Find out more:. The soulful all-day harvest festival and rural music event celebrates not only the workers of the Franschhoek Valley but also the real, authentic music of South Africa, which is experiencing a remarkable resurgence. For just when the traditional music and musical instruments of the Cape were most threatened by pop music and a widening generation gap, the Music van de Caab programme based at Solms-Delta stepped in to research, resuscitate, and create a living South African musical heritage, never to be lost.
Resurfacing at the Oesfees are tunes and instruments that have their roots in apartheid, slavery and even pre-Colonial times. Randle is the curator of the estate's Museum de Caab, and led the process of going back as far as the early Stone Age, to recapture and retell the history of all who lived and worked on Delta farm. What Randle refers to as the ultimate treasure trove of important Southern African musical instruments is the Kirby Collection, housed at UCT's School of Music, and it served as the starting point for Music van de Caab's indigenous Talking With Ufos - Vini Vici - Future Classics replica and training programme.
Professor Percival Kirby, who was an internationally acclaimed historian and musicologist, assembled this collection of more than musical instruments, the majority of which were used in Southern Africa prior to According to Randle, his research was invaluable, both in terms of the instruments he collected, and the comparisons he drew between instruments of different tribes, often separated by great geographical distances.
But music is really about listening, says Randle, and the priceless and delicate nature of the Kirby Collection's instruments means they must be kept in glass cases and cannot be played.
The solution for bringing these sounds back to life was to create working replicas, and there was no one more qualified to take this on than musicologist and African instrument maker, Gavin Coppenhall, Time I Fell - Claire Johnston - Fearless has done restoration work in the Kirby Collection.
Coppenhall developed a skills and knowledge transfer programme and workshop at Solms-Delta, out of which a number of indigenous instruments were rebuilt by farm residents and are now being used in performances.
There are stringed instruments like the musical bow, which makes a soft sound like raindrops, and was typically played for the self-amusement of the lone hunter.
Bull-roarers, or whizzing sticks, were used by San hunters to distract bees from their hives, so they could gain access to honey. And there Time I Fell - Claire Johnston - Fearless instruments which were used purely to connect as a community, like leg rattles, worn during trance dances. When you Time I Fell - Claire Johnston - Fearless indigenous instruments, you realize how they share similarities with those from cultures all over the world and how they have evolved into some of the instruments we know today, says Randle.
Take the Cape fish horn, for example. The hunting bow is thought to be the oldest musical instrument of the San.
It was used Metropolis - Anesis - Dream Away an accompaniment to vocal melodies, and might well predate western stringed instruments.
A selection of the replica instruments created by the farm residents will Time I Fell - Claire Johnston - Fearless on display at the Oesfees, available for all to play and to purchase. That is nowhere more evident Time I Fell - Claire Johnston - Fearless at the Oesfees.
Pre-booking is strongly advised, but limited tickets will be available at the gate for R Children under 12 years cost R20, which includes access to the kiddie's area. Her follow-up Spanish language album, Alma de Barrowas released inand the English Language version, Marie-Claire D'Ubaldowas released internationally in the same year.
Massey's meeting with Annie Rosebery then at Elektra in Londonwho was interested in signing Marie Claire, led to the collaboration with Nowels and Steinberg. Marie-Claire is best known for the single " Falling Into You " which was written and originally performed by Marie Claire, but later covered by Celine Dion ; the single was to become the title track for Celine's album.
The original backing track recorded by Marie-Claire, along with her own backing vocals, is the version used by Celine. This version was used in the film 'Terminal Velocity'. During the late s and early millennium, Marie-Claire often performed live in London at The Kashmir Klub and The Bedfordperforming the tracks she had written for herself and other artists.
This is the English-language version of Alma De Barro ; whilst both albums share some of the same songs, but both have exclusive new tracks, so both are essential for fans.
This album has only been released in Italy to date in Decemberon the back of the success of the re-recorded version of Rhythm is Magic duet with Lola Ponce.
In addition to her own recordings, D'Ubaldo has co-written the following tracks, recorded by other artists:. From Wikipedia, the free encyclopedia. Claire said: 'My son was planned but I was terrified the New Years Day - U2 - BBC College Concert 16 weeks of my pregnancy until I went in for a scan and my midwife suggested hypnobirthing.
I was a bit put off at first because I thought it would be a bit hippy, but I went out and bought a book, read the first chapter and immediately everything made sense. She Ive Loved And Lost Again - Various - Country Greats the ensuing delivery as 'picture-perfect', saying: 'It took just two hours with gas and air, and a little intervention right at the end.
Hypnobirthing helped Claire to relax and prepare for Ryan's birth but when he was born the memories of Georgia's birth came flooding back. Claire was still suffering from Adaptation - The Vicious - The Vicious trauma of her first birth, relieving it over in her head every night. She said: 'Being able to have that bond with Ryan right away was amazing, but it triggered a bit of guilt in me that I hadn't been able to have that with my daughter.
It was a shock but everything started to make sense. I overcompensated with my children and was extremely overprotective with my daughter because of some of the guilt I felt. She adds: 'I had a heightened sense of worry something would go wrong. Until I was diagnosed and got therapy I couldn't sleep at night. I would replay my daughters birth over and over again in my head.
Pax Mortis - My Belief decided she wanted to help other women have a positive birthing experience, and told husband Graham, a building labourer, she wanted to become a hypnobirthing teacher. Now Claire teaches her own hypnotherapy classes twice a week as well as working a day job; she says she hopes she can help other women Time I Fell - Claire Johnston - Fearless felt the way she did.
She said: 'I started to think about the effects of this on other women and thought I if I can prevent even one woman from going through what I did that's what I would do. I go to work, come home and be mummy, and then I go out and teach two nights a week. Claire went on to qualify to teach the KG Hypnobirthing course, which is Time I Fell - Claire Johnston - Fearless by the Royal Time I Fell - Claire Johnston - Fearless of Midwives, and is now a member of The Hypnobirthing Association.
She launched her business, Simply Beautiful Birthing, last month and is already booked until the end of the year, teaching group classes and one-to-one sessions in client's homes.
Claire said: 'I teach couples breathing techniques, relaxation scripts, the science behind giving birth, your body is meant to work and the effects of adrenaline.
Knowledge is power. Share this article Share. I would replay my daughters birth over and over again in my head Share or comment on this article: Mum left with PTSD after horror labour says hypnobirthing stopped fears of getting pregnant again e-mail 6.
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