Developed using darktable 3.4.0

What fascinated me about this scene was how the black and white film rendered some of the stones as if they were pieces of elemental silver. Best viewed fullscreen!

 

Taken with Mamiya M645 on Ilford Delta 100, developed in Rodinal

Print on Ilford Multigrade Cooltone FB, Gold toned for 3,5 minutes

 

New border added digitally post-scan

 

Negative 54-11, Print 17-P-79

www.instagram.com/photographybyshaun

   

I finally developed and scanned these back from my shoot in February! Medium format is just my absolute favorite, and I can't wait until I shoot this wedding in a few months so I can buy another Hasselblad. The last one didn't survive the sand :[ </3

  

120 Film - Hasselblad

Model: Jessica Rangel

Photography/Costume/Props/MUA: Nico Nordström

Make up/Assistance: Audrey Starks

Props/Assistance: Michael McBride

Travel/Assistance: Decker Derdeyn

 

"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.

 

The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)

 

To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.

 

French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.

 

Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.

 

Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.

 

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Empty chairs at an empty home, lot to be developed.

 

The Pentax A3000 is working in Program mode, but is not metering properly in Aperture priority, with shutter speeds chosen being too slow, so overexposure and blur from hand shake. I'll buy some alkaline AA's, because all I had were NiMH, so it may be a voltage thing.

 

Program mode is fine, except everything is chosen by the camera, and it picks smaller apertures to have greater depth of field. I was using 400 speed film on my test, and most of my shots were around 1/60th, which I could see the camera choosing, so I think for aperture, it was selecting f/8-f/11. Exposures were fine, but I prefer to be around 1/125th just to prevent motion blur/hand shake.

 

Pentax A3000, test roll

SMC Pentax-A 50mm f/1.7

Arista 400

Blazinal 1:100, stand developed, 68°F/20°C

Pakon F135

Mũi Né is a coastal fishing town in the Bình Thuận Province of Vietnam. The town, with approximately 25,000 residents is a ward of the city of Phan Thiết. Mui Ne and the other wards of Phan Thiet that stretch along the coast for approximately 50 kilometers have been transformed into a resort destination since the mid 1990s, when many visited the area to view the solar eclipse of October 24, 1995. Most notably, tourism has developed in the area from the city center to Mũi Né, which has more than a hundred beach resorts, as well as restaurants, bars, shops and cafes.

 

Mũi Né ward has two beaches; Ganh Beach and Suoi Nuoc Beach, both with a number of resorts and a few shops and restaurants. But the most highly developed area is Rang Beach in Ham Tien ward, which extends west of Mui Ne. Strong sea breezes make all three beaches very popular for kitesurfing and windsurfing. The tourist season is from December to April The average temperature is 27 °C, and the climate is hot and dry much of the year.

____________________________________________

 

Mui Ne is a traditional fishing town in Binh Thuan Province that became a ward of the City of Phan Thiet in 1999. The name Mui Ne is often erroneously used as the general name for the main resort area in Phan Thiet along Mui Ne Bay, 220 km northeast of Ho Chi Minh City (South Vietnam).

 

Mui Ne is a coastal fishing community in Bình Thuận Province which is part of the South Central Coast of Vietnam. The town, with approximately 25,000 residents is a ward of the city of Phan Thiết. Mui Ne and the other wards of Phan Thiet that stretch along the coast for approximately 50 km have been transformed into a resort destination since the mid 1990s, when many discovered the area during the solar eclipse of October 24, 1995. Most notably, tourism has developed in the area from the city center of Phan Thiet to Mui Ne, including Phu Hai and Ham Tien wards along Phan Thiet Bay. The dense resort area along Phan Thiet Bay and beyond now boasts over two hundred beach resorts and hotels, as well as guest houses, backpacker hostels, restaurants, bars, shops and cafes.

 

In 2018 the Prime Minister approved the master plan to develop Mui Ne (Binh Thuan) as a National Tourist Site with a size of around 14,760 ha by 2025, with an orientation towards 2030.

 

An area of 1,000 ha has been defined as a core area for the establishment and development of functional areas for the tourism sector. Mui Ne National Tourism Site will be developed in an environmentally responsible way with a focus on protecting existing natural resources and environments, landscapes, and in particular the ecosystem in the Bau Trang tourist area (White Sand Dunes) as well as the sand dunes along the sea shore.

 

UNDERSTAND

Northeast of Phan Thiet the coastal road climbs over the slope of a Cham tower-topped hill and descends into the long, sandy crescent of Mui Ne Bay. The formerly little-inhabited beach southwest of the historic fishing village of Mui Ne proper has seen some serious development in the last 15 years. Now it is a 15 km long strip of resorts that line up like pearls on Nguyen Dinh Chieu Street, shaded by coconut palms. The main resort strip lies between the addresses of 2 and 98 Nguyen Dinh Chieu and is called Ham Tien. Like Mui Ne it is now a ward of the city of Phan Thiet which stretches over 50 km of coastline to the south and to the west of the original city center of Phan Thiet.

 

At the shoreline, nature moves the sand around, much to the dismay of some developers. Beach sand tends to migrate up and down the coast seasonally, leaving some (but not all) spots with just a concrete breakwater rather than sandy beach. There is always a good sandy beach somewhere along this 15 km beach. Accommodations at higher addresses tend to be smaller and less expensive, somewhat removed from the main tourist section and more mixed in with local life. If a sandy beach is important to you, some research is called for before booking in the area, especially after the tropical storm season. This research is important as without the beach there is little for non-kite-surfers to do in Mui Ne.

 

Quite a few bargain and "backpacker" hotels have popped up on the inland side of the road, across from the shoreline resorts. If you stay on the inland side, you will need to pass though one of the resorts to reach the beach, which might or might not result in some hassle from the guards. The resorts jealously guard their lounge chairs and palapas, though the beach itself is open to everyone.

 

Mui Ne Bay has become very popular with Russian tourists. Major Russian tour operators who bring busloads of tourists to Ham Tien and Mui Ne from the airports in Cam Ranh and Ho Chi Minh City have bought up several hotels along the main road and fill them year-round with Russian charter tour groups. English and Russian menus are common in most restaurants, and many stores and hotels are advertising and catering specifically to the Russian-speaking tourists, especially along the lowered numbered area of the strip on Nguyen Dinh Chieu Street which some guidebooks have rebaptised "Little Moscow."

 

GET IN

BY BUS

Most overseas visitors reach Ham Tien and Mui Ne via "open tour" buses that run between Ho Chi Minh City and Nha Trang. Most depart from Ho Chi Minh City between 07:30 and 09:00 (07:30 for Sinh Cafe's air conditioned bus) and arrive at Ham Tien and Mui Ne at about 13:00. In the opposite direction, buses typically depart from Mui Ne and Ham Tien around either 14:00 or 02:00 and arrive in Ho Chi Minh City approximately five hours later. Joe's Cafe is a good place to catch an outgoing night bus as it offers full service all night and you never know how late the bus will be. Outside Ho Chi Minh City, the coach will stop at a petrol station with a large shop and stalls selling snacks, drinks, and fruit.

 

The buses stop in the heart of the tourist strip in Ham Tien, so there is no need to take a taxi. The cost is about 105,000 dong each way, and tickets are sold all over the tourist districts of both Ho Chi Minh City and Nha Trang. If you are traveling to Ho Chi Minh City from Mui Ne and Ham Tien, you will most likely be put on an already full bus traveling from Nha Trang. As you are not assigned a seat, you may not be able to sit with any traveling companions, and at some of the less scrupulous travel agents you may not even get a real seat. You might get a mat at the back of the bus with four other people.

 

Public buses from both destinations also travel to the Mui Ne area, though finding the departure stations and figuring out the schedule is difficult for visitors. It's not worth the trouble unless you have a strong need to depart at a different time of day other than when the open tour bus leaves. Travel agencies play dumb because they don't earn anything from helping you find a public bus. The main bus station in Phan Thiet is at Từ Văn Tư, Phú Trinh and a taxi from there to the tourist strip can cost more than your bus ticket from HCMC!

 

BY TRAIN

A train runs daily from Ho Chi Minh City to Phan Thiet, departing around 06:30 and arriving five hours later. The return trip leaves Phan Thiet around 13:30. The cost is quite modest at around 60,000 dong per person each way (similar to the bus). The train station in Ho Chi Minh City (Saigon Railway Station) is in District 3, about 3 km from the centre. The railway station in Phan Thiet is about 5 km (80,000 dong taxi ride) from the beginning of the Ham Tien resort strip, and taxis are abundant to take you there. The railway also sometimes runs a mid-sized bus from the station to Mui Ne for 25,000 dong per person. Tickets are sold on the train, though the announcement might be made in Vietnamese only, and you need to watch carefully for the ticket sellers to pass by.

 

The train has regular carriages operated by the state railways, and sometimes other carriages booked and operated by private companies. The latter have somewhat larger seats for a higher price, but fall short of luxury. The regular carriages are a bit cramped for the Western-sized body. When the train is not full, railway staff usually packs everyone into one carriage, leaving another one empty, and then run a side business selling "upgrades" to the quiet, empty carriage. The entire train will be jammed on holidays.

 

Overall, the train is probably less comfortable and convenient than the open-tour bus, though it has some advantages. You get a better view of the countryside and avoid the endless honking of horns and lunatic driving of the bus drivers.

 

BY TAXI

You might consider coming to Mui Ne from Saigon by taxi, instead of open bus. The departure times of the open buses might not suit your schedule. They are also slow sometimes, because the driver makes stops at rather bad restaurants where he receives commission. The ride by taxi takes 4-5 hours, depending on road conditions, and will cost US$70-100, depending on your ability to bargain. Talk to taxi drivers in the airport to get best prices.

 

Fare from Tan Son Nhut Airport to Mui Ne by SATSCO is US$100/trip.

 

GET AROUND

You can't get lost in Mui Ne and Ham Tien, since the whole place consists of one long strip along a main street, Nguyen Dinh Chieu. Motorbike taxis are present everywhere and their drivers will bug you each time you leave the hotel or walk along the road. Along the tourist strip it is much cheaper to stop a xe om as long as you know how to bargain. It can be hard for Western tourists to get appropriate prices (10,000-15,000 dong is more than enough to pay for a ride from one place to another along the main strip). Taxis are also abundant, with fares slightly higher than Ho Chi Minh City, but still reasonable (starting at around 20,000 dong).

 

You can rent motorbikes and bicycles at many resorts and tour agencies. Since traffic is light, motorbikes or bicycles are a pleasant way to explore the surroundings. Motorbikes cost anywhere from 60,000-150,000 dong per day depending on how late in the day you start, how many hours you need, and age/type of motorbike (automatics can cost 230,000 dong). The locals say it's getting harder to rent because of bike thefts and police driving license enforcement. Your hotel might rent to you, which may be a bit more convenient since they already have your passport. Western tourists should avoid taking a rented motorbike to the White Sand Dunes if you are not in the possession of a Vietnamese driver's license. The Mui Ne police is known for stopping all motorbikes on the road leading to Bau Trang (White Lake) and collect at least 1 million dong from any foreigner not able to provide at least an international driver's license.

 

Be careful when riding a bike in Ham Tien and Mui Ne. Traffic is light, especially during the summer months, but nobody pays any attention to traffic rules. For example, it's common to see Vietnamese riders turning left from the right lane. Also, Vietnamese riders don't stop or even look when entering the main road from secondary one. The increase in big motor coaches shuttling Russain tourists in and out of Ham Tien and the uncontrolled jeeps used to bring hundreds of tourists to the White Sand Dunes every day contribute to increased risks for motorbikes and pedestrians along Nguyen Dinh Chieu Street in particular. Traffic fatalities are not uncommon. Rumors are that up to 30 people die every month in accidents. If you plan to ride a bike here, investment in medical insurance, if you can get it, is a wise move.

 

Even-numbered addresses are on the sea side of the street, and odd numbers on the inland side. Even and odd addresses are not aligned, thus 39 on the odd side can be several hundred metres from 40 on the even side.

 

SEE

CHAM TOWER

The Poshanu Cham Tower in Phu Hai ward (Thap Po Sah Inu) is a derelict remainder of the ancient Cham culture that was built in the 8th century. It is still in use for religious and social gatherings by the local Cham population, especially during the annual Kate festival.

Fish Sauce Plants, where the famous nuoc mam (fish sauce) is produced. Big jars harbour the concoction that, after months in the blazing sun, is sold all over Vietnam to add some spice to the food.

The famous Red Sand Dunes (Doi Cat), on the main coastal road a short distance north of the fishing town at the north end of Mui Ne Bay, about 10 km from the main resort strip. The whole region is fairly sandy, with orange sand threatening to blow onto the coastal road in some spots. The dunes that visitors visit are about 50 ha (1/2 km²) of open sand on a hillside with ten-meter undulations, staffed by dusty children with plastic slides, who will offer instruction and assistance if you want to slide on the sand. Caution is recommended since a number of tourists have lost money, cameras or cell phones in the sand or through theft and pick-pocketing on the dunes. The sand dunes offer nice views of the sea coast to the north. On the opposite side of the road are a series of small cafes (illegally built but tolerated by the local police), where you can park your vehicle for a small fee if you ride there on your own. Most day tours sold by local tour operators include a stop at the dunes. The trip by taxi from the main resort strip in Ham Tien is about 170,000 dong each way, and less by xe om. It is reachable by bicycle in 30-45 minutes, passing the Fairy Stream on the way. From the resorts on Malibu Beach (Ganh Beach) it is just a short 5 to 10 minute walk to the bottom of the dunes.

Mui Ne Market (Chợ Mũi Né) and fishing harbor (Lang chai Mui Ne). If you are staying on the resort strip in Ham Tien or Phu Hai wards, don't miss out to visit this once quiet "fishing village" but nowadays bustling town, at the northeast end of Mui Ne Bay. The coastal road leads straight into the town (with a left turn required at the first red light to continue up the coast). If you arrive during the dry "winter" season, don't miss the harbor overlook at the entrance to Mui Ne with a splendid view of hundreds of colorful fishing boats moored in the bay. The boats move to the other side of the "Shelter Cape" (English translation of "Mui Ne") during the monsoon season from May through October, when the wind direction changes from mainly northeast to mainly southwest. Further along into town, just off the main road, there is a colorful local market. If you take your transport just down to the water, you will reach the fishing harbor, where you can purchase fresh seafood (if you have any means to cook it) or purchase steamed crabs, shellfish, etc. to eat on the spot from local vendors. Walking along the beach, you'll pass by fishermen sorting out their catch, ship-wharves and, at the southern end of town, a section where clams have been rid of their shells for many years, so the sand on the beach is by now substituted with littered shells. Be prepared to encounter piles and stretches of rubbish on the beach.

The Fairy Stream (Suoi Tien) is a little creek that winds its way through bamboo forests, boulders and the dunes behind the village, in parts resembling a miniature version of the Grand Canyon. Local children will want to accompany you to show you the way (and of course earn a dollar or so), but since you're just following the stream, there's little need. For the most part, the stream is about ankle-deep and no more than knee-deep even at its deepest. It is sandy with few stones and can be walked comfortably barefooted. You can climb up the red sand hills overlooking the river valley and even walk there parallel to the river, however, the sand may be hot on a sunny day, so bring some footwear. Walking upstream for about 20 minutes, you will reach a small waterfall into at most waist-deep water, great to take a refreshing bath before heading back. To reach the stream, head along the main road towards the east until you cross a small bridge. The stream is underneath, you will see a sign pointing towards a path to the left, go that way to reach an easy place to enter the stream. By bicycle it's about 15 minutes from the main resort strip and shouldn't be more than 20,000 dong by xe om. You can enter somewhere along the beach or at the bridge where you will be charged 10,000 dong for entry (although entrance is officially free) and 5,000 dong for motorcycle parking.

The White Sand Dunes are approximately 45 km away from the Ham Tien tourist strip to the northeast, and some 24 km from the Red Sand Dunes and nearby resorts on the east side of the Mui Ne peninsula (GPS 11.068254 108.428513). Trips are offered by any tourist agency along the resort stretch for 4x4 or quad drives, as well as by some resorts with their own vehicles. While too far away for a bicycle trip especially in summer, a motorbike trip can bring you there. Make sure to bring an international driver's licence if you do not own a Vietnamese one (driving without Vietnamese driver's license is illegal in Vietnam), the local police is well-known for stopping foreigners on motorbikes on their way to and from the White Sand Dunes and extort a fine (up to 1 million dong) or sometimes even confiscate the motorbike. Entrance is a 10,000 dong fee.

 

DO

KITE SURFING

Kitesurfing is offered by many outfitters and hotels. Kite surfing instruction is available, starting at US$60/hour, beginners package of 7 lessons start at US$350. From November till March you generally will have strong winds every day. The Winds in Mui Ne emerge by thermal movements, after the shores got warmed by the sun. You will have perfect wind everyday from 11:00 until the late evening. Gusty winds are seldom. With strong winds, the sometimes choppy waves can be as high as 4 m and more. The water is free of rocks, which makes it relatively safe to kite. However in the peak season there up to 300 kiters in the water at the same time. Beginners and Students, who mainly practice close to the beach front makes things a bit more dangerous. So watch out for other kitersurfers and swimmers and control the speed, in particularly because swimmers are difficult to see when waves are high. Accidents between kitesurfers or between kitesurfers and Swimmers happen from time to time and medical facilities are limited in terms of their equipment and abilities.

 

There are several kitesurfing schools along the beach, which all employ beach boys who will help you to start and launch the kite. It is widely common to tip the beach boys with US$1/day. If you bring your own equipment and don't want to carry it from and to your hotel every day, you can store it at one of the kitesurfing schools for US$20/week or US$60/month, including usage of their compressors and shower facilities.

 

If you are a beginner but already can practice independent without an instructor, you might avoid the area around Sunshine Beach Hotel/Sankara/Wax, because there are too many kite surfers and swimmers which may lead to accidents, particularly if you can not fully control the kite. Try the western part of beach front around the Kitesurfing School Windchimes. There are less kiters in this area and you can practice without bringing you and others into danger.

 

There is a place called "wave spot" or "Malibu beach" (10.92676, 108.29500). It is suitable only for intermediate/advanced kiters, but its much less crowded there.

 

OTHERS

All-terrain vehicle. You can ride one on white sand dunes.

Cooking classes, 400,000 dong/hr. If you want to learn to cook Vietnamese food, check cooking classes near C2SKY kitesurfing school (opposite Kim Shop). You will learn to cook pancakes, Pho Bo soup, shrimp salad and fresh spring rolls. All ingredients are ready, you'll just mix them under supervision of Vietnamese cook.

Day tours, US$10-13. Travel agents and restaurants abound with day tour offerings. The standard half day tour takes in the fishing village, fairy stream, and the red and while sand dunes. Tours normally start at either 17:00 or 14:30 so you can watch the sunrise/sunset over the sand dunes.

Balloon riding, ☏ +841208536828, ✉ booking@vietnamballoons.com. 05:00-08:00. Mui Ne is the only place in Vietnam where you can fly hot air balloons. A balloon company has European management, balloons, and pilots. Most flights take place over white sand dunes. When the winds in dunes are too strong, flights take place from Phan Thiet city centre. (updated Jan 2018 | edit)

Sailing, 108 Huynh Thuc Khang. Manta Sail Training Centre was newly founded in 2010 and water sport has been gaining popularity since then. Classes are available at US$50/hour for individuals with certified international and local instructors. The sailing area is safe, quiet, with no swimmers and only a few advanced kitesurfers. edit

Surfing. Sometimes you get good waves in mornings of windy season. Lessons, day trips and rentals are available, don't hesitate to ask around. While Mui Ne is not the best destination for surfing, it can be good place to give it a try.

Swimming. The sea is wonderfully warm, but it can be quite rough, with large waves and a strong rip tide. When the tide is in, there is not much of a beach to speak of. When wind is blowing it can be quite chilly to even think of swimming. The area between kilometre markers 11 and 13 has the largest stretch of enduring sandy beach. Since large waves normally emerge after 11:00 you might prefer to swim in the early morning hours, when the water is flat and free of Kitesurfers. Most mid-range and top-end resorts have swimming pools for their guests. Some are open for day users starting at 80,000 dong per day. But you can always behave as guest from this hotel and buy a few drinks for these 80,000 dong.

Water sports. Most outfitters offer a host of water sports including kayaking, paddle surfing, and jet ski rental.

Windsurfing. If you like to do some windsurfing, go to eastern part of Mui Ne. Starting from Hai Au resort, there are some hotels that are offering good place to water start, rent or store your gear.

 

BUY

Along the Mui Ne strip are several small nameless shops; all selling the same sundries and souvenirs. You can find packaged snacks (Oreos, cakes, biscuits, ice cream, etc.), liquor, clothing, and souvenirs.

 

Anything beyond very basic necessities should be brought with you. There is a small pharmacy, but it would be wise to bring your own first aid kit.

 

Standard souvenirs offered include wooden and lacquered bowls, wooden statues, snake whiskey, and pearl necklaces. Compared with Ho Chi Minh City, souvenirs are almost five times more expensive in Mui Ne. The same small wooden bowl selling for US$3 in HCMC is US$14 in Mui Ne.

 

Several travel agencies along the strip also double as used book stores. Most have a few shelves of English books, along with a small selection in German and French. Books cost 80,000-100,000 dong and most shops will give a 50% discount if you trade in a book.

 

Coop Mart, Phan Thiet (corner of Nguyen Tat Thanh and Tran Hung Dao), ☏ +84 62 3835440, +84 62 3835455. 08:00-21:30. A large, Western-style grocery store that also sells books, jewellery and necessities.

 

EAT

Every resort area in Ham Tien and Mui Ne is surrounded by restaurants specializing in seafood. The food is invariably fresh, well-prepared, and served in friendly and interesting surroundings. By all means get out of your hotel and try one of the local restaurants. The best restaurants are a motorbike ride away, found outside of the tourist/resort district on the ocean.

1 Bo Ke Street (Go to the fishing village past the Tien Dat Hotel until you see many small cafes near seashore). This is a street full of local cafes that serve BBQ seafood. Prices are very cheap and choice is wide. Scallops with onion and garlic sauce are must-to-have here. If you're a fussy about hygiene, don't bother coming here. edit

Joe's (The Art Cafe), 86 Nguyen Dinh Chieu St, Ham Tien (Across from Shades Resort), ☏ +84 62 374 3447. 24 hr daily. Joe's is the only place open 24/7 in Mui Ne. It's a cosy old farmhouse cafe offering Western fare. A Canadian developed the menu, and the pancakes with maple syrup (50,000 dong including coffee) are great. The sandwiches with home cut fries and salad (60,000 dong) are also recommended. Two movies are shown each evening in the pillow-filled loft. Free Wi-fi, exhibits and live performances. A great place to have your bus pick you up at 02:00 when you head out and great for a chill spot for after party breakfast or a romantic glass of wine. A 24-hr supermarket is part of the complex. Joe is on the strip, offering now even accommodation. Drinks 10,000 - 60,000 dong, meals 50,000 - 120,000 dong. edit

Lâm Tòng, 92 Nguyễn Đinh Chiêu (Right on the beach next to Jibes under some shady palms), ☏ +84 62 384 7598. You can even sit at tables in the sand. There's a little hut with hammocks strung. Try one of the pancakes (bánh xèo) with condensed milk (sữa đặc), the fried fish with lemon, and the chicken fried in fish sauce. edit

2 Pho Bo and sandwiches, Bo Ke St (Go past Bo Ke St in the direction of Pogo Bar, small pavilion on the right). The only place to have food at night (since Joe's doesn't serve food at night anymore). They serve nice sandwiches with chicken and scrambled eggs (30,000 dong). Also you can have pho bo here. edit

3 Santimatti Pizzeria, 83 Nguyen Dinh Chieu St. Classic Italian cuisine. Place is nice looking, with a good atmosphere. Locals and long stayers enjoy a 10% discount with membership card. Owner is on-site, so expect good service. edit

4 Sindbad Kebap, Nguyen Dinh Chieu (opposite Pogo Bar). Good beef/chicken/veggie kebabs, shawarma and tsatsiki. edit

Smoky House, 125 Nguyen Dinh Chieu St. Offers large, high-quality meals, and offers all customers free ice cream. edit

Snow Restaurant, Club and Sushi Bar, 109 Nguyen Dinh Chieu St. 10:00-02:00. Famous for its cool air-conditioned hall that is unique in Mui Ne. European, Japanese, Russian and Vietnamese cuisines, including exotic dishes such as filet of crocodile. Lounge still open after 22:00, cinema-sessions in the evening. Free Wi-Fi, free pool, and free transfer by Taxi Mai Linh to the restaurant and back to hotel. edit

The Terrace Restaurant, 21 Nguyen Dinh Chieu St (in front of Anantara Resort), ☏ +84 62 3741293, ✉ admin@herbalhotelmuinevietnam.com. 08:00-23:00. The restaurant's first floor is fully air conditioned and the terrace on the upper floor is an open concept with a a nice view. It serves breakfast, lunch and dinner. The restaurant specializes in sushi, fresh seafood and Vietnamese food and the bar serves beer, wine and cocktails. US$3-15. (updated Jul 2016

 

DRINK

Deja Vu Restaurant and Shisha Bar, 21 Nguyen Dinh Chieu (Opposite Anantara Resort), ☏ +84 62 374 1160, +84 913327232, ✉ dejavuvn@gmail.com. 11:00 - 24:00. Family restaurant focused on good food and entertainment for all the ages. Daily live music, cozy garden with kids area. Seafood, European food, Vietnamese food, kids menu, exotic food, cocktails, shisha- culture show "Folklore night" (show + dinner) every W 20:00. Exotic food show every F 19:00. edit

DJ Station (El Vagabundo), 120C Nguyen Dinh Chieu (300 m to the right when facing Sinh Cafe). 09:00-03:00. Ocean view terrace area, dining area and large dance floor. Happy hour 18:00-21:00 means selected cocktails are 30,000 dong, and regular priced cocktails are all buy-one-get-one-free. It's a popular backpacker place and usually very crowded weekends. edit

Pogo Bar, 138 Nguyen Dinh Chieu. Popular place once, but you can still expect surfers and expats. Cocktails and buckets are cheap, but not tasty. edit

Mooney's Irish Bar, 121 Nguyễn Đình Chiểu, Phường Hàm Tiến, Thành phố Phan Thiết, Bình Thuận, Vietnam (almost opposite Joe's Cafe), ☏ +84 91 402 65 96. 18:00-02:00. A small establishment run by a genuine Irishman (which marks it out from many 'Irish' pubs in Asia), an affable chap form just outside Dublin. There's a pool table, but the best thing to do is order a beer and have a chat with Liam. (updated Jul 2018 | edit)

The Crown and Anchor, 117c Nguyen Dinh Chieu, Ham Tien Phan Thiet (about 2 minutes from Mooney's Irish Bar.). 16:00-23:45. A new establishment that promises a lot. Great design, long bar, games room with pool, darts and table football. Brian from the English Midlands and Adele from Kyrgyzstan are the friendly hosts. Live sports and Sunday Roasts are popular features. (updated Jul 2018 | edit)

Old Fashioned Bar, 151 Nguyễn Đình Chiểu, Phường Hàm Tiến, Thành phố Phan Thiết, Bình Thuận, ☏ +84 368 307 432. 08:00-03:00. Classic bar. Large territory: bar, hookah, restaurant area, cinema, air-conditioned room of a coffee shop, rooftop. European cuisine. Live music. The largest bar in Muine with the largest selection of coffee, tea, alcohol, cocktails and services. Located near the BOKE site.

 

SLEEP

Mui Ne and Ham Tien have over 200 accommodations to choose from, in every price category (US$5-200), along the main ocean strip of Nguyen Dinh Chieu, Huynh Thuc Khang ("HTK"). Small guest houses, family-run beach hotels and some big luxury resorts can also be found east of the town center of Mui Ne proper, along the road leading to the Red Sand Dunes, where Ganh Beach offers long sandy beaches and excellent kite-surfing on the east side of the Mui Ne peninsula.

 

Accommodations at higher addresses of Nguyen Dinh Chieu towards HTK and Mui Ne ward tend to be smaller and less expensive, somewhat removed from the main tourist section in Ham Tien and more mixed in more with local life. If a sandy beach is important to you, some research is called for before booking in that area. Many "beach side" resorts are actually against a sloping cement wall that leads into the sea. The sand itself migrates up and down the long coast seasonally leaving some areas with expansive beaches and others with little at any given time.

 

A few budget hotels have popped up on the inland side of the road, across from the beach side resorts. If you stay on the inland side, you will need to pass though one of the resorts to reach the beach, which might or might not result in some hassle from the guards. The resorts jealously guard their lounge chairs and palapas, though the beach itself is open to everyone. If all else fails, you can always access a nice sandy stretch of beach via the Wax Bar at 68 Nguyen Dinh Chieu.

 

Remember that during Tet (Vietnamese New Year), hotels and resorts are booked way in advance.

 

BUDGET

Go past the Pogo Bar in the direction of the fishing village to find the best budget hotels (as low as US$5 a day for adouble room with air-con).

 

Bao Trang, Nguyen Dinh Chieu (Turn right when exiting from Sinh Cafe). Small bungalows with a beach frontage. From US$10. edit

Guest House 20, 20 Nguyen Dinh Chieu, ☏ +84 62 374 1440, ✉ guesthouse20@yahoo.com.vn. Very nice guest house on main strip without beach access. Also organise tours and transport for you. Very friendly staff, family-owned and operated. From US$15. (updated Mar 2015 | edit)

Hon Di Bungalows, 70 Nguyen Dinh Chieu, ☏ +84 62 847 014, ✉ hdhongdi@yahoo.com. Has simple but nice bungalows with fan and attached bath. There is a shady courtyard strung with hammocks, and four of the bungalows are directly facing the beachfront. A small restaurant and Internet access cater to your needs. US$10-12. edit

Keng Guesthouse, 185 Nguyen Dinh Chieu (About 100 m east of Phuoc Thien Pagoda), ☏ +84 62 374 3312, ✉ yongkeng999@yahoo.com. Simple, clean guest house with all the usual facilities on the quiet end of the main strip. About 15 min walk to the bar and restaurant area. Friendly English speaking owner. Dorm 100,000 dong, rooms from 160,000 dong. edit

Lan Anh, Huynh Tân Phát (Coming from Phan Thiet, turn left when entering the village, in the corner where there's a business called Nhà Tho). Local guesthouse in the village, a couple of kilometres from the resorts and beaches, but close to shops, market and street food stalls. Perfect for experiencing local life. Owner family can barely understand English but are nice. Room with 2 double beds, fan, fridge, toilet, and TV. Free Wi-Fi. 150,000 dong. edit

Mai Am Guesthouse, 148 Nguyen Dinh Chieu. Beachfront bungalows with air-con, working shower, mosquito net, and nothing more. Clean pool. Beach seating with chairs and mats, although some of furniture is falling apart. Can hear next door bar till 03:00 nightly which may bother some. Also, they have monkey cages in the courtyard for some reason. US$10-15. edit

Thien Son, 102 Nguyen Dinh Chieu, ☏ +84 62 384 7187, +84 91 861 0727. Guest house just down the road from Joe's cafe with clean, large rooms. Can get breakfast for about US$1. Very friendly people, though English is limited. Also organises tours to sand dunes (depends on size of group, but from US$4-9) as well as buses to Saigon and Nha Trang. From US$12. edit

1 Nam Chau Boutique Resort - Mui Ne Passion ((Formerly Nam Chau Resort)), Khu phố 5, Mũi Né (Coming from the Red Sand Dunes go down the hill towards the town of Mui Ne, the resort lies right after the Pandanus Resort on the left hand side of the road (ca. 600 m from the dunes). Coming from the town center of Mui Ne (Mui ne market or Fishing Village) turn left at the red light (in front of Blue Shell Resort), continue for about 200 m (entrance after Malibu Resort on the right hand side).), ☏ +84 252 3849 323, ✉ sales@namchauresort.com. Rustic beach resort with 48 rooms offering free WiFi, refrigerators, and TVs with cable channels in a 3-ha tropical garden on the beach in Mui Ne. Inexpensive restaurant, beach bar organising disco parties on weekends. Swimming pool, ongoing activities including kite-boarding and SUP. From US$11 for shared accommodations. Dormitories in cottages, private bungalows available.

 

MID-RANGE

Ngoc Suong Marina Hotel, Nguyen Dinh Chieu (Across the road from TM Brothers Cafe, beside Tien Dat Resort). On the beach, with an excellent swimming pool. Rooms have mosquito nets, air-con, satellite TV, and en suite bath. US$40 including breakfast. edit

Novela Muine Resort & Spa, 96A Nguyễn Đình Chiểu, Hàm Tiến, Phan Thiết (In the center of Muine Resort), ☏ +84623743456, ✉ sales@novelaresort.com. US$50 including breakfast.

 

SPLURGE

2 Anantara Mui Ne Resort, Mui Ne Beach, KM10 Ham Tien Ward, Phan Thiet City, ☏ +84 62 374 1888, ✉ muine@anantara.com. The resort includes 89 rooms, suites and pool villas designed according to Vietnamese tradition. US$105. (updated Jan 2017)

3 Blue Ocean Resort, 54 Nguyen Dinh Chieu, ☏ +84 62 3847 322. Has various rooms and bungalows. Only metres from many of the kite surfing schools, particularly Windchimes, which is directly outside the property. 2,770,000 - 8,100,000 dong. (updated Mar 2016 | edit)

Cham Villas Boutique Luxury Resort, 32 Nguyen Dinh Chieu. Has 6 villas with beach front view and 12 villas with garden view. Each villa has a king size bed, bathtub overlooking a small private garden, and a large private patio with comfortable club chairs and a day bed. edit

Grace Boutique Resort, 144A Nguyen Dinh Chieu. Has the look of a Mediterranean villa. There are only 14 rooms, all with sea views. Well-trained staff, a beautiful garden, and a charming pool. Rates include daily breakfasts. Discounts are offered during the low season and for long-term stays. It is advisable to book well ahead during the holidays. edit

4 Pandanus Resort, Block 5, Mui Ne (The average driving time from the center or airport in Ho Chi Minh City to the resort is approximately four hours. Can be reached in 20 mins by car via main road Vo Nguyen Giap from Phan Thiet city center (25 km). At the roundabout below the Red Sand Dunes turn right. The resort is the second on the left (ca. 150 m). Coming from Ham Tien and the Mui Ne fishing village take Huynh Tan Phat at the red light to another red light in from of Blue Shell Resort. Turn left, the resort will be on the right hand side after approx. 400 m.), ☏ +84 252 3849 849, ✉ pandanus@pandanusresort.com. Check-in: 14:00, check-out: 12:00 noon. 134 renovated rooms including 24 bungalows with outdoor bathtub in a relaxing beachside environment: 10 ha of lush tropical gardens within walking distance of the Red Sand Dunes. Phan Thiet's largest free-form swimming pool, 2 restaurants, 3 bars incl. lounge with live entertainment, two live bands, spa (indoor and outdoor). Weekly seafood BBQ buffets by the pool, All Inclusive package, weddings, special events, team building, tours and excursions, transfer service. Complimentary bicycle rental. Daily complimentary walking tour of Mui Ne fishing town, free shuttle service to Mui Ne, Fairy Stream and Ham Tien tourist strip. Jet Ski, surfboards, kiteboarding nearby. US$60-310 including Mui Ne's biggest breakfast buffet (based on room type and number of guests). Group discounts, All Inclusive package, honeymoon packages and special event rates available.. (updated Dec 2017 | edit)

5 The Sailing Bay Beach Resort, 107 Ho Xuan Huong St, ☏ +84 8 6282 4567, ✉ resorts@thesailingbay.com. 192 rooms with sea views, all-day restaurant, open-air beach club, a grand ballroom that accommodates 400 guests and a fully equipped board meeting room for 40 guests. On-site water sports facility with a professional international team managing board sailing, kite surfing and other activities. US$100-644 including breakfast (low-season). edit

Shades Resort, 98A Nguyen Dinh Chieu (Across from Joe's Cafe). Has 8 studios/apartments with kitchens, Jacuzzi or rainshower, preloaded computers, 42 inch flatscreen TVs and a lovely view. The site includes a swimming pool and a bar with Bon Cafe coffees made with fresh milk from Dalat. Rate includes daily breakfast, bottled water, and laundry service. US$45-200. edit

The Cliff Resort, 5, Phu Hai Ward, Phan Thiet, Binh Thuan (Along the Nguyễn Thông road to Mũi Né), ☏ +84 252 3719 111 (HCMC), +84 24 3936 5065 (Hanoi), ✉ reservation@thecliffresort.com.vn. Check-out: 12:00. A resort complex that has many different room designs in different prices, the more big and beautiful they are, the more expensive they are. All guests can enjoy the big pool in the middle and can have access to the Mui Ne beach. The location is near Phan Thiet. US$100-500.

 

WIKI VOYAGE

Cycling trip to Switzerland, October 2022.

 

Developed with Cinestill DF96 Monobath developer at 80 degrees F.

I was not about to develop the beautiful Pan F+ in a harsh developer like the B dilution of HC-110, but then I settled on the F Dilution and came up with magic!

 

You can read the full review online

www.alexluyckx.com/blog/index.php/2018/08/27/ccrfrb-revie...

 

Nikon FA - AI-S Nikkor 105mm 1:2.5 - Ilford Pan F+ @ ASA-50

Kodak HC-110 Dil. F 9:30 @ 20C

Scanner: Epson V700

Editor: Adobe Photoshop CC (2018)

RMIT’s Design Hub is being developed to support and expand the University’s position as an internationally renowned leader in design education and research. Construction of the 12,000m2 facility will also strengthen Victoria’s global reputation as a centre of design excellence and carve out a distinctive niche for Australian design in the global economy.

 

Photos by award winning photographer Earl Carter - earlcarter.com.au/

developed with RawTherapee

A lovely storm which developed inland of Darwin before moving across the southern end of the harbour.

Taken with Nikon FM2 and Ilford Delta 400, developed myself.

  

Camera: Yashica Mat 124 G,

Lens:Yashinon 80/3.5,

ight meter: Sekonic L-308B reading the incident light,

Film: Ilford FP4+, pushed to 250

 

Film Developing: PYROCAT HD 1+1+100

Time: 20C° - 26,5 min,

scanned with Epson Photo V 500

 

Our World in Space

 

Robert McCall & Isaac Asimov

 

----------

 

1974

  

e05.code.blog/

Designer: Wang Dexing (王德兴)

1975, June

Develop the spirit to wage bitter struggle

Fayang jianku fendou jingshen (发扬艰苦奋斗精神)

Call nr.: BG E13/811 (Landsberger collection)

 

More? See: chineseposters.net/themes/seven-may-cadre-schools

Designer: Art Work Office of the Cultural Bureau of Jiangsu Provincial People's Government (江苏省人民政府文化局美术工作室集体创作)

1954, January

Develop the communication and transport sectors, light industry, agriculture and commerce;

Fazhan jiaotong yunshuye, qinggongye, nongye ji shangye; (发展交通运输业，轻工业，农业及商业；)

Call nr.: BG D25/220 (Landsberger collection)

 

More? see: chineseposters.net

From a square, divided 3x3.

 

This one is nice -- the landmarks are on the corners, mostly, and those tuck in. The curves are sine, more or less, and the volume is knowable. By someone else, I just know it's there.

Knysna, South Africa. Most African elephants develop tusks as they grow but increasingly some do not. (Only a portion of Asian male elephants have tusks.) Why this seems to be happening is not really clear although it does give them a survival advantage as so many elephants are poached for their tusks. Tusks are actually elongated front teeth that continue to grow basically throughout the elephants life. Chemically tusks are identical to other teeth, despite primitive folk beliefs, in parts of Asia, that they have other properties.

My first steps into film photography, and I love it. This is my daughter captured on Ilford FP4 with my Minolta X300, and Helios 44M at F2. Love film has some kind of soul that digital just seems to miss. Developed in Ilfosol 3 for 4.30 minutes at 25C. Scanned with Plustek opticfilm 8200i

 

developed by Lightroom5.

Nikon F3

Six Gates Films Orwell BW @400 iso

developed in Tmax dev 7''

epson v700

 

almost all of this picture were taken by Luca (Laszlo K.) while i was developing.

 

it has been a glorious day. We developed over 23 rolls of color negative cinema film in a vintage Morse G3 tank. We had some major fixing issue but we saved some good frames & had a good time.

 

Bottom line:

1)ECN2 is totally feasible for home processing

2) Morse G3 tank agitation could not be the best for these films.

3) we took a little step forward for DIY film photography

Developed pics off my Contax2...

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

www.youtube.com/watch?v=irrrI4uNJm0

 

For Ann (Poupetta;-)

Home Developed taken with Pentax K1000

HP5+ Ilfotech DDX 15 mins at 20 c, Scanned with Pentax DSLR

   

5½ inch 80# cardstock circles, a good, stiff medium for this model.

 

Perfect model for CraftROBOing or die-stamping.

 

Crease pattern (postscript)

We have some Irish friends, who think Cape Cod is just about all right, particularly Provincetown. We are much of their opinion. But they never go there without being entirely grossed out by all the salt water taffy. Taffy, pronounced with an aggressively flat æ digraph, is a soft, sticky candy that is always sold wrapped up in a twist of wax paper, to protect it, presumably, from the moist sea air. I haven't been anywhere, on either coast, where it isn't made and sold as a necessary part of the shore experience. I don't think the tourists would ever go home, if it wasn't for this stuff, ripping out their fillings.

 

I sometimes think that our Irish friends take exception to the pronunciation of the word, perhaps thinking it's a Yankee mangling of the insular English word, toffee. Indeed, we have toffee, too, but it's a different animal, entirely. Maybe they resent the use of a word that is a tribal slur in England for the Welsh. Hard to say. They might not have a taste for it. I mean, they actually eat and enjoy Turkish delight, which is just nasty.

 

Oh, yes, this box suggests a piece of salt water taffy to me. I'm highly impressionable and maybe a little impressionistic.

Morley is mentioned in the Domesday Book, and developed as a small market town: there will have been a place of worship from the earliest times.

 

St Mary’s-in-the-Wood is on the original Christian site, and the ancient, small, single-story building was replaced by a high-walled structure and steeple late in the Nineteenth Century. The congregation moved into the nearby Sunday School Building after the turn of the Twenty-first Century and sold the church site. This church belongs to the United Reform Church.

 

The site belonged to the Roman Catholic Church for centuries before the Reformation, and after all the changes associated with the religious conflicts of the Sixteenth and Seventeenth Centuries one might expect it to be a Church of England property.

 

However, St Mary’s-in-the-Woods, had not reverted to the Church of England at the time of the Restoration (Charles II, 1660).

At that time the site was leased the site for 999 years to a Presbyterian church, and then the freehold, the title deeds, was handed over to the Church of England.

 

This church later owned two more buildings: the nearby Sunday School, where they worship now, and a Missionary Chapel, now closed and sold off.

 

The Church of England did not have a presence in the town until St Peter’s Church was built in 1830.

 

The other Church of England churches, St Paul’s (1877) and St Andrew’s (1890) were built to cater for natural growth in the congregations: all three are sited within 600 yards of the Town Hall.

 

The Methodist Church has a long history here: there were Methodists in Morley when John Wesley visited in the 18th Century. At that time Morley was a small market town on the hills overlooking Leeds.

 

As the Industrial Revolution took hold, the town of Morley flourished: by the end of the 19th Century there were some 43 mills, and there were a number of coal mines, at least three were large ones. Other manufacturing businesses were established, eg the company making Davey lamps.

 

Three railway lines passed through the town, and two trains a week took rhubarb to London.

 

Many mill owners built housing and other facilities for their workers, including chapels where the hands were expected to worship in Sundays. As a class, these chapels were called Shoddy Chapels, from the cloth many of the mills produced. Every denomination/variation of Protestant belief was represented among these chapels.

 

As time passed and the mills and their owners changed, the chapels would lose their congregations and amalgamate, or close.

 

Morley Central Methodist Church, erected on the Old Chapel site, was built in 1869, there were few changes made after that, the most important being the construction of the Binns organ in 1922 as a memorial to the men who died in the Great War.

 

Later there were a number of amalgamations as chapel memberships reduced through the Twentieth Century- the last was in the early 1950’s when three congregations combined and settled on the plot, nearest Queen Street, ours, which included its own graveyard – now an open, green space in the built-up area of the Town.

 

From: morleycentralmethodistchurch.org.uk/history/

Nikon F4s

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Kodak Tri-X 400

Epson Perfection V500

 

silbhe.tumblr.com/

 

Camera: Nikon F90X

Film: Ilford Delta 400

35mm Self Rolled from Bulk

Self Developed in HC-110

Scanned with Epson v600

In an initiative developed by Salford multi agency team Project Gulf, the young people have demonstrated their commitment to a safer Salford after spending the last two months creating a play to ‘Stand up for Salford’, a result of taking part in workshops with Greater Manchester Police, Salford City Council, Crimestoppers and Rhema Theatre around organised crime and gangs.‎

 

The ‘Stand up for Salford’ programme aims to teach school pupils about organised crime, its dangers and the impact that it has on communities. It also promotes Fearless, Crimestoppers’ dedicated youth service, designed and developed to encourage and empower young people to make their community a safer place.‎

 

Pupils have taken part in workshops exploring issues such as gun violence and drug crime. Their thoughts and ideas will be used to help the community safety ‎partnership shape future prevention work for the younger residents of the city.

 

Project Gulf in Salford is part of the local Community Safety Partnership. Through collaboration with Salford City Council, GMP, partner agencies and the general public, Project Gulf uses various intelligence-led methods to disrupt and dismantle organised crime groups across Greater Manchester.

 

Detective Sergeant Jill Vescovi from GMP said: “So far ‘Stand up for Salford’ has allowed us to engage with hundreds of young people across Salford, spread the message on the criminality behind gangs and ultimately stop children from entering this kind of lifestyle as they get older.‎

 

“The pupils who performed have put so much time and effort into learning about the issues and putting their pieces together. It’s a real testament to them and their community that they are willing to stand up for Salford and tackle those who threaten its harmony.”

 

City Mayor Paul Dennett said: “Young people play a key role in defeating organised crime in Salford. If we can support them to reject gang culture, we will build a better future for them and our city. Our work with Project Gulf shows that, by working together, we can disrupt and defeat organised crime but the police need the public on their side, sharing information to help them do their job.”

 

Since the workshops took place around 150 pupils have worked with Rhema Theatre on a weekly basis to create their own play. The challenge now saw eight schools go head to head with a judging panel, made up of Vice Lord-Lieutenant DL JP, Chair of Greater Manchester Crimestoppers Edith Conn, Superintendent Mark Kenny, Ceremonial Mayor of Salford Councillor Peter Dobbs and others, crowning a winner at the end of the day.

 

The pupils will then take their play back to their classmates and family members to spread the message about the impact of gangs and crimes associated with them.

The initiative will then see Fearless work with schools to help the next generation say no to organised criminality.

 

Mike Peacock, Writer, Actor, Director at Rhema Theatre Company said: “Drama is a powerful tool for putting ourselves in someone else’s shoes and seeing though their eyes. We remember stories. We relate to stories. This competition for High Schools in Salford is a great opportunity for pupils to look at both individuals and the wider effects of crime on society, and empower those individuals to make a change.”

 

Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Salford is often unfairly stigmatised by the national media. The focus on gangs and organised crime has the potential to weigh heavily on the minds of young Salfordians. In truth, Salford is a great city and I am always struck by the optimism and aspiration of the young people I have met across the city.

 

Projects like this tap into that positive spirit that Salford young people have, and gives them a much-needed voice to stand up against that small, destructive minority of criminal gangsters who try – but will fail – to bring the city down.”

 

Edith Conn, Chair of Greater Manchester Crimestoppers, Vice Lord-Lieutenant, DL JP said: “The effort and commitment that these young people have put into this project has been fantastic. They care about Salford and their school and wish to make a positive impact and contribute to a safer community. The work that they have produced will really get the message across to their fellow pupils and parents that you can be Fearless Against Crime by contacting Crimestoppers anonymously.”

 

To find out more about Greater Manchester Police please visit www.gmp.police.uk

 

You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

     

Droidcon London 2014, hosted by Skills Matter and Novoda, Business design Centre London

Selhurst. Lockdown day 109 walk. 10 July 2020

Develop a deep rapport with nature

This is a capture of the beginning of the sunset that developed the first time I took out the new Panasonic to give it a test drive. I had hoped for a spectacular sunset, but noticed that the clouds that were just above the horizon were moving in very rapidly and so I grabbed this shot of the evening sky before I started heading for the car. I figured that it would just die and untimely death as the sun vanished behind the cloud bank, but did I have a surprise in store for me. I captioned this one DEVELOPING because of what happened after the sun disappeared behind the clouds. I might add that neither my new Sony A57 nor the new Panasonic FZ200 are capable of taking this shot into the sun as well as my antique Sony A700 with the Zeiss lens. Not quite the resolution of the newer cameras, but much more adjustable. I have some additional scenes in the sequence that I’ll be posting a bit later. Hope everyone is staying warm and no Gary, I WILL NOT be on the bayou tomorrow morning.

 

DSC03349uls

Scription Chronodex Weekly Planner 2012 - free download with the cost of a prayer

 

(www.flickr.com/photos/moleskineart/6364230271/in/photostream)

Finally made up my mind to create my own diary for 2012 a week ago, here I go sharing with you all! But first please give me a little support, my Dad recovered from prostate cancer but at the same time developed Parkinson's disease a few years ago. In the past week he has deteriorated a lot, bed bound finally, no more speech, I'm the last person he can recognize. It is so tough for Mom as a care taker. All I ask for is your sincere prayers, as you download this creation, for my Dad and Mom, so that he can go peacefully proud of his sons, and she can start to explore this new world with us. What a courageous woman she is.

 

(www.flickr.com/photos/moleskineart/6361903821/in/photostream)

 

Thanks to my Dad's dedication to Chinese painting and art, I had my implicit training early in life and became a visual person yet unafraid to look deep into the subject matters. For years, I bought diaries but none of them satisfied my visual and creative needs.

 

(www.flickr.com/photos/moleskineart/6335595394/in/photostream)

 

Since the beginning of the diary making business, every single diary is made by representing time in fixed grids. To challenge this right representation, after exploring in deep thoughts the essence of my own perfect diary, I present to you my Chronodex idea.

 

Come to think of it, the paper which makes up a diary originated from trees, when the sheets of paper are bound together in the middle, it is almost like foliages stemming from a tree's trunk. Each page is like a branch, each opened page is a week, each day is like a beautiful flower grew from that page, consist of petals of your day's time slices.

 

You may argue that this format is still slicing time into blocks and far from the fractal nature, but soon as you start using it, you will find that time is no longer right, instead you will find fluidity through free notations.

 

The more important time slices can be drawn larger, activities can be dots or pies (petals if you will) depending on duration or importance, space on a page is no longer limited to grids. Basically you can roam freely and be amazed how beautiful your week can be.

 

What's more is that your mind gradually deviate from the rigid format a typical diary imposes on you, reactivity soon flourishes. Imagine the effect happening in weeks! And I'm not kidding.

 

(www.flickr.com/photos/moleskineart/6364164607/in/photostream)

 

Scription Chronodex Weekly Planner 2012 (Jan - Jun) Download

(just remember to pray for my Dad and Mom, sincerely)

It is done with the Midori Traveler's Notebook size in mind, even if you don't own a Traveler's Notebook, you can still use it without the leather cover.

Hong Kong Holiday version

Japanese Holiday version

Free of Holidays version

 

To grow your own diary, after downloading the PDF version of your choice, print it out double sided (duplex) in landscape mode on A4 papers. Be sure to print it out 100% without scale, left/right binding (try the first few pages on your printer and settings and you'll see what I mean). Check the sequence after the print out.

 

(www.flickr.com/photos/moleskineart/6364170655/in/photostream)

(www.flickr.com/photos/moleskineart/6364175293/in/photostream)

(www.flickr.com/photos/moleskineart/6364180447/in/photostream)

 

Next, cut away the left and right portion of the A4 paper according to the cut line.

 

(www.flickr.com/photos/moleskineart/6364185407/in/photostream)

(www.flickr.com/photos/moleskineart/6364191991/in/photostream)

 

Now here's the interesting part of the binding. Use a chisel to punch holes on both ends of the spine and stitch the pages up. You can staple them together just the same. This method will get you a bound notebook but ready for a cool bookmark which I will mention in a moment.

 

(www.flickr.com/photos/moleskineart/6364194541/in/photostream)

(www.flickr.com/photos/moleskineart/6364200541/in/photostream)

(www.flickr.com/photos/moleskineart/6364206651/in/photostream)

(www.flickr.com/photos/moleskineart/6364210857/in/photostream)

(www.flickr.com/photos/moleskineart/6364216463/in/photostream)

 

To create a bookmark, simple take a piece of hard paper, cut it the way I showed above. Slide it between the papers of the current week, the slide 90 degree up following the spine to have the tab exposed on top of the diary (I hope I'm describing it right). There you go! a bookmark with a tab extruding from the top of your diary.

 

This cool bookmark invention based on the way you bind your diary is so useful and flexible, you will find it amazing when you reach the 12th week of the year! Tell me about that in a few months.

 

(www.flickr.com/photos/moleskineart/6364223093/in/photostream)

 

The last part of my Chronodex journey was to make a cool diary cover. Thanks for my family's tolerance, I had a little free time in broad daylight having fun doing it, 2 cups of coffee, listening to audiobook through my iPhone/Jambox combo.

 

(www.flickr.com/photos/oxothuk/6352848866/)

 

Small features are infused into the diary, I hope you will enjoy the little tibits, do explore the "Boarding pass to success" idea. If you are interested, I will be sharing the July - December version, which is still in stage zero. Fellow Scription reader Boris from Russia already had a taste of the Chronodex, so go ahead and try yours. Your feedback and comment is what keeps me going, please do pray.

 

More on Scription blog: scription.typepad.com/blog/2011/11/scription-chronodex-we...

... is like magic.

Nikon F3

Six Gates Films Orwell BW @400 iso

developed in Tmax dev 7''

epson v700

 

almost all of this picture were taken by Luca (Laszlo K.) while i was developing.

 

it has been a glorious day. We developed over 23 rolls of color negative cinema film in a vintage Morse G3 tank. We had some major fixing issue but we saved some good frames & had a good time.

 

Bottom line:

1)ECN2 is totally feasible for home processing

2) Morse G3 tank agitation could not be the best for these films.

3) we took a little step forward for DIY film photography

via Instagram ift.tt/2ivLHW0