Yucca Valley, Ca

 

Olivias Olympus 35 RC

42mm f2.8 Lens

Kodak 400 Label Film

 

Developed by The Darkroom - Super Scan

In 2019, we created the Nestlé Institute of Packaging Sciences, to help us deliver on our commitment to only using 100% reusable or recyclable packaging by 2025.

Self developed self redscaled Lomography 400 loaded into an Olympus om10.

Salesman.

Developing HP5 in XTol 1:2 at a reduced time compared to yesterday's effort - less dense negative, therefore less grain! Although I think I can develop for even less time, next time.

 

XTol 1:2 for 14 minutes at 73F.

Using Sunny-16 rule to estimate exposures.

 

There's no doubt that the compensating development technique is advisable for contrasty days.

Kiev 60 TTL / Arsat 80mm f2.8 /

 

100 ASA Lomography B&W film developed by me

Another job is to be a programmer. They write and develop the codes that make a video game work. www.ronyasoft.com/products/poster-forge/templates/funny-s...

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

Armored wheeled vehicles were developed early in Germany, since they were not subject to the restrictions of the Versailles Treaty. The Sd.Kfz. 234 (Sonder-Kraftfahrzeug, or Special Purpose Vehicle) belonged to the so-called ARK series vehicles (the type designation of the chassis) and was the successor to the earlier, eight-wheeled Sd.Kfz. 231/232/233 heavy scout car family. The Sd.Kfz. 234 was a considerable step forward and incorporated several innovative features, including a monocoque chassis with eight wheels and an air-cooled Tatra 103 diesel engine that was originally chosen for use in North Africa. The latter gave the vehicle an extraordinary range of more than 600 miles (1.000 km) and a very good performance. The vehicle had eight-wheel steering and drive and was able to quickly change direction thanks to a second, rear-facing driver's seat, what made quick retreats and unexpected position changes easier.

 

Chassis were built by Büssing-NAG in Leipzig-Wahren, while armoured bodies were provided by Deutsche Edelstahlwerke of Krefeld and turrets by Daimler Benz in Berlin-Marienfelde and Schichau of Elbing, with engines from Ringhoffer-Tatra-Werke AG of Nesseldorf. The first and possibly best known version to reach frontline service was the Sd.Kfz. 234/2 ‘Puma’. It had a horseshoe-shaped turret armed with a 5cm L/60 gun, which had originally been developed for the VK 16.02 Leopard light tank which never made into production. Even though it was a dedicated reconnaissance vehicle, the armament made it possible to defend the vehicle effectively and even take on light armored vehicles. The Sd.Kfz. 234/2 was produced from late 1943 to mid-1944 and replaced in production by the second version, the Sd.Kfz. 234/1, which was less complex and easier to build. It had a simpler open turret and was armed only with a light 2 cm KwK 38 gun (in the so-called Hängelafette 38). It was manufactured from mid-1944 to early 1945 and became the standard reconnaissance vehicle in this period.

 

Other versions were derived from the Sd.Kfz. 234, too. The Sd.Kfz. 234/3, produced simultaneously with the 234/1, served as a support for the lightly armed reconnaissance vehicles with more firepower. It had an open-topped superstructure, too, but carried a short-barreled 7.5cm K51 L/24 gun. This gun was intended primarily for use against soft targets, but when using a hollow charge shell, the penetration power exceeded that of the 5cm L/60 gun. This variant was produced until late 1944, before switching production to the 234/4. This version replaced the L/24 gun with the 7.5cm L/46 PaK 40 and was primarily another attempt to increase the mobility of this anti-tank gun and not a reconnaissance vehicle. It was not very successful, though: the heavy weapon stretched the light 234 chassis to its limits and only a very limited ammunition load of just twelve rounds could be carried on board due to lack of storage space. This variant was manufactured from the end of 1944 on only in limited numbers.

 

In mid-1945 another reconnaissance variant appeared, the Sd.Kfz. 234/5. It was a kind of hybrid between the earlier 234/1 and 234/2 variants, combining the light armament with a fully closed turret that offered the crew better protection from enemy fire and climatic conditions. The origins of the Sd.Kfz. 234/5 remain a little unclear – in fact, this variant started as a field conversion of a handful of Sd.Kfz. 234/2s in Hungary in mid-1944, which were retrofitted in field workshops with turrets from damaged Panzer-Spähwagen (neue Art) II ‘Luchs’ (also known as ‘Panzer II Ausf. L’, ‘Sd.Kfz. 123 mit 2-cm-KwK 38’ and VK 13.03 during the vehicle’s development phase). This simple combination of existing components turned out to be so effective and popular among the crews that it was quickly ordered into production.

 

Both chassis and turret remained unchanged, with a maximum armor of 30 mm (1.18 in), but the small turret with its light weapon (which had been adapted from a 20 mm anti-aircraft gun with a higher rate of fire than earlier guns of this type) reduced the overall weight to a little under 11 tons. This, and a slightly more powerful variant of the Tatra 103 V12 diesel engine, raised the vehicle’s top speed by 10 km/h (6 mph). In service the Sd.Kfz. 234/5 was generally known as ‘Puma II’ and the frontline units frequently modified their vehicles.

Among these field updates were commander cupolas, transplanted from damaged Panzer III and IV and sometimes outfitted with a mount for a light Fla-MG (anti-aircraft machine gun), as well as more effective exhaust mufflers for a reduced noise signature. Additional thin, spaced armor plates were sometimes bolted to the hull and/or to the turret front to better protect the vehicle from armor-piercing weapons, esp. against rounds from Russian 14.5 mm tank rifles. Makeshift wire mesh shields against hollow charges, similar to heavier Thoma shields on battle tanks, were occasionally added, too, as well as smoke dischargers, mounted to the turret sides or to the vehicle’s front. Night vision devices (Infrarot-Nachtsichtgerät F.G. 1250 or F.G. 1252) were fitted when available, and some late-production Sd.Kfz. 234/5s had a 140 cm (55 in) Telemeter KDO 44 stereoscopic rangefinder/telescope integrated into the turret, protruding from it on both sides. Vehicles that were almost exclusively operated on roads frequently had the wheels of the 2nd axle removed in order to reduce overall weight, rolling resistance and save precious rubber/tires.

 

Since production could not meet the operational units’ demand the Sd.Kfz. 234/5s were issued very selectively to Panzerspähwagen companies of the Panzer Aufklärung battalions. They were operated alongside other Sd.Kfz. 234 versions and Panzer II, III and 38(t) Spähpanzer versions to provide artillery, AA and AT support. The Puma IIs were mostly given to veteran crews and equipped primarily Panzerdivision units operating in Russia, even though a few were sent to the Western front, too.

Exact production numbers remain uncertain because the original production of 81 new vehicles by Büssing-NAG was complemented by an uncertain number of field conversions that allowed older/damaged Sd.Kfz. 234/1 and 2s to be repaired and/or updated with the light ‘Luchs’ turret. The total number of operational Sd.Kfz. 234/5s remained less than 100, though.

  

Specifications:

Crew: Four (commander, gunner, driver, radio operator/2nd driver)

Weight: 10,600 kg (25,330 lb)

Length: 6.02 m (19 ft 9 in)

Width: 2.36 m (7 ft 9 in)

Height: 2.32 meters (7 ft 7¼ in)

2.53 meters (8 ft 3½ in) when outfitted with a commander cupola

Suspension: Wheeled (Tires: 270–20, bulletproof), with leaf springs

Track width: 1.95 m (6 ft 4 1/2 in)

Wading depth: 1.2 m (3 ft 11 in)

Trench crossing capability: 2m (6 ft 6 1/2 in)

Ground clearance: 350 mm (13 3/4 in)

Climbing capability: 30°

Fuel capacity: 360 l

Fuel consumption: 40 l/100 km on roads, 60 l/100 km off-road

 

Armor:

9 — 30 mm (0.35-1.18 in), sometimes augmented with

additional 5 — 10 mm (0.2-0.4 in) armor plates on the front of hull and/or turret

 

Performance:

Maximum road speed: 90 km/h (56 mph)

Operational range: 1,000 km (625 mi) on-road

600 km (373 mi) off-road

Power/weight: 20,75 PS/t

 

Engine:

Air-cooled 14,825 cc (905³ in) Tatra 103 V12 diesel engine,

with 157 kW (220 hp) output at 2.200 RPM

 

Transmission:

Büssing-NAG "GS" with 3 forward and reverse gears, eight-wheel drive

 

Armament:

1× 20mm KwK 38 L/55 machine cannon with 330 rounds

1× co-axial 7.92 mm Maschinengewehr 42 with 2.550 rounds

  

The kit and its assembly:

A straightforward conversion, and at its core this is not a what-if model because the Sd.Kfz. 234 was actually outfitted with the light ‘Luchs’ turret – even though this was probably only a field-modified, single vehicle that was eventually captured by Allied troops in Czechoslovakia in 1945. It was not an official variant (yet). However, as exotic as this combo seems, there is a complete 1:72 kit of this exotic vehicle from Attack Kits, but it’s pricey, and ModelTrans/Silesian Models from Germany does a resin conversion kit with the ‘Luchs’ turret. The latter set was used for this model and mated it with a Hasegawa Sd.Kfz. 234/2 hull, IMHO the best model of this vehicle, and even as a combo cheaper than the Attack kit.

 

Building the fictional Sd.Kfz. 234/5 from these ingredients was a very simple affair, everything was basically taken over OOB. For a more sophisticated in-service vehicle, I took over the smoke dischargers from the Hasegawa kit, added a leftover Panzer IV cupola as well as scratched fairings for a stereoscopic rangefinder, and replaced the original twin exhaust mufflers on the rear fenders with a different/bigger piece from an early Panzer IV, placed above the spare tire. This made enough room to add stowage boxes and no less than six jerry cans (all from the Hasegawa kit).

The antennae were made from heated sprue material and the gun barrels are brass pieces, left over from a First To Fight Sd.Kfz. 232, which looked better than the (already fine and good, though) parts from the ModelTrans conversion set. The commander figure came from the Hasegawa kit.

  

Painting and markings:

A conservative approach, and I stuck to German late-war practice to apply a uniform Dunkelgelb (RAL 7028) livery over a red primer base upon delivery. Individual camouflage in medium green and dark brown was later applied in the field on top of that – a classic ‘Hinterhalt’ scheme.

 

Initially, the hull’s underside was sprayed with Oxidrot (RAL 3009) from the rattle can, while the upper surfaces received a primer coat with a sandy brown. On top of the sand brown came a thin layer of RAL 7028 (thinned Tamiya XF-60, which is a rather desert-yellowish and pale interpretation of the tone, it should AFAIK have a slight greenish hue) to all directly visible surfaces, wheel hubs and the turret, for a cloudy and uneven basic camouflage. The individual, disruptive ‘tiger stripe’ camouflage was inspired by a late-war Panther battle tank from literature.

 

The stripes were applied to the Dunkelgelb basis with a small brush and thinned Tamiya XF-58 (Olive Green) and XF-64 (Red Brown), for a makeshift camouflage with scarce paint that still meets official regulations. Following these, the wheel hubs remained in just a single color (making them less obvious when on the move), and the light Dunkelgelb was chosen to lighten the lower vehicle areas up, esp. with the rel. dark interior of the wheelhouses. The interior of the turret and the hatch were painted in a yellowish ivory tone (Revell 314), the tires were painted with Revell 09 (Anthracite) and later dry-brushed with light grey and beige.

 

A thin black-brown ink wash and some dry-brushing along the many edges with grey and beige were used to weather the model and emphasize details. After decals had been applied (taken from the Hasegawa kit), the kit was sealed with matt acrylic varnish and grey-brown mineral pigments were very lightly dusted onto the model with a soft brush around the wheels and the lower hull to simulate some dust.

  

Well, this can be considered a semi-whif since such a vehicle actually existed – but there never was a serial production, and I tried to enhance the fictional aspect with some added details like the commander cupola or the rangefinder. It’s a subtle conversion, though. I was initially skeptical about the “tiger stripe” livery, but when it was applied, I was surprised how effective it is! It really blurs the vehicle’s outlines and details – making the turret conversion even less apparent.

 

Marina Bay Sands is an integrated resort fronting Marina Bay in Singapore. Developed by Las Vegas Sands, it is billed as the world's most expensive standalone casino property at S$8 billion (US$5.7 billion), including cost of the prime land.

 

With the casino complete, the resort features a 2,560-room hotel, a 120,000 sq.m. convention-exhibition center, The Shoppes mall, an Art & Science museum, two Sands Theatres, six "celebrity chef" restaurants, two floating pavilions, a casino with 500 tables and 1,600 slot machines. The complex is topped by a 340m-long SkyPark with a capacity of 3,900 people and a 150m infinity swimming pool, set on top of the world's largest public cantilevered platform, which overhangs the north tower by 67m. The 20-hectare resort was designed by Moshe Safdie Architects. The local architect of record was Aedas Singapore, and engineering was provided by Arup and Parsons Brinkerhoff (MEP).

 

Originally set to open in 2009, Las Vegas Sands faced delays caused by escalating costs of material and labour shortages from the onset. The severe global financial crisis also pressured the company to delay its projects elsewhere to complete the integrated resort.[5] Although Marina Bay Sands has been compared on scale and development costs to MGM's CityCenter, the latter is a mixed-use development, with condominium properties - comprising three of the seven main structures, being sold off.

 

The resort was officially opened with a two-day celebration on 23 June 2010 at 3.18 pm, after a partial opening earlier in April. It was, however, not finished at the time of the April opening, which was marked by numerous service failures.[8] The museum, theatres and floating pavilions are still being built and are expected to be fully completed by December 2010.

Contents

[hide]

 

* 1 Background

* 2 Investment

* 3 Opening

o 3.1 Timeline forecast

* 4 Attractions

* 5 Transportation

* 6 Gallery

* 7 See also

* 8 References

* 9 External links

 

Background

Part of the parcel of land for Marina Bay Sands in the foreground prior to development. The parcel overlooks Singapore's financial district in the background.

 

Marina Bay Sands is one of two winning proposals for Singapore's first Integrated Resorts, the other being the Resorts World Sentosa, which incorporates a family-friendly Universal Studios Theme Park. The two large-scale resorts were conceived to meet Singapore's economic and tourism objectives for the next decade and they will have 30-year casino licenses, exclusive for the first ten years.

 

Bidders were assessed based on four criteria:

 

* tourism appeal and contribution

* architectural concept and design

* development investment

* strength of the consortium and partners

 

On 27 May 2006, Las Vegas Sands (LVS) was declared winner of the Marina Bay site in the prime new business district of Marina South with its business-oriented resort. LVS highlighted its forte in Meetings, Incentives, Conferencing and Exhibitions (MICE), of which its founder, Sheldon Adelson, is a pioneer in Las Vegas and the key to his early business success.[9] In the Design Evaluation portion of the tender, a panel of local and international architects commended Sands' design as superior to other bids in terms of pedestrian circulation and layout, and it also fit in with the Marina Bay landscape best. They liked that the hotel towers was set back from the waterfront to open up expansive views of the city and the entire Marina Bay, making the skyline for Singapore's downtown more attractive and distinctive.

 

Singapore Tourism Board highlighted Sands' line-up of six celebrity chefs, such as Australia's Tetsuya Wakuda and Thomas Keller (Napa Valley, California, USA) and Charlie Trotter (Chicago, USA).

 

LVS submitted its winning bid on its own. Its original partner City Developments Limited (CDL), with a proposed 15 per cent equity stake, pulled out of the partnership in the second phase of the tender process. CDL's CEO, Kwek Leng Beng said his company's pullout was a combination of factors - such as difficulties in getting numerous companies he owns to comply in time, as well as reluctance of some parties to disclose certain private information in probity checks required by the Singapore government.[11] However, Kwek was retained as an advisor for Sands' bid.

[edit] Investment

Inside the Marina Bay Sands Hotel

 

Las Vegas Sands initially committed to invest S$3.85 billion (about US$2.85 billion) in the project, not including the fixed S$1.2 billion (about US$888 million) cost of the 6,000,000 square feet (560,000 m2) site itself. With the escalating costs of materials, such as sand and steel, and labour shortages owing to other major infrastructure and property development in the country, Sheldon Adelson place the total cost of the development at S$8.0 billion (about US$5.9 billion) as of July 2009.

 

Las Vegas Sands declared the undertaking as "one of the world's most challenging construction projects and certainly the most expensive stand-alone integrated resort property ever built". It expects the casino to generate at least $1 billion in annual profit. Two months after the initial phased opening, the casino attracts around 25,000 visitors daily, about a third being Singaporeans and permanent residents who pay a $100 daily entry levy or $2,000 for annual unlimited access.[15] Half a million gamblers passed through the casino in June 2010.[16]

 

For the economy, Marina Bay Sands is projected to stimulate an addition of $2.7 billion or 0.8 per cent to Singapore's Gross Domestic Product by 2015, employing 10,000 people directly and 20,000 jobs being created in other industries.

 

The resort is designed by Moshe Safdie, who says it was initially inspired by card decks. In addition to the casino, other key components of the plan are three hotel towers with 2,500 rooms and suites, a 200,000-square-foot (19,000 m2) Art-Science museum and a convention centre with 1,200,000 square feet (111,000 m2) of space, capable of accommodating up to 45,000 people. The resort's architecture and major design changes along the way were also approved by a number of consultant feng shui masters.

 

Opening

During the 2010 Summer Youth Olympics opening ceremony

 

Marina Bay Sands was originally planned to be completed in a single phase in 2009, but rising construction costs and the financial crisis forced the company to open it in phases. The first phase's preview opening was further delayed until 27 April 2010, and the grand opening was pushed back to 23 June 2010. The rest of the complex remain under construction and will not be completed before 2011.

 

On 27 April 2010, Marina Bay Sands had the first of a planned 3 to 4 phase openings. The casino, parts of the conference hall, a segment of the Shoppes, 963 hotel rooms and the event plaza were opened at the auspicious time of 3:18 p.m as part of the "preview opening".

 

The Inter-Pacific Bar Association (IPBA) held the first conference at Marina Bay Sands Convention Centre on 2–5 May 2010, but the event was marred by uncompleted facilities and a power failure during a speech. IPBA withheld payment of S$300,000 and was consequently sued by Marina Bay Sands.[18] In June IPBA counter-sued, describing the venue as a "complete disaster" and that its earlier payments had been imposed by "duress, fear and force". An "amitable settlement" with undisclosed terms was announced in August.

 

On 23 June 2010, the resort had its official opening with a "2-day celebration"; this includes the Sands SkyPark, the Event Plaza along Marina Bay, more shops, additional dining options and nightlife offerings, and the rest of the hotel rooms. First day events included - a "World Championship Climb" on the glass facade of the building to the SkyPark, with 7 teams of 21 top rock climbers from around the world competing, and an evening concert for 4,000 invited guests and customers, featuring Diana Ross, Kelly Rowland, JJ Lin among others. The SkyPark was opened on the second day at 2 pm, with about 2,000 adult tickets costing S$20 each sold.

[edit] Timeline forecast

 

* In December 2010, the Art-Science Museum, two Sands Theatres and two floating Crystal Pavilions will be completed.

* In March 2011, Disney's The Lion King musical production will debut at the Marina Bay Sands Theatre.

 

[edit] Attractions

View of the CBD skyline, City Hall, and Esplanade from the SkyPark

View of Singapore Flyer from the SkyPark

 

Marina Bay Sands features three 55-storey hotel towers which were topped out in July 2009. The three towers are connected by a 1 hectare sky terrace on the roof, named Sands SkyPark.

 

In front of the three towers include a Theatre Block, a Convention and Exhibition Facilities Block, as well as the Casino Block, which have up to 1000 gaming tables and 1400 slot machines. The Art-Science Museum is constructed next to the three blocks and has the shape of a lotus. Its roof will be retractable, providing a waterfall through the roof of collected rainwater when closed in the day and with laser shows when opened at night. The Art-Science Museum opens in December 2010.

 

The SkyPark is home to the world's longest elevated swimming pool, with a 478-foot (146-meter) vanishing edge, perched 191 meters above the ground. The pools are made up of 422,000 pounds of stainless steel and can hold 376,500 gallons (1424 cubic metres) of water. The SkyPark also boasts rooftop restaurants, nightclubs, gardens hundreds of trees and plants and a public observatory with 360-degree views of the Singapore skyline.

 

There are four movement joints beneath the main pools, designed to help them withstand the natural motion of the towers, and each joint has a unique range of motion. The total range of motion is 19.68 inches (500 millimetres). In addition to wind, the hotel towers are also subject to settlement in the earth over time, so engineers built and installed custom jack legs to allow for future adjustment at more than 500 points beneath the pool system. This jacking system is important primarily to ensure the infinity edge of the pool continues to function properly.

 

Moshe Safdie designed an Art Path within the resort, incorporating seven installations by five artists including Sol Lewitt, Antony Gormley and Zheng Chongbin. The pieces are meant to play on environmental influences including light, water and wind, integrating art with architecture.

Developed as part of our custom finishes here are some samples of red and blue chrome look finishes

Developed specifically for taking record shots of buildings under construction, it has a safety cover glass in front of the 28mm wide angle lens, plus firm rubber "bumpers" on either side of the lens barrel. And the entire body is made of thick-walled, rugged plastic (this camera is no Olympus XA). And the finder is large enough to permit seeing the entire frameline even while wearing safety goggles. And the release button is large enough to be manipulated with the thickest, heaviest work gloves.

 

The takeup spool is self-threading, and once the film is loaded all the construction worker had to do was to aim and shoot (auto exposure and auto-focus). The camera also has a built-in data back to print the date or other numbers.

 

The 28mm lens has 6 elements, and is probably quite good. In fact I bought this camera because I've become fond of this focal length for street photography at close quarters, as in the following picture taken with a 28mm lens on a Leica CL, and I was also tantalized by the camera's all-weather capabilities

 

This camera is quite large (about as large as a full-sized SLR, though not as heavy (about one pound - 440g - which is half the weight of a full-sized SLR like the Canon FTb or Nikon F with normal lens).

 

And because of its niche market, of course not many such cameras were sold, as they were not bought by the general public, and for this reason this camera is not very common.

 

developed film

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

In 2019, we created the Nestlé Institute of Packaging Sciences, to help us deliver on our commitment to only using 100% reusable or recyclable packaging by 2025.

Photo by Greg Shine, BLM, January 31, 2017.

 

As a result of amendments to the Wild Free-Roaming Horse and Burro Act in 1976 and 1978 which addressed problems created by the growing populations on the range, BLM identified appropriate management levels and developed a process to remove excess animals. The need for the corrals became apparent when wild horse and burro populations on public lands increased to such numbers that more intensive management became necessary. Animals removed from the Oregon range are brought here and prepared for the adoption program. Periodically, wild burros from California and Arizona are also brought here for adoption.

 

Facility Operation

 

Wild horses are brought off the range to the corrals where they are immediately separated into pens by age and sex. The mares with foals are kept together while weanlings and yearlings, dry mares, studs, and geldings are kept in their respective, separate pens.

 

Within a short time of their arrival, the horses are given a health inspection by a veterinarian. Animals with any injuries or disease are treated immediately. All animals are prepared for adoption in the chute area located under the barn where they are checked for age, vaccinated against disease, wormed and freeze marked. Horses are aged by inspecting their teeth.

 

Wild Horse Corrals

 

The horses are vaccinated against such diseases as Rhinopneumonitis, influenza, tetanus, sleeping sickness, strangles, Rabies, and West Nile Virus. The animals are also wormed to rid them of internal parasites. If animals are kept for long periods of time, their hooves are trimmed periodically, as the ground in the pens and pastures is soft and hooves do not wear down as readily as they did when the horses lived on the range and roamed over rougher terrain.

 

Wild Horses Feeding

 

The pens near the barn are used as working pens where horses and burros are separated for various reasons whether for shipping, health inspections or viewing for adoption. Note the numerous gates, small side pens, wings and alleyways which make it easier to work with the animals. The larger holding pens are to the north and are connected to the working pens and alleyways. The horses and burros are kept in these pens unless they are to be shipped out in a very short time. The eastern pens are reserved for female animals and the western pens hold the males. The large barn and handling facility was built in 2001 to replace the old wooden barn which was lost to fire.

 

Adoption and Tours

 

Before horses and burros are shipped to other adoption centers or picked up by adopters at the corrals, they are given a final brand and health inspection by a veterinarian. When the adopters transport their chosen animals from the corrals, an adoption fee is collected to help defray expenses. If the animals are shipped to another location before being adopted, the fee is collected at those locations.

 

Organized tours of the wild horse corrals and facilities are available upon request. They can be scheduled for just a few people as well as larger groups. We welcome the opportunity to explain the various aspects of the wild horse program whether it concerns range management, roundups, preparation at the corrals or the adoption program.

 

If you are interested in adopting a wild horse or burro or taking a tour, please visit the corral facility, stop by the BLM office at 28910 Highway 20 West in Hines, or give us a call at (541) 573-4400. We will be glad to explain the process and requirements for adoption. A brochure is available that specifically explains the Adopt-A-Horse Program.

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Brabourne nextes in the shadow of Wye Down, nestling in a fold in the land, and driving through it hardly seems to be a village, more a few houses and a farm. But just visible down a gravel track, which has a sign stating quite clearly that it was not suitable for parking for the church. In which case I woulve to partially block the lane through the village.

 

One approaches the church down a brick path, which is tricky as over the years it has developed quite an arch. You soon see that the trees are hiding a formidable church, and the most impressive of towers, almost castle keep-like.

 

A small porch allows the visitor to leave the chill air outside, and you are met my a sturdy door, which invites you in.

 

St Mary is a large and impressive church, the walls covered with memorials to the local big family, also are several cut out which may indicate where carved figures one laid. High in the north wall of the chancel, is possibly the oldest stained glass still in original position (although reset), which seem to date to the year 1200 AD, which is incredible if true, and I have no reason to diubt that.

 

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St Mary's is a very tall church, more Saxon in its proportions than Norman. The church dates in its present form from the twelfth century, with typical decoration in the form of pilaster buttresses on the outside north wall of the chancel. In the thirteenth century a south aisle was added and the present arch to the tower rebuilt; the remains of the original Norman arch may still be seen. In the chancel is a remarkable survivor - a twelfth-century window with its original glass. It has been reset and restored, but vividly recalls the dusky colours of the period. The pattern is purely geometric, of flowers and semi-circles, and may be compared to the contemporary glass in Canterbury Cathedral. Also in the chancel is one of the two thirteenth-century heart shrines in Kent. This little piece of sculpture consists of a plain shield - originally painted - under decorated and cusped tracery, the whole squeezed between thin pinnacles. It is uncertain whose heart was buried here, but it dates from about 1296 and may be associated with the de Valence family. The other Kent heart shrine is at Leybourne (see separate entry).

 

www.kentchurches.info/church.asp?p=Brabourne

 

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A Church has existed here since Saxon times - mention is made of one at 'Bradeburna' soon after the coming of Archbishop Lanfranc to Canterbury in about 1070.

 

The present St Mary's Church is of Norman design, and dates from the twelfth century.

 

Most of the original Norman nave can be seen on the north side, and the Chancel is pure Norman. Notice the priest's doorway and the twelfth century window in the Chancel - this still has its original glass. It is almost certainly unique in the country as most were smashed during the reign of Henry VIII, or later, during the Civil War. It was also left when other stained glass from the Church was sold in 1774. It is believed to be England's oldest complete Norman window still in its original setting with light falling through.

 

Additions were made in the thirteenth century , including the rebuilt arch to the tower. The staircase in the tower is of great antiquity: halves of an oak tree 31ft long form the sides, with another tree for the base and a forked branch as a support.

 

The Chancel also holds one of only two thirteenth century heart shrines in Kent (the other is in Leybourne). The sculpture consists of a plain shield (the original paint has long since worn away) under fine decorated arches. In the back there is a recess, which would have been used to contain a heart encased in silver or ivory. It is thought that the shrine was built for the heart of John Baliol, founder of Balliol College, Oxford. Whether it served its intended purpose is unknown, but it was found to be empty when opened in the early 1900s.

 

The tomb of Sir John Scott, made of Caen stone, stands in the north wall of the Chancel. Sir John, who died on October 17th 1485, was a Privy Councillor and Lord Warden of the Cinque Ports. Above the tomb hangs a trophy helmet, carried at the funeral of a knight, most probably Sir Thomas Scott, Commander of the Kentish Forces during the reign of Elizabeth I.

 

Another helmet (in the south east corner of the Chancel) is thought to have belonged to Sir William Scott, who died in 1433.

 

The altar is a tomb, topped with a slab of Bethersden Marble, and dates from around 1600. It is decorated with the arms of the Scott family.

 

www.brabournepc.kentparishes.gov.uk/default.cfm?pid=1140

 

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LIES the next parish to Bircholt north-eastward, being written in Domesday both Breburne and Bradeburne, and taking its name from its situation on the broad bourne or rivulet which rises in it.

 

THE PARISH is situated at the foot of the upper range of the chalk or down-hills, which reach from hence to the sea shore at Folkestone, and here take the name of Braborne downs; it is an unfrequented place, and from the soils of it not a pleasant one, for near the downs it is mostly chalk; the middle part, though there are various soils in it, consists mostly of a stiff, though not unfertile clay, and the southern part is a deep red sand. It is about two miles across from north to south, and somewhat more from east to west, stretching itself along a narrow slip beyond Hampton, almost as far as the village of Brooke, and on the other part within a very little of Stowting court-lodge. The village of Braborne, having the church and court-lodge in it, lies at the foot of the Down-hill, on the side of a wide valley, which extends below it southward. At the foot of the hills westward are Combe, Bedlestone, the hamlet of West Braborne-street and Hampton. The parish is well watered by several rivulets, one of them, which rises in and near Braborne-street, runs southward into that branch of the Stour below Scottshall, and so on by Sevington to Ashford; and there are others, which from the foot of the hills, more towards the west, which join the stream which runs by Swatfield bridge towards Ashford likewise.

 

In the southern part of the parish is the heath called Braborne-lees, one half of which only is within the bounds of it; across these lees the high road goes from Ashford towards Hythe. Here is a noted warren for rabbits, belonging to the Scotts-hall estate, they are of a remarkable fine flavor, from which Canterbury, and all the neighbouring towns are plentifully supplied with them. A fair is held in the village on the last day of May, for pedlary and toys.

 

That part of it which is within the borough of Cocklescombe, is in the hundred, and within the liberty of the royal manor of Wye.

 

THE MANOR OF BRABORNE, soon after the dissolution of the Saxon heptarchy, was, according to a very antient record, the inheritance of a lady called Salburga, who is stiled in it Domina de Brabourne, and by her will, in the year 864, ordered that the future possessors of it should give yearly to the monastery of St. Augustine, a quantity of provisions, on condition of their performing certain religious services for the health of her soul; which provisions were forty measures of malt, fifteen rams, twenty loaves of bread, one measure of butter, one measure of cheese, four cart loads of wood, and twenty hens. Who were the possessors of this manor afterwards till the time of the Norman conquest, does not appear; but at the time of taking the survey of Domesday, it was become part of the pos sessions of Hugo de Montfort, on whom that prince had bestowed likewise more than thirty other manors and estates in the neighbourhood of it. Accordingly he is numbered in that record as one of the thirteen, (for there are no more) who held lands in this county at that time, and under the general title of his lands this manor is thus entered in it.

 

In Wivart lath, in Berisout hundred, Hugo himself holds Breburne, Godric de Burnes held it of king Edward, and it was taxed at seven sulings, and now for five sulings and an half and half a yoke, because another part of it is without the division of Hugo, and that the bishop of Baieux holds. The arable land is fifteen carucates. In demesne there are two, and thirty-one villeins, with ten borderers having ten carucates. There is a church, and eight servants, and two mills of seven shillings, and twenty acres of meadow. Wood for the pannage of twenty-five bags. In the time of king Edward the Confessor it was worth twenty pounds, and afterwards eight pounds, now sixteen pounds.

 

That part mentioned above, as without the division of Hugo de Montfort, is likewise noticed in the same book, in the description of the adjoining manors of Hastingligh and Aldelows, belonging to the bishop of Baieux, as may be seen hereafter, in the account of them.

 

On the voluntary exile of Robert de Montfort, grandson of Hugh above-mentioned, in the reign of king Henry I. this manor, among the rest of his possessions, came into the king's hands, whence it was soon afterwards granted to Robert, son of Bernard de Ver, constable of England, who had married Adeliza, daughter of Hugh de Montfort, and was the founder of the priory of Horton, in the next adjoining parish. (fn. 1) After which it appears to have come into the possession of Henry de Essex, who was constable likewise of Eng land, from his succession to which, as well as from other circumstances, it should seem that he became entitled to this manor by inheritance Henry de Essex, before-mentioned, was baron of Raleigh, in Essex, his chief seat, and hereditary standard-bearer of England; but by his misbehaviour in a battle against the Welsh, in the 10th year of that reign, he forfeited all his possessions to the crown. (fn. 2) Before which he had confirmed to the priory of Horton all the former grants of his ancestors. And by another charter he granted to it, in free and perpetual alms, the pasture of twelve oxen in his park of Braborne, with his own oxen, for so long as they should be at feed, whether within his park or without; and all tithe of his hay, to be taken wholly and fully with his carriages to the barns of the monks. After which this manor appears to have been held by Baldwin de Betun, earl of Albermarle, who, in the 5th year of king John, granted it to William Mareschal, earl of Pembroke, with Alice his daughter in frank marriage, to hold to them and their heirs. William, earl of Pembroke, in the 10th year of king Henry III. his first wife being deceased, married Alianore, the king's sister, and in the 14th year of that reign had a confirmation of this manor, on condition that Alianore his wife, if she survived him, should enjoy it for life. He died in the 15th year of that reign, and she became possessed of it, and afterwards remarried Simon, earl of Leicester, who was slain fighting on the part of the discontented barons at the battle of Evesham. After which the countess and her children were forced to forsake the realm, and she died abroad in great poverty. In the mean time the four brothers of William, earl of Pembroke, successively earls of Pembroke, being dead s. p. their inheritance became divided between their five sisters and their heirs, and upon the division of it, the manor of Braborne, among others, was allotted to Joane, the second sister, then the widow of Warine de Montchensie, by whom she had one son William, and a daughter Joane, married to William de Valence, the king's half brother, who afterwards, through the king's favour, on William de Montchensie's taking part with the discontented barons, and his estates being confiscated, became possessed of this manor, of which he died possessed in the 23d year of king Edward I. leaving Joane his widow surviving, who had it assigned to her as part of her dower. She died in the 1st year of king Edward II. holding it in capite by knight's service, as of the king's marechalsy, and leaving one son Adomar or Aymer de Valence, earl of Pembroke, and three daughters; Anne, married to Maurice Fitzgerald, secondly to Hugh Baliol, and lastly to John de Avennes; Isabel, to John de Hastings, of Bergavenny; and Joane, to John Comyn, of Badenagh. (fn. 3) Aymer de Valence, earl of Pembroke, on her death, succeeded to this manor, and in the 6th year of that reign, obtained a charter of privileges for it, among which were those of a market, fair, and free-warren. He was a nobleman greatly favoured by king Edward I. and II. but in the 17th year of the latter reign, attending the queen into France, he was murdered there that year. He died possessed of this manor, and without issue; so that John de Hastings, son of Isabel, one of the earl's sisters, and John Comyn, of Badenagh, in Scotland, son of Joane, another of the earl's sisters, were found to be his coheirs and next of kin; and the latter of them, on the division of their inheritance, had this manor, in his mother's right, allotted to him. He died s. p. in the 19th year of king Edward II. leaving his two sisters his coheirs, of whom the eldest, Joane, married to David de Strabolgie, earl of Athol, possessed this manor as part of his wife's inheritance, and died next year. His descendant David de Strabolgie, earl of Athol, died in the 49th year of that reign, possessed of this manor, (fn. 4) leaving by Elizabeth his wife, daughter of Henry, lord Ferrers, who died the same year, anno 1375, and was buried in the high chancel of Ashford church, two daughters his coheirs, the youngest of whom Philippa, married to John Halsham, of Halsham, in Sussex, by her father's will, became entitled to this manor. The Halshams bore for their arms, Argent, a chevron engrailed, between three leopards heads, gules. Their grandson Sir Hugh Halsham, died anno 21 Henry VI. leaving Joane, his only daughter and heir, who entitled her husband John Lewknor, esq. of Sussex, to the possession of it; in whose descendants it continued till the latter end of king Henry VII.'s reign, when Sybilla, daughter of Sir Thomas Lewknor, carried it in marriage to Sir William Scott, K. B. and in his descendants, resident at Scotts-hall, this manor, with the rents, services, courtlodge, and demesne lands, remained, till at length George Scott, esq. about the year 1700, sold the manor-house, called Braborne court-lodge, with the demesne lands belonging to it, being enabled so to do by an act passed anno 10 and 11 William III. to Tho. Denne, of Patricksborne, whose grandsons Daniel and Thomas Denne, of Sittingborne, in 1768, conveyed this estate to William Deedes, esq. of St. Stephen's, (who was before possessed of an estate in this parish, which had been purchased of George Scott, esq. by his grandfather William Deedes, M. D. of Canterbury) and his eldest son of the same name, now of Hythe, esq. is the present owner of it.

 

BUT THE MANOR RENTS AND SERVICES remained in the family of Scott for some time afterwards, and till Edward Scott, esq. some few years ago, alienated the quit-rents of this manor, together with the Park and Pound farms, in this parish, to Thomas Whorwood, esq. of Denton, who by will devised them for life to Mrs. Cecilia Scott, of Canterbury, daughter of George Scott, esq. before-mentioned, on whose death in 1785 the property of them became vested in lady Markham, widow of Sir James Markham, bart. of Lincolnshire, who was Mr. Whorwood's heir-at-law, and she sold them in 1787 to Sir Edward Knatchbull, bart. the present owner of them.

 

BUT THE MANOR OF BRABORNE ITSELF, with the court baron and other manerial rights belonging to it, remained in the descendants of George Scott, esq. down to Francis Talbot Scott, esq. whose trustees, about the year 1784, conveyed it, with his other estates in this neighbourhood, to Sir John Honywood, bart. of Evington, who is the present proprietor of it.

 

HEMINGE is a manor, lying at the south-east corner of this parish, next to Horton, which in antient time gave both surname and residence to a family so called, as the deeds without date belonging to it plainly shew. At length, after this manor had been in the possession of this name, as might be traced out fully by these evidences for almost three hundred years, it was conveyed by William Heminge, in the 2d year of Edward VI.'s reign, to Peter Nott, in whose descendants it continued till the 16th year of Charles II. when one of them alienated it to Avery Hills, by whose daughter and heir it went in marriage to Hobday, whose descendant sold it, in the year 1713, to Mr. John Nethersole, who left three sons surviving, John, who was of Barham; Stephen, who was of Wimlinswold; and William, who was of Canterbury, in whose three daughters, or their representatives, this manor at length became vested. They agreed on a partition of their inheritance, on which the whole of this manor was allotted to Jacob Sharpe, esq. of Canterbury, the surviving son of Mr. Jacob Sharpe, by Elizabeth, the eldest of the three daughters, who in 1796 sold it to Mr. Thomas Ken nett, of Brabourn, who is the present possessor of it. A court baron is held for this manor.

 

COMBE is another manor, in the northern part of this parish, close at the foot of the downs, which name it had from its situation, cumbe signifying in the Saxon a bottom or valley, and to distinguish it from other manors of the same name in this neighbourhood, it was called Braborne Combe. About the year 990, one Edward de Cumbe, whose son Leofard was a monk in St. Augustine's monastery, by his will bequeatned the land of Cumbe to that monastery. Whether the abbot and convent ever gained the possession of it, or if they did, how long it staid with them, I do not find; but at the time of taking the survey of Domesday, in the Conqueror's reign, it was parcel of the possessions of the bishop of Baieux, under the general title of whose lands it is entered in it as follows:

 

The same Wadard holds of the bishop, Cumbe. It was taxed at one suling. The arable land is two carucates. In demesne there is one, and nine villeins, with five borderers having one carucate and an half. There are fourteen acres of meadow. Wood for the pannage of five hogs. In the time of king Edward the Confessor it was worth sixty shillings, and afterwards fifty shillings, now four pounds, and the service of one knight. Leuret de rochinge held it of king Edward.

 

After this, on the bishop of Baieux's disgrace, this manor was held of the crown, by a family who took their name from their residence at it; of whom Richard de Combe, and Simon his son, served the office of sheriff, as assistants to Sir John de Northwood, in the 20th year of king Edward I. and bore for their arms, Sable, three lions passant-guar dant, in pale, gules. At length by a female heir of this name, it went by marriage, in the reign of king Richard II. to John Scott, who afterwards resided at it, as did his descendants till Sir William Scott removed to Scotts-hall at the latter end of king Henry IV.'s reign; and in his descendants, of Scotts-hall, this manor continued down to George Scott, esq. of Scotts-hall, who procured an act anno 10 and 11 king William, to vest this manor, among his other estates, in trustees, to be sold for payment of his debts, in pursuance of which it was soon afterwards sold to Brook Bridges, esq. of Goodnestone, afterwards created a baronet, whose great-grandson Sir Brook Bridges, bart. of Goodnestone, is the present possessor of it.

 

HAMPTON is the last manor to be described in this parish, being situated in the north-west corner of it, adjoining to Brooke. It has the name in antient deeds of Hampton Cocklescombe, and sometimes is described by the name of the manor of Cocklescombe only, being so called from its situation in the borough of that name, and within the hundred of Wye. This manor was given by Robert de Ver, constable of England, and lord of Braborne, to Osbert his marshal, and Emeline his wife, who gave it again to the priory in the adjoining parish of Horton, by the description of the land of Hanetone; which gift was confirmed to the priory by the same Robert de Ver, and Adeliza de Montfort his wife, and afterwards by Henry de Essex, (fn. 5) as appears by the register of it; of the priory of Horton this manor was afterwards again held, at the rent of forty shillings in perpetual fee farm, by a family who took their name of Hampton from their residence at it, as appears not only by the above register, but by antient deeds and court-rolls, and that they remained here till the reign of king Henry VI. when John Hampton pasted it away to one of the name of Shelley, by whose heir general it became the property of John May, of Bibroke, in Kennington, whose son of the same name leaving an only daughter Alice, the carried it in marriage to John Edolph, of Brenset, and his daughter Elizabeth entitled her husband William Wil cocks, esq. of New Romney, to it, who died possessed of this manor in the 16th year of queen Elizabeth, holding it in free socage. His widow survived him, and afterwards married Ralph Radcliffe, esq. of Hitchin, in Hertfordshire, who survived her. She died in the 39th year of that reign, and by her last will devised this manor to her only son by her first husband, John Wilcocks, who dying s. p. his two sisters became his coheirs, of whom Martha married Sir Edward Radcliffe, of Sevington, in this county, and physician to king James I. and Elizabeth married William Andrews; and on the partition of their inheritance, Sir Edward Radcliffe became entitled to the sole possession of it, in whose descendants it continued down to John Radcliffe, esq. of Hitchin priory, who dying in 1783, s. p. this manor, among his other estates, came to Sir Charles Farnaby, bart. of Sevenoke, in right of his wife Penelope, sister and heir-at-law of the above mentioned John Radcliffe. Sir Charles Farnaby afterwards took the name of Radcliffe, (fn. 6) and removed to Hitchin, where he died in 1798, and his heirs are now entitled to it.

 

Charities.

 

WILLIAM FORDRED, by will in 1550, gave to this parish, among others, a proportion of the rents of 25 acres of land in St. Mary's parish, in Romney Marsh; which portion to this parish is of the annual produce of 4l. 12s. 4¾d. to be distributed annually to the poor, and vested in trustees.

 

MR. KNOTT gave for the use of the poor, a sum of money, vested in Robert Goddard, of Mersham, now of the annual produce of 8s.

 

The poor constantly relieved are about fifty-five, casually twenty-five.

 

BRABORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Elham.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of two isles and two chancels, having a square tower steeple at the west end, in which are five bells. The northern isle is much lostier than the other, having an upper story, choir-like, with the three upper windows to the south; below which is the roof of the north isle. Both chancels are full of the interments of the Scott family; but the brasses and inscriptions are almost all gone. Against the north wall is a tomb, with an arch and recess over it; against the back have been two figures, with inscriptions, and two shields of brass, now gone; on the side of the tomb are two shields carved in stone, one Pympe, the other Scott. Against the opposite wall is a kind of altar, the form of which is given before, P. I. At the east end, within the rails, is a large altar-tomb against the wall, of Bethersden marble; on it the marks of a figure, the brass gone; on the front five shields, with the arms of Scott, and their several impalements. Over the tomb is a kind of altar-piece, ornamented with stone carve-work, and three shields of arms; I. Scott impaling oblit. over it the date 1290; 2, being the middle shield, Scott and the following quarterings, Beaufitz, Pympe, Pashley, Normanville, Warren, Sergeaux, Gower, and Cogan In which arms of Scott it is noted, all the bordures are plain. In the south chancel belonging likewise to the Scott family, the brasses on the gravestones, with which the pavement is covered, are all gone. In the south wall is a very antient tomb with an arch over it; underneath this tomb the late Edward Scott, esq. was buried. Against this wall is a monument for Arthur Scott, commissioner of the navy, third son of Geo. Scott, of Scotts-hall. Against the north wall a monument for lieutenant-colonel Cholmeley Scott, esq. youngest son of George Scott, esq. of Scotts-hall. Weever mentions several memorials of this family in the body of the church remaining in his time, all which have been long since obliterated, and their brasses destoryed. In the south isle is a stone, with the figure of a man in brass, habited in armour, with sword and spurs on, the latter having the rowels much like the figure of a catherine wheel; a greyhound under his feet; the inscription gone, excepting the words of Brabourne, armigr. and anno Dni mil. Against the north wall, a monument for William Richards, put up by Gabriel Richards, gent. of Rowling, in 1672; arms, Sable, a chevron between three fleurs de lis, argent; a crescent for difference. Another for John Richards, vicar, obt. 1727. In the south scite of the body of the church, is a memorial for Dionisia, daughter of Vincent Fynche, alias Harbert, esq. obt. 1458; arms, Finch impaling Cralle; and in the same isle is a stone, robbed of the figure on it, but the brass inscription remains, for Joane, daughter of Sir Gervas Cliston, married to John Diggs; arms, Clifton impaling Fineh, and Diggs impaling Clifton. The tower at the west end is of a large size, but flat at top, and only of equal height with the roof of the north isle.

 

Mr. Evelyn, in his Discourse on Forest Trees, mentions a superannuated yew-tree growing in this churchyard, which being 58 feet 11 inches in circumference, bore near 20 feet diameter; and besides which there were goodly planks, and other considerable pieces of square and clear timber, which he observed to lie about it, which had been hewed and sawn out of some of the arms only, torn from it by impetuous winds. This tree has been many years since gone, and a fine stately young one now flourishes in the room of it.

 

The church was formerly appendant to the manor, and continued so till it was given, in the beginning of king Henry II.'s reign, by Robert de Ver, lord of the manor of Braborne, to the priory of Horton, at his first foundation of it; and it was appropriated to the priory before the 8th year of king Richard II. the priory being bound to pay the tenth of the vicarage. But there does not seem to have been any endowment made till anno 1445, when there was one assigned by the prior to Thomas de Banstede, the vicar of it. (fn. 7) In which state this church, with the advowson of the vicarage, continued till the dissolution of the priory in the reign of king Henry VIII. when it came into the king's hands, and remained there till it was granted in exchange to the archbishop, where it still continues, the parsonage being at this time parcel of the see of Canterbury, and his grace the archbishop the present parton of the vicarage.

 

The parsonage is a very handsome brick house, standing at a small distance from the church-yard, to which the vicarage adjoins likewise, being a neat small brick building. The family of Kennet have been lessees for many years, Mr. Claude Kennet being the present lessee of it, who resides at it.

 

¶The vicarage of Braborne is valued in the king's books at 11l. 12s. 6d. and the yearly tenths at 1l. 3s. 3d. And there is annually, by the endowment of it, paid out of the parsonage to the vicar, one seam or quarter of wheat, and the like of barley; and archbishop Juxon, anno 15 Charles II. augmented it sixteen pounds per annum, to be paid by the lessee of the parsonage. In 1640 this vicarage was valued at sixty-four pounds, communicants one hundred and six. In 1733 it was valued at one hundred pounds. There is one acre of glebe land belonging to it.

 

www.british-history.ac.uk/survey-kent/vol8/pp14-27

Memories of earlier in the season; looking at the development of the rhododendron buds

 

Karate For Kids

 

Karate for kids classes in Cave Creek, Chandler, Mesa, Glendale, Arizona are taught in a method to develop life skills such as respects, enhanced self-discipline, greater confidence and respect in children. The karate for kids programs with the local ATA martial arts schools doesn’t only teach how to kick and punch. The karate classes will teach kids the valuable life lessons of self-control and the ability to defend themselves. All of the Karate Kids classes teach the attributes necessary to be a confident individual within our community.

 

Our Local ATA Martial Art schools in Cave Creek, Chandler, Mesa, Glendale, Arizona have carefully designed the karate programs for the youth within the community- age appropriate programs that are specifically aimed at the child’s development both physically and mentally. These karate lessons are taught through a top ranked and nationally recognized “Karate For Kids” program, that has a well established training curriculum designed school aged students.

 

bullying seminars, martial arts business coaching mesa karate, chandler karate, cave creek karate,

 

#1 with parents in the ATA Karate Schools in Cave Creek, Chandler, Mesa, Glendale, Arizona is the renowned Karate for Kids character development “ATA Life Skills” program designed for personal Victory in Martial Arts with skills such as perseverance, integrity, courtesy, self-esteem and the respect for others while incorporating social life skills that develops naturally within the group.

 

It is always a good time to start a program at one our three locations as the #1 Karate For Kids schools in Las Vegas and Henderson. Together with kids their own age, every youngster can mature and grow with the self confidence that a karate kids program develops within them.

  

Martial Arts Classes For Women

 

In today’s world of fitness, women are looking for a structured and interesting workout in a manner to stay fit that breaks away from their traditional daily routine. Repeating the same exercise every day can be draining and break ones motivation and is rarely goal oriented. It isn’t the normal daily gym workout. ATA Martial Arts of Cave Creek, Chandler, Mesa, Glendale, Arizona is a training facility that women are finding the variety of goal oriented conditioning that is exciting. While the physical nature of martial arts is rewarding and a personal martial arts victory, it also teaches the self defense and survival tactics that is needed in todays ever changing world.

 

There are many important mental and physical health benefits in our women’s martial art classes in Las Vegas and Henderson. While toning vital muscles and building coordination will enhance self-confidence, awareness and increase cardiovascular is health. Women who Attend ATA karate classes will improve balance, flexibility, increase exercise stamina levels while developing a greater sense of self-esteem, hence the term… “Victory” in Martial Arts.

Martial Arts have been known to provide much needed stress relief, promote self-control, concentration, and boost the ability to remain calm under stress. ATA Martial Arts routines are even helping women keep their memory sharp on a day-to-day basis!

 

Cave Creek, Chandler, Mesa, Glendale, Arizona ATA Martial Arts facilities are the community martial arts experts that provide rigorous karate classes for women of all ages to develop their strength of body and mind.

 

It’s a fact! Women are breaking away from their traditional exercise routines such as gym workouts and finding balance, freedom and motivation at ATA Martial Arts. It’s time for you to experience the benefits of karate classes designed for women with the community Martial Art experts in Las Vegas and Henderson.

   

Adult Martial Arts Classes for Men

 

Martial Arts classes for men in Cave Creek, Chandler, Mesa, Glendale, Arizona is more then just kicking and punching. ATA Karate Classes create a stronger self awareness, enhanced confidence, greater focus, and a true Victory in Martial Arts for men of all ages.

 

In an adult class a karate student will train will practical concepts in a safe, clean and enjoyable facility, while incorporating life skills to de-stress from life’s everyday challenges. Las Vegas ATA Martial Arts and Henderson ATA Martial arts offers three location to serve our community. Learning a skill set that will stick with you for life, no matter what age, allowing you to gain the self confidence desired so that you can feel comfortable with confrontation in any real life situation.

 

As one of the top martial arts training facilities in the community our Martial Arts programs such as Karate for Kids, Taekwondo and MMA and Fitness is a key method of enhancing the body’s functions, including flexibility, coordination, and balance with strength and endurance. Yes! It relieves stress while having some fun as well as meeting new people. As an adult, you do not need to have prior training before you get into a Martial Arts class. ATA Martial Arts has a defined teaching curriculum designed to take each student to the peak of their performance while greatly enhancing their skills creating a personal “Martial Arts Victory”.

    

KRAV MAGA & MMA FITNESS

Krav Maga and ATA’s MMA and athletic training is combined to provide a diverse full body workout while incorporating real life scenario drills for self defense.

This class features a structured curriculum that is in continuous motion utilizing all levels of MMA and Krav Maga skills with self defense drills in a manner to enhance cardio-respiratory for your cardiovascular system. Krav Maga students don’t’ just perform blocks, punches, kicks and movements you would find at a gym to music or in the mirror, students train in an environment that is preparing them for real life conditions.

 

The Krav Maga & MMA Fitness in Cave Creek, Chandler, Mesa, Glendale, Arizona is a true Conditioning Program that specializes in a Total Body Workout that doesn’t feel like to boring fitness class you may have taken before. Krav Maga Conditioning Program brings a fresh experience and keeps each and every student motivated in class on a day to day basis.

With a strong dedication and commitment to the Krav Maga and MMA Fitness Training student, Krav Instructors teach a combination of strength training, combatives, flexibility skills, and workouts with our top notch academy training facility. There is a emphasize on muscular strength and cardiovascular endurance for Krav students in Henderson and Las Vegas while instilling the distinctive awareness and self defense techniques needed for street survival in our ever changing world.

Correct body alignment to maximize efficiency can be key, our team of professional instructors will work on refining Krav Maga technique through exciting repetition drills and training.

All levels of Krav Maga, MMA & Fitness from the beginner to the experienced can train at anyone of our three locations. Call today and don’t delay.

 

www.karatebuilt.com

   

Developed in Diafine 4+4

The Rise

Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.

The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.

Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.

The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.

By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.

Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.

Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.

Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.

All the while, business continued to boom at Regency Square, perhaps more so than ever.

The Fall

There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”

In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.

At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.

Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.

A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.

Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.

The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.

It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.

Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.

In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.

Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.

By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.

The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.

By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.

When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob.[10] Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

Mercedes SLS AMG Coupe Electric Drive

 

With the new Mercedes-Benz SLS AMG Coupé Electric Drive, Mercedes-AMG is entering a new era: the locally emission-free super sports car featuring advanced technology from the world of Formula 1 is the most exclusive and dynamic way in which to drive an electric car. The most powerful AMG high-performance vehicle of all time has four electric motors producing a total output of 552 kW and a maximum torque of 1000 Nm. As a result, the gullwing model has become the world's fastest electrically-powered series production vehicle: the Mercedes-Benz SLS AMG Coupé Electric Drive accelerates from zero to 100 km/h in 3.9 seconds.

 

A new dimension of driving performance - a convincing synonym for the AMG brand promise are the outstanding driving dynamics which come courtesy of AMG Torque Dynamics as well as torque distribution to individual wheels, which is made possible by means of wheel-selective all-wheel drive. The most "electrifying" gullwing model ever has been developed in-house by Mercedes-AMG GmbH. The high-voltage battery for the SLS AMG Coupé Electric Drive is the result of cooperation between Mercedes-AMG and Mercedes AMG High Performance Powertrains in Brixworth (GB). This is an area in which the British Formula 1 experts were able to contribute their extensive know-how with KERS hybrid concepts.

 

"The SLS AMG Coupé Electric Drive is setting new standards for cars with electric drives. As the most powerful gullwing model ever, it is also representative of the enduring innovational strength of Mercedes-AMG. Our vision of the most dynamic electric vehicle has become a reality. With the help of our colleagues at Mercedes AMG High Performance Powertrains in Brixworth, we are bringing exciting advanced technology from the world of Formula 1 to the road", according to Ola Källenius, Chairman of the Board of Management of Mercedes-AMG GmbH.

 

Mercedes SLS AMG Coupe Electric Drive (2014)

2014 Mercedes-Benz SLS AMG Coupe Electric Drive

  

Pioneering, visionary, electrifying: the powerful and locally emission-free super sports car with electric drive also embodies the development competence of Mercedes-AMG GmbH. With this innovative and unique drive solution, AMG - as the performance brand of Mercedes-Benz - is demonstrating its technological leadership in this segment. The Mercedes-Benz SLS AMG Coupé Electric Drive is aimed at technology-minded super sports car fans who are open to new ideas and enthusiastic about ambitious high-tech solutions for the future of motoring.

 

Enormous thrust thanks to 1000 Nm of torque

 

The pioneering drive package in the SLS AMG Coupé Electric Drive is impressive and guarantees a completely innovative and electrifying driving experience: enormous thrust comes courtesy of four synchronous electric motors providing a combined maximum output of 552 kW and maximum torque of 1000 Nm. The very special gullwing model accelerates from zero to 100 km/h in 3.9 seconds, and can reach a top speed of 250 km/h (electronically limited). The agile response to accelerator pedal input and the linear power output provide pure excitement: unlike with a combustion engine, the build-up of torque is instantaneous with electric motors - maximum torque is effectively available from a standstill. The spontaneous build-up of torque and the forceful power delivery without any interruption of tractive power are combined with completely vibration-free engine running characteristics.

 

The four compact permanent-magnet synchronous electric motors, each weighing 45 kg, achieve a maximum individual speed of 13,000 rpm and in each case drive the 4 wheels selectively via a axially-arranged transmission design. This enables the unique distribution of torque to individual wheels, which would normally only be possible with wheel hub motors which have the disadvantage of generating considerable unsprung masses.

 

Powerful, voluminous, dynamic, emotional and authentic: the characteristic sound of the Mercedes-Benz SLS AMG Coupé Electric Drive embodies the sound of the 21st century. After an elaborate series of tests as well as numerous test drives, the AMG experts have created a sound which captures the exceptional dynamism of this unique super sports car with electric drive. Starting with a characteristic start-up sound, which rings out on pressing the "Power" button on the AMG DRIVE UNIT, the occupants can experience a tailor-made driving sound for each driving situation: incredibly dynamic when accelerating, subdued when cruising and as equally characteristic during recuperation. The sound is not only dependent on road speed, engine speed and load conditions, but also reflects the driving situation and the vehicle's operating state with a suitable driving noise. Perfect feedback for the driver is guaranteed thanks to a combination of the composed sound, the use of the vehicle's existing inherent noises and the elimination of background noise - this is referred to by the experts as "sound cleaning". The impressive sound comes courtesy of the standard sound system with eleven loudspeakers.

 

Advanced Formula 1 technology: high-voltage lithium-ion battery

 

Battery efficiency, performance and weight: in all three areas Mercedes-AMG is setting new standards. The high-voltage battery in the SLS AMG Coupé Electric Drive boasts an energy content of 60 kWh, an electric load potential of 600 kW and weighs 548 kg - all of which are absolute best values in the automotive sector. The liquid-cooled lithium-ion high-voltage battery features a modular design and a maximum voltage of 400 V.

 

Advanced technology and know-how from the world of Formula 1 have been called on during both the development and production stages: the battery is the first result of the cooperation between Mercedes-AMG GmbH in Affalterbach and Mercedes AMG High Performance Powertrains Ltd. Headquartered in Brixworth in England, the company has been working closely with Mercedes-AMG for a number of years. F1 engine experts have benefited from its extensive expertise with the KERS hybrid concept, which made its debut in the 2009 Formula 1 season. At the Hungarian Grand Prix in 2009, Lewis Hamilton achieved the first historic victory for a Formula 1 vehicle featuring KERS hybrid technology in the form of the Mercedes-Benz KER System. Mercedes AMG High Performance Powertrains supplies the Formula 1 teams MERCEDES AMG PETRONAS, Vodafone McLaren Mercedes and Sahara Force India with Mercedes V8 engines and the KERS.

 

The high-voltage battery consists of 12 modules each comprising 72 lithium-ion cells. This optimised arrangement of a total of 864 cells has benefits not only in terms of best use of the installation space, but also in terms of performance. One technical feature is the intelligent parallel circuit of the individual battery modules - this helps to maximise the safety, reliability and service life of the battery. As in Formula 1, the battery is charged by means of targeted recuperation during deceleration whilst the car is being driven.

 

High-performance control as well as effective cooling of all components

 

A high-performance electronic control system converts the direct current from the high-voltage battery into the three-phase alternating current which is required for the synchronous motors and regulates the energy flow for all operating conditions. Two low-temperature cooling circuits ensure that the four electric motors and the power electronics are maintained at an even operating temperature. A separate low-temperature circuit is responsible for cooling the high-voltage lithium-ion battery. In low external temperatures, the battery is quickly brought up to optimum operating temperature with the aid of an electric heating element. In extremely high external temperatures, the cooling circuit for the battery can be additionally boosted with the aid of the air conditioning. This also helps to preserve the overall service life of the battery system.

 

Quick charge function via special wall box

 

Ideally the Mercedes-Benz SLS AMG Coupé Electric Drive is charged with the aid of a so-called wall box. Installed in a home garage, this technology provides a 22 kW quick-charge function, which is the same as the charging performance available at a public charging station. A high-voltage power cable is used to connect the vehicle to the wall box, and enables charging to take place in around three hours. Without the wall box, charging takes around 20 hours. The wall box is provided as an optional extra from Mercedes-AMG in cooperation with SPX and KEBA, two suppliers of innovative electric charging infrastructures for the automotive industry.

 

Eight-stage design for maximum safety

 

To ensure maximum safety, the SLS AMG Coupé Electric Drive makes use of an eight-stage safety design. This comprises the following features:

•all high-voltage cables are colour-coded in orange to prevent confusion

•comprehensive contact protection for the entire high-voltage system

•the lithium-ion battery is liquid-cooled and accommodated in a high-strength aluminium housing within the carbon-fibre zero-intrusion cell

•conductive separation of the high-voltage and low-voltage networks within the vehicle and integration of an interlock switch

•active and passive discharging of the high-voltage system when the ignition is switched to "off"

•in the event of an accident, the high-voltage system is switched off within fractions of a second

•continuous monitoring of the high-voltage system for short circuits with potential compensation and insulation monitors

•redundant monitoring function for the all-wheel drive system with torque control for individual wheels, via several control units using a variety of software

 

By using this design, Mercedes-AMG ensures maximum safety during production of the vehicle and also during maintenance and repair work. Of course the Mercedes-Benz SLS AMG Coupé Electric Drive also meets all of the statutory and internal Mercedes crash test requirements.

 

All-wheel drive with AMG Torque Dynamics enables new levels of freedom

 

Four motors, four wheels - the intelligent and permanent all-wheel drive of the SLS AMG Coupé Electric Drive guarantees driving dynamics at the highest level, while at the same time providing the best possible active safety. Optimum traction of the four driven wheels is therefore ensured, whatever the weather conditions. According to the developers, the term "Torque Dynamics" refers to individual control of the electric motors, something which enables completely new levels of freedom to be achieved. The AMG Torque Dynamics feature is permanently active and allows for selective distribution of forces for each individual wheel. The intelligent distribution of drive torque greatly benefits driving dynamics, handling, driving safety and ride comfort. Each individual wheel can be both electrically driven and electrically braked, depending on the driving conditions, thus helping to

•optimise the vehicle's cornering properties,

•reduce the tendency to oversteer/understeer,

•increase the yaw damping of the basic vehicle,

•reduce the steering effort and steering angle required,

•increase traction,

•and minimise ESP® and ASR intervention.

 

The AMG Torque Dynamics feature boasts a great deal of variability and individuality by offering three different transmission modes:

•Comfort (C): comfortable, forgiving driving characteristics

•Sport (S): sporty, balanced driving characteristics

•Sport plus (S+): sporty, agile driving characteristics

 

AMG Torque Dynamics enables optimum use of the adhesion potential between the tyres and the road surface in all driving conditions. The technology allows maximum levels of freedom and as such optimum use of the critical limits of the vehicle's driving dynamics. Outstanding handling safety is always assured thanks to the two-stage Electronic Stability Program ESP®.

 

"AMG Lightweight Performance" design strategy

 

The trailblazing body shell structure of the Mercedes-Benz SLS AMG Coupé Electric Drive is part of the ambitious "AMG Lightweight Performance" design strategy. The battery is located within a carbon-fibre monocoque which forms an integral part of the gullwing model and acts as its "spine". The monocoque housing is firmly bolted and bonded to the aluminium spaceframe body. The fibre composite materials have their roots in the world of Formula 1, among other areas. The advantages of CFRP (carbon-fibre reinforced plastic) were exploited by the Mercedes-AMG engineers in the design of the monocoque. These include their high strength, which makes it possible to create extremely rigid structures in terms of torsion and bending, excellent crash performance and low weight. Carbon-fibre components are up to 50 percent lighter than comparable steel ones, yet retain the same level of stability. Compared with aluminium, the weight saving is still around 30 percent, while the material is considerably thinner. The weight advantages achieved through the carbon-fibre battery monocoque are reflected in the agility of the SLS AMG Coupé Electric Drive and, in conjunction with the wheel-selective four-wheel drive system, ensure true driving enjoyment. The carbon-fibre battery monocoque is, in addition, conceived as a "zero intrusion cell" in order to meet the very highest expectations in terms of crash safety. It protects the battery modules inside the vehicle from deformation or damage in the event of a crash.

 

The basis for CFRP construction is provided by fine carbon fibres, ten times thinner than a human hair. A length of this innovative fibre reaching from here to the moon would weigh a mere 25 grams. Between 1000 and 24,000 of these fibres are used to form individual strands. Machines then weave and sew them into fibre mats several layers thick, which can be moulded into three-dimensional shapes. When injected with liquid synthetic resin, this hardens to give the desired structure its final shape and stability.

 

Optimum weight distribution and low centre of gravity

 

The purely electric drive system was factored into the equation as early as the concept phase when the super sports car was being developed. It is ideally packaged for the integration of the high-performance, zero-emission technology: by way of example, the four electric motors and the two transmissions can be positioned as close to the four wheels as possible and very low down in the vehicle. The same applies to the modular high-voltage battery. Advantages of this solution include the vehicle's low centre of gravity and balanced weight distribution - ideal conditions for optimum handling, which the electrically-powered gullwing model shares with its petrol-driven sister model.

 

New front axle design with pushrod damper struts

 

The additional front-wheel drive called for a newly designed front axle: unlike the series production vehicle with AMG V8 engine, which has a double wishbone axle, the SLS AMG Coupé Electric Drive features an independent multi-link suspension with pushrod damper struts. This is because the vertically-arranged damper struts had to make way for the additional drive shafts. As is usual in a wide variety of racing vehicles, horizontal damper struts are now used, which are operated via separate push rods and transfer levers. Thanks to this sophisticated front-axle design, which has already been tried and tested in the world of motorsport, the agility and driving dynamics of the Mercedes-Benz SLS AMG Coupé Electric Drive attain the same high levels as the V8 variant. Another distinguishing feature is the speed-sensitive power steering with rack-and-pinion steering gear: the power assistance is implemented electrohydraulically rather than just hydraulically.

 

AMG ceramic composite brakes for perfect deceleration

 

The SLS AMG Coupé Electric Drive is slowed with the aid of AMG high-performance ceramic composite brakes, which boast direct brake response, a precise actuation point and outstanding fade resistance, even in extreme operating conditions. The over-sized discs - measuring 402 x 39 mm at the front and 360 x 32 mm at the rear - are made of carbon fibre-strengthened ceramic, feature an integral design all round and are connected to an aluminium bowl in a radially floating arrangement.

 

The ceramic brake discs are 40 percent lighter in weight than the conventional, grey cast iron brake discs. The reduction in unsprung masses not only improves handling dynamics and agility, but also ride comfort and tyre grip. The lower rotating masses at the front axle also ensure a more direct steering response - which is particularly noticeable when taking motorway bends at high speed.

 

Exclusive, high-quality design and appointments

 

Visually, the multi-award-winning design of the SLS AMG is combined with a number of specific features which are exclusive to the Electric Drive variant. The front apron has a striking carbon-look CFRP front splitter which generates downforce on the front axle. The radiator grille and adjacent air intakes adorn special areas painted in the vehicle colour and with bionic honeycomb-shaped openings. They are not only a visual highlight but, thanks to their aerodynamically optimised design, also improve air flow over the cooling modules mounted behind them. Darkened headlamps also impart a sense of independence to the front section. Viewed from the side, the "Electric Drive" lettering stands out on the vehicle side, as do the AMG 5-twin-spoke light-alloy wheels with their specific paint design. The SLS AMG Electric Drive comes as standard with 265/35 R 19 tyres on the front and 295/30 R 20 tyres on the rear. The overall look is rounded off to dynamic effect by the new diffuser-look rear apron, and the darkened rear lamps. One feature reserved exclusively for the SLS AMG Coupé Electric Drive is the "AMG electricbeam magno" matt paint finish. A choice of five other colours is available at no extra cost.

 

When the exterior colour AMG electricbeam magno is chosen, the high-quality, sporty interior makes use of this body colour for the contrasting stitching - the stitching co-ordinates perfectly with designo black Exclusive leather appointments. AMG sports seats and numerous carbon-fibre trim elements in the interior underscore the exclusive and dynamic character of what is currently the fastest electric car. Behind the new AMG Performance steering wheel there is a newly designed AMG instrument cluster: instead of a rev counter, there is a power display providing information on the power requirements, recuperation status, transmission modes and battery charge.

 

AMG Performance Media as standard

 

The AMG DRIVE UNIT comprises the electronic rotary switch for selecting the three transmission modes of "C" (Controlled Efficiency), "S" (Sport) and "S+" (Sport plus), which the driver can use to specify different performance levels from the electric motors, which in turn also changes the top speed and accelerator pedal response. Behind the buttons for "power" and "ESP On/Off", there are also buttons for AMG Torque Dynamics and AMG Setup.

 

In addition to carbon-fibre exterior mirrors, AMG carbon-fibre engine compartment cover, COMAND APS, Media Interface, Blind Spot Assist and reversing camera, the standard equipment also includes the AMG Performance Media system. Besides full high-speed mobile internet access, the system provides information on engine performance, lateral and longitudinal acceleration, tyre pressure, vehicle setup and lap times, as well displaying a variety of additional information such as:

•vehicle energy flow

•battery charge status

•burrent range

•AMG Torque Dynamics

•temperatures of the battery and motors

•energy consumption kWh/100 km

 

The Mercedes-Benz SLS AMG Coupé Electric Drive will be celebrating its market launch in 2013. The price in Germany (incl. 19% VAT) will be 416,500 EUR.

 

Some background:

The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).

 

The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.

 

The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties, which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter.

 

The basic VF-1 fighter was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.

 

From the basic fighter variant and the standard VF-1 airframe, several sub-versions were produced for specialized tasks, one of these being two dedicated reconnaissance variants of the Valkyrie. The respective VR-1A, the first variant to be fielded, was a one-man all-weather electronic warfare and reconnaissance version, more or less a direct conversion of the Standard VF-1A fighter with a defensive electronics suite and the capability to carry reconnaissance equipment in a ventral pod (instead of the GU-11 gun pod). The soon following VR-1D was based on the trainer two-seater, and a much more sophisticated design. Its biggest operational benefit was a dedicated systems operator on the back seat so that the pilot could focus on the task of reaching mission targets, mostly in low-level high speed flight, using terrain contours for a stealthy approach. As a consequence, the VR-1A was only manufactured in small numbers by Northrop during 2009 and 2010, while the more prolific, versatile and efficient VR-1D was manufactured by Rockwell Bell from early 2010 onwards until 2014.

 

In addition to the standard electronic warfare suit carried by all VF-1 Valkyrie fighters both reconnaissance types carried two multi-frequency radar warning receivers on the vertical stabilizers, making this detail the most obvious difference to the fighters. Many VR-1s carried, instead of the fighter's intercept radar, specialized sensor equipment in their noses, including cameras in different configurations, mapping radars or radiation and atmospheric sampling and analysis equipment. Despite the different nose and equipment configurations, the VR-1s normally did not receive a special designation, the crew number and the airframe ancestry being the only nomination factor.

 

Furthermore, a wide range of special equipment could be carried, the most common ordnance being a pair of optional conformal radar jamming pod pallets that could be mounted onto the leg/engine nacelles’ flanks.

 

The VR-1s operated, except for the integral lasers in the standard A or D head units and IR-guided AMM-1 missiles for self-defense, generally unarmed and, if possible, in clean configuration, for maximum low level speed and agility. Instead of the fighter's standard GU-11 gun pod (which could be carried, though), both VR types typically carried various Tactical Aerial Camera System (TACS) and Synthetic Aperture Radar (SAR) pods under the fuselage. Furthermore, they could also carry a wide range of special ordnance like ECM and chaff/flare pods under the wings, as well as a pair of drop tanks to increase range and loiter time.

 

In order to retain some limited offensive combat capabilities against aerial and ground targets alike, many reconnaissance Valkyries received during their career and the standard fighters’ MLU program (see below) an infrared search and track (IRST) system, mounted in front of the cockpit. Sometimes an infrared jamming system was added in a fairing to the bottom of the nose, too, when applicable. Alternatively, the same system could be carried externally as a pod on one of the outer pylons.

 

After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.

 

The versatile aircraft also underwent constant upgrade programs, leading to improved versions like the VF-1N and P. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards. Many Valkyries also received improved ECM and radar warning systems, with emitters/receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs.

 

The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters in its multitude of variants.

 

However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!

  

General characteristics:

All-environment variable fighter and tactical combat Battroid,

used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N. Spacy Marines

 

Accommodation:

Single pilot in Marty & Beck Mk-7 zero/zero ejection seat

 

Dimensions:

Fighter Mode:

Length 14.23 meters

Wingspan 14.78 meters (at 20° minimum sweep)/8.30 meters (at 70° maximum sweep)

Height 3.84 meters

 

Battroid Mode:

Height 12.68 meters

Width 7.3 meters

Length 4.0 meters

 

Empty weight: 13.25 metric tons

Standard T-O mass: 18.5 metric tons

MTOW: 37.0 metric tons

 

Powerplant:

2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)

 

4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1x wing thruster roll control system on each wingtip)

 

18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles

  

Performance:

Battroid Mode: maximum walking speed 160 km/h

Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87

g limit: in space +7

Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24

 

Design Features:

3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system

 

Transformation:

Standard time from Fighter to Battroid (automated): under 5 sec.

Min. time from Fighter to Battroid (manual): 0.9 sec.

 

Armament:

2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute

1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min

4x underwing hard points for a wide variety of ordnance, including:

- 12x AMM-1 hybrid guided multipurpose missiles (3/point), or

- 12x MK-82 LDGB conventional bombs (3/point), or

- 6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or

- 4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,

- or a combination of above load-outs

  

The kit and its assembly:

This build was inspired by a Macross source book find, but the build did not go without a personal twist, and therefore it is not 100% canonical. The VR-1D two seater recce Valkyrie as such is “real”, though, and the basis for the build was a standard 1:100 VF-1D Arii kit. Beyond the standard improvements with extra blade antennae and two pilot figures for in-flight display, I did some other changes in order to get away from the standard VF-1D look.

 

One of these are the radar sensors on top of the fins - carved from 1.5mm styrene sheet and replacing the original fin tips. On the nose flanks I added flat SLAR antennae, which I extended downwards so that the familiar VF-1 nose would appear quite different (inspired by the Grumman F9F-8P’s outlines). The panels are 0.5mm styrene sheet and blended into the fuselage with putty. In front of the cockpit an IRST sensor was added, actually a simple piece of sprue.

 

The conformal ECM fairings on the legs were originally drop tank halves (from a Matchbox Saab 29), reduced in depth so far that only shallow bulges remained.

 

Instead of the GU-11 gun pod under the fuselage I used a camera pod from an 1:72 Luftwaffe Tornado. This is a little massive for the slender 1:100 Valkyrie, but the camera ports and the overall shape and length were just too promising. I cut away the original attachment pylon, reversed the pod, cut off its rounded rear section and added an spherical, clear “eye ball” at the front end (which is actually a ball joint from a vintage Matchbox aircraft display :D).

A vertical styrene tube was used to mount the pod under the Valkyrie, and it is at the same time an adapter for my standard wire display, so that the VR-1D can be presented in flight, with the landing gear tucked up.

  

Painting and markings:

The paint scheme is based on the rather unique (if not surreal, but effective!) low-level camouflage carried by some of the JASDF's RF-4EJs, operated by the 501st Hikotai (beyond a maritime and a Europe One scheme), as well as the F-1. As far as I could find out, the upper tones are FS 34097, 34108 and 30372, and white from below, while the pattern itself is identical to the Phantom II’s USAF SEA scheme.

 

The tones I used are Humbrol 168 (Hemp), a mix of 101 (Mid Green) and a little 76 Uniform Green, for a more bluish hue, and a mix of 108 (WWI Green) with some 252 (RLM 82). Instead of white, I rather used a very light grey (Humbrol 147, FS 36495) for the undersides.

Later, after a black ink washing, these basic colors were lightened through panel post-shading with slightly more pale mixes of these tones.

 

The cockpit was painted in canonical colors, with a medium grey interior, black ejection seats and red brown cushions. The air intakes became dark grey (Revell 77). Since the Valkyrie would be displayed in flight, with the thick and distorting canopy closed, only basic painting was done inside, including the two figures - they just received a basic Macross pilot suit look, but, as a personal twist, the crew received different jumpsuits in red and blue.

 

The markings were mostly taken from the OOB sheet (with full color kite roundels, making this aircraft look even more JASDF-ish, plus some typical stencils), extras are the 501 Hikotai's famous woodpecker emblem from a Hasegawa 1:72 Phantom II kit and the USN style modex. The dielectric fairings on the nose were created with ivory decal sheet, other antenna covers were painted with Humbrol 7. The exhausts/feet were painted with Modelmaster Titanium Metallizer.

Finally, the kit received an overall coat with matt acrylic varnish (Italeri).

  

Another VF-1 for the collection, this time a kind of JASDF tribute build – and a mix between canonical and personal elements. However, an interesting result - the "real" JASDF paint scheme looks a little odd, but somehow the camouflage suits the VF-1 well?

 

Developed using darktable 3.0.0

Developing my 35mm film

The Sukhoi Su-25 (NATO reporting name: Frogfoot) is a single-seat, twin-engine jet aircraft developed in the Soviet Union by the Sukhoi Design Bureau. It was designed to provide close air support for the Soviet Ground Forces. The first prototype made its maiden flight on 22 February 1975. After testing, the aircraft went into series production in 1978 at Tbilisi in the Soviet Republic of Georgia. Russian air and ground forces nicknamed it "Grach" ("Rook").

 

Early variants included the Su-25UB two-seat trainer, the Su-25BM for target-towing, and the Su-25K for export customers. Upgraded variants developed by Sukhoi include the Su-25T and the further improved Su-25TM (also known as Su-39). By year 2007, the Su-25 is the only armoured airplane still in production except the Su-34 whose production just started. It is currently in service with Russia and various other CIS states as well as export customers.

 

During its more than twenty-five years in service, the Su-25 has seen combat with several air forces. It was heavily involved in the Soviet war in Afghanistan, flying counter-insurgency missions against the Mujahideen. The Iraqi Air Force employed Su-25s against Iran during the 1980–89 Iran–Iraq War. Most of them were later destroyed or fled to Iran in the 1991 Persian Gulf War. In 1993, Abkhazian separatists used Su-25s against Georgians during the Abkhazian War. Eight years later, the Macedonian Air Force employed Su-25s against Albanian insurgents in the 2001 Macedonia conflict, and in 2008, Georgia and Russia reportedly used Su-25s in the South Ossetian conflict.

 

In early 1968, the Soviet Ministry of Defence decided to develop a specialised shturmovik armoured assault aircraft in order to provide close air support for the Soviet Ground Forces. The idea of creating a ground-support aircraft came about after analysing the experience of shturmovaya (attack) aviation during World War II, and in local wars during the 1950s and 1960s.[4] The Soviet fighter-bombers in service or under development at this time (Su-7, Su-17, MiG-21 and MiG-23) did not meet the requirements for close air support of the army.[4] They lacked essential armour plating to protect the pilot and vital equipment from ground fire and missile hits, and their high flight speeds made it difficult for the pilot to maintain visual contact with a target. Having taken into account these problems, Pavel Sukhoi and a group of leading specialists in the Sukhoi Design Bureau started preliminary design work in a comparatively short period of time, with the assistance of leading institutes of the Ministry of the Aviation Industry and the Ministry of Defence

 

In March 1969, a competition was announced by the Soviet Air Force that called for designs for a new battlefield close-support aircraft. Participants in the competition were the Sukhoi Design Bureau and the Design Bureaus of Yakovlev, Ilyushin and Mikoyan. Sukhoi finalised its "T-8" design in late 1968, and began in work on the first two prototypes (T8-1 and T8-2) in January 1972. The T8-1, the first airframe to be assembled, was completed just before a major national holiday on 9 May 1974. However, it did not make its first flight until 22 February 1975, after a long series of test flights by Vladimir Ilyushin. The Su-25 surpassed its main competitor in the Soviet Air Force competition, the Ilyushin Il-102, and series production was announced by the Ministry of Defence.

 

During flight-testing phases of the T8-1 and T8-2 prototypes' development, the Sukhoi Design Bureau's management proposed that the series production of the Su-25 should start at Factory No. 31 in Tbilisi, Soviet Republic of Georgia, which at that time was the major manufacturing base for the MiG-21UM "Mongol-B" trainer. After negotiations and completion of all stages of the state trials, the Soviet Ministry of Aircraft Production authorised manufacture of the Su-25 at Tbilisi, allowing series production to start in 1978.

 

In the late 1980s and early 1990s, several Su-25 variants appeared, including modernised versions, and variants for specialised roles. The most significant designs were the Su-25UB dual-seat trainer, the Su-25BM target-towing variant, and the Su-25T for antitank missions. In addition, an Su-25KM prototype was developed by Georgia in co-operation with Israeli company Elbit Systems in 2001, but so far this variant has not achieved much commercial success. The Su-25 is the only armoured airplane still in production in 2007.

 

The Russian Air Force operates the largest number of Su-25s, and has plans to upgrade older aircraft to the Su-25SM variant. However, this process has been slowed due to a funding shortfall, by early 2007 only seven aircraft had been modified.

 

General characteristics

 

* Crew: one pilot

* Length: 15.33 m (50 ft 11)

* Wingspan: 14.36 m (47 ft 1 in)

* Height: 4.80 m (15 ft 9 in)

* Wing area: 30.1 m² (324 ft²)

* Empty weight: 10,740 kg (23,677 lb)

* Loaded weight: 16,990 kg (37,456 lb)

* Max takeoff weight: 20,500 kg (45,194 lb)

* Powerplant: 2× Tumansky R-195 turbojets, 44.18 kN (9,480 lbf) each

 

Performance

 

* Maximum speed: 950 km/h (590 mph, Mach 0.82)

* Combat radius: 375 km (235 mi)

* Ferry range: 2,500 km (1,553 mi)

* Service ceiling: 10,000 m (22,200 ft)

* Rate of climb: 58 m/s (11,400 ft/min)

* Wing loading: 584 kg/m² (119 lb/ft²)

* Thrust/weight: 0.51

 

Armament

 

* 1 × GSh-30-2 30mm cannon with 250 rounds

* 11 hardpoints for up to 4,400 kg (9,700 lb) of disposable ordnance, including rails for 2 × R-60 (AA-8 'Aphid') or other air-to-air missiles for self-defence and a wide variety of general-purpose bombs, cluster bombs, gun pods, rocket pods, laser-guided bombs, and air-to-surface missiles such as the Kh-25ML or Kh-29L

 

Sony Alpha 7 / Kowa 75mm f1 radiography lens (freelensing) / Copy on a not-really-that-dense cartuline emulsionated with homebrew cyanotypy goo

      

Leica M2

35 2.8 Summaron

Kodak Tri X 400

Self Developed: Kodak Microdol-X

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The Arsenal (de l'Aéronautique) VB 31 was a French naval fighter aircraft developed shortly after World War II. In January 1947 Arsenal were given a contract to develop a powerful naval fighter for the four French aircraft carriers. Since the modernization of the Aéronavale was pressing, the aircraft had to be developed fast. In order to cut time, the initial concept, the VB 30, was based on the unrealized German Messerschmitt Me 155 project.

 

The Me 155 naval fighter had been a naval development of the Messerschmitt Bf 109G, intended for the German aircraft carrier Graf Zeppelin, which never saw the light of day. When it was clear that the Me 155 was a dead end, the basic design was developed further into a high altitude interceptor and the project handed over to Blohm & Voss. The resulting, highly modified Bv 155 saw the prototype stage in the late years of WWII, but was never put into service. Years later, though, the Me 155 should surface again: Evolved by Ingenieur-General Vernisse and M. Badie, the VB 30 did not only use many design features of the original Me 155 design, it also heavily drew on the indigenous VB 10 heavy fighter which had been previously under development since WWII.

 

The VB 30 was more compact than the VB 10, though, even though it had similar proportions. IIt was an all-metal single-seat fighter with a low-wing monoplane, a retractable tailwheel undercarriage and of largely orthodox configuration. The wings had an inverted gull wing shape, in order to shorten the main undercarriage as much as possible, and were foldable. The landing gear retracted inwards, and the tail wheel was retractable, too.

 

The VB 30's layout resembled much the smaller North American Mustang. The aircraft was powered by a powerful Arsenal 24 H engine which was theoretically capable of 3.400hp – itself a development based on the cylinder blocks of the German Junkers IV12 213 engine. A huge radiator bath for the liquid-cooled engine was located under the fuselage, at the wings’ trailing edge.

 

The aircraft was heavily armed, with a newly developed, compact 30mm cannon (which would eventually become the famous DEFA cannon), firing through the propeller axis, plus four HS-404 20mm cannons or six 12.7mm machine guns in the wings, outside of the propeller arc. Various ordnance loads, including bombs of up to 500 kg caliber, drop tanks or unguided missiles, could be carried under the fuselage and outer wings.

 

Unlike the huge, tandem-engined VB 10, the VB 30 was (relatively) more successful, but its career started under misfortunate stars: Just one month after the VB 10 contract was cancelled, the prototype VB 30-01 made its maiden flight on 8th of December 1948. Overall, the aircraft behaved well, but its low speed handling was hampered by the immense torque of the Arsenal 24 H engine and the huge, four-bladed propeller. This problem was eventually countered with an enlarged fin, which earned the type its nickname "Requin" (Shark).

With this and many other detail modifications the aircraft was now called VB 31and cleared for series production, even though it was already apparent that the future of the fighter lay with jet power. A second prototype, the VB 30-02, had been started, but its assembly lagged so much behind that it was eventually finished as the first serial VB 31. Anyway, the development of the VB 31 continued as a safety net for France's nascent jet fighter programs, since it was not clear when pure jets would eventually offer the appropriate performance for carrier use, and when they'd be ready for service.

 

The VB 31’s development saw several drawbacks, including constant problems with the complicated, liquid-cooled engine, the radiator system and the landing gear. Serial production and service introduction of the VB 31 started slowly and was delayed until January 1951 – by which the French Air Force already had to rely on surplus British and American fighters to tide it over until domestically-produced jet fighters appeared. Time was already working against the VB 31.

 

Additionally, with the brooding Indochina War since August 1945, the need for a maritime fighter and fighter-bomber became so dire that the Aéronavale had to order the WWII Vought F4U-7 to fill this specific gap and replace several obsolete types. The XF4U-7 prototype did its test flight on 2 July 1952 with a total of 94 F4U-7s built for the French Navy's Aéronavale (79 in 1952, 15 in 1953), with the last of the batch, the final Corsair built, rolled out on 31 January 1953. With this proven (and cheaper) alternative, only a single batch of 40 VB 31 aircraft (instead of the planned 200!) was eventually built and put into service.

 

The VB 31 just came in time for the First Indochina War between France’s French Far East Expeditionary Corps and Emperor Báo Dai’s Vietnamese National Army against the Viet Minh, Led by Ho Chi Minh and Vo Nguyen Giap. During this conflict, the French used many different pre Cold War aircraft of World War Two, as well as the new types.The VB 31 were distrubuted between Flotille 3F and 12F, where they replayced Curtiss SB2C Helldivers and Grumman F6F-3 Hellcats, respectively. Flotille 12F pilots arrived in Asia on board of the aircraft carrier 'Arromanches' in early 1952, equipped with both VB 31 and F4U-7 fighters. Both types were deployed from the carrier and also served from Haiphong for CAS and escort duties in the Tonkin area.

 

The operational era of the VB 31 did not last long, though. The type was powerful, but complicated. The VB 31 also needed much more maintenance than the sturdy Corsair, which could also take more damage and had a considerable larger range. Hence, already in June 1953, all VB 31 were returned to Europe and based at Hyères, where they replaced obsolete F6F-5 Hellcats and were mainly used for training purposes. In the early sixties, with naval jet fighters finally available, the VB 31 were quickly withdrawn and scrapped, being replaced by Sud-Ouest SO-203 'Aquilon' (license-built D.H. Sea Venom) and Dassault Etendard IVM.

  

General characteristics:

Crew: one, pilot

Length: 11.63 m (38 ft 8 in)

Wingspan: 13.07 m (43 ft 6 in)

Height (peopeller at max. elevation): 4,9 m (16 ft 1 in)

 

Powerplant:

1 × Arsenal 24 H, 2.260 kW (3.000 hp), driving a four-bladed propeller

 

Performance:

Maximum speed: 665 km/h (413 mph)

Range: 1.191 km (740 miles)

Service ceiling: 11.125 m (37.100 ft)

Rate of climb: 10.2 m/s (2008 ft/min)

 

Armament:

1× 30 mm cannon with 100 RPG, firing through the propeller axis

4× 20 mm HS-404 cannons with 200 RPG or 6×12,7mm machine guns with 250 RPG in the outer wings

1.500kg (3.300 lbs.) of external ordnance, including bombs of of to 454kg (1.000 lbs) calibre, drop tanks or up to eight unguided missiles under the outer wings.

  

The Kit and its assembly:

I wonder if you recognize the basis for this fantasy airplane? It's actually a modified Bv 155 kit from ART Model/Special Hobby from Russia (Both kits are identical; the ART Model contains an injected clear canopy while the Special Hobby kit offers two vacu canopies, though).

 

Inspiration struck when I read about the huge VB 10, which has, in its profile view, much resemblance to the Bv 155 - and the latter actually has some naval-friendly features, e .g .the raised cockpit, placed pretty far forward at the wings' leading edge, or the massive landing gear. Since France used some German aircraft after WWII (e.g. Fw 190 for the Air Force and Ju 188 for the Navy), why not create a naval fighter from the Me 155/Bv 155 concept? Well, here it is... the Arsenal VB 31.

 

For this fantasy conversion, the Bv 155 kit saw major modifications, e. g.:

● The wing span was reduced - from each wing, 4.2cm/1.65" were taken away

● The wings received a new inverted gull wing shape, the cuts came handy

● Outer wings were clipped by 10mm/0,4" each

● Original wing tips were transplanted and re-sculpted to fit

● The rear fuselage was shortened by about 1.3cm/0.5"

● A carburetor intake was added under the nose (from a Hawker Hurricane)

● New horizontal stabilizers from a Grumman Panther (Matchbox)

● Lower position of the horizontal stabilizers

● New landing gear wells had to be cut out, a simple interior was scratch-built

● The landing gear retracts now inwards, original struts and covers were slightly shortened

● New main wheels from a Douglas Skyknight (Matchbox) were used

● New tail wheel (front wheel of a Revell F-16, I guess)

● Modified tail section with an arrestor hook

● The original, extensive exhaust piping between the engine and the turbo charger had to go

● New exhausts at the nose were added (scratch, HO scale roof tiles)

● New propeller from a Matchbox Hawker Tempest was mated with the original spinner

● Cockpit was taken OOB, but a different seat, a pilot and a radio in the rear were added

● Some panel lines had to be re-engraved, due to putty work and/or logical reasons

● Missile hardpoints under the wings come from an F4U

● Antennae were added, accoring to French F4U-7 pictures

 

There actually was no big plan - I had an idea of what to make from the kit, but modifications came step by step, as the parts fell together and looked or looked not right.

 

The 24 cylinder Arsenal 24 H engine was really under development in France, so it was a neat choice for such a relatively large aircraft. The huge turbocharger bath under the fuselage of the Bv 155 could easily be taken as a radiator bath for the large, liquid-cooled engine, so that no additional adaptations had to be made.

Overall, I wanted to save the elegant lines of the Bv 155. With the reduced wing span the aircraft looks even elegant, IMHO. All in all, and with its slender, inverted gull wings, the VB 31 somehow reminds of the Ju 87 and the later paper Ju 187 development. There's also something IL-2ish to it?

 

A side note concerning the kit itself: it has nice engraved details and some fine resin parts for the cockpit or the radiators. But wall strength is high (up to 2mm!), the material is somewhat soft and waxy, and fit is mediocre, so expect serious putty work. Not a bad kit, but something for the experienced modeler. Things surely were worse here, since my modifications to wings and fuselage called for even more sculpting.

  

Painting and markings:

It took some time to settle on a French naval aircraft, since I already have an all dark-blue whif in my collection (the whiffy F1J Sea Mustang). But I had some appropriate decals at hand, and the time frame as well as the potential user offered a good and plausible story behind the VB 31 in Aéronaval service.

 

Overall, the aircraft was painted in Blue Angels Blue (FS 15050, Testors 1718) and weathered with slightly lighter shades of blue and grey, for a sun-bleached look and in order to emphasize the panel lines. One can argue about this tone: many Aéronavale aircraft look much darker, rather like FS 15042, but I have seen pictures of such bright aircraft - I'd assume that the color standard was not very strict, as long as the aircraft was "dark blue"?

After basic painting the VB 31 looked very bright, so I did some major dry painting with darker/duller shades like Humbrol 67, 77 and 104 to tame things down, and the result is O.K. now.

 

The interior surfaces were painted in Mid Stone and dry-painted with Chromate Yellow (Humbrol 225 and 81). AFAIK, this is the typical interior finish for Aéronavel aircraft of that time, and it is a nice contrast to the dark and uniform outside.

 

Most markings come from an F4U-7 decal sheet, some things like the tail rudder Tricolore had to be improvised (comes from a 30 year old Airfix Bristol Blenheim decal sheet!).

 

Beyond the dry-painted blue and grey hues on the upper surfaces, the model was slightly weathered with exhaust and soot stains and some dry-painted silver on the leading edges. This makes the all-blue aircraft look a bit more lively and is IMHO authentic for Aéronavale fighters of the 50ies, esp. under the harsh climate of South East Asia.

 

Finally, everything was sealed under a semi-matt varnish (Tamiya Acryllics, rattle can), and some additional matt varnish was applied on the upper surfaces, also for a dull and sun-bleached look.

  

The kit was built in a week from sprues to pictures, overall a sleek and elegant aircraft with plausible lines - an hommage to the many elegant and innovative aircraft which were developed in France in WWII and later but which are easily overlooked today!

Pentax ME Super

SMC 28mm 2.8

Ilford HP5+

Developed in Perceptol

GOVERNOR TOMBLIN PRESENTS $9.3 MILLION IN GRANTS

 

TO LOCAL GROUPS, COMMUNITY JUSTICE PROGRAMS

   

CHARLESTON, W.Va. (September 9, 2016) – Gov. Earl Ray Tomblin today presented more than $9.3 million in grant funding to community support groups and justice programs across the state. This funding will be used to develop new programming and enhance existing initiatives to support West Virginia’s communities and state justice system.

   

“With this needed funding, community programs from all corners of our state will be better equipped to serve children and families and further strengthen West Virginia’s justice system.” Gov. Tomblin said. “We are expanding direct services to victims of crime, putting programs in place to help at-risk youth get back on track and preparing parents with the life skills they need to foster a healthy, nurturing environment to raise their families.”

   

The total grant funding was allocated as follows:

   

$7,023,255 in Victims of Crime Act/Victim Assistance Grants - 75 grantees;

$529, 254 in Justice Reinvestment Treatment Supervision Grants - 4 grantees;

$1,203,175 in Justice Assistance Grants - 34 grantees;

$543,222 in Juvenile Justice & Delinquency Grants - 18 grantees.

  

Victims of Crime Act/Victim Assistance Grants:

BARBOUR

Barbour County Commission $38,936.00

These funds will provide for the salary of a full-time Victim Assistance Coordinator in the Barbour County Prosecuting Attorney's Office to provide direct services to crime victims in Barbour County.

BERKELEY, JEFFERSON, MORGAN

Children's Home Society of West Virginia $35,576.00

These funds will provide for the salary of a full-time Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in Jefferson, Berkeley, and Morgan Counties.

BROOKE, HANCOCK

A Child's Place CASA, Ltd. $25,090.00

These funds will provide for a portion of the salaries of a part-time CASA Volunteer Coordinator and Program Director to provide direct services to victims of child abuse and neglect in Brooke and Hancock Counties.

CABELL

Cabell County Commission $129,895.00

These funds will provide for the salaries of three full-time Victim Advocates and two part-time Victim Advocates in the Cabell County Prosecuting Attorney's Office to provide direct services to crime victims in Cabell County.

CABELL, WAYNE, KANAWHA, PUTNAM

TEAM for West Virginia Children, Inc. $192,075.00

These funds will provide for a portion of the salaries of a full-time CASA Coordinator for Cabell County, a

Cabell/Wayne CASA Volunteer Coordinator, a Kanawha/Boone/Lincoln Volunteer Coordinator and a

Putnam/Cabell Volunteer Coordinator to provide direct services to child abuse and neglect victims in Cabell, Wayne, Putnam and Kanawha Counties.

CABELL, WAYNE, LINCOLN

Family Service a Division of Goodwill, Inc. $61,748.00

These funds will provide for a portion of the salaries of three part-time Victim Therapists to provide direct services to victims of domestic violence, sexual assault, and child abuse in Cabell, Lincoln, and Wayne Counties.

CABELL, WAYNE, LINCOLN

CONTACT Huntington Inc. $143,338.00

These funds will provide for the salary of a full-time Wayne & Lincoln County Advocate, Campus Victim Advocate, and Community Victim Advocate, and for a part-time Victim Advocate to provide direct services to victims of sexual assault in Cabell, Wayne, and Lincoln.

CABELL, WAYNE, PUTNAM, LINCOLN, MASON

Branches Domestic Violence Shelter, Inc. $292,641.00

These funds will provide for a portion of the salaries of a full-time Social Worker, a Mason County Advocate, a

Putnam County Advocate, a Lincoln County Advocate, Wayne County Advocate, Evening Advocate, Case Manager, and part-time Putnam County Advocate to provide direct services to domestic violence victims in Cabell, Lincoln, Putnam, Wayne, and Mason Counties.

GREENBRIER

Greenbrier County Commission $54,685.00

These funds will provide for the salary of a full-time Victim Services Coordinator in the Greenbrier County Prosecuting Attorney's Office to provide direct services to crime victims in Greenbrier County.

GREENBRIER, MONROE, POCAHONTAS

Child and Youth Advocacy Center $88,469.00

These funds will provide for the salary of a full-time Family Advocate and full-time Forensic Interviewer, and a portion of the salaries of a full-time Therapist and Program Director to provide direct services to child abuse victims and adult survivors of child sexual abuse in Greenbrier, Pocahontas, and Monroe Counties.

GREENBRIER, MONROE, POCAHONTAS

Family Refuge Center $168,120.00

These funds will provide for a portion of the salaries of the full-time Lead Shelter Advocate, a Daytime Shelter

Advocate, Overnight Shelter Advocate, Monroe County Advocate, Pocahontas County Advocate, and part-time Weekend Shelter Advocate, and Victim Advocate to provide direct services to victims of domestic violence and sexual assault in Greenbrier, Monroe, and Pocahontas Counties.

GREENBRIER, POCAHONTAS

CASA of the Eleventh Judicial Circuit, Inc. $42,424.00

These funds will provide for a portion of the part-time salary of a Volunteer Coordinator and full-time Program Director to provide direct services to victims of child abuse in Greenbrier and Pocahontas Counties.

HANCOCK, BROOKE

CHANGE, Inc. $54,285.00

These funds will provide for the salary of a full-time Victim Advocate and part-time Victim Advocate to provide direct services to victims of domestic violence in Brooke and Hancock Counties.

HANCOCK, BROOKE, OHIO

Hancock County Commission $125,979.00

These funds will provide for the full-time salaries of a Hancock County Advocate, a Brooke County Advocate, and a portion of the salary of a full-time Ohio County Advocate to provide direct services to crime victims in Brooke, Hancock, and Ohio Counties.

HARRISON

Harrison County CASA Program, Inc. $42,907.00

These funds will provide for a portion of the salaries of a full-time Volunteer Coordinator and the Program Director to provide direct services to victims of child abuse and neglect in Harrison County.

HARRISON, DODDRIDGE

Harrison County Child Advocacy Center $40,991.00

These funds will provide for the salary of a full-time Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in Harrison County.

JACKSON

Jackson County Commission $35,000.00

These funds will provide for the salary of a full-time Victim Advocate in the Jackson County Sheriff's Office to provide direct services to crime victims in Jackson County.

JACKSON, ROANE, CALHOUN

CASA of the Fifth Judicial Circuit, Inc. $46,101.00

These funds will provide for a portion of the salary of the Program Director and two Volunteer Coordinators to provide direct services to child abuse and neglect victims in Jackson, Roane, and Calhoun Counties.

JEFFERSON

Jefferson County Commission $67,104.00

These funds will provide for a portion of the salaries of two full-time Victim Advocates in the Jefferson County Prosecuting Attorney's Office to provide direct services to crime victims in Jefferson County.

JEFFERSON, BERKELEY, MORGAN

Shenandoah Women's Center, Inc. $355,035.00

These funds will provide for the salaries of a full-time Jefferson County Outreach Advocate, and two Shelter

Advocates, and a portion of the salaries for a full-time Morgan County Outreach Advocate, a Jefferson County Outreach Advocate, two Berkeley County Outreach Advocates, Evening and Weekend Shelter Advocate positions, and two part-time Counselors to provide direct services to child victims, victims of domestic violence, and sexual assault in Berkeley, Jefferson, and Morgan Counties.

CASA of the Eastern Panhandle, Inc. $103,218.00

These funds will provide for the salary of a Senior Volunteer Coordinator, two Volunteer Coordinators, and a part-time Volunteer Coordinator to provide direct services to victims of child abuse and neglect in Berkeley, Jefferson, and Morgan Counties.

KANAWHA

City of Charleston $36,600.00

These funds will provide for a portion of the salary of a full-time Victim Services Coordinator in the Charleston Police Department to provide direct services to crime victims in the City of Charleston.

CAMC Health Education & Research Institute $105,966.00

These funds will provide for the salary of a full-time Family Advocate and a portion of the salary of a full-time Social Worker/Forensic Interviewer to provide direct services to child abuse victims and adult survivors of child sexual abuse in Kanawha County.

Kanawha County Commission $67,360.00

These funds will provide for the salary of two full-time Victim Advocates and portion of the salary of a full-time Victim Advocate in the Prosecuting Attorney's Office to provide direct services to crime victims in Kanawha County.

Kanawha County Commission $83,353.00

These funds will provide for the salaries of two full-time Victim Advocates in the Kanawha County Sheriff's Department to provide direct services to crime victims in Kanawha County.

KANAWHA, CLAY, BOONE

YWCA of Charleston, WV, Inc. $184,189.00

These funds will provide for the salaries of a full-time Racial Justice/Court Advocate, a Boone County

Coordinator, a part-time Clay County Coordinator and a portion of the salaries for three full-time Court Advocate positions, Youth Services Coordinator, and a Contracted Counselor to provide direct services to domestic violence victims in Kanawha, Clay, and Boone Counties.

KANAWHA, PUTNAM, JACKSON, BOONE

Family Counseling Connection $208,311.00

These funds will provide for a portion of the salaries of a full-time REACH Director, three REACH Sexual Violence Victim Specialist, a Victim Support Specialist, and seven Victim Therapist positions and a portion of two Sexual Violence Victim Specialists to provide direct services to victims of sexual violence, child abuse, and domestic violence in Kanawha, Boone, Jackson, and Putnam Counties.

LEWIS

Lewis County Commission $38,942.00

These funds will provide for a portion of the salary of a full-time Victim Advocate in the Lewis County Prosecutor's Office to provide direct services to crime victims in Lewis County.

LOGAN

Logan County Commission $48,498.00

These funds will provide for the salaries of a full-time and a part-time Victim Advocate in the Logan County Prosecuting Attorney's Office to provide direct services to crime victims in Logan County.

Logan County Commission $36,500.00

These funds will provide for the salary of a full-time Victim Services Coordinator in the Logan County Sheriff's Department to provide direct services to crime victims in Logan County.

LOGAN, MINGO

The Logan County Child Advocacy Center, Inc. $46,748.00

These funds will provide for a portion of the salary of a part-time Mingo County Advocate and Child & Youth Forensic Interviewer and for a portion of the salary for a full-time Logan County Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in Logan and Mingo Counties.

MARION

CASA of Marion County $46,069.00

These funds will provide for a portion of the salary of the salaries for a Program Director and Volunteer Coordinator to provide direct services to victims of child abuse and neglect in Marion County.

Marion County Commission $45,278.00

These funds will provide for the salary of a full-time Victim Assistance Coordinator in the Marion County Prosecuting Attorney's Office to provide direct services to crime victims in Marion County.

MARION, DODDRIDGE, GILMER, HARRISON, LEWIS

Task Force on Domestic Violence, "HOPE, Inc." $338,084.00

These funds will provide for a portion of the salaries of a full-time Family Therapist, Marion County Case

Manager, Children's Case Manager, Lewis County Case Manager, Harrison County Case Manager, Harrison

County Case Manager/Outreach Coordinator, Gilmer County Case Manager, Marion County Victim Advocate, Harrison County Victim Advocate, Doddridge County Case Manager, and Family Therapist and a portion of the salary for a part-time Marion County Case Manager to provide direct services to victims of domestic violence, sexual assault, and child victims in Doddridge, Gilmer, Harrison, Lewis, and Marion Counties.

MARSHALL, WETZEL, TYLER, OHIO

CASA for Children Inc. $58,805.00

These funds will provide for a portion of the salary of the Program Director, a Ohio County Volunteer Coordinator, and a Volunteer Coordinator in the 2nd Circuit to provide direct services to child abuse and neglect victims in Ohio, Marshall, Tyler, and Wetzel Counties.

MASON

Mason County Commission $29,830.00

These funds will provide for the salary of a full-time Victim Advocate in the Mason County Prosecuting Attorney's Office to provide direct services to crime victims in Mason County.

MCDOWELL

Stop the Hurt, Inc., Children's Advocacy Center $34,436.00

These funds will provide for the salary of a full-time Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in McDowell County.

MCDOWELL, MERCER, WYOMING

Stop Abusive Family Environments, Inc. $257,416.00

These funds will provide for a portion of the salaries of a full-time McDowell County Advocate, a part-time

Wyoming County Victim Advocate, Resident Program Coordinator, Advocate Coordinator, Night Shelter Advocate, Evening Shelter Advocate, Weekend Shelter Advocate, Case Worker, Administrator, and for the salaries of two full-time Mercer County Advocates and Wyoming County Advocate to provide direct services to victims of domestic violence, sexual assault, and child victims in McDowell, Mercer, and Wyoming Counties.

MERCER

Child Protect of Mercer County, Inc. $70,220.00

These funds will provide for the salary of a full-time Family Advocate, part-time Forensic Interviewer and a portion of a Contract Therapist to provide direct services to child abuse victims and adult survivors of child sexual abuse in Mercer County.

MERCER, MCDOWELL

ChildLaw Services, Inc. $16,000.00

These funds will provide for a portion of the salary of a part-time Victim Advocate/Counselor to provide direct services to child victims of abuse and neglect and children who witness domestic violence in Mercer and McDowell Counties.

MINERAL

Mineral County Court Appointed Special Advocates $49,686.00

These funds will provide for a portion of the salary of the Program Director and for the salary of a full-time Volunteer Coordinator to provide direct services to victims of child abuse and neglect in Mineral County.

MINERAL, GRANT, HAMPSHIRE

Family Crisis Center, Inc. $55,000.00

These funds will provide for a portion of the salaries of a full-time Grant County Victim Advocate, a Mineral County Advocate, and a part-time Hampshire County Victim Advocate to provide direct services to victims of domestic violence in Mineral, Grant, and Hampshire Counties.

MINERAL, HAMPSHIRE, PENDLETON

Burlington United Methodist Family Services, Inc. $20,982.00

These funds will provide for a portion of the salary of a full-time Forensic Interviewer to provide direct services to child abuse victims and adult survivors of child sexual abuse in Hampshire, Mineral, and Pendleton Counties.

MINGO

Mingo County Commission $22,100.00

These funds will provide for the salary of a full-time Victim Assistance Coordinator in the Mingo County Prosecuting Attorney's Office to provide direct services to crime victims in Mingo County.

MINGO, LOGAN

Tug Valley Recovery Shelter $89,434.00

These funds will provide for the salaries of a full-time Logan/Mingo County Victim Advocate, a part-time Court Advocate, a full-time Logan County Advocate and a part-time Mingo County Advocate to provide direct services to victims of domestic violence, sexual assault, and child victims in Mingo and Logan Counties.

MONONGALIA

Monongalia County Commission $78,544.00

These funds will provide for a portion of the salaries of a full-time and two part-time Victim Assistance Coordinators in the Monongalia County Prosecuting Attorney's Office to provide direct services to crime victims in Monongalia County.

Monongalia County Child Advocacy Center, Inc. $17,302.00

These funds will provide for a portion of the salary of a full-time Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in Monongalia County.

MONONGALIA, PRESTON

Monongalia County Youth Services Center / CASA for Kids $42,649.00

These funds will provide for a portion of the salaries of a full-time Preston County Volunteer Coordinator, a full-time Monongalia County Volunteer Coordinator, and a portion of the salary for the Program Director to provide direct services to victims of child abuse and neglect in Preston and Monongalia Counties.

MONONGALIA, PRESTON, TAYLOR

The Rape & Domestic Violence Information Center, Inc. $177,082.00

These funds will provide for the salaries of a full-time Monongalia County Victim Advocate, Case Manager,

Taylor County Victim Advocate and for a portion of the salary for a full-time Outreach Advocate for Monongalia, Preston, and Taylor Counties to provide direct services to victims of domestic violence, sexual assault, and child abuse in Monongalia, Preston, and Taylor Counties.

OHIO

Ohio County Commission $35,242.00

These funds will provide for a portion of the salary of a full-time Victim Assistance Coordinator in the Ohio County Prosecuting Attorney's Office to provide direct services to crime victims in Ohio County.

OHIO, BROOKE, HANCOCK, MARSHALL, WETZEL

Upper Ohio Valley Sexual Assault Help Center $161,670.00

These funds will provide for the salaries of a full-time Adult Victim Advocate and a Child Victim Advocate, and the part-time salaries of three Victim Advocates and a licensed Counselor/Therapist to provide direct services to adult and child victims of sexual assault in Hancock, Brooke, Ohio, Marshall, and Wetzel Counties.

OHIO, MARSHALL

Harmony House, Inc. $46,323.00

These funds will provide for the salary of a full-time Child and Family Advocate and a portion of the salary of a Child and Family Therapist to provide direct services to child abuse victims and adult survivors of child sexual abuse in Ohio and Marshall Counties.

OHIO, MARSHALL, WETZEL

Young Womens Christian Associaton of Wheeling, WV $153,405.00

These funds will provide for the salaries of a full-time Child Advocate, Ohio County Advocate, Marshall County Advocate, and Wetzel County Advocate, a part-time Employment Advocate, and a portion of the salaries of a

full-time Shelter Advocate and Wetzel County Advocate to provide direct services to victims of domestic violence, sexual assault, and child victims in Ohio, Marshall, and Wetzel Counties.

PRESTON

Preston County Commission $35,125.00

These funds will provide for a portion of the salary of a full-time Victim Advocate in the Preston County Prosecuting Attorney's Office to provide direct services to crime victims in Preston County.

PUTNAM

Putnam County Commission $34,000.00

These funds will provide for the salary of a full-time Victim Advocate in the Putnam County Sheriff's Office to provide direct services to crime victims in Putnam County.

Putnam County Commission $48,784.00

These funds will provide for a portion of the salary for a full-time Victim Liaison and provide for the salary of a part-time Victim Liaison in the Putnam County Prosecuting Attorney's Office to provide direct services to crime victims in Putnam County.

RALEIGH, FAYETTE, NICHOLAS, SUMMERS

Comprehensive Women's Service Council, Inc. $432,866.00

These funds will provide for the salaries of a full-time Summers County Advocate, Nicholas County Advocate, Raleigh County Advocate in the Beckley Police Department, and Raleigh County Shelter Advocate and for a

portion of the salaries for a full-time Evening Shelter Advocate, Weekend Shelter Advocate, Night Shelter

Advocate, Day Shelter Advocate, and for a portion of the salaries of a part-time Underserved Populations

Advocate, Raleigh County Victim Services Advocate, Fayette County Advocate, Nicholas County Advocate, and

Weekend Shelter Advocate, and for a portion of two Contractual Adult and Child Therapist to provide direct services to victims of domestic violence, sexual assault, and child abuse in Raleigh, Fayette, Nicholas, and Summers Counties.

RALEIGH, FAYETTE, WYOMING

Just For Kids Child Advocacy Center $76,250.00

These funds will provide for a portion of the salary of a full-time Family Advocate, Forensic Interviewer, and Counselor to provide direct services to child abuse victims and adult survivors of child sexual abuse in Fayette, Raleigh, and Wyoming Counties.

RANDOLPH

Randolph County Commission $40,436.00

These funds will provide for a portion of the salary of a full-time Victim Services Coordinator in the Randolph County Prosecuting Attorney's Office to provide services to crime victims in Randolph County.

RANDOLPH, TUCKER

Randolph-Tucker Children's Advocacy Center $65,222.00

These funds will provide for a portion of the salaries of a full-time Family Advocate and part-time Forensic Interviewer and for the salary of a part-time Tucker County Child and Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in Randolph and Tucker Counties.

RANDOLPH, UPSHUR, TUCKER, BRAXTON, WEBSTER, BARBOUR

Women's Aid in Crisis $396,775.00

These funds will provide for a portion of the salaries for a full-time Barbour County Outreach Coordinator,

Braxton County Outreach Coordinator, Tucker County Outreach Coordinator, Upshur County Outreach

Coordinator, Webster County Outreach Coordinator, Randolph County Legal Advocate, Randolph County Victim Advocate, and two Shelter Managers and a Contracted Counselor to provide direct services to victims of domestic violence, child victims, and sexual assault victims in Randolph, Barbour, Tucker, Upshur, Webster, and Braxton Counties.

ROANE

Roane County Commission $22,068.00

These funds will provide for the salary of a full-time Victim Advocate in the Roane County Prosecuting Attorney's office to provide direct services to crime victims in Roane County.

SUMMERS

REACHH-Family Resource Center $15,715.00

These funds will provide for the salary of a part-time Family Advocate and Forensic Interviewer to provide direct services to child abuse victims and adult survivors of child sexual abuse in Summers County.

TYLER

Tyler County Commission $37,920.00

These funds will provide for the salary of a full-time Victim Advocate in the Tyler County Prosecuting Attorney's Office to provide direct services to crime victims in Tyler County.

UPSHUR

Upshur County Commission $34,662.00

These funds will provide for a portion of the salary of a full-time Victim Advocate in the Upshur County Prosecuting Attorney's Office to provide direct services to crime victims in Upshur County.

UPSHUR, LEWIS

Mountain CAP of West Virginia, Inc., a CAC $32,574.00

These funds will provide for the salary of a full-time Family Advocate to provide direct services to child abuse victims and adult survivors of child sexual abuse in Upshur and Lewis Counties.

WETZEL

Wetzel County Commission $40,000.00

These funds will provide for the salary of a full-time Victim Advocate in the Wetzel County Prosecuting Attorney's Office to provide direct services to crime victims in Wetzel County.

WOOD

Wood County Commission $83,126.00

These funds will provide for the salaries of two full-time Victim Advocates in the Wood County Prosecuting Attorney's Office to provide direct services to crime victims in Wood County.

WOOD, CALHOUN, JACKSON, LOGAN, WIRT

Harmony Mental Health, Inc. $138,450.00

These funds will provide for the salaries of a full-time Social Worker and Counselor, and Contractual Counseling to provide services to victims of domestic violence, sexual assault, and child abuse in Calhoun, Jackson, Wirt, and Wood Counties.

WOOD, JACKSON, RITCHIE, PLEASANTS, WIRT

Family Crisis Intervention Center $224,087.00

These funds will provide for a portion of the salaries of three part-time Shelter Advocates, three full-tim Shelter

Advocates, Legal Advocate, Sexual Assault Advocate, Ritchie County Advocate, Wirt County Advocate, Pleasants County Advocate, and part-time Jackson County Advocate to provide direct services to victims of domestic violence in Jackson, Ritchie, Wirt, Pleasants, and Wood Counties.

WOOD, WIRT, PLEASANTS, RITCHIE

Voices for Children Foundation - CASA Program $51,939.00

These funds will provide for a portion of the Program Director’s salary to provide direct services to child abuse and neglect victims in Wood, Wirt, Pleasants, and Ritchie Counties.

WYOMING

Wyoming County Commission $30,114.00

These funds will provide for the salary of a full-time Victim Advocate in the Wyoming County Prosecuting Attorney's Office to provide direct services to crime victims in Wyoming County.

STATEWIDE

West Virginia Division of Corrections $81,158.00

These funds will provide for a portion of the salary of a Victim Services Specialist to provide direct services to the crime victims of inmates under the custody of the Division of Corrections.

Legal Aid of West Virginia, Inc. $216,890.00

These funds will provide for the salaries of three full-time Attorneys to provide emergency legal services to victims of crime in West Virginia.

Mothers Against Drunk Driving West Virginia $39,453.00

These funds will provide for a portion of the salary of a full-time statewide Victim Advocate to provide direct services and support to victims of Driving Under the Influence cases throughout the State of West Virginia.

Juvenile Justice & Delinquency Grants:

BARBOUR

Barbour County Commission $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in Philip Barbour High School.

CABELL

City of Barboursville $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in Barboursville Middle School.

DODDRIDGE

Doddridge County Commission $40,000.00

These funds will be utilized to support the Prevention Resource Officer (PRO) positions in Doddridge County High and Dordddridge County Middle Schools.

HARDY

Hardy County Commission $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in East Hardy High School.

HARRISON

Harrison County Commission $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in South Harrison High School.

KANAWHA

HOPE Community Development Corporation $60,000.00

These funds will be utilized to implement the Disproportionate Minority Reduction Cycle in Kanawha County.

Kanawha County Commission $25,000.00

These funds will be utilzed to support the Project INTER-CEPT Program (Interventions Needed To End Recidivism-Critical Entry Point Treatment) in Kanawha County.

Partnership of African American Churches $60,000.00

These funds will be utilized to decrease Disproportionate MinortyContact in Kanawha County by expanding current initiatives between law enforcement, clergy, youth and families, including public defenders and prosecuting attorneys.

LOGAN

Logan County Commission $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in Man High School.

MONONGALIA

Monongalia County Commission $20,000.00

These funds will be utilized to support the VOICES II, a deliquency prevention program that focuses on at-risk and delinquent female teens.

Monongalia County Child Advocacy Center $18,612.00

These funds will be utilized to provide Trauma Focused Cognitive Behavioral Therapy to child vicitims of abuse in Monongalia County.

Monongalia County Commission $60,000.00

These funds will be utilized to support a countywide Disproportionate Minorty Contact Reduction Initiative by utlizing an evidence-based intervention model to prevent at-risk minority youth’s involvement in the criminal justice system.

Morgantown Police Department $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in Mountaineer Middle School.

Mountaineer Boys and Girls Club $45,000.00

These funds will be utilized to implement the Disproportionate Minorty Reduction Cycle in Monongalia County.

MORGAN

Morgan County Commission $20,000.00

These funds will be utilized to support a school and community based program that provides a school-based violence prevention curriculum and a developmental asset program to cultivate youth strengths and self-esteem.

Morgan County Commission $20,000.00

These funds will be utilized to support the position of a Prevention Resource Officer (PRO) in Berkeley Springs High School.

STATEWIDE

West Virginia Child Advocacy Network $23,592.00

These funds will be utilized to assess and improve the data tracking and evaluation on both a statewide and local program level, and assist local Child Advocacy centers with data-informed strategic planning, interrupting the cycle of abuse and preventing adverse lifetime outcomes.

West Virginia Supreme Court of Appeals $31,018.00

These funds will be utilized to provide current juvenile justice probation data to the State of West Virginia, the Federal Government, West Virginia Division of Justice and Community Services, the State Advisory Group and the citizens of West Virginia through the maintenance and daily management of the Juvenile Section of the Offender Case Management System. Funding will also provide analysis and a statewide report on the Juvenile Justice system as well as the collection of juvenile data and analysis to provide the numbers to create the DMC ratio.

Justice Assistance Grants:

BRAXTON

Braxton County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Braxton County High School.

CABELL

Cabell County Commission $69,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

GREENBRIER

Greenbrier County Commission $23,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

HAMPSHIRE

Hampshire County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Hampshire County High School.

HANCOCK

Hancock County Commission $40,000.00

Funds will provide for two Prevention Resource Officers (PRO) at Oak Glen High School and Weir High School.

Hancock County Commission $46,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

HARRISON

City of Bridgeport $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Bridgeport High School.

City of Bridgeport $46,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

City of Clarksburg $20,000.00

Funds will provide for one Prevention Resource Officer (PRO) at Robert C. Byrd High School.

JACKSON

City of Ripley $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Ripley High School.

City of Ravenswood $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Ravenswood High School.

KANAWHA

City of South Charleston $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at South Charleston High School.

City of Charleston $69,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

City of Dunbar $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Dunbar Middle School.

City of Charleston $40,000.00

Funds will provide for two Prevention Resource Officers (PRO) at Capitol High School and Stonewall Jackson Middle School.

LEWIS

Lewis County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Lewis County High School.

LOGAN

Logan County Commission $46,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force and salary for one Prosecutor to work closely with the Drug Task Force.

MARSHALL

Marshall County Commission $23,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

MERCER

City of Bluefield $46,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

MINERAL

Mineral County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Frankfort High School.

MONROE

Monroe County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at James Monroe High School.

OHIO

Ohio County Commission $46,000.00

Funds will provide for officer salaries to continue a multi-jurisdictional drug and violent crime task force.

City of Wheeling $40,000.00

Funds will provide for two Prevention Resource Officers (PRO) at Bridge Street Middle School and Triadelphia Middle School.

PUTNAM

Putnam County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Poca High School.

City of Winfield $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Winfield High School.

City of Nitro $20,000.00

These funds will be utilized to support a Prevention Resource Officer (PRO) at Nitro High School.

RALEIGH

City of Beckley Police Department $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Woodrow Wilson High School.

ROANE

Roane County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Roane County High School.

TAYLOR

City of Grafton $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Grafton High School.

UPSHUR

Upshur County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Buckhannon-Upshur Middle School.

WETZEL

Wetzel County Commission $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Valley High School.

WOOD

City of Vienna $46,000.00

Funds will provide for officer salaries for a multi-jurisdictional drug and violent crime task force.

City of Williamstown $20,000.00

Funds will provide one Prevention Resource Officer (PRO) at Williamstown High School.

STATEWIDE

West Virginia State Police $223,175.00

Funds will provide for officer overtime to continue a multi-jurisdictional drug and violent crime task force.

Justice Reinvestment Treatment Supervision Grants:

BERKELEY, JEFFERSON, MORGAN

Jefferson Day Report Center, Inc. $140,998.00

These funds will be utilized to support the ongoing work through the Justice Reinvestment Treatment Supervision Program.

CABELL

Prestera Center for Mental HealthServices, Inc. $134,514.00

These funds will be utilized to support the ongoing work through the Justice Reinvestment Treatment Supervision Program.

HARRISON

Harrison County Commission $125,000.00

These funds will be utilized to support the ongoing work through the Justice Reinvestment Treatment Supervision Program.

United Summit Center, Inc. $118,753.00

These funds will be utilized to support the ongoing work through the JusticGOVERNOR TOMBLIN PRESENTS $9.3 MILLION IN GRANTS

 

TO LOCAL GROUPS, COMMUNITY JUSTICE PROGRAMS

   

CHARLESTON, W.Va. (September 9, 2016) – Gov. Earl Ray Tomblin today presented more than $9.3 million in grant funding to community support groups and justice programs across the state. This funding will be used to develop new programming and enhance existing initiatives to support West Virginia’s communities and state justice system.

   

“With this needed funding, community programs from all corners of our state will be better equipped to serve children and families and further strengthen West Virginia’s justice system.” Gov. Tomblin said. “We are expanding direct services to victims of crime, putting programs in place to help at-risk youth get back on track and preparing parents with the life skills they need to foster a healthy, nurturing environment to raise their families.”

   

The total grant funding was allocated as follows:

   

$7,023,255 in Victims of Crime Act/Victim Assistance Grants - 75 grantees;

$529, 254 in Justice Reinvestment Treatment Supervision Grants - 4 grantees;

$1,203,175 in Justice Assistance Grants - 34 grantees;

$543,222 in Juvenile Justice & Delinquency Grants - 18 grantees.

  

Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”

Developing induced breeding techniques for SIS could help to mitigate the destruction of wild spawn. Photo by Francois Rajts. Photo by WorldFish.

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

Developed in Ilford lc29 for 6 1/2 min

Developed in collaboration with Sweetwater, and magpul. To replace the ACR in 2016, developed for any eviroment. The IMR-68, or Infanty Modular Rifle -sixty eight, is capable of being fired underwater at a depth of 900 feet, due to Magpuls' recoil system, that takes the bullets initial firing shock and turns it into lateral motion propelling the bolt backwards. Fire modes: semi, two round burst with a rate of fire of 800 rounds per minute. The weapon fires 6.8SPC from a 22 inch barrel, using either sweetwaters' 30 round 'Garde' mag or standard STANAG mags.

 

This weapon is the standard model two DMR for the US Special forces. Nicknamed the 'Condor' by the operators who use it.

 

This weapon features my completed 'Garde' 20 round mag.

 

Credit to: Wes, and KevinTK

 

Comment, fav, suggestions, are very much appreciated

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

Immediately after the 1989 Velvet Revolution, the Czech president Václav Havel declared a de-mobilization of the Czech defense industry. Nevertheless, after the dissolution of the Soviet Union in 1991, the Czech company Aero Vodochody continued developing the basic L-39 Albatros design with a view toward greater export. The resulting L-39MS, later re-designed as L-59 Super Albatros, featured a more powerful turbofan engine, advanced avionics, and has been bought in quantity by Egypt and Tunisia. In 1993, a group of Czech military experts launched a project of production of a modern domestic fighter to replace the obsolete Soviet aircraft. Since the proposed Aero L-X supersonic fighter development proved to be financially demanding (up to US$2 billion), the less costly L-159 subsonic attack aircraft was approved for procurement instead.

 

Conducted between the years 1994 and 1997, the technical development of L-159 ALCA (Advanced Light Combat Aircraft) in Aero Vodochody consisted primarily of building one L-159 two-seat prototype based on the L-59 airframe, utilizing western engine, avionics and weapon systems, with Rockwell Collins (eventually Boeing) as the avionics integrator.

 

The L-159 ALCA was designed for the principal role of light combat aircraft (single-seat L-159A variant) or light attack jet and advanced/lead-in fighter trainer (two-seat L-159B and T variants). The design of the L-159 was derived from the L-39/59 in terms of aerodynamic configuration, but a number of changes were made to improve its combat capabilities. These included strengthening of the airframe, reinforcing of the cockpit with composite and ceramic ballistic armor and enlargement of the aircraft's nose to accommodate a radar. Compared to the L-59, number of underwing pylons was increased from four to six, and a new hardpoint under the fuselage was added instead of a fixed GSh-23L cannon in an external fairing. The aircraft was capable of carrying external loads up to 2,340 kg, ranging from unguided bombs and rocket pods to air-to-ground and air-to-air guided missiles or special devices to conduct aerial reconnaissance or electronic warfare. Guided precision ordnance like laser-guided glide bombs could be carried, too, thanks to the aircraft’s ability to carry respective targeting equipment, for example the AN/AAQ-28(V) LITENING pod.

 

The L-159 was powered by the non-afterburning Honeywell/ITEC F124-GA-100 turbofan engine with a maximum thrust of 28 kN. Almost 2,000 litres of fuel was stored in eight internal tanks (six in the fuselage, two at the wingtips) with up to four external drop tanks (two 500 L and two 350 L tanks) carried under the inner wings.

The lightly armored cockpit was equipped with a VS-2B ejection seat, capable of catapulting the pilot at a zero flight level and at zero speed. The aircraft's avionics based on the MIL-STD-1553 databus include a Selex Navigation and Attack Suite, Ring Laser Gyro based Inertial Navigation System (INS) and Global Positioning System (GPS). Flight data was displayed both at the FV-3000 head-up display (HUD) and on two multi-function displays (MFD). Communications were provided by a pair of Collins ARC-182 transceivers. Self-protection of the L-159 was ensured by a Sky Guardian 200 radar warning receiver (RWR) and Vinten Vicon 78 Series 455 chaff and flare dispensers. L-159A and T2 variants were equipped with the lightweight Italian FIAR Grifo L multi-mode Doppler radar for all-weather, day and night operations.

The maiden flight of the first L-159 prototype occurred on 2 August 1997 with a two-seat version. On 18 August 1998, the single-seat L-159A prototype first flew; it was completed to Czech customer specifications. 10 April 2000 marked the first delivery of L-159A to the Czech Air Force and the type was marketed for export.

 

One of the type’s foreign operators became the young Republic of Catalonia, which had declared independence from Spain in 2017. The Catalan independence movement already began in 1922, when Francesc Macià founded the political party Estat Català (Catalan State), but the modern independence movement began and gained serious momentum in 2010, when the Constitutional Court of Spain ruled that some of the articles of the 2006 Statute of Autonomy - which had been agreed with the Spanish government and passed by a referendum in Catalonia - were unconstitutional, and others were to be interpreted restrictively. Popular protest against this decision quickly turned into demands for independence. Starting with the town of Arenys de Munt, over 550 municipalities in Catalonia held symbolic referendums on independence between 2009 and 2011. All of the towns returned a high "yes" vote, with a turnout of around 30% of those eligible to vote. A 2010 protest demonstration against the court's decision, organized by the cultural organization Òmnium Cultural, was attended by over a million people. The popular movement fed upwards to the politicians; a second mass protest on 11 September 2012 (the National Day of Catalonia) explicitly called on the Catalan government to begin the process towards independence. Catalan president Artur Mas called a snap general election, which resulted in a pro-independence majority for the first time in the region's history. The new parliament adopted the Catalan Sovereignty Declaration in early 2013, asserting that the Catalan people had the right to decide their own political future.

 

After three more troublesome years and constant strife for independence from Spain, the Catalonian president Carles Puigdemont eventually announced a binding referendum on the topic. Although deemed illegal by the Spanish government and the Constitutional Court, the referendum was held on 1 October 2017. In a vote where the anti-independence parties called for non-participation, results showed a 90% vote in favor of independence, with a turnout of 43%. Based on this result, on 27 October 2017 the Parliament of Catalonia approved a resolution unilaterally creating an independent Republic.

 

This event was also the rather sudden birth of the Catalonian armed forces. Esp. the nascent air force, called Guàrdies Aèries de la República Catalana (GARC, Republic of Catalonia Air Guard), faced serious trouble, since Spain refused any assistance. Furthermore, there were no former Spanish military air bases in the region that could be taken, and any equipment and infrastructure had to be procured from scratch and on short notice.

 

In the wake of this hasted start, the L-159s became part of the GARC’s initial mixed bag of flying low-budget equipment. They were 2nd hand machines, bought from EADS-CASA of Spain and mothballed since 2012 after a barter deal with the Czech Republic: In 2009, EADS had exchanged with the CzAF four CASA C-295 transporters for three L-159As, two L-159T1s and 130 million Euros. These aircraft were still in EADS inventory in late 2017, even though grounded and taken out of service since 2012, because the operations of this small fleet as chasing aircraft were expensive and no buyer could be found in the meantime.

 

However, in 2018 the company sold them, under indirect pressure from NATO, to the Catalonian government at a “symbolic”, yet unspecified, price. This small fleet was soon augmented by five more L-159As and ten L-159T1s which were directly procured from the Czech Republic in 2019. These aircraft formed the initial, small backbone of the young country’s air defense, armed with AIM-9 Sidewinders (AIM-120 AMRAAM was possible, to, but not procured due to severe budget restraints) and Mauser BK-27 cannon in conformal pods. Since no military airfields with a suitable infrastructure for jet aircraft were available for the GARC at the time of their purchase and introduction, the L-159s were initially based at two public regional airports: at Reus, in the proximity of Tarragona at the Mediterranean coast, and at Girona in the country’s north, where airfield sections were separated of the military operations.

  

General characteristics:

Crew: one

Length: 12.72 m (41 ft 8¾ in)

Wingspan: 9.54 m (31 ft 3½ in)

Height: 4.87 m (16 ft)

Wing area: 18.80 m² (202.4 ft²)

Airfoil: NACA 64A-012

Aspect ratio: 4.8:1

Empty weight: 4,350 kg (9,590 lb)

Max. takeoff weight: 8,000 kg (17,637 lb)

 

Powerplant:

1× Honeywell F124-GA-100 turbofan, delivering 28.2 kN (6,330 lbf) thrust

 

Performance:

Never exceed speed: 960 km/h (518 knots, 596 mph)

Maximum speed: 936 km/h (505 knots, 581 mph) at sea level, clean

Stall speed: 185 km/h (100 knots, 115 mph)

Range: 1,570 km (848 nmi, 975 mi) max internal fuel

Combat radius: 565 km (305 nmi, 351 mi) lo-lo-lo, with a gun pod, 2× Mark 82 bombs, 2× AIM-9

Sidewinder and 2× 500 L drop tanks

Service ceiling: 13,200 m (43,300 ft)

Rate of climb: 62 m/s (12,220 ft/min)

 

Armament:

7Í hardpoints in total, 3 under each wing (outer pylons only for AAMs) and 1 under the fuselage,

holding up to 2,340 kg (5,159 lb) of ordnance

  

The kit and its assembly:

This model was spawned by a grain of truth: as mentioned in the background, EADS Spain had actually bought a few L-159s in 2009 from the CzAF in exchange for transporters, and together with the ongoing plans of an independent Catalonia I merged both into this ALCA single seater for the fictional Republic of Catalonia Air Guard.

 

The kit is the relatively new KP L-159. This is basically a nice model, but the kit has some severe flaws (see below). The model was basically built OOB, I just added AIM-9L Sidewinders and their respective launch rails as external ordnance on the outermost underwing hardpoints. Since I did not find the standard gun pod (a ZVI PL-20 Plamen pod with 2×20 mm guns) suitable, I decided to give the GARC aircraft a heavier, Western weapon in the form of a Mauser BK-27 (the same weapon used onboard of the Panavia Tornado or the Saab Gripen) in a conformal cannon pod under the fuselage. This piece was taken and adapted from a Heller Alpha Jet. Its shape perfectly fitted between the two ventral air brakes.

 

Concerning the kit itself, the build turned out to be a medium nightmare. The kit looked promising in the box, with fine engravings, but nothing fits well. There are no locator pins, you have (massive) ejection marks almost everywhere, and the parts’ attachment points to the sprues protrude into the parts themselves, so there’s a lot to clean up. At least there are no sinkholes.

Upon assembly, the cockpit tub – nicely detailed – would not fit into the fuselage at all and ended up in an oblique position (hidden through a pilot figure from the scrap box and a re-mounted avionics fairing in the rear cockpit). The air intakes left me guessing, too: while the edges are crisp and thin, the overall fit with the fuselage and the orientation of the parts had to be guesstimated, plus a mediocre fit, too. The instructions are not very helpful, either. I am quite disappointed and tried to make the best of the situation.

  

Painting and markings:

Much more thought was put into the model’s looks. What camouflage should such an aircraft carry? And I had to invent roundels/markings for a Catalonian air force aircraft, too.

 

Since the Catalonian L-159s were multi-purpose aircraft, yet primarily tasked with air space defense, I opted for an subdued air superiority scheme instead of a tactical low-level camouflage. Furthermore, the camouflage was supposed to be suited for a mountainous landscape (Pyrenees), relatively flat and dry land and also to open sea. This was a good opportunity to give a model the Greek “Ghost” scheme: a three-tone wraparound scheme consisting of FS 36307 (Light Sea Grey), 36251 (Aggressor Grey) and 35237 (Medium Grey, but actually a rather greyish blue). The pattern was adapted from Hellenic F-16s. I think it’s a good compromise, and it suits the ALCA well.

 

The national markings caused more headaches. I was looking for something that would not look like the Spanish roundel, but still reflect the Catalonian indpendence flag and – most important – I wanted to be able to create it from stock material (not printing them at home), with the option to replicate it on potential future builds.

In the end and after long safaris through my spare decal repository, I came up with a round marking. It consists of an Ukrainian roundel with a relatively thin outer yellow ring (from a Begemot MiG-29 sheet), placed on top of a Hinomaru, so that a thin, red outer ring was added. Onto the central, blue disc a white star (from a TL Modellbau sheet with US Army markings) was added. I think that this looks original enough?

There was a problem, though… In my first attempt to apply this construction, the roundels turned out to be VERY large overall. While the design itself looked O.K. (despite reminding of Captain America somehow), this looked ridiculous, esp. on an aircraft with a wraparound low-viz paint scheme. I was not satisfied, so I heavy-heartedly ripped the decals off again (using adhesive tape, works like a charm) and tried it again, in a smaller version.

Hinomaru became the basis once more, even though smaller, and then die-punched discs in yellow and blue (from generic decal sheet) were added, and finally small white stars again, one size smaller than during the first attempt. While this is still colorful and stands out from the grey background, the second attempt looked much more balanced now, and I stuck with it.

 

In order to add more flavor, I added Catalonian fin flashes and squadron emblems on the nose, depicting the “burro”, the Catalonian donkey which has become a kind of unofficial regional symbol as a kind of anti-mascot to the Spanish bull. These markings/decals were printed at home on white sheet.

 

The tactical codes were based on the Spanish system. The Spanish Air Force has its own alphanumeric system for identifying aircraft: This forms a prefix to the airframe serial number, usually marked on the tail. C means cazabombardero (fighter bomber); A, ataque (attack); P, patrulla (patrol); T, transporte (transport); E, enseñanza (training); D, search and rescue; H, helicopter; K, tanker; V, Vertical Take Off and Landing (VTOL); and U, utility. An example would be that the F-18 with "C.15-08" on the tail is the fifteenth type of fighter that arrived in the Spanish Air Force (the Eurofighter is the C.16) and is the eighth example of this type to enter the SAF. On the nose or fuselage, the aircraft has a numeral specific to the unit in which it is based.

 

Variants of planes in service, for example two-seater versions or tanker versions of transports planes, add another letter to differentiate their function, and have their own sequence of serial numbers separate from the primary versions. Example: "CE.15-02" will be the second F-18 two-seater (Fighter Trainer) delivered to the SAF. In addition, the aircraft used by the Spanish Air Force usually carry a code consisting of one or two digits followed by a dash and two numbers, painted on the nose or fuselage. The first number corresponds to the unit to which they belong, and the second the order in which they entered service. Example: the fourth F-18 arriving at Ala 12 will have on the nose the code "12-04". Those codes do change when the aircraft is re-allocated to a different unit. Quite complicated…

 

This led to the tactical code “2-03”, for the 3rd aircraft allocated to the 2nd fighter squadron, and “C.1-03” as individual registration as the 3rd aircraft of the 1st fighter type in Catalonian service. All codes were puzzled together with single black letters and numbers from TL Modellbau in 3 and 5mm size.

 

Finally, the kit was sealed with matt acrylic varnish.

Berkeley Lab scientists are among a team developing new ways to study the changing Arctic ecosystem. The Next-Generation Ecosystem Experiments (NGEE) will study the response of physical, ecological, and biogeochemical processes to atmospheric and climatic change—from the molecular to the landscape scale. In preparation for their study, the team traveled to Alaska on a journey that brought them in touch with the beauty of Alaska—from snowy owls to caribou. newscenter.lbl.gov/feature-stories/2011/09/14/alaska-clim...

Singapore (Listeni/ˈsɪŋɡəpɔːr/), officially the Republic of Singapore, and often referred to as the Lion City, the Garden City, and the Red Dot, is a global city and sovereign state in Southeast Asia and the world's only island city-state. It lies one degree (137 km) north of the equator, at the southernmost tip of continental Asia and peninsular Malaysia, with Indonesia's Riau Islands to the south. Singapore's territory consists of the diamond-shaped main island and 62 islets. Since independence, extensive land reclamation has increased its total size by 23% (130 km2), and its greening policy has covered the densely populated island with tropical flora, parks and gardens.

 

The islands were settled from the second century AD by a series of local empires. In 1819, Sir Stamford Raffles founded modern Singapore as a trading post of the East India Company; after the company collapsed, the islands were ceded to Britain and became part of its Straits Settlements in 1826. During World War II, Singapore was occupied by Japan. It gained independence from Britain in 1963, by uniting with other former British territories to form Malaysia, but was expelled two years later over ideological differences. After early years of turbulence, and despite lacking natural resources and a hinterland, the nation developed rapidly as an Asian Tiger economy, based on external trade and its human capital.

 

Singapore is a global commerce, finance and transport hub. Its standings include: "easiest place to do business" (World Bank) for ten consecutive years, most "technology-ready" nation (WEF), top International-meetings city (UIA), city with "best investment potential" (BERI), 2nd-most competitive country (WEF), 3rd-largest foreign exchange centre, 3rd-largest financial centre, 3rd-largest oil refining and trading centre and one of the top two busiest container ports since the 1990s. Singapore's best known global brands include Singapore Airlines and Changi Airport, both amongst the most-awarded in their industry; SIA is also rated by Fortune surveys as Asia's "most admired company". For the past decade, it has been the only Asian country with the top AAA sovereign rating from all major credit rating agencies, including S&P, Moody's and Fitch.

 

Singapore ranks high on its national social policies, leading Asia and 11th globally, on the Human Development Index (UN), notably on key measures of education, healthcare, life expectancy, quality of life, personal safety, housing. Although income inequality is high, 90% of citizens own their homes, and the country has one of the highest per capita incomes, with low taxes. The cosmopolitan nation is home to 5.5 million residents, 38% of whom are permanent residents and other foreign nationals. Singaporeans are mostly bilingual in a mother-tongue language and English as their common language. Its cultural diversity is reflected in its extensive ethnic "hawker" cuisine and major festivals - Chinese, Malay, Indian, Western - which are all national holidays. In 2015, Lonely Planet and The New York Times listed Singapore as their top and 6th best world destination to visit respectively.

 

The nation's core principles are meritocracy, multiculturalism and secularism. It is noted for its effective, pragmatic and incorrupt governance and civil service, which together with its rapid development policies, is widely cited as the "Singapore model". Gallup polls shows 84% of its residents expressed confidence in the national government, and 85% in its judicial systems - one of the highest ratings recorded. Singapore has significant influence on global affairs relative to its size, leading some analysts to classify it as a middle power. It is ranked as Asia's most influential city and 4th in the world by Forbes.

 

Singapore is a unitary, multiparty, parliamentary republic, with a Westminster system of unicameral parliamentary government. The People's Action Party has won every election since self-government in 1959. One of the five founding members of the ASEAN, Singapore is also the host of the Asia-Pacific Economic Cooperation (APEC) Secretariat, and a member of the East Asia Summit, Non-Aligned Movement, and the Commonwealth of Nations.

 

ETYMOLOGY

The English name of Singapore is derived from the Malay word, Singapura, which was in turn derived from Sanskrit (Singa is "lion", Pura "city"; Sanskrit: सिंहपुर, IAST: Siṃhápura), hence the customary reference to the nation as the Lion City, and its inclusion in many of the nation's symbols (e.g., its coat of arms, Merlion emblem). However, it is unlikely that lions ever lived on the island; Sang Nila Utama, who founded and named the island Singapura, most likely saw a Malayan tiger. It is also known as Pulau Ujong, as far back as the 3rd century, literally 'island at the end' (of the Malay Peninsula) in Malay.

 

Since the 1970s, Singapore has also been widely known as the Garden City, owing to its extensive greening policy covering the whole island, a priority of its first prime minister Lee Kuan Yew, dubbed the nation's "Chief Gardener". The nation's conservation and greening efforts contributed to Singapore Botanic Gardens being the only tropical garden to be inscribed by UNESCO as a World Heritage Site. The nickname, Red Dot, is a reference to its size on the map, contrasting with its achievements. In 2015, Singapore's Golden Jubilee year, the celebratory "SG50" branding is depicted inside a red dot.

 

HISTORY

Temasek ('Sea Town' in the Malay language), an outpost of the Sumatran Srivijaya empire, is the earliest written record relating to the area now called Singapore. In the 13th century, the Kingdom of Singapura was established on the island and it became a trading port city. However, there were two major foreign invasions before it was destroyed by the Majapahit in 1398. In 1613, Portuguese raiders burned down the settlement, which by then was nominally part of the Johor Sultanate and the island sank into obscurity for the next two centuries, while the wider maritime region and much trade was under Dutch control.

 

BRITISH COLONISATION 1819-1942

In 1819, Thomas Stamford Raffles arrived and signed a treaty with Sultan Hussein Shah of Johor, on behalf of the British East India Company, to develop the southern part of Singapore as a British trading post. In 1824, the entire island, as well as the Temenggong, became a British possession after a further treaty with the Sultan. In 1826, Singapore became part of the Straits Settlements, under the jurisdiction of British India, becoming the regional capital in 1836.

 

Prior to Raffles' arrival, there were only about a thousand people living on the island, mostly indigenous Malays along with a handful of Chinese. By 1860, the population had swelled to more than 80,000 and more than half were Chinese. Many immigrants came to work at rubber plantations and, after the 1870s, the island became a global centre for rubber exports.

 

After the First World War, the British built the large Singapore Naval Base. Lieutenant General Sir William George Shedden Dobbie was appointed General Officer Commanding of the Malaya Command on 8 November 1935, holding the post until 1939;

 

WORLD WAR II AND JAPANESE OCCUPATION 1942-45

in May 1938, the General Officer Commanding of the Malaya Command warned how Singapore could be conquered by the Japanese via an attack from northern Malaya, but his warnings went unheeded. The Imperial Japanese Army invaded British Malaya, culminating in the Battle of Singapore. When the British surrendered on 15 February 1942, British Prime Minister Winston Churchill called the defeat "the worst disaster and largest capitulation in British history". Between 5,000 and 25,000 ethnic Chinese people were killed in the subsequent Sook Ching massacre.

 

From November 1944 to May 1945, the Allies conducted an intensive bombing of Singapore.

 

RETURN OF BRITISH 1945-59

After the surrender of Japan was announced in the Jewel Voice Broadcast by the Japanese Emperor on 15 August 1945 there was a breakdown of order and looting and revenge-killing were widespread. The formal Japanese Occupation of Singapore was only ended by Operation Tiderace and the formal surrender on 12 September 1945 at Singapore City Hall when Lord Louis Mountbatten, Supreme Allied Commander of Southeast Asia Command, accepted the capitulation of Japanese forces in Southeast Asia from General Itagaki Seishiro.

 

A British Military Administration was then formed to govern the island. On 1 April 1946, the Straits Settlements were dissolved and Singapore became a separate Crown Colony with a civil administration headed by a Governor. Much of the infrastructure had been destroyed during the war, including the harbour, electricity, telephone and water supply systems. There was also a shortage of food leading to malnutrition, disease, and rampant crime and violence. High food prices, unemployment, and workers' discontent culminated into a series of strikes in 1947 causing massive stoppages in public transport and other services. In July 1947, separate Executive and Legislative Councils were established and the election of six members of the Legislative Council was scheduled for the following year. By late 1947, the economy began to recover, facilitated by a growing demand for tin and rubber around the world, but it would take several more years before the economy returned to pre-war levels.

 

The failure of Britain to defend Singapore had destroyed its credibility as an infallible ruler in the eyes of Singaporeans. The decades after the war saw a political awakening amongst the local populace and the rise of anti-colonial and nationalist sentiments, epitomized by the slogan Merdeka, or "independence" in the Malay language.

 

During the 1950s, Chinese Communists with strong ties to the trade unions and Chinese schools carried out armed uprising against the government, leading to the Malayan Emergency and later, the Communist Insurgency War. The 1954 National Service Riots, Chinese middle schools riots, and Hock Lee bus riots in Singapore were all linked to these events.

 

David Marshall, pro-independence leader of the Labour Front, won Singapore's first general election in 1955. He led a delegation to London, but Britain rejected his demand for complete self-rule. He resigned and was replaced by Lim Yew Hock, whose policies convinced Britain to grant Singapore full internal self-government for all matters except defence and foreign affairs.

 

SELF-GOVERNMENT 1959-1963

During the May 1959 elections, the People's Action Party won a landslide victory. Singapore became an internally self-governing state within the Commonwealth, with Lee Kuan Yew as its first Prime Minister. Governor Sir William Allmond Codrington Goode served as the first Yang di-Pertuan Negara (Head of State), and was succeeded by Yusof bin Ishak, who became the first President of Singapore in 1965.

 

MERGER WITH MALAYSIA 1963-65

As a result of the 1962 Merger Referendum, on 31 August 1963 Singapore joined with the Federation of Malaya, the Crown Colony of Sarawak and the Crown Colony of North Borneo to form the new federation of Malaysia under the terms of the Malaysia Agreement. Singaporean leaders chose to join Malaysia primarily due to concerns over its limited land size, scarcity of water, markets and natural resources. Some Singaporean and Malaysian politicians were also concerned that the communists might form the government on the island, a possibility perceived as an external threat to the Federation of Malaya.However, shortly after the merger, the Singapore state government and the Malaysian central government disagreed on many political and economic issues, and communal strife culminated in the 1964 race riots in Singapore. After many heated ideological conflicts between the two governments, on 9 August 1965, the Malaysian Parliament voted 126 to 0 to expel Singapore from Malaysia with Singaporean delegates not present.

 

INDEPENDENCE 1965 TO PRESENT

Singapore gained independence as the Republic of Singapore (remaining within the Commonwealth of Nations) on 9 August 1965. Race riots broke out once more in 1969. In 1967, the country co-founded ASEAN, the Association of Southeast Asian Nations, and in 1970 it joined the Non-Aligned Movement. Lee Kuan Yew became Prime Minister, leading its Third World economy to First World affluence in a single generation. His emphasis on rapid economic growth, support for business entrepreneurship, limitations on internal democracy, and close relationships with China set the new nation's policies for the next half-century.

 

In 1990, Goh Chok Tong succeeded Lee as Prime Minister, while the latter continued serving in the Cabinet as Senior Minister until 2004, and then Minister Mentor until May 2011. During Goh's tenure, the country faced the 1997 Asian financial crisis, the 2003 SARS outbreak and terrorist threats posed by Jemaah Islamiyah.

 

In 2004, Lee Hsien Loong, the eldest son of Lee Kuan Yew, became the country's third Prime Minister. Goh Chok Tong remained in Cabinet as the Senior Minister until May 2011, when he was named Emeritus Senior Minister despite his retirement. He steered the nation through the 2008 global financial crisis, resolved the disputed 79-year old Malayan railways land, and introduced integrated resorts. Despite the economy's exceptional growth, PAP suffered its worst election results in 2011, winning 60% of votes, amidst hot-button issues of high influx of foreign workers and cost of living. Lee initiated a major re-structuring of the economy to raise productivity, improved universal healthcare and grants, especially for the pioneer generation of citizens, amongst many new inclusive measures.

 

On 23 March 2015, its founding prime minister, Lee Kuan Yew, who had 'personified Singapore to the world' for nearly half a century died. In a week of national mourning, 1.7 million residents and guests paid tribute to him at his lying-in-state at Parliament House and at community sites around the island.

 

Singapore celebrated its Golden jubilee in 2015 – its 50th year of independence, with a year-long series of events branded SG50. The PAP maintained its dominance in Parliament at the September general elections, receiving 69.9% of the popular vote, its second-highest polling result behind the 2001 tally of 75.3%.

 

GEOGRAPHY

Singapore consists of 63 islands, including the main island, Pulau Ujong. There are two man-made connections to Johor, Malaysia: the Johor–Singapore Causeway in the north and the Tuas Second Link in the west. Jurong Island, Pulau Tekong, Pulau Ubin and Sentosa are the largest of Singapore's smaller islands. The highest natural point is Bukit Timah Hill at 163.63 m. April and May are the hottest months, with the wetter monsoon season from November to January.

 

From July to October, there is often haze caused by bush fires in neighbouring Indonesia, usually from the island of Sumatra. Although Singapore does not observe daylight saving time (DST), it follows the GMT+8 time zone, one hour ahead of the typical zone for its geographical location.

 

GOVERNMENT AND POLITICS

Singapore is a parliamentary republic with a Westminster system of unicameral parliamentary government representing constituencies. The country's constitution establishes a representative democracy as the political system. Executive power rests with the Cabinet of Singapore, led by the Prime Minister and, to a much lesser extent, the President. The President is elected through a popular vote, and has veto powers over a specific set of executive decisions, such as the use of the national reserves and the appointment of judges, but otherwise occupies a largely ceremonial post.

 

The Parliament serves as the legislative branch of the government. Members of Parliament (MPs) consist of elected, non-constituency and nominated members. Elected MPs are voted into the Parliament on a "first-past-the-post" (plurality) basis and represent either single-member or group representation constituencies. The People's Action Party has won control of Parliament with large majorities in every election since self-governance was secured in 1959.

 

Although the elections are clean, there is no independent electoral authority and the government has strong influence on the media. Freedom House ranks Singapore as "partly free" in its Freedom in the World report, and The Economist ranks Singapore as a "flawed democracy", the second best rank of four, in its "Democracy Index". Despite this, in the 2011 Parliamentary elections, the opposition, led by the Workers' Party, increased its representation to seven elected MPs. In the 2015 elections, PAP scored a landslide victory, winning 83 of 89 seats contested, with 70% of popular votes. Gallup polls reported 84% of residents in Singapore expressed confidence in the government, and 85% in its judicial systems and courts – one of the highest ratings in the world.

 

Singapore's governance model eschews populist politics, focusing on the nation's long-term interest, and is known to be clean, effective and pragmatic. As a small nation highly dependent on external trade, it is vulnerable to geo-politics and global economics. It places great emphasis on security and stability of the region in its foreign policies, and applies global best practices to ensure the nation's attractiveness as an investment destination and business hub.

 

The legal system of Singapore is based on English common law, but with substantial local differences. Trial by jury was abolished in 1970 so that judicial decisions would rest entirely in the hands of appointed judges. Singapore has penalties that include judicial corporal punishment in the form of caning, which may be imposed for such offences as rape, rioting, vandalism, and certain immigration offences.There is a mandatory death penalty for murder, as well as for certain aggravated drug-trafficking and firearms offences.

 

Amnesty International has said that some legal provisions of the Singapore system conflict with the right to be presumed innocent until proven guilty, and that Singapore has "... possibly the highest execution rate in the world relative to its population". The government has disputed Amnesty's claims. In a 2008 survey of international business executives, Singapore received the top ranking with regard to judicial system quality in Asia. Singapore has been consistently rated among the least corrupt countries in the world by Transparency International.

 

In 2011, the World Justice Project's Rule of Law Index ranked Singapore among the top countries surveyed with regard to "order and security", "absence of corruption", and "effective criminal justice". However, the country received a much lower ranking for "freedom of speech" and "freedom of assembly". All public gatherings of five or more people require police permits, and protests may legally be held only at the Speakers' Corner.

 

EDUCATION

Education for primary, secondary, and tertiary levels is mostly supported by the state. All institutions, private and public, must be registered with the Ministry of Education. English is the language of instruction in all public schools, and all subjects are taught and examined in English except for the "mother tongue" language paper. While the term "mother tongue" in general refers to the first language internationally, in Singapore's education system, it is used to refer to the second language, as English is the first language. Students who have been abroad for a while, or who struggle with their "Mother Tongue" language, are allowed to take a simpler syllabus or drop the subject.

 

Education takes place in three stages: primary, secondary, and pre-university education. Only the primary level is compulsory. Students begin with six years of primary school, which is made up of a four-year foundation course and a two-year orientation stage. The curriculum is focused on the development of English, the mother tongue, mathematics, and science. Secondary school lasts from four to five years, and is divided between Special, Express, Normal (Academic), and Normal (Technical) streams in each school, depending on a student's ability level. The basic coursework breakdown is the same as in the primary level, although classes are much more specialised. Pre-university education takes place over two to three years at senior schools, mostly called Junior Colleges.

 

Some schools have a degree of freedom in their curriculum and are known as autonomous schools. These exist from the secondary education level and up.

 

National examinations are standardised across all schools, with a test taken after each stage. After the first six years of education, students take the Primary School Leaving Examination (PSLE), which determines their placement at secondary school. At the end of the secondary stage, GCE "O"-Level exams are taken; at the end of the following pre-university stage, the GCE "A"-Level exams are taken. Of all non-student Singaporeans aged 15 and above, 18% have no education qualifications at all while 45% have the PSLE as their highest qualification; 15% have the GCE 'O' Level as their highest qualification and 14% have a degree.

 

Singaporean students consistently rank at or near the top of international education assessments:

- In 2015, Singapore topped the OECD's global school performance rankings, based on 15-year-old students' average scores in mathematics and science across 76 countries.

- Singaporean students were ranked first in the 2011 Trends in International Mathematics and Science Study conducted by the International Association for the Evaluation of Educational Achievement, and have been ranked in the top three every year since 1995.

- Singapore fared best in the 2015 International Baccalaureate exams, taken in 107 countries, with more than half of the world's 81 perfect scorers and 98% passing rate.

 

The country's two main public universities - the National University of Singapore and Nanyang Technological University - are ranked among the top 13 in the world.

 

HEALTH

Singapore has a generally efficient healthcare system, even though their health expenditures are relatively low for developed countries. The World Health Organisation ranks Singapore's healthcare system as 6th overall in the world in its World Health Report. In general, Singapore has had the lowest infant mortality rate in the world for the past two decades.

 

Life expectancy in Singapore is 80 for males and 85 for females, placing the country 4th in the world for life expectancy. Almost the whole population has access to improved water and sanitation facilities. There are fewer than 10 annual deaths from HIV per 100,000 people. There is a high level of immunisation. Adult obesity is below 10%

 

The government's healthcare system is based upon the "3M" framework. This has three components: Medifund, which provides a safety net for those not able to otherwise afford healthcare, Medisave, a compulsory health savings scheme covering about 85% of the population, and Medishield, a government-funded health insurance program. Public hospitals in Singapore have autonomy in their management decisions, and compete for patients. A subsidy scheme exists for those on low income. In 2008, 32% of healthcare was funded by the government. It accounts for approximately 3.5% of Singapore's GDP.

 

RELIGION

Buddhism is the most widely practised religion in Singapore, with 33% of the resident population declaring themselves adherents at the most recent census. The next-most practised religion is Christianity, followed by Islam, Taoism, and Hinduism. 17% of the population did not have a religious affiliation. The proportion of Christians, Taoists, and non-religious people increased between 2000 and 2010 by about 3% each, whilst the proportion of Buddhists decreased. Other faiths remained largely stable in their share of the population. An analysis by the Pew Research Center found Singapore to be the world's most religiously diverse nation.

 

There are monasteries and Dharma centres from all three major traditions of Buddhism in Singapore: Theravada, Mahayana, and Vajrayana. Most Buddhists in Singapore are Chinese and are of the Mahayana tradition, with missionaries having come into the country from Taiwan and China for several decades. However, Thailand's Theravada Buddhism has seen growing popularity among the populace (not only the Chinese) during the past decade. Soka Gakkai International, a Japanese Buddhist organisation, is practised by many people in Singapore, but mostly by those of Chinese descent. Tibetan Buddhism has also made slow inroads into the country in recent years.

 

CULTURE

Singapore has one of the lowest rates of drug use in the world. Culturally, the use of illicit drugs is viewed as highly undesirable by Singaporeans, unlike many European societies. Singaporeans' disapproval towards drug use has resulted in laws that impose the mandatory death sentence for certain serious drug trafficking offences. Singapore also has a low rate of alcohol consumption per capita and low levels of violent crime, and one of the lowest intentional homicide rate globally. The average alcohol consumption rate is only 2 litres annually per adult, one of the lowest in the world.

 

Foreigners make up 42% of the population, and have a strong influence on Singaporean culture. The Economist Intelligence Unit, in its 2013 "Where-to-be-born Index", ranks Singapore as having the best quality of life in Asia and sixth overall in the world.

 

LANGUAGES; RELIGIONS AND CULTURES

Singapore is a very diverse and young country. It has many languages, religions, and cultures for a country its size.

 

When Singapore became independent from the United Kingdom in 1963, most of the newly minted Singaporean citizens were uneducated labourers from Malaysia, China and India. Many of them were transient labourers who were seeking to make some money in Singapore and they had no intention of staying permanently. A sizeable minority of middle-class, local-born people, known as the Peranakans, also existed. With the exception of the Peranakans (descendants of late 15th and 16th-century Chinese immigrants) who pledged their loyalties to Singapore, most of the labourers' loyalties lay with their respective homelands of Malaysia, China and India. After independence, the process of crafting a Singaporean identity and culture began.

 

Former Prime Ministers of Singapore, Lee Kuan Yew and Goh Chok Tong, have stated that Singapore does not fit the traditional description of a nation, calling it a society-in-transition, pointing out the fact that Singaporeans do not all speak the same language, share the same religion, or have the same customs. Even though English is the first language of the nation, according to the government's 2010 census 20% of Singaporeans, or one in five, are illiterate in English. This is a marked improvement from 1990 where 40% of Singaporeans were illiterate in English.

 

Languages, religions and cultures among Singaporeans are not delineated according to skin colour or ancestry, unlike many other countries. Among Chinese Singaporeans, one in five is Christian, another one in five is atheist, and the rest are mostly Buddhists or Taoists. One-third speak English as their home language, while half speak Mandarin Chinese. The rest speak other Chinese varieties at home. Most Malays in Singapore speak Malay as their home language with some speaking English. Singaporean Indians are much more religious. Only 1% of them are atheists. Six in ten are Hindu, two in ten Muslim, and the rest mostly Christian. Four in ten speak English as their home language, three in ten Tamil, one in ten Malay, and the rest other Indian languages as their home language.

 

Each Singaporean's behaviours and attitudes would therefore be influenced by, among many other things, his or her home language and his religion. Singaporeans who speak English as their native language tend to lean toward Western culture, while those who speak Chinese as their native language tend to lean toward Chinese culture and Confucianism. Malay speaking Singaporeans tend to lean toward the Malay culture, which itself is closely linked to the Islamic culture.

 

ATTITUDES AND BELIEFS

At the national level in Singapore, meritocracy, where one is judged based on one's ability, is heavily emphasised.

 

Racial and religious harmony is regarded by Singaporeans as a crucial part of Singapore's success, and played a part in building a Singaporean identity. Singapore has a reputation as a nanny state. The national flower of Singapore is the hybrid orchid, Vanda 'Miss Joaquim', named in memory of a Singapore-born Armenian woman, who crossbred the flower in her garden at Tanjong Pagar in 1893. Many national symbols such as the Coat of arms of Singapore and the Lion head symbol of Singapore make use of the lion, as Singapore is known as the Lion City. Other monikers by which Singapore is widely known is the Garden City and the Red Dot. Public holidays in Singapore cover major Chinese, Western, Malay and Indian festivals.

 

Singaporean employees work an average of around 45 hours weekly, relatively long compared to many other nations. Three in four Singaporean employees surveyed stated that they take pride in doing their work well, and that doing so helps their self-confidence.

 

CUISINE

Dining, along with shopping, is said to be the country's national pastime. The focus on food has led countries like Australia to attract Singaporean tourists with food-based itineraries. The diversity of food is touted as a reason to visit the country, and the variety of food representing different ethnicities is seen by the government as a symbol of its multiculturalism. The "national fruit" of Singapore is the durian.

 

In popular culture, food items belong to a particular ethnicity, with Chinese, Malay, and Indian food clearly defined. However, the diversity of cuisine has been increased further by the "hybridisation" of different styles (e.g., the Peranakan cuisine, a mix of Chinese and Malay cuisine).

 

WIKIPEDIA

A sign ripped out near a construction site. Bit of an odd one. Self-developed T-MAX 100 fired out of a 645 Super.

Located near the classical rotunda, this Victorian statue of a water nymph on a fountain is made of bronze, which has developed a beautiful greenish blue patina, known as verdigris, from having been exposed to the elements for so many years. She sits, perched elegantly, in the middle of an ornamental pond that overlooks the picnic lawns of the Forest Glade Gardens.

 

The Forest Glade Gardens are well established European inspired landscaped gardens of six hectares that are to be found on the Mount Macedon Road in the hill station town of Mount Macedon.

 

The Forest Glade Gardens are just shy of one hundred years old. The gardens were originally two adjoining properties that comprised orchards and lush grazing paddocks. In 1941 local family the Newtons purchased and extended the property and set about creating one of Mount Macedon's most stunning gardens.

 

In 1971 the Forest Glade Gardens were acquired by Melbourne property developer Mr. Cyril Stokes who together with his partner Trevor Neil Bell, developed the gardens even further. Cyril was a great collector of European antiques, and his love of European antiquity is reflected in the gardens, particularly in the many classical marble and bronze statues dotted about the grounds.

 

Unfortunately the Forest Glade Gardens were partly destroyed by the tragic Ash Wednesday bushfires of 1983. However, after many years of hard labour put in by Cyril and Trevor, The Forest Glade Gardens were reborn from the ashes. The gardens are built on a sloping block and consist of a range of terraces all of which offer wonderful vistas. A garden designed to give pleasure all year round, the Forest Glad Gardens contain several heritage listed trees and are made up of smaller themed gardens including; the Italian Garden, the Japanese Garden, the Daffodil Meadow, the Peony Walk, Hydrangea Hill, the Topiary Gardens, the Bluebell Meadow, the Fern Gully and the Laburnum Arch.

 

In 2011 the property was gifted to a registered charity - The Stokes Collection Limited - with the intention of keeping the Forest Glade Gardens maintained and open to the public.

 

I spent a delightful Saturday with the Famous Flickr Five+ Group in Mount Macedon, where I have never been before. Now I have, I would very much like to go back to such a picturesque place again.

 

The Mount Macedon township is located east of the Mount Macedon summit, which is approximately 60 km north-west of Melbourne.

 

The name of Mount Macedon is apparently derived from Philip II, who ruled Macedon between 359 and 336BC. The mountain was named by Thomas Mitchell, the New South Wales Surveyor General.

 

Settled in the 1850s by gold miners and timber cutters, the railway arrived at the Mount Macedon township in 1861, providing a vital connection to Melbourne, and sealing the town's future as a 'hill station' resort for wealthy Melburnians escaping the summer heat in the 1870s. With the land deforested, large blocks were sold and beautiful and extensive gardens were planted around the newly built homes. The rich soil and good rainfall also made the area suitable for large orchards and plant nurseries who could send fruit and flowers back to Melbourne. Newspaper owner, David Syme, built a house, "Rosenheim" in 1869. It was acquired in 1886 for Victorian Governors to use as a country retreat, making Mount Macedon an attractive destination for the well heeled of Melbourne society. A primary school was built in Mount Macedon in 1874, and as the decades progressed, hotels, guest houses, shops, a Presbyterian Church and Church of England were built. In 1983, Mount Macedon was devastated by the Ash Wednesday Bush Fires. A large portion of the town was raised, and a number of lives were lost. However, like a phoenix from the ashes, Mount Macedon has risen and rebuilt. Today it is still a popular holiday destination, particularly during spring time when the well established gardens flourish with flowers and in autumn when the exotic trees explode in a riot of reds and yellows.

KMZ Zorki-3

KMZ JUPITER-9 85mm F2

Rollei RETRO 400S

Self_developed ND-4_Dev

EPSON GT-X980

HPD pupils are developing concept models as part of their Developing Design Proposals Unit. As usual lighting remains a popular choice. Pupils are also developing proposals on themes as diverse as seating, kitchen utensils and sportswear equipment.

 

Good to see evidencs of great strides being made in quich modeling techniques using materials like plasticine, copper wire, plywood and foam. The glue gun gets a lot of use at the moment as does the bandsaw and fretsaw.

 

Fortunately, Cathy, our cleaner has been very understanding. The mess at times you would not believe!

 

Good work everybody. Have a great Christmas break, get some rest. You'll need all your energy for the new year!

Canonet QL17 40/1.7

Kodak ImageLink Technical film

Exposed like ISO32

Developing R09 1:100, 20C, 40min.

Developing.

Clarence Saunders (August 9, 1881 - October 14, 1953) was a grocer who first developed the modern retail sales model of self service. His ideas have had a massive influence on the development of the modern supermarket. Clarence Saunders worked for most of his life trying to develop a truly automated store, developing Piggly Wiggly, Keedoozle, and Foodelectric store concepts.

 

After leaving Clarksville, Tennessee, on September 6, 1916, Saunders launched the self-service revolution in America by opening the first self-service Piggly Wiggly store, at 79 Jefferson Street in Memphis, Tennessee, with its characteristic turnstile at the entrance. Customers paid cash and selected their own goods from the shelves.

 

The store incorporated shopping baskets, self-service branded products, and checkouts at the front. Removing unnecessary clerks, creating elaborate aisle displays, and rearranging the store to force customers to view all of the merchandise were just some of the characteristics of the early Piggly Wiggly stores. The concept of the "Self-Serving Store" was patented by Saunders in 1917.

 

Though this format of grocery market was drastically different from its competitors, the style became the standard for the modern supermarket, and in 1922 Piggly Wiggly had grown into 1,200 stores in 29 states. By 1932, the chain had grown to 2,660 stores doing over $180 million annually.

 

In the early 1920s Saunders began construction of a pink marble mansion in Memphis. Then, in early 1923, Merrill Lynch and other ‘bear’ interests on Wall Street tried to hammer down the price of Piggly Wiggly stock. It is alleged, Saunders took a train to New York City with one million dollars in cash in a small bag and bought Piggly Wiggly stock until he had orders for 196,000 of the 200,000 outstanding shares. Pressured by the ‘bears’, the New York Stock Exchange declared a ‘corner’ existed (see cornering the market), and gave the ‘bears’ five days rather than 24 hours to deliver the stock Saunders had bought. Saunders’ bank and his friends were pressured and the price was driven back down; Saunders was forced into bankruptcy and had to sell his stock at a loss. Afterwards, Saunders had no further association with the company.

 

Because of this financial reversal, Saunders was forced to sell his partly-completed Memphis mansion to the city. The mansion, nicknamed the Pink Palace eventually became the city's historical and natural history museum. Today, the Pink Palace includes a walk-through model of the first Piggly-Wiggly store, complete with 2¢ packets of Kellogg's Cornflakes and 8¢ cans of Campbell's Soup. Some of the grounds of the mansion were sold off to developers who built an upscale residential development, Chickasaw Gardens.

 

In a move reminiscent of that of J. Walter Scott’s in 1889, he went on to create the "Clarence Saunders Sole Owner of My Name Stores" chain, which went into bankruptcy during the Great Depression.