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Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted an officer professional development brief for Senior Army Reserve Officers’ Training Corps cadets April 22, 2015 at the University of Florida at Gainesville. The officers in training of the Fighting Gator Battalion listened attentively to BG Espaillat as he gave his personal perspective on leadership, command, and officer expectations. They also heard him provide an overview of the 143d ESC’s mission and structure, as well as heard him stress the importance of living and internalizing the Army Values.
Photos by Army Lt. Col. Christopher West, 143d ESC
So it’s like 2am while I’m posting this…. So I’m not writing her whole bio out right now. Sorry! I’ll probably just edit this part later:)
*UPDATE*
So basically Miko was abused as a child. Emotionally and physically. Here is a summary of Miko’s Trauma
**Early Childhood Abuse**
- Miko was physically and emotionally abused by people who were supposed to protect her—likely family or guardians.
- The abuse wasn’t just occasional; it was patterned, manipulative, and deeply isolating.
- She was told her quirk was useless, that she was a “glorified water hose” that she was a burden, and that her existence was inconvenient.
- These messages became internalized, shaping her self-worth and her silence.
**Emotional Suppression & Isolation**
- Miko learned early that speaking up led to punishment or dismissal, so she stopped talking about her pain.
- She became quiet—not shy, but *strategically invisible*. She believed silence was strength.
- Her trauma made her hyper-aware of others’ moods, especially anger or loud voices, which triggered her anxiety.
**PTSD & Panic Responses**
- Miko lives with PTSD. Her symptoms include:
- Panic attacks, especially during combat or high-stress situations.
- Physical freezing when touched unexpectedly.
- Flashbacks triggered by yelling, sudden movement, or emotional vulnerability.
- She often dissociates—mentally checking out to survive moments that feel too intense.
**Survival in Silence**
- Despite everything, Miko never quit. She trained harder, studied longer, and pushed herself beyond her limits.
- She never told anyone—not out of pride, but out of fear that she’d be pitied or seen as weak.
- Her silence became a shield, but also a prison.
**The Shift Toward Healing**
- After her breakdown and hospitalization, Miko began to realize that silence wasn’t strength—it was self-pity disguised as control.
- She started opening up—not for sympathy, but for *understanding*.
- She acknowledged her trauma, her anxiety, her sadness—but refused to let it define her.
**Her Relationship with Bakugo**
- Bakugo was once a trigger—loud, explosive, unpredictable.
- But he became a constant. Not soft, but *present*. He didn’t try to fix her. He just stayed.
- Their connection is built on mutual recognition: both carry pain, both fight hard, both struggle to speak.
- Miko’s first kiss with Bakugo was the first time she was touched without violence. It rewired something deep inside her. It made her realize that her past doesn’t define her. And she can move past it.
-She still doesn’t like being touched, and she still lives with her anxiety and ptsd everyday but she’s learning and healing
So overall, Miko’s trauma isn’t a backstory—it’s a living part of her. But she’s learning to coexist with it, not be consumed by it. She’s not healed. She’s *healing*. And that’s what I think makes her arc so powerful. Is she me? Yeah. All of my characters are pieces of me. Miko is the one I relate to the most :)
Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted an officer professional development brief for Senior Army Reserve Officers’ Training Corps cadets April 22, 2015 at the University of Florida at Gainesville. The officers in training of the Fighting Gator Battalion listened attentively to BG Espaillat as he gave his personal perspective on leadership, command, and officer expectations. They also heard him provide an overview of the 143d ESC’s mission and structure, as well as heard him stress the importance of living and internalizing the Army Values.
Photos by Army Lt. Col. Christopher West, 143d ESC
ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.
The officers in training listened
attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the
143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion
at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.
Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC
The U.S. Military Academy at West Point hosts Projects Day on May 3, 2018. Projects Day highlights academic excellence across USMA showcasing leaders of character who think critically, internalize their professional identity and will employ their education to help build the Army and the Nation’s future. (U.S. Army photo by Michelle Eberhart)
GUAKIA, Inc. www.guakia.org/stories.html
75 Charter Oak Avenue
Hartford, CT 06106-1903
(860) 548-9555
GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw
GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY
GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98
GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc
Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8
GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the group’s history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic culture…available to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community.
Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartford’s Hispanic community. The word, guakia, means “we” in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakía’s mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU
LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw
DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U
LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg
PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8
MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk
LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE
LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg
EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0
IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q
GUAKIA INC www.guakia.org/index.html
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
Duality and Transcience: Photography
Photomedia collage
"The story “The Strange Case of Dr. Jeckyll and Mr. Hyde” uses the theme of science as a pathway for exploring the nature of man and man’s fractured self. It brings to light the conflicts within the fractured self due to the existence of varying motives and desires, and can be likened to the concept of the interaction among the id, ego, and superego. I have always had an interest in how the mind visually conceives of concepts and internalizes them, and so with these prints have interpreted different passages from the story using symbols and fabricated scenes. "
Ashley Danies, CUMC Research Assistant
World Waters Embassy HQ
The idea behind my project was to treat water with reverance and not put it out on display where it can be evaporated by the hot climate. I internalized everything and buried it under the dunes so that over time the sand can over take it but the two towers would always be a marker. The sunken portion would be wrapped in a radient heat cloth that would abosorb the heat and convert it to electricity. A similar cloth/material would screen the majority of the outdoor portions as well. The small silos are water collection devices and the larger towers are to naturally expell the heat and serve as observation towers. These towers also recall some of the elements of the native wildlife that seems to thrive in the habitats somewhat tough conditions.
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NCERT Text Books Controversy .
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Educating A Nation : Debates Over Text Book Writing Tapti Mess Prof. Neeladri Bhattacharya, CHS, JNU.
Speakers:.
29.8.06 (Tonight) .
9.30pm Yogendra Yadav, noted social scientist. csos Prof. K. C. Suri,Nagarjun Univ., Guntur .
NCERT Textbooks and BJP's Agenda .
' (Most dangerous of all is the death of .
·Sabse khatarnak hota hai hamare sapnon ka mar jana.
.
L-.: our dreams) -AvtarSingh Pash, killed byKhalistani terrorists in 1988. .
I ! Is this what we want to teach our .
.
"Pash'spoem says, ·Police ki maar sabse khatarnak nahin hoti' 's poem in.
f .
children?" -BJP MP Ravishankar !Jrasad in Parliament, objecting to the inclusion of PashI a NCERT Hindi textbook. .
For Pash, it was only a constant stri1ling to achieve the dreams of an egalitarian society that made .
life worth living -to allow the fear of~c:ice brutality to silence us and kill those dreams; to make our .
peace with an unjust system, was more dangerous than death itself. For the communal fascist BJP, .
what could be a worse nightmare than the dreams that Pash died to keep alive -the dreams that they .
are committed to kill? .
"People/male and female/ blush when a : loth covering their shame/comes loose... .
When all the world is the eye of t he lord/onlooking everywhere, what can you/ cover and .
.
conceal?" 's .
"To the shameless girl/ wearing the White Jasmine Lord's/ light of morning/you fool,/where.
the need for cover and jewel?" -Akka Mahadevi, 12rh century woman poet-saint. .
.
women from wearing jeans and For the BJP and ABVP, whose self-appointed task it is to 'ban' .
. .
impose various dress codes , no wonder it is difficult to digestAkka Mahadevi, who scorned all social .
customs including even clothes. Rather than recognize the social radicalism of Akka Mahadevi, they would like to retrospectively clothe her defiant nakedness in saffron robes and turn her into a version ~ of Sadhvi Rithambara! Unable to come up with any political initiatives and issues in the entire Monsoon session .
ofParliament, the BJP finally resorted to their pet staples oftextbooks and Vande Mataram! .
Their objections to the NCERT textbooks expose their own politics all too well. .
At the sheer level of facts, the BJP proves to be false-in Biptn Chandra's textbook Modern .
India, for example, freedom fighters like Bipin Chandra Pal and Tilak have been described. r' in contrast to the 'moderates'..
not as 'terrorists', but as 'extremists.
In the history of India, the Gujarat riots and the the anti-Sikh riots of 1984, the Emergency, are ?.
.
f.
enormous political events-that a Class XII student will read about in newspapers and see on .
h.
TV, even if they are wiped out of textbooks. He or she will encounter casteist language and .
ll gender injustice daily-in the family, society, and street. The real question is: will schools and a ct.
textbooks equip a Class XII student with the tools to form opinions about such events, will it .
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teach him/her to internalize the values of defending democracy, resisting communalism. .
of.
casteism, or gender injustice? Orwill the textbook and teacher maintain silence on these issues, .
tia.
allowing a student on the threshold ofadulthood to believe that what is learnt in the classroom ~. has no value or applicability in real life? 's .
It is ridiculous to suggest that a student who reads Premchand's Doodh ka Daam or a DhoomilMachi Ram or a story by Om Prakash Valmiki, is likely to ''s speeches ,)\lf abuse against dalits! It is like saying that someone who reads Martin Luther King.
pick up the habit' of using casteist .
will become racist! The works of these writers seethe with the pam and anger agamst caste .
abuse; a student who reads them is far more likely to realize how inhuman such practices are, .
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My name is Ronnie Veliz, and I am a CSUN alumni. I graduated from the Department of Psychology in 2012.
I arrived to the country at the age of 17, and I chose to stay in the country because of medical reasons. I was diagnosed with breast cancer, and I also had the dream of becoming a community lawyer. That didn’t really apply to law—I didn’t want to study law per se—but I knew I wanted to be a community lawyer.
After the surgery, I decided that it was the best time to come out. I came out to my mom through a phone conversation because she was in Peru and I was in Los Angeles. It was hard for my mom because she is a very Catholic woman; it was very emotional, but that was a conversation that I had to have with her, and then I came out to my dad.
It was very difficult to deal with internalized issues as a gay Catholic 17-year-old immigrant, and I decided to avoid suicidal thoughts and empower myself to connect through the internet again. I created a message board to connect with fans of my favorite pop band. That message board was the first organizing experience.
Since then, the gay, lesbian, bisexual, transgender and queer community has been advocating for full acceptance and for integration in conversations about immigration reform, faith reform, and family acceptance.
I went on to being a part of the GSA-the Gay Straight Alliance- at Pierce College. I was just a regular member, and as I was developing my leadership skills and I was getting rid of my shyness, I started attending the LGBTA meetings at CSUN.
I realized there was a lot of patriarchy in queer organizations, so I decided to create my own. Not just for LGBTQ purposes, but I saw a lot of social injustice with undocumented students and with college students who are HIV positive, are differently abled, so I asked my friends to join me in creating Matadors for Equality.
I am the co-founder of Matadors for Equality. I also write articles for Qulture.org, which is a multimedia site for queer writers.
I have (also) been a part of Latino Equality Alliance since 2010. Latino Equality Alliance is an organization that advocates for immigration reform, family acceptance, and marriage equality.
Since 2010, I have also been canvassing for marriage equality here in CA with Vote for Equality, which is a political branch of the Gay and Lesbian Center.
I’m a counselor at Bienestar for gay and bisexual men, and I conduct a support group for Latino queer men, and I am a part of the Queer Project—the Queer Undocumented Immigrant Project— I’m an ally to undocumented queer folks who are fighting for immigration reform.
I went through some stuff that I don’t wish to anybody, so I would definitely tell him (me) “te quieres fuerte”, you’re really strong, “yo te apoyo”, I support you.
Color of Life Color Conceals: Cuttlefish are excellent examples of cryptic coloration. Chromatophores in the cuttlefish skin are controlled neurologically, allowing almost immediate color change disappearing into its background right before your eyes.
Ref: California Academy Color of Life exhibit 2015
TAXONOMY
Kingdom: Animalia
Phylum: Mollusca
Class: Cephalopoda
Order: Sepiida
Family: Sepiidae (Cuttlefishes, shell internalized)
Genus/species: Sepia bandensis
GENERAL CHARACTERISTICS: S. bandensis has 8 arms with rows of suckers along each and 2 feeding tentacles. It moves by the undulation of lateral fins that surround the body. Cuttlefish have an internal shell within their bodies that they can fill with more or less gas to create neutral buoyancy. The cuttlebone is often collected and used as a calcium supplement, beak sharpener, and all-purpose toy for caged birds.
Like most cephalopods, cuttlefish have 3 hearts. Two hearts pump blood to the gills, and a central heart pumps oxygenated blood to the body.
Length up to 10 cm (4 inches)
DISTRIBUTION/HABITAT: The Indo-Pacific region, including the Philippines, Indonesia, and Papua New Guinea.
Found in shallow coastal waters near or on coral reefs or sandy substrates.
DIET IN THE WILD: Crustaceans and fish. The Cuttlefish changes colors and patterns as it approaches prey then ejects its feeding tentacles to capture its prey with its suckers and eating it with a parrot-like beak and a radula. Active diurnally.
ACADEMY DIET: Shrimp and crab (M Avila, staff biologist)
LONGEVITY: Life span: 6 mos. to 3 yrs.
REMARKS: Masters of camouflage, cuttlefish and most cephalopods can change their colors, shapes and textures in seconds to avoid predators and blend into their surroundings. They have keen vision, but are color blind.
They also produce large amounts of ink, both as a decoy and foul-tasting deterrent. Known as sepia ink, after the genus name of cuttlefish, it was a dye once prized by artists.
The Steinhart Aquarium is the first institution in the U.S. to breed dwarf cuttlefish. To date, (2010) more than 350 have hatched at the Academy, most of which have been sent to other aquaria and research institutions. Quote from Rich Ross, Academy biologist and cuttlefish breeder extraordinaire: Over time, [cuttlefish] learn to recognize and respond to you, and will often greet you when you walk into the room (or maybe they just know you bring the food). They are smart, beautiful and unusual, and unlike certain other eight-armed cephalopods (think octopus), they don’t try to escape from your aquarium!
References
California Academy of Sciences Steinhart Aquarium Water is Life Surviving 2016 AQG13
The Marine Biology Coloring Book 2nd Ed. Thomas Niesen 2000
EOL Encyclopedia of Life eol.org/pages/591499/details
Ron's flickr www.flickr.com/photos/cas_docents/3953684359/in/album-721...
Ron's Wordpress shortlink wp.me/p1DZ4b-1yp
10-15-11, 11-7-14, 7-22-15, 12-8-16
Marek Milde, What You Are, 2007, site-specific, interactive installation for Klapper Hall, text by Walt Whitman, wallpaper, tape, dust
“What You Are” is interactive site-specific installation, that draws on the historical identity of the site. Text gradually appears on the floor according to the intensity of the visitor’s movement, and the amount of dust brought in to the gallery on their shoes.
The piece “What You Are” reveals a part of hidden history related to Klapper Hall, Art Department of Queens College, New York, formerly the Walt Whitman Building. Renovating and redefining of the building in the 1950's covered the connection to poets presence on the site.
Walt Whitman instructed students in 1839- 40, in a building called the Jamaica Academy, on the present campus of Queens College. Walt Whitman Building the former English Department housed also the poets museum before it’s relocation to his birth house in Long Island.
more : www.forgotten-ny.com/STREET SCENES/paumanok/pomonok.html
I wanted to rediscover this part of a history, which lies under the surface of this site. And seek for the context within the covering structure of the architecture.
The piece “What You Are’” uses fragments of Walt Whitman’s poem ”American Feuillage”, 1860, from the collection “Leaves of Grass”.
“ O lands! all so dear to me — what you are,
( whatever it is, )
I become a part of that, whatever it is “
Walt Whitman’s poetry addresses the theme of identity and place. Suggesting a concept of site created by internalizing a place. New place the vision of future America is created out of connection and relationship between person and place.
My installation creates a space that encourages visitors to be involved, connected and part of the place and its history. As participants’ presence and activity accumulates in to the patterns a new landscape emerges, revealing the poem hidden under the surface.
PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU
LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw
DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U
LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg
PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8
MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk
LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE
LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg
EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0
IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q
GUAKIA INC www.guakia.org/index.html
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU
LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw
DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U
LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg
PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8
MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk
LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE
LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg
EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0
IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q
GUAKIA INC www.guakia.org/index.html
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
Duality and Transcience: Photography
Photomedia collage
"The story “The Strange Case of Dr. Jeckyll and Mr. Hyde” uses the theme of science as a pathway for exploring the nature of man and man’s fractured self. It brings to light the conflicts within the fractured self due to the existence of varying motives and desires, and can be likened to the concept of the interaction among the id, ego, and superego. I have always had an interest in how the mind visually conceives of concepts and internalizes them, and so with these prints have interpreted different passages from the story using symbols and fabricated scenes. "
Ashley Danies, CUMC Research Assistant
via
Everyone has a backstory. It’s the personal mythology that we weave around our lives, from the beginning to the present. You see, a backstory is more than just a personal history. These origin stories often form the narrative that we use to explain who we are, where we came from, and how we got here. Problems arise when these stories become devices that we use to justify our behavior or to prevent ourselves from changing or growing.
You could say that a backstory might become a “holding you back story.”
Most of our backstories begin before birth– with the tale of how our parents met. For those with family trauma, these stories may extend to include the trauma our parents and even grandparents suffered. Whether our parents were soldiers or immigrants, farmers or refugees– these stories get woven into our own. Knowing and understanding our history is powerful, but recognizing the gift of that knowledge requires using it to create a future that diverges from our past.
How many times have you heard someone’s backstory and recognized that they are repeating a narrative that they’ve internalized? The woman who grew up in an abusive household and now has an abusive partner, or the unfaithful husband whose father cheated on his mom– these are typical narratives that we see repeated. But what about the subtler ones, the ones that lie hidden deep?
A friend –who was sexually abused as a child– once revealed that she believed that only someone with a similar trauma could truly understand her. While she told herself and others this story, over the years I saw her stumble from one unhealthy relationship to the next. Eventually, she married and had a family with a wonderful, wholesome partner. And after a decade she left him for a man with a dark past who ended up sending her life spiraling. All this because she believed that this man’s backstory matched hers better– was what she actually deserved. We can pay dearly for the stories we attach to ourselves.
Common themes in backstories include ideas about money, class, education, and individual worth. If your backstory involves growing up poor and you feel shame about it, it’s unlikely that you will apply to a top-tier university, even if you have the grades to get a full scholarship. That’s because your story doesn’t make room for a different life. Your story tells you that affluent people will reject you. But the truth is that people are all cut from the same cloth: we are all people, each with our own backstory.
Each time you tell a story about yourself, you reinforce it a little more and ensure that it continues to be true. While there’s no need to lie about a backstory, there are kernels of truth, power, and inspiration to be gleaned from stories of how we’ve overcome loss, hardship, and unfavorable odds. Re-framing your backstory can change your future by removing self-limiting beliefs about yourself. A wise person once said, “What you focus on is what you create,” and I think nowhere is this more true than in the stories we tell about ourselves. Take your backstory to the therapist’s office and heal the parts that aren’t serving you on the floor. See where your improved backstory takes you, and don’t look back.
Francesca Singer is a former farmer, landscape architect, and massage therapist who splits her time between Texas and rural France. When not writing or wrangling a toddler, she can be found hiking or working in the garden.
The post Is your Backstory Holding You Back? appeared first on Heart-Centered Counselors.
heartcenteredcounselors.com/is-your-backstory-holding-you...
The U.S. Military Academy at West Point hosts Projects Day on May 3, 2018. Projects Day highlights academic excellence across USMA showcasing leaders of character who think critically, internalize their professional identity and will employ their education to help build the Army and the Nation’s future. (U.S. Army photo by Bryan Ilyankoff)
Chitra, also spelled as Citra, is an Indian genre of art that includes painting, sketch and any art form of delineation. The earliest mention of the term Chitra in the context of painting or picture is found in some of the ancient Sanskrit texts of Hinduism and Pali texts of Buddhism
NOMENCLATURE
Chitra (IAST: Citra, चित्र) is a Sanskrit word that appears in the Vedic texts such as hymns 1.71.1 and 6.65.2 of the Rigveda. There, and other texts such as Vajasaneyi Samhita, Taittiriya Samhita, Satapatha Brahmana and Tandya Brahmana, Chitra means "excellent, clear, bright, colored, anything brightly colored that strikes the eye, brilliantly ornamented, extraordinary that evokes wonder". In the Mahabharata and the Harivamsa, it means "picture, sktech, dilineation", and is presented as a genre of kala (arts). Many texts generally dated to the post-4th-century BCE period, use the term Chitra in the sense of painting, and Chitrakara as a painter. For example, the Sanskrit grammarian Panini in verse 3.2.21 of his Astadhyayi highlights the word chitrakara in this sense. Halls and public spaces to display paintings are called chitrasalas, and the earliest known mention of these are found in the Ramayana and the Mahabharata.
A few Indian regional texts such as Kasyapa silpa refer to painting by others words. For example, abhasa – which literally means "semblance, shining forth", is used in Kasyapa-shilpa to mean as a broader category of painting, of which chitra is one of three types. The verses in section 4.4 of the Kasyapa-silpa state that there are three types of images – those which are immovable (walls, floor, terracota, stucco), movable, and those which are both movable-immovable (stone, wood, gems).[5] In each of these three, states Kasyapa-shipa, are three classes of expression – ardhacitra, citra, and citra-abhasa. Ardhacitra is an art form where a high relief is combined with painting and parts of the body is not seen (it appears to be emerging out of the canvas). The Citra is the form of picture artwork where the whole is represented with or without integrating a relief. Citrabhasha is the form where an image is represented on a canvas or wall with colors (painting). However, states Commaraswamy, the word Abhasa has other meanings depending on the context. For example, in Hindu texts on philosophy, it implies the "field of objective experience" in the sense of the intellectual image internalized by a person during a reading of a subject (such as an epic, tale or fiction), or one during a meditative spiritual experience.
In some Buddhist and Hindu texts on methods to prepare a manuscript (palm leaf) or a composition on a cloth, the terms lekhya and alekhya are also used in the context of a chitra. More specifically, alekhya is the space left while writing a manuscript leaf or cloth, where the artist aims to add a picture or painting to illustrate the text.
HISTORY
The earliest explicit reference to painting in an Indian text is found in verse 4.2 of the Maitri Upanishad where it uses the phrase citrabhittir or "like a painted wall". The Indian art of painting is also mention in a number of Buddhist Pali suttas, but with the modified spelling of Citta. This term is found in the context of either a painting, or painter, or painted-hall (citta-gara) in Majjhima Nikaya 1.127, Samyutta Nikaya 2.101 and 3.152, Vinaya 4.289 and others. Among the Jain texts, it is mentioned in Book 2 of the Acaranga Sutra as it explains that Jaina monk should not indulge in the pleasures of watching a painting.
The Kamasutra, broadly accepted to have been complete by about the 4th-century CE, recommends that the young man should surprise the girl he courts with gifts of color boxes and painted scrolls. The Viddhasalabhanjika – another Hindu kama- and kavya–text uses chitra-simile in verse 1.16, as "pictures painted by the god of love, with the brush of the mind and the canvas of the heart".
The nature of a chitra (painting), how the viewer's mind projects a two dimensional artwork into a three dimensional representation, is used by Asanga in Mahayana Sutralamkara – a 3rd to 5th-century Sanskrit text of the Mahayana Buddhist tradition, to explain "non-existent imagination" as follows:
Just as in a picture painted according to rules, there are neither projections nor depressions and yet we see it in three dimensions, so in the non-existent imagination there is no phenomenal differentiation, and yet we behold it.
— Mahayana Sutralamkara 13.7, Translated in French by Sylvain Levi
According to Yoko Taniguchi and Michiyo Mori, the art of painting the caves at the c. 6th-century Buddhas of Bamiyan site in Afghanistan, destroyed by the Taliban Muslims in the late 1990s, were likely introduced to this region from India along with the literature on early Buddhism.
TEXTS
There are many important dedicated Indian treatises on chitra. Some of these are chapters within a larger encyclopedia-like text. These include:
Chitrasutras, chapters 35–43 within the Hindu text Vishnudharmottara Purana (the standard, and oft referred to text in the Indian tradition)
Chitralaksana of Nagnajit (a classic on classical painting, 5th-century CE or earlier making it the oldest known text on Indian painting; but the Sanskrit version has been lost, only version available is in Tibet and it states that it is a translation of a Sanskrit text)
Samarangana Sutradhara (mostly architecture treatise, contains a large section on paintings)
Aparajitaprccha (mostly architecture treatise, contains a large section on paintings)
Manasollasa (an encyclopedia, contains chapters on paintings)
Abhilashitartha chinatamani
Sivatatva ratnakara
Chitra Kaladruma
Silpa ratna
Narada silpa
Sarasvati silpa
Prajapati silpa
Kasyapa silpa
These and other texts on chitra not only discuss the theory and practice of painting, some of them include discussions on how to become a painter, the diversity and the impact of a chitra on viewers, of aesthetics, how the art of painting relates to other arts (kala), methods of preparing the canvas or wall, methods and recipes to make color pigments. For example, the 10th-century Chitra Kaladruma presents recipe for making red color paint from the resin of lac insects. Other colors for the historic frescoes found in India, such as those in the Ajanta Caves, were obtained from nature. They mention earthy and mineral (inorganic) colorants such as yellow and red ochre, orpigment, green celadonite and ultramarine blue (lapis lazuli). The use of organic colorants prepared per a recipe in these texts have been confirmed through residue analysis and modern chromatographic techniques.
THEORY
The Indian concepts of painting are described in a range of texts called the shilpa shastras. These typically begin by attributing this art to divine sources such as Vishvakarma and ancient rishis (sages) such as Narayana and Nagnajit, weaving some mythology, highlighting chitra as a means to express ideas and beauty along with other universal aspects, then proceed to discuss the theory and practice of painting, sketching and other related arts. Manuscripts of many these texts are found in India, while some are known to be lost but are found outside India such as in Tibet and Nepal. Among these are the Citrasutras in the 6th-century Visnudharmottara Purana manuscripts discovered in India, and the Citralaksana manuscript discovered in Tibet (lost in India). This theory include early Indian ideas on how to prepare a canvas or substrate, measurement, proportion, stance, color, shade, projection, the painting's interaction with light, the viewer, how to captivate the mind, and other ideas.
According to the historic Indian tradition, a successful and impactful painting and painter requires a knowledge of the subject – either mythology or real life, as well as a keen sense of observation and knowledge of nature, human behavior, dance, music, song and other arts. For example, section 3.2 of Visnudharmottara Purana discusses these requirements and the contextual knowledge needed in chitra and the artist who produces it. The Chitrasutras in the Vishnudharmottara Purana state that the sculpture and painting arts are related, with the phrase "as in Natya, so in Citra". This relationship links them in rasa (aesthetics) and as forms of expression.
THE PAINTING
A chitra is a form of expression and communication. According to Aparajitaprccha – a 12th-century text on arts and architecture, just like the water reflects the moon, a chitra reflects the world. It is a rupa (form) of how the painter sees or what the painter wants the viewer to observe or feel or experience.
A good painting is one that is alive, breathing, draws in and affects the viewer. It captivates the minds of viewers, despite their diversity. Installed in a sala (hall or room), it enlivens the space.
The ornaments of a painting are its lines, shading, decoration and colors, states the 6th-century Visnudharmottara Purana. It states that there are eight gunas (merits, features) of a chitra that the artist must focus on: posture; proportion; the use of the plumb line; charm; detail (how much and where); verisimilitude; kshaya (loss, foreshortening) and; vrddhi (gain). Among the dosas (demerits, faults) of a painting and related arts, states Chitrasutra, are lines that are weak or thick, absence of variety, errors in scale (oversized eyes, lips, cheeks), inconsistency across the canvas, deviations from the rules of proportion, improper posture or sentiment, and non-merging of colors.
LIMBS OF THE PAINTING
Two historical sets called "chitra anga", or "limbs of painting" are found in Indian texts. According to the Samarangana Sutradhara – an 11th-century Sanskrit text on Hindu architecture and arts, a painting has eight limbs:
Vartika – manufacture of brushes
Bhumibandhana – preparation of base, plaster, canvas
Rekhakarma – sketching
Varnakarma – coloring
Vartanakarma – shading
lekhakarana – outlining
Dvikakarma – second and final lining
Lepyakarma – final coating
According to Yashodhara's Jayamangala, a Sanskrit commentary on Kamasutra, there are sadanga (six limbs)[note 5] in the art of alekhyam and chitra (drawing and painting):
Rupa-bhedah, or form distinction; this requires a knowledge of characteristic marks, diversity, manifested forms that distinguish states of something in the same genus/class
Pramanani, or measure; requires knowledge of measurement and proportion rules (talamana)
Bhava yojanam, or emotion and its joining with other parts of the painting; requires understanding and representing the mood of the subject
Lavanya yojanam, or rasa, charm; requires understanding and representing the inner qualities of the subject
Sadrsyam, or resemblance; requires knowledge of visual correspondence across the canvas
Varnika-bhanga or color-pigment-analysis; requires knowledge how colors distribute on the canvas and how they visually impact the viewer.
These six limbs are arranged stylistically in two ways. First as a set of compound (Rupa-bhedah and Varnika-bhanda), a set of joining (middle two yojnam), and a set of single words (Pramanani and Sadrsyam). Second, states Victor Mair, the six limbs in this Hindu text are paired in a set of differentiation skills (first two), then a pair of aesthetic skills, and finally a pair of technical skills. These limbs parallel the 12th-century Six principles of Chinese painting of Xie He. {refn|group=note|The Hua Chi of Teng Ch'un, a 12th-century Chinese text, mentions the Buddhist temple of Nalanda with frescoes about the Buddha painted inside. It states that the Indian Buddhas look different from those painted by Chinese, as the Indian paintings have Buddha with larger eyes, their ears are curiously stretched and the Buddhas have their right shoulder bare. It then states that the artists first make a drawing of the picture, then paint a vermilion or gold colored base. It also mentions the use of ox-glue and a gum produced from peach trees and willow juice, with the artists preferring the latter. According to Coomaraswamy, the ox-glue in the Indian context mentioned in the Chinese text is probably the same as the recipe found in the Sanskrit text Silparatna, one where the base medium is produced from boiling buffalo skin in milk, followed by drying and blending process.
The six limbs in Jayamangala likely reflect the earliest and more established Hindu tradition for chitra. This is supported by the Chitrasutras found in the Vishnudharmottara Purana. They explicitly mention pramanani and lavanya as key elements of a painting, as well as discuss the other four of the six limbs in other sutras. The Chitrasutra chapters are likely from about the 4th or 5th-century. Numerous other Indian texts touch upon the elements or aspects of a chitra. For example, the Aparajitaprccha states that the essential elements of a painting are: citrabhumi (background), the rekha (lines, sketch), the varna (color), the vartana (shading), the bhusana (decoration) and the rasa (aesthetic experience).
THE PAINTER
The painter (chitrakara, rupakara) must master the fundamentals of measurement and proportions, state the historic chitra texts of India. According to these historic texts, the expert painter masters the skills in measurement, characteristics of subjects, attributes, form, relative proportion, ornament and beauty, states Isabella Nardi – a scholar known for her studies on chitra text and traditions of India. According to the Chitrasutras, a skilled painter needs practice, and is one who is able to paint neck, hands, feet, ears of living beings without ornamentation, as well as paint water waves, flames, smoke, and garments as they get affected by the speed of wind. He paints all types of scenes, ranging from dharma, artha and kama. A painter observes, then remembers, repeating this process till his memory has all the details he needs to paint, states Silparatna. According to Sivatattva Ratnakara, he is well versed in sketching, astute with measurements, skilled in outlining (hastalekha), competent with colors, and ready to diligently mix and combine colors to create his chitra. The painter is a creative person, with an inner sense of rasa (aesthetics).
THE VIEWER
The painter should consider the diversity of viewers, states the Indian tradition of chitra. The experts and critics with much experience with paintings study the lines, shading and aesthetics, the uninitiated visitors and children enjoy the vibrancy of colors, while women tend to be attracted to the ornamentation of form and the emotions. A successful painter tends to captivate a variety of minds. A painter should remember that the visual and aesthetic impact of a painting triggers different responses in different audiences.
The Silparatna – a Sanskrit text on the arts, states that the painting should reflect its intended place and purpose. A theme suitable for a palace or gateway is different from that in a temple or the walls of a home. Scenes of wars, misery, death and suffering are not suitable paintings within homes, but these can be important in a chitrasala (museum with paintings). Auspicious paintings with beautiful colors such as those that cheer and enliven a room are better for homes, states Silparatna.
PRACITICE
According to the art historian Percy Brown, the painting tradition in India is ancient and the persuasive evidence are the oldest known murals at the Jogimara caves. The mention of chitra and related terms in the pre-Buddhist Vedic era texts, the chitra tradition is much older. It is very likely, states Brown, the pre-Buddhist structures had paintings in them. However, the primary building material in ancient India was wood, the colors were organic materials and natural pigments, which when combined with the tropical weather in India would naturally cause the painting to fade, damage and degrade over the centuries. It is not surprising, therefore, that sample paintings and historic evidence for chitra practice are unusual. The few notable surviving examples of chitra are found hidden in caves, where they would be naturally preserved a bit better, longer and would be somewhat protected from the destructive effects of wind, dust, water and biological processes.
Some notable, major surviving examples of historic paintings include:
Murals at Jogimara cave (eight panels of murals, with a Brahmi inscription, 2nd or 1st century BCE, Hindu), oldest known ceiling paintings in India in remote Ramgarh hills of northern Chhattisgarh, below on wall of this cave is a Brahmi inscription in Magadhi language about a girl named Devadasi and a boy named Devadina (either they were lovers and wrote a love-graffiti per one translation, or they were partners who together converted natural caves here into a theatre with painted walls per another translation)
Mural at Sitabhinji Group of Rock Shelters (c. 400 CE Ravanachhaya mural with an inscription, near a Shiva temple in remote Odisha, a non-religious painting), the oldest surviving example of a tempera painting in eastern states of India
Murals at Ajanta caves (Jataka tales, Buddhist), 5th-century CE, Maharashtra
Murals at Badami Cave Temples (Hindu), 6th-century CE, Karnataka (secular paintings along with one of the earliest known painting of a Hindu legend about Shiva and Parvati inside a Vaishnava cave)
Murals at Bagh caves (Hallisalasya dance, Buddhist or Hindu), Madhya Pradesh
Murals at Ellora caves (Flying vidyadharas, Jain), Maharashtra
Frescoes at Sittanavasal cave (Nature scenes likely representing places of Tirthankara sermons, Jain), Tamil Nadu
Frescoes at Thirunadhikkara cave temple (Flowers and a woman, likely a scene of puja offering to Ganesha, another of Vishnu, Hindu), Travancore region, Kerala-Tamil Nadu
Paintings at the Brihadisvara temple (Dancer, Hindu), Tamil Nadu
Manuscript paintings (numerous states such as Gujarat, Kashmir, Kerala, Odisha, Assam; also Nepal, Tibet; Buddhist, Jain, Hindu
Vijayanagara temples (Hindu), Karnataka
Chidambaram temple (Hindu), Tamil Nadu
Chitrachavadi (Hindu, a choultry–mandapa near Madurai with Ramayana frescoes)
Pahari paintings (Hindu), Himachal Pradesh and nearby regions
Rajput paintings (Hindu), Rajasthan
Deccan paintings (Hindu, Jain)
Kerala paintings (Hindu)
Telangana paintings (Hindu)
Mughal paintings (Indo-Islamic)
CONTEMPORARY CULTURE
Kalamkari (Hindu)
Pattas (Jain, Hindu)
WIKIPEDIA
Jury Chair Patricia Rozema presents Platform Prize, to "RiceBoy Sleeps", Anthony Shim, dir./writer; TIFF Awards © Linda Dawn Hammond/ IndyFoto TIFF Lightbox, Sept.18, 2022.
PLATFORM PRIZE
Named after Jia Zhang-ke’s trailblazing second feature, Platform is the Toronto International Film Festival’s competitive programme championing bold directorial visions. Platform was curated by Anita Lee, Chief Programming Officer; and Robyn Citizen, Director, Festival Programming and TIFF Cinematheque. The Platform Prize Jury members for 2022 are Patricia Rozema (Jury Chair), Iram Haq, and Chaitanya Tamhane and they are delighted to announce that their selection is Riceboy Sleeps, dir. Anthony Shim.
The Platform jury provided this statement: “The 2022 TIFF Platform Jury announces the unanimous choice for the Platform Prize — Riceboy Sleeps, written and directed by Anthony Shim for its deeply moving story and precisely-observed characters as they navigate racism, dislocation, family, and love. It balances social realism with pure poetry. Plus, it’s very funny. The leads Choi Seung-yoon (2022 TIFF Rising Stars), Ethan Hwang, and Dohyun Noel Hwang deserve top honours. Riceboy Sleeps touches on, in a most accessible way, some of humanity’s biggest challenges — how to merge cultures without erasing individuals, how to grow up whole in fragmented families, and how to defend ourselves from internalizing the subtle and not so subtle discriminations of the privileged.”
Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted an officer professional development brief for Senior Army Reserve Officers’ Training Corps cadets April 22, 2015 at the University of Florida at Gainesville. The officers in training of the Fighting Gator Battalion listened attentively to BG Espaillat as he gave his personal perspective on leadership, command, and officer expectations. They also heard him provide an overview of the 143d ESC’s mission and structure, as well as heard him stress the importance of living and internalizing the Army Values.
Photos by Army Lt. Col. Christopher West, 143d ESC
Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted a leader professional
development brief for civilian and military staff of the 257th
Transportation Battalion at their command headquarters in Gainesville, Florida on April 22, 2015. There the 13 representatives of the unit present listened attentively as BG Espaillat gave his perspective on leadership,
command, and full time support expectations. They also heard him provide an
overview of the 143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values.
Photos by Army Lt. Col. Christopher West, 143d
With its Spanish influence, the French Quarter of New Orleans is filled with courtyards. Traditionally these were utilitarian in nature, serving as stables, kitchens, and places where the resident could leave their carriages without muddying their feet in the streets outside. However as these functions gradually became internalized, the courtyards were converted to lavish gardens, with trees and fountains to allow the residents to cool of in privacy.
New Orleans has two National Park System units: Jazz National Historic Park, established in 1994 to commemorate the jazz culture of New Orleans, and Jean Lafitte National Historic Park, established in 1907 to commemorate first Andrew Jackson's victory at New Orleans, and later all the cultures of Louisiana. Jazz has one unit at Preservation Hall No. 4 in Louis Armstrong Park, and another unit in the French Market (currently moved to the US Mint while the building is remodeling). Jean Lafitte actually has six units: three cultural centers in Acadiana, the Acadian Cultural Center in Lafayette, the Prairie Acadian Cultural Center in Eunice, and the Wetlands Acadian Cultural Center, in Thibodaux. Additional there is the Barataria Preserve in Morrero, the Chalmette Battlefield in Chalmette New Orleans, and the Visitor's Center here in the French Quarter New Orleans.
French Quarter, New Orleans, Louisiana
LA TIRANA www.youtube.com/user/RANiEL1963#p/a/u/1/y3HE9wYy9Zs
ISADORA www.youtube.com/user/RANiEL1963#p/a/u/0/dPHHtGLTmAc
GUAKIA INC www.guakia.org/index.html
VIDEO PLAYLIST OF THE FULL EVENT
www.youtube.com/view_play_list?p=906FFC6F001464FE
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultur
PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU
LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw
DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U
LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg
PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8
MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk
LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE
LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg
EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0
IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q
GUAKIA INC www.guakia.org/index.html
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU
LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw
DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U
LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg
PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8
MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk
LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE
LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg
EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0
IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q
GUAKIA INC www.guakia.org/index.html
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
The U.S. Military Academy at West Point hosts Projects Day on May 3, 2018. Projects Day highlights academic excellence across USMA showcasing leaders of character who think critically, internalize their professional identity and will employ their education to help build the Army and the Nation’s future. (U.S. Army photo by Bryan Ilyankoff)
ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.
The officers in training listened
attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the
143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion
at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.
Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC
IoT Week Madrid, an intense week of acceleration for startups specialized in Internet of Things, will join 20 startups from different European cities at Google Campus Madrid from the 27th until the 30th of June.
Participating startups will develop innovative ideas in different fields, such as the development of devices that detect accidents involving cyclists, smart appliances that allow chefs to cook like true professionals, and interconnected toys that children develop themselves. Last year, the Startup Europe accelerator specialized in IoT, Startup-Scaleup, helped 50 startups reach their goals and expand their business thanks to the three million of capital raised through different rounds of funding.
IoTers Week is designed as an intensive and dynamic space where startups receive direct advice and guidance in areas like Marketing, Internalization, Internet of Things, and Management.
From there, tech entrepreneurs will benefit from the Startup ecosystem created around Europe by the European Commission in order to promote technological entrepreneurship. More specifically, startups will receive direct mentoring, online training, access to events, and contacts with investors.
Although all of the participants in this innovative program will benefit from it, the startups that will be selected after 6 intense months of work will be able to attend the Internet of Things World Congress in Dublin (iotworldeurope.com/), the biggest IoT event in Europe.
Tomorrow, the 29th of June, IoT Week will kick off with a Networking session starting at 19:00 at Campus Madrid (c / Moreno Nieto , 2. Madrid). Jose del Barrio, founder of La Nevera Roja, will give a speech to all present.
Startup-Scaleup has offices in four of the European ecosystems: Cartagena and Madrid ( Spain ) , Zoetermeer (Netherlands ) , Vilnius (Lithuania ) and Dublin ( Ireland). Behind these ecosystems are partners of the projects: Ryan Academy, CrosspringLab , Cloud Incubator HUB from Polytechnic University of Cartagena , The Open Coffee Club , BluSpecs and F6s project.
LA TIRANA www.youtube.com/user/RANiEL1963#p/a/u/1/y3HE9wYy9Zs
ISADORA www.youtube.com/user/RANiEL1963#p/a/u/0/dPHHtGLTmAc
GUAKIA INC www.guakia.org/index.html
VIDEO PLAYLIST OF THE FULL EVENT
www.youtube.com/view_play_list?p=906FFC6F001464FE
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultur
Kanyon (joint exhibit project by 8 invited photographers)
Went, saw, stopped, attempted to grasp and enter it, looked at construction process and workers with respect, tried to internalize, wanted to claim it for a while, dreamed of creating a microcosmos out of the macrocosmos i was in, shot and shot and shot and finally selected: the created world, though intended for all, was probably quite a personal illusion...
Participating photographers: Bennu Gerede, Koray Erkaya, Lal Dedeoğlu, Merih Akoğul, Murat Germen, Oliviero Olivieri, Sıtkı Kösemen, Tamer Yılmaz
Eggshell; or Vỏ Trứng by Anthony Doan, 2024
Everything's coming up roses at the Ly family's Christmas Eve dinner. That is until Rose arrives, hoping to make a good impression, as she's meeting her fiancé's family for the first time. Despite her best efforts, the mood turns frigidly vicious when secrets are brought to light, forcing everyone to confront the fragility of their individual nature. Eggshell; or Vỏ Trứng tiptoes between farce, dark comedy, thriller, and tragedy as it follows a hauntingly dysfunctional family and unearths the fangs of internalized whiteness, self-acceptance, and the lengths we go to in order to survive.
Some of us take safety for granted, some have their safety threatened every day, and still, some feel they are safe until those feelings are shattered by an unanticipated act of violence. While we have a visual language for safety, usually embodying various orange objects and signs, it is our shared interpretation and internalization of these symbols that create the safety we take for granted. Join SPACES for monthly discussions on the right and expectation to safety and how we as a community can work together to expand safety to all as we speak with marginalized groups and youth activists, discuss power dynamics, and focus on how we can change and do better together. FREE and open to the public as part of FRONT International and "A Color Removed."
According to a 2016 FBI report, hate crimes are on the rise with increasing attacks against Jews, Muslims and LGBT people. Additionally, individuals with mental illness are more likely to face violent victimization. Join SPACES for a conversation about how these communities cope with safety issues and what you can do to prevent violence against them.
MODERATOR Sharyna C. Cloud (Peacemakers Alliance)
Sharyna C. Cloud has a passion for community enhancement, empowerment and education, evident in her career history. Her legacy includes work in the criminal justice and the social service arena spanning over 27 years. Her successful engagement within the city of Cleveland provided unmatched insight and experience, evolving to her current role as the Executive Director of the Cleveland Peacemakers Alliance, an organization that provides prevention and intervention alternatives to the most at risk youth and young adults who are victims and/or perpetrators of gun violence within the city of Cleveland.
Ashley Hartman (Recovery Resources)
Ashley Hartman is the Coordinator of Training and Wellness at Recovery Resources, a community mental health agency in Cleveland. Recovery Resources helps people triumph over mental illness, alcoholism, drug and other addictions. Ashley is proud to be part of this work as an educator, trainer, and advocate.
Jazmin Long (Global Cleveland)
Jazmin oversees all welcoming activities that engage organizations and communities in supporting and engaging Greater Cleveland’s 115+ various ethnic groups in immigrant integration efforts. As the Deputy Director, Jazmin works closely with the President to chart Global Cleveland’s future growth and strategic response to an ever-increasing demand for the organization’s services. Additionally, she works to establish partnerships that focus on empowering people and neighborhoods through economic development tools.
Phyllis Harris (THe LGBT Center of Cleveland)
A Cleveland native, Phyllis "Seven" Harris has nearly two decades of leadership experience in local nonprofits, includes program management and development, fundraising, and senior-level executive positions. For many years, she also has played a strong role as an advocate in Cleveland’s LGBT community. Previously Ms. Harris worked at Planned Parenthood of Northeast Ohio, where she oversaw youth engagement programming. She has served as director of education and advocacy with the Cleveland Rape Crisis Center, was vice president of programs and interim CEO with Big Brothers Big Sisters of Greater Cleveland, and capital campaign director at the Cleveland Sight Center. Her involvement with Cleveland nonprofit leadership includes roles on the governing boards of the LGBT Center, SPACES, and Community Shares of Greater Cleveland. Ms. Harris holds a master’s degree in non-profit management from Case Western Reserve University and a Bachelor of Arts from Baldwin Wallace College. She lives in Shaker Heights and is the proud mother of two children.
John H. Flores (Social Justice Institute at Case Western Reserve University)
John H. Flores is a Professor of Immigration History and the Interim Co-Director of the Social Justice Institute at Case Western Reserve University. He specializes in Mexican American history, and his research examines the history of immigration and citizenship in the United States.
Paul D. Fitzpatrick (Peacemakers Alliance)
Paul D. Fitzpatrick is a Cleveland native and Marine Corp. veteran who spent 18 ½ years in an Ohio prison and has over 20 years in recovery from both alcohol and drug addiction. He is an accomplished motivational Speaker who uses his life experiences to relate to his audiences. Currently he is the Doby Fellow for the Cleveland Peacemakers Alliance where he coordinates youth outreach programming, staff training, and a mentorship program designed to partner 15 - 25 year old Cleveland area at risk youth with Public Safety Personnel. Mr. Fitzpatrick Is an undergraduate at Cleveland State University at the Levine School of Urban Affairs Majoring in Economic Development. He holds Associate level degrees from both Ohio University and The University of Finley in Business Administration and Sociology. Mr. Fitzpatrick Interned at the ADAMHS Board of Cuyahoga County under both his mentor Bill Denihan and the late Valeria Harper where he worked specifically on the Fentanyl/Opioid epidemic.
Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted a leader professional
development brief for civilian and military staff of the 257th
Transportation Battalion at their command headquarters in Gainesville, Florida on April 22, 2015. There the 13 representatives of the unit present listened attentively as BG Espaillat gave his perspective on leadership,
command, and full time support expectations. They also heard him provide an
overview of the 143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values.
Photos by Army Lt. Col. Christopher West, 143d
Some of us take safety for granted, some have their safety threatened every day, and still, some feel they are safe until those feelings are shattered by an unanticipated act of violence. While we have a visual language for safety, usually embodying various orange objects and signs, it is our shared interpretation and internalization of these symbols that create the safety we take for granted. Join SPACES for monthly discussions on the right and expectation to safety and how we as a community can work together to expand safety to all as we speak with marginalized groups and youth activists, discuss power dynamics, and focus on how we can change and do better together. FREE and open to the public as part of FRONT International and "A Color Removed."
According to a 2016 FBI report, hate crimes are on the rise with increasing attacks against Jews, Muslims and LGBT people. Additionally, individuals with mental illness are more likely to face violent victimization. Join SPACES for a conversation about how these communities cope with safety issues and what you can do to prevent violence against them.
MODERATOR Sharyna C. Cloud (Peacemakers Alliance)
Sharyna C. Cloud has a passion for community enhancement, empowerment and education, evident in her career history. Her legacy includes work in the criminal justice and the social service arena spanning over 27 years. Her successful engagement within the city of Cleveland provided unmatched insight and experience, evolving to her current role as the Executive Director of the Cleveland Peacemakers Alliance, an organization that provides prevention and intervention alternatives to the most at risk youth and young adults who are victims and/or perpetrators of gun violence within the city of Cleveland.
Ashley Hartman (Recovery Resources)
Ashley Hartman is the Coordinator of Training and Wellness at Recovery Resources, a community mental health agency in Cleveland. Recovery Resources helps people triumph over mental illness, alcoholism, drug and other addictions. Ashley is proud to be part of this work as an educator, trainer, and advocate.
Jazmin Long (Global Cleveland)
Jazmin oversees all welcoming activities that engage organizations and communities in supporting and engaging Greater Cleveland’s 115+ various ethnic groups in immigrant integration efforts. As the Deputy Director, Jazmin works closely with the President to chart Global Cleveland’s future growth and strategic response to an ever-increasing demand for the organization’s services. Additionally, she works to establish partnerships that focus on empowering people and neighborhoods through economic development tools.
Phyllis Harris (THe LGBT Center of Cleveland)
A Cleveland native, Phyllis "Seven" Harris has nearly two decades of leadership experience in local nonprofits, includes program management and development, fundraising, and senior-level executive positions. For many years, she also has played a strong role as an advocate in Cleveland’s LGBT community. Previously Ms. Harris worked at Planned Parenthood of Northeast Ohio, where she oversaw youth engagement programming. She has served as director of education and advocacy with the Cleveland Rape Crisis Center, was vice president of programs and interim CEO with Big Brothers Big Sisters of Greater Cleveland, and capital campaign director at the Cleveland Sight Center. Her involvement with Cleveland nonprofit leadership includes roles on the governing boards of the LGBT Center, SPACES, and Community Shares of Greater Cleveland. Ms. Harris holds a master’s degree in non-profit management from Case Western Reserve University and a Bachelor of Arts from Baldwin Wallace College. She lives in Shaker Heights and is the proud mother of two children.
John H. Flores (Social Justice Institute at Case Western Reserve University)
John H. Flores is a Professor of Immigration History and the Interim Co-Director of the Social Justice Institute at Case Western Reserve University. He specializes in Mexican American history, and his research examines the history of immigration and citizenship in the United States.
Paul D. Fitzpatrick (Peacemakers Alliance)
Paul D. Fitzpatrick is a Cleveland native and Marine Corp. veteran who spent 18 ½ years in an Ohio prison and has over 20 years in recovery from both alcohol and drug addiction. He is an accomplished motivational Speaker who uses his life experiences to relate to his audiences. Currently he is the Doby Fellow for the Cleveland Peacemakers Alliance where he coordinates youth outreach programming, staff training, and a mentorship program designed to partner 15 - 25 year old Cleveland area at risk youth with Public Safety Personnel. Mr. Fitzpatrick Is an undergraduate at Cleveland State University at the Levine School of Urban Affairs Majoring in Economic Development. He holds Associate level degrees from both Ohio University and The University of Finley in Business Administration and Sociology. Mr. Fitzpatrick Interned at the ADAMHS Board of Cuyahoga County under both his mentor Bill Denihan and the late Valeria Harper where he worked specifically on the Fentanyl/Opioid epidemic.
The U.S. Military Academy at West Point hosts Projects Day on May 3, 2018. Projects Day highlights academic excellence across USMA showcasing leaders of character who think critically, internalize their professional identity and will employ their education to help build the Army and the Nation’s future. (U.S. Army photo by Bryan Ilyankoff)
Al Uzza
I sometimes find the experience of driving to be very calming and meditative (don't worry, I still pay attention to the road!) and I happen to have a healthy commute between home/work, and home/my boyfriend's house. So, it's in the car that I tend to do a lot of reflecting. I was driving home from my boyfriend's house one Sunday
afternoon and started thinking about my fist altar project. I was suddenly flooded with thoughts, feelings, and ideas about how to honor what I know to be my biggest fear. It all came to me without any conscious focus on trying to "figure it out," which is how I usually approach things.
Everything came together very naturally during this process, which lets me know that I was in the "flow" of things, which was exactly my intention. This altar is in honor of my fear of on some level, being forever trapped in my negative and debilitating self-image. These core negative beliefs that I have of myself have all come from external influences that over the course of my life, I have internalized and allowed to become a part of me. This altar is very symbolic of that - you see a woman sitting upon a pedestal inscribed with the words, "Me vs. Me." This is the theme that currently defines and in some cases, undermines her life. She is looking into a broken mirror with the words, "Fat, Ugly, Stupid, and Failure" written on it, because this is often what she sees when she looks in the mirror. She is blindfolded, which is symbolic of the fact that she is unable to see things as they really are. She also has chains around her head, because she is unfortunately a prisoner in her own mind. She's surrounded by images - media images that tell her how she should be, and an image of her step-dad with the negative messages that were given to her throughout her childhood. In one hand, she's holding a receipt signifying that she's bought into these messages from the media, society, and her step-father; in the other hand, she's holding a dove as a symbol of hope because she realizes that this is all an illusion and she has the power to transform herself.
Once my altar was complete and I had a chance to really take it all in, I realized that these core beliefs that I once felt were an essential a part of me and who I am really are as inanimate and impermanent as this altar. I know that completely ridding myself of these core beliefs won't be as simple as burning this altar and watching it go up in flames, but I do know that their power over me isn't as strong as it was before and I will be able to use that knowledge as a tool to rise above them.
Altar Dedication
I dedicate this altar to the shadowy parts of myself that I try to repress and not let anyone see; in doing so, I acknowledge their presence and allow them to be fully integrated so that I may become more whole.
LA TIRANA www.youtube.com/user/RANiEL1963#p/a/u/1/y3HE9wYy9Zs
ISADORA www.youtube.com/user/RANiEL1963#p/a/u/0/dPHHtGLTmAc
GUAKIA INC www.guakia.org/index.html
VIDEO PLAYLIST OF THE FULL EVENT
www.youtube.com/view_play_list?p=906FFC6F001464FE
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultur
Another portrait sketch using a photo, paper and a piece of paper. I'm slowly developing a process of drawing these portraits. While I'm still thinking about following a procedure, I'm not paying attention to my subject. My hope is that I will internalize the process and draw more naturally.
The U.S. Military Academy at West Point hosts Projects Day on May 3, 2018. Projects Day highlights academic excellence across USMA showcasing leaders of character who think critically, internalize their professional identity and will employ their education to help build the Army and the Nation’s future. (U.S. Army photo by Bryan Ilyankoff)
Trilogy of the Deserted City is an experiment dedicated to problematize the consequences of the internal migration that Istanbul received, transforming it into one of the most crowded cities in the world over a short span of fifty years, through the city’s “desertedness.”
The aim is not to be relieved of a sense of guilt evoked by the city by putting pieces of unorganized data next to each other. It is to call upon the souls that have remained hanging in its ominous history, disabling the unconscious, confronting the ab-normalities, revealing the repressed through skepticism.
In the three consecutive layers of fake investigation and misdirection, the “desertedness” that is sought, followed, watched, evidenced, researched, interrogated is internalized. Thus the exaggerated urban metaphor becomes a game through a one-person search against the city and collective memory by the individual.
This book was produced in parallel to Tayfun Serttaş’s exhibition at Studio-X Istanbul, Cemetery of Architects,
January 31-March 28, 2014.
ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.
The officers in training listened
attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the
143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion
at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.
Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC
ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.
The officers in training listened
attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the
143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion
at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.
Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC
LA TIRANA www.youtube.com/user/RANiEL1963#p/a/u/1/y3HE9wYy9Zs
ISADORA www.youtube.com/user/RANiEL1963#p/a/u/0/dPHHtGLTmAc
GUAKIA INC www.guakia.org/index.html
VIDEO PLAYLIST OF THE FULL EVENT
www.youtube.com/view_play_list?p=906FFC6F001464FE
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultur
PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU
LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw
DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U
LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg
PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8
MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk
LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE
LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg
EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0
IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q
GUAKIA INC www.guakia.org/index.html
Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.
Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."
This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.
We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.
To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.
Vision and Goals
To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.
To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.
Researchers at the Texas Center for Cancer Nanomedicine (TCCN) are creating particle-based vaccines for cancer therapy. The particles carry molecules that stimulate immune cells and cancer antigens (proteins) that direct the immune response. This scanning electron microscope image shows dendritic cells, pseudo-colored in green, interacting with T cells, pseudo-colored in pink. The dendritic cells internalize the particles, process the antigens, and present peptides to T cells to direct immune responses.
This image is part of the Nanotechnology Image Library collection.
Credit: Victor Segura Ibarra and Rita Serda, Ph.D., National Cancer Institute, National Institutes of Health
nic: " We cannot continue the course of relentless accumulation and exponential growth. The planet will no longer support the cradle to grave system that underpins our so-called wealth. Bluntly, turning natural resources into products and burying them in the ground is not sustainable. We are hitting a limit.
This crisis is debilitating. It induces chronic inertia. How does one design in the now without curtailing the future? We’re moving into the situation where even thoughts have a carbon footprint and the internalization of eco-surveillance seems inevitable. How do we curtail the violence of design or at least steer our making-unmaking into a more sustainable territory?"