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Situated amidst the calming greenery, a village steeped in ancient animism and rituals, is the home of about 250 artisans carrying forward the tradition of ecstatic wooden mask making for generations. The craft of Gomira dance masks is practiced in a specific area in North Dinajpur district of West Bengal state, India, in and around the village of Mahisbathan (Khunia Danga, Kushmandi Block) located approximately 50km south-east of Raiganj, the district headquarter.
The mask dance (or Mukha Khel) is usually organized in between mid-April to mid-July though there are no fixed dates, but each village in the area organizes at least one Gomira dance during this period according to their convenience, at a central location.
The Gomira dances have distinct forms. The Gomira format is the predominant one, which has characters with strong links to the animist tradition. It is performed to propitiate Gram-Chandi, the female deity, usher in the 'good forces' and drive out the 'evil forces'. Traditionally, the Gomira dance starts with the entry of two characters, Buro-Buri, (old couple). After the initial round of dancing, characters are called on to the arena or stage. They dance to the accompaniment of Dhak (percussion drum ethnic to rural Bengal) and Kansar (bell-metal disk used as cymbal). There are no songs or chants. The dancers choose their own movements, which include rotations and hops.
The craft of Gomira mask-making, in its pristine form, catered to the needs of the dancers (and any villager wishing to give a mask as an offering to the village deity). The masks make part of the costume of the traditional Gomira dance. Themes of the masks are usually spiritual, historic and religious.
Originally, the Gomira masks are crafted from neem wood, as per Hindu mythology. Later locally available cheaper wood such as gamhar, pakur, kadam, mango, and teak came to be used. The village craftsmen are very conscious of the environment and always plant one tree for trees cut down, usually of the same species.
The mask making begins with cutting the log and then immersed in water for seasoning. Once the basic shape has emerged, they use the broad chisel and heaviest hammer to bring out the final shape. The reverse side of the mask is scooped out very carefully. For finer finishing, narrower chisels, sand papers of various grades are being used and a coat or two of varnish, which provides smoothness to the mask and ensures durability. Formerly, the masks were hand-painted with natural dyes. Slowly the use of chemical dyes and even enamel paints have gained acceptance mainly because of ready availability and permanence.
The Gomira craftsmen are from Rajbongshi community and do not belong to any particular caste. The women folk have never been a part of mask-making. For most of the artisans, mask making is a supplementary source of income.
In association with UNESCO, Government of West Bengal's Department of Micro, Small and Medium Enterprises & Textiles has developed a Rural Craft Hub at Mahisbathan to resurrect this art form, by giving the craftsmen a place to work. The Mahisbathan Gramin Hasta Shilpa Samabay Samiti Limited (a cooperative of craftsmen and artisans who live in the nearby villages) runs the centre; ensures payments for work done and promotes the sale of masks and other wooden artefacts. The Samiti delivers more than 100 masks per month, where the selling price varies from Rs. 700 (USD $10) to Rs. 3500 (USD $50), depending on the complexity.
The Samity also runs a Folk Art Centre which is also equipped with accommodation facility for guests. One can participate in workshops, learn about the history of the community and craft, nuances of the mask making and the fascinating associated stories.
More, Gomira Dance Mask by Tulip Sinha - The Chitrolekha Journal on Art and Design
Beautiful Bengal, India
After reviewing this infographic, you’ll not only know how to instantly increase your value as a technical communicator but dramatically increase revenue in your organization while simultaneously teaching your customers about your products/services.
www.mindtouch.com/blog/2010/05/21/why-technical-communica...
[documentation more than art]
pierced my nose and bleached & toned the SHIT out of my hair :D
[note on nose ring:
this is a ring for piercing ears.
it's just in there while it heals for a few weeks.
i am aware it's large and awkward.]
[note II: i know i suck at smiling.]
While going through some of my dad's old computer stuff, I found some documentation on Emacs dated October 1982.
That's only six months after I was born!
Students of Video Production and Documentation class 020-18 pose for a group photo during after their graduation ceremony at the Defense Information School on Fort George G. Meade, Md., May 4, 2018. The course has five functional areas which focus on various aspects of video production. (U.S. Army photo by Staff Sgt. Richard Jones)
Food Font is an art project where people can make alphabets out of food, take pictures of each letter, and later use these and other food alphabets to create images and other creative projects. The project supports dialogue and builds community around food, health, and sustainability.
The Food Font project allows you to download Food Font alphabets that you can use.
Goto: www.foodfont.com/download to view alphabets in other forms.
All Food Alphabets files are licensed under a Creative Commons Attribution 4.0 International License. You can use the alphabet images and files but you must mention the project and where the images came from in documentation, promotion, labels, etc. You also can sell what you make if you wish.
Situated amidst the calming greenery, a village steeped in ancient animism and rituals, is the home of about 250 artisans carrying forward the tradition of ecstatic wooden mask making for generations. The craft of Gomira dance masks is practiced in a specific area in North Dinajpur district of West Bengal state, India, in and around the village of Mahisbathan (Khunia Danga, Kushmandi Block) located approximately 50km south-east of Raiganj, the district headquarter.
The mask dance (or Mukha Khel) is usually organized in between mid-April to mid-July though there are no fixed dates, but each village in the area organizes at least one Gomira dance during this period according to their convenience, at a central location.
The Gomira dances have distinct forms. The Gomira format is the predominant one, which has characters with strong links to the animist tradition. It is performed to propitiate Gram-Chandi, the female deity, usher in the 'good forces' and drive out the 'evil forces'. Traditionally, the Gomira dance starts with the entry of two characters, Buro-Buri, (old couple). After the initial round of dancing, characters are called on to the arena or stage. They dance to the accompaniment of Dhak (percussion drum ethnic to rural Bengal) and Kansar (bell-metal disk used as cymbal). There are no songs or chants. The dancers choose their own movements, which include rotations and hops.
The craft of Gomira mask-making, in its pristine form, catered to the needs of the dancers (and any villager wishing to give a mask as an offering to the village deity). The masks make part of the costume of the traditional Gomira dance. Themes of the masks are usually spiritual, historic and religious.
Originally, the Gomira masks are crafted from neem wood, as per Hindu mythology. Later locally available cheaper wood such as gamhar, pakur, kadam, mango, and teak came to be used. The village craftsmen are very conscious of the environment and always plant one tree for trees cut down, usually of the same species.
The mask making begins with cutting the log and then immersed in water for seasoning. Once the basic shape has emerged, they use the broad chisel and heaviest hammer to bring out the final shape. The reverse side of the mask is scooped out very carefully. For finer finishing, narrower chisels, sand papers of various grades are being used and a coat or two of varnish, which provides smoothness to the mask and ensures durability. Formerly, the masks were hand-painted with natural dyes. Slowly the use of chemical dyes and even enamel paints have gained acceptance mainly because of ready availability and permanence.
The Gomira craftsmen are from Rajbongshi community and do not belong to any particular caste. The women folk have never been a part of mask-making. For most of the artisans, mask making is a supplementary source of income.
In association with UNESCO, Government of West Bengal's Department of Micro, Small and Medium Enterprises & Textiles has developed a Rural Craft Hub at Mahisbathan to resurrect this art form, by giving the craftsmen a place to work. The Mahisbathan Gramin Hasta Shilpa Samabay Samiti Limited (a cooperative of craftsmen and artisans who live in the nearby villages) runs the centre; ensures payments for work done and promotes the sale of masks and other wooden artefacts. The Samiti delivers more than 100 masks per month, where the selling price varies from Rs. 700 (USD $10) to Rs. 3500 (USD $50), depending on the complexity.
The Samity also runs a Folk Art Centre which is also equipped with accommodation facility for guests. One can participate in workshops, learn about the history of the community and craft, nuances of the mask making and the fascinating associated stories.
More, Gomira Dance Mask by Tulip Sinha - The Chitrolekha Journal on Art and Design
Beautiful Bengal, India
This is a photo of the standard Makerbot 3mm thermistor, for a skeinforge configuration page I'm writing.
Al Blue's Manuscript and documentation of Consolidated B-24s and LB-30 Liberators in British Ferry Command--Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
The center is housed in the unfinished National Socialist Congress Hall (Kongresshalle). For more info, visit museums.nuremberg.de/documentation-centre.
The Etowah River is famous for prehistoric fish weirs. They were constructed for the purpose of corralling presumably migratory fish into traps. The technology is used throughout eastern North America and is thought to have spanned many archaeological periods. Documentation by local historians indicates that some weirs were modified and maintained into the 1800's. The fact that wooden structures are present in some of the weirs would indicate this may be true. Some of the weirs on the lower Etowah River seem to have been damaged or partially dismantled possibly to allow boat traffic to traverse the river.
"Chapman documented 37 stone weirs were in a 45 mile stretch of the Etowah River between Cartersville and Rome, but admitted that a number are historic (Chapman 1975:6). They consist of four basic shapes: curved, "V"-shaped (with one or more openings), "L" shaped (with openings), and irregularly shaped (Chapman 1975:8). Chapman (1975:6-7) describes a dichotomy between weirs utilizing large rocks and those with small. Embedded historic materials appear to be associated solely with the former. George Henry Loskiel described a "V"-shaped stone weir in use by Native Americans in 1794: "(T)he Indians run a dam of stones across the stream, where its depth will admit of it, not in a straight line, but in two parts verging towards each other in an angle. An opening is left in the middle for the water to run off. At this opening they place a large box, the bottom of which is full of holes" (Jones 1873:332-3)." This is an quote from: www.lutins.org/thesis/
Documentation from the Tessellation Exposition, July 29th -August 6th at the Jardim Botanico in Brasilia, Brazil.
(Continued from the photo of the 2 in the hospital). So I couldn't leave Aswan without visiting Abu Simbel, broken foot or no, signed up for this tour, left to drive south at @ 4 am by cab, hobbled @ at the site on crutches, and was stared at more than a bit. From Aswan it was a trick getting back to Cairo, navigating train stations and trains on those crutches with my backpack. Our cab was in a bad accident on the way back to Aswan, noone was hurt but the car was totaled and the driver was inconsolable. I stayed in the hospital in Cairo for a couple of days, got a second opinion (and a cast with my foot set extended at exactly the wrong angle I learned later, with my toe pointing down - ?), until I contacted the Cdn consul. (At the hospital I was bitten by a wild kitten I tried to pick up from under my bed, plenty of wild cats there, and the consul made me get a rabies shot). I flew back home via London and soon developed amoebic dysentery symptoms, and I got a letter from a Dutch friend who had to rush back to Holland shortly after I last saw her in Aswan for an emergency appendectomy. How's that for a string of bad luck? I have the crutches and a big scar on my foot as souvenirs, but my foot's good.
- This famous shrine in the far south of Egypt, only @ 40-50 clicks north of the Sudanese border as the crow flies, was dedicated to Ramesses II and was raised piece by piece by Unesco in the 60s to a plateau to escape a rising Lake Nasser when the Aswan dam was built. Ramesses reigned for 67 yr.s in the 19th dynasty of the 'New Kingdom' of the 13th cent. B.C.
www.google.com/maps/place/Abu+Simbel,+Aswan+Governorate,+...
- Lotsa photoshop with this one.
- "It took 20 yr.s to create [this] complex. ... The temples are dedicated to the gods Ra-Horakty, Ptah, and the deified Ramesses II ('The Great Temple' [this]) and the goddess Hathor and Queen Nefertari, Ramesses' favourite wife ('The Small Temple')."
- "Allegedly, the Swiss explorer Burckhardt was led to the site by a boy named Abu Simbel in 1813 and the site was then named after him. Burckhardt, however, was unable to uncover the site, which was buried in sand up to the necks of the grand colossi and later mentioned this experience to his friend and fellow explorer Giovanni Belzoni. [Read more re Belzoni below.] It was Belzoni who uncovered and first excavated (or looted) Abu Simbel in 1817 and it's considered likely that it was he, not Burckhardt, who was led to the site by the young boy and who named the complex after him."
- "The Great Temple stands 30 m.s high and 35 m.s long with 4 seated colossi flanking the entrance, 2 to each side, depicting Ramesses II on his throne; each one 20 m.s tall. Beneath these giant figures are smaller statues (still larger than life-sized) depicting Ramesses' conquered enemies, the Nubians, Libyans, and Hittites. Further statues represent his family members and various protecting gods and symbols of power. Passing between the colossi, through the central entrance, the interior of the temple is decorated with engravings showing Ramesses and Nefertari paying homage to the gods. Ramesses' great victory at Kadesh [in Syria, the battle against the Hittites] (considered by modern scholars to be more of a draw than an Egyptian triumph) is also depicted in detail across the north wall of the Hypostyle Hall. According to the scholars Oakes and Gahlin, these engravings of the events surrounding the battle "present a lively account in both reliefs and text. Preparations for battle are being made in the Egyptian camp. Horses are harnessed or given their fodder while one solder has his wounds dressed. The king's tent is also depicted while another scene shows a council of war between Ramesses and his officers. Two Hittite spies are captured and beaten until they reveal the true whereabouts of Muwatalli, the Hittite king. Finally, the two sides engage in battle, the Egyptians charging in neat formation while the Hittites are in confusion, chariots crashing, horses bolting and soldiers falling into the River Orontes. In the text, Ramesses takes on the whole of the Hittite army single-handed, apart from support rendered by [the god] Amun who defends him in battle and finally hands him the victory."
- "The location of the site was sacred to Hathor long before the temples were built there and, it is thought, was carefully chosen by Ramesses for this very reason. In both temples, Ramesses is recognized as a god among other gods and his choice of an already sacred locale would have strengthened this impression among the people. The temples are also aligned with the east so that, twice a year, on Feb. 21 and Oct. 21, the sun shines directly into the sanctuary of The Great Temple to illuminate the statues of Ramesses and Amun. The dates are thought to correspond to Ramesses' birthday and coronation. The alignment of sacred structures with the rising or setting sun, or with the position of the sun at the solstices, was common throughout the ancient world ... but the sanctuary of The Great Temple differs in that the statue of the god Ptah, who stands among the others, is carefully positioned so that it is never illuminated at any time. As Ptah was associated with the Egyptian underworld, his image was kept in perpetual darkness." www.worldhistory.org/Abu_Simbel/
- Again, this was first excavated and explored by the great Giovanni Battista Belzoni, hydrologist, pioneering Egyptologist, Herculean strongman, showman and adventurer, the closest anyone's come to a real Indiana Jones. www.aramcoworld.com/Articles/September-2018/Egyptology-s-...
- "[In 1816] Belzoni continued upstream with his party toward the temple of Abu Simbel, some 500 km.s south of Luxor, to investigate the remains of 4 20 m. seated statues of Ramses the Great. They found the temple’s grand entryway drowned in sand, and Belzoni realized that excavating there would be like “making a hole in water … an endless task.” Unless, that is, he could find a way to keep the sand from refilling the hole after every scoop. Deploying his knowledge of hydraulics, engineering and stagecraft, he calculated that the doorway “could not be less than 35' [10 m.s] below the surface of the sand,” and the front of the temple was likely proportionately “117' [36 m.s] wide.” (The top of the temple’s doorway is in fact about 2/3rds of the way down a 30-m.-high façade, and the temple is indeed 36 m.s wide.) With palm logs and locally hired labor, Belzoni drove a palisade into the sand in front of the temple. Then he wet the sand “close to the wall over the door” to stop the drifts from sifting back down into the hole. After exposing the face and shoulders of one statue, he had to interrupt the task to return to Luxor to load the bust of the Ramses statue onto a boat. He arranged for a local tribal leader to safeguard the site, sketched his progress and left “with a firm resolution of returning to accomplish its opening."
- "... In February 1817, ... Belzoni was eager to return to his interrupted excavation at Abu Simbel. It wasn’t until summer that Belzoni got his wish, and he and his crew excavated the front of the temple in temperatures topping 51 degrees Celsius. On July 31 they reached “the upper part of the door as evening approached [and] dug away enough sand to be able to enter,” he wrote. But Belzoni chose to wait until dawn, after he observed that the rising sun would pierce directly into the temple’s massive, east-facing doorway. As the first light for more than a thousand years illuminated the interior, the team “entered the finest and … most magnificent of temples … enriched with beautiful intaglios, painting, colossal figures,” Belzoni gushed." No gushing, he was just being descriptive and accurate.
- "... Although he and his team took little from the temple, they spent several days measuring, drawing and compiling a detailed record of the structure’s interior and exterior. “Taking measurements, drawing pictures - that is real archaeological documentation,” says Ryan, who often refers to Belzoni as a 'proto-archeologist.' The accuracy of Belzoni’s record-keeping ... remains useful to this day."
- Here's one of several doc.s re Belzoni online, 'The Great Belzoni: The Last Tomb Raider Of Ancient Egypt'.: youtu.be/LAm9Rcrh2-0?si=Sl8Zt2fUV0xEA0IU
Domestic Violence Advocates Throughout America should be outraged by this. As well as any decent human being should be also. much to the horror of the photographer these photographs as a factual documentation and demonstration / example of the brutality and violence against women are a firsthand account of what should not happen in the year 2010 or at any other time in the future. We are not in the dark ages anymore. We are in the new millennium. This brutal assault at the fists of Imed Trabelsi occured August 21, 2010 -- both the Suffolk County Long island New York District Attorney's office and the SCPD can verify this did occur and they are involved in bringing this to justice. Special thanks to SCPD Internal Affairs for their sensitivity and caring.
devblog.wgbh.org/2008/07/11/testing-tuning-traveling/
First pass at user documentation for our new CMS.
The growth of our Corpse Flower is pretty well documented! Check out all the cameras on Lois right now, and follow the links in the notes to see the live feeds.
Learn more about this extraordinary flower - and follow its progress - on the HMNS blog!