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"Television and Fire"
Jeff Nisbet and Johnny Andrew Gigliotti Bailik (Godfuel)
Curated by:
Liza Mitchell
Contact:
Liza Mitchell 310-489-8998
liza4lov@aol.com
Dates:
Sept. 26th - October 29th 2009
Artist reception: Sat., Oct. 17th, 2009 6-9 PM
Preview: Sat, Sept. 26th 6-9 PM
2nd Saturday ArtWalk: Oct. 10th, 6-9 PM
Location:
309 Pine Avenue
Phantom Galleries LA Long Beach invites you to experience the imposing and vibrant paintings of Jeff Nisbet and Johnny Bailik (Godfuel). The themes of “Television and Fire” ignite the room with the two of the most culture changing inventions of humankind. Join us to explore these talented artists’ exploration and interpretations.
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The following should be linked and then on a separate page. Thanks
Should appear on the gallery page as
Jeff Nisbet Bio
GODFUEL Bio
Jeff Nisbet Bio
‘television’ is a body of work that deals with physical application processes, light projection, and aleatory operations. It focuses on the object quality of television. Juxtaposed are tiles drawn from commercial signage, emphasizing the social politics of the television as a network for consumerism. The tiles have been consciously situated to subvert an advertising message. The true chance occurrence is the smear.
Jeff Nisbet is as an artist and curator living and working in Long Beach. After graduating with a B.F.A. in painting from the University of Hawaii at Manoa in spring 2009, he moved to Long Beach and has recently taken up the position of curator at Sipology Galerie. Jeff has been showing in Honolulu for the last three years at the Loft Gallery, the Common’s Gallery, the University of Hawaii Main Gallery, Soullenz Gallery, bar35 Bar and Gallery, and The Manifest. He has had two solo shows at the Loft Gallery, located in Honolulu’s Chinatown District, and has performed twice in April of 2008 and 2009 at Art Mania using the innards of disused computers.
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GODFUEL Bio
JOHNNY ANDREW GIGLIOTTI BAILIK (GODFUEL)
Johnny Andrew Gigliotti Bailik was born in the same steel town as the late Andy Warhol; Pittsburgh, Pennsylvania. In 1989 he studied privately at the Hoyt Institute of Fine Arts and in 1992 he moved to the Cleveland, Ohio area to attend the Nationally Accredited Bliss Hall School of Fine and Performing Arts.
In 1994 Bailik organized with other fellow art students an Anti-Censorship exhibition which featured a lecture by Andres Serrano, most known for his photograph entitled "Piss Christ", as well as a speech by Dennis Barrie, who was the director of the Contemporary Arts Center of Cincinnati during the infamous Robert Mapplethorpe obscenity trial. In 1996 Bailik helped to organize a regionally legendary show entitled "Spectacle", a multi-media, collaborative, outdoor performance that contained everything from static art to interactive sculpture to extravagant performance art.
Bailik's travels and life as an artist has also made it possible for him to meet such artists as Paul Jenkins, Dennis Oppenheim, Julian Schnabel, Ed Moses, Mark DiSuvero, Dennis Hopper, and Robert Rauschenberg to name a few, as well as to work with artists of varying degrees and aesthetics.
Since 1991 Bailik's work has been primarily painting, but has also included sculpture, video, and installations. It has been displayed internationally in contemporary and modern museums, commercial galleries, and private collections. He has also won awards and grants in multi-media, video installation, and painting. Bailik moved to Los Angeles, California at the end of 1999. He states, "I have been profoundly affected by the 'City of Angels'. The energy, spirituality, diversity, the eclecticism of the culture and the land has altered my work dramatically. It is a beautiful time and place to explore." Johnny Bailik continues to live and work in his Venice studio.
(awards)
2000, 2003, 2004; J. Miletta Award in Painting
1997; Stephen Stackhouse Memorial Award in Art
1996, 1997; Butler Institute of American Art Award
1994 - 1997; Florence Simon Beecher Art Grant
1993 - 1997; Bliss Hall Fine Art Scholarship
1993; John Mitchell Award in Design
(education)
1997; BFA (Painting), Bliss Hall, Youngstown, OH.
1992; Hoyt Institute of Fine Art, Pittsburgh, PA.
(exhibitions)
2009, Phantom Galleries LA., Long Beach, CA.
2009, T. Lambert Gallery, Cleveland, OH.
2008, Joined Medea Gallery, San Pedro, CA.
2007, Final Round Art Dubai, Dubai U.A.E.
2007, DCA Gallery, Santa Monica, CA.
2006, Group Show, The Brick House, Venice, CA.
2006, Group Show, Montagna Galleria, Rome, Italy
2005, DCA Gallery, Venice, CA.
2004, Joined DCA Gallery, Venice, CA.
2003, Group Show, Cleenewerck Group Show, Venice, CA.
2003, Group Show, T. Lambert Gallery, Cleveland, OH.
2001, Private Show, Curated by Kaat Cleenewerck, Venice, CA.
2001, Group Show, Montagna Galleria, Rome, Italy
2001, Solo Exhibit, Pergandy Gallery, Cleveland, OH.
2001; Solo Exhibit, T. Lambert Gallery, Cleveland, OH.
2000, Group Show, gallerie 119, Bruxelles, Belgium
1999; Solo Exhibit, T. Lambert Gallery, Cleveland, OH.
1998; Group show of selected Abstract Painting, T. Lambert Gallery, Pittsburgh, PA.
1998; Solo Exhibit, Pergandy Gallery, Cleveland, OH.
1997; Solo Exhibit, "The Dissolution Series", The Artists Guild, Warren, OH.
1997; "Collaborative Project", selected group, site specific installation, Cleveland, OH.
1997; Selected pieces from "The Dissolution Series", Cedar Gallery, Youngstown, OH.
1997; Senior Exhibition, McDonough Museum of Art
1997; Juried Exhibition, McDonough Museum of Art
1996; "Spectacle", a multi-media, collaborative, outdoor performance, Cleveland, OH.
1996; Juried Exhibition, McDonough Museum of Art
1995; Juried "Works on Paper", McDonough Museum of Art
1995; "D2" Group show, Cleveland, OH.
1994; Anti-Censorship Exhibit, Bliss Gallery, Youngstown, OH.
1994; Juried Exhibition, McDonough Museum of Art
1994; Juried "Works on Paper", McDonough Museum of Art
1993; Juried Exhibition, McDonough Museum of Art
1992; Hoyt Institute of Art, Pittsburgh, PA.
1991; Hoyt Institute of Art, Pittsburgh, PA.
(positions)
2003; Ace Institute of Contemporary Art, Installations Preparator, Los Angeles, CA.
2000 - 2009; godfuel studios, Creative Director, Venice, CA.
1997; Gallery Preparator, Butler Institute of American Art, Youngstown, OH.
1994 - 1997; Installations Coordinator, McDonough Museum of Art, Youngstown, OH.
1993 - 1996; "The Art Association" Officer, Cleveland, OH.
(publications)
"Kunst en Culture" magazine - 2000
"Deze Week in Brussel" weekly newspaper - 2000
"The Art of Digital Imaging: Principles & Processes" by Jon Krasner 1998
"Pig Iron Press" publication featuring an article on Bailik’s work, which also covered work by Andres Serrano - 1994
An angel holds a globe representing the Creation of Humankind. Interestingly, an angelic musician accompanies this, as if to show heaven's rejoicing at the Creation of the rational animal, the only creature God has created "for its own sake", as the Catechism puts it.
Windows designed by Burne Jones and made by Morris & Co. of the pre-Raphaelite school, were installed in the then-Unitarian chapel of Manchester College, Oxford, c.1893-8. A stunning ruby glass is used throughout and the designs are striking with beautiful faces.
El rostro de la humanidad.
The Face of Humankind.
Lle visage de l'humanité.
O rostro d humanidade.
A Gioconda Sapiens é o rostro da especie humana. A reprodución deste famoso cadro de Leonardo dá Vinci foi posible grazas á colaboración de máis de dez mil persoas de todo o mundo, que escribiron enviando a súa fotografía.
Humanidade | Domus
Ningunha outra especie permite tantas diferenzas individuais.
Somos, con todo, moi semellantes: todos os seres humanos compartimos o 99,8% dos caracteres hereditarios. As diferenzas que existen entre as persoas non son debidas a que teñan distintos xenes, senón a como se manifestan devanditos xenes. Podemos dicir que hai tantas razas como seres humanos; ou, o que é o mesmo, desde o punto de vista xenético as razas non existen.
Gioconda sapiens é unha recreación do cadro de Leonardo da Vinci realizado coas fotografías de 10.062 persoas de 110 países. Atópase na Coruña, na Domus, ou Casa do Home.
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El rostro de la humanidad.
The Face of Humankind.
Le visage de l’humanité.
O rostro da humanidade.
La Gioconda Sapiens es el rostro de la especie humana. La reproducción de este famoso cuadro de Leonardo da Vinci ha sido posible gracias a la colaboración de más de diez mil personas de todo el mundo, que han escrito enviando su fotografía.
Humanidad | Domus
Ninguna otra especie permite tantas diferencias individuales.
Somos, no obstante, muy semejantes: todos los seres humanos compartimos el 99,8% de los caracteres hereditarios. Las diferencias que existen entre las personas no son debidas a que tengan distintos genes, sino a cómo se manifiestan dichos genes. Podemos decir que hay tantas razas como seres humanos; o, lo que es lo mismo, desde el punto de vista genético las razas no existen.
Gioconda sapiens es una recreación del cuadro de Leonardo da Vinci realizado con las fotografías de 10.062 personas de 110 países. Se encuentra en La Coruña, en la Domus, o Casa del Hombre.
A preview image from the three new illustrated Bible stories from the Genesis section of The Brick Testament website. See the full set of illustrations there.
motivation shience fiction goose talking to you cubes landscape photomanipulation sky scary horror apocalypse final battle end is near humankind danger
SAN FRANCISCO, CA - May 18 - John Landers and Maureen Landers attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)
This broadcast is for humankind. Cybermen now occupy every land mass on this planet, but you need not fear. Cybermen will remove fear. Cybermen will remove sex and class and color and creed. You will become identical. You will become like us.
The paramountcy, as an unconscious motive in one of the world's most overcrowded countries, of preserving a certain distance between one's self and the remainder of humankind, has tended to oppose the development on this side of the herring pond of the American porch habit. That and our indoor climate. To me, an outsider, it was a delightful thing to sit out on my mother-in-law's porch ...we would say "verandah" of course... with anisette cigar (ridiculously cheap), book and glass of beer, to observe the, ah, colourful life of the street.
More of that in the next post. Here I pause in my ruminations for Mrs B to take a commemorative snap. While, in England (this was May), people put the heating back on and the recently imposed hosepipe ban was sheepishly lifted, Fray got out the short-sleeved shirts, shed his socks and basked in the warmth of a Pennsylvanian spring. My holiday reading was Like It Was, the diaries of Malcolm Muggeridge (ed. Bright-Holmes, Collins, 1981), but I found it difficult to concentrate. One of my interests, when I travel abroad, is what might be called Comparative Natural History. Among outlandish birds, insects and plants unknown in England ...blue jays, mockingbirds, dusty polls, crickets, cicadas, uh ...cockroaches (found four in the basement), milkweed, poison i-i-i-ivy, sumac... one observes many species which, if not identical, must be tantamount to the familiar denizens of our dew-kissed dells and dingles. Overhead wheeled the "chimney-swifts", equivalent, and occupying the same ecological niche as our own swifts (my favourite birds), but with pointed rather than forked tails, weaker flight and an entirely different call. For a particular half-hour at dusk, fireflies floated in the middle of the street, flashing their little green lamps. One of these entomological luminaries alighted at my feet, casting its glow, in a flourescent patch of a few seconds' duration, on the boards of the floor. What an extraordinary thing! I was entranced. Americans, in that folksy way of theirs, call them "lightning bugs". But then, they call albatrosses ...the most graceful birds in the sky... "goony birds".
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
Contact : Gregory da silva Cape Town South Africa Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
SAN FRANCISCO, CA - May 16 - Laura Young-Shahata attends Dignity Health Foundation's Humankindness Gala at City Hall in San Francisco, CA. (Photo - Arthur Kobin for Drew Altizer Photography)
18 de fevereiro de 2011
O presidente Obama e a primeira-dama viajarão ao Brasil, Chile e El Salvador de 19 a 23 de março, onde o presidente se reunirá com líderes e falará à população desses países para tratar de uma grande variedade de temas, entre os quais a prosperidade econômica e a geração de emprego por meio da intensificação do comércio e das parcerias, a cooperação nas áreas de energia e segurança, os valores compartilhados e outros assuntos de importância regional e mundial.
A viagem oferecerá uma oportunidade para dialogar com parceiros bilaterais, destacar o engajamento do presidente no continente e promover nossos esforços para trabalhar como parceiros em igualdade de condições para tratar dos desafios básicos enfrentados pelos povos do continente americano. A visita incluirá eventos em Brasília, Rio de Janeiro, Santiago e São Salvador.
Detalhes adicionais sobre a viagem serão divulgados posteriormente.
FRAMEWORK AGREEMENT BETWEEN THE GOVERNMENT OF THE FEDERATIVE REPUBLIC OF BRAZIL AND THE GOVERNMENT OF THE UNITED STATES OF AMERICA ON COOPERATION IN THE PEACEFUL USES OF OUTER SPACE
The Government of the Federative Republic of Brazil
and
the Government of the United States of America
(hereinafter referred to as “the Parties”),
Recalling their long and useful cooperation in the exploration and peaceful use of outer space, through the successful implementation of cooperative activities in a broad range of space science and applications areas;
Taking note of the mutual benefit to be gained from working together in the peaceful use of space for the welfare of all humankind;
Considering the desirability of enhanced cooperation between the Agencies in human space flight, space science, and the use of space for research in the Earth sciences and global change, with potential benefits to all nations;
Noting the success of their joint projects under the Framework Agreement between the Government of the Federative Republic of Brazil and the Government of the United States of America on Cooperation in the Peaceful Uses of Outer Space signed at Brasilia March 1, 1996, as extended (hereinafter the “First Cooperation Agreement”);
Desiring to further develop the overall legal framework to facilitate the continuance of their mutually beneficial relationship through the conclusion of implementing arrangements to document their joint understanding of the future cooperative endeavors to be undertaken between the Parties;
Recalling the Treaty on Principles Governing the Activities of States in the Exploration and Use of Outer Space, including the Moon and Other Celestial Bodies, done on January 27, 1967, to which both States are Parties;
Have agreed as follows:
Article 1
Purpose
This Framework Agreement, hereinafter referred to as the “Agreement,” sets forth the obligations, terms and conditions for the cooperation between the Government of the Federative Republic of Brazil and the Government of the United States of America (hereinafter referred to as “the Parties”), or any designated Agency of either Party, in the exploration and use of outer space for peaceful purposes in areas of common interest and on the basis of equality and mutual benefit and is intended to supersede the First Cooperation Agreement.
Article 2
Definitions
For the purposes of this Agreement,
1. The term “Agency” means:
(i) for Brazil , the Brazilian Space Agency (AEB), or any other Brazilian agency or department that Brazil may decide to designate in writing through diplomatic channels; and
(ii) for the United States, the National Aeronautics and Space Administration (NASA), or any other U.S. agency or department that the United States may decide to designate in writing through diplomatic channels.
2. The term “Damage” means:
(i) bodily injury to, or other impairment of health of, or death of, any person;
(ii) damage to, loss of, or loss of use of any property;
(iii) loss of revenue or profits; or
(iv) other direct, indirect, or consequential damage.
3. The term “Launch Vehicle” means an object, or any part thereof, intended for launch, launched from Earth or returning to Earth, which carries Payloads or persons, or both;
4. The term “Payload” means all property to be flown or used on or in a Launch Vehicle;
5. For the purpose of Article 12, the term “Protected Space Operations” means all activities conducted pursuant to this Agreement, including Launch Vehicle activities, and Payload activities on Earth, in outer space, or in transit between Earth and air space or outer space, in implementation of this Agreement. Protected Space Operations begins on the date of entry into force of this Agreement and ends when all activities done in implementation of this Agreement are completed. It includes, but is not limited to:
(i) research, design, development, test, manufacture, assembly, integration, operation, or use of Launch or Transfer Vehicles, Payloads, or instruments, as well as related support equipment and facilities and services; and
(ii) all activities related to ground support, test, training, simulation, or guidance and control equipment and related facilities or services.
The term “Protected Space Operations” excludes activities on Earth that are conducted on return from space to develop further a Payload’s product or process for use other than for activities in implementation of this Agreement.
6. The term “Related Entity” means:
(i) a contractor or subcontractor of an Agency, at any tier;
For the purpose of Article 12 (Cross-Waiver of Liability), the term “Related Entity” also means:
(ii) a user or customer of an Agency, at any tier; or
(iii) a contractor or subcontractor of a user or customer of an Agency, at any tier.
For the purpose of Article 12, the terms “contractor” and “subcontractor” include suppliers of any kind.
For the purpose of Article 12, the term “Related Entity” may also apply to a State, an international organization, or an agency, department, or institution of a State, having the same relationship to a Party as described in subparagraphs (i) to (iii) above, or otherwise engaged in the implementation of Protected Space Operations as defined in Article 2 paragraph 5 above.
7. The term “Transfer Vehicle” means any vehicle that operates in space and transfers a Payload or person or both between two different space objects, between two different places on the same space object, or between a space object and the surface of a celestial body. A Transfer Vehicle also includes a vehicle that departs from and returns to the same location on a space object.
Article 3
Scope of Cooperation
1. The Parties shall identify areas of mutual interest and seek to develop cooperative programs or projects, hereinafter referred to as “Programs,” in the exploration and peaceful uses of outer space and shall work closely together to this end.
2. These Programs may be undertaken, as mutually agreed, and subject to the provisions of this Agreement and the specific terms and conditions of any Implementing Arrangements concluded pursuant to Article 4, in the following areas:
a) Earth science, observation, and monitoring;
b) Space science;
c) Exploration systems;
d) Space operations; and
e) Other relevant areas of mutual interest.
3. These Programs may be implemented using the following:
a) Spacecraft and space research platforms;
b) Scientific instruments onboard spacecraft and space research platforms;
c) Space operations missions;
d) Sounding rocket and scientific balloon flights and campaigns;
e) Aircraft flights and campaigns;
f) Space communications, including ground-based antennas, for tracking, telemetry, and data acquisition;
g) Ground-based research facilities;
h) Exchanges of scientific personnel;
i) Exchanges of scientific data;
j) Participation in joint workshops and meetings;
k) Terrestrial analogs;
l) Earth and space applications;
m) Education and public outreach activities; and
n) Other mechanisms of mutual interest jointly decided in writing by the Parties.
4. All activities taking place under this Agreement shall be conducted in a manner consistent with the applicable national laws and regulations of the Parties.
5. These Programs may take place on the surface of the Earth, in air space, or in outer space.
Article 4
Implementing Arrangements
1. The Parties shall conduct joint activities under this Agreement through their respective Agencies. Implementing Arrangements concluded by the Agencies shall set forth the specific roles and commitments of the Agencies and shall include, as appropriate, provisions related to the nature and scope of the joint activities, the individual and joint commitments of the Agencies, and any other provisions necessary to conduct the joint activities.
2. Such Implementing Arrangements shall incorporate by reference and be subject to this Agreement.
Article 5
Financial Arrangements
1. The Parties shall be responsible for funding their respective activities under this Agreement. Obligations under this Agreement and any Implementing Arrangements shall be subject to the availability of appropriated funds and to each Party’s funding procedures.
2. Each Party shall ensure that, should its Agency encounter funding problems that may affect the activities to be carried out pursuant to this Agreement, its Agency will notify and consult with the other Agency as soon as possible.
3. This Agreement shall not prejudice the ability of the Parties or their Agencies to conclude other agreements or arrangements regarding matters outside or within the scope of this Agreement, as mutually agreed.
Article 6
Duties, Fees, and Taxes
1. In accordance with its national laws and regulations, each Party shall ensure free customs clearance and exemption from all applicable customs duties, fees, and taxes for the import or export of goods necessary for the implementation of this Agreement.
2. In the event that any duties, fees, or taxes of any kind are nonetheless levied on such goods, such duties, fees, or taxes shall be borne by the Party of the country levying them.
Article 7
Entry and Exit of Personnel
On a reciprocal basis, each Party shall use reasonable efforts to facilitate, in accordance with its laws and regulations, the entry into and exit from its territory of personnel engaged in joint activities pursuant to this Agreement.
Article 8
Overflight
Each Party shall facilitate, upon request from the other Party, the provision of aircraft and balloon overflight clearances, as necessary, in order to carry out activities under Implementing Arrangements established under this Agreement. Detailed information regarding the purpose of the overflight, the proposed type of equipment to be used, and the researchers involved shall be addressed, as appropriate, in the Implementing Arrangements.
Article 9
Intellectual Property Rights
1. Nothing in this Agreement shall be construed as granting, either expressly or by implication, to the other Party any rights to, or interest in, any inventions or works of a Party, its Agency or its Agency’s Related Entities made prior to the entry into force of, or outside the scope of, this Agreement, including any patents (or similar forms of protection in any country) corresponding to such inventions or any copyrights corresponding to such works.
2. Any rights to, or interest in, any invention or work made in the performance of this Agreement solely by one Party, its Agency or any of its Agency’s Related Entities, including any patents (or similar forms of protection in any country) corresponding to such invention or any copyright corresponding to such work, shall be owned by such Party, its Agency or its Agency’s Related Entity. Allocation of rights to, or interest in, such invention or work between such Party, its Agency and its Agency’s Related Entity shall be determined by its applicable national laws, rules, regulations, and contractual obligations.
3. It is not anticipated that there will be any joint inventions made in the performance of this Agreement. Nevertheless, in the event that an invention is jointly made by the Parties, their Agencies and/or their Agencies’ Related Entities in the performance of this Agreement, the Parties shall, in good faith, consult and agree within 30 calendar days as to:
a. the allocation of rights to, or interest in, such joint invention, including any patents (or similar forms of protection in any country) corresponding to such joint invention;
b. the responsibilities, costs, and actions to be taken to establish and maintain patents (or similar forms of protection in any country) for each such joint invention; and
c. the terms and conditions of any license or other rights to be exchanged between the Parties or granted by one Party to the other Party.
4. For any work jointly authored by the Parties, their Agencies and/or their Agencies’ Related Entities, should the Parties decide to register the copyright in such work, they shall, in good faith, consult and agree as to the responsibilities, costs, and actions to be taken to register copyright protection (in any country).
5. Subject to the provisions of Article 10 (Publication of Public Information and Results) and Article 11 (Transfer of Goods and Technical Data), each Party shall have an irrevocable royalty free right, for its own purposes, to reproduce, prepare derivative works, distribute, and present publicly, and authorize others to do so on its behalf, any copyrighted work resulting from activities undertaken in the performance of this Agreement, regardless of whether the work was created solely by, or on behalf of, the other Party or jointly with the other Party.
Article 10
Publication of Public Information and Results
1. The Parties retain the right to release public information regarding their own activities under this Agreement. The Parties shall coordinate with each other in advance concerning releasing to the public information that relates to the other Party’s responsibilities or performance under this Agreement.
2.
(a) The Parties shall make the final results obtained from joint activities available to the general scientific community through publication in appropriate journals or by presentations at scientific conferences as soon as possible and in a manner consistent with good scientific practices.
(b) The Parties shall ensure that its Agencies include provisions for the sharing of science data in the Implementing Arrangements.
3. The Parties acknowledge that the following data or information does not constitute public information and that such data or information shall not be included in any publication or presentation by a Party under this Article without the other Party’s prior written permission: (1) data furnished by the other Party in accordance with Article 11 (Transfer of Goods and Technical Data) of this Agreement that is export-controlled or proprietary; or (2) information about an invention of the other Party before a patent application has been filed covering the same, or a decision not to file has been made.
Article 11
Transfer of Goods and Technical Data
1. The Parties are obligated to transfer only those goods and technical data (including software) necessary to fulfill their respective responsibilities under this Agreement, in accordance with the following provisions:
(a) All activities under this Agreement shall be carried out in accordance with the Parties’ national laws, rules, and regulations, including those laws, rules, and regulations pertaining to export control and the control of classified information.
(b) The transfer of technical data with regard to interface, integration, and safety for the purposes of discharging the Parties’ responsibilities under this Agreement shall normally be made without restriction, except as provided in paragraph (a) above. If design, manufacturing, processing data and associated software, which is proprietary but not export controlled, is necessary for interface, integration, or safety purposes, the transfer shall be made and the data and associated software shall be appropriately marked.
(c) All transfers of goods and proprietary or export-controlled technical data are subject to the following provisions. In the event a Party, its Agency or its Agency’s Related Entity finds it necessary to transfer goods or to transfer proprietary or export-controlled technical data, for which protection is to be maintained, such goods shall be specifically identified and such proprietary or export-controlled technical data shall be marked. The identification of goods and the marking on proprietary or export-controlled technical data will indicate that the goods and proprietary or export-controlled technical data shall be used by the receiving Party, its Agency or its Agency’s Related Entity only for the purposes of fulfilling the responsibilities of the receiving Party, its Agency or its Agency’s Related Entity under this Agreement, and that the identified goods and marked proprietary technical data or marked export-controlled technical data shall not be disclosed or retransferred to any other entity without the prior written permission of the furnishing Party, its Agency or its Agency’s Related Entity. The receiving Party, its Agency or its Agency’s Related Entity shall abide by the terms of the notice and protect any such identified goods and marked proprietary technical data or marked export-controlled technical data from unauthorized use and disclosure. The Parties to this Agreement will cause their Agencies ’ Related Entities to be bound by the provisions of this Article related to use, disclosure, and retransfer of identified goods and marked technical data through contractual mechanisms or equivalent measures.
2. All goods and marked proprietary or export-controlled technical data exchanged in the performance of any Implementing Arrangement shall be used by the receiving Party, its Agency and/or its Agency’s Related Entities exclusively for the purposes of that Implementing Arrangement. Upon completion of the activities under an Implementing Arrangement, the receiving Party, its Agency or its Agency’s Related Entity shall return or, at the request of the furnishing Party, its Agency or its Agency’s Related Entity, otherwise dispose of all goods and marked proprietary or export-controlled technical data provided under the Implementing Arrangement.
Article 12
Cross-Waiver of Liability
1. With respect to activities performed under this Agreement, the Parties agree that a comprehensive cross-waiver of liability will further cooperation in the exploration, exploitation and use of outer space. This cross-waiver of liability, as set out below, shall be broadly construed to achieve this objective. Provided that the waiver of claims is reciprocal, the Agencies may tailor the scope of the cross-waiver clause in an Implementing Arrangement to address the specific circumstances of a particular cooperation.
2.
(a) Each Party agrees to a cross-waiver of liability pursuant to which each Party waives all claims against any of the entities or persons listed in sub-paragraphs 2(a)(i) through 2(a)(iv) below based on Damage arising out of Protected Space Operations. This cross-waiver shall apply only if the person, entity, or property causing the Damage is involved in Protected Space Operations and the person, entity, or property damaged is damaged by virtue of its involvement in Protected Space Operations. The cross-waiver shall apply to any claims for Damage, whatever the legal basis for such claims, against:
(i) the other Party;
(ii) the other Party’s Agency;
(iii) the Related Entity of the other Party´s Agency;
(iv) the employees of any of the entities identified in sub-paragraphs (i), (ii) and (iii) immediately above.
(b) In addition, each Party shall ensure that its Agency extends the cross-waiver of liability as set forth in Article 12.2(a) to the Agency’s Related Entities by requiring them, by contract or otherwise, to agree to:
(i) waive all claims against the entities or persons identified in Article 12.2(a)(i) through Article 12.2(a)(iv); and
(ii) require that their Related Entities waive all claims against the entities or persons identified in Article 12.2(a)(i) through Article 12.2(a)(iv) above.
(c) For avoidance of doubt, this cross-waiver of liability shall be applicable to claims arising under the Convention on International Liability for Damage Caused by Space Objects, done on March 29, 1972 (the “Liability Convention”), where the person, entity, or property causing the Damage is involved in Protected Space Operations and the person, entity, or property damaged is damaged by virtue of its involvement in Protected Space Operations.
(d) Notwithstanding the other provisions of this Article, this cross-waiver of liability shall not be applicable to:
(i) claims between a Party or its Agency and its Agency’s Related Entity or between an Agency’s own Related Entities;
(ii) claims made by a natural person, his/her estate, survivors, or subrogees (except when a subrogee is a Party to this Agreement or is otherwise bound by the terms of this cross-waiver) for bodily injury to, other impairment of health of, or death of such natural person;
(iii) claims for Damage caused by willful misconduct;
(iv) intellectual property claims;
(v) claims for Damage resulting from a failure of a Party’s Agency to extend the cross-waiver of liability to the Agency’s Related Entities, pursuant to Article 12.2(b); or
(vi) claims by or against a Party, its Agency or its Agency’s Related Entity arising out of or relating to the other Party, its Agency or its Agency’s Related Entity’s failure to perform its obligations under this Agreement or any Implementing Arrangement concluded hereunder.
(e) Nothing in this Article shall be construed to create the basis for a claim or suit where none would otherwise exist.
(f) In the event of third-party claims for which the Parties may be liable, the Parties shall consult promptly to determine an appropriate and equitable apportionment of any potential liability and on the defense of any such claims.
Article 13
Registration of Space Objects
For Implementing Arrangements involving a launch, the Parties shall ensure that their Agencies decide as to which Agency will request its Government to register the spacecraft as a space object in accordance with the Convention on the Registration of Objects Launched into Outer Space, opened for signature January 14, 1975. Registration pursuant to this Article shall not affect the rights or obligations of either Party under the Liability Convention.
Article 14
Consultations and Settlement of Disputes
1. The Parties shall encourage their Agencies to consult, as appropriate, to review the implementation of activities undertaken pursuant to this Agreement, and to exchange views on potential areas of future cooperation.
2. In the event questions arise regarding the implementation of activities under this Agreement or regarding the interpretation or application of this Agreement, the Agencies shall endeavor to resolve the questions.
3. If resolution is not reached by the Agencies, the questions shall be resolved by means of consultations between the Parties.
Article 15
Relationship to Other Agreements
1. If it appears that this Agreement conflicts with the rights and obligations of either Party under any other agreement to which it is a party, the Parties shall consult with a view to resolving the conflict.
2. Upon entry into force of this Agreement pursuant to Article 16, the First Cooperation Agreement shall terminate. Any Implementing Arrangements subject to the provisions of the First Cooperation Agreement that have not expired or been terminated by the date this Agreement enters into force shall continue and be subject to the provisions of this Agreement. In case of any conflict between the terms and conditions contained in those Implementing Arrangements and this Agreement, the terms and conditions of this Agreement shall take precedence.
Article 16
Entry into Force, Duration, and Amendment
1. This Agreement shall enter into force on the date of the last note of an exchange of diplomatic notes in which the Parties notify each other of the completion of their internal procedures necessary for the entry into force of this Agreement. This Agreement shall remain in force for twenty (20) years unless extended by written agreement of the Parties or terminated in accordance with the provisions of Article 17 of this Agreement.
2. This Agreement may be amended through an exchange of diplomatic notes by the Parties. Such amendment shall enter into force in accordance with the entry-into-force procedure specified in paragraph 1 of this Article.
Article 17
Termination
1. Either Party may terminate this Agreement by providing at least six months written notice to the other Party.
2. Termination or expiration of this Agreement shall not affect Implementing Arrangements that are in effect at the time of termination or expiration of this Agreement.
3. Notwithstanding the termination or expiration of this Agreement, its provisions shall continue to apply to cooperation under any Implementing Arrangements in effect at the time of termination or expiration, for the duration of such Implementing Arrangements.
4. Notwithstanding termination or expiration of this Agreement or any Implementing Arrangements concluded hereunder, the obligations of the Parties set forth in Articles 9, 11, and 12 of this Agreement, concerning Intellectual Property Rights, Transfer of Goods and Technical Data, and Cross-Waiver of Liability shall continue to apply.
In witness whereof, the undersigned, being duly authorized thereto by their respective Governments, have signed this Agreement.
Done at Brasilia , in duplicate, this 19th day of March, 2011, in the Portuguese and English languages, both versions being equally authentic.
Artwork, poetry and fiction used to be the exclusive domain of humankind. Now, you can now find many AI programs online that will create just about anything you can think of - from 3D rendered models to descriptive text - with just a few inputted prompts.
Rather than worry if this is going to put me out of a job I thought a collaboration was in order so used an AI called ChatPGT to write me a nostalgic four line poem about walking in the cherry blossom and this is what it came up with:
I walk beneath the cherry blossom trees
Memories of you come back to me
Each petal falling like a tear
As I remember our springtime years
With that as inspiration I then went on to create the accompanying artwork of a girl walking through the blossom and, bingo, we have one unsolicited collaboration with a computer program. The future is, at least, interesting.
She's been created on classy A2 Somerset paper using stencils, spraypaint, dymo, letter stamps and some computer derived poetry. Drop us a line if this futuristic artwork needs to adorn your gaff or she'll be making her way to our new website in due course (www.id-iom.com/)
Cheers
id-iom
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
To Invite Gregory da silva,The Famous Egg man, to your Events or Festivals, please Contact : Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
SAN FRANCISCO, CA - May 18 - Joni Rubin and Claire Wiebe attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Drew Altizer)
Step into a lost world from long ago . . .
A world veiled in darkness after a cataclysmic collision that stilled the earth. Millennia have passed and only humankind has survived-through the divine gift of dreams.
Exquisitely rich and magical, this new Rider-Waite-Smith-based tarot deck by digital artist Ciro Marchetti takes you into the heart of fantasy. You can use this legacy from ages past to discover what you need for your own life as it guides you toward hope, wisdom, and inspiration.
The companion guidebook, Gateway to the Divine Tarot, presents the author's interpretation of each card's significance, along with additional perspectives from experts in the tarot community, including Ruth Ann and Wald Amberstone, James Ricklef, and Leisa ReFalo.
For more information visit www.llewellyn.com/product.php?ean=9780738715650.
A cactus-shaped piece which seems to balance church and humankind.
--
(Adapted from the description at RoadsideAmerica.com)
In 1932, in the heart of the Great Depression, Centerville native Ben Hartman began what would become a decade-long project: an impossibly large and complex sculpture garden made entirely of small stones, in his backyard.
Hartman's Rock Garden began small, as do many instances of Dementia Concretia -- Ben just wanted to build a little stone and concrete fish pond in his yard. He liked the finished product, and decided that he wasn't finished after all. He scavenged stone from a nearby construction site, broke it with his hammer, added bits of mirror and pottery -- and began building little stone houses, cathedrals, and parapets with religious statuary in the side and back yards of his wood-frame home. He kept building for seven years. He had the corner lot, so his work was easy to see.
Ben built a replica of Philadelphia's Independence Hall, a White House, a Mount Vernon (Ohioans can't get enough of mini-Mt. Vernons -- we saw another in Lima). A large castle with a drawbridge and moat is composed of 14,000 stones; a "Tree of Life" has over 20,000.
Ben stopped building in 1939. We suspect that he ran out of space, materials, maybe energy -- but certainly not ideas. He used something like a quarter of a million stones to create Hartman's Rock Garden.
Although Ben died in 1944, his property was maintained by his wife Mary for many years, and even won the Community Beautification Award four times in the 60's. The garden is now owned by Hartman's son, Ben Jr., and did not appear to be any longer upkept or maintained...pieces were falling apart, and weeds grew throughout (though this may just be a season growth).
Between the buildings (aside from the overgrowth) are little scenes -- a mix of history, religion, and Depression-era pop culture. Lawn statues of the Holy Family share space with garden gnomes. Small hand-written signs help visitors to distinguish one tableau from the next: Custer's Last Stand, Daniel in the Lion's Den, Noah's Ark, and "Foot path to Pece" (Peace).
"The sad part of war" is rendered with little army men, fallen or missing limbs, and accompanied by angels. Meanwhile, a healthier army prepares to storm the castle...
Ben built a depiction of the Oregon Trail, a Nativity scene, a cup and saucer. Scenes of boxer Joe Louis and the Dionne Quintuplets -- a media sensation of Canadian multiple births -- suggest what occupied the popular imagination in the 1930s.
Our favorite hand-lettered sign:
"Behold thy mother and don't forget your Dad."
*MEANT TO BE VIEWED FULL SIZE*
zanizaila.deviantart.com/art/Wake-up-269785466
A simple picture with the Earth and quotes from the film "HOME". (Which I heartily encourage everyone to watch!)
Humankind and our planet has faced a crisis point, and scientists tell us we only have a few years left to reverse this trend, to change our livestyles, the way we think and behave, before it is too late.
"Too late" would mean things like world starvation, severe lack of drinking water, thousands of more species going extinct, extreme pollution, the poles melting, gas such as carbon dioxide and methane seeping into the atmosphere, and the rainforests, the lungs of the Earth, nearly gone.
But it is up to us what happens next, up to us to make changes.
Everyone can make a difference.
Be the change you want to see in the world.
That's said often, but *how* exactly can us ordinary people make changes to our world?
Well, I have a few suggestions.
Don't buy products made out of wood from rainforests.
Don't buy products produced in countries with major deforestation, such as the cattle ranches, soy bean and eukalyptys plantations in places like Brazil and Borneo.
Don't eat as much meat. Not only is the slaughter industry today beyond appalling, but it takes much more resources from the Earth to produce meat than grain. I won't say go vegan, but people today eat *too much* meat.
Don't waste your resources. Don't throw everything away because "I can just get a new one".
Buy second-hand stuff rather than brand new products as much as you can.
In other words, recycle more.
Support organizations such as WWF (World Wide Fund for Nature), WPT (World Parrot Trust) and other organizations on the mission to save endangered species.
Drive less, walk and use your bike more. Both you and the planet will be better off for it!
Stop reproducing like bunnies. Overpopulation is the key and root to everything bad we humans have done to the planet, ourselves, and the other inhabitans of the planet.
Look up sustainable living, don't buy meat and fish from the large companies, and the same goes for all other products - make as much as you can yourself, or get it from small-scale companies, or small farms (when it comes to food).
Look up intentional communities and ecovillages. There are thousands of them around the world, and more ones are forming all the time. There are bigger ones and smaller ones, more and less technological, vegetarian and omnivorous, closer to and farther from civilization, with different goals (more or less environmental, political, or simply going back to a simpler, better lifestyle). There is one for almost everyone.
What am I going to do?
Of course, I can not ask of anyone to do all or even many of the things on the list above. I am probably never going to do them all myself, but I can strive to do as much good as possible, to have as little impact as possible.
I am no longer buying meat from slaughtered animals, so I don't encourage the slaughter industry, nor do I put a strain on all that grain produced to feed livestock.
Instead, the only meat coming into my home will be from wild or semi-wild animals like moose and reindeer.
I never buy fish. (Mostly because I don't like it.) But if I did, I would make sure it didn't come from the big companies emptying the oceans, but rather fished nearby. (Or I'd fish it myself. It's not that hard.)
I only buy eggs from small-scale farmers who let their chickens spend time outside. "Free-range" means thousands of birds cramped into one big chicken-factory, free-range *with access to being outside* is the best for the animals.
I make sure (to the best of my abilities) I don't buy anything with palm oil.
I don't own a car, and rarely go to places by car at all. My feet are there for walking, and if possible, biking. For longer trips, I use the bus or train.
I will not reproduce. Ever. My plan is to get sterilised when I'm old enough to make a mature decision, then, if I ever change my mind, I will adopt a child instead of creating more lives into an already overpopulated world.
I will join an intentional community/ecovillage. In fact, I've been helping on creating one since fall 2010. It will hopefully be a reality in a few years time and then I will live out the rest of my days, feeding myself from my own land and resources.
Links to various sites, organizations and videos:
HOME: www.homethemovie.org/en
Earthlings: www.earthlings.com/
WWF: www.wwf.org/
WPT: www.parrots.org/
Bite-Back: www.bite-back.com/
Global Ecovillage Network: gen.ecovillage.org/
Intentional Communities Directory: directory.ic.org/
The world of ecovillages (video): www.youtube.com/watch?v=UkdqqpkDVyQ
O.U.R Ecovillage (video): www.youtube.com/watch?v=IXVLNUHqjeA
Finding an Ecovillage (video): www.youtube.com/watch?v=rjbbUXMuvqk
The Blue Moon Tribe: bluemoontribe.org/
And always remember...
No one can do everything, but everyone can do something!
I claim no copyright on this, as the picture of the Earth is not mine (but I have permission to use it), and the text is from the film HOME, which is also free of copyright. Do with this as you please.
Event: Brooklyn Fashion Week{end}
Location: Industry City, Brooklyn, NY
Date: March 29 - April 1, 2012
Brooklyn Fashion Week{end}, March 29 - April 1, 2012. A few photographs from Day two, March 30, 2012, where three designers presented in the following order:
1. Fotoula Lambros Design ~ www.Fo2la.com/
2. Ann Mitchell Designs ~ www.AnnMitchellDesigns.com/
3. Lakum ~ www.LakumCollection.com/
Hair & make-up information coming soon.
For more information on Brooklyn Fashion Week{end} visit: www.bkfashionweekend.com/
This is Revenge Fashion Magazine, fashion for all humankind.
Revenge Fashion Magazine
A Passion for Empowerment™
www.RevengeFashionMagazine.com/
SAN FRANCISCO, CA - May 18 - Lada McGinn and Tom McGinn attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Devlin Shand for Drew Altizer Photography)
One of the best fire shows in a very long time by:
Haury Thomas, Barbara Wildmann, the Purple Pixies & the Earth Dragons.
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
SAN FRANCISCO, CA - May 18 - Elizabeth Banko and Wanda Cole Freeman attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Drew Altizer Photography)
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
Contact : Gregory da silva Cape Town South Africa Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
To Invite Gregory da silva,The Famous Egg man, to your Events or Festivals, please Contact : Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
SAN FRANCISCO, CA - May 18 - Peter Banko and Elizabeth Banko attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Drew Altizer Photography)
[Translated from the German language by Katja Leyendecker source "Die letzten Kinder von Schewenborn" - a children's book about the aftermath of a nuclear catastrophe]
- - - - - -
In the beginning God created heaven and earth. But a few million years later, humankind was intelligent enough to say “Who needs God? I can do this by myself. I take charge of my own future.”
And so they did.
And the last seven days of earth had begun.
On the morning of the first day humankind decided to be free and good, beautiful and happy. Not just this mere copy of a God - but special and individual. And because they needed to believe in something, they believed in freedom and luck, and the stock exchange, and technological progress, and safety and security. And for their safety and security they had surrounded themselves with rocket-propelled grenades and nuclear warheads.
It was on the second day that all the fish died in the polluted streams, the birds died from chemical powders that was originally intended to kill the caterpillars, the rabbits died from the roads’ lead fumes, the pet dogs died from the red colour they had put in meat, the sardines died in the ocean’s oil spills and the waste that was deposited at the bottom of the sea floor; for the waste was radio-active.
On the third day, the grass died in the fields and meadows, and the leaves died and fell off the trees, the moss died on the rocks and mountains, and the flowers in the gardens: humankind was making the weather now and distributed the rain using a complicated formula. It only was a silly little mistake in the computer system, that distributed the rain. Once they rectified the error, the barges and ships lay dry on the bottom of the river.
On the forth day three out of the four billion people died. Some of diseases, that human kind had created in the laboratories (someone had not close a vial properly). No medicine would help: humankind had immunised themselves by using skin creams and eating meat (both rich in chemicals and pharmaceuticals). Some died of hunger, as others had hidden the key to the food storage silos. But all of them blamed God. God, who owed humankind their happiness. Wasn’t it a Kind God after all?
On the fifth day the remaining people pressed the red button because they felt in danger. Fire engulfed their planet, the mountains burnt, the oceans went up in steam, and the concrete corpses in the cities stood black and smoking. And the angels in heaven saw how the blue planet turned red, then into a dirty brown, and eventually ash-grey. And they interrupted their heavenly signing for ten minutes.
On the sixth day the lights went out: smoke and ash clouds covered the sun, moon and stars. And the last cockroach that had managed to survive in the rocket launcher died from the heat, which it could not take.
On the seventh day there was silence. At last. The planet earth was barren and empty, and it was dark with fissures and crevasses that had opened up on earth’s dry, burnt surface. And the spirits of humankind roamed the chaos like lost ghosts. But deep underground, in hell, thrilling stories were told of the humankind that decided to take charge of their own future. And the laughter rose up higher and higher, so high that the angels in heaven could hear it.
الله , محمد , علي , حسن , حسين , اهل البيت , شيعة آل محمد , Ya Mahdi, Ya Hussein Ya Muhammad , Muhammad ibn Hasan al-Mahdī , the ultimate savior of humankind, the final Imām of the Twelve Imams, the Awaited Mahdi, the Twelfth Imam, Islam, Muslim, Major Occultation, Al-Muntadhir, Al-Qa'im, Sahab az-Zaman, Imam az-Zaman, Wali al-'Asr, Al-Hujjah, the Proof of Allah's justice, the Leader of the Age, the Rising one, صاحب الزمان, ولي العصر, المنتظر, القائم, الحجة بن الحسن
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
To Invite Gregory da silva,The Famous Egg man, to your Events or Festivals, please Contact : Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
To Invite Gregory da silva,The Famous Egg man, to your Events or Festivals, please Contact : Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
SAN FRANCISCO, CA - May 18 - Bob Wiebe and Claire Wiebe attend CommonSpirit's Humankindness Gala 2023 on May 18th 2023 at San Francisco in San Francisco, CA (Photo - Natalie Shrik for Drew Altizer Photography)
Step into a lost world from long ago . . .
A world veiled in darkness after a cataclysmic collision that stilled the earth. Millennia have passed and only humankind has survived-through the divine gift of dreams.
Exquisitely rich and magical, this new Rider-Waite-Smith-based tarot deck by digital artist Ciro Marchetti takes you into the heart of fantasy. You can use this legacy from ages past to discover what you need for your own life as it guides you toward hope, wisdom, and inspiration.
The companion guidebook, Gateway to the Divine Tarot, presents the author's interpretation of each card's significance, along with additional perspectives from experts in the tarot community, including Ruth Ann and Wald Amberstone, James Ricklef, and Leisa ReFalo.
For more information www.llewellyn.com/product.php?ean=9780738715650.
For the first few hundred thousand years humankind knew exactly where food came from. There was a close relationship between hunter and prey, gatherer and bounty, farmer and harvest. But somehow, in the last few decades, humankind just lost it. Beyond the fact that milk may contain more growth hormones than certain baseball players (looking at you big headed Barry Bonds) and genetically modified veggies may be insect-lettuce hybrids, it is simply difficult to fall in love with food when you don’t know its origin.
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
To Invite Gregory da silva,The Famous Egg man, to your Events or Festivals, please Contact : Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
Conceived as a participatory environment that reframes the conceptual relationship between humankind and structure, Pole Dance is an interconnected system of poles and bungees whose equilibrium is open to human action and environmental factors. Throughout the courtyard, groups of 25-foot-tall poles on 12 x 12-foot grids connected by bungee cords whose elasticity cause the poles to gently sway, create a steady ripple throughout the courtyard space. Each grid contains a number of playful activators, such as hammocks, pulls, misters, and rain collecting plants. An open net covering the entire scope of the grid system provides shelter and stabilize the movement of the poles, preventing them from exceeding a predetermined maximum pivot. A generous series of multi-colored balls move above the net offering mutable shade and the appearance of a communal game. Dropping down at two points, the net surrounds a pool and a sandpit.
Pole Dance includes an audio device that measures the motion of eight of the fiberglass poles and converts it to sound, which is audible in the courtyard and streamed live in 3d on poledance.so-il.org. In the passive state, movement is generated by wind moving the poles or net structure. As the audience begins to interact with elements of the structure by pushing, pulling, or shaking the poles or moving the balls or the net, modulated tones are generated, which have been specifically composed to blend with the sonic environment and bring harmony to the soundscape in and around MoMA PS1.
In other words; Weird for the sake of Weird.
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
To Invite Gregory da silva,The Famous Egg man, to your Events or Festivals, please Contact : Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
Tricolor heron with four ducks. If you want to learn humility compare the behavior of these five birds to humankind's behaviors as exhibited since the dawn of history.
The birds display the peacefulness which is essential to an animal who happens to value its continued survival as a species on the Earth for tens of millions of years. Humankind lives in the frantic manner of a species which knows that its time is up and that death and extinction are just around the corner.
Humankind behaves in a manner consistent with a species that knows that it doesn't have a future. Needless to say, the human species does not have a future on the Earth, on the moon, on Mars, in the Universe or in Heaven.
Extinction is coming and humankind knows it. Extinction is coming and humankind is fully responsible for its own fate. Extinction is coming and there is no escape or salvation for the human species.
If God existed the state of the Earth has degenerated so much that not even God could save the human species from self-extermination. Certainly if God existed and God wanted to save humankind while allowing the Earth to die, I myself would prevent God from lifting a finger on humankind's behalf.
There is no salvation for humankind. So I can only hate pity for the helpless & hopeless animal which lacks free will and cannot escape from itself though it so desperately wants to escape from human nature.
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
Contact : Gregory da silva Cape Town South Africa Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
The Maropeng museum was filled with a lot of exhibits, including this one. I don't remember what the lights were for, I just thought they were cool. View this photo on my blog here.
Subject: A walking work of art, Gregory Da Silva is more than an odd spectacle...
Contact : Gregory da silva Cape Town South Africa Cellphone: 0737507923
Email: eggman@galmail.co.za
A walking work of art, Gregory Da Silva is more than an odd spectacle - he is a symbol of Africa's many diverse cultures...
A Symbol of African Unity
In the first heady years of the African Union, the world's eyes are increasingly turned to the continent from which humankind first appeared. Beneath the seemingly impenetrable mask of violence portrayed in popular media, lies a living and thriving cultural climate which Des Warde finds well depicted by West African street artist Gregory Da Silva.
The outfit always turns heads, and each day it boasts a new feature, a new symbol of an African culture or practice.
His headdress weighs up to twenty five kilograms, his body is armoured with artifacts and his face painted with tribal patterns and an undying smile. Each day, Gregory Da Silva presents the city centre with a new display of his symbolic art.
Gregory's voice is lively and he repeatedly offers phrases and words in French. Born in Benin, West Africa, 1979, he was trained in computer science at university, but went on to found a theatre group in Benin called 'Voice of Spirit' or 'Voix de l'Esprit' which performed politically motivated as well as comic and poetic theatre at the Benin National Library.
After receiving an invitation to perform at the MASA - Market for African Performing Arts - Festival in the Ivory Coast in 2003, where he represented his country, Benin, for a week before flying to South Africa. He sold his creations at the V&A Waterfront and began to grace the streets of Cape Town with his unique form of art. It was so unique it initially led the bemused Cape Town police to put him in the back of their car and call their superiors for advice! Naturally they were advised them to let him go and Gregory now enjoys a good relationship with the city authorities...
My attention is soon turned to his artifact-laden tunic which Gregory says is about "all African tradition, all African culture[s]" and he goes on to explain some of the more prominent objects displayed.
"Everything must be life,
everything must shine, and be positive"
First, he points out the clusters of sea shells hanging around his neck, saying that in Africa these shells were "old money" and once used as currency. He explains the eggs on his head dress as being symbolic of life and says "everything must be life, everything must shine, [and] be positive". Next his hands grab the arcane black bottle near his waist to explain that in his culture, the Sangoma people would place "good spirits" in a bottle, with which they would "heal sick people [they] passed while walking on the roads".
The broken shards of mirror found on his chest bear similar spiritual significance, and are often worn by Voodoo people in Africa and are said to be a kind of window into the spiritual world, and a "way to talk to [their] ancestor[s]".
Gregory says his main inspiration or motivation is to "make people laugh" and "make people happy" and to represent different African cultures. He says he always thinks "how we can put all of Africa together to make [it] one", adding that "not one country can be forgotten".
When he is travelling in Africa, be it in Senegal, Cameroon, Mali or the Congo, the local people invariably look at him and say "ahh, that is our culture" as they see something of their own represented. "All Africa is in my clothes" he says, drawing attention again to his peerless suit.
When not walking St. Georges Mall or Green Market Square, Gregory features at the Grahamstown festival, the Hermanus Whale Festival, has been hired to receive guests at hotels and airports, and has also appeared on SABC 2 and E-TV News.
He is very popular with tourists, especially those from Italy, England, America and Germany, who frequently ask why he does not come over and do his thing in their own country. But he says his focus is on Africa. Pictures of him certainly do get back to their countries though, as Gregory says everyday "hundreds" of pictures are taken of himself, usually posing with the tourists.
Asked about his dreams and ambitions, Gregory (or the "Egg Man" or "Ei man" as he is also known) says that this year he is planning on starting an art school, which is part of his 'Project For Africa' for this year. He wants to impart creative knowledge to South African youth, giving them the power to create beautiful things and also to support themselves, all part of his ultimate venerable ambition to "[bring] Africa together to make one".
Indeed, and good luck to him.
Egg On His Face But He's Happy
Gregory da silva, A Symbol of African Unity
Who is that Guy with all the Eggs on his head that you see at all the bestest Festivals in South Africa ? His name is gregory da Silva - An Artist Comedian, Storyteller, dancer from Benin West Africa. Gregory da Silva ( Egg Man ) was born in Benin West Africa, Voodoo Country. He speaks French and English and is staying in Cape Town South Africa. Gregory da silva has appeared at many Festivals in Africa and is presently staying in Cape Town South Africa. Gregory has appeared at many Festivals in Africa :
The Masa Festival 2003 ( market for African Performing Arts) in Ivory coast West Africa,
The grahamstown Festival South African National Art Festival,
The Hermanus Whales festival,
The Darling festival, The Gariep Kimberley Festival, Innibos Film Festival Nelspruit Mpumanlanga,
Moorresberg farm Shows,
The Biltong Castle Larger Festival in Somerset East South africa,
The Stellenbosch Street Festival,
The Simonstown Penguin Festival South Africa. He performs every day in Market square Cape Town and adds an air of rio - style festivity wherever he performs. Many Tourrists from Germany, England, America, Italy, France, Belguim call Gregory : The Egg man, or Chicken Man. Very famous in Africa.
AFRICAN EXTRAVAGANZA : The National Arts Festival had its usual colourful start in Grahamstown South Africa. Here Gregory da Silva from Benin, West Africa, wears headgear adorned with African artifacts. Gregory da Silva has becomes an Institution at the National Art festival Grahamstown. Picture by ALAN EASON
A festival favourite for many years, the ubiquitous "Eggman" was back at the 2006 National Arts Festival, making an appearance at the Village Green (CuePix/daylin paul)
SAN FRANCISCO, CA - May 16 - Nicole Dean, Suzanne Dean, and Caretha Coleman attend Dignity Health Foundation's Humankindness Gala at City Hall in San Francisco, CA. (Photo - Arthur Kobin for Drew Altizer Photography)
…a fall here could be dangerous, if not fatal. These are pieces of shale that have been placed very carefully.
The shot is actually a bit of an optical illusion. The stones are sitting horizontally, and make up the face portion of a wall on the outside of a building. The complete wall was approximately 20 feet high by 40 or 50 feet wide. It was quite a spectacle when I rounded the side of a building, and was faced with this.
To thwart children, and drunk adults from climbing the wall, there was a pool of water that ran along the length of the base. But I think I could have scaled it, and I was not even that drunk :)
This photo was taken with a Zuiko 9-18 mm lens at 9 mm. The shale was actually parallel throughout, I stood very close in an attempt to give maximum distortion to the photo.
Taken at The Cradle of Humankind Museum, Maropeng, South Africa.
The serpent is one of the oldest and most widespread mythological symbols. Snakes have been associated with some of the oldest rituals known to humankind and represent dual expression of good and evil.
In religion, mythology, and literature, serpents and snakes represent fertility or a creative life force. As snakes shed their skin through moulting, they are symbols of rebirth, transformation, immortality, and healing. The ouroboros is a symbol of eternity and continual renewal of life.
In the Abrahamic religions, the serpent represents sexual desire. According to the Rabbinical tradition, in the Garden of Eden, the serpent represents sexual passion. In Hinduism, Kundalini is a coiled serpent, the residual power of pure desire.
At Angkor in Cambodia, numerous stone sculptures present hooded multi-headed nāgas as guardians of temples or other premises. A favorite motif of Angkorean sculptors from approximately the 12th century A.D. onward was that of the Buddha, sitting in the position of meditation, his weight supported by the coils of a multi-headed naga that also uses its flared hood to shield him from above. This motif recalls the story of the Buddha and the serpent king Mucalinda: as the Buddha sat beneath a tree engrossed in meditation, Mucalinda came up from the roots of the tree to shield the Buddha from a tempest that was just beginning to arise.
The Gadsden flag of the American Revolution depicts a rattlesnake coiled up and poised to strike. Below the image of the snake is the legend, "Don't tread on me." The snake symbolized the dangerousness of colonists willing to fight for their rights and homeland. The motif is repeated in the First Navy Jack of the US Navy.
Serpents are connected with poison and medicine. The snake's venom is associated with the chemicals of plants and fungi that have the power to either heal, poison or provide expanded consciousness (and even the elixir of life and immortality) through divine intoxication. Because of its herbal knowledge and entheogenic association the snake was often considered one of the wisest animals, being (close to the) divine. Its divine aspect combined with its habitat in the earth between the roots of plants made it an animal with chthonic properties connected to the afterlife and immortality. Asclepius, the God of medicine and healing, carried a staff with one or two serpents wrapped around it, which has become the symbol of modern medicine.
In the Hebrew Bible the serpent in the Garden of Eden lured Eve with the promise of forbidden knowledge, convincing her that despite God's warning, death would not be the result. The serpent is identified with wisdom: "Now the serpent was more subtle than any beast of the field which the Lord God had made" (Genesis 3:1). There is no indication in Genesis that the Serpent was a deity in its own right, although it is one of only two cases of animals that talk in the Pentateuch, Balaam's ass being the other. Although the identity of the Serpent as Satan is implied in the Christian Book of Revelation, in Genesis the Serpent is merely portrayed as a deceptive creature or trickster, promoting as good what God had directly forbidden, and particularly cunning in its deception. (Gen. 3:4–5 and 3:22)
Following the Christian context as a symbol for evil, serpents are sometimes featured in political propaganda. They were used to represent Jews in antisemitic propaganda. Snakes were also used to represent the evil side of drugs in such films as Narcotic and Narcotics: Pit of Despair.
“Not allowing [women and girls] to fulfil their potential through education, decent job opportunities and essential health services, is to disregard the potential of half of humankind.” -- Toomas Hendrik Ilves, President of Estonia, at the UN General Assembly 2013
To read the full speech, click here.
Photo: Dana Smillie/World Bank