Emotions and desires, virtue and action — all these things are twined together and available to everyone.
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Their screams twined together, their hands reaching for each other; it was during this undoing that they were, at last, truly united as a couple.
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To those who know Lee, there is something Greek about how her suffering and strengths are twined together — the way having been ostracized as a child gave her a brutal education in reading other people.
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Art production picked up quickly following the creation of the new building. Screenprinting and sewing continued, and painting and weaving (primarily pandanus weaving) increased dramatically.May, 'Started down at the little shed', in Hamby, Twined Together, p.191 Wendy Kennedy stayed on until 1990, before handing over interim management to the screenprinter Ray Young.
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Samuel Namundja won the National Aboriginal & Torres Strait Islander Art Award in the bark painting category in 1993. A series of managers between 1995 and 2001 included Andrew Headley, Matthew Johnson, Anthony Murphy and Paul Magin, until Anthony Murphy took up the position full-time again in January 2001.May, 'Started down at the little shed', in Hamby, Twined Together, p.
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The history of Injalak Arts began with a screenprinting group started in 1986. In that year, a representative of the Duke of Edinburgh's Award scheme visited Gunbalanya with funding for people to participate.May, 'Started down at the little shed', in Hamby, Twined Together, p.189 Wendy Kennedy, a teacher who came to Gunbalanya in 1974, had in 1983 accepted a position as adult educator in Gunbalanya.
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Maile is traditionally and still most popularly used in lei. The vines are prepared and twined together to make an open lei or if people prefer they can close it. In more rural areas it is typical for someone to pick their own maile if accessible, however because lei maile is so desirable, many floral shops carry these kinds of lei. It is one of the only endemic Hawaiian plants grown commercially for lei.
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May, 'Started down at the little shed', in Hamby, Twined Together, p. 190 The screenprinting group caught the attention of the Commonwealth Government's Community Development program, which was keen to promote local business. In 1986–87, discussions and consultations were held about expanding the operations of the group to become an art centre trading a range of artistic media. This was in the context of the rapidly expanding Aboriginal Art movement at the time.
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The first appointed manager, Felicity Wright, arrived in October 1991. Critical in the early days of the art centre was the senior painter Thompson Yulidjirri (d. 2009), who mentored the younger artists and developed Injalak as a place for the transmission of cultural knowledge outside the traditional venues.May, 'Started down at the little shed', in Hamby, Twined Together, p.191 Felicity Wright stayed on as manager until 1995, a time which saw increasing recognition for Gunbalanya artists.
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The demand for art and artefacts from the Gunbalanya area began long before the incorporation of Injalak Arts and Crafts. Since early European contact, several notable collections were created and much informal trade took place. The anthropologist Baldwin Spencer visited Gunbalanya in 1912 in his role as Special Commissioner for Aboriginals and Chief Protector, staying with Paddy Cahill, the founder of the cattle station in Gunbalanya.Allen, Lindy, 'Greedy for bakki', in Hamby, Louise, Twined Together, Injalak Arts and Crafts, 2005, 41-51, p.
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She and a group of her students decided on trying screenprinting for the 'hobby' element required by the award. The screenprinter Ray Young was hired to assist, and with the women sewing, they were soon producing printed fabric, bags, calico skirts, baby wraps, nappies and singlets.May, 'Started down at the little shed', in Hamby, Twined Together, p.189 A number of the original participants in the Duke of Edinburgh's award, including Gabriel Maralngurra and Donna Nadjamerrek, are still involved in Injalak Arts to the present day, having become leaders within the organisation.
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Børsen (Danish for "the Exchange"), also known as Børsbygningen ("The (Stock) Exchange building" in English), is a 17th-century stock exchange in the center of Copenhagen. The historic building is situated next to Christiansborg Palace, the seat of the Danish Parliament, on the island of Slotsholmen. Børsen, a popular tourist attraction, is most noted for its distinctive spire, shaped as the tails of four dragons twined together, reaching a height of 56 metres. Built under the reign of Christian IV in 1619–1640, the building is considered a leading example of the Dutch Renaissance style in Denmark.
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Francis and Clayton framed the film in an unusually bold style, with characters prominent at the edge of the frame and their faces at the centre in profile in some sequences, which, again, created both a sense of intimacy and unease, based on the lack of balance in the image. For many of the interior night scenes, Francis painted the sides of the lenses with black paint to allow for a more intense, "elegiac" focus, and used candles custom-made with four to five wicks twined together to produce more light. During principal photography, Clayton and editor Jim Clark—whom he had hired on the recommendation of his colleague Jimmy Ware, editor of Clayton's first feature, Room At The Top—would meet each evening and view the footage shot that day, assembling daily rough cuts as they progressed; this allowed Clayton to make adjustments and shoot pick-ups along the way, giving him closer supervision during the filming process.
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43 He collected many bark paintings and fibre works, and Cahill continued to send him new works for the collection until around 1922.Allen, 'Greedy for bakki', in Hamby, Twined Together, p.48 The American-Australian Scientific Expedition to Arnhem Land arrived in Gunbalanya in October 1948, and its leader Charles Mountford commissioned many paintings on bark.Dyer, Christine Adrian, Kunwinjku Art from Injalak 1991-1992: The John W. Kluge Commission, Museum Art International Pty. Ltd., 1994, p. 20 However, for him, as for Spencer, these were still ethnographic rather than art objects, a practice “comparable with that of our stone-age ancestors of Europe”.Mountford, C.P. Art, Myth and Symbolism: Records of the American- Australian Scientific Expedition to Arnhem Land 1948, vol. 1, Melbourne University Press, quoted in Dyer, Kunwinjku Art from Injalak, p. 21 Both the year before and the year after the Mountford expedition, the area was visited by the anthropologists Ronald M. and Catherine H. Berndt of the Australian National Research Council, working for Professor A.P. Elkin of Sydney University.
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