Often people band together to grieve, but if shock draws us into community, it is sometimes a fragile togetherness. It is no exaggeration to say that we may all be suffering the physical and psychological wounds of our times. border the rise to power of nationalist-xenophobic governments that encourage persecution of вЂњOthersвЂќ mass shootings in places of worship, schools, and entertainment and numerous other tragedies. The list continues, including environmental destruction the violent repression of protest movements the separation of children from their parents at the U.S. The twenty-first century has seen so much more: civil war in Syria, devastating natural disasters like the recent Hurricane Dorian that ripped through the Bahamas and led to incalculable human loss, and the droughts and famine that have increased global migration in the face of ever-tightening national borders. For many, the shock of 9/11 remains a permanent scar, as does the enduring war in Afghanistan, led by the United States and still unresolved in its eighteenth year. The theme arose from a recognition that the twenty-first century was birthed in trauma that persists today. This special issue of Dance Chronicle, вЂњDances of Loss, Grief, and Endurance in the Face of Trauma,вЂќ is devoted to just such experiences: how they painfully lodge in our bodies and how dance might archive, memorialize, or render catharsis for suffering. Victimized by memories of horror, Olanna suffers what trauma studies experts have long known: our bodies become the physical repositories of traumatic experience. She hallucinates, repeatedly visualizing burning owls that both grin and beckon to her outside her window. Olanna periodically-and especially in moments of intense stress-relives the effects of these вЂњDark Swoops,вЂќ suffering as вЂњa thick blanketвЂќ lowers from above, smothering her face as she gasps for air. But at the front door of OdenigboвЂ™s house, they failed. Her legs were fine when she climbed down from the train and she did not need to hold on to the blood-smeared railings they were fine as she stood for the three-hour drive to Nsukka in a bus so crowded she could not reach out to scratch her itching back.

The photo- lithograph was made from the original collage assembled by Blake.OlannaвЂ™s Dark Swoops began the day she came back from Kano, the day her legs failed. Kenney Jones: Peter Blake, Joe Tilson, Patrick Procktor and David Tindle.Д«esides this edition and the album cover itself an unnumbered poster edition was issued with the album. Kitaj, Howard Hodgkin and Patrick Caulfield

Roger Daltrey: Michael Andrews, Allen Jones, David Inshaw and David Hockney Pete Townshend: Bill Jacklin, Tom Phillips, Colin Self and Richard Hamilton

The portraits, reading from left to right, are by: The members of the group were to be photographed and then painted by sixteen different artists. The idea had arisen when Blake met Pete Townshend in America and was commissioned to design the album cover.

This print was editioned to be given away at the launching party for the album of the same title by The Who. Inscribed вЂPeter BlakeвЂ™ bottom right and вЂ34/300вЂ™

The who face dances