#creativity — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #creativity, aggregated by home.social.
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New blog post about how different genres of music have helped protect my heart and stimulated me to be more creative.
https://coreyartusimagery.com/blogs/musings/music-of-my-heart
#blog #art #Music #ArtistLife #ArtLife #Creativity #IndieArtist
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New blog post about how different genres of music have helped protect my heart and stimulated me to be more creative.
https://coreyartusimagery.com/blogs/musings/music-of-my-heart
#blog #art #Music #ArtistLife #ArtLife #Creativity #IndieArtist
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New blog post about how different genres of music have helped protect my heart and stimulated me to be more creative.
https://coreyartusimagery.com/blogs/musings/music-of-my-heart
#blog #art #Music #ArtistLife #ArtLife #Creativity #IndieArtist
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New blog post about how different genres of music have helped protect my heart and stimulated me to be more creative.
https://coreyartusimagery.com/blogs/musings/music-of-my-heart
#blog #art #Music #ArtistLife #ArtLife #Creativity #IndieArtist
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8 Affordable Ways to Support Local Artists #creativity
8 Affordable Ways to Support L... -
8 Affordable Ways to Support Local Artists #creativity
8 Affordable Ways to Support L... -
https://omdaru.blogspot.com/ #Visual #neoclassical #Omdaru #radio project - #Inspiration for #creativity - 24/7 - Modern #classical, New age, #Soundtracks, #Crossover, #Ambient, World music #internetradio #modernclassical #NewAgeMusic #awe #wonder #serendipity #spirituality
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https://omdaru.blogspot.com/ #Visual #neoclassical #Omdaru #radio project - #Inspiration for #creativity - 24/7 - Modern #classical, New age, #Soundtracks, #Crossover, #Ambient, World music #internetradio #modernclassical #NewAgeMusic #awe #wonder #serendipity #spirituality
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https://omdaru.blogspot.com/ #Visual #neoclassical #Omdaru #radio project - #Inspiration for #creativity - 24/7 - Modern #classical, New age, #Soundtracks, #Crossover, #Ambient, World music #internetradio #modernclassical #NewAgeMusic #awe #wonder #serendipity #spirituality
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https://omdaru.blogspot.com/ #Visual #neoclassical #Omdaru #radio project - #Inspiration for #creativity - 24/7 - Modern #classical, New age, #Soundtracks, #Crossover, #Ambient, World music #internetradio #modernclassical #NewAgeMusic #awe #wonder #serendipity #spirituality
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https://omdaru.blogspot.com/ #Visual #neoclassical #Omdaru #radio project - #Inspiration for #creativity - 24/7 - Modern #classical, New age, #Soundtracks, #Crossover, #Ambient, World music #internetradio #modernclassical #NewAgeMusic #awe #wonder #serendipity #spirituality
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Developing a Musical Mind; Series 1
What Does It Mean to Have a Musical Mind?
When we describe someone as “musical,” we often mean that the person sings beautifully, plays an instrument well, keeps good rhythm, or seems naturally gifted.
But there is something deeper than technical ability.
A musician can play many notes without truly understanding the music. A singer can sing every pitch correctly without communicating the meaning of a song. A choir can learn all the notes and rhythms of a piece and still give a performance that feels lifeless.
This is where the idea of a musical mind becomes important.
“A musical mind does not merely reproduce sound; it understands what the sound is trying to communicate.” — Victor Adenola
So, what is a musical mind?
Having a musical mind means developing the ability to hear, understand, imagine, interpret, respond to and communicate music intentionally.
It is the ability to listen beyond the obvious.
You hear the melody, but you also hear its direction.
You hear the rhythm, but you understand its movement.
You hear the harmony, but you recognise how it supports the emotional character of the music.
You notice dynamics, phrasing, articulation, balance, tone and timing—and you understand how they contribute to the whole musical picture.
A musical mind asks questions such as:
- Why does this phrase begin softly?
- Where is this melody going?
- Why does the harmony change here?
- Should this note be sustained or released?
- Why does this section feel different?
- What does the composer or songwriter want the listener to experience?
- What does this music need from me as a performer?
These questions take a musician beyond simply playing or singing notes.
Technique is important—but technique is not everything
In my years of working as a music director, voice coach and music educator, I have observed that technical training can produce competent performers, but musical thinking produces more complete musicians.
A student may learn how to play a chord. The next level is understanding when, how and why to use that chord.
A singer may learn how to produce a beautiful tone. The next level is understanding how that tone serves the phrase and the message.
A drummer may learn a rhythm. The next level is knowing when that rhythm should lead, support, simplify or create space.
That is musical thinking.
“The goal of music training is not simply to fill the performer with information, but to develop the ability to make meaningful musical decisions.” — Victor Adenola
The musical ear and the musical mind
The musical ear and musical mind work together. Your ear helps you detect what is happening. Your mind helps you interpret it.
For example, a choir may be singing together but sound disconnected. A musically aware director will not simply say, “Sing louder.”
The director may recognise that the real problem is poor vowel alignment, inconsistent entrances, weak breath support, unbalanced sections or unclear phrasing.
The ability to diagnose the musical problem and respond appropriately is evidence of a developing musical mind.
Musical imagination matters too
One of the fascinating aspects of musical development is the ability to hear something internally before producing it externally.
Before a conductor raises a hand, they should have some idea of the sound they want.
Before a singer begins a phrase, they should have an internal sense of its pitch, tone, direction and expression.
Before a pianist plays a passage, the mind should already have an idea of how that passage should sound.
This is why musicians should not practise only with their hands and voices.
They must also practise with their ears and imagination.
A musical mind develops over time
Nobody needs to be born a musical genius to develop musical intelligence.
Listening develops it. Singing develops it. Playing an instrument develops it. Reading music develops it. Studying theory develops it. Performing develops it. Making mistakes—and learning why they happened—develops it. Teaching others develops it. Conducting develops it. Even listening critically to other musicians can develop it.
The important thing is to move from asking:
“Can I play or sing this?”
to:
“Do I understand what I am playing or singing?”
And eventually:
“Can I communicate it?”
That is the journey from musical ability to a musical mind.
Final thought
A complete musician is not simply someone who has trained the fingers, voice or technical skills.
A complete musician has also trained the ear, imagination, understanding and judgement.
The instrument produces the sound, but the musical mind gives the sound direction.
In Series 2, we will explore how to deliberately develop a musical mind through listening, practice, theory, singing, playing and musical observation.
#art #bands #BenefitsOfPlayingAMusicalInstrument #choir #creativity #musicDirector #Musicalmind #musicians #musicperformance -
Developing a Musical Mind; Series 1
What Does It Mean to Have a Musical Mind?
When we describe someone as “musical,” we often mean that the person sings beautifully, plays an instrument well, keeps good rhythm, or seems naturally gifted.
But there is something deeper than technical ability.
A musician can play many notes without truly understanding the music. A singer can sing every pitch correctly without communicating the meaning of a song. A choir can learn all the notes and rhythms of a piece and still give a performance that feels lifeless.
This is where the idea of a musical mind becomes important.
“A musical mind does not merely reproduce sound; it understands what the sound is trying to communicate.” — Victor Adenola
So, what is a musical mind?
Having a musical mind means developing the ability to hear, understand, imagine, interpret, respond to and communicate music intentionally.
It is the ability to listen beyond the obvious.
You hear the melody, but you also hear its direction.
You hear the rhythm, but you understand its movement.
You hear the harmony, but you recognise how it supports the emotional character of the music.
You notice dynamics, phrasing, articulation, balance, tone and timing—and you understand how they contribute to the whole musical picture.
A musical mind asks questions such as:
- Why does this phrase begin softly?
- Where is this melody going?
- Why does the harmony change here?
- Should this note be sustained or released?
- Why does this section feel different?
- What does the composer or songwriter want the listener to experience?
- What does this music need from me as a performer?
These questions take a musician beyond simply playing or singing notes.
Technique is important—but technique is not everything
In my years of working as a music director, voice coach and music educator, I have observed that technical training can produce competent performers, but musical thinking produces more complete musicians.
A student may learn how to play a chord. The next level is understanding when, how and why to use that chord.
A singer may learn how to produce a beautiful tone. The next level is understanding how that tone serves the phrase and the message.
A drummer may learn a rhythm. The next level is knowing when that rhythm should lead, support, simplify or create space.
That is musical thinking.
“The goal of music training is not simply to fill the performer with information, but to develop the ability to make meaningful musical decisions.” — Victor Adenola
The musical ear and the musical mind
The musical ear and musical mind work together. Your ear helps you detect what is happening. Your mind helps you interpret it.
For example, a choir may be singing together but sound disconnected. A musically aware director will not simply say, “Sing louder.”
The director may recognise that the real problem is poor vowel alignment, inconsistent entrances, weak breath support, unbalanced sections or unclear phrasing.
The ability to diagnose the musical problem and respond appropriately is evidence of a developing musical mind.
Musical imagination matters too
One of the fascinating aspects of musical development is the ability to hear something internally before producing it externally.
Before a conductor raises a hand, they should have some idea of the sound they want.
Before a singer begins a phrase, they should have an internal sense of its pitch, tone, direction and expression.
Before a pianist plays a passage, the mind should already have an idea of how that passage should sound.
This is why musicians should not practise only with their hands and voices.
They must also practise with their ears and imagination.
A musical mind develops over time
Nobody needs to be born a musical genius to develop musical intelligence.
Listening develops it. Singing develops it. Playing an instrument develops it. Reading music develops it. Studying theory develops it. Performing develops it. Making mistakes—and learning why they happened—develops it. Teaching others develops it. Conducting develops it. Even listening critically to other musicians can develop it.
The important thing is to move from asking:
“Can I play or sing this?”
to:
“Do I understand what I am playing or singing?”
And eventually:
“Can I communicate it?”
That is the journey from musical ability to a musical mind.
Final thought
A complete musician is not simply someone who has trained the fingers, voice or technical skills.
A complete musician has also trained the ear, imagination, understanding and judgement.
The instrument produces the sound, but the musical mind gives the sound direction.
In Series 2, we will explore how to deliberately develop a musical mind through listening, practice, theory, singing, playing and musical observation.
#art #bands #BenefitsOfPlayingAMusicalInstrument #choir #creativity #musicDirector #Musicalmind #musicians #musicperformance -
Developing a Musical Mind; Series 1
What Does It Mean to Have a Musical Mind?
When we describe someone as “musical,” we often mean that the person sings beautifully, plays an instrument well, keeps good rhythm, or seems naturally gifted.
But there is something deeper than technical ability.
A musician can play many notes without truly understanding the music. A singer can sing every pitch correctly without communicating the meaning of a song. A choir can learn all the notes and rhythms of a piece and still give a performance that feels lifeless.
This is where the idea of a musical mind becomes important.
“A musical mind does not merely reproduce sound; it understands what the sound is trying to communicate.” — Victor Adenola
So, what is a musical mind?
Having a musical mind means developing the ability to hear, understand, imagine, interpret, respond to and communicate music intentionally.
It is the ability to listen beyond the obvious.
You hear the melody, but you also hear its direction.
You hear the rhythm, but you understand its movement.
You hear the harmony, but you recognise how it supports the emotional character of the music.
You notice dynamics, phrasing, articulation, balance, tone and timing—and you understand how they contribute to the whole musical picture.
A musical mind asks questions such as:
- Why does this phrase begin softly?
- Where is this melody going?
- Why does the harmony change here?
- Should this note be sustained or released?
- Why does this section feel different?
- What does the composer or songwriter want the listener to experience?
- What does this music need from me as a performer?
These questions take a musician beyond simply playing or singing notes.
Technique is important—but technique is not everything
In my years of working as a music director, voice coach and music educator, I have observed that technical training can produce competent performers, but musical thinking produces more complete musicians.
A student may learn how to play a chord. The next level is understanding when, how and why to use that chord.
A singer may learn how to produce a beautiful tone. The next level is understanding how that tone serves the phrase and the message.
A drummer may learn a rhythm. The next level is knowing when that rhythm should lead, support, simplify or create space.
That is musical thinking.
“The goal of music training is not simply to fill the performer with information, but to develop the ability to make meaningful musical decisions.” — Victor Adenola
The musical ear and the musical mind
The musical ear and musical mind work together. Your ear helps you detect what is happening. Your mind helps you interpret it.
For example, a choir may be singing together but sound disconnected. A musically aware director will not simply say, “Sing louder.”
The director may recognise that the real problem is poor vowel alignment, inconsistent entrances, weak breath support, unbalanced sections or unclear phrasing.
The ability to diagnose the musical problem and respond appropriately is evidence of a developing musical mind.
Musical imagination matters too
One of the fascinating aspects of musical development is the ability to hear something internally before producing it externally.
Before a conductor raises a hand, they should have some idea of the sound they want.
Before a singer begins a phrase, they should have an internal sense of its pitch, tone, direction and expression.
Before a pianist plays a passage, the mind should already have an idea of how that passage should sound.
This is why musicians should not practise only with their hands and voices.
They must also practise with their ears and imagination.
A musical mind develops over time
Nobody needs to be born a musical genius to develop musical intelligence.
Listening develops it. Singing develops it. Playing an instrument develops it. Reading music develops it. Studying theory develops it. Performing develops it. Making mistakes—and learning why they happened—develops it. Teaching others develops it. Conducting develops it. Even listening critically to other musicians can develop it.
The important thing is to move from asking:
“Can I play or sing this?”
to:
“Do I understand what I am playing or singing?”
And eventually:
“Can I communicate it?”
That is the journey from musical ability to a musical mind.
Final thought
A complete musician is not simply someone who has trained the fingers, voice or technical skills.
A complete musician has also trained the ear, imagination, understanding and judgement.
The instrument produces the sound, but the musical mind gives the sound direction.
In Series 2, we will explore how to deliberately develop a musical mind through listening, practice, theory, singing, playing and musical observation.
#art #bands #BenefitsOfPlayingAMusicalInstrument #choir #creativity #musicDirector #Musicalmind #musicians #musicperformance -
Developing a Musical Mind; Series 1
What Does It Mean to Have a Musical Mind?
When we describe someone as “musical,” we often mean that the person sings beautifully, plays an instrument well, keeps good rhythm, or seems naturally gifted.
But there is something deeper than technical ability.
A musician can play many notes without truly understanding the music. A singer can sing every pitch correctly without communicating the meaning of a song. A choir can learn all the notes and rhythms of a piece and still give a performance that feels lifeless.
This is where the idea of a musical mind becomes important.
“A musical mind does not merely reproduce sound; it understands what the sound is trying to communicate.” — Victor Adenola
So, what is a musical mind?
Having a musical mind means developing the ability to hear, understand, imagine, interpret, respond to and communicate music intentionally.
It is the ability to listen beyond the obvious.
You hear the melody, but you also hear its direction.
You hear the rhythm, but you understand its movement.
You hear the harmony, but you recognise how it supports the emotional character of the music.
You notice dynamics, phrasing, articulation, balance, tone and timing—and you understand how they contribute to the whole musical picture.
A musical mind asks questions such as:
- Why does this phrase begin softly?
- Where is this melody going?
- Why does the harmony change here?
- Should this note be sustained or released?
- Why does this section feel different?
- What does the composer or songwriter want the listener to experience?
- What does this music need from me as a performer?
These questions take a musician beyond simply playing or singing notes.
Technique is important—but technique is not everything
In my years of working as a music director, voice coach and music educator, I have observed that technical training can produce competent performers, but musical thinking produces more complete musicians.
A student may learn how to play a chord. The next level is understanding when, how and why to use that chord.
A singer may learn how to produce a beautiful tone. The next level is understanding how that tone serves the phrase and the message.
A drummer may learn a rhythm. The next level is knowing when that rhythm should lead, support, simplify or create space.
That is musical thinking.
“The goal of music training is not simply to fill the performer with information, but to develop the ability to make meaningful musical decisions.” — Victor Adenola
The musical ear and the musical mind
The musical ear and musical mind work together. Your ear helps you detect what is happening. Your mind helps you interpret it.
For example, a choir may be singing together but sound disconnected. A musically aware director will not simply say, “Sing louder.”
The director may recognise that the real problem is poor vowel alignment, inconsistent entrances, weak breath support, unbalanced sections or unclear phrasing.
The ability to diagnose the musical problem and respond appropriately is evidence of a developing musical mind.
Musical imagination matters too
One of the fascinating aspects of musical development is the ability to hear something internally before producing it externally.
Before a conductor raises a hand, they should have some idea of the sound they want.
Before a singer begins a phrase, they should have an internal sense of its pitch, tone, direction and expression.
Before a pianist plays a passage, the mind should already have an idea of how that passage should sound.
This is why musicians should not practise only with their hands and voices.
They must also practise with their ears and imagination.
A musical mind develops over time
Nobody needs to be born a musical genius to develop musical intelligence.
Listening develops it. Singing develops it. Playing an instrument develops it. Reading music develops it. Studying theory develops it. Performing develops it. Making mistakes—and learning why they happened—develops it. Teaching others develops it. Conducting develops it. Even listening critically to other musicians can develop it.
The important thing is to move from asking:
“Can I play or sing this?”
to:
“Do I understand what I am playing or singing?”
And eventually:
“Can I communicate it?”
That is the journey from musical ability to a musical mind.
Final thought
A complete musician is not simply someone who has trained the fingers, voice or technical skills.
A complete musician has also trained the ear, imagination, understanding and judgement.
The instrument produces the sound, but the musical mind gives the sound direction.
In Series 2, we will explore how to deliberately develop a musical mind through listening, practice, theory, singing, playing and musical observation.
#art #bands #BenefitsOfPlayingAMusicalInstrument #choir #creativity #musicDirector #Musicalmind #musicians #musicperformance -
Developing a Musical Mind; Series 1
What Does It Mean to Have a Musical Mind?
When we describe someone as “musical,” we often mean that the person sings beautifully, plays an instrument well, keeps good rhythm, or seems naturally gifted.
But there is something deeper than technical ability.
A musician can play many notes without truly understanding the music. A singer can sing every pitch correctly without communicating the meaning of a song. A choir can learn all the notes and rhythms of a piece and still give a performance that feels lifeless.
This is where the idea of a musical mind becomes important.
“A musical mind does not merely reproduce sound; it understands what the sound is trying to communicate.” — Victor Adenola
So, what is a musical mind?
Having a musical mind means developing the ability to hear, understand, imagine, interpret, respond to and communicate music intentionally.
It is the ability to listen beyond the obvious.
You hear the melody, but you also hear its direction.
You hear the rhythm, but you understand its movement.
You hear the harmony, but you recognise how it supports the emotional character of the music.
You notice dynamics, phrasing, articulation, balance, tone and timing—and you understand how they contribute to the whole musical picture.
A musical mind asks questions such as:
- Why does this phrase begin softly?
- Where is this melody going?
- Why does the harmony change here?
- Should this note be sustained or released?
- Why does this section feel different?
- What does the composer or songwriter want the listener to experience?
- What does this music need from me as a performer?
These questions take a musician beyond simply playing or singing notes.
Technique is important—but technique is not everything
In my years of working as a music director, voice coach and music educator, I have observed that technical training can produce competent performers, but musical thinking produces more complete musicians.
A student may learn how to play a chord. The next level is understanding when, how and why to use that chord.
A singer may learn how to produce a beautiful tone. The next level is understanding how that tone serves the phrase and the message.
A drummer may learn a rhythm. The next level is knowing when that rhythm should lead, support, simplify or create space.
That is musical thinking.
“The goal of music training is not simply to fill the performer with information, but to develop the ability to make meaningful musical decisions.” — Victor Adenola
The musical ear and the musical mind
The musical ear and musical mind work together. Your ear helps you detect what is happening. Your mind helps you interpret it.
For example, a choir may be singing together but sound disconnected. A musically aware director will not simply say, “Sing louder.”
The director may recognise that the real problem is poor vowel alignment, inconsistent entrances, weak breath support, unbalanced sections or unclear phrasing.
The ability to diagnose the musical problem and respond appropriately is evidence of a developing musical mind.
Musical imagination matters too
One of the fascinating aspects of musical development is the ability to hear something internally before producing it externally.
Before a conductor raises a hand, they should have some idea of the sound they want.
Before a singer begins a phrase, they should have an internal sense of its pitch, tone, direction and expression.
Before a pianist plays a passage, the mind should already have an idea of how that passage should sound.
This is why musicians should not practise only with their hands and voices.
They must also practise with their ears and imagination.
A musical mind develops over time
Nobody needs to be born a musical genius to develop musical intelligence.
Listening develops it. Singing develops it. Playing an instrument develops it. Reading music develops it. Studying theory develops it. Performing develops it. Making mistakes—and learning why they happened—develops it. Teaching others develops it. Conducting develops it. Even listening critically to other musicians can develop it.
The important thing is to move from asking:
“Can I play or sing this?”
to:
“Do I understand what I am playing or singing?”
And eventually:
“Can I communicate it?”
That is the journey from musical ability to a musical mind.
Final thought
A complete musician is not simply someone who has trained the fingers, voice or technical skills.
A complete musician has also trained the ear, imagination, understanding and judgement.
The instrument produces the sound, but the musical mind gives the sound direction.
In Series 2, we will explore how to deliberately develop a musical mind through listening, practice, theory, singing, playing and musical observation.
#art #bands #BenefitsOfPlayingAMusicalInstrument #choir #creativity #musicDirector #Musicalmind #musicians #musicperformance -
Soooo, one of the biggest investigations into pig slaughter for human consumption happened in Greece, it seems! If not the biggest one there (I'm starting to think if it's one of the biggest worldwide actually with how many places were investigated…). Didn't know this had happened! Absolutely incredible work by the investigators. The images and video (Haven't seen them all.) are truly devastating. Just goes to show no country is different in how they treat these innocent beings. They are seen as products and are treated as such. If you've seen how pigs are usually treated, this is no different. Yet there are still people claiming their country is different for some reason…
The investigation were done by REthink ANIMALS ( https://rethinkanimals.gr You can translate that.) from March to May this year and they have an ongoing campaign which is called #thisisgyros (There's even a website for it! https://thisisgyros.gr Of course you can translate that, too.) and it has to do with the traditional Greek “food” gyros that usually has either pig or chicken flesh wrapped in a pita with potatoes, tomatoes and a sauce made with cow's milk, cucumber and garlic called “tzatziki.” The campaign seems to have launched this sort of picture sub-campaign, of activists posing with a slogan relating to gyros. These are my 2 favourite images so far from the campaign! (I obviously got permission from both to post them here.)❤️:vegan:
#thisisgyros #Gyros #REthinkANIMALS #Greek #Activism #Activist #Activists #Vegan #Veganism #Campaign #Pigs #Slaughter #Blood #Violence #Abuse #Rights #AnimalRights #Pig #Pigs #Greece #Photograph #Photographs #Photography #Creative #Creativity #Speciesism #Speciesist #Investigation #Undercover #UndercoverInvestigation #Antispeciesism #Antispeciesist #Truth #Βίγκαν #Ελλάδα #Ελληνικά #Ακτιβισμός #Έρευνα #Βιγκανισμός #Σπισισμός #Ειδισμός #Γύρος #Ακτιβιστές #Καμπάνια #Σφαγή #Αίμα #Βία #Δικαιώματα #ΔικαιώματαΤωνΖώων #Ζώα #Χοιρινό #Γουρούνι #Γουρούνια #Αποκάλυψη #Αντισπισισμός #Αντιειδισμός #Αλήθεια -
Soooo, one of the biggest investigations into pig slaughter for human consumption happened in Greece, it seems! If not the biggest one there (I'm starting to think if it's one of the biggest worldwide actually with how many places were investigated…). Didn't know this had happened! Absolutely incredible work by the investigators. The images and video (Haven't seen them all.) are truly devastating. Just goes to show no country is different in how they treat these innocent beings. They are seen as products and are treated as such. If you've seen how pigs are usually treated, this is no different. Yet there are still people claiming their country is different for some reason…
The investigation were done by REthink ANIMALS ( https://rethinkanimals.gr You can translate that.) from March to May this year and they have an ongoing campaign which is called #thisisgyros (There's even a website for it! https://thisisgyros.gr Of course you can translate that, too.) and it has to do with the traditional Greek “food” gyros that usually has either pig or chicken flesh wrapped in a pita with potatoes, tomatoes and a sauce made with cow's milk, cucumber and garlic called “tzatziki.” The campaign seems to have launched this sort of picture sub-campaign, of activists posing with a slogan relating to gyros. These are my 2 favourite images so far from the campaign! (I obviously got permission from both to post them here.)❤️:vegan:
#thisisgyros #Gyros #REthinkANIMALS #Greek #Activism #Activist #Activists #Vegan #Veganism #Campaign #Pigs #Slaughter #Blood #Violence #Abuse #Rights #AnimalRights #Pig #Pigs #Greece #Photograph #Photographs #Photography #Creative #Creativity #Speciesism #Speciesist #Investigation #Undercover #UndercoverInvestigation #Antispeciesism #Antispeciesist #Truth #Βίγκαν #Ελλάδα #Ελληνικά #Ακτιβισμός #Έρευνα #Βιγκανισμός #Σπισισμός #Ειδισμός #Γύρος #Ακτιβιστές #Καμπάνια #Σφαγή #Αίμα #Βία #Δικαιώματα #ΔικαιώματαΤωνΖώων #Ζώα #Χοιρινό #Γουρούνι #Γουρούνια #Αποκάλυψη #Αντισπισισμός #Αντιειδισμός #Αλήθεια -
Soooo, one of the biggest investigations into pig slaughter for human consumption happened in Greece, it seems! If not the biggest one there (I'm starting to think if it's one of the biggest worldwide actually with how many places were investigated…). Didn't know this had happened! Absolutely incredible work by the investigators. The images and video (Haven't seen them all.) are truly devastating. Just goes to show no country is different in how they treat these innocent beings. They are seen as products and are treated as such. If you've seen how pigs are usually treated, this is no different. Yet there are still people claiming their country is different for some reason…
The investigation were done by REthink ANIMALS ( https://rethinkanimals.gr You can translate that.) from March to May this year and they have an ongoing campaign which is called #thisisgyros (There's even a website for it! https://thisisgyros.gr Of course you can translate that, too.) and it has to do with the traditional Greek “food” gyros that usually has either pig or chicken flesh wrapped in a pita with potatoes, tomatoes and a sauce made with cow's milk, cucumber and garlic called “tzatziki.” The campaign seems to have launched this sort of picture sub-campaign, of activists posing with a slogan relating to gyros. These are my 2 favourite images so far from the campaign! (I obviously got permission from both to post them here.)❤️:vegan:
#thisisgyros #Gyros #REthinkANIMALS #Greek #Activism #Activist #Activists #Vegan #Veganism #Campaign #Pigs #Slaughter #Blood #Violence #Abuse #Rights #AnimalRights #Pig #Pigs #Greece #Photograph #Photographs #Photography #Creative #Creativity #Speciesism #Speciesist #Investigation #Undercover #UndercoverInvestigation #Antispeciesism #Antispeciesist #Truth #Βίγκαν #Ελλάδα #Ελληνικά #Ακτιβισμός #Έρευνα #Βιγκανισμός #Σπισισμός #Ειδισμός #Γύρος #Ακτιβιστές #Καμπάνια #Σφαγή #Αίμα #Βία #Δικαιώματα #ΔικαιώματαΤωνΖώων #Ζώα #Χοιρινό #Γουρούνι #Γουρούνια #Αποκάλυψη #Αντισπισισμός #Αντιειδισμός #Αλήθεια -
Soooo, one of the biggest investigations into pig slaughter for human consumption happened in Greece, it seems! If not the biggest one there (I'm starting to think if it's one of the biggest worldwide actually with how many places were investigated…). Didn't know this had happened! Absolutely incredible work by the investigators. The images and video (Haven't seen them all.) are truly devastating. Just goes to show no country is different in how they treat these innocent beings. They are seen as products and are treated as such. If you've seen how pigs are usually treated, this is no different. Yet there are still people claiming their country is different for some reason…
The investigation were done by REthink ANIMALS ( https://rethinkanimals.gr You can translate that.) from March to May this year and they have an ongoing campaign which is called #thisisgyros (There's even a website for it! https://thisisgyros.gr Of course you can translate that, too.) and it has to do with the traditional Greek “food” gyros that usually has either pig or chicken flesh wrapped in a pita with potatoes, tomatoes and a sauce made with cow's milk, cucumber and garlic called “tzatziki.” The campaign seems to have launched this sort of picture sub-campaign, of activists posing with a slogan relating to gyros. These are my 2 favourite images so far from the campaign! (I obviously got permission from both to post them here.)❤️:vegan:
#thisisgyros #Gyros #REthinkANIMALS #Greek #Activism #Activist #Activists #Vegan #Veganism #Campaign #Pigs #Slaughter #Blood #Violence #Abuse #Rights #AnimalRights #Pig #Pigs #Greece #Photograph #Photographs #Photography #Creative #Creativity #Speciesism #Speciesist #Investigation #Undercover #UndercoverInvestigation #Antispeciesism #Antispeciesist #Truth #Βίγκαν #Ελλάδα #Ελληνικά #Ακτιβισμός #Έρευνα #Βιγκανισμός #Σπισισμός #Ειδισμός #Γύρος #Ακτιβιστές #Καμπάνια #Σφαγή #Αίμα #Βία #Δικαιώματα #ΔικαιώματαΤωνΖώων #Ζώα #Χοιρινό #Γουρούνι #Γουρούνια #Αποκάλυψη #Αντισπισισμός #Αντιειδισμός #Αλήθεια -
Soooo, one of the biggest investigations into pig slaughter for human consumption happened in Greece, it seems! If not the biggest one there (I'm starting to think if it's one of the biggest worldwide actually with how many places were investigated…). Didn't know this had happened! Absolutely incredible work by the investigators. The images and video (Haven't seen them all.) are truly devastating. Just goes to show no country is different in how they treat these innocent beings. They are seen as products and are treated as such. If you've seen how pigs are usually treated, this is no different. Yet there are still people claiming their country is different for some reason…
The investigation were done by REthink ANIMALS ( https://rethinkanimals.gr You can translate that.) from March to May this year and they have an ongoing campaign which is called #thisisgyros (There's even a website for it! https://thisisgyros.gr Of course you can translate that, too.) and it has to do with the traditional Greek “food” gyros that usually has either pig or chicken flesh wrapped in a pita with potatoes, tomatoes and a sauce made with cow's milk, cucumber and garlic called “tzatziki.” The campaign seems to have launched this sort of picture sub-campaign, of activists posing with a slogan relating to gyros. These are my 2 favourite images so far from the campaign! (I obviously got permission from both to post them here.)❤️:vegan:
#thisisgyros #Gyros #REthinkANIMALS #Greek #Activism #Activist #Activists #Vegan #Veganism #Campaign #Pigs #Slaughter #Blood #Violence #Abuse #Rights #AnimalRights #Pig #Pigs #Greece #Photograph #Photographs #Photography #Creative #Creativity #Speciesism #Speciesist #Investigation #Undercover #UndercoverInvestigation #Antispeciesism #Antispeciesist #Truth #Βίγκαν #Ελλάδα #Ελληνικά #Ακτιβισμός #Έρευνα #Βιγκανισμός #Σπισισμός #Ειδισμός #Γύρος #Ακτιβιστές #Καμπάνια #Σφαγή #Αίμα #Βία #Δικαιώματα #ΔικαιώματαΤωνΖώων #Ζώα #Χοιρινό #Γουρούνι #Γουρούνια #Αποκάλυψη #Αντισπισισμός #Αντιειδισμός #Αλήθεια -
W3 Prompt #231: Wea’ve Written Weekly
Intro
Dear friends,
Welcome to our W3 Poetry Prompt, which goes live on Wednesdays at The Skeptic’s Kaddish.
You may click here for a fuller explanation of W3; but here’s the ‘tldr’ version:
Part I
The main ingredient of W3 is a weekly poem written by a Poet of the Week (PoW), which participants read before participating in the prompt.
Part II
The second ingredient is a writing guideline (or two) provided by the PoW. Guidelines may include, but are not limited to: word counts, poetic forms, inclusion of specific words, and use of particular poetic devices.
Part III
After five days, when the prompt closes, the PoW shall select one participant’s poem as the W3 prompt for the following week, and its author becomes the next PoW.
Simple enough, right?
Kindly note: All entries for the W3 poetry prompt must be the original work of the submitting author. AI-generated poetry is not permitted.
Okie dokie ~ Let’s do this thing!
I. The prompt poem:
‘To a Flower on a Kashmir Mountainside’ by Khadija Shabbir
Little one, clinging to grey stone where nothing else dared root itself ; what do you know of stubbornness that I have yet to learn? I found you between two boulders, petals the color of held breath, trembling not from weakness but from wind that has crossed glaciers just to reach you first. Thou growest where the mountain offers no soil, no shelter, no promise; only altitude, only cold, only the kind of beauty that asks nothing in return. What do you know of solitude, small and bright against so much grey? Do you count yourself alone, or does the whole mountain keep you company in its silence? And if you could answer, I imagine you would say: I am not stubborn I am simply placed. The wind did not defeat me, it planted me. You call this solitude; I call it being chosen by the one place soft enough to hold me and hard enough to keep me. That surprised me more than the climb did; that what I read as struggle, you might call belonging. That the very stone I pitied you for may be the only ground that ever truly wanted you. I left you there, still standing, long after I had gone; small, stubborn, sacred thing, who taught me that survival and belonging are not always the same story.
II. Khadija’s prompt: Repeat after yourself
I invite you to write a cinquain, a five-line poem, using repetition to give one word or phrase new meaning as the poem unfolds.
I’d like you to begin at least three lines with the same word or short phrase. This is called anaphora. Think of how a repeated word can sound like a heartbeat, a chant, or a prayer: each time it returns, it can carry a little more feeling.
Here’s what we’re going for:
- Five lines: Use this syllable pattern: 2–4–6–8–2. That means two syllables in the first line, four in the second, six in the third, eight in the fourth, and two in the last.
- A repeated beginning: Start at least three of those lines with the same word or short phrase.
- Any subject: I welcome poems about anything that catches your attention: a feeling, a place, a memory, or an ordinary moment.
- An optional twist: By the last line, try to make your repeated word feel different from when it first appeared.
Here’s an example:
slow rain,
slow steam, slow light,
slow hands around the cup,
slow breath, slow hush, slow thanks for this,
slow home.In this example, I use “slow” first to describe the rain, then the unhurried movements of someone holding a cup. By “slow home,” I want the word to suggest the comfort of being somewhere we can take our time.
I’d love to see where your chosen word takes you. Have fun!
III. Submit: Click on ‘Mister Linky’ below
In order to participate and share a poem, open up this blog post, outside of the WordPress reader. At the bottom, just below these words, you will see a small rectangular graphic with the words ‘Mr Linky’. Click on that to submit.
Submissions are open for 5 days, until Monday, Oct. 5, 10:00 AM (GMT+2)
Last week’s W3 poem
This week’s W3 prompt poem (above), composed by Khadija, was written in response to last week’s W3 prompt poem, which Heather wrote:
‘Crabbies Ginger Beer’ by Heather Carr-Rowe
on a hot summer's day late in the afternoon listening to reggae I flip the cap away hear the gasping bottle swoon on a hot summer's day let liquid gold hold sway sip the ginger beneath the day moon listening to reggae there is a bite per say bitter sweet memories croon on a hot summer's day the ginger snaps me on my way tastebuds all a festoon listening to reggae it's the taste of the sun's ray a sensory monsoon on a hot summer's day listening to reggae
#Poetry #CreativeWriting #Community #Cinquain #Creativity #Poem #Writing #Anaphora #Prompt #W3 -
W3 Prompt #231: Wea’ve Written Weekly
Intro
Dear friends,
Welcome to our W3 Poetry Prompt, which goes live on Wednesdays at The Skeptic’s Kaddish.
You may click here for a fuller explanation of W3; but here’s the ‘tldr’ version:
Part I
The main ingredient of W3 is a weekly poem written by a Poet of the Week (PoW), which participants read before participating in the prompt.
Part II
The second ingredient is a writing guideline (or two) provided by the PoW. Guidelines may include, but are not limited to: word counts, poetic forms, inclusion of specific words, and use of particular poetic devices.
Part III
After five days, when the prompt closes, the PoW shall select one participant’s poem as the W3 prompt for the following week, and its author becomes the next PoW.
Simple enough, right?
Kindly note: All entries for the W3 poetry prompt must be the original work of the submitting author. AI-generated poetry is not permitted.
Okie dokie ~ Let’s do this thing!
I. The prompt poem:
‘To a Flower on a Kashmir Mountainside’ by Khadija Shabbir
Little one, clinging to grey stone where nothing else dared root itself ; what do you know of stubbornness that I have yet to learn? I found you between two boulders, petals the color of held breath, trembling not from weakness but from wind that has crossed glaciers just to reach you first. Thou growest where the mountain offers no soil, no shelter, no promise; only altitude, only cold, only the kind of beauty that asks nothing in return. What do you know of solitude, small and bright against so much grey? Do you count yourself alone, or does the whole mountain keep you company in its silence? And if you could answer, I imagine you would say: I am not stubborn I am simply placed. The wind did not defeat me, it planted me. You call this solitude; I call it being chosen by the one place soft enough to hold me and hard enough to keep me. That surprised me more than the climb did; that what I read as struggle, you might call belonging. That the very stone I pitied you for may be the only ground that ever truly wanted you. I left you there, still standing, long after I had gone; small, stubborn, sacred thing, who taught me that survival and belonging are not always the same story.
II. Khadija’s prompt: Repeat after yourself
I invite you to write a cinquain, a five-line poem, using repetition to give one word or phrase new meaning as the poem unfolds.
I’d like you to begin at least three lines with the same word or short phrase. This is called anaphora. Think of how a repeated word can sound like a heartbeat, a chant, or a prayer: each time it returns, it can carry a little more feeling.
Here’s what we’re going for:
- Five lines: Use this syllable pattern: 2–4–6–8–2. That means two syllables in the first line, four in the second, six in the third, eight in the fourth, and two in the last.
- A repeated beginning: Start at least three of those lines with the same word or short phrase.
- Any subject: I welcome poems about anything that catches your attention: a feeling, a place, a memory, or an ordinary moment.
- An optional twist: By the last line, try to make your repeated word feel different from when it first appeared.
Here’s an example:
slow rain,
slow steam, slow light,
slow hands around the cup,
slow breath, slow hush, slow thanks for this,
slow home.In this example, I use “slow” first to describe the rain, then the unhurried movements of someone holding a cup. By “slow home,” I want the word to suggest the comfort of being somewhere we can take our time.
I’d love to see where your chosen word takes you. Have fun!
III. Submit: Click on ‘Mister Linky’ below
In order to participate and share a poem, open up this blog post, outside of the WordPress reader. At the bottom, just below these words, you will see a small rectangular graphic with the words ‘Mr Linky’. Click on that to submit.
Submissions are open for 5 days, until Monday, Oct. 5, 10:00 AM (GMT+2)
Last week’s W3 poem
This week’s W3 prompt poem (above), composed by Khadija, was written in response to last week’s W3 prompt poem, which Heather wrote:
‘Crabbies Ginger Beer’ by Heather Carr-Rowe
on a hot summer's day late in the afternoon listening to reggae I flip the cap away hear the gasping bottle swoon on a hot summer's day let liquid gold hold sway sip the ginger beneath the day moon listening to reggae there is a bite per say bitter sweet memories croon on a hot summer's day the ginger snaps me on my way tastebuds all a festoon listening to reggae it's the taste of the sun's ray a sensory monsoon on a hot summer's day listening to reggae
#Anaphora #Cinquain #Community #CreativeWriting #Creativity #Poem #Poetry #Prompt #W3 #Writing -
W3 Prompt #231: Wea’ve Written Weekly
Intro
Dear friends,
Welcome to our W3 Poetry Prompt, which goes live on Wednesdays at The Skeptic’s Kaddish.
You may click here for a fuller explanation of W3; but here’s the ‘tldr’ version:
Part I
The main ingredient of W3 is a weekly poem written by a Poet of the Week (PoW), which participants read before participating in the prompt.
Part II
The second ingredient is a writing guideline (or two) provided by the PoW. Guidelines may include, but are not limited to: word counts, poetic forms, inclusion of specific words, and use of particular poetic devices.
Part III
After five days, when the prompt closes, the PoW shall select one participant’s poem as the W3 prompt for the following week, and its author becomes the next PoW.
Simple enough, right?
Kindly note: All entries for the W3 poetry prompt must be the original work of the submitting author. AI-generated poetry is not permitted.
Okie dokie ~ Let’s do this thing!
I. The prompt poem:
‘To a Flower on a Kashmir Mountainside’ by Khadija Shabbir
Little one, clinging to grey stone where nothing else dared root itself ; what do you know of stubbornness that I have yet to learn? I found you between two boulders, petals the color of held breath, trembling not from weakness but from wind that has crossed glaciers just to reach you first. Thou growest where the mountain offers no soil, no shelter, no promise; only altitude, only cold, only the kind of beauty that asks nothing in return. What do you know of solitude, small and bright against so much grey? Do you count yourself alone, or does the whole mountain keep you company in its silence? And if you could answer, I imagine you would say: I am not stubborn I am simply placed. The wind did not defeat me, it planted me. You call this solitude; I call it being chosen by the one place soft enough to hold me and hard enough to keep me. That surprised me more than the climb did; that what I read as struggle, you might call belonging. That the very stone I pitied you for may be the only ground that ever truly wanted you. I left you there, still standing, long after I had gone; small, stubborn, sacred thing, who taught me that survival and belonging are not always the same story.
II. Khadija’s prompt: Repeat after yourself
I invite you to write a cinquain, a five-line poem, using repetition to give one word or phrase new meaning as the poem unfolds.
I’d like you to begin at least three lines with the same word or short phrase. This is called anaphora. Think of how a repeated word can sound like a heartbeat, a chant, or a prayer: each time it returns, it can carry a little more feeling.
Here’s what we’re going for:
- Five lines: Use this syllable pattern: 2–4–6–8–2. That means two syllables in the first line, four in the second, six in the third, eight in the fourth, and two in the last.
- A repeated beginning: Start at least three of those lines with the same word or short phrase.
- Any subject: I welcome poems about anything that catches your attention: a feeling, a place, a memory, or an ordinary moment.
- An optional twist: By the last line, try to make your repeated word feel different from when it first appeared.
Here’s an example:
slow rain,
slow steam, slow light,
slow hands around the cup,
slow breath, slow hush, slow thanks for this,
slow home.In this example, I use “slow” first to describe the rain, then the unhurried movements of someone holding a cup. By “slow home,” I want the word to suggest the comfort of being somewhere we can take our time.
I’d love to see where your chosen word takes you. Have fun!
III. Submit: Click on ‘Mister Linky’ below
In order to participate and share a poem, open up this blog post, outside of the WordPress reader. At the bottom, just below these words, you will see a small rectangular graphic with the words ‘Mr Linky’. Click on that to submit.
Submissions are open for 5 days, until Monday, Oct. 5, 10:00 AM (GMT+2)
Last week’s W3 poem
This week’s W3 prompt poem (above), composed by Khadija, was written in response to last week’s W3 prompt poem, which Heather wrote:
‘Crabbies Ginger Beer’ by Heather Carr-Rowe
on a hot summer's day late in the afternoon listening to reggae I flip the cap away hear the gasping bottle swoon on a hot summer's day let liquid gold hold sway sip the ginger beneath the day moon listening to reggae there is a bite per say bitter sweet memories croon on a hot summer's day the ginger snaps me on my way tastebuds all a festoon listening to reggae it's the taste of the sun's ray a sensory monsoon on a hot summer's day listening to reggae
#Poetry #CreativeWriting #Community #Cinquain #Creativity #Poem #Writing #Anaphora #Prompt #W3 -
W3 Prompt #231: Wea’ve Written Weekly
Intro
Dear friends,
Welcome to our W3 Poetry Prompt, which goes live on Wednesdays at The Skeptic’s Kaddish.
You may click here for a fuller explanation of W3; but here’s the ‘tldr’ version:
Part I
The main ingredient of W3 is a weekly poem written by a Poet of the Week (PoW), which participants read before participating in the prompt.
Part II
The second ingredient is a writing guideline (or two) provided by the PoW. Guidelines may include, but are not limited to: word counts, poetic forms, inclusion of specific words, and use of particular poetic devices.
Part III
After five days, when the prompt closes, the PoW shall select one participant’s poem as the W3 prompt for the following week, and its author becomes the next PoW.
Simple enough, right?
Kindly note: All entries for the W3 poetry prompt must be the original work of the submitting author. AI-generated poetry is not permitted.
Okie dokie ~ Let’s do this thing!
I. The prompt poem:
‘To a Flower on a Kashmir Mountainside’ by Khadija Shabbir
Little one, clinging to grey stone where nothing else dared root itself ; what do you know of stubbornness that I have yet to learn? I found you between two boulders, petals the color of held breath, trembling not from weakness but from wind that has crossed glaciers just to reach you first. Thou growest where the mountain offers no soil, no shelter, no promise; only altitude, only cold, only the kind of beauty that asks nothing in return. What do you know of solitude, small and bright against so much grey? Do you count yourself alone, or does the whole mountain keep you company in its silence? And if you could answer, I imagine you would say: I am not stubborn I am simply placed. The wind did not defeat me, it planted me. You call this solitude; I call it being chosen by the one place soft enough to hold me and hard enough to keep me. That surprised me more than the climb did; that what I read as struggle, you might call belonging. That the very stone I pitied you for may be the only ground that ever truly wanted you. I left you there, still standing, long after I had gone; small, stubborn, sacred thing, who taught me that survival and belonging are not always the same story.
II. Khadija’s prompt: Repeat after yourself
I invite you to write a cinquain, a five-line poem, using repetition to give one word or phrase new meaning as the poem unfolds.
I’d like you to begin at least three lines with the same word or short phrase. This is called anaphora. Think of how a repeated word can sound like a heartbeat, a chant, or a prayer: each time it returns, it can carry a little more feeling.
Here’s what we’re going for:
- Five lines: Use this syllable pattern: 2–4–6–8–2. That means two syllables in the first line, four in the second, six in the third, eight in the fourth, and two in the last.
- A repeated beginning: Start at least three of those lines with the same word or short phrase.
- Any subject: I welcome poems about anything that catches your attention: a feeling, a place, a memory, or an ordinary moment.
- An optional twist: By the last line, try to make your repeated word feel different from when it first appeared.
Here’s an example:
slow rain,
slow steam, slow light,
slow hands around the cup,
slow breath, slow hush, slow thanks for this,
slow home.In this example, I use “slow” first to describe the rain, then the unhurried movements of someone holding a cup. By “slow home,” I want the word to suggest the comfort of being somewhere we can take our time.
I’d love to see where your chosen word takes you. Have fun!
III. Submit: Click on ‘Mister Linky’ below
In order to participate and share a poem, open up this blog post, outside of the WordPress reader. At the bottom, just below these words, you will see a small rectangular graphic with the words ‘Mr Linky’. Click on that to submit.
Submissions are open for 5 days, until Monday, Oct. 5, 10:00 AM (GMT+2)
Last week’s W3 poem
This week’s W3 prompt poem (above), composed by Khadija, was written in response to last week’s W3 prompt poem, which Heather wrote:
‘Crabbies Ginger Beer’ by Heather Carr-Rowe
on a hot summer's day late in the afternoon listening to reggae I flip the cap away hear the gasping bottle swoon on a hot summer's day let liquid gold hold sway sip the ginger beneath the day moon listening to reggae there is a bite per say bitter sweet memories croon on a hot summer's day the ginger snaps me on my way tastebuds all a festoon listening to reggae it's the taste of the sun's ray a sensory monsoon on a hot summer's day listening to reggae
#Anaphora #Cinquain #Community #CreativeWriting #Creativity #Poem #Poetry #Prompt #W3 #Writing -
W3 Prompt #231: Wea’ve Written Weekly
Intro
Dear friends,
Welcome to our W3 Poetry Prompt, which goes live on Wednesdays at The Skeptic’s Kaddish.
You may click here for a fuller explanation of W3; but here’s the ‘tldr’ version:
Part I
The main ingredient of W3 is a weekly poem written by a Poet of the Week (PoW), which participants read before participating in the prompt.
Part II
The second ingredient is a writing guideline (or two) provided by the PoW. Guidelines may include, but are not limited to: word counts, poetic forms, inclusion of specific words, and use of particular poetic devices.
Part III
After five days, when the prompt closes, the PoW shall select one participant’s poem as the W3 prompt for the following week, and its author becomes the next PoW.
Simple enough, right?
Kindly note: All entries for the W3 poetry prompt must be the original work of the submitting author. AI-generated poetry is not permitted.
Okie dokie ~ Let’s do this thing!
I. The prompt poem:
‘To a Flower on a Kashmir Mountainside’ by Khadija Shabbir
Little one, clinging to grey stone where nothing else dared root itself ; what do you know of stubbornness that I have yet to learn? I found you between two boulders, petals the color of held breath, trembling not from weakness but from wind that has crossed glaciers just to reach you first. Thou growest where the mountain offers no soil, no shelter, no promise; only altitude, only cold, only the kind of beauty that asks nothing in return. What do you know of solitude, small and bright against so much grey? Do you count yourself alone, or does the whole mountain keep you company in its silence? And if you could answer, I imagine you would say: I am not stubborn I am simply placed. The wind did not defeat me, it planted me. You call this solitude; I call it being chosen by the one place soft enough to hold me and hard enough to keep me. That surprised me more than the climb did; that what I read as struggle, you might call belonging. That the very stone I pitied you for may be the only ground that ever truly wanted you. I left you there, still standing, long after I had gone; small, stubborn, sacred thing, who taught me that survival and belonging are not always the same story.
II. Khadija’s prompt: Repeat after yourself
I invite you to write a cinquain, a five-line poem, using repetition to give one word or phrase new meaning as the poem unfolds.
I’d like you to begin at least three lines with the same word or short phrase. This is called anaphora. Think of how a repeated word can sound like a heartbeat, a chant, or a prayer: each time it returns, it can carry a little more feeling.
Here’s what we’re going for:
- Five lines: Use this syllable pattern: 2–4–6–8–2. That means two syllables in the first line, four in the second, six in the third, eight in the fourth, and two in the last.
- A repeated beginning: Start at least three of those lines with the same word or short phrase.
- Any subject: I welcome poems about anything that catches your attention: a feeling, a place, a memory, or an ordinary moment.
- An optional twist: By the last line, try to make your repeated word feel different from when it first appeared.
Here’s an example:
slow rain,
slow steam, slow light,
slow hands around the cup,
slow breath, slow hush, slow thanks for this,
slow home.In this example, I use “slow” first to describe the rain, then the unhurried movements of someone holding a cup. By “slow home,” I want the word to suggest the comfort of being somewhere we can take our time.
I’d love to see where your chosen word takes you. Have fun!
III. Submit: Click on ‘Mister Linky’ below
In order to participate and share a poem, open up this blog post, outside of the WordPress reader. At the bottom, just below these words, you will see a small rectangular graphic with the words ‘Mr Linky’. Click on that to submit.
Submissions are open for 5 days, until Monday, Oct. 5, 10:00 AM (GMT+2)
Last week’s W3 poem
This week’s W3 prompt poem (above), composed by Khadija, was written in response to last week’s W3 prompt poem, which Heather wrote:
‘Crabbies Ginger Beer’ by Heather Carr-Rowe
on a hot summer's day late in the afternoon listening to reggae I flip the cap away hear the gasping bottle swoon on a hot summer's day let liquid gold hold sway sip the ginger beneath the day moon listening to reggae there is a bite per say bitter sweet memories croon on a hot summer's day the ginger snaps me on my way tastebuds all a festoon listening to reggae it's the taste of the sun's ray a sensory monsoon on a hot summer's day listening to reggae
#Anaphora #Cinquain #Community #CreativeWriting #Creativity #Poem #Poetry #Prompt #W3 #Writing -
On this day in 2022 I got interviewed by CanvasRebel! http://canvasrebel.com/meet-jenny-lam An article about when I knew I wanted to pursue an artistic path professionally, my projects and inspirations, the mission driving my #creative #journey, and #resilience.
#Interview #Artist #Art #MastoArt #FediArt #Artwork #FineArt #ContemporaryArt #Writer #Writing #Photographer #Photography #Illustrator #Illustration #Drawing #Creativity #Entrepreneurship #Entrepreneur #Story #Storytelling #Chicago
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On this day in 2022 I got interviewed by CanvasRebel! http://canvasrebel.com/meet-jenny-lam An article about when I knew I wanted to pursue an artistic path professionally, my projects and inspirations, the mission driving my #creative #journey, and #resilience.
#Interview #Artist #Art #MastoArt #FediArt #Artwork #FineArt #ContemporaryArt #Writer #Writing #Photographer #Photography #Illustrator #Illustration #Drawing #Creativity #Entrepreneurship #Entrepreneur #Story #Storytelling #Chicago
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On this day in 2022 I got interviewed by CanvasRebel! http://canvasrebel.com/meet-jenny-lam An article about when I knew I wanted to pursue an artistic path professionally, my projects and inspirations, the mission driving my #creative #journey, and #resilience.
#Interview #Artist #Art #MastoArt #FediArt #Artwork #FineArt #ContemporaryArt #Writer #Writing #Photographer #Photography #Illustrator #Illustration #Drawing #Creativity #Entrepreneurship #Entrepreneur #Story #Storytelling #Chicago
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On this day in 2022 I got interviewed by CanvasRebel! http://canvasrebel.com/meet-jenny-lam An article about when I knew I wanted to pursue an artistic path professionally, my projects and inspirations, the mission driving my #creative #journey, and #resilience.
#Interview #Artist #Art #MastoArt #FediArt #Artwork #FineArt #ContemporaryArt #Writer #Writing #Photographer #Photography #Illustrator #Illustration #Drawing #Creativity #Entrepreneurship #Entrepreneur #Story #Storytelling #Chicago
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Flashes of Genius
The 2026 MacArthur Fellows have been announced, and this year’s class is an interesting mix. From climate scientists to fiction writers, historians to chemists and more, the list provides a window into just some of the work being done by smart, enthusiastic, and creative people today.
https://www.youtube.com/watch?v=OZgdPqoN2QI
These Fellows have found ways to capture some of the most important issues of our time, and it’s great to see such varied examples of constructive creativity, and to think of all the other people out there doing good work. Let’s hear it for flashes of genius!
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Photo by Mélody P on Unsplash #365Ways #365Ways2026 #MacFellow #art #awards #constructiveCreativity #creativity #GeniusAwards #inspiration #MacArthurFellows -
Flashes of Genius
The 2026 MacArthur Fellows have been announced, and this year’s class is an interesting mix. From climate scientists to fiction writers, historians to chemists and more, the list provides a window into just some of the work being done by smart, enthusiastic, and creative people today.
https://www.youtube.com/watch?v=OZgdPqoN2QI
These Fellows have found ways to capture some of the most important issues of our time, and it’s great to see such varied examples of constructive creativity, and to think of all the other people out there doing good work. Let’s hear it for flashes of genius!
* * *
Photo by Mélody P on Unsplash #365Ways #365Ways2026 #MacFellow #art #awards #constructiveCreativity #creativity #GeniusAwards #inspiration #MacArthurFellows -
Flashes of Genius
The 2026 MacArthur Fellows have been announced, and this year’s class is an interesting mix. From climate scientists to fiction writers, historians to chemists and more, the list provides a window into just some of the work being done by smart, enthusiastic, and creative people today.
https://www.youtube.com/watch?v=OZgdPqoN2QI
These Fellows have found ways to capture some of the most important issues of our time, and it’s great to see such varied examples of constructive creativity, and to think of all the other people out there doing good work. Let’s hear it for flashes of genius!
* * *
Photo by Mélody P on Unsplash #365Ways #365Ways2026 #MacFellow #art #awards #constructiveCreativity #creativity #GeniusAwards #inspiration #MacArthurFellows -
C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination
https://fed.brid.gy/r/https://www.themarginalian.org/2026/09/29/c-s-lewis-schedule/
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C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination
https://fed.brid.gy/r/https://www.themarginalian.org/2026/09/29/c-s-lewis-schedule/
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C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination
https://web.brid.gy/r/https://www.themarginalian.org/2026/09/29/c-s-lewis-schedule/
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C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination
https://fed.brid.gy/r/https://www.themarginalian.org/2026/09/29/c-s-lewis-schedule/
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C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination
https://web.brid.gy/r/https://www.themarginalian.org/2026/09/29/c-s-lewis-schedule/
