Monthly Talks at London Canal Museum

    Our monthly talks start at 19:30 on the first Thursday of each month except August. Admission is at normal charges and you don't need to book. They end around 21:00.

    November 7th

    The Canal Pioneers, by Chris Lewis. James Brindley is recognized as one of the leading early canal engineers. He was also a major player in training others in the art of canal planning and building. Chris Lewis will explain how Brindley made such a positive contribution to the education of that group of early "civil engineers".

    December 5th

    Ice for the Metropolis, by Malcolm Tucker. Well before the arrival of freezers, there was a demand for ice for food preservation and catering, Malcolm will explain the history of importing natural ice and the technology of building ice wells, and how London's ice trade grew.

    February 6th

    An Update on the Cotsword Canals, by Liz Payne. The Stroudwater Canal is moving towards reopening. The Thames and Severn Canal will take a little longer. We will have a report on the present state of play.

    March 6th

    Eyots and Aits-Thames Islands, by Miranda Vickers. The Thames had many islands. Miranda has undertaken a review of all of them. She will tell us about those of greatest interest.

    Online bookings:www.canalmuseum.org.uk/book

    More into:www.canalmuseum.org.uk/whatson

    London Canal Museum

    12-13 New Wharf Road, London NI 9RT

    www.canalmuseum.org.uk   www.canalmuseum.mobi

    Tel: 020 77130836

Monthly Talks at London Canal Museum

    Our monthly talks start at 19:30 on the first Thursday of each month except August. Admission is at normal charges and you don't need to book. They end around 21:00.

    November 7th

    The Canal Pioneers, by Chris Lewis. James Brindley is recognized as one of the leading early canal engineers. He was also a major player in training others in the art of canal planning and building. Chris Lewis will explain how Brindley made such a positive contribution to the education of that group of early "civil engineers".

    December 5th

    Ice for the Metropolis, by Malcolm Tucker. Well before the arrival of freezers, there was a demand for ice for food preservation and catering, Malcolm will explain the history of importing natural ice and the technology of building ice wells, and how London's ice trade grew.

    February 6th

    An Update on the Cotsword Canals, by Liz Payne. The Stroudwater Canal is moving towards reopening. The Thames and Severn Canal will take a little longer. We will have a report on the present state of play.

    March 6th

    Eyots and Aits-Thames Islands, by Miranda Vickers. The Thames had many islands. Miranda has undertaken a review of all of them. She will tell us about those of greatest interest.

    Online bookings:www.canalmuseum.org.uk/book

    More into:www.canalmuseum.org.uk/whatson

    London Canal Museum

    12-13 New Wharf Road, London NI 9RT

    www.canalmuseum.org.uk   www.canalmuseum.mobi

    Tel: 020 77130836

    Art is considered by many people to be no more than a decorative means of giving pleasure. This is not always the case, however, at times, art may be seen to have a purely functional side as well. Such could be said of the sandpaintings of the Navaho Indians of the American Southwest; these have a medicinal as well as an artistic purpose.

    According to Navaho traditions, one who suffers from either a mental or a physical illness has in some way disturbed or get in touch with the supernatural—perhaps a certain animal, a ghost, or the dead. To break away from this, the ill person or one of his relatives will employ a medical man called a "singer" to perform a curing ceremony which will attract a powerful supernatural being. During the ceremony, which may last from 2 to 9 days, the "singer" will produce a sandpainting on the floor. On the last day of the ceremony, the patient will sit on this sandpainting and the "singer" will rub the sick or injured parts of the patient's body with sand from a specific figure in the sandpainting. In this way the patient absorbs the power of that particular supernatural being and becomes strong. After the ceremony, the sandpainting is destroyed so its power won't harm anyone.

    The art of sandpainting is handed down from old "singers". The materials used are easily found where the Navaho settle: brown, red, yellow, and white sandstone, which is ground（研磨）much as corn is made into flour. The "singer" holds a small amount of this sand in his hand and lets it flow between his fingers onto a clean, flat surface on the floor, with a steady hand and great patience. He is thus able to create designs of stylized people, snakes and other creatures that have power in the Navaho belief system. The traditional Navaho doesn't allow copying sandpaintings, since he believes the supernatural powers that taught him the craft have forbidden this; however, such reproductions can in fact be purchased today in tourist shops in Arizona and New Mexico. These are done by either Navaho Indians or by other people who wish to preserve this craft.

    Art is considered by many people to be no more than a decorative means of giving pleasure. This is not always the case, however, at times, art may be seen to have a purely functional side as well. Such could be said of the sandpaintings of the Navaho Indians of the American Southwest; these have a medicinal as well as an artistic purpose.

    According to Navaho traditions, one who suffers from either a mental or a physical illness has in some way disturbed or get in touch with the supernatural—perhaps a certain animal, a ghost, or the dead. To break away from this, the ill person or one of his relatives will employ a medical man called a "singer" to perform a curing ceremony which will attract a powerful supernatural being. During the ceremony, which may last from 2 to 9 days, the "singer" will produce a sandpainting on the floor. On the last day of the ceremony, the patient will sit on this sandpainting and the "singer" will rub the sick or injured parts of the patient's body with sand from a specific figure in the sandpainting. In this way the patient absorbs the power of that particular supernatural being and becomes strong. After the ceremony, the sandpainting is destroyed so its power won't harm anyone.

    The art of sandpainting is handed down from old "singers". The materials used are easily found where the Navaho settle: brown, red, yellow, and white sandstone, which is ground（研磨）much as corn is made into flour. The "singer" holds a small amount of this sand in his hand and lets it flow between his fingers onto a clean, flat surface on the floor, with a steady hand and great patience. He is thus able to create designs of stylized people, snakes and other creatures that have power in the Navaho belief system. The traditional Navaho doesn't allow copying sandpaintings, since he believes the supernatural powers that taught him the craft have forbidden this; however, such reproductions can in fact be purchased today in tourist shops in Arizona and New Mexico. These are done by either Navaho Indians or by other people who wish to preserve this craft.