The Barbedette-Quenderff Duo: twelve years of As observation is encouraged, voyeurism and exhibitionism are closely associated with dogging. The fetish centers around this fantasy portrayal. The Japanese sex industry uses the real milfs term Paizuri . The padding may also muffle noises from the outside, causing a relaxation effect and heightening their other senses. Pornographic films are generally classified into sub-genres which describe the sexual fantasy which the film and actors attempt to create. When questioned about her particular kink Covet replied, If we women have to take it from behind, then why not a man? Can also include auto-fellatio, or performing oral sex on oneself. Futanari, Hentai females with a penis. Sometimes special furniture is used, such as a queening stool or smotherbox. It may involve sexual attraction to women who are pregnant or appear pregnant, attraction to lactation, or attraction to particular stages of pregnancy such as impregnation or childbirth. Sub-genres of Japanese porn Among the various sub-genres of Japanese pornography are the following: Lolicon: This genre involves prepubescent and adolescent girls between the aged of 6-12. Others involve partners who naturally have a significant difference in size. Insertion in pornography features women inserting various odd objects into their anus or vaginas. The term is a slang word that originated in the gay community and comes from the equestrian term bareback, which refers to the practice of riding a horse without a saddle. As of 2010, they were reported to live together as a monogamous couple outside of their porn careers and want to continue working together for another 50 years. This is commonly called double anal or double stuffing. Others may also use vibrators and other sexual devices more commonly associated with female masturbation. Boot fetishism is a sexual fetish dedicated to boots. Fat fetishism also incorporates stuffing and padding, whereas the focus of arousal is on the sensations and properties of a real or simulated gain. adventure!
1996: Hoëla Barbedette and Delphine Quenderff meet playing in the group Kerdin, formed for the 1st Interschool Breton music contest
1998: the Duo is formed in order to enter the contest “Duo libre” organized by Dre Ar Wenojenn at Mellionnec (22)
1999: Perform at social evenings, fest noz… and first concerts
The years 2000-2005: numerous concerts in the centre of Brittany. On several occasions the Duo invites the clarinette player Jean-Claude Lelay to join them
2005: The concert “carte blanche à Hoëla Barbedette” at the 22nd International Harp Festival in Dinan brings together the Barbedette-Quenderff Duo, new album reviews the singer Anne-Gaelle Normand, the accordionist Martin Coudroy and the guitarist Aurélien Tanghe. This quintet will continue playing under the name of Vous de même
2005-2007: The two musicians play in Norkst, the first band of Kreiz Breizh Akademi
2006, 2007, 2008: Several joint performances with the singer Nanda Le Troadec, in concerts or at fest noz
2007 sees the release of Penhoat, the Duo’s first album, with the collaboration of Guillaume Le Guern (clarinette)
2008: During their “carte blanche” concert at the Nuit de la Gavotte in Poullaouen, Ifig and Nanda Troadec invite the Barbedette-Quenderff and Thomas-Riou Duos
2010: For its concert at La Gallésie en Fête in Monterfil (56) the Duo invites the drummer Nicolas Pointard
2011: Recording and release of Plinn, the Duo’s second album
Classical piano lessons and several years of diatonic accordion were Delphine Quenderff’s initiation to music until she met the double-bass (or it met her). Elizabeth Allen having taught her the rudiments, the group Kerdin then gave her the opportunity to experiment with a style of playing to dance to and the possibility of creating her first arrangements.
In fest noz with Kerdin and Souki, in concert with the BD Swing Orchestra (fifteen people from the Trégor liberally blasting off music to dance to), the Barbedette-Quenderff Duo, Filles qu’avez des Serviteurs (creation of a sung dialogue of Upper and Lower Brittany), Vous de Même, Norkst conducted by Erik Marchand …. from street entertainment to national stages, from large festivals to sittingroom concerts.
Not forgetting that she was part of the Trio Loulesh, a 2005 creation of the Roue Waroch in Plescop (56) and she played jazz with the Big Band Cumulus of Brest, directed by the double-bass player Frédéric Bargeon-Briet.
She is happy to count among her longstanding colleagues and friends Pierre Stéphan (violin), Ronan Le Dissez (Breton oboe, flute), Christophe Correc (diatonic accordion), Stéphane Foll (Breton bagpipe) with whom she has the pleasure of playing in the Dékoeff production. This innovative and zippy creation blending contemporary and traditional idioms was awarded the Faltazian prize. Dékoeff and its 14 musicians and dancers has been an opportunity to experiment with the rapport between space and representation under the direction of the dancer and choreographer Maud Guillois.
Besides music, she is also passionate about foreign languages and travel (China, Roumania, Lebanon, Latin America …)
Since 2002 she has given continuing support to the accomplishment of artistic projects; after those of Erik Marchand, one of which is the coordination of Kreiz Breizh Akademi, she has been working with the cultural association Fur ha Foll (artistic direction: Philippe Ollivier).
plinn, Barbedette-Quenderff Duo, Drom, 2011
Dilezet ‘m eus ma dousig, Le Dissez-Foll-Bodros, autoproduction,2010
Penhoat, Barbedette-Quenderff Duo, autoproduction, Drom, 2007
Norkst deus Kreiz Breizh Akademi, Innacor,2006
En concert que C’est ! BD Swing Orchestra, An Naer Produksion, 2004
Pa ‘vez gwelet Bro-Dreger o tansal! Tradition vivante de Bretagne 15, Dastum, 2001
Hoëla Barbedette started learning the celtic harp in 1985 with Anne Auffret in the Côtes d’Armor. Ten years later she perfected her skills by following numerous courses in Brittany, Ireland and Scotland. She also worked on the bombarde, the Breton clarinette, singing in Gallo and folk dances from different regions.
It was in the fest noz group Kerdin, formed for the Interschool contest in 1996 that she learned to play to be danced to. Amongst her numerous musical experiences (a children’s show with the storyteller Hélène Mallet, a mediaeval music group, member of the contemporary music ensemble Ephémère, carte blanche at the International Celtic Harp Festival in Dinan in 2005, the experience which has had the greatest impact on her is probably that of the Norkst orchestra, from the first Kreiz Breizh Akademi directed by Erik Marchand.
In order to keep the Norkst adventure going, Hoëla asked her harp maker (Mike Anderson of the Scottish harps Starfish) to build her a harp with “standard” semi-tone levers, but also with quarter-tone levers. It is this harp which she presently uses in the Barbedette-Quenderff Duo or in solo concerts.
She also performs in Bon Matin, a quartet playing at concerts and folkdance evenings, with Juliette Collache, a harpist from Poitou, Marinette Bonnert, accordionist from Wallonia and Birgit Bornauw, bagpipe player from Flanders, and she plays with the breton singer Eric Menneteau a program of breton folk songs with modal scales...
A fully qualified teacher of traditional music since 2005, Hoëla has been teaching the harp and conveying her passion for it on courses all around Europ and in the lessons she gives (currently at Carhaix) for about fifteen years. In 2010 she published a collection of Breton music from Lower Brittany arranged for the harp.
More sound and links on her website
Discography (please see the page in french fot the links)
Cerisier, Harpe solo, Hoëla Barbedette, Epissure, 2015.
En avant quatre!, Bon Matin, Bemol Productions, 2012
plinn, duo Barbedette-Quenderff, Drom, 2011
Musique traditionnelle pour harpe celtique, Vol II Editions La Filerie,2010 (Collection of scores + CD available here)
Telenn, Harpe Celtique –l’anthologie, vol.2, Coop Breizh, 2008
Penhoat, duo Barbedette-Quenderff, Drom, 2007
Norkst deus Kreiz Breizh Akademi, Innacor, 2006
Skolvan, Ephémère, ensemble orchestral des Côtes d’Armor,Conseil Général 22, 2003