Shougang, and then the first signs of real redevelopment, in the form of the buildings of the ‘Financial Street Chang’an Center’, which promised to be a ‘New Business Landmark in West Beijing’. The tall towers were of curved corners and blue glass; a butterflied suspension bridge in steel and wire added a flourish to the plaza in front. Along the bottom of one of the promotional signs for the as-yet empty towers ran English text in the cut-and-paste style one becomes accustomed to in China: ‘approach of interior architect material and finish detail design’, it ran
knocked at every corner: Wolof drums; the poetic flights of the young women at the river; sails outstretched like butterfly wings; men and women from Galam, Niger, Sudan; bare bodies and elaborate coiffures; ornaments; shouts, calls; sudden passion and laughter – all this spoke to the little girl in a language she recognised as her own. All this beat with a pulse that she felt in her veins. Bâ would later write: “I was eight years old and I cried, Tam-tam, take me away.” 4
A Childhood in Dakar and Other Early Influences
. We hope for a human encounter through the art, to celebrate resilience.
This is how we used art to support projects of the World Bank in Lebanon, where personnel working on social development were telling us that the different communities, local and displaced communities, from Syria for most, were not communicating at all, although funds for projects were available. The idea of Butterfly Project was to have art mediation workshops for children of these communities, from kindergarten to high-school, where they would come together and create stories together
’anic scripture to Muhammad/Mahound in a transformed version of seventh-century Arabia. The scene concerning an exiled, Khomeini-like Imam living in contemporary London shows the Imam conjuring up Gibreel/Gabriel to assist him in his mental fight against the female goddess Al-Lat whom he regards as being representative of the notion of History. Finally, the narrative centred upon the ‘Butterfly Girl’ Ayesha concerns a young girl living in contemporary India who receives the instruction from Gabriel/Gibreel that she should lead her village on a pilgrimage to Mecca over the
denotes social conformity in the
high school scenario. Unlike Bender in The Breakfast Club , who
raises a clenched fist on the football field in defiance of conforming
to the normative value system, Zeke is assimilated into the culture of
conformity. But the film finishes on an image of transmutation, as Casey
photographs a butterfly. It is an apt metaphor for a film where
everything changes – and
Highs and lows – breaching social and spatial boundaries
Brown , L.
( 2021 ). The Black Butterfly: The Harmful Politics of Race and Space in America . Baltimore : Johns Hopkins University Press .
de Sousa Santos , B.
( 2017 ). Decolonising the University: The Challenge of Deep Cognitive Justice . Newcastle : Cambridge Scholars .
Dorling , D.
( 2019 ). Inequality and the 1% . 2nd edn . London : Verso
production’s notable features. Costumed as a circus clown
(perhaps more precisely, as the 12 October Le Temps reviewer
recognized, as the legendary ‘king of clowns’, Grock),
Pierre le Touche was indulged with a mime sequence in which he chased
butterflies, and he aroused the dismay of a number of Anglophone
commentators: the New York Times reported that ‘the comic
scenes … appeared to have been inspired
Mieg scrutinised some
‘beautiful butterflies from America and China, which this Real
Gabinete owes in part to the munificence of our august and beloved
Mieg did not specify which of Ferdinand VII’s four wives had
donated these charming insects to the museum. The most likely candidate,
however, was Ferdinand’s second spouse, Isabel of Braganza, whose
did Sir Harry Johnston in the grounds of his residence at Zomba in the
British Central Africa Protectorate (Malawi). All this activity could
actually place species at risk, just as the contemporary passion for the
collection of birds’ eggs and butterflies seriously reduced the
numbers of some rarities. F. C. Selous perfectly combined a range of
hunting activities. He was a commercial hunter who
suffered by London on the 76 nights of the Blitz. But as the war progressed and the air raids became more sporadic and geographically diffuse, the large-scale vision of public heroism against a dramatic nightscape, as promoted by Jennings’s films, contracted back down to the level of the hand-sized, daytime object; but this time there was no soothing suggestion that they could be neutralised with a homely bucket and pump. Two more Ministry of Information films warned against the domestication of unfamiliar things: Butterfly Bomb (1944) shows a young boy in his family