has about 250 active members. Norway is so diverse, we have rich and poor students, kids who get dropped off in their cars and those who have to ride the bus for an hour, but when they get here, we become one community irrespective and the wedding video was the result of that," he says. ?The boys in it are a mix of Norwegian, Pakistani, Indian, Albanian, Moroccan, Thai, Filipino ? but our world is one.?

In 2019, Quick Style were named Unicef goodwill ambassadors from Norway, working to reduce racism as part of the UN?s Sustainability Development Goal #10: reducing inequalities. ?We worked for inclusiveness with immigrants coming to Norway, escaping war or other difficult situations,? explains Sirikhan. ?Our job as ambassadors was to show people that you can be Norwegian even if you were not blonde or blue-eyed. Being born and raised in Norway and enjoying all the things we do right now, both here and internationally, just shows the possibilities open to young people.?

In the coming years, the group aim to have studios all over the world, including one in Dubai.

All photos by Oktawian Gornik

© Quick Style

Photo Courtesy of Saatchi Art Leda and The Swan Sculpture by Alex Krasnogolovets

Looking back In May 2020, thirty-two premier ballerinas from 22 dance companies in 14 countries performed Le Cygne (The Swan) variation sequentially with music by Camille Saint-Saëns, performed by cellist Wade Davis, in support of Swans for Relief.

Organized by Misty Copeland and Joseph Phillips, 100% of the funds raised were distributed to each dancer?s company?s COVID-19 relief fund or other arts/dance-based relief fund if a company is not set up to receive donations.

Ballet companies largely depend on performance revenue to pay their dancers and fund their operations, but all performances have been halted due to the coronavirus pandemic.

Consequently, many dancers cannot depend on paychecks and struggle to pay rent, buy food, and other necessities.

Currently, the situation has eased up in most countries. With the help and cooperation of ballet companies and people across the globe, ballet is back!

A SPACESHIP CALLED ANNA

by Caspar Schols

The ANNA Stay M odel 2022 is not a cabin but a spaceship. A spaceship that brings you back to Planet Earth. It has tw o protective sliding shells that allow you to open up and become part of your surroundings instead of being merely a spectator. The inner shell is made of double glass, the outer shell is made of w ood.

By adjusting the tw o shells ANNA changes and adapts to the w eather, your mood or the occasion. ANNA allow s to connect to a reality in w hich w e naturally belong. This w ay you experience the beauty of a fierce rain show er from under the glass roof, you w ake up among the birds in the early morning and you are mesmerized at night by the starry sky directly above your bed.

ANNA is modularly developed, w hich results into short construction time on site and therefor a minimal ecological disruption. Besides, ANNA is designed in such a w ay that 80% of her unique parts can in the future, via a digital file, be produced locally all over the w orld on CNC machines and 3D printers (mounting material).

Furthermore, rubber and aluminium extrusion techniques w ere used, resulting into 26 for ANNA uniquely designed extrusion profiles to ensure that ANNA alw ays slides perfectly and is w ater- and w ind tight. The most innovative part being the patented aluminium rails.

Finally, follow ing the principle of Thomas Rau' s materials passport, all materials of ANNA can be completely separated and reused. - Georgia Baily, WAN Aw ards ; Entry - ANNA Stay M odel 2022

Photography :Tõ nu Tunnel & Jorrit ?t Hoen

© Craig Auckland

Photography :Tõnu Tunnel & Jorrit ?t Hoen

While I lost myself in my new life in London, I w as playing w ith the idea to create a new design based on the fundamentals of ?Garden House?. I w anted to design a sellable, fully inhabitable house, a flat- pack that could be built and re-build anyw here in the w orld. I found people that supported me, not only in w ord but w ere also ready to financially invest in this new design, called ANNA. This led to more prototypes in w hich w e experimented w ith more practical use and temporal or permanent inhabitation. In w hich the initial spirit of flexibility and connectivity to the environment w ould remain intact. ANNA is a dynamic home in the shape of an open platform to live w ith rather than against the elements, by playing w ith the configuration of the layers of the house. Just like the w ay you dress yourself to suit different w eather conditions, occasions, and moods. ANNA Stay, ANNA M eet, and ANNA M e.

Eventually, w e developed this into ANNA Stay. ANNA Stay has tw o sliding shells instead of the four in the original Garden House. But the tw o are longer and cover more area. It also has a fixed part w hich houses a kitchen, show er, toilet, and storage space. Above the kitchen, there is a mezzanine w hich is large enough for a second king-size bed. M aking the house suitable for a family of four or even four adults.

On the other hand, the idea of ANNA as a blank, multi-functional platform, to host a w ide range of activities (yoga, w riting, meetings, sleeping, bathing, dinners, education, bird w atching, star gazing, experience heavy rain show ers or early sunny mornings, etc.) w as also kept. How ever technically more refined, in the form of ANNA M eet. Next to ANNA Stay and ANNA M eet, w e offer a fully customized version of ANNA according to specific requirements. With ANNA M e, w e can tailor ANNA w ith each individual desire or create a radically new branded cabin concept for your company to locate in your backyard, in the w ilderness, or an exclusive holiday resort.

Both models are built in sustainably grow n and untreated Larch. On the inside, w e used Birch ply for its high quality and light colour, insulated w ith five centimeters of saw dust. Space is heated by a w ood stove, but there is an option to install electric heating. The overall lighting is improved compared w ith Garden House and also the view s are better. In contrast to the vertical w indow s in Garden House, the new ANNA?s have long horizontal w indow s. The long narrow shape and their positioning right under the overhang of the roof make sure only indirect sunlight gets in, so space doesn?t heat up in summer.

The w indow s also give a panoramic view , but only w hen seated in a chair, or after w aking up and experiencing the view from the bed. This w ay, w hen the w ood shells are closed there is a w arm, cosy, indoor atmosphere protected from the elements, for these moments in w hich the w eather is more hostile. Or simply w hen your mood is such that you like to hide a bit from the w orld. This contrasts highly w ith the exposure, freedom, and openness that is experienced w hen only the glass shell is closed or everything is open. - Caspar Schols

Photography :Tõnu Tunnel & Jorrit ?t Hoen

The Cabin can be delivered in one piece or as a flat pack. For more challenging locations flat-pack is even recommended. The flatpack consists of 26 parts of a maximum of 500 kg each. Plus easy to remove screw -foundation of 14 steel pillars of 1,5 m long. These pillars w ill be unscrew ed from the soil w hen Cabin ANNA is disassembled and moved elsew here. Nothing w ill be left behind in nature. With a mini electric crane, elements are put together in 5 w orking days w ith 3 people (and disassembled in 3 days). All elements fit a regular truck and can be transported by land or sea.

Photography :Tõnu Tunnel & Jorrit ?t Hoen

It was October 18, 2016, when a young Dutch designer?s world got turned upside down instantly. An article about the cabin he had designed for his mother received global attention following a publication in Dezeen, one of the world?s most popular design magazines. He had been playing with ways for people to live closer to nature for a long time, and then came his idea to let the world experience the beauty of nature in a safe and comfortable environment.

In October 2020, Cabin ANNA was presented to the world. Cabin ANNA is a dynamic home in the shape of an open platform for you to live with the elements, by playing with the configuration of the layers of the house. Just like the way you decide what to wear to suit different weather conditions, occasions and moods. International media immediately expressed overwhelming appreciation of the design. Cabin ANNA is on the rise!

Photo by Stonewood Design Co UK

Photography :Tõnu Tunnel & Jorrit ?t Hoen

Photography :Tõnu Tunnel & Jorrit ?t Hoen

Photography :Tõnu Tunnel & Jorrit ?t Hoen

Cebu Pacific The first Philippine carrier to incorporate sustainable aviation fuel in its commercial operations.

SINGAPORE, Sept 28-- Cebu Pacific (CEB) operated on Wednesday a Singapore to Manila passenger flight powered by sustainable aviation fuel (SAF), becoming the first Philippine carrier to incorporate SAF in its commercial operations.

The leading Philippine carrier?s maiden SAF flight was operated with an Airbus A321neo, using 35% blended SAF produced by Neste and supplied by Shell Eastern Petroleum.?SAF will help the aviation industry reduce its carbon emissions,?said Alex Reyes, Chief Strategy Officer at Cebu Pacific. ?We encourage more producers to increase the supply of SAF in the region. Our first passenger flight using SAF is a culmination of months of cooperation with valued partners and is an important component of our sustainability program.?

The send-off event at Singapore?s Changi International Airport Terminal 4 was marked with Filipino festivities to showcase Philippine culture and celebrate an important milestone in Cebu Pacific history.

"We applaud Cebu Pacific for taking the first step on their SAF journey and are honored that they have chosen to do so from Changi Airport. Changi Airport Group looks forward to supporting more airlines on their SAF journey, to power sustainable air travel together,?said Mr Yeo Kia Thye, Managing Director, Airport Operations Planning and Airside at Changi Airport Group.

A day before the commercial flight, Cebu Pacific signed a long-term strategic partnership with Shell Eastern Petroleum to collaborate on making SAF more widely available, demonstrating the two parties? commitment to decarbonization and sustainability. The Memorandum of Understanding (MOU) explores the supply and purchase of SAF in Asia-Pacific and the Middle East, with an initial supply volume of at least 25 kilotons per year. ?We are excited to work with Cebu Pacific in this five-year collaboration as we both believe that SAF is the best option available now for aviation to decarbonize by 2050. This agreement is testimony to the growing demand in the Asia Pacific region and we are ready to meet that need,?noted Jan Toschka, President of Shell Aviation.

SAF is a ?drop-in?replacement for fossil fuels made up of 100% renewable waste and raw materials, such as used cooking oil and animal fat waste. Using SAF results in up to 80% reduction in carbon emissions over the fuel's life cycle. The chemical and physical characteristics of SAF are almost identical to those of conventional jet fuel, and these can be safely mixed with regular jet fuel to varying degrees. SAF does not require any adaptations to the aircraft or engines and does not have any negative impact on performance or maintenance.

(from L-R) Anand Stanley, President Airbus Asia-Pacific; Doris Tan, Head of Shell Aviation Asia Pacific & Middle Eas; Alex Reyes, Cebu Pacific Chief Strategy Officer; Javier Massot, Cebu Pacific Chief Operations Officer, at the MOU Signing Between CebuPacific and Shell CEB used SAF for the first time in May on a delivery flight of a brand new A330neo from France to the Philippines. In line with its sustainability initiatives, blended SAF will be part of the standard procedures in all future Airbus NEO deliveries.

For the maiden SAF flight, Cebu Pacific utilized its A321neo, which belongs to the A320neo Family. It offers the widest single-aisle cabin in the sky and incorporates the latest technologies, including new-generation engines and Sharklets, delivering a 20% reduction in fuel consumption per seat, compared to previous generation A320 aircraft. As with all in-production aircraft, the A320neo family is certified to operate with a 50% SAF blend and Airbus is committed to enabling the use of up to 100% SAF by 2030.

Speaking at the event, Anand Stanley, President Airbus Asia-Pacific said: ?At Airbus we are fully committed to ensuring a sustainable future for our industry and we are pleased to partner with Cebu Pacific on this journey. Together we have a shared commitment to reach the industry goals of net zero by 2050 and the increased use of SAF will lead to a significant reduction in carbon emissions. Aircraft manufacturers, airlines, energy providers, airports and regulators must all work together as we work towards the decarbonisation of our industry.?

Cebu Pacific will take delivery of one more A33Oneo in November and one A320neo aircraft in December.

As part of the airline?s sustainability efforts, it aims to transition to an all-NEO fleet by 2028 and incorporate the use of blended SAF for its entire commercial network by 2030.

The airline?s sustainability goal is aligned with global aviation?s goal of achieving net zero carbon emissions by 2050.

Photo by Jae Tabuada

Color of Reality

By Jon Boogz, Lil Buck, Alexa M eade, & Kalie Acheson Color of Reality explores themes of police brutality and racial injustice in modern American life through the movement artistry of Jon Boogz and Lil Buck, the illusionistic painting of Alexa Meade, and was produced by Kalie Acheson.

The video art piece opens with two dancers sitting frozen in place, masked with a layer of paint, making them appear to be part of a 2D painting. They are staring into the TV, transfixed and horrified by scenes of police brutality saturating the news. The once static painting snaps to life as the movement artists release their emotions into a stirring dance that is both a lament and a spirited call to action.

The result is a powerful, mesmerizing 2D art representation of hearts being broken by racial injustices.

Director and Movement Artist Jon Boogz explains ?Color of Reality is activism through art and movement. It?s groundbreaking for dance and also continues to push our powerful message of social justice and equality in different mediums and reach new audiences that need to be exposed to this message.? Jon Boogz continues, ?These are really tough issues to talk about, but when you use movement, people receive it better. It provokes dialogue. Art is for everybody. It?s universal. It doesn?t matter what religion you are, what color you are. Art is art.?

Color of Reality was first released in 2016 and, unfortunately, is just as relevant and important to the public dialogue of race relations in America today as it was when it was created six years ago. It has been honored by CNN?s Great Big Story with the ?Art as Impact Award? and was included in the National Civil Rights Museum?s ?Freedom Awards Ceremony.? Screenings have been held at major public venues such as the Lincoln Center and the Apollo Theater. It is now shown in American high school classrooms when discussing the intersectionality of art, race, and social movements.

Our OBC Story, Alexa M eade Artist Alexa Meade paints on the human body and three-dimensional spaces, creating the illusion that our reality is a two-dimensional painting. As The New York Times describes Alexa?s artwork, ?Think of it as a Van Gogh ? that is, if one of his paintings were brought to life as a performative protest." - Source: alexameade.com

"It is not the strength of the body that counts, but the strength of the spirit." ? J.R.R. Tolkien

© National Opera of Ukraine

On September 12, 2022, the National Opera of Ukraine announced, with "indescribable sadness," the death of Oleksandr Shapoval, one of the company's former principal dancers and a teacher at Kyiv State Choreographic College.

After Russia invaded Ukraine, he volunteered to fight, earning him the "Courageous Romantic." Shapoval died Monday at the age of 47 "under enemy mortar shelling," according to the statement.

"He was the soul of the ballet team," says prima ballerina Christina Shishpor in a feature on NPR, who met Shapoval 22 years ago. She was a teenager when they danced the leads in Swan Lake, their first ballet together. "When I was nervous before going on the stage, he always supported me," she remembers. "He was a reliable partner, friend, a sincere human being."

Ukrainian ballet dancer Artyom Datsishin also suffered the same fate earlier during the Russian invasion. Datsishin, who had performed the leading roles in 'Swan Lake, 'The Nutcracker, 'Sleeping Beauty, and 'Romeo and Juliet, passed away on Thursday after getting injured in Russian shelling weeks earlier. He was 43 years old.

He reportedly fought for his life for three weeks at a hospital before passing away. We can only hope that no more lives may be lost and may the strength of courageous spirits echoes to the world.

- Source: The National Opera of Ukraine

H omage to the Ukrainian Ballet Dancers

© Jack Devant

© National Opera of Ukraine

The United Ukrainian Ballet Company presents

GISELLE Love, betrayal, death, mercy: The United Ukrainian Ballet, comprising some sixty dancers in exile, stage one of the greatest works in the classical repertoire in a powerful new interpretation by world renowned choreographer Alexei Ratmansky.

Consisting of artists from the national theatres of Kyiv, Kharkiv, Odessa and others, each member has their own story of how they reached safety to join the Company. The personal journeys of the dancers and their homeland, and the urgency of the ongoing crisis, resonate powerfully with Giselle?s timeless themes of love, betrayal, death and mercy. They were united under the roof of the prestigious London Coliseum for one week only last September, 2022 in a new and unique interpretation of the great romantic ballet.

One of the greatest choreographers of his generation, Alexei Ratmansky, himself a Ukrainian citizen, donated his time to join the Company for the next months to create this his new interpretation of Giselle specifically for the Company.

The sets and costumes were generously donated by Birmingham Royal Ballet and the dancers were accompanied by the full orchestra of the English N ational Opera under the baton of TBC. All profits from ticket sales were given to the DEC Ukraine H umanitarian Appeal and the United Ukrainian Ballet Foundation, which has been set up in the N etherlands to protect, support and spread Ukrainian culture. The season featured guest performances from Alina Cojocaru and Katja Khaniukova (TBC).

It was a unique opportunity to see a powerful and moving interpretation of one of the greatest romantic ballets of all time, with a company of world- class artists united by the tragedy of war and an ardent hope for the future. http: / / unitedukrainianballet.com/ giselle/

© The United Ukrainian Ballet

© The United Ukrainian Ballet

The United Ukrainian Ballet Foundation?is founded to protect, support and spread the Ukrainian culture that has come under great pressure since the war. The foundation was established in solidarity with the Ukrainian cultural world and in support of the Ukrainian people.

The United Ukrainian Ballet Foundation supports ?The United Ukrainian Ballet Company?, a ballet company that initiates projects and activities that contribute to the mission described above. In addition, the foundation provides financial support that makes the production and presentation of an artistic program possible. The responsibility of these programs is given to direct partner ?Senf Theaterpartners? who will produce on a short-term basis, with the possible ending of the war in mind.

The foundation aims to contribute to providing training, employment and perspective for Ukrainian dancers who have fled, so that they can ? as soon as the situation allows it ? immediately continue their cultural activities in their own country. These activities take place in the ?Dutch Centre for Ukrainian Dancers? in The Hague. In the longer term, the foundation will continue to work to raise funds and donations to support Ukraine in the reconstruction of the destroyed cultural heritage after the end of the war. The foundation operates on a non-profit basis.

By giving space to an important part of Ukrainian culture ? dance and ballet ? the foundation aims to guard and protect the country?s identity.

© The United Ukrainian Ballet

© The United Ukrainian Ballet

Don't Judge Me By My Cover

Our Lives As A Book The metaphorical phrase 'don't ever tell a book by its cover" resonates more than ever. With the rise of technology, the desire for perfection has been inculcated in our psyche, whether we admit it to ourselves. It's human nature. We take comfort in hiding our true selves than being authentic because of the fear of being judged.

In Denmark, there is an organization called The Human Library. Journalist and social entrepreneur Ronni Abergel developed it and his colleagues from the organization "Stop Volden" (Stop the Violence) as part of the organization's activities for a big Danish festival in 2000. The first Human Library was open eight hours a day, four days in a row, and the readers could choose between 50 different titles. The broad selection of books gave plenty of opportunity to challenge prejudices, and more than a thousand readers participated in the event. This convinced both books, librarians, readers, and organizers that the Human Library has the potential to change our society.

© The Human Library

Ronni Abergel, Founder, The Human Library

At this point, we'd like to explain more. At The Human Library, you can borrow books, just like at any other library. However, the difference is that the "books" are living people with personal stories and experiences from their own lives. Every book is drawn from a group in society who are negatively marginalized or targeted with (or vulnerable to) prejudice and discrimination because of their identity, lifestyle, occupation, social status, religious belief, sexuality, ethnic origin, or something similar. Everyone has biases, but only some people have the opportunity to find out whether what we believe about other people is accurate within a safe space. That is the core of what The Human Library offers. You can meet your prejudice? Unjudge someone.

"The Human Library is an association that strives to create empathy, respect, and understanding for the diversity in society through our work. We do this by creating a safe space for dialogue, where challenging and taboo subjects can be discussed in the open without being condemned. A place where people who otherwise would never meet nor talk can find room for conversation. A place where the reader can sit down with a stranger who is volunteering to answer questions about being homeless, a refugee, bisexual, Muslim, handicapped, HIV+, or a police officer. A place where the reader can ask honestly and get an honest answer from the people living the life themselves. The bookshelf is constantly being updated and expanded with new titles from our book depot. Therefore, the reader can't expect to find one specific title at any given event, nor can the reader meet the same title at different events. However, the reader can always expect the opportunity to meet a broad spectrum of books, spanning across a myriad of prejudices." - THL.

© The Human Library

'At the Human Library we create a safe

framework(space),

where

people can challenge prejudice.

We give the readers an opportunity to read a human book, and through this learn something about the subject and the title they carry. The readers get the opportunity to ask questions and engage in an open dialogue based on their interest in the subject, and thereby, exchange and debate current social issues. A visit to the Human Library provides all

participants

with

new

perspectives. No two readings are the same.' - The Human Library

The Books are Volunteers who have chosen to donate their time to be published and share their titles. They are prepared and trained for their role as an open book. Afterward, they can be loaned and read at our different

events.

experienced

Everyone

negative

has

prejudices,

stigmatization, and discrimination based on religion, ethnicity, lifestyle, social

status,

gender,

sexuality,

occupation, health, etc.

The Librarians handle the delivery of events, guide and facilitate loans of books to the readers, and take care of the book collection.

© The Human Library

How To Borrow A Book The readers can meet the books at the Human Library?s different events, which are held at the Human Library Reading Garden, public libraries, companies, and educational institutions such as primary schools, high schools, and universities, as well as conferences and festivals. They also offer online Reader?s Corners. The various events are held using different formats developed over the last 21 years.

On Nørre Allé in Copenhagen, the Human Library has a permanent Library, and Reading Garden created for private conversations with human books. The space is designed so that several loans can take place at the same time comfortably. Visiting the Reading Garden is free of charge for everyone.

© The Human Library

The Reading Hall format is usually used at educational and corporate events for conferences or theme days when we have to manage many readers in a short time. At this event, the readers won?t be able to choose the titles themselves. Instead, a curriculum has been put together before the event, and the books move between groups of readers.

The counter format is often used at the Reading Garden events, libraries, and festivals. Here, the readers can borrow books by going up to our counter, where the librarians issue loaner cards and guide the readers to the right book. The conversations are

typically

one-on-one,

but

group

readings can also be arranged. Books are on loan for up to 30 minutes, with the possibility of extension, as long as there are no other readers on hold for the book. It is always free for readers to borrow books from the Human Library.

© The Human Library

Just like any other library, there are rules which the reader must adhere to: ? The loans are personal and may not be transferred to others. ? Your book is a living encyclopedia, a source of experience, t expects you to ask questions about the things you want to know. Therefore, be curious and brave, ask. ? Do not rip out pages or write notes in the book. ? Every book is to be returned in the same condition as at the start of the loan. ? Remember to return your book on time. ? Treat your book with dignity and respect, then it will all work out.

© The Human Library

THE HUMAN LIBRARY TEAM

© The Human Library

THE HUMAN LIBRARY "BOOKS"

© The Human Library

Join SFDFF for our 13th annual festival! From October 28 ?

November 7, international and locally produced dance films w ill be featured in various San Francisco theaters and streamed online through Eventive.

Learn more about our programs and reserve tickets and passes https://sfdancefilmfest.org/fall-fest...

© San Francisco Dance Film Festival

There Once Was A Woman

Galen H ooks

Galen Hooks is an LA native w ho has been in the entertainment industry since she w as 7. She is a chameleon w ho defies genre and can seamlessly shift betw een roles both in front of and behind the camera.

Her dance group w as the Junior Dance Champion on Star Search at seven years old. As a child, she w orked on show s such as Full House and performed in an opera w ith Plá cido Domingo. As a teen, she assisted choreographer M arguerite Derricks for movies such as Donnie Darko and show s such as That 70' s Show .

Galen' s reach is felt w orldw ide- her iconic choreography is synonymous w ith risk-taking and authenticity as an artist. An industry darling w ith over 20 years of experience, she is an M TV VM A-nominated choreographer w ith one of her generation' s most impressive dance and choreography careers.

Her Youtube videos have become a viral sensation w ith over 300 million view s across social media. From the strength, pow er, and sensuality of RIVER (+35 M illion view s) to the skilled ability to put a fresh tw ist on beloved classics like WEST SIDE STORY, dancers and non-dancers alike are impacted globally by her w ork.

Hooks' viral videos include Love On The Brain, The High, Human, Kiw i, All I Need, Shut Up and Dance, Sucker, I love you, and She' s A B* tch. Her video To Bury A Friend w as the 5th most liked dance video of 2019, featured in YouTube Rew ind 2019.

On both YouTube and Instagram, Galen continues spreading her love of dance and community to onlookers and artists w orldw ide. M ost impressively, Galen is a true visionary and multi-hyphenate in her filmmaking. Whether she is choreographing, performing, directing, songw riting, or producing (or w earing all of these hats at once, as in the aw ard-w inning "WAIT FOR M E" and her monumental 20-minute musical "THERE ONCE WAS A WOM AN"), she has an eye for detail and storytelling that she breathes into every project. Both films have been accepted into film festivals and are screened across the country.

Photo Courtesy of Brooklyn Talent Management

Pr emier SAPERE AUDE ISSN2799-0702 Vol. 2.10 OCTOBER, 2022 ISSUE