Totemism

This blog is dedicated to the first rate performer, singer and musician Diamanda GalΓ‘s. Diamanda GalΓ‘s (born August 29, 1955) is a Greek-American avant-garde composer, vocalist, pianist, performance artist and painter. Known for her expert piano as well as her distinctive, operatic voice, which has a three and a half octave range, GalΓ‘s has been described as "capable of the most unnerving vocal terror". GalΓ‘s often shrieks, howls, and seems to imitate glossolalia in her performances. Her works largely concentrate on the topics of suffering, despair, condemnation, injustice and isolation. She has worked with many avant-garde composers, including Iannis Xenakis, and Vinko Globokar. Greatness exists independent of most peoples judgement or opinion. We only listen to the wise. The fools have no vote, this is not a democracy. Photos are published by the kind permission of the artist. Her official website: http://diamandagalas.com/

π•·π–Šπ–‹π–™ 𝕳𝖆𝖓𝖉 𝖔𝖋 π–™π–π–Š π•±π–†π–™π–π–Šπ–— π–‡π–ž π•―π–Žπ–†π–’π–†π–“π–‰π–† π•²π–†π–‘Γ‘π–˜

Kategori: AllmΓ€nt, Diamanda GalΓ‘s, Poems

Drawing: Diamanda GalΓ‘sΒ 
Β 
 𝕿𝖍𝖆𝖙 π–œπ–†π–˜ π–žπ–”π–šπ–— π•±π–†π–™π–π–Šπ–—β€™π–˜
π–‘π–Šπ–‹π–™ 𝖍𝖆𝖓𝖉
𝕿𝖍𝖆𝖙 π–˜π–ˆπ–†π–—
π•³π–Žπ–˜ π•·π–Žπ–‹π–Šπ–‘π–Žπ–“π–Š.
𝕴𝖙 π–Šπ–“π–‰π–Šπ–‰ 𝖍𝖆𝖑𝖋 π–•π–†π–˜π–™ π–™π–œπ–”
𝖔𝖋 π•Ύπ–Šπ–•π–™π–Šπ–’π–‡π–Šπ–—
18 π–‡π–†π–—π–˜ 𝖋𝖗𝖔𝖒 π–™π–π–Š 𝖙𝖔𝖕
𝖔𝖋 π–π–Žπ–˜ π–“π–Šπ–œ π–π–”π–’π–Š π–Žπ–“ π–π–Šπ–‘π–‘
π–œπ–π–Šπ–—π–Š,
π–šπ–“π–‰π–Šπ–— π–™π–π–Š π–™π–†π–‡π–‘π–Š
𝖆𝖓𝖉
π–šπ–“π–‰π–Šπ–— π–™π–π–Š π–ˆπ–π–†π–Žπ–—
π–†π–œπ–†π–ž 𝖋𝖗𝖔𝖒
π–™π–π–Š π–‹π–”π–‘π–π–˜
π–œπ–Žπ–™π– π–™π–π–Š π–‰π–Žπ–—π–™π–ž 𝖔𝖑𝖉 π–π–†π–Žπ–—
π–†π–œπ–†π–ž 𝖋𝖗𝖔𝖒 π–™π–π–Š
𝖒𝖆𝖓 π–Žπ–“
π–™π–π–Š π–‡π–‘π–šπ–Š π–šπ–“π–‰π–Šπ–—π–œπ–Šπ–†π–—
π–œπ–Žπ–™π– π–™π–π–Š π–•π–”π–π–Š 𝖙𝖔 π–™π–π–Š π–‘π–Šπ–‹π–™
𝖙𝖍𝖆𝖙 π–π–Žπ–˜ π–œπ–Žπ–‹π–Š 𝖍𝖆𝖉 𝖙𝖔 π–˜π–•π–†π–—π–Š
π–Šπ–†π–™ π–™π–π–Š π–—π–Žπ–‡
π–™π–π–Šπ–—π–Šβ€™π–˜ 𝖆 π–‡π–šπ–˜
π–žπ–”π–š 𝖔𝖑𝖉 π–‡π–šπ–Ÿπ–Ÿπ–†π–—π–‰

 𝕴 π–˜π–œπ–Šπ–†π–— Β 

𝕴 π–œπ–Žπ–‘π–‘ π–‡π–—π–Šπ–†π– π–‡π–Šπ–‹π–”π–—π–Š
lπ–Žπ–Œπ–π–™ π–œπ–Žπ–™π– π–™π–π–Š π–π–Šπ–ž
𝖙𝖍𝖆𝖙 π–™π–π–Šπ–ž π–˜π–•π–†π–—π–Š
𝖙𝖔 π–™π–π–Š 𝖒𝖆𝖓
π–œπ–Žπ–™π– π–™π–π–Š π–‘π–”π–ˆπ–
𝖆𝖓𝖉 π–™π–π–Š π–˜π–™π–Šπ–Šπ–‘ π–π–Š π–‡π–†π–—π–Šπ–˜
𝕴 π–œπ–Žπ–‘π–‘ π–‘π–Šπ–†π–›π–Š π–‘π–Žπ–π–Š 𝖆 π–π–Žπ–“π–Œ
π–žπ–”π–š π–œπ–”π–“β€™π–™ π–˜π–Šπ–Š π–’π–Š
π–™π–”π–’π–”π–—π–—π–”π–œ
𝕴’𝖒 π–Žπ–“ π–œπ–†π–™π–Šπ–—
π–šπ–“π–•π–‘π–šπ–Œπ–Œπ–Šπ–‰
𝖋𝖗𝖔𝖒 π–™π–π–Š π–π–”π–˜π–Š
𝖙𝖔 π–™π–π–Š π–‡π–†π–—π–—π–Šπ–‘


Β π•»π–‘π–Šπ–†π–˜π–Š

π•Ώπ–†π–π–Š π–’π–Š π–π–”π–’π–Š
𝖙𝖔 π–’π–ž π–œπ–†π–™π–Šπ–—
π•·π–Šπ–™ π–’π–Š π–‰π–—π–”π–œπ–“
π–Žπ–“ π–™π–π–Š π–™π–”π–Žπ–‘π–Šπ–™
π–™π–π–Šπ–—π–Š π–™π–π–Šπ–ž π–π–“π–”π–œ
π–’π–Š π–žπ–”π–š π–π–“π–”π–œ
π–‡π–šπ–™ π–Žπ–“ π–ˆπ–†π–˜π–Š
π–žπ–”π–š 𝖉𝖔𝖓’𝖙
𝕴 π–œπ–Žπ–‘π–‘ π–‘π–Šπ–†π–›π–Š π–‘π–Žπ–π–Š 𝖆 π–π–Žπ–“π–Œ
π•Ώπ–”π–’π–”π–—π–—π–”π–œ 𝕴’𝖒 π–Žπ–“!
π–‚π–†π–™π–Šπ–— π–šπ–“π–•π–‘π–šπ–Œπ–Œπ–Šπ–‰
𝖋𝖗𝖔𝖒 π–™π–π–Š π–π–”π–˜π–Š
𝖙𝖔 π–™π–π–Š π–ˆπ–†π–“

π•Ώπ–π–Š π–˜π–Šπ–† π–œπ–†π–Žπ–™π–˜
𝖋𝖔𝖗 π–™π–π–Š π–˜π–œπ–Žπ–’π–’π–Šπ–—
𝖆𝖓𝖉 π–™π–π–Š π–˜π–œπ–Žπ–’π–’π–Šπ–— π–ˆπ–†π–“

π–œπ–Žπ–“!
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