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Lens flare effect with the Enterprise-D. A nod to the new Star Trek movie from JJ Abrams which had tons of flares. Note that the lens flare in the photo is natural and is from a nearby light source and not photoshopped :-)
MADDALAM: The maddalam or madhalam is a drum made out of the wood of the jackfruit tree. It has two sides for playing, made out of leather, and has different kind of sounds on each side. The maddalam is a heavy instrument which is hung around the waist of the person playing, and the player stands all the while to perform.
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Edited ISS060 image of Hurricane Dorian off the Dominican Republic on 29 August 2019. Color/processing variant.
Image source: earthobservatory.nasa.gov/images/145551/dorian-moves-over...
Original caption: Heading into the Labor Day holiday weekend in United States, citizens and government officials braced for a potent hurricane that has been intensifying in the tropical Atlantic Ocean. By the afternoon of August 30, 2019, Hurricane Dorian had reached category 3 intensity and was headed for the northern Bahamas and the east coast of Florida as a major hurricane, the first of the 2019 Atlantic season.
The photograph above was shot by an astronaut on the International Space Station at 11:12 a.m. Atlantic Standard Time (17:12 Universal Time) on August 29, 2019. At that time Dorian had maximum sustained winds of 85 miles (135 kilometers) per hour and a central pressure of 986 millibars, according to the National Hurricane Center. As of 2 p.m. AST (18:00 UT) on August 30, the center of the storm was about 445 miles (715 kilometers) east of the northwestern Bahamas and 625 miles (1005 kilometers) east of West Palm Beach, Florida. Sustained winds were measured at 115 mph (185 kmph) and the minimum central pressure was 970 millibars.
A key factor in the development of a hurricane is the warmth of the ocean surface. Warm water is the fuel that leads a storm to intensify, as heat and moisture move from the ocean to the atmosphere. This map above shows sea surface temperatures (SSTs) in the western Atlantic as of August 28, as well as population density in the U.S. Southeast and several Caribbean islands. Meteorologists generally agree that SSTs should be above 27.8°Celsius (82°Fahrenheit) to sustain and intensify hurricanes (although there are some exceptions).
The data for the map come from the MUR Global Foundation Sea Surface Temperature Analysis, produced at NASA’s Jet Propulsion Laboratory. It is based on observations from several satellite instruments, including the NASA Advanced Microwave Scanning Radiometer-EOS (AMSRE), the Moderate Resolution Imaging Spectroradiometer (MODIS) on the NASA Aqua and Terra platforms, the U.S. Navy microwave WindSat radiometer, the Advanced Very High Resolution Radiometer (AVHRR) on several NOAA satellites, and on in situ SST observations from NOAA. Population data come from the Socioeconomic Data and Applications Center (SEDAC).
NHC Forecasters reported on August 30: “Life-threatening storm surge and devastating hurricane-force winds are likely in portions of the northwestern Bahamas, where a hurricane watch is in effect...A prolonged period of storm surge, high winds and rainfall is likely in portions of Florida into next week, including the possibility of hurricane-force winds over inland portions of the Florida peninsula.”
NASA Earth Observatory images by Joshua Stevens and Lauren Dauphin, using MUR Global Foundation Sea Surface Temperature Analysis data from the Physical Oceanography Distributed Active Archive Center (PODAAC) at NASA/JPL, and population data from the Socioeconomic Data and Applications Center (SEDAC). Astronaut photograph ISS060-E-47508 was acquired on August 29, 2019, with a Nikon D5 digital camera using a 28 millimeter lens and is provided by the ISS Crew Earth Observations Facility and the Earth Science and Remote Sensing Unit, Johnson Space Center. The image was taken by a member of the Expedition 60 crew. The image has been cropped and enhanced to improve contrast, and lens artifacts have been removed. Story by Michael Carlowicz.
Our rear living room window, now repainted, from the inside. The only true single-pane window left in the house; this one would be over $1000 to replace thanks to government building codes requiring much more expensive tempered glass to be used, because this window is over stairs and could hurt someone on the stairs when it breaks. So government safety regulations actually made it so expensive to replace that we changed our mind and didn't -- actually making things less safe and less energy efficient. This is how government regulation often has the opposite effect, and are not a magic silver bullet that solves all societal problems. A non-tempered $500 would be safer than these loose panes! But no! Big Brother won't let me get that. So instead it's technically way more dangerous, as any pane could fall out once the glazing compound dries out.
Oops, painted this window shut too.
Sacrificial boards are used a lot in my house. I guess it's an "old wood window thing". I paid a good $5+ for another piece of crown moulding to put over the sill. The idea is that the sacrificial wood rots before the actual sill, much like sacrificial anodes on boats. In this window's case, the old sacrificial board was so rotten you could rip it off the nails and into pieces with your pinky finger. The sill itself was rotted out too. I spent a week or two building it up with successive layers of Elmer's wood filler. It kept raining on my wood filler and I'd have to start over! Eventually, though, it was built up enough to be flat enough to nail a NEW sacrificial board to. Hopefully this is the last paint job this sill will ever need. At some point in the future when we have more disposable income, we'll replace this window. (We need about $5,000 in new windows, so it's going to be awhile...)
And no, we didn't use edgers. We just got paint on the glass. BFD. I'm not focused on the window when I'm looking out of it. That stuff could be razor-bladed off if we cared enough. But what's the point? This window will likely be replaced someday. If we really wanted to, we could fix this with a scraper and a ladder. It would take at least 30 minutes (20 scraping, 10 ladder setup), and require 2 people (Carolyn as the ladder stabilizer, me as the elbow grease). Don't care enough to do that.
house maintenance, kudzu, living room window, sacrificial board.
upstairs, Clint and Carolyn's house, Alexandria, Virginia.
October 14, 2011.
... Read my blog at ClintJCL.wordpress.com
... Read Carolyn's blog at CarolynCASL.wordpress.com
BACKSTORY: So our homeowners insurance (Farmers) got dropped due to having peeling paint on our window sills (among other things). Weak. It was a LOT of work AND money for us to repaint all our sills. Wood windows SUCK!! Modern vinyl windows are MAINTANENCE-FREE!! Wood windows... You gotta re-glaze the panes when they fall out, and then the wood itself is always going to slowly rot away. We already had our cats knock a pane out, so we already had glazing compound for pane repairs. This came in handy when we painted our various window sills, as some also needed glazing compound.
It was quite a pain because it cost so much money and had our living room in disarray for so many months, and the whole insurance basis for the situation was pretty bullshitty in the first place. We're not going to make a property damage claim due to moisture that occurs because our windows let in moisture because their paint was peeling! Ridiculous... Is paint really all that's holding us back from having property damage through our windows? I DON'T THINK SO, as no moisture was getting in prior to repainting. Just total hassling from Farmers *AND* Progressive Insurance. NationWide, however, appears to finally be on my side.
North Toraja (or Toraja Utara) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and the home of the Toraja ethnic group. The local government seat is in Rantepao which is also the center of Toraja culture. Formerly this regency was part of Tana Toraja Regency.
The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on October 8, 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.
GEOGRAPHY
Tana Toraja is located on the Sulawesi island, 300 km north of Makassar, the provincial capital of South Sulawesi. Its geographical location is between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The area of the new North Toraja Regency is 1,151.47 km², about 2.5% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.
Tana Toraja Regency (Indonesian for Torajaland or Land of the Toraja, abbreviated Tator) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and home to the Toraja ethnic group. The local government seat is in Makale, while the center of Toraja culture is in Rantepao. But now, Tana Toraja has been divided to two regencies that consist of Tana Toraja with its capital at Makale and North toraja with its capital at Rantepao.
The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on 8 October 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.
GEOGRAPHY
Tana Toraja is centrally placed in the island of Sulawesi, 300 km north of Makassar, the provincial capital of South Sulawesi. It lies between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The total area (since the separation of the new regency of North Toraja) is 2,054.30 km², about 4.4% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.
ADMINISTRATION
Tana Toraja Regency in 2010 comprised nineteen administrative Districts (Kecamatan), tabulated below with their 2010 Census population.
The Torajans are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja").[1] Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognised this animistic belief as Aluk To Dolo ("Way of the Ancestors").
The word Toraja comes from the Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colourful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism development and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model—in which social life and customs were outgrowths of the Aluk To Dolo—to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonisation and Christianisation, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders—such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi—than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups—the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognised in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to Christianity.
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognised religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognised, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalised as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin)—except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women—a crime punishable by death.
RELIGIOUS AFFILATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
Architecture in the style of a tongkonan is still very common. Various administration buildings were built in this style in recent years, e.g. the Kecamatan building in Rantepao.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolise some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolise fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. Torajan wood carvings are composed of numerous square panels, each of which can represent various things, for example buffaloes as a wish of wealth for the family; a knot and a box, symbolizing the hope that all of the family's offspring will be happy and live in harmony; aquatic animals, indicating the need for fast and hard work, just like moving on the surface of water.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased's family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANNCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
COGENDER VIEWS
Among the Saʼadan (eastern Toraja) in the island of Sulawesi (Celebes), Indonesia, there are homosexual male toburake tambolang shamans; although among their neighbors the Mamasa (western Toraja) there are instead only heterosexual female toburake shamanesses.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.
Language varieties of Toraja, including Kalumpang, Mamasa, Tae, Talondo, Toala, and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages.
A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterised their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market.
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies—to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s—including religious conflicts elsewhere on Sulawesi—tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure—an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialised. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
WIKIPEDIA
How much counter effect can the clean grass have on the layer of dirt which I'd managed to gather on my sox? And how silly do I look to the passing cars wondering at my strange behavior of walking sock footed on the wet grass, looking down to take iPhone camera photos of my feet? [IMG_0593]
Warning, the following text contains heavy spoilers; all those who have not seen the Ending of Mass Effect 3 should probably not read on!
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So yeah, my thoughts on the Ending in short form: WTF did I just see?
Long version:
We struggled through a bunch of crap, witnessing the Fall of Thessia, combating Asari-Husks with GITD-B00bs, seeing Mordin die to cure the Genophage and Legion to unite Quarian and Geth and when we finally get the last piece of the puzzle, it totally screws us over with three unacceptable choices.
After three games of preparation and fight against the Reapers, a race of intelligent 2km long Spaceships who want to eradicate all life that is technologically advanced enough to travel space, we are brought to the conclusion that a little child just uses them to create “order” in the universe.
People are harvested, preserved in Reaper Form and then aide in the next cycle.
And now our choices stray away from the original plan:
Either we kill all synthetic life, including the Reapers, but also the Geth who are finally on our side (and pretty damn cool) and EDI who got a downright character development in the third part.
Or we take control of the Reapers doing that what our arch-enemy planned to do, which is therefore unacceptable.
Or we rewrite the whole genetic code of the galaxy making every life form the same, which apart from being totally unrealistic, is also stupid in that aspect that there would be nothing “interesting” left in the galaxy, like sexy, blueskinned, female Aliens or badass…however you’d describe a Krogan.
On top of that, all three choices bust the Mass Relay System limiting all civilisations to sublight speed making galaxy wide travel near impossible.
Thinking about that, the Quarian Homeplanet is on the other side of the galaxy, but they are in the Sol system. So after 300 Years of exile they need 300 more years to get back there.
Now, all choices also result in Shepards demise (except that final scene after the synthetic destruction, which can be interpreted different ways). Normally I wouldn’t have a problem with Sheppard giving his/her life for the cause, but I want a good cause for it!
So, my suggestions for the ending:
1) Kill all the Reapers, Sheppard either dies as a hero and gets a memorial. (Galactic readiness not at full but high enough for victory against Reapers)
2) Kill all the Reapers, Sheppard lives happily ever after (Galactic readiness full or nearly full, final scene: Normandy flying into the sunset, please?)
3) Fail, because of lack of galactic readiness and the Reapers harvest everyone, completing the cycle.
So yeah, that’s my thoughts on the ending. I sincerely hope Bioware retcons that, like Bethesda did with Fallout 3 (BoS DLC allowed you to survive the original Finale). A DLC making the last 20 minutes a dream would be great, Harbinger simply knocking you unconscious (therefore starting the DLC at the run for the Beam-Lift to the Citadel). That would allow different choices and also have the game continue after the final Mission, probably opening the stage for less Reaper related content like Project: Overlord or LotSB were for ME2.
Now, just to clarify: I tottaly loved all three Mass Effect games, and this final chapter was realy great, I enjoyed everything about it, except the ending.
I will also play through it multiple times again, but I'll probably stop after the Cerberus base.
Just to make it clear, that I did in fact like the game.
Now: Anyone else feeling a little F’ed by Bioware as well? Please post your opinion below.
This doll was a disappointment. His eye screening is, in my opinion, not nicely done and looks best from a distance. Mine also had a pink stain on one of his shoes for some reason
21 Years of Begins Here
Pier Band Room, Frankston
Australia
supports:
Hands Like Houses
Shot for: Live at Your Local
Two pictures combined. Camera focused on my dirty lens, hence those spots. Oh well. It adds some sort of effect, I think. Poor editing because I used Gimp for the first time.
About the photo: White dress on "young girl" represents the innocence and even ignorance as a child. And as you start maturing and aging, older women generally tend to wear darker, less vibrant colors, and the figure in the dress represents the "older girl." It didn't come out as I thought it did, probably because I'm not as transparent as I wanted to be to show more of the "memory" state. But oh well. You can see the motion blurs, and I thought that would help with the memorial feel. Really, it's the older girl looking at her inner child.
Childhood memory: I love that bed. It was my older brother's when we lived in Fort Worth and is my younger brother's now. I used to somehow fit under the bed and would hide in there. And I'd take all my toys and things and just have a "secret clubhouse" type thing with all my stuffed animals that I talked to. ;P SOOC in comments.
Great song/music video: If I Die Young by The Band Perry
Oh, the furore. The Enterprise and Regulatory Reform Act has photographers up in arms after pundits released broad-brush statements to the effect that ‘The government have made a law that removes my copyright control from my photographs’.
UK photographers have responded angrily, saying (in a variety of ways) that the new Act means that anyone anywhere can strip the data from a photograph that they want to use, declare it an ‘orphaned work’ (one for which the originator cannot be found) and use it as they wish without any payment. So once again the government are vilified in the electronic press and on forums because someone took what someone else said as correct.
This vitriol is fairly typical of our reactionary times and, as is so often the case, based on opinions that are not quite correct because the ‘respected authors’ have reacted to the headline without examining the content.
ERR has to comply with the Berne Convention for the Protection of Literary and Artistic Works, in which there are already certain provisions for the use of images and textual extracts without payment to the originator or author or, as appropriate, any estate. UK law already complies with the Berne Convention.
Amongst other things, the Act repeals S52 of the Copyright Designs and Patents Act 1988, which limited a design’s copyright period to ‘the life of the originator plus 25 years’ – a measure taken despite international law maintaining the copyright for 70 years after the originator’s death. The UK will fall into line with the international community on design, as it already does with other creative works – such as photographs.
Ranting about ‘diligent search’ quality – in that people wanting to use an image will just say that they conducted a diligent search – is such a waste of time and effort. The search is to be conducted under an existing commercial process, approved by government, following application (and payment, of course) from an intending user. Part of the payment will, no doubt, cover the administrative cost of the search with the remainder going into a Royalties nest-egg in case the originator suddenly springs up to claim misuse. The original suggestion that the forthcoming 'Use Authorising' department should conduct searches has been blocked on two grounds.
1.HMG lacks the expertise necessary to do the job efficiently.
2.HMG does not wish to be seen as competing with existing commercial agencies.
Obviously this will all reduce the time and money spent on litigation for copyright breach which, while not mentioned in the committee’s impact assessment, has to be a consideration because of the corresponding reduction of the burden on the Court Service.
The main purpose of this part of the bill is to enable and encourage archives and museums to monetise orphaned works that gather dust in dark corners of storage areas.
I’ve yet to see anyone complaining about the part of the Act that removes the onus on retailers to inform TV Licensing of any sales or rentals of television sets (Wireless Telegraphy Act 1967 (as amended)) because it has become an onerous burden and in part, because of international sales, unenforceable.
"Arts installation documenting the life and works of Michael Faraday who was Scientific Advisor to Trinity House and said to have conducted many experiments in the TBW Lighthouse."
To the left of the shed was a warehouse, its inside filled with smoke and cut at top and bottom by two horizontal planes of laser light. I poked my head through the door that was barely ajar, and a man with long white hair told us to come in. We walked through the mist for ages, looking at the light patterns spreading like luminous milk through the coffee darkness. Mannix's pram seemed to be standing wheel-deep in a foggy marsh.
According to the Trinity Buoy Wharf website, this was called Horizon, "An installation of Laser light and paintings by Caroline Cary and Jim Webb in the Electrician's Shop Basement and Chainstore II."
Light, Archetypal identity, oriented to self-reflection
This chakra is known as the brow chakra or third eye center. It is related to the act of seeing, both physically and intuitively. As such it opens our psychic faculties and our understanding of archetypal levels. When healthy it allows us to see clearly, in effect, letting us "see the big picture."
www.lichtkreis.at/html/Wissenswelten/Chakren/sieben-haupt...
Die sieben Hauptchakren
Kronenchakra, Stirnchakra, Halschakra, Herzchakra, Solarplexuschakra, Sakralchakra und Wurzelchakra
Layouthilfe
Den Chakren werden unterschiedliche universelle Qualitäten des menschlichen Lebens zugeordnet. Aus diesen Qualitäten lassen sich wiederum subjektiv positive und negative Ausdrucksformen ableiten.
Es werden im Allgemeinen sieben Hauptchakren unterschieden. Jedes Chakra schwingt in einer seiner Aufgabe entsprechenden Grundfarbe und steht mit bestimmten Organen und Körperbereichen in Verbindung. Die sieben Hauptchakren entsprechen darüber hinaus den sieben Hauptdrüsen des endokrinen Systems (das Endokrine System ist die Gesamtheit aller Hormonbildenden Organe und Zellen). Auch steuert jedes Chakra einen spezifischen Aspekt des menschlichen Verhaltens und der menschlichen Entwicklung und wird seinerseits davon geprägt. Die unteren Chakras, deren Energien langsamer schwingen, stehen mit den Grundbedürfnissen und Emotionen des Menschen in Verbindung. Die feineren Energien der oberen Chakras entsprechen den höheren geistigen und spirituellen Bestrebungen und Fähigkeiten des Menschen.
Die Chakren haben ihren Namensursprung im Sanskrit, und haben in der deutschen Übersetzung teils unterschiedliche Bezeichnungen erhalten. Um dir einen Überblick der gebräuchlichsten Bezeichnungen zu geben haben wir diese in der folgenden Tabelle zusammengefasst. Dies soll dir die Zuordnung erleichtern, da du sie vielleicht unter dem einen oder anderen Namen kennst. Wir nutzen in unseren Texten die fett hervorgehobenen Namen.
Sanskrit Deutsch
1 Mūlādhāra
(Wurzelstütze) Wurzelchakra, Basischakra, Wurzelzentrum, Basiszentrum, 1. Chakra
2 Svādhisthāna
(Süße, Liebliche) Sakralchakra, Sexualchakra, Kreuz-Zentrum, Polaritätschakra, Sexualzentrum, 2.Chakra
3 Manipūra
(Leuchtender Juwel) Solarplexuschakra, Nabelchakra, Nabelzentrum,
Milzchakra, Magenchakra, 3. Chakra
4 Anāhata
(Unbeschädigte) Herzchakra, Herzzentrum, 4. Chakra
5 Viśuddha
(Reinigende) Halschakra, Kehlchakra, Kommunikationszentrum, 5. Chakra
6 Ājñā
(Wahrnehmende) Stirnchakra, Drittes Auge, Inneres Auge, Stirnzentrum, 6. Chakra
7 Sahasrāra
(Tausendfache) Kronenchakra, Scheitelchakra, Scheitelzentrum, 7. Chakra
Das erste Chakra, das Wurzelchakra, befindet sich zwischen Anus und Genitalien. Das zweite Chakra, das Sakralchakra, befindet sich etwa eine Handbreit unter dem Bauchnabel, das dritte Chakra, das Solarplexuschakra, liegt direkt über dem Sonnengeflecht etwas in Höhe des Magens. Es ist ein zentraler Knotenpunkt der Nervensysteme des Körpers. Das vierte Chakra ist das Herzchakra; es liegt in Höhe des Herzens. Das Fünfte ist das Halschakra, und das sechste das Stirnchakra, welches sich zwischen den Augenbrauen befindet. Einige Zentimeter über dem Scheitelpunkt des Kopfes sitzt das Kronenchakra.
Die Öffnungen der Chakren befinden sich jeweils an der Vorder- und an der Rückseite des Körpers mit Ausnahme des Wurzel- und des Kronenchakra, welche nach unten bzw. oben geöffnet sind.
Den Chakren werden auch unterschiedliche universelle Qualitäten des menschlichen Lebens zugeordnet. Aus diesen Qualitäten lassen sich wiederum positive und negative Ausdrucksformen ableiten. Wie Wissen (steht für Kronenchakra), Wahrnehmung (Stirnchakra), Ausdruck (Halschakra), Beziehung, Liebe (Herzchakra), Wille, Macht (Solarplexuschakra), Sexualität, Gefühle (Sakralchakra) und Überleben, Instinkte (Wurzelchakra)
Mit Hilfe verschiedener Techniken (z.B.: Reiki, Kinesiologie, Schwingungsübertragung, Mudra) werden sie positiv beeinflusst um eine Harmonie zwischen dem geistigen Leib, der "Lebensenergie", und dem körperlichen Leib herzustellen.
K ENB Extensive 'The Living Lights' 0.236 + Extreme Quality + Moonsprite + SweetFX + a few Mods.
More beautiful scenery from The Elder Scrolls V: Skyrim
Some Mods ...
Skyrim Immersive Creatures (where I got it from - requires DLC Dawnguard)
skyrim.nexusmods.com/mods/24913//?
Original SkyMoMod link ...
www.moddb.com/mods/skymomod-v12
Monster Wars v6
skyrim.nexusmods.com/mods/18997/?
Danariel Stormbow Follower
skyrim.nexusmods.com/mods/47649/?
FR Girl Followers with In-Game Body Changer
skyrim.nexusmods.com/mods/47063/?
Transformation Dark Knight and Paladin
www.loverslab.com/topic/14831-transformation-dark-knight-...
Jump animations
skyrim.nexusmods.com/mods/16069/?
BBP Armor paks (English translations)
www.loverslab.com/topic/6034-bbp-armor-english-translatio...
Warrior Within Weapons
skyrim.nexusmods.com/mods/42280/?
Explosive Arrows- Fire Frost and Shock
Item #85075
Vice Effect
Ollie Lawson Dressed Doll
Color Infusion™ Collection
2015 W Club Upgrade Doll
Approximate Ship Date: Summer 2015
Edition size: TBA (Determined by the total amount of orders received)
Doll Tech Specs:
Body Type: FR:Homme
Head Sculpt: Ollie Lawson
Quick Switch Feature: No
Skin Tone: FR White
Hair Color: Frosted Blond
Eyelashes: No
I never understood why people like to post pictures of the stuff they buy, but here I am doing it lol
Late afternoon Lake Effect fog rolls off Lake Ontario and obscures the West Pierhead Lighthouse in the Oswego, New York harbor.
This is one of the photos I featured on my blog yesterday which was Freshly Pressed, Wordpress.com's version of Explore, and garnered over 1,000 views.
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Poster (Locandina):
www.warnerbros.it/scheda-film/genere-romantico/me-you/
m.media-amazon.com/images/S/pv-target-images/b3eb47bb2236...
i0.wp.com/www.cinematik.it/wordpress/wp-content/uploads/2...
i0.wp.com/www.cinematik.it/wordpress/wp-content/uploads/2...
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click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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Religious devotion, at times, in Sicily seems to take on the face of women, like that of the two Sicilian saints Agata and Lucia along the Ionian coast of Sicily, or the face of Rosalia, on the opposite side, in Palermo. The lives of Agata and Lucia are closely linked, even though they never met. Agata was martyred in 251, Lucia was not yet born, she was born 32 years later. On February 5, 301, she went to Catania to pray at Agata's tomb to invoke her intercession, hoping to obtain the healing of her mother, who was seriously ill. Agata appeared to her in a dream, confirmed her mother's healing (her mother was healed), but also confided in her that she would be martyred because of her faith in Christ: Lucia was martyred on December 13, 304, during the persecutions of Diocletian. What has been said as an incipit of the photographic story that I present here, created on the occasion of the celebration that Catania dedicates to its Patron Saint Agatha, described as the most important religious celebration in Catania, also considered the third Catholic religious celebration in the world (first are the “Semana Santa” in Seville, and the “Corpus Domini” in Cuzco in Peru), a ranking that takes into account the huge number of people who participate every year. The celebration of Saint Agatha takes place on several dates, from 3 to 6 February, on 12 February and on 17 August: the February celebration is linked to her martyrdom, the August celebration commemorates the return to Catania of her mortal remains, initially taken to Constantinople as spoils of war by the Byzantine general Maniaces, and remained there for 86 years. The young Agata lived in the 3rd century, she belonged to a rich patrician family of Catania, since she was young she had embraced the cult of the Christian religion, the governor Quinziano (or Quintiliano) fell in love with her, Agata to escape him hid in his house in Palermo, Quinziano managed to find out where she was hiding, so he had her taken to Catania, here his attempts to bend Agata's will and make her give in to his flattery were in vain, after her umpteenth refusal he changed his intentions, accused her of being of the Christian religion, condemned her to death, not without first having led her to martyrdom, he amputated her by tearing off both her breasts, in this way in addition to the torment of physical pain, the psychological one was added, humiliating the girl in her femininity, then he gave her death by dragging her on burning coals, Agata was 20 years old. After her death, the cult of her began to spread, even the pagans began to venerate her figure, there is news about her origins starting from 252, the year after her death: the inhabitants of Catania were proud of this young woman who rebelled against the will of the dictator. The feast of Saint Agatha begins on February 3, there is the procession "for the offering of wax", the two eighteenth-century carriages of the senate pulled by horses come out along the streets of the city, "the candelore" make their appearance; on February 4th the celebration begins with the “Mass of Dawn” which is celebrated in the cathedral, after the reliquary bust of the Saint and the silver casket, they are placed on the “vara” (or “fercolo”), to be carried in procession in its “external tour”, the procession begins by crossing the “Porta Uzeda” and thus reaching the arches of the marina, the procession then circumscribes the historic center of the city, going to the places where Agatha’s martyrdom took place; : On February 5th the “Pontifical Mass” is celebrated, on this occasion by lining up in the cathedral, you can go and see the reliquary bust of the Saint, as evening comes, the bust and the casket are placed back on the heavy float for the last procession, which goes along the “internal tour” (or “noble tour”), which crosses the historic center of Catania, a procession preceded by the passage of lit candles carried on the shoulders of devotees (of various weights and sizes, some reach exceptional dimensions and weight, historically these candles illuminated, when electricity did not exist, the passage of the Saint), then the “candelore” pass, they are gigantic and heavy wooden “candelabra”, in baroque style, painted in gold, each one represents an ancient corporation (butchers, fishmongers, bakers, pork butchers, greengrocers, etc.), finally the float with Saint Agatha passes, the long-awaited moment, with the reliquary bust that it contains inside some parts of her body, the other parts of her body are inside the casket, so, with both on the float, Agata's entire body can travel the streets of the city of Catania. The float is pulled by hand, by the many devotees who wish to participate spontaneously in this very particular rite, using two large cords more than 200 meters long, to the end of which are connected four handles. The photographs were taken on February 4 and 5, 2024 and 2025, they are not organized in series taking into account either the year or the days; I obtained a "bilocation effect" by using different shooting points in the two years, visible especially when the float passes through the Porta Uzeda; I made portraits of the devotees, posed and not, in particular the portrait of a devotee who seemed almost enraptured in ecstasy at the passage of Sant'Agata (and perhaps she really was), it represented for me the absolute, profound and concrete synthesis of the attachment of the "citizens" (synonym of "devotees") of Catania towards this young martyr, who has become a symbol of those who oppose violence against women, and protector of women suffering from breast cancer. I photographed two beautiful and sweet models who embodied the "two ages of Agata", with the aim of raising awareness among women in the prevention of breast cancer (the ceramic decorations corresponding to the breasts are the work of "Nenè sculptures of art by Nancy Coco); I captured in some images, the custom of some devotees, to carry with them images of loved ones who passed away too soon (photos placed on candles or printed on the characteristic white habit, called "sacco", which is part of the characteristic way of dressing of the devotees); finally I thank the owner of the Beniamin Art Gallery, in via Umberto, an artist himself, for giving me the opportunity to photograph the Pop icon exhibited in his gallery entitled "Aga Pop".
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La devozione religiosa, a volte, in Sicilia sembra assumere il volto delle donne, come quello delle due sante siciliane Agata e Lucia lungo la fascia Ionica della costa sicula, od il volto di Rosalia, sul versante opposto, in quel di Palermo. Le vite di Agata e Lucia sono tra loro legate in maniera strettamente indissolubile, pur non essendosi mai conosciute, Agata morì martirizzata nel 251, Lucia non era ancora nata, nascerà 32 anni dopo, il 5 febbraio del 301 si recherà a Catania a pregare sul sepolcro di Agata per invocare la sua intercessione sperando così di ottenere la guarigione di sua madre, gravemente malata, Agata le appare in sogno, le conferma la guarigione di sua madre (sua madre ebbe la guarigione), ma anche, le confida, che per lei ci sarà il martirio a causa della sua fede in Cristo: Lucia fu martirizzata il 13 dicembre del 304, durante le persecuzioni di Diocleziano. Quanto detto come incipit del racconto fotografico che qui presento, realizzato in occasione della festa che Catania dedica alla sua Santa Patrona Agata, descritta come la più importante festa religiosa di Catania, considerata anche la terza festa religiosa cattolica al mondo (prime la “Semana Santa” di Siviglia, ed il “Corpus Domini” di Cuzco in Perù), graduatoria che tiene conto del grandissimo numero di persone ogni anno vi partecipano. La festa di Santa’Agata si svolge in più date, dal 3 al 6 febbraio, il 12 febbraio ed il 17 agosto: la ricorrenza di febbraio è legata al suo martirio, quella di Agosto rievoca il ritorno a Catania delle sue spoglie mortali, portate inizialmente a Costantinopoli come bottino di guerra dal generale bizantino Maniace, e li rimaste per 86 anni. La giovane Agata visse nel 3° secolo, apparteneva ad una ricca famiglia patrizia di Catania, sin dalla giovane età aveva abbracciato il culto per la religione cristiana, di lei si invaghì il governatore Quinziano (o Quintiliano), Agata per sfuggirgli si nascose in una sua casa a Palermo, Quinziano riuscì a sapere dove si nascondeva, quindi la fece condurre a Catania, qui i suoi tentativi di piegare la volontà di Agata e farla cedere alle sue lusinghe furono vani, all’ennesimo suo rifiuto egli mutò i suoi propositi, la accusò di essere di religione cristiana, la condannò a morte, non senza averla prima condotta al martirio, le amputò strappandole entrambi i seni, in tal modo oltre allo strazio del dolore fisico, si aggiungeva quello psicologico, umiliando la ragazza nella sua femminilità, poi le diede la morte trascinandola sui carboni ardenti, Agata aveva 20 anni. Dopo la sua morte si iniziò a diffondere il culto verso di lei, anche i pagani iniziarono a venerare la sua figura, si hanno notizie sulle sue origini già a partire dal 252, anno successivo alla sua morte: gli abitanti di Catania erano orgogliosi di questa giovane donna che si ribellò al volere del dittatore. La festa per Sant’Agata inizia il 3 febbraio, si ha la processione “per l’offerta della cera”, escono lungo le vie della città le due settecentesche carrozze del senato trainate da cavalli, fanno la loro comparsa “le candelore”; il 4 febbraio la festa inizia con la “Messa dell’Aurora” che si celebra nella cattedrale, dopo il busto reliquiario della Santa e lo scrigno d’argento, vengono messi sulla “vara” (o “fercolo”), per essere portati in processione nel suo “giro esterno”, la processione inizia attraversando la "Porta Uzeda" e giungendo così agli archi della marina, la processione quindi circoscrive il centro storico della città, recandosi nei luoghi ove avvenne il martirio di Agata; il 5 febbraio si celebra la “Messa Pontificale”, in questa occasione mettendosi in fila nella cattedrale, si può andare a vedere il busto reliquiario della Santa, col sopraggiungere della sera, busto e scrigno, vengono nuovamente messi sulla pesante vara per l’ultima processione, che percorre il “giro interno” (o “giro nobile”), che attraversa il centro storico di Catania, processione preceduta dal passaggio dei ceri accesi portati in spalla dai devoti (di vario peso e dimensioni, alcuni raggiungono dimensioni e peso eccezionali, storicamente questi ceri illuminavano, quando non esisteva l’energia elettrica, il passaggio della Santa), poi passano le “candelore”, sono dei giganteschi e pesanti "candelabri" in legno, in stile barocco, dipinti in oro, ognuna rappresenta una antica corporazione (macellai, pescivendoli, panettieri, pizzicagnoli, fruttivendoli, ecc.), infine passa la vara con Sant’Agata, il momento tanto atteso, col busto reliquiario che racchiude al suo interno alcune parti del suo corpo, le altre parti del corpo si trovano all’interno dello scrigno, in tal modo, con entrambi sulla vara, tutto il corpo di Agata può percorrere le strade della città di Catania. La vara è trainata a mano, dai tantissimi devoti che desiderano partecipare spontaneamente a questo rito così particolare, tramite due grossi cordoni lunghi più di 200 metri, al cui capo sono collegate quattro maniglie. Le fotografie sono state realizzate il 4 ed il 5 febbraio del 2024 e del 2025, esse non sono organizzate in serie tenendo conto né dell’anno, nè delle giornate; ho ottenuto un “effetto di bilocazione” sfruttando differenti punti di ripresa nei due anni, visibile soprattutto quando la vara passa attraverso la Porta Uzeda; ho realizzato ritratti dei devoti, posati e non, in particolare il ritratto di una devota che sembrava quasi rapita in estasi al passaggio di Sant’Agata (e forse lo era veramente), ha rappresentato per me la sintesi assoluta, profonda e concreta dell’attaccamento dei “cittadini” (sinonimo di “devoti”) catanesi nei confronti di questa giovane martire, diventata simbolo di chi si oppone alla violenza sulle donne, e protettrice delle donne ammalate di cancro al seno. Ho fotografato due belle e dolci modelle che impersonavano le “due età di Agata”, con lo scopo di sensibilizzare le donne nella prevenzione delle neoplasie alla mammella (i decori in ceramica in corrispondenza dei seni, sono opera di “Nenè sculture d’arte di Nancy Coco); ho colto in alcune immagini, l’usanza di alcuni devoti, di recare con se immagini di persone care scomparse troppo presto (foto messe sui ceri o stampate sul caratteristico saio bianco, chiamato “sacco”, che fa parte del modo caratteristico di vestire dei devoti); infine ringrazio il proprietario della Beniamin Art Gallery, in via Umberto, artista egli stesso, per avermi dato la possibilità di fotografare l’icona Pop esposta nella sua galleria dal titolo “Aga Pop”.