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Nikon D800E Photos of Pretty Blonde Swimsuit Bikini Model Goddess standing with a black 45surf surfboard in front of Malibu Sea Caves on El Matador State Beach! A classic goddess! A classic California Surf Goddess--the archetypal blond hair beach babe with pretty blue eyes!
Here is some epic video I shot of the gorgeous goddess at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
www.youtube.com/watch?v=q7geL3rFcP0
www.youtube.com/watch?v=3vI7jWGv4mg
www.youtube.com/watch?v=yrKPz-XY4WA
www.youtube.com/watch?v=afUY1TyUrZE
The blue-eyed goddess was modeling the gold 45 revolver gold'n'virtue bikini with the famous golden gun/colt 45 revolver from my favorite film--Sergio Leone's and Clint Eastwood's "Fistful of Dollars!"
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Bikini! On the barrel of the Gold 45 Revolver is the first word of Homer's Iliad! "RAGE: Sing O Goddess the Rage of Achilles!"
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with a CP--the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating, all on the amazing Nikon D800E Camera.
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 5 ! :)
All the Gold'N'Virtue bikinis and 45surf clothes have the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! :)
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Annawon Weeden: a Mashpee Wampanoag, with ancestry from the Narragansett; Pequot & other eastern woodland nations. FMI: www.myspace.com/annawon
Shinnecock Reservation, Hamptons, NY - Labour Day Powwow: 2007.
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Shinnecock Tribe
Rte 27-A, Montauk Hwy
Southhampton, NY 111968
631-283-6143
State recognized; (no BIA office liason - seriously ridiculous!)
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Shinnecock Indian Nation: An Ancient History and Culture.
Since the beginning, Shinnecock time has been measured in moons and seasons, and the daily lives of our people revolved around the land and the waters surrounding it. Our earliest history was oral, passed down by word of mouth from generation to generation, and as far back as our collective memory can reach, we are an Algonquin people who have forever lived along the shores of Eastern Long Island.
Scientists say we came here on caribou hunts when the land was covered with ice. But our creation story says we were born here; that we are the human children of the goddess who descended from the sky. It was she, the story goes, who caused the land to form beneath her feet from the back of Great Turtle, deer to spring forth from her fingertips; bear to roar into awakening, wolf to prowl on the first hunt. It was she who filled the sky with birds, made the land to blossom and the ponds and bays to fill with fish and mollusks. And when all was done, the Shinnecock, the People of the Shore, appeared in this lush terrain. We are still here.
As coastal dwellers, we continue to prize the bounty of the sea, the shellfish, the scaly fish, which for thousands of years provided the bulk of our diet. We were whalers, challenging the mighty Atlantic from our dugout canoes long before the arrival of the big ships, long before the whaling industry flourished in the 19th century.
In the 1700's, we became noted among the northeastern coastal tribes for our fine beads made from the Northern quahog clam and whelk shells. The Dutch, who arrived on our shores before the English, turned our beads (wampum) into the money system for the colonies.
The Shinnecock Nation is among the oldest self-governing tribes of Indians in the United States and has been a state-recognized tribe for over 200 years. In 1978, we applied for Federal Recognition, and in 2003, we were placed on the Bureau of Indian Affairs' "Ready for Active" list.
Traditionally, decisions concerning the welfare of the tribe were made by consensus of adult male members. Seeking to shortcut the consensus process in order to more easily facilitate the acquisition of Indian lands, the Town of Southampton devised a three member trustee system for the Shinnecock people. This system of tribal government was approved by the New York State legislature in February of 1792. Since April 3, 1792, Shinnecock Indians have gone to the Southampton Town Hall the first Tuesday after the first Monday in April to elect three tribal members to serve a one- year term as Trustees. In April of 2007, the Shinnecock Indian Nation exercised its sovereign right as an ancient Indian Nation and returned to one of its basic Traditions: it bypassed the Southampton Town Hall and for the first time since 1792 held its leadership elections at home, where they will remain.
The Trustee system, however, did not then and does not now circumvent the consensus process, which still remains the governing process of the Shinnecock Indian Nation. Major decisions concerning the tribe are voted yea or nay by all eligible adult members, including women, who gained the right to vote in the mid-1990s. Also in that period, the Shinnecock Nation installed a Tribal Council, a 13 member body elected for two years terms. The Council is an advisory body to the Board of Trustees.
Today, we number over 1300 people, more than 600 of whom reside on the reservation adjacent to the Town of Southampton on the East End of Long Island. While our ancestral lands have dwindled over the centuries from a territory stretching at least from what is known today as the Town of Easthampton and westward to the eastern border of the Town of Brookhaven, we still hold on to approximately 1200 acres.
With modest resources, we have managed to build a community to help us better meet the demands of an ever expanding and intrusive world. In addition to the Shinnecock Presbyterian church building and its Manse, our infrastructure includes a tribal community center, a shellfish hatchery, a health and dental center, a family preservation and Indian education center, a museum, and playgrounds for our children. Also on our list of recent achievements is the design and development of an official Shinnecock Indian Nation flag and an official seal.
Our skilled craftspeople and fine artists find employment within the Tribe as well as the surrounding area. The number of tribal members holding advanced degrees in law, business, medicine, social sciences and liberal arts continues to grow, and tribal members hold positions of responsibility in all areas, including teaching, banking and counseling, both within and outside the Shinnecock community.
One of the earliest forms of economic development that the Shinnecock Nation undertook was to lease Reservation acreage to local area farmers for their crops, mainly potatoes and corn. While the project did bring in a small income for the Tribe, the resulting damages from pesticides leaking into the ground water and polluting our drinking water supply were enormous. We had great expectations for our shellfish hatchery (Oyster Project) but brown tide and general pollution forced it to close before it had the chance to develop into the business enterprise it was planned to be. In the summer of 2005, the Tribe began reseeding parts of its waterways with oysters, and celebrated a renewal harvest of Shinnecock chunkoo oysters at the Tribal Thanksgiving Dinner, November 2006.
At the present moment, the Shinnecock annual Powwow is the economic development project of record for the Shinnecock Nation. Revived in 1946 as a benefit for our church, the Powwow has evolved into an event that hosts thousands of visitors. But we are at the mercy of the weather. For the past two years, rainstorms have forced us to drastically revise our budgeting plans. We are now exploring Indian Gaming as a means of attaining the much needed self-sufficiency that will enable us to perform the sacred duties laid out for us by the Ancestors — to protect, manage and maintain the Shinnecock Indian Nation.
By Bevy Deer Jensen
Shinnecock Nation Communications Officer
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For more information on the Shinnecock Nation, please visit: www.shinnecocknation.com/
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photography: a. golden, eyewash design, c. 2007.
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UPDATE: April 14, 2009 ---> See Annawon's portrayal of Metacom (King Philip) in PBS's "After the Mayflower" episode of "We Shall Remain" here: www.pbs.org/wgbh/amex/weshallremain/the_films/episode_1_a...
---> BIO HERE: www.pbs.org/wgbh/amex/weshallremain/behind_the_scenes/epi...
---> Behind the Scenes Images HERE: www.pbs.org/wgbh/amex/weshallremain/behind_the_scenes/pho...
---> Heard on Set Interview HERE: www.pbs.org/wgbh/amex/weshallremain/behind_the_scenes/hea...
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Using a handout from a recent Marimekko exhibit at the museum, I layered with acrylic paint, added text with white gel pens, and finished with bits and bobs from my paper stash and Washi tape. The eye sketch was a warm up to a recent portrait. #dycatchphrase 08/26 'definition' #alteredbook
Album : Slane 2013 / Bus Eireann.
Broadstone based VDL's 'LD206' & 'LD231' load for Dublin on the Slane shuttle service. To bus enthusiasts this was indeed perhaps a rather special and unique occasion?
Both Bus Eireann & Dublin Bus were formed out of the old 'Coras Iompair Eireann' back in 1987. Each company had its own mandate, its area clearly defined, neither company duplicated any route.
Therefore it is ultra rare to see them work alongside each other on the same service, other than the 'Special Olympics' in 2003 which was a much different kind of operation entirely, I cannot recall a single occasion in 26 years when they operated together?
Both events in Waterford surrounding the tall ships saw both company vehicles operate side by side. It also happened in 2003 during the 'Special Olympics', but on those occasions all services were provided by Bus Eireann, with extra capacity provided by Dublin Bus, but on hire to Bus Eireann. Slane 2013 was a totally different set up entirely to those events. Bus Eireann buses are not unknown at Slane concerts either, though thin on the ground in recent years, they did operate to both Drogheda and Navan, but never before to Dublin, alongside Dublin Bus!
Nikon D800 E Photos of Pretty Blonde Swimsuit Bikini Model Goddess standing with a black 45surf surfboard in front of Malibu Sea Caves on El Matador State Beach! A classic California blue-eyed blond beach babe!
Look closely, and you will see that I--Johnny Ranger McCoy-- am the cowboy on her shirt! Also on the shirt are the stages of the epic Hero's Journey, modified for 45surf & the gold 45 revolver!
Here is some epic video I shot of the gorgeous goddess at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
www.youtube.com/watch?v=q7geL3rFcP0
www.youtube.com/watch?v=3vI7jWGv4mg
www.youtube.com/watch?v=yrKPz-XY4WA
www.youtube.com/watch?v=afUY1TyUrZE
The blue-eyed goddess was modeling the gold 45 revolver gold'n'virtue bikini with the famous golden gun/colt 45 revolver from my favorite film--Sergio Leone's and Clint Eastwood's "Fistful of Dollars!"
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) American Flag Bikini! Stars & Stripes Forever! :)
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with a CP--the B+W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coatin, all on the amazing Nikon D800E Camera.
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 5 ! :)
All the Gold'N'Virtue bikinis and 45surf clothes have the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
On the shirt is the classic hero's journey which you can apply to your epic journey into photography!
YOUR HERO’S JOURNEY INTO PHOTOGRAPHY:
DEPARTURE:
The Call to Adventure: You witness a spectacular sunset. How do you capture the beauty?
Refusal of the Call: The Nikon D800 costs too much/HDR is too hard to learn.
Supernatural Aid: The wisdom of the Greats and books and tutorials mentor and inspire you.
The Crossing of the First Threshold: You invest in a Nikon D800, 14-24mm F/2.8 Nikkor wide-angle lens, and Photomatix software.
Belly of The Whale: Your work is falling short of your vision. Tired, stressed, and disoriented in Photomatix.
INITIATION:
The Road of Trials (and Errors!): You press on, regardless, by and by learning Photomatix as “Mistakes are the portals of discovery!”.
The Meeting With the Goddess: Success! One of your photos “SNAPS” into place.
Woman as Temptress: What worked for one instance is no longer working. Sometimes seeming success leads down the wrong path.
Atonement with the Father: You must transcend your mentors and the “experts” in exalting your own personal voice. In becoming oneself, one “atones” with their teachers and mentors, forgiving them for their mistakes, as one embraces their own.
Apotheosis: Realizing your full potential and unique vision and voice.
The Ultimate Boon: Exalting your artistic potential in a finished print.
RETURN:
Refusal of the Return: Unable to market/sell the awesome work.
The Magic Flight: A gallery agrees to host your photography!
Rescue from Without: A magazine miraculously picks up your photography! Your once-blind faith in following beauty is finally rewarded!
The Crossing of the Return Threshold: Returning home to serve an audience as an HDR photographer.
Master of Two Worlds: On your laptop’s screen is a portal out to the brand new world of HDR—a world you can share with others! You can enter the HDR world at will.
Freedom to Live: Financial freedom to pursue your artistic dreams!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! :)
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Nikon D800E Photos of a Gorgeous Blond Bikini Model Goddess in Gold 45 Revolver Swimsuit with wavy-blond hair and pretty blue eyes! Pretty, pretty smile! A tall, thin, fit, classic California beach babe! Please share the exalted goddess with your friends.
Here is some epic video I shot at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
youtu.be/EPoQTneU7Ho (she speaks to all my flickr fans in this one!)
www.youtube.com/watch?v=aqVXRPAN0MQ (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=PrAZEcBZxUQ (Nikon D800E with 70-200mm F/2.8 Nikkor LEns)
www.youtube.com/watch?v=f9phCXhm-bg (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=gsQcSnPd2Uk (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
With the black 45surf surfboard! It gets hot in the sand in the sun! Wearing a leather Buffalo Nickel Cowboy Hat! :)
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) American Flag Bikini! Stars & Stripes Forever! :)
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B+W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Reading some of the Great Books of Hero's Journey Mythology! Homer's Iliad and Odyssey, Melville's Moby Dick, and Shakespeare's Hamlet!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Listen to the audio file of this article
What is is. What happens happens. There is no way to deny truth.
An anecdote is a story. A true story.
For example, “My child was healthy. We took them to the doctor for shots. On the way from the clinic to the car in the parking lot my child had a s...
www.hopegirlblog.com/on-vaccines-anecdotes-define-the-pos...
Find out more about the project and see pictures taken by other photographers at 100 Strangers Flickr Group page
This photo was initially published in my local photo blog about the citizens of my area in Montréal. quartiersnord.photos/les-gens-the-people/I had originally planned to publish only articles about the residents of a defined territory. I must say I've already made two exceptions to that rule. At this point, Nelly made me permanently loosen it up. She insisted that its rigidity could make me miss beautiful meetings. I gave it some thoughts.
So here is Nelly.
Originally from Douala in Cameroon, she arrived in Montreal less than a year ago from France, where she lived for a dozen years. Her three sisters had preceded her there. She joined one of them in Nancy and they became roommates. While living there, she studied communication in Metz. However, it is in Paris that she had her university internships and found work, the people of the Northeast being, she says, less receptive to foreigners.
She would like to make a career in radio journalism, a profession she experienced in Paris among other jobs. Admitted here as a qualified immigrant, she made many efforts upon her arrival to find work in this field. In particular, she contributed as a volunteer to the radio program Magazine Centre-Ville at 102,3FM, a station for intercultural rapprochement. However, she soon found out that, contrary to what the immigration officers had told her, it is not easy as a foreigner, to make her place in the labor market. As she must make a living, she found a receptionist position in a training institute on Gouin Boulevard. It allows her to pay a modest apartment in the Plateau Mont-Royal. However, she has not given up upgrading her professional skills to improve her perspectives.
Arriving here alone, as she had departed from Cameroon in her late teens, she faces a double parting. It is indeed with a French companion, blond with blue eyes, that she had planned to settle in Quebec. He had initially enthusiastically shared her project, but cooled off as the scheduled date of departure got closer... Nonetheless, Nelly did not change her mind.
Surprisingly, it was her mother who told her about the possibility of a favorable reception in Canada, after hearing it from a person she met in Cameroon. To date, she believes that the people here are less stressed out than in France and that life can be better. For now, she hopes her mother will visit her, as she has already done in France with her sisters earlier this year.
I met her while she was talking in a park with a Congolese nun she met at a retreat in Rougemont. I thought that being the granddaughter of an evangelical pastor was perhaps for something in this recent friendship. She tells me that her friendship with Maria Gabriella rather stems from the fact that she is a true and kind person with whom she shares a similar vision of life.
Cette photo fait partie de mon projet 100 Strangers (100 inconnus). Apprenez en plus sur ce type de projet et voyez les photos d’autres photographes à 100 Strangers Flickr Group page
Cette photo a initialement été publiée sur mon blogue local dédié aux citoyens de mon quartier de Montréal quartiersnord.photos/les-gens-the-people/
J’avais initialement prévu ne publier que des articles traitant des résidents d’un territoire défini. Bon, j’ai déjà fait deux entorses à ce critère. C’est Nelly qui m’a fait céder définitivement en me disant que ce critère étroit pouvait me faire rater de belles rencontres. J’y ai repensé.
Alors voici Nelly.
Originaire de Douala au Cameroun, elle est arrivée à Montréal il y a moins d’un an en provenance de France, où elle a vécu une douzaine d’années. Ses trois sœurs l’y ayant précédée, elle a rejoint l’une d’elles à Nancy et elles y ont été colocataires. Tout en y résidant, elle a fait des études en communications à Metz. C’est cependant à Paris qu’elle a fait ses stages universitaires et trouvé du travail, les gens du Nord-est étant, selon elle, moins réceptifs aux étrangers.
Elle aimerait faire carrière en journalisme radiophonique, qu’elle a pratiqué à Paris parmi d’autres emplois. Admise comme immigrante qualifiée, elle a fait, dès son arrivée ici, de nombreuses démarches pour trouver du travail dans ce domaine. Elle a notamment contribué bénévolement à l’émission du midi Magazine Centre-Ville au 102,3FM, une station visant le rapprochement interculturel. Elle s’est cependant rapidement aperçue que, contrairement à ce que les agents d’immigration lui avaient affirmé, il n’est pas facile, comme étrangère, de percer le marché de l’emploi. Comme il faut bien vivre, elle s’est déniché un poste de réceptionniste dans un institut de formation du boulevard Gouin, ce qui lui permet de se payer un modeste appartement dans le Plateau Mont-Royal. Elle n’a cependant pas renoncé à poursuivre sa formation pour améliorer son sort.
Arrivé seule ici, comme à son départ du Cameroun à la fin de l’adolescence, elle fait face à une double rupture. C’est en effet avec un compagnon français blond aux yeux bleus qu’elle devait venir s’installer au Québec. Celui-ci avait tout d’abord partagé avec enthousiasme son projet avant de tiédir à mesure que l’échéance du départ arrivait… Nelly, elle, n’a pas changé d’idée.
Chose surprenante, c’est sa mère qui, après l’avoir appris auprès d’une tierce personne rencontrée chez elle au Cameroun, lui a fait part de la possibilité d’un accueil favorable au Canada. À date, elle estime que les gens ici sont moins stressés qu’en France et que la vie peut être meilleure. Pour le moment, elle espère une visite de sa mère, qui en a déjà fait une en France chez ses sœurs cette année.
C’est alors qu’elle causait dans un parc avec une religieuse congolaise qu’elle a connue lors d’une retraite à Rougemont, que j’ai fait sa rencontre. Je me suis dit que le fait d’être petite-fille d’un pasteur évangélique était peut-être pour quelque chose dans l’éclosion de cette amitié récente. Elle m’affirme que son amitié avec Maria Gabriella tient plutôt au fait que c'est une personne vraie et aimable avec laquelle elle partage une vision de la vie similaire.
One of the most defining cars of the 1980's, this humble looking machine was one of those many hot hatchbacks of the day that set ablaze to the world of rallying, and has become a symbol of German automotive engineering at its finest.
Development of the Quattro went back to the late 1970's, and following changes in the Group B Rally rules that now allowed the use of four-wheel-drives on the Rally Stage, Audi attempted to beat the competition to the punch with the Quattro, a name derived from the Italian word for Four.
The car was designed in collaboration with many Audi engineers, including Jörg Bensinger, Walter Treser, Ferdinand Piëch and Franz Tengler, with styling coming from Martin Smith, who later designed the Vauxhall VX220 and 2004 Astra. The original idea behind such a concept was coined by Jörg Bensinger in 1977 following the incredible abilities of the Volkswagen Iltis, a small 4x4 for the German Army. What was noticed was the Itlis' ability to work better over snow than any other vehicle, and thus he deisred to translate this into a conventional car.
The Quattro was launched on the 3rd March, 1980 at the Geneva Motor Show, and went on sale at the end of that year. Cars were outshopped with Audi's quattropermanent four-wheel drive system, and was the first car to mate four-wheel drive with a turbocharged engine. Original engines consisted of a 197hp 2.L Inline-5 engine with turbocharger and intercooler; propelling the Quattro from 0 to 60mph in 7.1s, and reaching a top speed of over 137mph. This engine was changed to a 2.2L Inline-5 engine, again producing 197hp, but with peak torque lower in the rev-range. The final engine change came in 1989 with a 2.2L Inline-5 engine producing 217hp, with a new top speed of 143mph.
Internally the car was very rather contemporary at first, but was changed and modified later to become quite endearing. Original analogue displays were changed to LCD electronic instrument clusters. The dashboard was also altered slightly, being changed to a more robust foam. External styling changed very little during the car's lifetime, although a facelift did come to pass in 1985, with a new sloping front grille, headlights and trim/badging changes.
What this car is remembered most for however was its ability to lacerate the competition on the rally stage. The Quattro made its debut on the track in 1980, as a development car initially at the 1980 Jenner Rally in Austria. In comparison to other Group B rally cars, which mostly comprised of heavily modified hot hatchbacks, the Quattro was much larger, but this allowed for more space to fit its gargantuan 300hp 2.1L Inline-5 engine. This would be upgraded later to a 350hp version in response to new Group B rally rules. A short-wheelbase version was also developed for greater handling in response to the new Peugeot 205 that was hacking at its chins.
In 1981, Michèle Mouton became the first female driver to win a world championship rally, piloting an Audi Quattro. The Quattro A1 debuted at the WRC 1983 season opener Monte Carlo Rally, and went on to win the Swedish Rally and the Rally Portugal in the hands of Hannu Mikkola. Driven by Stig Blomqvist, Mikkola and Walter Röhrl, the A2 evolution won a total of eight world rallies; three in 1983 and five in 1984. Two examples of the same car completely dominated the South African National Rally Championships during 1984 to 1988, with S.A. champion drivers Sarel van der Merwe and Geoff Mortimer.
Group B rallying however came to a premature end after a disasterous crash involving a rival Ford RS200 resulted in the banning of this tier of rallying in 1986, but in its 6 year reign as king the Quattro rocked up an impressive 23 victories, including the 31st, 32nd, 33rd and 34th International Swedish Rallys, the 23rd, 24th, and 27th Rallye Sanremo, the 30th, 31st and 32nd Lombard RAC rally, the 16th, 17th and 18th Rallye de Portugal Vinho do Porto, the 29th and 31st Acropolis Rally, the Rally of Brazil in 1982, the 32nd and 33rd 1000 Lakes Rally, the 3rd and 4th Marlboro Rally Argentina San Carlos de Bariloche, the 52ème Rallye Automobile de Monte-Carlo, the 14th Sanyo Rally of New Zealand, and the 16ème Rallye "Marlboro" Côte d'Ivoire.
Quattro production eventually ended in 1991 after 11,452 examples were built, its replacement being the RS2 Avant. Since then the car has become a staple of 1980's motorsports, being the pride of the German nation and a symbol of all power for all situations. The Quattro also reentered the public eye in the 2008 BBC television series Ashes to Ashes, where DCI Gene Hunt drives a 1983 Quattro. Today the Quattro's are somewhat rare but interesting finds nonetheless, a truly raw car at the top of its game.
this is not my work...I am just a photographer taking hdr graff pictures.
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...
Nikon D800E Photos of Pretty Blond Swimsuit Bikini Model Goddess & Black Surfboard: 70-200mm VR2 Nikkor F/2.8 Zoom. Standing in front of the 45surf beach house!
A tall, thin, fit, classic California beach babe modeling the Gold 45 Revolver Gold'N'Virtue swimsuits & lingerie! Please share the exalted goddess with your friends.
Here is some epic video I shot at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
www.youtube.com/watch?v=14dYxbOFCmA
www.youtube.com/watch?v=OmyFDZS5YNo
www.youtube.com/watch?v=1-OIgUDBUfA
www.youtube.com/watch?v=Pbnsps35low
www.youtube.com/watch?v=TU0MzEKKzBE
www.youtube.com/watch?v=yCK7GlhF3oM
(Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
With the black 45surf surfboard! It gets hot in the sand in the sun! Wearing a leather Buffalo Nickel Cowboy Hat! :)
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) American Flag Bikini! Stars & Stripes Forever! :)
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Reading some of the Great Books of Hero's Journey Mythology! Homer's Iliad and Odyssey, Melville's Moby Dick, and Shakespeare's Hamlet!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Crisp whites and shades of blue define a stunning early twentieth-century waterfront beach house. Completely rebuilt in 1999, the three-story home was redecorated by the current owners. A coastal design is carried throughout the nearly 2800-square-foot house in charming and subtle ways. The eat-in kitchen has a large circular table with navy blue cushions piped in white. The dining room has a casual beachy atmosphere created by black chinoiserie chairs on a striped rug and a large sailboat painting. The nautical theme is also reflected in the pair of brass and glass ship lanterns suspended in the living room. As an added bonus, visitors can tour the spacious two-bedroom guest cottage across the street. The cottage enjoys unobstructed views of Fence Creek and gives the owners the ability either to relax at the waterside or enjoy a peaceful expedition by canoe. Serenity abounds in this unique seaside home.
On June 24th, 2018, The Madison Historical Society's 6th Annual Tour of Remarkable Homes of 5 unique Madison Properties was held from 11 to 4. See flic.kr/s/aHsmiFnBoe for more scenes from this event.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
Kuala Lumpur (/ˈkwɑːləˈlʊmpʊər/ or /-pər/; Malaysian pronunciation: [ˈkwalə ˈlumpʊr]) is the national capital and most populous global city in Malaysia. The city covers an area of 243 km2 and has an estimated population of 1.6 million as of 2010. Greater Kuala Lumpur, covering similar area as the Klang Valley, is an urban agglomeration of 7.5 million people as of 2012. It is among the fastest growing metropolitan regions in South-East Asia, in terms of population and economy.
Kuala Lumpur is the seat of the Parliament of Malaysia. The city was once home to the executive and judicial branches of the federal government, but they were moved to Putrajaya in early 1999. Some sections of the judiciary still remain in the capital city of Kuala Lumpur. The official residence of the Malaysian King, the Istana Negara, is also situated in Kuala Lumpur. Rated as an alpha world city, Kuala Lumpur is the cultural, financial and economic centre of Malaysia due to its position as the capital as well as being a key city. Kuala Lumpur was ranked 48th among global cities by Foreign Policy's 2010 Global Cities Index and was ranked 67th among global cities for economic and social innovation by the 2thinknow Innovation Cities Index in 2010.
Kuala Lumpur is defined within the borders of the Federal Territory of Kuala Lumpur and is one of three Malaysian Federal Territories. It is an enclave within the state of Selangor, on the central west coast of Peninsular Malaysia.
Since the 1990s, the city has played host to many international sporting, political and cultural events including the 1998 Commonwealth Games and the Formula One Grand Prix. In addition, Kuala Lumpur is home to the tallest twin buildings in the world, the Petronas Twin Towers, which have become an iconic symbol of Malaysia's futuristic development.
In May 2015, Kuala Lumpur was officially recognized as one of the New7Wonders Cities together with Vigan City, Doha, Durban, Havana, Beirut, and La Paz.
HISTORY
Kuala Lumpur means "muddy confluence", although it is also possible that the name is a corrupted form of an earlier but now unidentifiable forgotten name. It was originally a small settlement of just a few houses at the confluence of Sungai Gombak (previously known as Sungai Lumpur) and Sungai Klang (Klang River). The town of Kuala Lumpur was established circa 1857, when the Malay Chief of Klang, Raja Abdullah bin Raja Jaafar, aided by his brother Raja Juma'at of Lukut, raised funds to hire some Chinese miners from Lukut to open new tin mines here. The miners landed at Kuala Lumpur and continued their journey on foot to Ampang where the first mine was opened. Kuala Lumpur was the furthest point up the Klang River to which supplies could conveniently be brought by boat; it therefore became a collection and dispersal point serving the tin mines. The identity of the founder of Kuala Lumpur has however not been confirmed: Raja Abdullah bin Raja Jaafar and his role in founding the city do not appear in the earliest account of the history of Selangor. On the other hand, the Sumatrans Abdullah Hukum and Sutan Puasa, arrived in Kuala Lumpur at least in 1850. Raja Abdullah only came around 1857 and Yap Ah Loy, also regarded as the founding father of Kuala Lumpur, arrived in 1862. In addition, the Chinese men employed under Raja Abdullah worked in Ampang, 64 kilometres away from the main land. Meanwhile, efficient drainage and irrigation systems (bondar saba) were introduced in Kuala Lumpur by the technologically advanced Mandailing, improving the mining industry.
In the early history of Kuala Lumpur, the Minangkabaus of Sumatra were considered to be one of the most important groups of people who involved in trading. Utsman bin Abdullah and Haji Mohamed Taib were influenced tycoon in Kuala Lumpur and surrounding area. Haji Taib, one of the wealthiest figure at that time, was an important person in the early development centre of city: Kampung Baru. Beside as merchants, the Minangkabaus also overwhelmingly on socio-religious figures, such as Utsman bin Abdullah was the first kadi of Kuala Lumpur as well as Muhammad Nur bin Ismail.
Although the early miners suffered a high death toll due to the malarial conditions of the jungle, the Ampang mines were successful, and the first tin was exported in 1859. The tin-mining spurred the growth of the town, and miners later also settled in Pudu and Batu. The miners formed gangs among themselves; there were the Hakka-dominated Hai San in Kuala Lumpur, and the Cantonese-dominated Ghee Hin based in Kanching in Ulu Selangor. These two gangs frequently fought to gain control of best tin mines. The leaders of the Chinese community were conferred the title of Kapitan Cina (Chinese headman) by the Malay chief, and Hiu Siew, the owner of a mine in Lukut, was chosen as the first Kapitan of Kuala Lumpur. As one of the first traders to arrive in Ampang (along with Yap Ah Sze), he sold provisions to the miners in exchange for tin.
In 1868, Yap Ah Loy was appointed the third Chinese Kapitan of Kuala Lumpur. Yap, together with Frank Swettenham, were the two most important figures in the development of Kuala Lumpur in the early days of Kuala Lumpur. In 1880, the state capital of Selangor was moved from Klang to the more strategically advantageous Kuala Lumpur by the colonial administration, and Swettenham was appointed the Resident in 1882. Kuala Lumpur was a small town with buildings made of wood and atap (thatching) that were prone to burn. It suffered from many problems, including the Selangor Civil War which devastated the town; it was also plagued by diseases and constant fires and floods. The war and other setbacks led to a slump which lasted until 1879, when a rise in the price of tin allowed the town to recover.
In 1881, a flood swept through the town, following a fire that had engulfed it earlier. As a response, Frank Swettenham, the British Resident of Selangor, required that buildings be constructed of brick and tile.[33] Hence, Kapitan Yap Ah Loy bought a sprawling piece of real estate to set up a brick industry, which spurred the rebuilding of Kuala Lumpur. This place is the eponymous Brickfields. Hence, destroyed atap buildings were replaced with brick and tiled ones. He restructured the building layout of the city. Many of the new brick buildings mirrored those of shop houses in southern China, characterised by "five foot ways" as well as skilled Chinese carpentry work. This resulted in a distinct eclectic shop house architecture typical to this region. Kapitan Yap Ah Loy expand road access in the city significantly, linking up tin mines with the city, these roads include the main arterial roads of the present Ampang Road, Pudu Road and Petaling Street. As Chinese Kapitan, he was vested with wide powers on par with Malay community leaders. He implemented law reforms and introduced new legal measures. He also presided over a small claims court. With a police force of six, he was able to uphold the rule of law. He built a prison that could accommodate 60 prisoners at any time. Kapitan Yap Ah Loy also built Kuala Lumpur's first school and a major tapioca mill in Petaling Street of which the Selangor's Sultan Abdul Samad had an interest.
A railway line between Kuala Lumpur and Klang, initiated by Swettenham and completed in 1886, increased accessibility which resulted in the rapid growth of the town. The population grew from 4,500 in 1884 to 20,000 in 1890. As development intensified in the 1880s, it also put pressure on sanitation, waste disposal and other health issues. A Sanitary Board was created on 14 May 1890 which was responsible for sanitation, upkeep of roads, lighting of street and other functions. This would eventually became the Kuala Lumpur Municipal Council. Kuala Lumpur was only 0.65 km2 in 1895, but it expanded to 20 km2 in 1903, and by the time it became a municipality in 1948 it had expanded to 93 km2, and then to 243 km2 in 1974 as a Federal Territory. In 1896, Kuala Lumpur was chosen as the capital of the newly formed Federated Malay States. A mixture of different communities settled in various sections of Kuala Lumpur. The Chinese mainly settled around the commercial centre of Market Square, east of the Klang River, and towards Chinatown. The Malays, Indian Chettiars, and Indian Muslims resided along Java Street (now Jalan Tun Perak). The Padang, now known as Merdeka Square, was the centre of the British administrative offices.
During World War II, Kuala Lumpur was captured by the Imperial Japanese Army on 11 January 1942. They occupied the city until 15 August 1945, when the commander in chief of the Japanese Seventh Area Army in Singapore and Malaysia, Seishirō Itagaki, surrendered to the British administration following the atomic bombings of Hiroshima and Nagasaki. Kuala Lumpur grew through the war, the rubber and tin commodity crashes and the Malayan Emergency, during which Malaya was preoccupied with the communist insurgency. In 1957, the Federation of Malaya gained its independence from British rule. Kuala Lumpur remained the capital through the formation of Malaysia on 16 September 1963.
On 13 May 1969, the worst race riots on record in Malaysia took place in Kuala Lumpur. The so-called 13 May Incident refers to the occurrence of violence between members of the Malay and the Chinese communities. The violence was the result of Malaysian Malays being dissatisfied with their socio-political status. The riots resulted in the deaths of 196 people, and led to major changes in the country's economic policy to promote and prioritise Malay economic development over that of the other ethnicities.
Kuala Lumpur later achieved city status in 1972, becoming the first settlement in Malaysia to be granted the status after independence. Later, on 1 February 1974, Kuala Lumpur became a Federal Territory. Kuala Lumpur ceased to be the capital of Selangor in 1978 after the city of Shah Alam was declared the new state capital. On 14 May 1990, Kuala Lumpur celebrated 100 years of local council. The new federal territory Kuala Lumpur flag and anthem were introduced. On 1 February 2001, Putrajaya was declared a Federal Territory, as well as the seat of the federal government. The administrative and judicial functions of the government were shifted from Kuala Lumpur to Putrajaya. Kuala Lumpur however still retained its legislative function, and remained the home of the Yang di-Pertuan Agong (Constitutional King).
GEOGRAPHY
The geography of Kuala Lumpur is characterised by the huge Klang Valley. The valley is bordered by the Titiwangsa Mountains in the east, several minor ranges in the north and the south and the Strait of Malacca in the west. Kuala Lumpur is a Malay term that translates to "muddy confluence" as it is located at the confluence of the Klang and Gombak rivers.
Located in the centre of Selangor state, Kuala Lumpur was previously under the rule of Selangor State Government. In 1974, Kuala Lumpur was separated from Selangor to form the first Federal Territory governed directly by the Malaysian Federal Government. Its location on the west coast of Peninsular Malaysia, which has wider flat land than the east coast, has contributed to its faster development relative to other cities in Malaysia. The municipality of the city covers an area of 243 km2, with an average elevation of 21.95 m.
CLOMATE AND WEATHER
Protected by the Titiwangsa Mountains in the east and Indonesia's Sumatra Island in the west, Kuala Lumpur has a tropical rainforest climate (Köppen climate classification Af), which is warm and sunny, along with abundant rainfall, especially during the northeast monsoon season from October to March. Temperatures tend to remain constant. Maximums hover between 32 and 33 °C and have never exceeded 38.5 °C, while minimums hover between 23.4 and 24.6 °C and have never fallen below 14.4 °C. Kuala Lumpur typically receives minimum 2,600 mm of rain annually; June and July are relatively dry, but even then rainfall typically exceeds 131 millimetres per month.
Flooding is a frequent occurrence in Kuala Lumpur whenever there is a heavy downpour, especially in the city centre and downstream areas. Smoke from forest fires of nearby Sumatra sometimes cast a haze over the region. It is a major source of pollution in the city together with open burning, emission from motor vehicles and construction work.
POLITICS
Kuala Lumpur is home to the Parliament of Malaysia. The hierarchy of authority in Malaysia, in accordance with the Federal Constitution, has stipulated the three branches, of the Malaysian government as consisting of the Executive, Judiciary and Legislative branches. The Parliament consists of the Dewan Negara (Upper House / House of Senate) and Dewan Rakyat (Lower House / House of Representatives).
ECONOMY
Kuala Lumpur and its surrounding urban areas form the most industrialised and economically, the fastest growing region in Malaysia. Despite the relocation of federal government administration to Putrajaya, certain government institutions such as Bank Negara Malaysia (National Bank of Malaysia), Companies Commission of Malaysia and Securities Commission as well as most embassies and diplomatic missions have remained in the city.
The city remains as the economic and business centre of the country. Kuala Lumpur is a centre for finance, insurance, real estate, media and the arts of Malaysia. Kuala Lumpur is rated as an alpha world city, and is the only global city in Malaysia, according to the Globalization and World Cities Study Group and Network (GaWC). The infrastructure development in the surrounding areas such as the Kuala Lumpur International Airport at Sepang, the creation of the Multimedia Super Corridor and the expansion of Port Klang further reinforce the economic significance of the city.
Bursa Malaysia or the Malaysia Exchange is based in the city and forms one of its core economic activities. As of 5 July 2013, the market capitalisation stood at US$505.67 billion.
The Gross Domestic Product (GDP) for Kuala Lumpur is estimated at RM73,536 million in 2008 with an average annual growth rate of 5.9 percent.[66] The per capita GDP for Kuala Lumpur in 2013 is RM79,752 with an average annual growth rate of 5.6 percent. The total employment in Kuala Lumpur is estimated at around 838,400. The service sector comprising finance, insurance, real estate, business services, wholesale and retail trade, restaurants and hotels, transport, storage and communication, utilities, personal services and government services form the largest component of employment representing about 83.0 percent of the total. The remaining 17 percent comes from manufacturing and construction.
The average monthly household income for Kuala Lumpur was RM4,105 (USD 1,324) in 1999, up from RM3,371 (USD 1,087) four years prior, making it 66% higher than the national average. In terms of household income distribution, 23.5% of households in the city earned more than RM5,000 (USD 1,613) per month compared to 9.8% for the entire country, while 8.1% earned less than RM1,000 (USD 323) a month.
The large service sector is evident in the number of local and foreign banks and insurance companies operating in the city. Kuala Lumpur is poised to become the global Islamic Financing hub with an increasing number of financial institutions providing Islamic Financing and the strong presence of Gulf's financial institutions such as the world's largest Islamic bank, Al-Rajhi Bank and Kuwait Finance House. Apart from that, the Dow Jones & Company is keen to work with Bursa Malaysia to set up Islamic Exchange Trade Funds (ETFs), which would help raise Malaysia's profile in the Gulf. The city has a large number of foreign corporations and is also host to many multi national companies' regional offices or support centres, particularly for finance and accounting, and information technology functions. Most of the countries' largest companies have their headquarters based here and as of December 2007 and excluding Petronas, there are 14 companies that are listed in Forbes 2000 based in Kuala Lumpur.
Other important economic activities in the city are education and health services. Kuala Lumpur also has advantages stemming from the high concentration of educational institutions that provide a wide-ranging of courses. Numerous public and private medical specialist centres and hospitals in the city offer general health services, and a wide range of specialist surgery and treatment that caters to locals and tourists.
There has been growing emphasis to expand the economic scope of the city into other service activities, such as research and development, which supports the rest of the economy of Malaysia. Kuala Lumpur has been home for years to important research centres such as the Rubber Research Institute of Malaysia, the Forest Research Institute Malaysia and the Institute of Medical Research and more research centres are expected to be established in the coming years.
DEMOGRAPHICS
Kuala Lumpur is the most populous city in Malaysia, with a population of 1.6 million in the city proper as of 2010. It has a population density of 6,696 inhabitants per square kilometre , and is the most densely populated administrative district in Malaysia. Residents of the city are colloquially known as KLites. Kuala Lumpur is also the centre of the wider Klang Valley conurbation (covering Petaling Jaya, Klang, Subang Jaya, Shah Alam, Gombak and others) which has an estimated metropolitan population of 7.2–7.5 million as of 2012.
Kuala Lumpur's heterogeneous populace includes the country's three major ethnic groups: the Malays, the Chinese and the Indians, although the city also has a mix of different cultures including Eurasians, as well as Kadazans, Ibans and other indigenous races from East Malaysia and Peninsula Malaysia.
Historically Kuala Lumpur was a predominantly Chinese, but recently the Bumiputra component of the city has increased substantially and they are now the dominant group. Most of Malays who considered as Bumiputra came from Sumatra and other parts of Indonesia archipelago. The majority of them Javanese, Minangkabaus and Buginese began arriving in Kuala Lumpur in the mid 19th century, in addition to Acehnese who arrived in the late 20th century. The population of Kuala Lumpur was estimated to be around three thousand in 1880 when it was made the capital of Selangor. In the following decade which saw the rebuilding of the town it showed considerable increase, due in large part to the construction of a railway line in 1886 connecting Kuala Lumpur and Klang.
A census in 1891 of uncertain accuracy gave a figure of 43,796 inhabitants, 79% of whom were Chinese (71% of the Chinese were Hakka), 14% Malay, and 6% Indian. Another estimate put the population of Kuala Lumpur in 1890 at 20,000. In 1931, 61% of Kuala Lumpur's 111,418 inhabitants were Chinese, and in 1947 63.5%. The Malays however began to settle in the Kuala Lumpur in significant numbers, in part due to government employment, as well as the expansion of the city that absorbed the surrounding rural areas where many Malays lived. between 1947 and 1957 the population of Bumiputras in Kuala Lumpur doubled, increasing from 12.5 to 15%, while the proportion of Chinese dropped. The process continued after Malayan independence with the growth of a largely Malay civil service, and later the implementation of the New Economic Policy which encouraged Malay participation in urban industries and business. In 1980 the population of Kuala Lumpur had reached over a million, with 52% Chinese, 33% Malay, and 15% Indian. From 1980 to 2000 the number of Bumiputras increased by 77%, but the Chinese still outnumbered the Bumiputras in Kuala Lumpur in the 2000 census at 43% compared to Bumiputras at 38%. By the 2010 census, according to the Department of Statistics and excluding non-citizens, the percentage of the Bumiputera population in Kuala Lumpur has reached around 45.9%, with the Chinese population at 43.2% and Indians 10.3%.A notable phenomenon in recent times has been the increase of foreign residents in Kuala Lumpur, which rose from 1% of the city's population in 1980 to about 8% in the 2000 census, and 9.4% in the 2010 census. These figures also do not include a significant number of illegal immigrants. Kuala Lumpur's rapid development has triggered a huge influx of low-skilled foreign workers from Indonesia, Nepal, Burma, Thailand, Bangladesh, India, Sri Lanka, Philippines, and Vietnam into Malaysia, many of whom enter the country illegally or without proper permits.Birth rates in Kuala Lumpur have declined and resulted in the lower proportion of young people falling below 15 years old category from 33% in 1980 to slightly less than 27% in 2000.[69] On the other hand, the working age group of 15–59 increased from 63% in 1980 to 67% in 2000. The elderly age group, 60 years old and above has increased from 4% in 1980 and 1991 to 6% in 2000.
Kuala Lumpur is pluralistic and religiously diverse. The city has many places of worship catering to the multi-religious population. Islam is practised primarily by the Malays and the Indian Muslim communities. Buddhism, Confucianism and Taoism are practised mainly among the Chinese. Indians traditionally adhere to Hinduism. Some Chinese and Indians also subscribe to Christianity.
As of 2010 Census the population of Kuala Lumpur is 46.4% Muslim, 35.7% Buddhist, 8.5% Hindu, 5.8% Christian, 1.1% Taoist or Chinese religion adherent, 2.0% follower of other religions, and 0.5% non-religious.
Bahasa Malaysia is the principal language in Kuala Lumpur. Kuala Lumpur residents are generally literate in English, with a large proportion adopting it as their first language. It has a strong presence, especially in business and is a compulsory language taught in schools. Cantonese and Mandarin are prominent as they are spoken by the local majority Chinese population. Another major dialect spoken is Hakka. While Tamil is dominant amongst the local Indian population, other Indian languages spoken include Telugu, Malayalam, Punjabi and Hindi. Beside the Malay language, there are a variety of languages spoken by Indonesian descent, such as Minangkabau and Javanese.
EDUCATION
According to government statistics, Kuala Lumpur has a literacy rate of 97.5% in 2000, the highest rate in any state or territory in Malaysia. In Malaysia, Malay is the language of instruction for most subjects while English is a compulsory subject, but as of 2012, English is still the language of instruction for mathematics and the natural sciences for certain schools. Some schools provide Mandarin and Tamil as languages of instruction for certain subjects. Each level of education demands different skills of teaching and learning ability.Kuala Lumpur contains 13 tertiary education institutions, 79 high schools, 155 elementary schools and 136 kindergartens.
WIKIPEDIA
© This photograph is copyrighted. Under no circumstances can it be reproduced, distributed, modified, copied, posted to websites or printed or published in media or other medium or used for commercial or other uses without the prior written consent and permission of the photographer.
Nikon D800 photos of a Swimsuit Bikini Model Goddess! She's a Hollywood Stunt Double! You've seen her in movies!
And here're a couple of HD video movies I shot of the goddess with the Nikon D800:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/45surf/45SURF-Heros-Jou...
As the Great Mick Jagger satted, "Pretty, pretty, pretty, pretty, girl
Pretty, pretty
Such a pretty, pretty, pretty girl." -Beast of Burden Sexy, hot, and cute too!
Epic Goddess Straight Out of Hero's Journey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's journey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Journey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosjourneymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Join/like my facebook page! www.facebook.com/45surfHerosJourneyMythology
Follow me on facebook! facebook.com/elliot.mcgucken
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Journey from Johnny Ranger McCoy!
Shot with the Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
Reading the Great Books and Classics inclduing Homer, Shakespeare, and Herman Meville's Moby Dick!
With the black 45SURF surfboard!
May the 45surf goddesses inspire you along am artistic journey of your own making!
Nikon D800E Photos of a Gorgeous Blond Bikini Model Goddess in Gold 45 Revolver Swimsuit with wavy-blond hair and pretty blue eyes! Pretty, pretty smile! A tall, thin, fit, classic California beach babe! Please share the exalted goddess with your friends.
Here is some epic video I shot at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
www.youtube.com/watch?v=aqVXRPAN0MQ (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=PrAZEcBZxUQ (Nikon D800E with 70-200mm F/2.8 Nikkor LEns)
www.youtube.com/watch?v=f9phCXhm-bg (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=gsQcSnPd2Uk (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
With the black 45surf surfboard! It gets hot in the sand in the sun! Wearing a leather Buffalo Nickel Cowboy Hat! :)
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) American Flag Bikini! Stars & Stripes Forever! :)
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B+W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Reading some of the Great Books of Hero's Journey Mythology! Homer's Iliad and Odyssey, Melville's Moby Dick, and Shakespeare's Hamlet!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
In an age defined by shadows cast from Eastern horizons, young hearts across Europe awaken to an unsettling truth: war is no longer a distant memory, but an imminent reality. The conflict in Ukraine intensifies, a grim harbinger of potential wider devastation. Facing the inexorable march of history, the youth confronts an existential reckoning, their futures uncertain beneath gathering storm clouds. Fear threatens to consume their spirits, yet amidst this anxiety blossoms an urgent call to embrace connection, intimacy, and profound understanding. Love becomes a quiet rebellion against impending darkness, a sanctuary constructed amid the ruins of former certainties. Relationships deepen, forged with the immediacy and intensity reserved for those who know the transient fragility of peace. The dictum of their generation emerges clear and poignant: to love deeply and without reservation before the inevitable descent into chaos. Waiting is no longer an option; hesitation risks irreparable loss. Thus, the youth's defiance becomes poetic, anchored in the resolute belief that love, even in the bleakest hour, can withstand and transcend the cruelty of fate.
Poem:
Where Ashes Lie
Upon fields once sewn with promises,
Now march legions of iron and flame,
Youth awakened by distant thunder
From sleep, now restless, not the same.
The horizon wears a mourning veil,
Borne heavy upon tender hearts,
And every whispered word of love,
A defiance, as twilight departs.
In ancient libraries and café rooms,
Hands brush softly, urgent and shy,
Aware tomorrow might sever chance,
Where dreams—too fragile—swiftly die.
Yet beneath these anxious stars,
Affection thrives with fierce intent,
For love, a fire in darkest night,
Refuses fear’s grim testament.
Kiss as though the world might end,
In quiet rooms where candles fade,
For in these tumultuous days of dread,
True courage wears love’s accolade.
Though war may scourge this trembling earth,
And silence peace’s fleeting song,
The young claim moments rich and true—
In love’s embrace, bold and strong.
Three Haikus:
Shadows cross Europe,Hearts entwined against the storm;Love is rebellion.
Whispers of war grow,Urgency ignites soft touch—Tomorrow unsure.
Libraries in dusk,Hands clasp beneath trembling skies,Hope carved from sorrow.
Nikon D800E Photos of a Gorgeous Blond Bikini Model Goddess in Gold 45 Revolver Swimsuit with wavy-blond hair and pretty blue eyes! Pretty, pretty smile! A tall, thin, fit, classic California beach babe! Please share the exalted goddess with your friends.
Here is some epic video I shot at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
youtu.be/EPoQTneU7Ho (she speaks to all my flickr fans in this one!)
www.youtube.com/watch?v=aqVXRPAN0MQ (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=PrAZEcBZxUQ (Nikon D800E with 70-200mm F/2.8 Nikkor LEns)
www.youtube.com/watch?v=f9phCXhm-bg (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=gsQcSnPd2Uk (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
With the black 45surf surfboard! It gets hot in the sand in the sun! Wearing a leather Buffalo Nickel Cowboy Hat! :)
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) American Flag Bikini! Stars & Stripes Forever! :)
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B+W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Reading some of the Great Books of Hero's Journey Mythology! Homer's Iliad and Odyssey, Melville's Moby Dick, and Shakespeare's Hamlet!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Shiva (/ˈʃivə/; Sanskrit: Śiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism.[2][3] He is one of the five primary forms of God in the Smarta tradition,[2] and "the Destroyer" or "the Transformer"[4] among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
At the highest level, Shiva is regarded limitless, transcendent, unchanging and formless.[5][6][7][8][9] Shiva also has many benevolent and fearsome forms.[10] In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash,[4] as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.[11][12][13]
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument. Shiva is usually worshiped in the aniconic form of Lingam
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word is[17] means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.[18]
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).[19][20][21]
The Sanskrit word śaiva means "relating to the god Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect.[22] It is used as an adjective to characterize certain beliefs and practices, such as Shaivism.[23]
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.[24][25]
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."[26] Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".[27]
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great god"; mahā "Great" and deva "god"),[28][29] Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"),[30][31] and Parameśvara ("Supreme Lord").[32]
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva.[33] The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition.[34] Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.[35][36]The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.[37][38]The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure.[38] How the persona of Shiva converged as a composite deity is not well documented.[39] According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."[40]
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.[41]
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes.[42] The foremost center of worship of Khandoba in Maharashtra is in Jejuri.[43] Khandoba has been assimilated as a form of Shiva himself,[44] in which case he is worshipped in the form of a lingam.[42][45] Khandoba's varied associations also include an identification with Surya[42] and Karttikeya.[46]Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic[47][48][49] figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra.[47][50][51][52] Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
While some academics like Gavin Flood[53][54] and John Keay have expressed doubts. John Keay writes that "He may indeed be an early manifestation of Lord Shiva as Pashu- pati", but a couple of his specialties of this figure does not match with Rudra.[55] Writing in 1997 Doris Srinivasan rejected Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man.[56] According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.[57]
Writing in 2002, Gregory L. Possehl concluded that while it would be appropriate to recognize the figure as a deity, its association with the water buffalo, and its posture as one of ritual discipline.[58]Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.[59]Shiva as we know him today shares many features with the Vedic god Rudra,[60] and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
Hindu text Rig Veda, which is dated to between 1700 and 1100 BC based on linguistic and philological evidence.[61] A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods.[62] Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva),[63] and the arrow is an essential attribute of Rudra.[64] This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.[65]
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill",[66] and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness".[65] The names Dhanvin ("Bowman")[67] and Bāṇahasta ("Archer", literally "Armed with arrows in his hands")[67][68] also refer to archery.
Agni[edit]
Rudra and Agni have a close relationship.[69][70] The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva.[71] The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra."[72] The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.[73]
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities.[74] Agni is said to be a bull,[75] and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned.[76][77] In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.[78]
Indra[edit]
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra.[79] Doniger gives several reasons for her hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3,[80] 6.45.17,[81][82] and 8.93.3.[83]) Indra, like Shiva, is likened to a bull.[84][85] In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.[86]
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion,[87][88] and the Indo-Iranian religion.[89] According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran.[90] It was "a syncretic mixture of old Central Asian and new Indo-European elements",[90] which borrowed "distinctive religious beliefs and practices"[89] from the Bactria–Margiana Culture.[89] At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma.[91] According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.[92]
Later Vedic literature[edit]
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BC), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BC to 100 AD also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.[54][93]
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.[94][95]
Puranic literature[edit]
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.[96]
Tantric literature[edit]
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.[97]Shaivism[edit]
Main articles: Shaivism and History of Shaivism
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
Panchayatana puja[edit]
Main article: Panchayatana puja
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century AD Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.[98]
Trimurti[edit]
Main article: Trimurti
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer.[99][100] These three deities have been called "the Hindu triad"[101] or the "Great Trinity",[102] often addressed as "Brahma-Vishnu-Maheshwara."
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite. It is often not shown but Shiva has 6 heads, of which only five (Isana, Tatpurusha, Vamana, Aghora, Sadyojata) are visible while the 6th (Adhomukh) can only be seen by the enlightened.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes,[103] called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources.[104] In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes".[105] However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers".[106][107] These three mother-goddesses who are collectively called the Ambikās.[108] Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā.[109] It has been mentioned that when Shiva loses his temper, his third eye opens which can reduce most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon.[110] The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown")[111][112][113] refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva.[114] The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon.[115] The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence.[116] Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy.[117] These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism.[118] One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.[119]
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair",[120] and Kapardin, "endowed with matted hair"[121] or "wearing his hair wound in a braid in a shell-like (kaparda) fashion".[122] A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly.[123] His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat").[124][125] Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue.[126][127] (See Maha Shivaratri.)Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva.[128][129] The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair.[130] The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin,[116] an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.[131]
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.[132]
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident.[116] His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru).[133][134] This is one of the attributes of Shiva in his famous dancing representation[135] known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum.[136] This drum is particularly used as an emblem by members of the Kāpālika sect.[137]
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana).[138][139] Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle"[140] and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra.[141] Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".[142]
5 heads: Shiva is known as panchavactra means 5 heads which indicates 5 elements.
Arms: Shiva has 4 arms which resembles 4 vedas
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode.[116] In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.[143]
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.[144]
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important.[145][146][147] These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness".[148] Shiva also means "one in whom the whole creation sleeps after dissolution".[148] Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself.[148] Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol,[149][150] although this interpretation is disputed by others, including Christopher Isherwood,[151] Vivekananda,[152] Swami Sivananda,[153] and S.N. Balagangadhara.[154]
JYOTHIRLINGAM
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga.[155][156] In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.[156]
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.[157]Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali[158] and Chandika.[159] Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
The five mantras[edit]
Five is a sacred number for Shiva.[160] One of his most important mantras has five syllables (namaḥ śivāya).[161]
Shiva's body is said to consist of five mantras, called the pañcabrahmans.[162] As forms of God, each of these have their own names and distinct iconography:[163]
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action.[164][165] Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.[166] The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.[167]
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)[168]
Forms and roles[edit]
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[169] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
NATARAJA
The depiction of Shiva as Nataraja (Sanskrit: naṭarāja, "Lord of Dance") is popular.[199][200] The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama.[201] His association with dance and also with music is prominent in the Puranic period.[202] In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular.[203] The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya.[204][205] and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati.[206][207] Lasya is regarded as the female counterpart of Tandava.[207] The Tandava-Lasya dances are associated with the destruction-creation of the world.[208][209][210]
Dakshinamurthy[edit]
Main article: Dakshinamurthy
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति),[211] literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras.[212] This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.[213] Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.[214]
ARDHANARISWARA:
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman".[215] According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras.[216] Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[217] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism.[218] The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars.[219] According to the Svetasvatara Upanishad, he has four avatars.[220]
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”.[221] Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).[222][223]
Other traditions regard the sage Durvasa,[224][225][226][227] the sage Agastya, the philosopher Adi Shankara and Ashwatthama as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati.[228] The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.[229]
Buddhism[edit]
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna.[230] In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.[231]
Sikhism[edit]
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi."[232] In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.[233]
Others[edit]
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty,[234] and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan.[235] In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita").[235] He is clad in tiger skin while his attendants are wearing Sodgian dress.[235] In Eastern Turkestan in the Taklamakan Desert.[235] There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls.[235] Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh.[235][236] It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.[236]
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hinduism is "Maharaja Dewa" (Mahadeva).[237]
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The World Grid and the Whirled Mind ~
...The great sphere of the planet is crisscrossed by lines of force that adhere to the geometry of three dimensions. These shapes simultaneously mirror the patterns of higher order ‘hyperspace’ geometries [see TimeSpace]. Lines of energy follow paths of least resistance – the leyline network recognised and used by antediluvian civilisations, the dragon lines of the Gael and the Orient; the Songlines of nomadic aboriginal people.
The planet flows through a vibrating sea of energy. This bathes us in frequencies and wavelengths that define the courses of energies flowing across and through the Earth. Lines of least resistance form an intricately interconnected series of grids that map hyperspatial geometries onto and into the globe of the planet. They’re the acupuncture meridians of Gaia, and nodal points are strung along them as acupuncture points on the human body. As above, so below.
These nodal points are sacred sites and places of power that can be used for great good or ill. The fortuitous locations and arrangements of most temples and shrines, churches and mosques from antiquity to the present time indicates at least one of two things – 1) that gifted dowsers have always been with us, working at the behest of secretive conspiratorial master architects, and/or 2) that the works of humankind are parts of a greater plan serving the planet and/or other agencies – again, for good or for ill, in terms of the best interests of human beings and the myriad lifeforms that dwell in the wonderfully wild garden of Gaia.
In either case, the sanctuaries of world religions are constructed on primordial bastions of concentrated energy. There are those who know how to use or misuse these sites (and all the trappings of blinded faith – magical implements like altars, chalices, incense, books, bells and candles) in ways and purposes for which they’re intended. Just as the vast majority of people will never read or comprehend these little words, or read this far, almost all those in charge of sacred sites have no idea how to use them. They’re custodians, holding the sites in trust for others – just like all the smiling politicians and stern public servants in the secular world.
Where three or more gather in focus together our wills can combine to accomplish great ends. The whologram is greater than the sum of its parts. The massed and focused energies of congregations of living, breathing, wilful beings can be harnessed to feed the leyline/songline grid with specific patterns of sound, thought, motion and emotion – songs and dances, prayers and hopes that can be used as fuel to heal the world, or to further other agendas. The most cleverly constructed places of worship channel energy into the Earth and unto the sky, and even filter and focus it toward specific ends.
Controlling humankind is the main game around town. Most religions are in charge of edifices designed to subtly influence and control the minds of people in the lands they directly influence. At certain times and in the right hands, the grid network can be induced to resonate with extraordinary power. Sometimes, when the entire system is poised for impending change at times of cosmic confluence, the grid can be used to reset the mind of humankind – and even to alter human nature en masse.
The Magnetic Moment
“No man may know the day of my coming; I come like a thief in the night.” So says a ‘lord’ in the babbling Old Testament. ‘The Day of the Lord’ is the day of destruction, when the Earth is repaved in conflagrations and stars shift to new posts in heaven. At moments like these and at other nodal points in the spiral of timespace, when the magnetic field of the planet shifts and realigns, the entire world can be remade in manifold ways.
Certain places and edifices are finely tuned instruments whose potential can only be fulfilled by master conductors of energy - musicians/magicians prepared to emerge from the wings on cue to wield their baton/wand and remake the illusion of the world, and to repattern the human worldview. Those neophytes and supplicants who randomly pray or silently meditate in ‘spiritual centres’ can only feed psychic batteries that these priests and mages tap and channel.
At times in prehistory a singular consciousness controlled the entire old network of planetary influence from several plexuses at once – an extraordinary being possessed of transdimensional perceptions, who controlled the mass of humankind and instituted the hive-like pyramidal structures that have patterned almost all ‘civilised’ and domesticated human societies unto today. Many of the monuments that channelled this network were ultimately destroyed or submerged beneath the seas in a series of catastrophes that only culminated less than 3,000 years ago, when the ‘terrestrial’ inner planets of the solar system took up their current stations.
Those who inhabit the summit of power at the capstone of the societal pyramid are the very last to countenance change, unless it directly benefits them. Most real or fundamental change brings with it unpredictable and unforseen complications that can only threaten their towers of power. Change is anathema to most control freaks - yet when the magnetic field shifts they have little choice but to go with the flow, and attempt to ensure the next age to come in the wake of that shift will faithfully follow the pattern of their plan.
Nowadays there are several competing centres of power, all poised to attempt to wrest control of the planetary web at the Magnetic Moment, when momentum stops and Mind becomes silent. When everything pauses the code of the world is freed from its tethers and can be rewritten by those in control of the instruments of power. At this point in history the vocalists ready to sing their song are more cacophony than choir, possessed of as many differing agendas as a hydra has heads.
What can emerge from this discord? Will the harp they all attempt to simultaneously strum accidentally strike the right chord – the one that frees us all from their thrall?
To prepare for the Moment, examine and (dis)still your mind. With practice you can learn what it’s like in the moment of change, when the world turns around your silent centre. If enough of us focus on one thing when that time comes, all the plans of puppet masters will be for naught. If enough of us are prepared to dare to dream of paradise for all we can remake the world into something blessed. We can remake the world with dreams we all truly cherish in our combined heart of hearts. We can fulfil human destiny and remake Paradise on Earth.
No doubt all of this is difficult to credit for many or most. Those couched in the comforting illusions of permanence fostered by antiquated and carefully channelled academic and education systems may well ignore these little words entirely. The mindfield of the current paradigm is always self-reinforcing and filters out dangerous ideas, dreams and memories that are automatically proscribed for reasons of social stability.
No confirmation or conformation is required. You are free – and you are god(dess)!
See you in the Magnetic Moment – Happy New Aeon!
by Ram Ayana @ nexusilluminati.blogspot.com.au/search/label/r.%20ayana
— with Ram Ayana.
Google defines feisty as... adjective (informal):
Of a person, (typically one who is relatively small or weak) lively, determined, and courageous.
"a feisty heroine who's more than a pretty face"
I think the definition fits Eva pretty well. She is definitely the feisty alpha with Bruno.
The dogs are loving the snow and all the fun that it brings. It was a little cold for this photo session (-25c) but that didn't stop my clowns from having fun. I think Bruno is made for winter. His coat is coming in thick, and the high snow slows Eva down a bit so he can (almost) keep up with her in the yard. Hard to believe that he was only born in April.
There is a more complete series of this chase is in my photo stream. I've also uploaded a video showing just how excited and verbal she gets when the camera comes out for an outdoor photo session.
Nikon D800E photos Beautiful Brunette Swimsuit Bikini Model Goddess with Wavy/Curly Hair and Piercing Blue Eyes!
Love shooting video with the D800E:
www.youtube.com/watch?v=4Yo5_BEC6lU
A kiss at the beginning of this video? www.youtube.com/watch?v=6N_RHLo3KCo
She was tall, thin, tan, and fit, modeling the 45surf gold 45 revolver bikini and hoodies too!
Well, my Nikon SB-700 Flash died, but it was still an awesome shoot! Love the nataral light of a cloudy December AM in Malibu!
Shot with the Nikon D800 E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
May the Goddess inspire you along your epic Hero's Journey!
The D800E was great for catching her curly/wavy brown hair blowing on the autumn sea breeze!
Great bokeh & shallow depth of field with the full frame D800E DSLR & 70-200mm VR2 Nikkor, on both the stills and video! :)
She's with a major agency and kinda a famous model. :)
With the black 45surf surfboard!
Modeling the 45surf hoodie on a cold December morning!
Goddess! :)