Axion Estin Foundation

New York Folklore adopted the following statement at its January 16, 2021 Annual Meeting: New York Folklore condemns the post-election mob and white supremacist... attack on the U.S. Capitol that took place on January 6, 2021. Like many, we are outraged and saddened by the assault. While the events of January 6 have been presented by some as legitimate political speech and action, they were preceded and followed by a torrent of overt calls to violence, and an indefensible display of antisemitic and racist symbols of hate in the heart of our nation. Tolerance of racist symbols, the use of violence to effect political change, and the normalization of violent rhetoric undermines the cultural understanding and civil discourse to which New York Folklore is wholeheartedly committed. The United States has a checkered history that has encouraged, pursued, and enforced the systemic exclusion and marginalization of many of its own communities. Anti-black, anti-immigrant, and anti-Indigenous ideologies have been normalized as part of our country's narrative, and violence has been perpetuated against multiple populations of indigenous, Black, Latino, Asian, and immigrant peoples throughout American history, including the Rock Springs Massacre (1885), the Tulsa Race Massacre (1921), the Charleston Church shooting (2015), and more. Since 1944, New York Folklore has been dedicated to the proposition that there is value in the cultural expression of all communities in our state and has worked diligently to celebrate and understand that expression as a representation of hope, dreams, and values. As an organization, we recognize the intersection and confluence of systemic ethnic, social, economic, and other inequities in our communities, as we continue our efforts towards promoting equity and the furtherance of cultural understanding and respect. Thank you to everyone who attended and voted.

Harilaos Taliadoros, one of the greatest interpreters of Byzantine Music is celebrated here by good friends from Thessaloniki. Memory eternal.

Many Orthodox churches around the world, including the Ethiopian Orthodox Church, celebrate Christmas today, on January 7, rather than December 25 like many wes...tern traditions. This double-sided manuscript leaf was once part of a complete, illustrated gospel book made in in the 14th century in what is now the Tigray region of Ethiopia. One thousand years before the creation of this leaf, the region converted to Christianity under King Ezana of Aksum and became a key stop along trade routes between Constantinople (capital of the Byzantine empire) and India. Aksum’s location along such routes allowed political leaders and artists greater access to cultural centers of the larger Christian world such as Alexandria and Jerusalem, resulting in a flourishing exchange of goods and artistic ideas. The artist of this manuscript leaf employed bright colors and bold forms to present an evocative image of the Crucifixion. The striking detail of the empty cross is a common feature of 14th-century Ethiopian images of the Crucifixion. To medieval Ethiopian Christians, the absence of Christ’s body reflected their hope in Christ’s triumph over death and his resurrection. Comparisons have been made between illuminated images such as these and Ethiopian processional crosses. Swipe left for an example in from the #MetAAOA collection. Also attributed to the Tigray region, this intricate crosswhich excludes any image of Christ’s crucified bodywould have been carried through liturgical processions. Double-Sided Gospel Leaf, first half 14th century, Tigray, Ethiopia. Tempera on parchment. 2006.100. Ezra (Ethiopian, 14601522). Processional Cross, ca. 1500, Tigray, Ethiopia. Wood and tin. 1999.103. #MetAnywhere #GlobalMiddleAges #Ethiopia #AfricanArt [Image description: A photo of one side of a Double-Side Gospel Leaf. The Crucifixion is represented by a monumental jeweled cross topped by a Lamb of God and at the sides are the two thieves bound to their crosses. the parchment is yellowed and the painting in dramatic reds and a dark blue-black. The second slide is a photo of an intricately carved wood Processional Cross, an elaborately carved wood structure inlaid with metal.]

" ", "... " ( 1821): 31 2021 ! Instructions for Authors: --Review process: Each manuscript will go through an initial assessment from one editor and one additional double-blind review. --Preparation of the manuscript Please follow the directions carefully: Language: British English only Manuscript style and references: Twentieth-Century Music (full note). For instructions visit: https://csl.mendeley.com/styleInfo/ GREEK TYPE. Greek should be supplied in a Unicode font such as Times New Roman. Manuscripts should be blind (no author details). All details should be provided in a separate Title page. Details required: Manuscript title, Authors & their affiliations, corresponding author & their contact details (email, address). Word limit: 7.000 words (with references). English Proofreading mandatory for non-English native speakers. Authors who do not have access to a proofreading service may feel free to contact the publishing director: [email protected]

We are just a few hours away from our second concert! Meet our third chanter: Eleftherios Eleftheriadis Eleftherios Eleftheriadis is a native of Thessaloniki, Greece. Since 2013 Eleftherios is affiliated with the Saint Nicholas Greek Orthodox Shrine Church and the William Spyropoulos School in Flushing, Queens. He is Axion Estin Foundation’s artist in residence. For the past several years he directed the Axion Foundation’s international ensemble of chanters in... the critically acclaimed Byzantine Pop-Up concerts at the Metropolitan Museum of Art. Praised by the New Yorker as a commendable effort to bring holiday music back to the magnificent space, the chanters performed ancient sacred and secular chants in Greek, Arabic, Armenian and Russian, in front of the only full-scale, authorized painted copy of the Deesis Mosaic from Hagia Sophia, one of the finest works produced in Constantinople. Eleftherios participated as a soloist in the collection Sacred Music of Byzantium featuring the Greek Byzantine Choir under the direction of the late Lykourgos Angelopoulos. In 2015 her performed in the Met’s Grace Rainey Rogers Auditorium for the concert Looking East from Byzantium. In 2018, he directed the Axion Foundation chanters in celebration Philip Glass’s New York Premiere of the Piano Quintet Annunciation (2018) at the Metropolitan Museum of Art. Get your donation-based tickets HERE: https://www.shapeshifterlab.com/live/byzantine-soundscapes/