In 2014, Mishel represented Australia as its very first Samba Queen of a float in the Rio Carnival, performing with Caprichosos de Pilares samba school, and followed with the role of Principal Destaque of the opening float for Paraiso do Tuitui in 2016. For the past 8 years she has conducted her Sambaliscious Rio Tours, which introduce foreigners to the magnificent city of Samba, culminating in a performance on a float as part of a samba school in the Rio Carnival parade. Mishel has spent the past 20 years travelling back and forth to Rio, studying extensively under the guidance of Brazilian Samba Queens, developing exclusive business contacts with the Carnival industry and becoming fluent in Brazilian Portuguese. She is also the proud of mum of 3 beautiful Aussie-Brazilian boys, who share her love of Brazilian music and dance too!Ī native of Brisbane, Australia, Mishel grew up surrounded by dance, with her parents passing on their love of ballet and ballroom, however it wasn’t until her first trip to Rio de Janeiro in 2003 that she developed her passion for Brazilian dance. Residing on the beautiful Sunshine Coast, Sasha is the director Tropicalia Culture the Sunshine Coasts’ premier Brazilian dance school, where students are not just exposed to dance, but the culture and history behind each style. Her passion is performing to live music, educating her students on the roots of Samba and how to find their own unique way of expressing dance. Sasha believes dance culture is a holistic conversation and is constantly intrigued by where dance came from and what shapes its evolution. Forever a student, with a never ending thirst to study more! Sasha lived in Salvador, Bahia where she participated in a month full time (yes 9-5pm everyday!) Summer course, furthering her studies of Afro Brazilian dance. In 2017 Sasha was crowned first place at the very first International Samba Queen Competition in Rio de Janeiro, Brazil. Sasha’s eyes were BLOWN open when she lived in Pernambuco and trained in Frevo, Maracatu, Ciranda and Coco! Here she gained insight into the depths of the history of Brazilian dance and how it crosses over and entangles itself with other dance styles, many of which she now integrates into her Samba to create her very unique style. Originally focusing on Samba No Pe, Brazilian Zouk and Samba de Gafieira and training extensively in Rio de Janeiro under world famous masters. Is a Brazilian culture lover who, over the last 10 years, has dedicated a lot of her life to travelling and studying in Brazil and its endless array of dance and music. Sasha “Through studying dance culture, I understand myself and the world better.”
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Although such trees rarely provide wood suitable for construction or the production of larger objects, the inhabitants of these areas still relied on wood for these purposes. The latitude, climate, and topography of subarctic Norway and the North Atlantic islands of the Faroe Islands, Iceland, and Greenland mean that few trees grow there, and those that do are often small and twisted. However, at the northern- and westernmost fringes of the Norse world, wood was less abundant. The region’s dense forests provided wood not just for domestic and industrial fuel, but also for construction, boatbuilding, and the production of all manner of objects, from containers and utensils to weapons and art pieces. Timber has always been a vital resource in Scandinavia. Furthermore, it asserts that this line of research should be pursued with some urgency, as anthropogenic climate change threatens both driftwood delivery and the preservation of archaeological wood remains. This paper presents a comprehensive review of current historical and archaeological research on the exploitation of driftwood timber in the Medieval North Atlantic and explores potential future directions in this field. Similarities in the microscopic anatomy of boreal wood taxa preclude definitive provenancing through taxonomic analysis, and material traces of immersion in seawater are often either impermanent or ambiguous, especially in archaeological wood remains. The use of driftwood is difficult to demonstrate through macroscopic, microscopic, or (geo-)chemical analysis. There is also ongoing debate regarding the relative importance of imported timber, which is for example often referenced in the Icelandic sagas. However, driftwood was an unstable resource, and its delivery depended on a range of unpredictable factors related to climate and ocean currents. Historical documentary evidence shows that wealthy landowners bought driftwood rights as valuable assets, and ethnohistorical sources reveal a wide range of local and regional customs related to driftwood exploitation. As in subarctic Norway, where trees are also scarce, driftwood use and ownership were prescribed in medieval law codes. Nevertheless, timber was vital to the material culture of the Norse settlers of these islands, and driftwood often met this need. The North Atlantic islands of the Faroe Islands, Iceland and Greenland have always been relatively poor in terms of native timber resources, due to their cold climate and exposed topography. |
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