Teaching and being taught

Whoa boy, I'm four days into New Aesthetics Performance Intensive in Vancouver, B.C. with Crystal Pite and Pol Heyvaert (affiliated with CAMPO in Gent, Belgium).   It's amazing and a bit wild.  I'm processing all notes and thoughts for a later blog entry.

In the meantime, I wanted to post something about workshops I'm offering in AUGUST!!! 

YES VERY SOON.

In my continued resistance to having an actual website or a URL that makes any kind of sense at all, I decided to add PAGES to my blog and prolong that website building task another _________ years.

^ ^ ^ ^ ^ ^ ^ LOOK, THEY'RE UP THERE ^ ^ ^ ^ ^ ^ ^ ^
                                                                                                                                  
Which brings me back to my point about workshops.   That info is also up there ! ^ ^ ^ 

DANCE CHURCH ONE TIME ONLY

DANCE CHURCH
SUNDAY JULY 21
10 - 11:30AM
VELOCITY DANCE CENTER   

I'LL BE YOUR GUIDE.


NEVER STOP MOVING.

The end of "Dynamic"

It wasn't quite like I expected.  It wasn't a perfect calendar of nine months of daily practice with the respective photos, time log and sound notes I had planned. I didn't write numerous diary entries to my patrons as I had intended.  I didn't make it more important than everything else.  I repeatedly forgot my phone, camera, notebook, to book space, to bring food to do the proper entrance like a duck with food in my mouth.  Sometimes I made a conscious choice not to do it at all.  Sometimes I just completely forgot.   

At the Hedreen this continued as I symbolically finished out my practice as part of the Yellow Fish Epic Durational Performanc Festival (curated by the amazing Alice Gosti).  I showed up late, forgot the food, forgot to write down notes, broke all the rules of the practice by caring too much about what the audience thought and/or allowing myself to get fixated on a physical idea or what my body can and can't do. 

BUT THERE. 

I DID IT. 

FAILING FOR 180 DAYS. 

(MORE ACTUALLY)

Here is the photo from my first practice in Berlin at Martin and Todd's apartment in Kreuzberg.

 

And here is a photo from my last practice on Monday at the Hedreen Gallery in Seattle (photo by James Arzante).

The first part of my practice was fairly well captured here.  Then I got too overwhelmed with life and now I have a backlog of photos to post.  I don't know if I ever will.

Trying to get to New Aesthetics in Vancouver B.C.

I have spent weeks contemplating how to financially make this work and just before submitting a new credit card application, I stopped and asked myself, is there another way? When you are working as an artist, you never get an an influx of cash that helps you pay back your debt and it is rare to get a professional development grant. I decided to give myself the advice I give organizations and fundraisers all the time, "You have to believe in your work and ask for support."

Overnight, three people chipped in and covered a day of housing and meals.  I can hardly believe it

With hope and great humility, I thank you for your time and for consideration either way.

PORTLANDIA

I'M BACK IN PDX.  IT'S SOLSTICE.  IT'S DREAMY AND TOTALLY LIVING UP TO IT'S "WORTHY OF HAVING A SATIRICAL TV SHOW ABOUT IT" STATUS.

I AM TOTALLY LOVING IT.

I brought my bike, my plaid, my yoga mat, my appetite for coffee, beer and comfort food.  It's chill.  It's cute.  There are lots of friendly vibes.  All the cliches are suiting me just fine.  

Most important, I'm having the MOST FUN in RISK/REWARD!

If you can't see it below, go here to watch the video trailer. 

 

I'm gonna go to the coast for two days and turn off my brain, my computer, my phone and listen to the ocean and, most likely, the rain falling.  

 

 THEN  ------> BACK TO PORTLAND

 

 Wednesday June 26 at 7:30pm

Adam and I curated a Seattle and Portland short dance film showcase at the Hollywood Theatre

Alice Gosti (Seattle) – Sea Tac Toilette
Robert Tyree (PDX) - Prototype XXXX
Adam Sekuler / Shannon Stewart / Meredith Horiuchi (Seattle) -  In Transit
Mitchell Rose/ Body Vox (PDX) - Contact
Adam Sekuler / Shannon Stewart (Seattle) - 1922
Patrick Weishampel / tEEtH (PDX) - Transfer
Molly Sides / Rodrigo Valenzuela (Seattle) - Alternator
Kate Wallich and Jacob Rosen (Seattle) - The White of Spring

There will be a short Q & A after the screening + hanging out and having beers. 

COME AND HANG OUT!  THEN GO SEE STILL PIGEONS AT HOLOCENE.  I FUCKING LOVE THIS TOWN.

nterpretive Site: Hanford Reach by Karn Junkinsmith and Adam Sekuler
Alternator by Rodrigo Valenzuela and Molly Sides
Transfer by Patrick Weishampel  and tEEth
Contact by Mitchell Rose and Body Vox
In Transit by Meredith Horiuchi, Shannon Stewart, and Adam Sekuler
Prototype XXXX by Andra Rotaru, Robert Tyree, and Dicky Dahl
Airport Project by Alice Gosti
Guerilla Fire by Maria Allred
1922 by Adam Sekuler, Daniel Mimura, Shannon Stewart, Meredith Horiuchi, Rosa Vissers, David Wolbrecht, Aaron Swartzman, and Jeff Huston
White of Spring by Jacob Rosen and Kate Wallich - See more at: http://hollywoodtheatre.org/cine-dance-2/#sthash.qZkDaqkn.dpuf

Sort of like being a band on tour only in different bands and mostly playing within the same zip code except for that one festival in portland that officially makes it really a tour

In other words. . . here are some performances coming up:

Hatlo and Rosa from PE|MO.  Photo by Tim Summers

June 7-9  On The Boards
NORTHWEST NEW WORKS
I'm performing with PE | MO in the Studio Theatre!
These things sell out so get tickets! 

Me. Photo by Video plunder.

SEATTLE INTERNATIONAL DANCE FESTIVAL
Raisbeck Hall
2015 Boren Ave, Seattle, WA
 
June 18 
Spotlight on Seattle, Solos Curated by Amy O'Neal 
I'll be doing a new and short excerpt from Come.Get.To.This.

Also on the bill:  Paige Barnes, Corrie Befort, Alice Gosti, Beth Graczyk, Jody Kuehner, Dani Long, Devin McDermott, Lou Henry Hoover, Amelia Reeber.

June 19
Spotlight on Seattle
I'll be dancing with Umami (Aiko Kinoshita & Aaron Swartzman)
Also on the bill: Allie Hankins, Danielle Ross, Lotus Body/Tara Dyberg, the YC.

June 20
Spotlight on Seattle
More Come.Get.To.This! Longer excerpt and I really need you there!
Also on the bill: Amy Johnson, BadMarMar Dance, Coriolis Dance, Ashani Dance. 

Info & Tickets

THEN IT'S OFF TO RISK/REWARD IN PORTLAND! I'M SO EXCITED!
June 21 - 23 |  Artists Repertory Theatre 
GET YOUR FREAKIN TICKETS NOW!

 

Life is so much stranger than art

"Que sera, sera.  Whatever will be, will be.  The future's not ours to see. . . "

I'm in the geriatric psyche hospital with my dad and other "complicated cases."  It's activity hour on his second day.  The volunteer musician's guitar was painfully out of tune; his timing uneven and hard to follow, yet these eight sad souls (myself included) gathered around the creamsicle dining table under florescent lights in too small a room, meekly singing along.  My dad looked like a baby bird as his mouth opened his, chin tipped upward, singing quietly, you are my sunshine, my only sunshine.  you make me happy when skies are grey.  you always know dear, how much I love you.  Please, don't take my sunshine away.  He looked at me through his delusions and said very evenly, this is kind of a depressing scene, huh?  Then the musician introduced the Beach Boys hit, "Let me go home... Why don't they let me go home? This is the worst trip I've ever been on."   Yeah, Dad, it's depressing, also very surreal, and sadly, sort of genius. 

I think about what I've taken in in the last seven days performance-wise (Saint Genet & Ezra Dickenson) and relate it to this experience--the facade of mental stability, delicate well-being juxtaposed against the strength of physical constitution, the body's will to live even as it is attacked and neglected; the lack of resources to understand our minds and work with them when they have betrayed us in some way; the lack of dignity in living, the desperate and beautiful attempts to transcend the horror and banality of what it takes to stay alive and what it takes to die.  Or at least I get that from how the work is framed, perhaps more than what is actually in it.

I see, appreciate and want to go toward the attempts to create something brutally real and beautiful simultaneously.  I want to get at that, use ourselves as material and posit something magnificent, yet grounded, without the heavy dose of salesmanship and narcissism, the heroes and antiheros, the exploitation with no real analysis of exploitation to provide context.  I want more from it than what is there.  I say this with the utmost respect for artists that go headlong unabated towards their vision.  These are my questions and desires, not theirs. 

I myself am performing this weekend, attempting to dive into something vast and incomprehensible, to experience a series of fleeting moments of understanding in a performance space, nothing remotely as colorful or twisted as a room full of minds worked on by years of sadness or dementia.

But this is what we do.

I'm contributing to the work of Aiko Kinoshita and Aaron Swartzman's series of shows grappling with memory. The first showings at Project Space Available this Friday and Saturday.  Info is here: http://umamiperformance.wordpress.com/

Also, for lighter fare, In Transit screens in the Alt Shorts fest at SIFF tomorrow night - 9pm.  One hour in the Philadelphia Subway with a go pro.  

 

Please excuse the somber and slightly morbid tone.  It's been that kind of week.

T W E N T Y P E O P L E

-->

TWENTY PEOPLE FOR NEW PROJECTS

AUDITION | REHEARSAL | FILM | EXPERIMENT

SHANNON STEWART & ADAM SEKULER

THURSDAY MAY 16 | 4-6PM

VELOCITY FOUNDERS STUDIO

WHAT THE HELL IS THIS FOR?

Let me warn you, the answer is long winded. I'll try to make it short.  First of all, I have a solo I'm making that is based on an ensemble that is not there.  Secondly, I want to make a video of the ensemble.  Thirdly, Adam and I were asked to make a music video.  Fourthly, we have a long-term project in the works.  Fifthly, I want to create a loosely structured working group that gets together regularly to train, test, & improvise so that as sporadic projects arise, there is a body of knowledge and history to build from.  There are currently no set dates or times except for May 16.  Shoot me an email if you are interested --> shannonkstewart at gmail.

SCUBA Press

Seattle Dances

The SunBreak

Photo by Tim Summers

s t r i c t l y b u s i n e s s

While I try to figure out a more integrated, 2013 way of doing this, I thought I would post this link for subscribing to my email list!

GET RANDOMLY TOPICAL AND INCONSISTENTLY TIMED EMAILS FROM ME BY CLICKING YES!

Here are links to my last two:

Self Contained Underwater Drinking Apparatus - April 25

What Is Going On?  - April 19

The one before that is from 6 months ago, just to give you a fair idea of how they work.
 
Also, lucky me!  One day after finishing a tour, teaching classes, having shows, etc, my business cards arrive.  ISN'T THAT HELPFUL????

HEY!  HERE IS MY CARD! 

Self Contained Underwater Breathing Apparatus

SCUBA OPENS FRIDAY

GET YOUR TICKETS!  THEY ARE SELLING FAST!

AT VELOCITY DANCE CENTER

Photo by Tim Summers

APR 26-28 / 8PM
Velocity Founders Theater 1621 12th Ave
>>TICKETS $18 / $15 MVP / $12 students + seniors

+ World premiere MAUREEN WHITING DANCE COMPANY (Seattle)
+ GREEN CHAIR DANCE GROUP (Philadelphia)
+ SHANNON STEWART (Seattle)
SCUBA Master Class

“Ready. Fire. Aim.”Contemporary Dance Practice with Shannon Stewart
Friday April 26 / 9:30-11:15AM

This class fully warms the body and gets the creative juices flowing using improvisation and set material from Stewart’s SCUBA piece: An Inner Place That Has No Place to access technique, freedom and creativity. Open to the community. $15 drop-in.

Happy Hour Speakeasy ConversationNext Wave?
Sunday April 28 / 5:30PM
Boom Noodle 1121 E Pike St

What are the new directions in dance (aesthetic, political, digital. . .) that we see happening in Seattle and the rest of the country? Join the conversation with this year's SCUBA artists then head over to the closing night of SCUBA. Free


Two weeks ago I got back from taking An Inner Place That Has No Place on tour to Philadelphia.  The eight people in the cast and crew landed in a city that was unfamiliar to most of us and were shuttled from hotels to Temple University were we taught and performed.  We shared the bill with the smart and charming Green Chair Dance Group and were presented in a beautiful theater.  The whole thing was a whirlwind and an incredible experience.  It helped me to see my work in a new way and through the eyes of people who have no idea who we are.  The cast rose to the challenge of filling a huge space with their performance.  They worked their butts off and An Inner Place transformed and deepened. One reviewer said it was a “homerun.”

Velocity Dance Center and Philadelphia Dance Projects gave us a small stipend to make this tour happen.  The rest was supported by an amazing collection of individuals, not least of which were the performers, composer and video designer who worked for next to nothing. 

Almost ten years ago, KT Niehoff and Kathleen Hermesdorf dreamt up a partnership that would allow them to take their work on the road and named the program SCUBA. The idea being that motivated, resourceful artists who were used to self-presenting just needed a little boost (like an oxygen tank) to get their work into the national circuit.  Also, they realized there needed to be a network of smaller presenters that could take bigger risks, support emerging artists, and create a bridge to the more established national touring network opportunities. And voila, they created the breathing apparatus with just enough air for artists to pack their sets in their suitcases and venture to new territory.

Since then, many awesome artists from Seattle, San Francisco, Philadelphia and Minneapolis have been part of the SCUBA National Touring Network for Dance. Kara O’Toole and Tonya Lockyer have fought to keep the program alive despite major funding cuts from the National Endowment for the Arts and I’m extremely lucky to find myself the beneficiary in 2013, a year when there was almost no SCUBA.

It’s not easy—not for the artists, the performers, the tech crew, the presenters, the fundraisers, not anyone.  There is not enough time, space or money to really make this thing happen.  But somehow it does.  It's hugely important to developing as an artist and understanding how your work connects to a larger field, to other artists and other communities. And it’s totally fucking worth it.

I hope to see you at the shows!

xoxo

This is going on

View this email in your browser I sat down to write and compile a newsletter and found myself lost. As an unimaginable horror unfolds on the other side of the country, it’s hard to know how to locate one’s own place in an event that is already being framed as “history.” What are the correct actions to take? Is there anything to do? Is there anything that can be known that wasn't before? How much empathy and in what direction?   What does that look like? How does one perceive it?   Bodies pushed to the limit and then subjected to unthinkable violence as they neared the Boston Marathon finish line, a man (nineteen years old) being “hunted,” an uncle citing being “losers” as the source of malicious intent, opportunists tossing immigration reform into the discussion about a completely senseless event.    Sometimes in the life of making, performing, and trying to promote art, I find an intrinsic contradiction – a desire and responsibility to signal, frame, and respond to the world around us but at the same time having to disconnect and disassociate, to live in a vacuum, and keep the work progressing, the promotional emails moving forward.   What do you do to make sense of this?   I’m curious.  Really.   I’m celebrating my 36th year on the planet this weekend, embarrassingly mired in my own anxiety about what this means for WHERE I AM AT IN MY LIFE HOW OTHERS PERCEIVE ME WHAT IT MEANS TO BE AN AGING WOMAN LET ALONE AN AGING WOMAN THAT IS A DANCER WHERE SHOULD I LIVE DO I LOVE AMERICA WHERE IS MY COMMUNITY AM I DOING ANYTHING THAT HELPS OR MATTERS OR MAKES ANY SORT OF CHANGE THAT ALLEVIATES PAIN SUFFERING FEAR AM I AFRAID MYSELF.   You know.  That sort of thing.   This weekend, I’m taking this (thankfully) well-functioning body as far into the outdoors as possible and far indoors into the interior landscapes of artists I admire (KT Niehoff, Luc Sante, and many others).     I’ll be celebrating by making things, teaching classes and sharing my work and moving into a very full spring.   SCUBA – Master Class—Dances Made to Order—Cinco de Gyro—Seattle International Festival of Dance—Risk/Reward.   I’m sending my love and energy out to you, people I’m lucky to know, who have supported and inspired me, and for some reason or another ended up on my email list.   Thanks for reading,   Shannon   Thursday, April 11, 2013 Dances Made to Order Film Now Available While in Philly, Adam, Meredith and I made a short film for Dances Made to Order called "In Transit," wherein Meredith and I get to experiment with being a filmmaker and dancer simultaneously. Dances Made to Order is a dance film organization that selected Adam to make and curate films for their 22nd edition.  Three artist teams each created a short dance film inspired by concepts the audience chose: broken machine and dive, sharp, fly. Dances Made to Order presents: Hummingbird by Tracy Rector, created in collaboration with danza family Kalpulli Tlaloktekuhtl In Transit by Adam Sekuler and Shannon Stewart Alternator by Rodrigo Valenzuela and Molly Sides Visit: www.dancesmadetoorder.com Here is our trailer: In Transit (an excerpt) from Dances Made to Order on Vimeo. If you already purchased a ticket, simply log in to the Dances Made to Order site to view then select "dance films" in the navigation bar and scroll down. If you forgot, you can still buy a ticket for Edition # 22. Your $6.75 ticket includes all three films. 65% of the ticket revenue goes back to the artists to help support their work. Sunday, March 17, 2013 The Next 12 days  WEDNESDAY MARCH 20TH, 8pm MOVEMENT RESEARCH OPEN PERFORMANCE Moderated by Larissa Velez-Jackson* Falon Baltzell, Lorene Bouboushian, Thea Little, Shannon Stewart Wednesday at 8pm Location: ART/NY South Oxford Space in the "Great Room", located at 138 South Oxford Street (Between Atlantic Avenue and Fulton Street) NO RESERVATIONS and ADMISSION IS FREE A suggested donation of $3 or more is asked of those able to contribute THURSDAY MARCH 21ST, 1pm Master Class at Temple University, Philadelophia  I DON'T KNOW ANYTHING ABOUT THIS EXCEPT THAT IT IS FROM 1-2:30. Actually, that's a lie.  I found some more info: --> Shannon Stewart Technique Class Pearson Hall, studio 221. 1800 N. Broad Street, 2nd floor FRIDAY MARCH 22ND @ 8PM  SATURDAY MARCH 23RD @ 2:30PM SCUBA National Touring Network Performances >>TICKETS Featuring moi (or the cast of An Inner Place That Has No Place, rather) and Green Chair Dance Group from Philly Conwell Dance Theater NE corner of Broad Street & Montgomery Ave. Philadelphia, PA Phone: 215-546-2552 See map: Google Maps MONDAY MARCH 25TH, 7pm Kinetic Kino International House Philadelphia 3701 Chestnut Street Philadelphia, PA, 19104   WEDNESDAY MARCH 27TH, 7pm Kinetic Kino Videology  308 Bedford Ave Brooklyn, NY 11211 More about Kinetic Kino Films in the program include new and recent films from Sekuler and Stewart, a memento mori for a domestic environment, a story about people and places inspired by kayaks, flashing lights and other visible things, and a historic 18th century home and its surrounding fields, amongst others.   THURSDAY MARCH 28th, 10am I GET TO SEE ASHWER WOODWORTH & EMILY SWEENEY, TWO OF MY "DYNAMIC" PALS IN NYC FOR A PRACTICE!!!  YES YES YES YES YES YES YES YES YES YES YES YES YES YES    we have costumes, we have music, we have plane tickets. . . It's really happening!  We're so excited.  Big shout out to Case Van Rij who stepped up (over and over again) to help us reach our goal as well as the 61 other individuals that contributed. Rachel Ravitch designed five beautiful shirts.  Jeff tweaked some music.  Adam deliberated and refined the video. Look out Philly.  Here comes a band of weirdos. THANK YOU FOR YOUR SUPPORT! from The Real Shannon Stewart on Vimeo. Friday, March 01, 2013 Dear, "Dynamic," I forsake you this week.   What could be more important than a commitment to understanding my body's perceptual knowledge and to push through the discomfort and inconvenience of being a performing artist each and every day?  Not very many things, but those few things shaped almost every single minute of every day this week.  I tried to practice you riding my bike, in shavasana, laying sick in bed, in the hospital waiting room, and staring at the still canvases of James Benning's remake of Easy Rider.   I failed.  I will probably fail again.   It's actually a relief. Tuesday, February 12, 2013 The second night of 12MM, was different.  The audience sat contemplatively, with me but hard to read.  As I melted over at the beginning of the music, I head someone get up and thought, oh, there goes the person that took the invitation to leave.  But then they joined me.  Along with 6 or so others.  Suddenly the set and ensemble had appeared.  The music played through to the end for the first time. Equal parts satisfaction, fear, and support. Monday, February 11, 2013 Work in progress at 12MM Last night was the first night of 12 Minutes Max at Washington Hall. After a botched tech rehearsal and no dress for me (I had to teach), I tried to go to a zen place in the little tree room downstairs from the theater where all the artists awaited their few minutes of audience time. I haven't gotten to see the show yet but from the vantage point of the dressing room things look exciting and wildly all over the place. I didn't recognize Joyce Liao at first in her pompadour and letterman jacket surrounded by Syniva Whitney's Gender Tender crew in their briefs donning Syniva's latex phone hat creations. Actually, bare legs and little undies seemed to be a theme for costumes in the show, if not all out nudity. I got to experience Linas Phillips Chauncy monologue as I sat in the vestibule under the stage awaiting my turn which gave me an interesting and disturbing perspective of being part of his performance, as if I was somehow in his character's earnest and fucked up brain. The lights come up as I struggle with my extension chord and suddenly there is the possibility of being in a performance with a 100 people in it. If only I could figure out how to make it enticing to leave the chairs. One more try tonight. I'll report more after that. Friday, February 01, 2013 Our First National Tour An Inner Place That No Place has been selected for the SCUBA National Touring Network and we are headed to Philadelphia! With five dancers, a director and two collaborators we need some support to cover our travel costs along with the costs of remounting the work.  We need to raise $5,500 in cash or in-kind donations of plane tickets this month!  I'm so thrilled to have this opportunity.  SCUBA is an amazing partnership between Velocity Dance Center, Philadelphia Dance Projects, ODC in San Francisco and Laurie Van Wieren in Minneapolis that has supported many great Seattle artists such as Salt Horse, Paige Barnes, zoe | juniper, Amy O'Neal/locust, Scott | Powell Performance, Allie Hankins and Alice Gosti.   It's a great opportunity to connect with peers across the country and make connections that will help us grow as artists and continue to bring Seattle work outside the city.  An Inner Place That Has No Place will also be in the Seattle SCUBA show in April, sharing a bill with Maureen Whiting and Green Chair Dance Group (from Philadelphia). Please consider making a donation.  And Thank You. Monday, January 14, 2013 Tsunami (tiny)   Study of Tsunami 1 & 2:   notes: call to action self consciousness (at the same time) self abandon instinctual protection permission density proximity defining participation aggression pissing people off elevated and altered states body cage    two twisted ankles one broken glass one semi-successful crowd surf     Subscribe to: Posts (Atom) About The Real Shannon Stewart I make things – performances, organizations, scores, films, workshops, blog entries, and conversations. I think it’s all dance and choreography. I work to learn about and integrate the concepts, issues, and fields of my interests through the knowledge, memories, and experiences of bodies. I think about the invitation created through the ritual of performance, relying on aesthetics to hide and reveal meaning, the rules of provocation created in any composition. I think about the complexity of human connection. I think about place, inequality and privilege. I think about the innocence and landscape of the body, ideas of safety and freedom, the promise of love and heartbreak and beginning again and again and again. View my complete profile Links of Mentioned Things Facebook Twitter. . . someday I'll understand Velocity Dance Center Deborah Hay's Solo Performance Commissioning Project memory (loss) bank on facebook tEETh performance the mOuth studio Anouk Van Dijk Projecto De Linguistico Quetzaltenango Blog Archive ▼  2014 (4) ▼  February (1) An Actual Website ►  January (3) ►  2013 (29) ►  December (3) ►  November (2) ►  September (1) ►  August (3) ►  July (3) ►  June (3) ►  May (3) ►  April (4) ►  March (3) ►  February (3) ►  January (1) ►  2012 (28) ►  December (3) ►  November (1) ►  October (3) ►  September (8) ►  August (3) ►  June (1) ►  May (2) ►  March (4) ►  February (1) ►  January (2) ►  2011 (16) ►  December (1) ►  November (1) ►  October (2) ►  September (2) ►  August (2) ►  July (2) ►  June (2) ►  March (1) ►  January (3) ►  2010 (10) ►  December (2) ►  September (2) ►  August (3) ►  July (2) ►  June (1) ►  2009 (9) ►  October (2) ►  September (3) ►  August (4) ►  2008 (2) ►  August (1) ►  February (1) ►  2007 (5) ►  July (1) ►  January (4) ►  2006 (3) ►  December (3) Simple theme. 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