By Lisa J. Shannon
Lisa Shannon had what a few could name a superb life—her personal company, a profitable fiancé, a safe domestic. Then someday in 2005, presently after her father’s dying, an episode of Oprah replaced every thing. The express approximately girls within the Congo depicted atrocities too terrible to appreciate: thousands useless, girls gang-raped and tortured, little ones ravenous and death in stunning numbers. That day Lisa awakened to her dissatisfaction with the “good” lifestyles and to her function as an activist and a sister.
She created a beginning known as Run for Congo girls, with the objective to elevate cash to sponsor 30 Congolese girls. What begun as a solo 30-mile run has now grown right into a nationwide association in reference to girls for ladies overseas. Run for Congo ladies holds fundraising runs in 4 nations and ten states, and maintains to elevate cash and information. In one thousand Sisters, Lisa stocks firsthand bills of her stories vacationing the Congo, the ladies she’s helped, and the relationships she’s shaped. With compelling tales of why she continues to be devoted to this reason, Lisa evokes her viewers to arrive out and support in addition, forming a sisterhood that transcends geographic limitations.
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Additional resources for A Thousand Sisters
But what we see with the “Five,” as well as with the modern Spanish “folklorists,” both painters and musicians, is precisely this naïve but dangerous longing that pushes them to remake an art already created instinctively by a people’s genius. A rather sterile and wrongheaded tendency that afflicted a number of artists at the time. I conceived the score to Mavra in opposition to this type of aesthetic, and with the intention of reviving the excellent Russian tradition established definitively by artists such as Pushkin, Glinka, and Tchaikovsky; this should sufficiently explain the dedication.
54 Newness must then be sought in another domain. In Mavra, Stravinsky put all his effort into the system of modulation. Through the horizontal juxtaposition of distant pitches he has obtained a precise, pouncing, and eminently tonal music—a rare quality today. Not one critic has noticed this. You see how eardrums have hardened. 56 When Firebird spread its sparkling wings for the first time a dozen years ago, it was immediately understood that a great musician had just made his debut. Then came Petrushka.
At times, he makes one tonality mesh with another with an expert brusqueness. The game is daunting, despite its apparent simplicity; as played by Stravinsky, it never becomes arbitrary. Here then is a work that scrupulously realizes its author’s intentions. It remains to be seen if these intentions are still legitimate. I must say truthfully that I am not entirely persuaded. I do not dispute that the singing’s artificial Italianism, the divergence between Mavra’s vocal and instrumental styles, are deliberate; nevertheless they irritate me.
A Thousand Sisters by Lisa J. Shannon