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Kaore te kūmara e kōrero mo tōna māngaro = The kūmara does not speak of its own sweetness.
also listen
www.radionz.co.nz/national/programmes/teahikaa/audio/2018...
Planeta
If finally you have lost your illusory flight the arrogance ... you collect the humility residual and ... walking again
◘
Öffne deine großen schwarzen Satinaugen,
die wie Kissen sind, in die man sinkt!
Schmeichle meine Füße, phantastische Sphinx!
Und singe mir all deine Erinnerungen!
Oscar Wild
1/125, f/2.8, Tri-X, Mamiya-Sekor 80mm f/1.9 C + #1 tube on M645. HC-110, 1:160, 38 min @ 22C semi stand
Rest your body on the threshold of my reality
Awaken with a new strength to excel valorously
Live each day with honesty and humility
Walk in the footsteps of excellence through righteousness
Make each day’s journey clean and fresh like mountain streams
Ascend and descend in the cycle of renewal, sons and daughters
Use the ladder of life to teach your children well
Pathway to the Divinity is by climbing the ladder of... "love to oneself and to all things"
I was reading the Christian Bible about the story of Jacob and thought
all the messages of all the great teachers, from all the great lands, became distorted to serve man and
to help man control man out of fear and persecution.
This is a huge flaw in human development…again “Separation” of humans
because of spiritual beliefs, geographic location and the color of our skin.
To grow into ourselves, to Love ourselves and to Love each other,
is the key to a…… Bright Future….. We need to stop the madness…..
Lies, Hate and Tyranny has crippled us and transgresses us all to a group of one legged men in an ass kicking contest…..
We are all in the same……. “Human Family”
It’s time to wake-up…..
How many wounds will our mother take from us, before she tires of our petty self-serving
indulgent behavior.
Will she sacrifice all for one….she never has in the past…..History, and our actions will decide our fate
Two Kinds of Wisdom
Who is wise and understanding among you? Let them show it by their good life, by deeds done in the humility that comes from wisdom. But if you harbor bitter envy and selfish ambition in your hearts, do not boast about it or deny the truth. Such “wisdom” does not come down from heaven but is earthly, unspiritual, demonic. For where you have envy and selfish ambition, there you find disorder and every evil practice.
But the wisdom that comes from heaven is first of all pure; then peace-loving, considerate, submissive, full of mercy and good fruit, impartial and sincere. Peacemakers who sow in peace reap a harvest of righteousness.
[James 3:13-18 NIV]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
The Beautiful Complexity all around Us
All around us there are innumerable cells working together to form beautiful, complex organisms, bacteria populating the planet, all this wonder. And all we see are our mundane little problems. All we see is some irrelevant expectation of ours not met, or chance playing to our seeming disadvantage.
But remember the miracle that makes you possible. 100 million million living beings cooperating seamlessly and in symbiosis with 10-20 times as many microbes in your body to make it possible for you to exist, to live, to be conscious.
Read more at my blog post Scales of Life – From an Atom to the Human Body
The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.
Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.
The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.
1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .
Directorate Claus Peymann 1986-1999
Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.
In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.
Directorate Klaus Bachler 1999-2009
On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the Directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."
The Burgtheater to the Mozart Year 2006
Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
www.mariachiproductions.org/basel2012/index.php/tournamen...
A statue near the Winter Gardens in Weston-super-Mare that appears to display humility, in this case allowing a sheep to nibble your fingers.
NN. 5–9167 {provide} moral and ascetic lessons from the humility and virginity of Mary. Virginity is praiseworthy, but humility more so. Virginity is counseled, but humility is commanded. If you cannot be a virgin, you can at least be humble. He who is without virginity can still please God by his humility, but without humility even the Virgin Mary would not have been pleasing to God; and though her virginity was pleasing to God, it was her humility that caused her to conceive the Word, because if she had not been humble, the Holy Spirit would not have rested upon her (see Isaias 66: 2). The obedience of Jesus to Mary teaches us the greatest humility and obedience. “As often as I wish to be placed in command over men, I desire to go ahead of my God and therefore I do not really know the things of God” (60). 168 Here again, we can say that St. Bernard is doing what he did above: penetrating from external signs to the inner mystery of our life in God. Virginity and purity may be signs of sanctity, but humility and obedience are closer to the essence. The deepest reality in the moral and ascetic life is participation by love in the total obedience and humility of Christ.
-The Cistercian Fathers and their monastic theology : initiation into the monastic tradition 8 / by Thomas Merton ; edited with an introduction by Patrick F. O’Connell ; preface by James Finley.
Gate of Humility, Gonville and Caius College, Cambridge, 27 Feb 2016
One of the most historic features of Gonville and Caius college is its iconic trio of gateways. The Gateways of Humility, Virtue and Honour can be found in the grounds of the college. They are said to symbolize the pathway of academic life.
One arrives through the Gateway of Humility, humble before the task of academia before you.
In the centre of the college is the Gate of Virtue. Students must pass regularly through this gate during life at the college, representing the values of virtue that creator Keys saw as synonymous with learning.
Finally upon graduation students pass through the Gate of Honour on their way to receive their degrees at the Senate House.
Obviously the Gate of Humility is the simplest and the Gate of Honour the grandest.
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Pablo is an old friend a reminder of the turmoils and the turbulence of my life caught in a vortex of confusion and alcoholic stupor, those days when our paths crossed, we never met after that and today when I got his invitation on Facebook I decided to reconnect with that chapter of my past, neither I nor Pablo knew that I too would be bound to the soul of a camera.
Pablo is a great photographer and his greatness lies in his humility photography is not just taking pictures but making you relive every moment that is a poetic journey of the photographers mind over the vast canvas of his passion angst pathos and the poetry and drama of his life painted in light.
Pablo is a master craftsman , a narrator who weaves the magic on your soul with what his minds eye caught for posterity.
In his words
Chronicles of a Past Life – Bombay
Intrinsic to my growing up, Bombay offered me and thousands of others like me who arrived before and those who followed as economic refugees the opportunity to be cradled and mentored professionally. It gave friendship, food and shelter and the chance to be discovered, the chance to become someone.
...
Having escaped bureaucratic Delhi, leaving behind my troubled teenage life, I found acceptance in this city not for whose son I was but for my skills and talents and of what use they could be to others. This propelled me to try to find myself both economically and in my work.
I look back with warmth and gratitude at what the city offered me. It was with a grudging reluctance that I left the city in the mid ’80s; the death of my father and trouble brewing in the north of the country beckoned me as I entered the world of journalism. Unfortunately, this marked the end of the documentary phase of my work as I started to work as a journalist and had to turn to colour, abandoning the world of black and white.
The “Chronicles” are connected to “Outside In: A Tale of 3 Cities,” my body of work that consisted of my inner world of friends and family. It roughly spans the same years—the ’70s and ’80s—but is more a manifestation of my outer world; my associations with the city and its people, known and unknown.
This exhibition is a way of paying my dues to this city and its people. Often I’d wander aimlessly through the streets in search of its many parts, bit by bit, day by day, month by month, always amazed by the infinite visual joy in each discovery of this place that came to be called home.
Pablo Bartholomew
New Delhi - 31 January 2011
And a bit about his exhibition on Mumbai Flashback
mumbaiboss.com/2011/02/21/mumbai-flashback/
Photographer Pablo Bartholomew came to Mumbai from Delhi, at the age of 21. Some take pictures of the Gateway or hope to catch a glimpse of film stars; Bartholomew photographed rag pickers, drug addicts, eunuchs and random pedestrians. With these photographs, he unwittingly put together a rich, melancholic portrait of Mumbai in the 1970s and early ’80s. Today, they are categorised as street photography and they have all the energy associated with the genre—but don’t see them as the work of a young photographer trying his hand at a new style. Instead, “Chronicles of a Past Life” is something of a photographic diary of the young Bartholomew getting to know this crazy city and its people.
Bartholomew has hung the show in a way that it mirrors the experience of approaching the city. First come more abstract images. Then come the cars, the cafes and the people. As you go further into the gallery, Bartholomew shows interiors of spaces like art galleries, the racecourse and the museum. He’s also got a table with a glass top. Under the glass is a cluster of candid shots of Smita Patil, Shobhaa De, Alyque Padamsee and other well-known faces. The most powerful photographs in “Chronicles of a Past Life” are in what Bartholomew calls “the subculture room”, which shows opium dens, eunuchs, street dwellers and Amitabh Bachchan on the sets of Kaalia. We talked to Bartholomew about the exhibition. To see the images from the show, view the slideshow above. Edited excerpts:
Roadside Photo Studio, Bombay
“1974 is when I first came and it was the first time I saw the sea. When I first came, I stayed around Kemps Corner with a Parsi friend. The inner room of the person and the outer were two different worlds. The moment you exited, there was just thriving life which was something which was not there in Delhi. Delhi was open suburbia, and [here in Mumbai] things were on top of each other. It was all very dense. In Delhi, we always had a sense of space, too much space and not enough people within that space. It was the opposite in Bombay. Everyone was rushing around and doing their own thing so you felt so much at peace, whereas in Delhi people are more curious, they look at you; there’s also a latent aggression. Bombay was a complete opposite and a freedom.”
Asiatic Library, Bombay
“I was always a south Bombay person. For me, this represented the city whether it was in the dock area or Fort or Colaba or Mazgaon or Girgaum or Mohammed Ali Road and its environs. [When hanging the show] I thought I’d start with the more obscure images because when you come into a city, you see a smattering of things. Then if you go in further, deeper, it’s cityscapes, landscapes, the sea which you can’t get away from in this island; then elements like the art gallery, the museum, the library, the party, the youth, the races.”
Man in a Racing Car, Bombay
“In the main hall, I thought I’d work with transportation because that’s a telling clue. How the shapes and sizes of the cars have all changed really shows the time and the city. Then there are the photographs showing rain, which is an integral part of how the city changes and becomes different. Then, of course, the restaurants, the cafes, the Irani shops, and the people in it. Unconsciously, I was drawn to photographing old people. Age has a way of changing body, clothing. There’s something very alluring about that.”
Film Extras During a Shooting Break, Bombay
“I came here, and one of the first employments I was able to get was to work on film sets as [a] stills photographer. It was a learning process with a lot of down time. For me, what was then more interesting within that was to go and look at all these people [the extras] and engage with them. Their lives, sad as they may have been, were far more interesting than the movie stars’. Movie stars were on pedestals, they came in for a few hours, and ran to another set and another shift. It used be the shift system with these guys shuffling around multiple sets. Then after two months, they’d show up to do pick-ups [follow-up shoots]. It was quite a haphazard and complicated way of shooting.”
Cold Drinks and Ice Cream Parlour, Bombay
“With my picture taking, it’s always that you look through and if that looks good, you press the button. You examined later. That was the magic of photography then. You had the film, you felt you had something, but there was an anxiety, a kind of vacuum. After you processed and contact sheet-ed, the excitement came about once again as you discovered things. Sometimes, there were very good accidents."
Eunuch and the Mirror, Bombay
“Everybody was fairly welcoming. This is a city that has advertising, showbiz, film, so the engagement of the people with the camera was quite casual. I hung around with people. That’s often a lot of photography: you have to hang around and win their trust before you can get in. And then there are other things that you just grab and shoot.”
Watchmaker, Bombay
“I think people were still struggling. There wasn’t enough wealth, not the degree of wealth that the city has now been able to accumulate. There was a different sort of sensibility, of people engaging, learning processes, engaging in intellectual thought, all of which maybe now has become too rock n’ roll. In the art scene specially, most things are more rock ’n’ roll than seriously considered. But then that’s my view, coming from a very Delhi point of view.”
A little angel depicted on the headstone of Mary Dougherty, her granddaughter Hilda Nelson and her daughter Mary Ann Nelson kneels over the family grave.
Kneeling symbolises worship and honour. It is a gesture of humility before the Lord and is often accompanied with a request or prayer. The angel’s wings are spread wide open symbolising the flight of the soul to heaven or rebirth. [1]
The arch of the once white gothic shaped headstone which represents a portal to heaven, is decorated with a chain of shamrocks. The shamrock has been a symbol of Ireland since the 18th century and is commonly found on Irish Catholic grave monuments. [2] Yet the Waikumete Catholic Burial book records Mary Dougherty, who passed away of bronchitis, was a native of England and had been in Auckland for 31 years. She was indeed born in Preston, Lancashire and baptized at St Peters Priory, Lancashire, England in 1831 [3]. It was Mary’s husband Richard who was born in Ireland and died at Auckland Hospital at the age of 68 years on June 11 1891, due to stricture of the oesophagus and Pthysis which he had suffered for 3 years. He was interred in Waikumete Cemetery Roman Catholic Division B, Row 4, Plot 18. [4] [5]
Mary Ann Coyle married Richard Dougherty in 1853 at the Church of Saint Ignatius Preston, Lancashire, England. [5]
The couple arrived in New Zealand sometime before the birth of their youngest daughter Mary Ann Dougherty in 1867. [6] [37]
Life in New Zealand was no bed of roses for Mary or her family of four children. [5] Newspapers reveal that she was a victim of domestic violence at the hand of her drunkard husband who threatened her life and beat her. [7] [8] [9] [10] [11] [12] [13] Also in an attack by her teenage daughter Lizzie in 1878 Mary was stabbed with a knife in the head. [14]
By the age of 17 years Richard, a shoemaker, had already spent time as a prisoner in the house of correction at Preston for stealing a dress. [15] [16] [17] And in 1889 when on trial for larceny the police gazette reveals that Richard had 12 previous convictions in New Zealand. [17] These included yet were not limited to drunkenness and disorderly behaviour, indecent exposure, selling and receiving stolen goods, stealing from the person, failing to support/being in arrears in support of his wife, and violent assault. [7] [8] [9] [10] [11] [12] [13] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36]
In July 1874 Richard was serving a sentence for robbery and in September the same year Mary was gaoled for vagrancy. It appears that with both parents unable to care for their younger children they were placed into care, and during December 1874 Mary and Richard’s two youngest girls Lizzy and Mary Ann [37] ran away from the St Marys Industrial school. They were found with their sister Catherine Dougherty and her partner William Scurry/Scarrah who were charged with harbouring the escapees. [38] [39] [40]
Mary was charged with vagrancy again 10 years later when in 1884 without any means of support she was sentenced to 2 months imprisonment. Once she had completed her sentence she was unable to be taken into ‘the old women’s refuge’ so was returned to gaol for another 30 days. [41]
By 1893 Mary was working as a domestic and living in Auckland city's Durham St West. [5] [42] Her death notice reveals that she had been ill for some time before her death which occurred at her residence. “Her end was peace” [43]
Mary’s young granddaughter Hilda who passed away at her home in 1909 [44] rests with Mary in Roman Catholic Division A Row 7, Plot 42. The Auckland Council online cemeteries data base reveals that Mary’s daughter Mary Ann Nelson who appears to have married young to Ernest Saxwell in 1883 and despite leaving him soon after, gave birth to at least two children by him, passed away in 1925 and lies alongside her mother and child. [45] [46] [47] [48] They were finally joined by Mary Ann’s 2nd husband Andrew Nelson, a master Mariner who passed away at the Epsom infirmary in 1932. [49] [50]
Their grave markers are inscribed:
In Loving Memory Of
MARY DOUGHERTY
Died 29th Nov. 1893
Aged 48 years
Also
HILDA
Grandchild of above and daughter of
A & M NELSON
Died 20th Jan. 1909
Aged 11 years & 4 months
Also of MARY ANN.
Wife of ANDREW NELSON
Who died 6th July 1925
Aged 59 Years
Rest In Peace
Plaque at the base:
Also ANDREW NELSON
Died 19th March 1932
Aged 65 years
Roman Catholic Division A Row 7, Plots 40 - 42
Mary Dougherty and Hilda Nelson Plot 42
Andrew Nelson Plot 40
Mary Ann Nelson between Plot 40 and 42
[1] www.thankgodforjesus.org/spiritual-meaning-of-bowing-knee...
[2] www.gmct.com.au/media/720756/gmct-information-sheet-_ceme...
[3] Liverpool Record Office; Liverpool, England; Liber Baptizatorum; Reference Number: 282 PET/1/3
Liverpool, England, Catholic Baptisms, 1802-1906 Ancestry.com 2011
[4] 581/1891 Richards death entry
[5] Waikumete Cemetery Catholic burials, 1886-1923 p102 and p13
[5] P582 England & Wales, Civil Registration Marriage Index, 1837-1915 Ancestry.com 2006
[6] Dept internal affairs NZ 1867/97831867DoughertyMary AnnMary Ann Richard
[7] paperspast.natlib.govt.nz/newspapers/DSC18700527.2.27.2
POLICE COURT.—Thursday. [Before James Naughton and James Baber, Esqs., J.P.s.], Daily Southern Cross, Volume XXVI, Issue 3982, 27 May 1870
[8] paperspast.natlib.govt.nz/newspapers/DSC18720420.2.20.2
POLICE COURT.-Friday. [Before J. M. Dargaville and W. A. Gra. HAM, Esqs., J.P.s.], Daily Southern Cross, Volume XXVIII, Issue 4573, 20 April 1872
[9] paperspast.natlib.govt.nz/newspapers/DSC18700527.2.10
The Daily Southern Cross., Daily Southern Cross, Volume XXVI, Issue 3982, 27 May 1870
[10] paperspast.natlib.govt.nz/newspapers/DSC18700527.2.27.2
POLICE COURT.—Thursday. [Before James Naughton and James Baber, Esqs., J.P.s.], Daily Southern Cross, Volume XXVI, Issue 3982, 27 May 1870
[11] paperspast.natlib.govt.nz/newspapers/DSC18711102.2.21.2
POLICE COURT.—Wednesday., Daily Southern Cross, Volume XXVII, Issue 4427, 2 November 1871
[12] paperspast.natlib.govt.nz/newspapers/DSC18720420.2.11.1
SATURDAY,'APRIL 20, 1872., Daily Southern Cross, Volume XXVIII, Issue 4573, 20 April 1872
[13] paperspast.natlib.govt.nz/newspapers/DSC18730715.2.22
POLICE COURT.- Monday. [Before his Worship the Mayor.], Daily Southern Cross, Volume XXIX, Issue 4958, 15 July 1873
[14] paperspast.natlib.govt.nz/newspapers/AS18780125.2.23
POLICE COURT.—This Day, Auckland Star, Volume IX, Issue 2447, 25 January 1878
[15] census Class: HO107; Piece: 2267; Folio: 804; Page: 18; GSU roll: 87292 ancestry.com
[16] England & Wales, Criminal Registers, 1791-1892 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2009.
[17] www.britishnewspaperarchive.co.uk/viewer/bl/0000099/18510...
Preston Chronicle - Saturday 12 April 1851
[18] New Zealand Police Gazettes, 1878-1945. Archives New Zealand, Wellington, New Zealand. Ancestry.com. New Zealand, Police Gazettes, 1878-1945 2018.
[19] paperspast.natlib.govt.nz/newspapers/NZH18891113.2.7
LAW AND POLICE., New Zealand Herald, Volume XXVI, Issue 9521, 13 November 1889
[20] paperspast.natlib.govt.nz/newspapers/NZH18870228.2.8
LAW AND POLICE., New Zealand Herald, Volume XXIV, Issue 7883, 28 February 1887
[21] paperspast.natlib.govt.nz/newspapers/NZH18690227.2.29
MANGAPAL.—A CHILD DROWNED., New Zealand Herald, Volume VI, Issue 1644, 27 February 1869
[22] paperspast.natlib.govt.nz/newspapers/AS18801028.2.32
POLICE COURT.—This Day., Auckland Star, Volume XI, Issue 3204, 28 October 1880
[23] paperspast.natlib.govt.nz/newspapers/AS18810528.2.24
POLICE COURT.-This day., Auckland Star, Volume XII, Issue 3381, 28 May 1881
[24] paperspast.natlib.govt.nz/newspapers/NZH18690817.2.25
POLICE COURT.-TUESDSAY., New Zealand Herald, Volume VI, Issue 1790, 17 August 1869
[25] paperspast.natlib.govt.nz/newspapers/NZH18700223.2.24
POLICE COURT.-TUESDAY., New Zealand Herald, Volume VII, Issue 1905, 23 February 1870
[26] paperspast.natlib.govt.nz/newspapers/NZH18700511.2.28
POLICE COURT.—Tuesday., New Zealand Herald, Volume VII, Issue 1970, 11 May 1870
[27] paperspast.natlib.govt.nz/newspapers/DSC18700514.2.24.2
POLICE COURT. -Friday. [Before G. M. Mitford, and Joseph May, Esqs., J.P.s.], Daily Southern Cross, Volume XXVI, Issue 3971, 14 May 1870
[28] paperspast.natlib.govt.nz/newspapers/AS18701117.2.13
POLICE COURT—THURSDAY., Auckland Star, Volume I, Issue 267, 17 November 1870
[29] paperspast.natlib.govt.nz/newspapers/DSC18710331.2.10
The Daily Southern Cross., Daily Southern Cross, Volume XXVII, Issue 4252, 31 March 1871
[30] paperspast.natlib.govt.nz/newspapers/DSC18710704.2.29.2
POLICE COURT.—Monday. [Before J. O'Neill and J. M. Dargaville, Esqs., J.P.s.], Daily Southern Cross, Volume XXVII, Issue 4332, 4 July 1871
[31] paperspast.natlib.govt.nz/newspapers/AS18720805.2.17
POLICE COURT., Auckland Star, Volume III, Issue 795, 5 August 1872
[32] paperspast.natlib.govt.nz/newspapers/AS18801028.2.32
POLICE COURT.—This Day., Auckland Star, Volume XI, Issue 3204, 28 October 1880
[33] paperspast.natlib.govt.nz/newspapers/AS18820608.2.13
POLICE COURT.-This day., Auckland Star, Volume XIII, Issue 3690, 8 June 1882
[34] paperspast.natlib.govt.nz/newspapers/NZH18821017.2.5
LAW AND POLICE., New Zealand Herald, Volume XIX, Issue 6526, 17 October 1882
[35] paperspast.natlib.govt.nz/newspapers/AS18850623.2.22
Auckland Star, Auckland Star, Volume XXVI, Issue 141, 23 June 1885
[36] paperspast.natlib.govt.nz/newspapers/NZH18891213.2.8
LAW AND POLICE., New Zealand Herald, Volume XXVI, Issue 9547, 13 December 1889
[37] Turner family tree ancestry.com
www.ancestry.com.au/family-tree/person/tree/120100662/per...
[38] paperspast.natlib.govt.nz/newspapers/TS18740703.2.17
INQUEST., Star, Issue 1974, 3 July 1874
[39] paperspast.natlib.govt.nz/newspapers/DSC18740902.2.19
THE POST OFFICE SAVINGS BANK., Daily Southern Cross, Volume XXX, Issue 5312, 2 September 1874
[40] paperspast.natlib.govt.nz/newspapers/AS18741214.2.12
POLICE COURT.- This Day., Auckland Star, Volume V, Issue 1511, 14 December 1874
[41] paperspast.natlib.govt.nz/newspapers/NZH18840804.2.6
LAW AND POLICE., New Zealand Herald, Volume XXI, Issue 7087, 4 August 1884
[42] New Zealand City & Area Directories, 1866–1955. Microfilm publication, 921 fiche. Anne Bromell Collection, BAB Microfilming. Auckland, New Zealand. Ancestry.com. New Zealand, City & Area Directories, 1866-1954 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010.
[43] paperspast.natlib.govt.nz/newspapers/THS18931130.2.5
DEATH., Thames Star, Volume XXIV, Issue 4598, 30 November 1893
[44] paperspast.natlib.govt.nz/newspapers/NZH19090121.2.2.2
DEATHS., New Zealand Herald, Volume XLVI, Issue 13964, 21 January 1909
[45] Dept internal affairs NZ 1883/9101883Mary AnnDoughertyErnestSaxwell
[46] paperspast.natlib.govt.nz/newspapers/NZH18830510.2.2.6
Page 1 Advertisements Column 6, New Zealand Herald, Volume XX, Issue 6701, 10 May 1883
[47] Department of Internal Affairs NZ
1885/94451885SaxwellErnest WilliamMary AnnErnest
1887/170521887SaxwellMary CatherineMary AnnErnest
[48] paperspast.natlib.govt.nz/newspapers/NZH19250707.2.2.3
DEATHS., New Zealand Herald, Volume LXII, Issue 19063, 7 July 1925
[49] paperspast.natlib.govt.nz/newspapers/NZH19320321.2.2.4
DEATHS., New Zealand Herald, Volume LXIX, Issue 21137, 21 March 1932
[50] paperspast.natlib.govt.nz/newspapers/AS19320321.2.3
DEATHS., Auckland Star, Volume LXIII, Issue 68, 21 March 1932
Link to image of the kneeling angel
www.flickr.com/photos/discoverwaikumetecemetery/418313528...
Photo: Cathy Currie
Iron Lady vs I Run Man was the
greatest mistake the common man
at Worli wisely said power corrupts
absolute power corrupts absolutely
when you hit the underdog below
the belt you suffer the consequences
instead both power forces watching
the tortoise winning the race as at the
finish line before both the hares he sped
leaving one absolutely wounded the other
totally decimated politically dead he went
on with his soliloquy he muttered the writing
on the wall mr kejriwal the shrewd diplomat
had cleverly read apologizing hand s folded
touching the feat of the public from the front
he led with his team sweeping both the
parties from the map of delhi ..a moment
remembered a moment delirious AK 67
was no more AK 49..the common man of
worli non committed nodded his head ..
this victory was hitting the motor mouths
for ghar wapsi love jehad attacks on churches
rapes making women as manufacturing units
for producing kids ..words vandalizing the soul
of our indianness they bled and where are the
famous twitter goons bullying abusing all
knocked out under the bed acche din delhi
main a gaye .. saying this the common of worli
allowed me after taking his picture to move ahead
dedicated to the delhi public mature intelligent politically savvy ..voted for a man who promised them hope peace
BJP Congress free Delhi.. pani bijli vikas without fear or dread ..a muffler with the common mans name in gold thread
ps
Beauty surrounds us, but usually we need to be walking in a garden to know it.
Rumi
I have been documenting Moharam in Hyderabad for several years now specially Ashura and the intensity , piety dedication to Ghame Hussain by the Hyderabadi Shias overwhelms you ..every tear becomes an out pour of pain ..and humility hospitality centers around Azadari.. you will hardly find this anywhere in India ,,not even in Lucknow Delhi or Mumbai.. During Ashura nobody cooks food at home it is Niyaz e Hussain that feeds hope and Humanity .
For 2 month 8 days the Hyderabadi Shia only wears black..
And so I leave Mumbai and come here become one with Hussain at Hyderabad for me Hyderabad is Karbala ,,the sea of black clothes , recitals matam noha ..I dont care about Akhbaris and other stuff I simply come here for Hussain..I remove all blinkers and on the day of Ashura at Badi Bargah , I start cutting my head when Parwane Shabbir starts reciting Aye Sher E Nayastane Haidar Abas .. and than rush out to catch the Bibi Ka Alam,, and with my dear friend Sajjad Bhai rush towards Charminar take a shot and at Irani Gully I cut my head again .. with the most hardcore kama and sword matamdars ,,,and as my satchel with my kama was with Sajjad Bhai ,, we got lost in the crowds I grabbed a guys kama and cut myself.... than once I caught up with him I moved with the procession towards Dar Ul Shifa ,,, I cut my head here again .. and returned to Akthar AMC house , each year he lets me stay with him,, and I have made some great friends in Hyderabad lots of them , but Sajjad Bhai Abid Bhai Lutfi brothers Naqi bhai the younger ones Qaim Abid and others take care of me ,,and than I wonder I have another friend who helped me in my bad times he stays at Banjara Hills but we have never met at all.. a hardcore Amitabh Bachchan fan a devout Shia ..my online friend Zain Hussain who lives in Dubai..So Hyderabad in Ashura ,,,and Chehlum in Lucknow .
I keep away from Mumbai Moharam completely save our house majlis ,, I do not go anywhere ,,,too many deep scars on my soul...
Sher E Jawan Mar Gaya
Aa Alamdar haey alamdar (x3)
Kartay thay ro ro ke ya hazrat bayan
toar gaye meri qamar bhayi jaan
Aa Alamdar haey alamdar (x3)
Roti hay khayme me Sakina wahan
Sote ho Abbas zamin par yahaan
Aa Alamdar haey alamdar (x3)
1) Aray lash uthaye ga kon, Shere jawaan mar gaya
Aray qabr banaye ga kon, Shere jawaan mar gaya
Aray humko sambhale ga kon,Shere jawasn mar gaya
Toro na gurbat me meri aas utho
Utho Husain aaye hain Abbas utho
Rota he mazlum basad yas utho
Utho bas ab ghar me chalo bhayi jaan
Aa Alamdar haey alamdar (x3)
2) Aray kon khabare le meri, Shere jawan mar gaya
Haey meri bekasi, Shere jawan mar gaya
Chalti hay dil par churi, Shere jawan mar gaya
Kya huwa sawwaye Sakina ko aa
Kisne kiya mere bhara gar tabah
Kya huwi abbas biradar ki chaah
Ab gaye wo pyaar ki baate kaha
Aa Alamdar haey alamdar (x3)
3) Aray mar gaya Akbar pisar, Shere jawan mar gaya
Thaam lo meri qamar, Shere jawan mar gaya
Aray lut gaya bekas ka ghar, Shere jawan mar gaya
Quwate bazu mera kya ho gaya
Zeenate pehlu mera kya ho gaya
Aashiqe dil yu mera kya hogaya
Kya huwa afsos mera qadr daan
Aa Alamdar haey alamdar (x3)
4) Aray jhume khayme me wa, Shere jawan mar gaya
Karti hay Zainab fugaa, Shere jawan mar gaya
Aray kis say karoon may bayan, Shere jawan mar gaya
Hath se khoya dile gamkhwar ko
Paoon kahaan apnay alamdar ko
Geri huwi khanjar-e khu khar ko
Jalad gale par ho mere ab rawaa
Aa Alamdar haey alamdar (x3)
5) Aray ab koi chara nahi, Shere jawan mar gaya
Aray zeest gawara nahi, Shere jawan mar gaya
Aray koi hamara nahi, Shere jawan mar gaya
Maa hai bani hasheme wala nahi
Usme mere mehru ka ujala nahi
Haaye mere chahane wala nahi
Nazro me tarikh ha sara jahan
Aa Alamdar haey alamdar (x3)
6) Aray lash uthayenga kon, Shere jawaan mar gaya
Aray kabre banayanga kon, Shere jawan mar gaya
Aray humko sambhalenga kon, Shere jawan mar gaya
Toro na gurbat me meri aas ko
Utho Husain aaye ha abbas utho
Rota he mazlum basat yas utho
Utho basat gar me chalo bhayijaan
Aa Alamdar haey alamdar (x3)
7) Aray ankho ka tara mera, Shere jawan mar gaya
Aray chand ka tukra mera, Shere jawan mar gaya
Are gar ka ujala mera, Ruhe ali jaan-e nabi alvida
Ashiko shaidai akhi alvida
Laasha-e abbase ali alvida
Aate hain ab ham bhi chalo bhayijaan
Aa Alamdar haey alamdar (x3)
Kartay thay roro ke ya hazrat bayan
toar gaye meri qamar bhayi jaan
Aa Alamdar haey alamdar (x3)
Roti hay khayme me Sakina wahan
Sote ho Abbas zamin par yahaan
Aa Alamdar haey alamdar (x3)
Must be fall... I've been away from you a few days as I've been busy hosting a visit from my mom who lives far away. Precious time with a special person. Hope you've all been well. Hope you each had someone like her to teach you kindness, compassion, determination, and service. And may they all live long.
Ok I must tell you Narayans story it is the story of Assams hospitality humility .
I met Narayan last year he stays close to the Khamakhya crematorium.. I was staying in an Ashram there was no toilet facility I suffer from urinary problems diabetic related and I had to use the forest for natural compulsions .
Narayan a photographer takes leave during the Ambubachi Mela fair and serve tea food snacks .
I offered him Rs 500 for the use of his toilet he politely refused to take money from me ..his wife children Vishal Bibek and his only daughter who is scared of the camera became my host ..I drank sugarless tea ..they were very kind .
I came to Mumbai tried to call them but could not connect this year I did not need his toilet as I lived near the Khamakhya Temple house of my friend Niku Sarma Panda from the priestly family ,, mind you the rooms near the temple are highly expensive over Rs 4000 but Niku his brother mom allowed me to stay free gave me food too,
I spent most of my time at Juna Akhara shooting the Naga Sadhus Hijra Tantics but I was mostly at Khamakhya Crematorium ever night .. midnight to shoot the Aghori rituals and Narayan took care of me ..
I am indebted to this family for life I used to force money on him I told him to use it to buy books for his kids and he would reluctantly take it .
He had one grouse I had not eaten lunch or dinner with him.. they have never seen Mumbai ..
This post was blank I thought an explanation was necessary ,,
The Assamese are compassionate sensitive and love those who come here as Guests of Goddess Khamakhya .
Atithi Devo Bhava
Alone we can do so little. Together we can do so much. - Helen Keller
More Helen Keller Quotes and Sayings
Picture Quotes on Humility
12 Beautiful destinations in Thailand to explore
Original photo credit: Lukas Johnns
Humility in the Oratorio del Rosario in Santa Cita. Maybe the pigeon on her head forces her to be humble, through mortification!
If there is any advice Col. Kirk Gibbs can give to his successor, it is this: Lead with honor and humility.
As Gibbs, U.S. Army Corps of Engineers Los Angeles District’s 61st commander, prepares to relinquish command of the LA District July 19 to Col. Aaron Barta, he offered up some advice and reflected on the past three years as the leader of one of the largest Corps districts in the country.
There are many things Gibbs said he is proud of when it comes to the LA District, but three things stand out: the District being recognized two years in a row as a "Best Place to Work" in the Corps; completing Weed Army Hospital at Fort Irwin, California – the Department of Defense’s only Leadership in Energy and Environmental Design-Platinum, carbon-neutral, net-zero certifiable hospital – on time and within budget; and the one-on-one time he was able to spend with employees in the District.
It is the people Gibbs said he will miss the most – the employees and the District’s close partners across the four-state area.
“I have never focused on relationships like I have here in this District, and I sincerely believe it is part of the District's culture,” he said. “When projects are tough, the close relationships get us through those challenges and ultimately deliver the program.”
During his time with the LA District, Gibbs has overseen a multimillion-dollar program that provides engineering, construction, planning, contracting, real estate, emergency operations, environmental and regulatory services to military, federal, state and local governments across a 226,000-square-mile area of Southern California, Nevada, Arizona and Utah. That also includes leading about 750 military and civilian personnel with a wide array of expertise.
But leading people is nothing new to Gibbs, who has served for more than 24 years as an active-duty Soldier, leading both military and civilian personnel.
“Each person is different, and I have learned that good leaders get to know each person individually and then lead them in a way that brings out the best in that employee,” he said.
Providing priorities and a solid intent on the District’s missions, particularly disaster response operations, helps employees stay focused on what’s really important, he said.
Gibbs will now serve as the chief of staff at the Corps’ headquarters in Washington, D.C. There, he said, he hopes to be an advocate for all of the Corps’ districts nationwide.
“I feel that this District and the great people are responsible for giving me the incredible opportunity of being the Corps’ chief of staff,” he said. “The people have taught me so much, and I will take that with me to make a positive impact on the Corps’ enterprise and help our Districts deliver our programs in civil works, military, Interagency and International Services, real estate and regulatory.”
Gibbs knows how the importance of mentors and having a good support system have played in shaping his career, and he credits his parents with instilling in him respect for others; his wife, Kim, who taught him to endure all challenges, no matter how great, with grace and dignity; and his former chief of staff – Col. Steve Hill – for giving him tough jobs to prepare him for success.
“(Hill) gave me tough jobs that I thought he could have done at the time, but as I look back, the toughest assignments he gave me in that civilian organization at the Corps headquarters prepared me for District command and enabled me to achieve the goal of commanding at the battalion, brigade and District levels,” he said. “I also remember he told me I would be a chief of staff for the Corps one day. He was preparing me for that. I didn't believe him, but that is my next job.”
And, as for additional advice he can share with Barta, Gibbs provided these words of wisdom:
- Be prepared to change leadership style when leading a District of professional civilians. Don't lead them in the same way as Soldiers;
- Engage with people and get around to see them across the District's entire area of operation. Don't sit behind a desk;
- Study hard initially and learn the policies, processes and programs. “You will never be the expert, but you must prepare yourself to make effective decisions as quickly as possible”;
- Always provide a commander's intent and an end state. The civilian workforce appreciates that; and, lastly,
- Lead with honor and humility. “It isn't about you. It is about the District's people and our vital mission.”
As for the future of the LA District, Gibbs said he hopes future leaders continue to change the culture to an organization that is more risk tolerant in streamlining processes and moving projects forward; deliver the Department of Veterans Affairs and Customs and Border Protection programs phenomenally – on time, within budget and to the highest quality; and to remain a "Best Place to Work" in order to retain and recruit talent to the high-cost living area of Southern California.
“I want the District to do what it always does and ‘knock those programs out of the park,’” he said."
January 21, 2010
Taken with my iPhone
The sky over the ocean was a beautiful sight tonight. We may not have a lot of sun but we do have the most amazing sunsets in the winter. Alaska makes me feel so small with beauty this big.
The Friend of God has these three qualities: a generosity like that of the ocean, a compassion like that of the sun, and a humility like that of the earth.
---Bayazid
‘Hadha Min Fadli Rabbi’ is an Arabic phrase whose translation in English nears "This is by the Grace of my Lord."
The phrase is most often used to convey a sense of humility and most importantly, gratitude to God for having something, be it material or spiritual, or otherwise, such as a talent one may possess, or good health, good income, good spouse, children, etc.