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The word Allah
The Semitic language which is spoken in the celestial spheres, is the language in which the angels and God address each other. Adam Safi-Allah spoke the same language in paradise. Adam and eve then came into the world and settled in Arabia. Their children also spoke the same language. Then as a result of the descendants of Adam spreading in the world, this language passed from Arabic, Persian, Latin and into English and God was then known by different names in the different languages. As Adam lived in Arabia, there are many words of the Semitic language which are still found in the Arabic language. God addressed the Prophets, Adam as Adam Safi-Allah, Noah as Nuh Nabi-Allah, Abraham as Ibraheem Khalil-Allah, Moses as Musa Kalim-Allah, Jesus as I’sa Ruh-Allah and Mohammed Rasul-Allah. All these titles, in the Semitic language were written on the Tablet before the arrival of the Prophets. This is why the Prophet Mohammed said: “I was a Prophet even before I came in to this world.”
Many people believe that the word Allah is a name given by Muslims, this is not so.
The Prophet Mohammed’s fathers name was Abd-Allah, at a time when Islam did not exist. Prior to the advent of Islam the Name Allah was announced with the title of every Prophet. When the souls were created, the first Name on their tongue was Allah and when the soul entered the body of Adam, it said, Ya-Allah, and only then it entered the body. Many religions understand this enigma and chant the Name Allah and many others because of doubt are deprived of the Name.
Any name which is used to point towards God is worthy of respect.
In other words, which points towards God. The mystical effect of the Name of God has been diversified due to the different names. Every letter of the alphabet has a separate numeric value. This is also a celestial knowledge. All the numeric values are connected with all of the human race. Occasionally the numeric values do not agree with the astronomical calculations as a result of which people become afflicted. Many people go to astrologers and experts of this knowledge and have charts prepared based on the stars. They name their children on this basis.
Just as the letters (a, b, j, d,) (1, 2, 3, 4) when added have the numerical value of ten. Similarly every name has a separate numeric value. As God has been given so many different names, this has caused a conflict between the numeric value of the different names. If all the people called upon God by the same name, then despite the fact that they would all have separate religions, they would all be united inwardly. They too, like Nanak Sahib and Baba Farid would then say:
“All the souls have been created by the light of God, even though their environment and communities are separate.”
The angels that are assigned tasks in the world are also taught the languages of the people of the world.
It is important for the people of every Prophet that they recite, chant and affirm the Title of their Prophet which was granted by God to the Prophet at his time, for the recognition, spiritual grace and purification of his people. The recital and affirmation should be in the same method and in the language of their Prophet.
The entry of any individual into any religion is subject to the condition that the individual accepts and affirms the Title of the Prophet of that religion. Just as the affirmation and the verbal vows are a condition of any marriage.
Entry into the heavens has been made subject to the acceptance and affirmation of the Titles of the Prophets. In the western world many Muslims and Christians have no knowledge of their Prophet’s Title furthermore many do not even know their Prophets original name (in the original language of the Prophet.)
People who only verbalize the affirmation of their Prophet’s Title rely upon their good deeds. Those that reject and do not affirm their Prophet’s Title are refused entry to paradise. Those individuals in whose hearts the affirmation of their Prophet’s Title has descended (entered) they will enter paradise without any accountability.
The revealed celestial Scriptures, whichever language they are in so long as they are in the original form, are a means to finding God. Where the texts and the translations that have been adulterated, just as adulterated flour is harmful for the stomach, the adulterated books have become harmful and people of the same religion and the same of Prophet have divided into so many sects.
To be sure of the straight and guided path it is better that you are guided by the Light (of God) also.
The method of producing light.
In prehistoric times stones would be rubbed together to make fire. Whereas a spark can also be produced by rubbing two metals together. In a similar way electricity is made from water. Similarly by the friction of the blood inside the human body, in other words electric energy is produced by the vibrating heartbeat. In every human being there is present, approximately one and a half volts of electricity due to which the body is energetic. As the heartbeat slows in old age, this reduces the electricity in the body and this in turn also causes a reduction of the energy level in the body.
Firstly, the heartbeat has to be made vibrant and pronounced. Some do this by dancing, some by sports and exercise and some people try to do this by meditating and chanting the Name of God Allah.
When the heartbeat becomes vibrant and pronounced then by chanting the Name Allah try to synchronize it with every heartbeat. Alternatively try to synchronize Allah with one heartbeat and Hu with the other. Some time by placing your hand on the heart and when you feel your heartbeat, again try to synchronize the Name Allah by chanting it with the rythm of the heartbeat and imagine that the Name Allah is entering the heart.
The chanting of Allah Hu is better and more effective but if anyone has an objection, or a fear of chanting Hu, then instead of being deprived one should solely use the Name Allah, repetitively in the chanting. It is beneficial for people who chant and practice this discipline and who read mantras to physically remain as clean as possible as the:
“disrespectful are unfulfilled and the respectful are fulfilled.”
The first method for producing light.
Write Allah on a paper in black ink, and do this exercise for as long as you wish on a daily basis. Soon thereafter, the Word Allah will be transported from the paper and hover over the eyes. Then with one-pointed concentration, attempt to transport the word from the eyes to the heart.
The second method for producing light.
Write Allah on a zero watt bulb, in yellow. Whilst you are awake or just before sleep, concentrate and try to absorb it into the eyes. When it appears on the eyes then try to transport it to the heart.
The third method for producing light.
This method is for those people who have perfect spiritual guides and teachers and who due to their spiritual connection are spiritually assisted by them.
Sit alone and imagine that your index finger is a pen. Using your finger and with your concentration, attempt to write Allah on your heart. Call upon your spiritual teacher (spiritually), so that he too may, hold your finger, and write Allah on your heart. Continue to do this exercise everyday, until you see Allah written on your heart.
By the first and second method, the Name Allah becomes inscribed on the heart, just as it was written and seen by you but when it becomes synchronized with the heartbeat, then it slowly starts to shine. In the synchronized method, the assistance of the spiritual teacher is provided and for this reason it is seen shining and well written on the heart right from the beginning.
Many Prophets and Saints have come into the world, and just for the sake of testing this, if you feel it appropriate, concentrate or call upon all of them when you are practicing your meditation.
Whilst concentrating on any Prophet or Saint, during your meditating practice, if the rhythm of your heartbeat increases, in its vibration or you feel an improvement then this means that your destiny (spiritual fruits) lies with that Prophet or Saint.
Thereafter it is beneficial to concentrate on that same person whenever you practice your meditation as spiritual grace is transferred in this way, because every Saint is spiritually connected to a Prophet, even if that Prophet is not physically living.
The spiritual fruit (grace) of every illuminated person is in the hands of one Saint or another. It is essential that the Saint is living. Sometimes a very fortunate person is gifted with celestial spiritual grace by a perfect Saint who is not living, but this is very rare. However Saints not living in our human realm can provide worldly spiritual grace and assistance to people from their tombs. This is known as Owaisi spiritual grace.
The recipients of such spiritual grace often get entangled in their spiritual insights, visions and dreams because the spiritual guide providing the assistance is in the spiritual realm and so too is Satan and the recognition of the two becomes difficult.
Along with the spiritual grace it is important to have knowledge, for which a living Saint is more appropriate. If a person (Saint) possesses spiritual grace but is without knowledge, that person is known as a Majzoob (Godly but abstracted due to the complete absorption into the Essence of God and who is not in full control of his faculties).
A person (Saint) having spiritual grace and knowledge is known as a Mehboob (literally, loved one). Such people (Saints) as a result of their knowledge provide worldly spiritual assistance as well as spiritual grace and benefit. Whereas the Majzoobs are known to provide worldly spiritual assistance to people by their unusual but accepted practices of shouting obscenities and poking people with their wooden sticks.
If any (Prophet or Saint) appears but does not help or assist you then put Gohar Shahi to the test.
You may belong to any religion, there is no condition in this respect as long as the individual is not eternally ill-fated.
Many people have received the spiritual grace of Qalb meditation from the Moon. This is obtained when there is a full Moon from the East. Look at it with concentration and when you see the image of Gohar Shahi on it say Allah, Allah, Allah three times and you will be blessed with this spiritual grace. Thereafter without any fear or reservation practice the meditation as described.
Believe (the fact) that the image on the Moon has spoken to many people in many different languages. You can try looking and speaking to it also.
About Muraqba
(transcendental meditation)
(Literally. journey. Meditation in which the soul leaves the human body)
Many people without having acquired the illumination of the spiritual entities (‘Lata’if/Shaktian’) and without attaining spiritual strength and prowess try to engage in this meditation. They either fail to reach the meditative state or become the subject of Satanic interference. This type of meditation is for illuminated people, whose spiritual entity of the self has been purified and the Qalb has been cleansed. The practice or attempt at this type of meditation is foolish no matter what type of physical worship is used to achieve this. To collect and gather the strength of the soul and the spiritual entities and then to travel to a place is what is known as meditation.
Sainthood is the one fourtieth part of Prophecy.
Every dream, meditative journey, inspiration or revelation of a Prophet is accurate and authentic and does not need verification. Only fourty out of a hundred dreams, meditative journeys, inspirations and revelations of Saints are accurate the remaining sixty percent are inaccurate.
God cannot be understood without knowledge
The lowest type of meditative journey is started only after the illumination and awakening of the spiritual entity of the Qalb. This is impossible without first achieving the meditation of the Qalb (meditation with the vibrating heartbeat synchronized with the Name Allah). It takes one jerk or shake to bring the person out of this meditative state and back to consciousness. The faculty of the augury (foretelling the future by reading verses or looking into designated books) is also connected to the Qalb.
The next stage is the meditative journey of the soul. It takes three jerks or shakes to return a person back to normality from this meditative state.
The third stage of the meditative journey is done by the spiritual entity, Anna and the soul together. The soul travels along with the spiritual entity Anna, to the realm of souls just as the Archangel Gabriel accompanied the Prophet Mohammed to the realm of souls.
People who are in this meditative state are sometimes even taken to be buried in their graves and they are unaware of this happening to them. Such a meditative state and journey was taken by the “Companions of the Cave” as a result of which they remained asleep in the cave for more than three hundred years.
When this meditative state and journey was undertaken by the Sheikh, Abdul-Qadir al-Jilani, in the jungle, the occupants of the jungle would regard the Sheikh as dead and would take him to a grave for burial but the meditative journey would break just before the burial (the Sheikh would return to consciousness).
How to recognize a special inspiration and revelation from God.
When a person has awakened and illuminated the spiritual entities in the chest and is worthy of receiving the rays of the Grace of God, then at that point God communicates with that person. God is All-Powerful and can do as he pleases and thus communicate with the human being in any way fit, but he has made a special method for his recognition so that his friends can be saved from the deception of Satan.
Firstly, text in the Semitic language appears on the seekers heart and its translation is seen in the language of the seekers mother-tongue. The text is white and shiny and the eyes close automatically and look at the text (internally). The text then passes the Qalb and moves towards the spiritual entity Sirri as a result of which it shines even more. Then the text moves towards the spiritual entity, Akhfa and from here it shines more and then moves onto the tongue. The voice then spontaneously starts to repeat that text.
If this inspiration is from Satan then an illuminated heart will dull the text and if the text is strong and prominent then the spiritual entities Sirri or Akhfa destroy that text. Further if due to the weakness of the spiritual entities the text does arrive at the tongue, then the voice will prevent it from being spoken into words.
This type of inspiration is for special types of Saints, whereas in respect of ordinary Saints, God sends messages to them through the angels or other spiritual entities. When the Archangel Gabriel accompanies the special and inspired text, this is known as revelation which is confined to the Prophets.
For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags
Programming language share of sell through, per Neilsen Bookscan, from January 2003 through mid-June 2005.
The Italian language is fascinating. Even mundane things sound better in Italian, such as this car's name, simply called 'four door'. You couldn't do that in English. Or German (Vier Türen). Maybe in Spanish (Cuatro Puertas).
Regardless, pictured here is the fourth generation of the Fourdoor, introduced in 1994 but actually based on the Biturbo that first saw light in the early 1980s. About 2.400 copies were built until 2001, with six- or eight-cylinder engines producing between 284 and 326 PS depending on the version.
This generation was attractively styled if a bit restrained for Italian standards. This particular car appears to be in good condition, finished in an attractive blue (or is that grey?).
Work from the 'Language of the Future' project I did back in Uni. For my project I looked at three types of communication - between people (ie languages), between circuits and electronics, and biological between cells etc. I think this was my favourite project I did in my whole time there.
Stitched drawing on wool blanket fabric using heat transfer print, fabric scraps, free-machine stitching, hand stitching and beads. It really is fluorescent!!
Year 2 "Language of the Future" project, 2006
Pattern Language Tiles, Acrylic, ink, carved drawing mounted on wood block. (c) 2014 Barbara Gilhooly
Nick Cave & the Bad Seeds — Ghosteen (Bad Seed, 2019).
04 Oct 2019
ncandtbs.lnk.to/ghosteendigitalWE
Nick Cave — vocals, piano, synth, production, mixing
Warren Ellis — synthesiser, loops, flute, violin, piano, backing vocals, production, mixing
Thomas Wydler — drums
Martyn Casey — bass
Jim Sclavunos — vibraphone, percussion
George Vjestica — guitar
Lance Powell, Andrew Dominik — mixing
Like Skeleton Tree, it features extensive use of analogue synthesiers, sparse piano, and drones; other instrumentation on the album includes several woodwinds, gamelan chimes and orchestral strings. Several critics emphasised , 's infrequent use of Thomas Wydler's drums and Jim Sclavunos' percussion in contrast to the band's previous albums.
Ghosteen's title is a combination of the word "ghost" and the Irish-language suffix "ín" (anglicised as "een"), which translates to English as "little", "small" or "benevolent". Cave took the title from a book about Irish tinkers, in which the author believes his crying child has been possessed by a ghost. The album's front cover art features The Breath of Life, a 2001 painting by the artist Tom duBois. The Observer's Kitty Empire described the artwork as a "kitsch paradise" that signified "a radical change of emotional landscape" for Nick Cave and the Bad Seeds.
The lyrics were written at Cave's home in Brighton, a change from his usual "disciplined" routine of writing lyrics in a private office. The change in environment and routine led to Cave "amassing a stockpile of lines and thoughts, images and ideas" instead of writing songs in a traditional manner. As with the lyrics on Skeleton Tree, Cave abandoned the narrative-based approach he was known for, as he believed it to be "restrictive".
Explaining his new approach to writing, Cave said: "The idea that we live life in a straight line, like a story, seems to me to be increasingly absurd and, more than anything, a kind of intellectual convenience … There is a pure heart, but all around it is chaos." In the first-ever issue of The Red Hand Files, Cave elaborated that he found an authentic "way to write beyond the trauma … that deals with all manner of issues but does not turn its back on the issue of the death of my child". He said new-found method allowed him to write "beyond the personal into a state of wonder. In doing so the colour came back to things with a renewed intensity and the world seemed clear and bright and new.
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Семья Кейва с 2002 года обитает в Брайтоне, где береговая линия из белых скал растянулась на многие километры (и в 30 км от их дома находится знаменитый мыс Beachy head, о котором пели Veronica Falls), практически напротив, на другом берегу пролива, расположен французский Étretat с такими же нереально красивыми скалами вдоль берега.
После распада The Birthday Party уже в Лондоне, Ник попал на выступление никому неизвестной группы Einstürzende Neubauten в 1983 и под впечатлением от манер их странноватого вокалиста по имени Blixa Bargeld, предложил тому играть вместе — так появились Nick Cave and The Bad Seeds. Процесс зарождения Einstürzende и остальных можно увидеть в крутейшем фильме — «B-Movie: Lust and Sound in West Berlin 1979-1989»
flic.kr/p/2a9onLH (впечатления о фильме)
Параллельно у него развивался роман с австралийкой Анитой Лэйн (Anita Lane), участницей The Bad Seeds — шрам от удара ножом остался у Ника на память именно после ссоры с Анитой. Выпустив несколько ставших впоследствии культовыми альбомов — From Her to Eternity; The Firstborn Is Dead; Kicking Against the Pricks; Your Funeral... My Trial и Tender Prey; написав роман «И узре ослица Ангела Божия» (And the Ass Saw the Angel) и снявшись в 1987 у Вима Вендерса (Wim Wenders) в культовом фильме «Der Himmel über Berlin» / «Wings of Desire» / «Небо над Берлином», который на самом деле все смотрят из-за фрагмента с Crime and The City Solution / Nick Cave & The Bad Seeds
youtu.be/VNHY_X-0nyI (Wings of Desire)
Ник покидает Западный Берлин (The Bad Seeds жили и играли там с 1985 по 1989) — несмотря на кажущееся благополучие, в этот период большинство участников группы отчаянно боролись с наркотической и алкогольной зависимостями.
Накануне падения Берлинской стены Ник улетает в São Paulo Brazil, где встречает журналистку Viviane Carneiro, вскоре у них появится сын Luke (1991). Второго сына Jethro также в 1991 ему родила австралийка Beau Lazenby. Далее был бурный роман с PJ Harvey. Позже Ник признавался что с юных лет был влюблён и в Kylie Minogue, в результате чего на свет появится мегахит «Where the Wild Roses Grow» (1995). Летом 1999 Ник встречает в лондонском Victoria and Albert Museum англичанку Susan Clare Hardie-Bick (Susie Bick), девушку с обложки альбома The Damned — Phantasmagoria (1985) и популярную модель Vivienne Westwood — «Я словно опешил, и мне в секунду пришло понимание, что это “она”». В то время Кейв и Бик переживали не лучший период в жизни — у обоих закончились длительные отношения, они были не в лучшем расположении духа и не знали, как строить жизнь дальше. Ради Кейва Susie бросает работу, Ник впервые официально женится и в 2000 у Ника и Сюзи родились близнецы — Артур и Эрл.
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Летом 2015 в разгар записи альбома «Skeleton Tree», один из сыновей Ника Кейва (15-и летний Артур) погиб, сорвавшись с обрыва тех самых белых скал в районе Ovingdean Gap, в 5 км от их дома в центре Брайтона — британские издания (The Guardian, BBC и другие) позже писали, что Артур со своим приятелем приняли LSD (решили попробовать в первый раз) и пошли гулять вдоль обрывов.
«Через неделю после смерти Артура я сказал Уоррену: «Знаешь, нужно жить дальше». Я даже не понимал о чём я говорю. Я просто твердил без умолку: «Мы продолжим заниматься тем, чем и всегда». Кейв предполагает, что, возможно, таким образом он избавил себя «от какой-то странной ответственности» в случившемся. Но и ещё потому у него не было другого выбора. «Это не было каким-то проявлением мужественности или что-то типа того. Я просто не знал, что же мне ещё б*дь делать. Я понимал лишь, что должен продолжать работать. Мне кажется, что, в принципе, я осознавал, что если сдамся, то это навсегда».
За две недели до смерти сына Кейв работал над новыми песнями с Уорреном Эллисом, они собирались кое-что переделать и записаться в парижской студии, но произошла катастрофа.
Накануне официального релиза должен был выйти и фильм о создании нового альбома (этот фильм получит название «One More Time with Feeling», 2016). Съёмками занимался режиссёр Эндрю Доминик (Andrew Dominik), который известен по лентам «Killing Them Softly» и «The Assassination of Jesse James by the Coward Robert Ford» (для которого Кейв и Эллис написали саундтрек). Пути Эндрю и Кейва по легенде пересеклись «у барыги в 1986 году», на самом деле они были связаны одной из ранних песен Кейва «Deanna», бывшей девушкой Кейва, которая родила ребёнка от Доминика.
Доминик согласился снять фильм, если «мы рассмотрим в нём то, что произошло с Артуром». Кейв: «Мы договорились, что я смогу отредактировать всё, что мне не понравится». Ник был в ужасе, когда увидел фильм впервые. «Я был вне себя от ярости. С эстетической точки зрения я понимал, что это чрезвычайно полноценная и прекрасная работа, но в ней были нюансы, которые показывали, что я из себя представляю, как личность. Мне казалось, что я станцевал на костях своего сына, что я пытаюсь нажиться на этом».
Мнение Кейва изменилось лишь в день выхода фильма. Друзья рассказали ему о реакции публики в интернете и заставили его прочесть некоторые комментарии: «Я был тронут до глубины души. Кажется, фильм подарил возможность людям разобраться в собственном опыте. Фильм показал отсутствие Артура, его тишину и голос. Это сильно изменило меня. Я имею в виду, что Сьюзи, и я были похожи на птиц, увязших в нефтяном пятне. Мы не могли двигаться дальше, а этот фильм освободил нас. Поэтому он так важен для меня, из-за сообщества, которое он породил. Его лечебная сила удивительно подействовала не только на меня и Сьюзи, но и на других людей».
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С осени 2018 Ник ведёт блог The Red Hand Files
где общается с поклонниками напрямую — вы можете задать любой вопрос и возможно получите публичный ответ, на текущий момент там 65 заметок, вот например как выглядит начало ответа на вопрос(ы) о расставании с PJ Harvey в 90-х
ISSUE #57 | AUGUST 2019
Why did you give up on your relationship with PJ Harvey in the 90s? I love her music. I think she’s an amazing person and she writes brilliant songs. (Ramon, Sao Paulo, Brazil)
I had a real hard time with your music, my boyfriend was a fan, until The Boatman’s Call. This record really spoke to me. Can you explain? (Tanya, Toronto, Canada)
Dear Ramon and Tanya,
The truth of the matter is that I didn’t give up on PJ Harvey, PJ Harvey gave up on me. There I am, sitting on the floor of my flat in Notting Hill, sun streaming through the window (maybe), feeling good, with a talented and beautiful young singer for a girlfriend, when the phone rings. I pick up the phone and it’s Polly.
— “Hi,” I say
— “I want to break up with you.”
— “Why?!” I ask.
— “It’s just over,” she says.
I was so surprised I almost dropped my syringe.
Последствия драмы с Полли (и избавления наркотической зависимости) нашли выход в записи одного из его лучших альбомов — The Boatman's Call (1997); Ghosteen (2019) целиком посвященный погибшему сыну наиболее близок ему по настроению.
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Видел Кейва пару раз в Барсе, СПб и однажды в Хельсинки!
Primavera 2011 @ Barcelona
Pulp, Mogwai, Seefeel, Suicide, Mercury Rev, PJ Harvey, Tennis, Low, Dan Melchior Und Das Menace, Prince Rama, Salem, Emeralds, Tannhäuser, No Joy, Nick Cave & Grinderman, Lüger, Belle & Sebastian, Nosoträsh, Simian Mobile Disco, Einstürzende Neubauten, Pere Ubu, The Flaming Lips, Swans, Blank Dogs, Autolux, Echo & The Bunnymen, Dean Wareham plays Galaxie 500, Comet Gain, Darkstar, Moon Duo, BMX Bandits, The Black Angels, Aias, Caribou, Battles, Dj Shadow, Explosions In The Sky, Cloud Nothings, Deerhunter, Factory Floor, Glasser, Lindstrøm, Oneohtrix Point Never, The Soft Moon, Interpol, Kurt Vile & The Violators, Las Robertas, Tune-Yards, Ariel Pink's Haunted Graffiti, Me & The Bees, Warpaint, Shellac
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Primavera 2013 @ Barcelona
Blur, My Bloody Valentine, The Knife, The Jesus & Mary Chain, The Breeders, Melody'S Echo Chamber, Camera Obscura, Nick Cave, Simian Mobile Disco, Fuck Buttons, Sean Nicholas Savage, Paus, Thee Oh Sees, Fucked Up, Do Make Say Think, Om, Bo Nigen, Godflesh, Glass Candy, Merchandise, Deerhunter, La Bien Querida, Dinosaur Jr., Hot Chip, Dead Can Dance, Toundra, Jessie Ware, Neurosis, Liars, Shellac
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Flow 2013 @ Helsinki, Finland
My Bloody Valentine, Kraftwerk, Godspeed You! Black Emperor, Nick Cave & The Bad Seeds, Julia Holter, Grimes, Beach House, Disclosure, Factory Floor, Goat, Hudson Mohawke, Husky Rescue, Jaakko Eino Kalevi, Lau Nau, Circuit des Yeux, Tim Sweeney, Âme, Azealia Banks, Astral Social Club, Bat For Lashes, Austra, Haim, Love Cult
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Nick Cave & The Bad Seeds @ A2, St Petersburg, Russia, 25.07.2018
одно из крутейших выступлений 2018 года в СПб!
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Ленэкспо 2009 — верните мне мой! как говорится #totalrecall
Nick Cave & The Bad Seeds @ LenExpo, St Petersburg, Russia, 17.07.2009
deep-sky-object.livejournal.com/47269.html
Nick Cave & The Bad Seeds — Red Right Hand @ Ленэкспо, Петербург, 17.07.2009
Nick Cave & The Bad Seeds — The Mercy Seat @ Ленэкспо, Петербург, 17.07.2009
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пара упоминаний в 2019:
Kylie Minogue & Nick Cave — Where The Wild Roses Grow @ Glastonbury 2019
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VA — Death Is Not The End... A Tribute To Nick Cave (TBTCI, 2019)
theblogthatcelebratesitself.bandcamp.com/album/death-is-n...
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Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The map of modern dialects of Basque language
Western (Biscayan)
Central (Gipuzkoan)
Upper Navarrese
Lower Navarrese–Lapurdian
Souletin (Zuberoan)
other Basque areas ca 1850 (Bonaparte)
www.eyeqido.com/2015/10/14/the-modern-dialects-of-basque-...
en.wikipedia.org/wiki/Luxor_Temple
The Luxor Temple (Arabic: معبد الأقصر) is a large Ancient Egyptian temple complex located on the east bank of the Nile River in the city today known as Luxor (ancient Thebes) and was constructed approximately 1400 BCE. In the Egyptian language it was known as ipet resyt, "the southern sanctuary". It was one of the two primary temples on the east bank, the other being Karnak. Unlike the other temples in Thebes, Luxor temple is not dedicated to a cult god or a deified version of the pharaoh in death. Instead, Luxor temple is dedicated to the rejuvenation of kingship; it may have been where many of the pharaohs of Egypt were crowned in reality or conceptually (as in the case of Alexander the Great, who claimed he was crowned at Luxor but may never have traveled south of Memphis, near modern Cairo).
To the rear of the temple are chapels built by Amenhotep III of the 18th Dynasty, and Alexander. Other parts of the temple were built by Tutankhamun and Ramesses II. During the Roman era, the temple and its surroundings were a legionary fortress and the home of the Roman government in the area. During the Roman period a chapel inside the Luxor Temple originally dedicated to the goddess Mut was transformed into a Tetrarchy cult chapel and later into a church.
Along with the other archeological sites in Thebes, the Luxor Temple was inscribed on the UNESCO World Heritage List in 1979.
The Luxor Temple was built with sandstone from the Gebel el-Silsila area, which is located in South-Western Egypt. This sandstone is referred to as Nubian sandstone. It was used for the construction for monuments in Upper Egypt as well as in the course of past and current restoration works.
Like other Egyptian structures, a common technique used was symbolism, or illusionism. For example, to the Egyptian, a sanctuary shaped like an Anubis jackal was really Anubis. At the Luxor Temple, the two obelisks (the smaller one closer to the west is now at the Place de la Concorde in Paris) flanking the entrance were not the same height, but they created the illusion that they were. With the layout of the temple they appear to be of equal height, but using illusionism, it enhances the relative distances hence making them look the same size to the wall behind it. Symbolically, it is a visual and spatial effect to emphasize the heights and distance from the wall, enhancing the already existing pathway.
From the Middle Ages, the Muslim population of Luxor had settled in and around the temple, at the southward end of the mount. Due to the Luxor's past city population building on top of and around the Luxor temple, centuries of rubble had accumulated, to the point where there was an artificial hill some 14.5 to 15 metres (48 to 49 ft) in height. The Luxor Temple had begun to be excavated by Professor Gaston Maspero after 1884, after he had been given permission to commence operations. The excavations were carried out sporadically until 1960. Over time, accumulated rubbish of the ages had buried three quarters of the temple which contained the courts and colonnades which formed the nucleus of the Arab half of the modern village. Maspero had taken an interest earlier, and he had taken over the post of Mariette Pasha to complete the job in 1881. Not only was there rubbish, but there were also barracks, stores, houses, huts, pigeon towers, which needed to be removed in order to excavate the site. (There still exists a working mosque within the temple which was never removed.) Maspero received from the Egyptian minister of public works the authorization needed to obtain funds in order to negotiate compensation for the pieces of land covered by the houses and dependencies.
The Luxor Temple was built during the New Kingdom and dedicated to the Theban Triad consisted of Amun, his consort Mut, and their son Khonsu. The focus of the annual Opet Festival, in which a cult statue of Amun was paraded down the Nile from nearby Karnak Temple (ipet-sut) to stay there for a while with his consort Mut, was to promote the fertility of Amun-Re and the Pharaoh. However, other studies at the temple by the Epigraphic Survey team present a completely new interpretation of Luxor and its great annual festival (the Feast of Opet). They have concluded that Luxor is the temple dedicated to the divine Egyptian ruler or, more precisely, to the cult of the Royal Ka. Examples of the cult of the Royal Ka can be seen with the colossal seated figures of the deified Ramesses II before the Pylon and at the entrance to the Grand colonnade are clearly Ka-statues, cult statues of the king as embodiment of the royal Ka.
The avenue (known as wi.t ntr "path of god"; طريق الكباش) which went in a straight line for about 2,700 metres (8,900 ft) between the Luxor Temple and the Karnak area was lined with human-headed sphinxes; in ancient times it is probable that these replaced earlier sphinxes which may have had different heads. Six barque shrines, serving as way stations for the barques of the gods during festival processions, were set up on the avenue between the Karnak and Luxor Temple. Along the avenue the stations were set up for ceremonies such as the Feast of Opet which held significance to temple. Each station had a purpose, for example the fourth station was the station of Kamare, which cooled the oar of Amun. The Fifth station of Kamare was the station which received the beauty of Amun. Lastly the Sixth Station of Kamare was a shrine for Amun, Holy of Steps.
A small mudbrick shrine was built in the courtyard of Nectanebo I in early second century (126 CE) and was dedicated to Serapis and Isis; it was presented to Roman Emperor Hadrian on his birthday.
The active Abu Haggag Mosque (مسجد أبو الحجاج بالأقصر) is located within the temple, standing on the ancient columns themselves. That part of the Luxor Temple was converted to a church by the Romans in 395 AD, and then to a mosque in 640, which is more than 3,400 years of continuous religious worship. Hence, the Luxor Temple is the oldest building in the world at least partially active for other than archeological or tourist purposes.
In 2013, a Chinese student posted a picture of engraved graffiti that read "Ding Jinhao was here" (Chinese: 丁锦昊到此一游) in Chinese on a sculpture. This discovery spurred debate about increased tourism after the media confirmed a Chinese student caused this and other defacements. The graffiti has since been partially cleared.
There’s more to language learning than picking up dates in a foreign country. We investigated some of the craziest methods of adult language education out there.
greatist.com/happiness/adult-learn-foreign-languages/
Photo by Jess Ivy
Collective 52 Photo Project "2016"
Week 25 - Sign Language
A photo from the archives,
'Ferme de Sainte-Colombe'
old sign on the wall of an abandoned farmhouse ...
Translating Genesis 11: 1-9 is a common translation exercise used by conlangers to “test drive” their conlangs. This is known as the “Babel Text” since it recounts the story of the Tower of Babel and the creation of the world’s numerous languages, an appropriate text for conlangers. The concept of using these verses for comparisons across conlangs was initiated by Jeffrey Henning, creator of the Langmaker web site (http://www.langmaker.com) and one of the pivotal figures in modern conlanging. For detailed information on any one translation, you are encouraged to take a look at the accompanying source web site. And now, for a sampling of Babel Texts...
9.B. Text:
For comparison, here is the Babel Text in English from the New International Version:
1.Now the whole world had one language and a common speech.
2.As men moved eastward, they found a plain in Shinar and settled there.
3.They said to each other, "Come, let's make bricks and bake them thoroughly." They used brick instead of stone, and tar for mortar.
4.Then they said, "Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves and not be scattered over the face of the whole earth."
5.But the LORD came down to see the city and the tower that the men were building.
6.The LORD said, "If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them.
7.Come, let us go down and confuse their language so they will not understand each other."
8.So the LORD scattered them from there over all the earth, and they stopped building the city.
9.That is why it was called Babel -- because there the LORD confused the language of the whole world. From there the LORD scattered them over the face of the whole earth.
9.C. Text:
The Babel Text in Sen:esepera
In honor of Jeffrey Henning, we begin with one of his personal creations: his attempt at reforming Esperanto.
1.O tutan tera eseti codo unin lingifa, o codo unin parola.
2.O tina ocasi, caim:tempo hu foiagi delo orienta, demo hu terofi pelatan loca eno loca codo Sinara [Shinar]; o hu domi dem:loca.
3.O hu paroli unin alo omin:una, "Feni, imu posete cusi berica, o pele beruli hu." O hu hafi berica contero setona, o cota hafi hu contero unigi berica.
4.O hu paroli, "Feni, imu posete conseteri imu ureba, o tura, caim:unon supera ebele atingi alo paradisa; o imu posete cusi imu enoma, ro imu ebele pere:emeti foran supero:eno fisaga codo tutan tera."
5.O Dia feni im:supere o fidi ureba o tura, caimo dimin:homa codo homa conseteri.
6.O Dia paroli, "Fidi, homa eseti unin, o hu hafi tutan unin lingifa; o tino hu comenci o fari: o ene hu ebele inhibici delo an:obica, caimo hu ebele emagi o fari.
7.Feni, imu posete iri im:supere, o dem:loca sangi hun lingifa, demo hu im:ebele compereni unin omin:unan parola."
8.Dia posete pere:emeti hu foron pano fisaga codo tutan tera: o hu cesige conseteri ureba.
9.Hun enoma eseti Babela [Babel]; cuso Dia dem:loca sangi lingifa codo tutan tera: o delo dem:loca Dia pere:emeti hu foran supero:eno fisaga codo tutan tera.
Translated by Jeffrey Henning
(http://www.langmaker.com/babel/senesper.htm)
9.D. Text:
The Babel Text in Lojban
Lojban began development in 1987 by the Logical Language Group. Derived from the much older Loglan, it is specifically designed to be culturally neutral, logic-based, grammatically unambiguous, and easily learned. More information can be found at www.lojban.org.
1..i piro le munje cu se bangu pada gi'e selkau le ka tavla fo makau
2..i ca le nu litru fa'a le stuna kei lei remna cu penmi lo foldi la cinar .i co'a xabju fy
3..i ry simsku lu .e'u mi'o loi kitybli cu zbasu gi'e mo'u seltokygau li'u .i ry pilno loi kitybli pe seba'i loi rokci .i loi tarla peseba'i loi rokpu'o
4..i ry cusku lu .e'u mi'o zmadu lo tcadu .e lo galdi'u poi le cpana be ke'a cu lamji le tsani .ija'ebo mi'o misno gi'enai pulce fi le terdi sefta li'u
5..i ku'i le nolcei cu dzikla tezu'e le nu catlu le tcadu .e le galdi'u poi lei remna ke'a ca'o zmadu
6..i le nolcei cu cusku lu za'a lei remna noi se bangu pa da cu ba'oco'a zmadu ti .ija'o no selpla ba nalselka'e ry
7..i .ai mi dzikla gi'e fi'urgau le bangu ry ja'e le nu na simjmi li'u
8..i le nolcei fairgau ry piro le terdi .i ry de'a zmadu le tcadu
9..i ki'u la'e di'u ty se cmene zo babel .i ki'u le nu bu'u ty le nolcei pu fi'urgau le bangu be le munje .i fe'eco'a ty le nolcei fairgau ry le pirosi'e terdi sefta
(http://www.omniglot.com/babel/lojban.htm)
9.E. Text:
The Babel Text in Elasin
Elasin, created as the language of a fictional race of beings, was intended to give the flavor of a cross between Zulu and Finnish.
1.Huana! Yevopa (Yeneva votelor pali) fathieneth avute vesotham dofa li mabienen sotheram thoshi.
2.Uitukieneth vuanana maku'ii hadarova mi'iamem Shinaroth li panamiene parshoth ka.
3.Vasieneth. Ti Fana. Sathitudison mosuanoram li kathitudison pivani ti. Sathitiene avu mosuanorsa hau kivashersa le'i ratemsa hau molesa le'i.
4.Vasieneth. Ti Fana. Sathitudisoth maram hapamef ludanu'ii kalathem shasta sathitudisoth manalam ebas ko. Hau kanitudiso lafonesa le ti.
5.Palakieta somara uhanin panamesh. Fanieta shasta faruthuditu tashemun avu marami hapamemi ko.
6.Vasieta takaleba. Ti Shemath. Iene vuanana dofa li mabuaneth vesotham dofa. Uatu sathitu ka uamuineth nekuare shipa dofani. Faruthudito shado avunash aben.
7.Fana. Shibaludisoth nivesotham ko hau wevakudinen le ko ti.
8.Kanitietan somara uhanin li sathitievinen avu nimarami nihapamemi.
9.Mabietoth mar manalam Shibalu'in kashko shibalietan parshoth ka somara uhanin vesotharam uhanin ko.
Translated by Don Boozer
(http://www.geocities.com/donaldboozer/elasin_trans.html)
9.F.1. Image: zhyler_babel.jpg
9.F.2. Text:
The Babel Text in Zhyler
“Zhyler is an SOV language with fifty-seven noun cases (in honor of the ketchup co.), all suffixing, and a robust vowel harmony system. In addition, there are seventeen noun classes, à la Swahili, which do much of the derivational footwork.” ~ David J. Peterson
(transliteration)
1.al erwi ymM ergajajan las MlDaja.
2.kedemiT dZarm2sleraz, urDar MlDaz Sinaraja Dejler, ras vMnase eZZanlar.
3.kaja n2nzerler, "zin! rymSuj kenlymeje, ame dZimMSSMja." ame rymSuj tSurjujkMjat mekler, ame kenelwi solwMxMja mekler.
4.ame n2nlerkaja, "zin! majaS tajdZar, enedwizM dZ2f deJdZeje ulbolarnam valzamaja, ras l2Za majaS ZenDer levzemeje, volanaz meJjaf ketSlerjes noGenzerneswimej."
5.ame ziliryf meSkajaja valdZajalara tajdZa, ulbolnamuf mataljatSot valar.
6.ame n2nler, "mat! al MlDa, je al erwi laskaS bel, ame ledZer edZZaNkaja. je manarDawMxMja r2zDe kajas Zarreznezze.
7.zin! tSot zixM erwixMf SirkMjar matkMNwMriz, vazamaja, ame erwixMjMr vMnase ugdazamaj.
8.ame meJjaf ketSlerjes vMnaseT noGenzerkajalar, ras kaja tajdZar valzMklar.
9.ras "babelet" Zennesler, tSot meJjaf erwijes vMnase ugdalar, ame meJjaf ketSlerjes vMnaseT noGenzerkajalar.
Translated by David J. Peterson
(http://dedalvs.free.fr/zhyler/babel.html)
9.G. Text:
The Babel Text in Alurhsa
Alurhsa is the creation of Anthony Harris of Vermont and is only a small part of his imaginary world. For much more on the language and culture of Aluria, visit Anthony's site at alurhsa.org.
1.Ná, ttòsnë zh'óñen ñeveláynû dwi sùlën hályen, ddá vìgeláynû dwi sùlë ¿óv ñevóznáyëná.
2.Ddá vëzhelû, shthálázályën ghel máçisáç, dyárán ghílâ ddeksánthán tye tirá Shínár, ddá geveláynun vá.
3.Ddá dívelùnyun áyáshénÿ, ráyv, ersháyá vóçón, ddá túgròsháyá dyárán. Ddá vóçón kúweláynun kólf senéfón ddá móllán kólf jóttem.
4.Ddá dívelun, ká, vreleksáyá íthlánán vùn tárháyá, teyá beren yáqánô Kálrÿíszán, ddá ersháyá kìvá ólvínÿ fárshán eleván, spé ághálsárrenelyá ás ttòsnënÿ zh'óñenyánÿ.
5.Ddá qíëdelû Áxván pólef sperrâ zh'íthlánán vùn zhë tárháyá ten vrelekseláyná káyár bóyená.
6.Ddá dívelû Áxván, ráyv, lhôñ dwensá zhë ¿áms ddá xónyá dwi sùlën hályen, ddá úmázhën fakályónyá. Kólfe ñeyësán dyáráç feñené ten ïnáqánónyá kályâ.
7.Ká, ándzáláyá ddá vezénáyá dyárs-hályen pólef el ñe vùzùnùnyá ñevësán áyáshéyá.
8.Eref dyárán ághálsárrelô Áxván ghel váç ás ttòsnënÿ zh'óñenyánÿ, ddá lepelun vreleksâ zh'íthlánán.
9.Ddá eref zhë shthevá sódlô Bábel, kálÿ vá vezénelû Áxván hályen ttòsná zh'óñenyá, ddá ghel váç ághálsárrelû Áxván dyárán ás ttòsnënÿ zh'óñenyánÿ.
Translated by Anthony Harris
(http://alurhsa.org/)
9.H. Text:
The Babel Text in Kimva
Kimva was part of the ConlangEvolutionExperiment (http://talideon.com/concultures/wiki/?doc=ConlangEvolutionExperiment).
1.shes gu mitp fok yi kimva ka fi loffaloffa.
2.shes liyley gÿif fontshixka, nashumva i mitsa, kalepfing kasinrasing, ka napische.
3.liyley fish, kalinzrak, gÿidachighng pekxutpekxut ka tugngoxorzeko gÿidapevma. nafok pekxutpekxut, ka natugngona ngu ngindu, ka mwech, ka natugngofa ngu lunggo.
4.nafish, gÿidafing i kex kayifok, ka i xaxsulofsa kafafok sich kakusxasing, ka gÿidachighng ngu kagÿifok, ka xiy ufefpagÿi gu kamitpfing.
5.ka YEF kom fombmogÿika fingghiche ka fesombi kex ka xaxsulofsa, liyley fingna.
6.ka YEF fish, desombi, na-s yi pum, ka gu nafok yi kimva, ngong xiÿghey nasek, yu vakepchina, ka nafuvmviy, nahumikxekxa.
7.kom fombmogÿika ayidafinghiche ka ayidapoy kimva kenofak, kumash nahumwitpu vaf kalimvok.
8.va-s muy YEF fepfeno kamitpfing gu, ka nachimving kex.
9.vaxkup kefofak nga si pabwu, kumash kangugÿising YEF poy kimva kenofak, ka YEF fepfeno fombjika gu kamitpfing.
Translated by Alex Fink
(http://talideon.com/concultures/wiki/?doc=kimva)
[ADDENDUM: From an email from Alex Fink to Don Boozer on the misattribution of this Babel Text: "I've spotted a misattribution, in the case of Babel texts. Kimva is not in fact my creation, but that of Pete Bleackley. I presume the misattribution came about because of the "Descendents" listing on talideon.com/concultures/wiki/?doc=kimva attributing the daughter language kimwa lilyeho to me; the attribution proper to kimva itself is the line saying "PeteBleackley" below that." Please check out the web source for this Babel Text for further information - DB]
9.I. Text:
The Babel Text in Itlani
Itlani is the creation of James E. Hopkins who speaks and writes the language fluently. James holds a B.A. in French and a Master's degree in Philosophy and has a wide range of interests including writing, dancing, poetry, and linguistics. His recently self-published book, Eden's Day, includes poetry in English and Itlani.
1.Shukhrám tá kúlit untár mú sholóva véy mú eypotóva lafiyáva.
2.Véy brinkiyáva ú mashrá tá pirénay dzevyáven, brenduóva díni tá skáan Shinár zhanyáven, véy izá paleyáven.
3.Véy marruvyáven, "Kadimyátay, shevedzovó korunyáti véy vutóva iküirunchyáti." Véy tá shevedzovó résh chendjeynúey lafiyáven véy tá khalmasóva résh indisíey lafiyáven.
4.Véy ruvyáren, "Kadimyátay, mogése shatardjaóva sitagyáti, véy kitsanóva, tá móyto kiína díni tá fridádjan onyázha: komshayóva mogése vataranyáti reshú véyla tá vísan tá kúlit untára rá-kreyifyáti.
5.Rúzay Uramún stinatyávad reshú tá shatardjaóva véy tá kitsanóva shunyátad, kiinovó tá peshsuú sitagávit onyáven.
6.Véy Uramún ruvyávad, "Tá ebón mú onyára khaá véy shéy vút mú sholóva lafiyáren, véy iíd onyára idá kiinóva korúnya mabugyáren; tsórni rahá kiinóva harvolyázhen vútay inutebyízha."
7.Kadimyátay, stinatyáti véy izá vútit sholóva ubikeyyáti, reshú tá eypotóva mutatamág dayáten rá.
8.Chalí, Uramún vutóva izáay véyla tá vísan tá kúlit untára kreyafyávad, véy tá shatardjaóva sitágya spranichyáven.
9.Idakín Babél mishtaratyíra, vár izá Uramún tá sholóva tá kúlit untára ubikeyyávad; véy izáay Uramún vutóva véyla tá vísan tá untára kreyafyávad.
Translated by James E. Hopkins
(http://www.langmaker.com/db/Itlani_Babel_Text)
9.J. Text
The Babel Text in Interlingua
Interlingua is an international auxiliary language (like Esperanto) that began development in 1924 by the International Auxiliary Language Association (IALA) and was published in 1951. Alice Vanderbilt Morris was the primary founder and funder of the project which was headed by Alexander Gode and William E. Collinson. Interlingua was sometimes referred to as “Standard Average European” by Dr. Gode.
1.Nunc le tote mundo habeva un lingua e un parola comun.
2.Como homines moveva se al est, illes trovava un plana in Shinar e establiva se illac.
3.Illes deciva a le un, "Veni, lassa nos facer briccas e cocer los minutosemente." Illes usava bricca in vice de petra, e catran pro mortero.
4.Tun illes deciva, "Veni, lassa nos construer nos un citate, con un turre que arriva a le celoes, a fin que nos pote facer un nomine pro nos e non esser dispersate trans le facie del tote mundo."
5.Ma le Senior veniva a basso vidar le citate e le turre que le homines construeva.
6.Le Senior deciva, "Si como un gente que parla le mesme lingua illes ha comenciate facer isto, tun nil que illes plana facer essera impossibile pro illes.
7.Veni, lassa nos descender e confunde lor lingua dunque illes non comprendera a le un."
8.Assi le Senior dispersava les de illac trans tote le mundo, e illes cessava construente le citate.
9.Que es proque il esseva appellate Babel -- proque illac le Senior confundeva le lingua del tote mundo. De illac le Senior dispersava les trans le facie del tote mundo.
Submitted to Langmaker by Dan Dawes
(http://www.langmaker.com/babel/interlingua.htm)
9.K. Text
The Babel Text in Talossan
Talossan was created by R. Ben Madison to be the official language of his micronation Talossa (which is entirely surrounded by the city of Milwaukee, WI). Madison has said “The Talossan language was created not as an amorphous conlang project for the world. It is not Esperanto. It was created for one purpose and one purpose only: to give a linguistic identity to the Kingdom of Talossa." For more information on Talossa and its language and culture, check out the official site at www.kingdomoftalossa.net.
1.És toct i tzarâ tigñhova viens glheþ és 'n parlançeu común.
2.Quând që os voiatxevent da l'est, os trovevent 'n azaçhár în Shinar, és os loc þavitevent.
3.Si zireva à sieu amíc, "Vetz! Láßetz që noi ládariçadrent ládarâs és lor baqadrent cumplätsmînt." És las ládarâs füvent els cräpsilor për lor, és la cretâ füt la muôltâ për lor.
4.És os zirevent, "Vetz! Láßetz që noi fraicadrent për üns 'n cità és 'n turmeu cün ça moláirâ în el çéu, és láßetz që noi façadrent 'n nôminâ për noi, da cráintschâ që noi estadrent spaperseschti sür la façâ da toct la tzarâ."
5.És Iáhave descendeva për vidarë la cità és el turmeu që els vürs tigñhovent fraichescù.
6.És Iáhave zireva, "Eiceâ, véiçi viens naziun, qi tent viens glhetg, és os en tienent auspicat. Nun niþil serà catxantat da lhor që os cunceptarhent à façarë.
7.Vetz! Láßetz që noi descendradent és loc cunfundadrent lor glhetg, svo að si non auscultarha el glhetg da sieu amic."
8.Aglhôrc Iáhave lor spaperseva dalà sür la façâ da toct la tzarâ, és os ceßevent à fraicar la cità.
9.Për aceastâ raziun a isch nominadâ Babel, cáir Iáhave loc cunfundeva el glhetg da toct la tzarâ, és c'è dalà që Iáhave lor spaperseva sür la façâ da toct la tzarâ.
Translated by C.M. Siervicül
(http://www.langmaker.com/db/Talossan_Babel_Text)
9.L. Text:
The Babel Text in Tepa
Tepa, created by Dirk Elzinga, is an attempt at "constructing" a plausible, vanished Native American language. Traces of the Tepa, Dirk says, vanished with the creation of Lake Powell.
1.huisi leqa sukuuqu, huisi tepa.
2.hukahekahee metapu sinaa kenipa eaqa kitile. hukate yu.
3.huyakkee, hawananpaqana.
4.huhawaqakkassa hanima etiqe ukaiqu kupine. huwaweletii pewalilkatta metasewe.
5.husahu qamana epite hanimaa akasa tukua.
6.huyakee qamana, hasua! isi tukua huisi leqa nequ. huqanani humuqappulpa eqana eamine.
7.wasahu huhawanulu leqane numuhuyu eteppa.
8.hulika metasewe tukua qamana huapupa ekasa hanimaa.
9.huten papele, anulu yu leqa tukua qamana elika yule metasewe.
Translated by Dirk Elzinga
(http://www.langmaker.com/featured/tepababel.htm)
9.M. Text:
The Babel Text in Konya
Konya is an international auxiliary language created by Larry Sulky designed to be easily learned.
1.posen-wi xoxe yo, telaxi tote tenu sile tokun-moti mune.
2.lawa, suki xoxe xon-ken-yu faisi ye tufu xon-xemapi lun-yo Xinarya ye kepu son-wi.
3.lawa, kusi toku tun-yo failen-sefi kayu "min-min-wi tepu fetu ketaten-peti ye sexen-kusu fine xon-wi" wo. lawa, kusi lilu lone ketaten-peti lono peti ye tauli lono petin-tauli.
4.lawa, kusi toku kayu "min-min-wi tepu fetu xiti wa ten-yo kaipasi, yo lelen-toxu saili wo, leso min-min-wi tepu lan-kenu suki tote ye tepu lan-pefu nin-ye tun-yo telaxi tote" wo.
5.naye, Sailin-punin-ya xain-yu saili leso sinu xiti ye kaipasa, yo suki fetu son-wi.
6.lawa, Sailin-punin-ya toku kayu "suki tote wa sukin-seti, yo toku lilo tokun-moti mune wo, taye kusi kaimu fuxu fetun-wi tise, ye taye fetun-wi tole, yo kusi sepu wo, pan-male wa nolo kusi" wo.
7.kayu min-wi sepu ken-yu telaxi ye pan-fun-pimen-yu tokun-moti yu kusi leso kusi pimen-lolu nin-ye failen-sefi wo.
8.taye Sailin-punin-ya pefu kusi xain-yo lun-tisen-wi tun-yo tote yu telaxi ye kusi kailu fetu xiti.
9.taye noli nemu xiti tuso Bebalya xemo Sailin-punin-ya pan-fun-pimen-yu lun-yo lun-tisen-wi tokun-moti yu telaxi tote. lawa, Sailin-punin-ya pefu kusi xain-yo lun-tisen-wi tun-yo telaxi tote.
Translated by Larry Sulky
(http://ca.geocities.com/handydad/konya/konya-babel.html)
9.N. Text:
Babel Text in Kēlen
Kēlen is the language of the Kēleni, inhabitants of Sylvia Sotomayor's conworld Tērjemar. The language is an attempt at constructing a language with no verbs, thus violating one of Greenberg's Universals. The conlang was the topic of Sylvia's talk at the second Language Creation Conference.
1.ielte la anmārwi pa antaxōni ān tēna;
2.il ñatta jarēþa rūānnie il ñatta jamāes japōññe sū jekiēn xīnār il aþ ñatta āke jamāramma;
3.ē teteñ ien hēja ñanna jacālmi jajūti nā aþ ōrra ñatta ancālmi to ankīþi aþ ōrra ñatta ancērri to anhērmi;
4.ē teteñ ien hēja ñanna jamāonre pa jakōnōr ja ñi jōl rā anīstīli; ē teteñ ien hēja ñanna lewēra tō tūaþ wā ñi ñēim makkepōlien rā anmārwi āñ pēxa;
5.il aþ ñi rā āke ā λi ārōn tō sema mo sarōña jamāonre pa jakōnōr ja ñatta ōrra;
6.il tamma ien ē ñi mēli mānīki ī la sāim antaxōni ān tēna ī la jāo jānne jakāe ja ñatta;
7.il tamma ien rēha ñatta janahan ja ñi jaþēŋŋe cēja lā;
8.il tamma ien ē ñi liēn rā āke tā aþ ñalla anwaxāon tō tūaþ ñi anxiēna ankewōra nīkamma sāim cī;
9.ē ñamma jāo ā λi ārōn ī ñamma sāim makkepōlien rā anmārwi āñ pēxa ī ñamma jamāonre anlāīke ankewōra; tō jāo sete sawēra λi waxāon tō ōrra ñamma anwaxāon antaxōni tēna sū āke ā λi ārōn;
Translated by Sylvia Sotomayor
(The Kēlen Babel Text can be accessed by typing cache:www.terjemar.net/babeltext.php into the Google search box.)
9.O. Text:
The Babel Text in Wasabi
Wasabi was a collaborative conlang venture undertaken by a class taught by David J. Peterson that examined the creation of pidgins. For a detailed look at the development of Wasabi, check out dedalvs.free.fr/wasabi.html.
1.Yasa ukali saya anu alima nala.
2.Si lamu amasu sami ala si siya numa niki isana kunayu si Shinar, aki wima isu.
3.Yasa alima anu si ika, "Wani kana nusika puma samapu aki si kusasi." Puma yumu nusika puma, alasa ukali yumu liwika.
4.Aki alima: "Niki! Wani pila amasu wima kunayu wa pika kunayu, ikala nali, wani ana wani amasu sami, unu lusa yumu wani unu liwika si yasa ukali."
5.Sika si nali niki ukali yata amasu wima kunayu wa pika kunayu malika sika pila.
6.Sika si nali alima: "Yata! Anu liwika kunayu yasa wa anu alima nala, ya aki pila wa unu yumu numa.
7.Niki! Wani niki si ukali, wani sunati nala, si yumu aki unu kisa ika sami alima.
8.Sika si nali unu liwika aki si yasa ukali, aki numa unatu si amasu wima kunayu.
9.Si ya yumu aki tasi ana Babel, yumu isu sika si nali sunati nala si yasa ukali, si isu sika si nali unu liwika aki si yasa ukali.
Translated by Mari Bandoma, Deise Benítez, Allison Buckley, Pablo Cabrera, Marc Callado, Patrick Chan, Charles Chang, Sarah Choi, Lizzy Ghedi-Ehrlich, Julie Gutiérrez, Norma Guzmán, Helen Khlystova, Jason Lin, Tom Nosewicz, Miriam Ochoa, David J. Peterson, Chris Ramiro, Michael Rivera, Adam Simpson, Amy Soong.
(http://www.langmaker.com/db/Bbl_wasabi.htm)
Title in other languages:
Deutsch: Der Kanal "Haagse Trekvliet" nahe des Bahnhofs "Hollands Spoor" in Den Haag, Niederlande
English: Channel "Haagse Trekvliet" close to the station "Hollands Spoor" in The Hague, The Netherlands
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
The Barbary sheep (Ammotragus lervia), also known as aoudad (pronounced [ˈɑʊdæd]), is a species of caprine native to rocky mountains in North Africa. While this is the only species in genus Ammotragus, six subspecies have been described. Although it is rare in its native North Africa, it has been introduced to North America, southern Europe, and elsewhere. It is also known in the Berber language as waddan or arwi, and in former French territories as the mouflon.
Barbary sheep stand 75 to 110 cm (2 ft 6 in to 3 ft 7 in) tall at the shoulder, with a length around 1.5 m (5 ft), and weigh 30 to 145 kg (66 to 320 lb). They are sandy-brown, darkening with age, with a slightly lighter underbelly and a darker line along the back. Upper parts and the outer parts of the legs are a uniform reddish- or grayish-brown. Some shaggy hair is on the throat (extending down to the chest in males) with a sparse mane. Their horns have a triangular cross-section. The horns curve outward, backward, then inward, and can exceed 76 cm (30 in) in length. The horns are fairly smooth, with slight wrinkles evident at the base as the animal matures.
Barbary sheep are endemic to regions of Northern Africa primarily surrounding the barren center of the Sahara Desert. Countries and territories where aoudad may be found include Algeria, Chad (north), Egypt, Libya, Mali (north), Mauritania, Morocco, Niger, Tunisia and Western Sahara. West of the Nile, they can be found in Sudan; east of the Nile, in the Red Sea Hills.
Populations within its native range have been decreasing due to hunting, legal and otherwise, and destruction of habitat.
They have become common in a limited region of southeastern Spain, since its introduction in 1970 to Sierra Espuña Regional Park as a game species. Its adaptability enabled it to colonize nearby areas quickly, and private game estates provided other centers of dispersion. The species is currently expanding, according to recent field surveys, now being found in the provinces of Alicante, Almería, Granada, and Murcia. The species is a potential competitor to native ungulates inhabiting the Iberian Peninsula, and has also been introduced to La Palma (in the Canary Islands), and has spread throughout the northern and central parts of the island, where it is a serious threat to endemic vegetation. The aoudad has also been introduced in Croatia several times, where there is a population in Mosor.
Although the species has not yet been recorded in Australia, it is considered a pest species in Queensland with the potential to establish in the wild.
A. lervia is the only species in the genus Ammotragus. However, some authors include this genus in the goat genus Capra, together with the sheep genus Ovis.
The subspecies are found allopatrically in various parts of North Africa:
A. l. lervia Pallas, 1777 (vulnerable)
A. l. ornata I. Geoffroy Saint-Hilaire, 1827 (Egyptian Barbary sheep, thought to be extinct in the wild but still found in the eastern desert of Egypt)
A. l. sahariensis Rothschild, 1913 (vulnerable)
A. l. blainei Rothschild, 1913 (vulnerable)
A. l. angusi Rothschild, 1921 (vulnerable)
A. l. fassini Lepri, 1930 (vulnerable)
Barbary sheep are found in arid mountainous areas where they graze and browse grasses, bushes, and lichens. They are able to obtain all their metabolic water from food, but if liquid water is available, they drink and wallow in it. Barbary sheep are crepuscular - active in the early morning and late afternoon and rest in the heat of the day. They are very agile and can achieve a standing jump over 2 metres (7 ft). They are well adapted to their habitat, which consist of steep, rocky mountains and canyons. They often flee at the first sign of danger, typically running uphill. They are extremely nomadic and travel constantly via mountain ranges. Their main predators in North Africa were the Barbary leopard, Barbary lion, and caracal, but now humans, feral dogs, competition due to overgrazing by domestic animals and drought threaten their populations.
The binomial name Ammotragus lervia derives from the Greek ἄμμος ámmos ("sand", referring to the sand-coloured coat) and τράγος trágos ("goat").
Lervia derives from the wild sheep of northern Africa described as "lerwee" by Rev. T. Shaw in his "Travels and Observations" about parts of Barbary and Levant.
The Spanish named this sheep the arruis, from Berber arrwis, and the Spanish Legion even used it as a mascot for a time.
Aoudad ([ˈɑː.uːdæd]) is the name for this sheep used by the Berbers, a North African people, and it is also called arui and waddan (in Libya).
(Top)Meet the Conlangers: The World-wide Community of Language Creators
8.A. Text: Introductory paragraph
Conlanging transcends national boundaries and enjoys a global community of enthusiasts. A “census” of the Zompist Bulletin Board reveals members from the USA, Finland, France, New Zealand, Germany, UK, Hungary, Scandinavia, and South America. Conlanging is also multigenerational with ages of language creators and enthusiasts ranging from teens to senior citizens. Take a look at the attendees of the Language Creation Conference in this exhibit case. So, without further ado, may we introduce...
(Top left) David J. Peterson
Conlanger Extraordinaire
California
One of the most active conlangers on the web is David J. Peterson. He wrote the "Conlanger's Manifesto," was one of the speakers at both Language Creation Conferences so far (2006 and 2007), has been a vocal member of the CONLANG listserv for well over five years, has one of the finest web sites (http://dedalvs.free.fr) on the Internet devoted to conlanging (and his other various pursuits), and was President of the Society of Linguistics Undergraduates (SLUG) at UC Berkeley. In addition to creating languages like Kamakawi, Zhyler, Wasabi, Megdevi, and many others, David also created SLIPA (Sign Language International Phonetic Alphabet), a detailed system for representing all possible gestures in any signed language which can also be used to create a constructed sign language. Currently, David is also a member of the Board of Directors, as well as Treasurer and Secretary of the Language Creation Society (http://www.conlang.org) and is a contributor to The Speculative Grammarian (http://specgram.com), an online journal of linguistics humor.
David is a University of California (UC), Berkeley, alumnus (where he majored in English and linguistics); his Master's degree in Linguistics is from UC San Diego. David is currently adjunct professor of English at Fullerton College in California: the "Writing Guide" section of his web site is humorous as well as highly informative. He was also engaged last year to a fellow UCSD graduate, Erin McPherson. In his 2-man band, Number 6, David plays guitar, bass, and ukulele, and he sings. David is a devoted Mac user when it comes to computers: "I very use a Mac (try to make sense of that one, Chomsky!)."
Several Babel Texts translated by David are included throughout this exhibit, as well as the "Conlanger's Manifesto," (Exhibit Case #2) and his Amazon.com review of Describing Morphosyntax (Exhibit Case #3).
The Babel Text in Kamakawi (transliteration)
1.Ka peka i ape kalaka oi oalala poi.
2.Kau imawawakaiu upea a ie ku neva'a i ava ae peka Tinala pe, ku hepale ae pe.
3.Ku hekala i ika ti, "He'ea, he lama ue i timitiú u kava i uamo." Kae timitiú i leya ka iele i i'iele poupea.
4.Ku hekala poiu ti, "He paki ue i paleumi oi penute i ue a kopu ono o penute iu kawi, au atau ue, heoku u kawakawa'u heva e ave o peka."
5.Ka kau Takepolilao ele mata ie paleumi oie penute kau paki mali tiemi i.
6.Ke hekala poiu ti, "He! Ape peka, a ape kalaka i upea uila, au hepaka upea i iko. Oku li'u eleumi au takepo'u upea i hoa liwi'u upea a.
7.Ima! He kau ei e mimile ie kalaka o upea pe, aupe kala upea ioku ika.
8.Ke kawakawa Takepolilao i upeape heva e ave o peka, kau pu'uke upea ie paleumi.
9.Ape tomi'u amo ti "Imimile", ale mimile Takepolilao ie kalaka o inotu uila pe, e kawakawa i upeape heva e ave o peka.
Translated by David J. Peterson
(http://dedalvs.free.fr/kamakawi/babel.html)
(Top right) Mark Rosenfelder
"The Zompist"
Illinois
Mark Rosenfelder, a.k.a. “The Zompist” or “The Zomp”, has been creating languages and worlds since he was in grade school. One of The Zomp’s major gifts to the conlanging community is his Language Construction Kit (http://www.zompist.com/kit.html), often the first stop for beginning conlangers. The Kit provides a step-by-step approach to creating one’s own language compiled from resources gathered by Mark while attempting to learn linguistics on his own. Topics as diverse as what sounds to use in a conlang to how to construct language families and dialects are covered. The Zompist Bulletin Board, one of the Internet’s main forums for conlangers and con-worlders, is yet another of Mark’s contributions and is available at www.spinnoff.com/zbb.
Mark’s monumental online work, Virtual Verduria (http://www.zompist.com/virtuver.htm), began as a Dungeons & Dragons setting in his college days. It is the result of over twenty years of tinkering with concepts as diverse as language, history, chemistry, biology, and mythology. Virtual Verduria provides myriad details of Mark’s fantasy world of Almea, from the creation of its planetary system to the evolution of its indigenous inhabitants, and includes comprehensive maps, native stories, and myths of the various nations. There are a dozen individual languages or language families with grammars, vocabulary, and text samples. Mark has succinctly explained how he does all this by saying, “I have no kids and I don’t watch TV.”
Although The Zomp’s day job may be as a programmer, he has assured himself a spot in the Pantheon of Conlangers with his selfless activities in support of the art.
(Photo courtesy of Mark Rosenfelder)
(Bottom left) The Official Conlang Flag
The idea of a “conlang flag” was proposed by David J. Peterson on the CONLANG listserv in a message on Aug. 29, 2004. The next day, Adrian Morgan responded by saying: “Right, it's time to take this seriously,” and a rough sketch was submitted. Discussion on the topic was brisk, over twenty designs and revisions were submitted, and the results were announced on September 23, 2004. The basic layout was suggested by Leland Paul, but the winning flag’s final design was created by Christian Thalmann. Paul’s posting provides some of the symbolism: “Against a purple sky, signifying creativity, an orange sun rises, orange signifying energy, imagination, and communication. It sheds its light over a dark, not-yet-seen world. Silhouetted against the sun is the Tower of Babel, proclaiming the noble nature of the linguistic diversity.” The Tower of Babel also brings to mind the ubiquitous Babel Text often used as a translation exercise. The Conlang Flag has been displayed prominently at the Language Creation Conferences and can be seen on numerous conlangers’ web pages.
(Bottom Middle) Andrew Smith
Creator of Brithenig
New Zealand
Born in Invercargill, New Zealand, in 1965, Andrew currently lives in Dunedin, New Zealand. He is an Archives Assistant for the Presbyterian Church of Aotearoa New Zealand Archives. His native language is English, and, although he speaks several languages, Andrew admits that none are to "conversational level." Brithenig is the result of Andrew's attempt to create an alternative Romance language akin to French and Spanish: namely what would have happened to Latin if it had become established in the Celtic areas of Britain and evolved accordingly. "The earliest known record of Brithenig dates back to 1997," Andrew states. "It was inspired earlier by a reference to a Celtic-influenced romance language I discovered in a book on Celtic languages in 1990, my last year of study at the University of Otago. It would take me another four years before I returned to Dunedin to re-read the reference and create the language. The rest is history. Ill Bethisad is legacy." Ill Bethisad is the imaginary country where Bethisad is spoken. The extensive site dedicated to the imaginary nation and language can be found at www.bethisad.com. With maps, history, grammars, and more, Andrew's site rivals that of Mark Rosenfelder's Virtual Verduria.
Andrew continues: "As well as Brithenig I keep a journal in a conlang based on Old English. In recent years I have started on an eclectic language based on my collection of Teach Yourself Language books. I have about 40 of them. They are getting harder to find."
"Apart from creating languages I have created imaginary worlds, attempted writing, been involved in Mediaeval Re-enactment, work out at the gym for cardio, and practise religion. I have never travelled outside my country. I collect books, CDs, RSS-feeds, and occasionally hats."
(Photo courtesy of Andrew Smith. Quotes taken from an email to Don Boozer.)
The Babel Text in Brithenig
1.Hures il munn inter hav yn linghedig e yn cant commyn.
2.Sig il pobol summoden di'l est, ysses ligavan yn luin in Sennar e lâs'ysteblivan.
3.Ysses digevan il yn a'l altr, "Gwenitz, gwans a fager brics e cogher les interevent." Ysses ysavan brics in log di bedr, e arill per chelcin.
4.Afos ysses digevan, "Gwenitz, gwans a eddifigar per nos yn giwdad, cun yn tyr che tang a'ls cels, sig nos fagians yn novn per nos e no scians ysparied pas syss la fag di la der inter."
5.Mais il Tiern gweniv a vas a widder la giwdad e'l tyr che'l pobol eddifig.
6.Il Tiern digev, "Ec'h, altresi yn pobol che barol il linghedig medissiv, ysses yst han gyvnidiad a fager. Hures ys lâ no haverai negarad ren a les che ysses provassen a fager.
7.Gwenitz, gwans a vas a ystyrddir sew linghedig di les sig ysses no c'hompruinnessen ren di'l yn a'l altr."
8.Sig il Tiern yspariav di lâ syss tud la der, e ysses calvavan a eddifigar la giwdad.
9.Ho es perc'he sa afell Babel -- perc'he lâ il Tiern ystyrddiv il linghedig di'l munn inter. Di lâ il Tiern les yspariav syss la fag di la der inter.
Translated by Andrew Smith
(http://hobbit.griffler.co.nz/babeltext.html)
(Bottom right) Dr. Sarah L. Higley
a.k.a. Sally Caves
Academic Conlanger
New York
Earning her Ph.D. from the University of California, Berkeley, Dr. Sarah L. Higley is currently Associate Professor of English at the University of Rochester and a teacher of medieval languages and literature. She is also known by her alias, Sally Caves, which is the name you'll see on her website (http://www.frontiernet.net/~scaves/teonaht.html) outlining her conlang Teonaht. According to her site, Sally began documenting her language creation in 1962 at the age of nine. Dr. Higley goes on to say that in "the Fall of 2000, she co-taught an independent study with linguistics Professor Jeffrey Runner, wherein then freshman (and linguistics major) Douglas Ball was allowed to develop grammar and text for his invented language Skerre." Sally was a presenter at the first Language Creation Conference, has been interviewed by her local NPR radio station about conlanging, wrote an article entitled "Audience, Uglossia, and CONLANG" for M/C Journal (available online at journal.media-culture.org.au/0003/languages.php), and, in December 2007, published the definitive study of St. Hildegard of Bingen and her Lingua Ignota entitled Hildegard of Bingen's Unknown Language: An Edition, Translation, and Discussion. (For more information on St. Hildegard, see Exhibit Case #4). Dr. Higley is also a member of the Board of Directors of the Language Creation Society (http://www.conlang.org).
The Babel Text in Teonaht
1.Send tand potom takrem tefye uõnim kalalya, uõnim mongwyf.
2.Send seawim il plevvysta elai renek, he twe esteratwe armmandy; rilua-il twe nrinarem celil hea Hsinnarid, send eldwav hovar endõ.
3.Send euab ouarje eldwa jane: "Mantets! Nittaopra uents, uo ad õ potemaht flehhtyzmats." Send nittaopra eldwav uen to mimmivua uo nerik to cicya.
4.Send eldwav ebra: "Mantets! Tesa-ilz lirifel-jo hadhhamats ta mehuen aid kempa ar Erahenahil, send rõ tyr aittearmats, ta vera listsõ hyny il takrem ro ssosyarem.
5.Send Le Hrel elo hsommante sa lõ kerem il tesa liriffel-jo hadhhama-uarrel ihhain le plevvysta.
6.Send Le Hrel elo ebra, "Keyts, il plevvysta somad, uo uõnim kalalya twavhha; aibba estwa mippa: to vokraikarem, send vawem dihhai twav kare deytwav dal ai sebrarem esai lis.
7."Hsobmmantets; send twe kalalya vilvviglats ta vera pre-twav twe mongav rin euab ouarjo."
8.Le Hrel ad hyny il takrem elo toaaiba sossya, send il tesa eldwa beg hadha.
9.Evvaiba Bavel li'aittear ilid lirifel, uanner Le Hrel il uõm kalalya ilid potom takrem elo vilvvigla, send il plevvystan eldwa hovvandy sossyab.
Translation by Sally Caves
(http://www.frontiernet.net/~scaves/babel.html)
"We have to cease to think if we refuse to do it in the prison-house of language; for we cannot reach further than the doubt which asks whether the limit we see is really a limit" - badly quoting Nietzsche
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center Joint Service Color Guard and marching units representing the four military services helped Monterey residents and visitors celebrate Independence Day by participating in the City of Monterey's 4th of July parade in downtown Monterey on July 4.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
An illuminated bible shown to visitors to one of the ancient cave churches near Lalibela, Ethiopia. The script is probably Ge'ez, the old Semitic language still used by the Ethiopian Orthodox Church.
French language museum website: www.museedemarrakech.ma/
Wikipedia entry: en.wikipedia.org/wiki/Marrakech_Museum
Body language can be so revealing sometimes.... don't you think?
I wonder if he had lost his faith and hope and was about to leave the place, or if on the contrary he was there trying to find some...
14th Street, between 8th and 9th Avenues,
New York
Taken with a 3G iPhone
At the Bodleian Library courtyard every school has a different doorway. This is the one for Languages.
The 2011 Census included questions for the first time on English language proficiency for those who had a main language other than English. For residents who lived in Wales, the English category included those whose main language was Welsh.
The latest analysis from ONS has looked at how proficiency in English varied across the different main languages spoken, how health related to proficiency in English and looked at the proficiency of 3-15 year olds across local authorities in England and Wales.
www.ons.gov.uk/ons/rel/census/2011-census/detailed-charac...
What you can tell from a person’s body language ➡ www.shape-able.com/10-proven-ways-to-be-more-attractive-t...
A pagoda is the general term in the English language for a tiered tower with multiple eaves common in China, Japan, Korea, Vietnam, Nepal and other parts of Asia. Some pagodas are used as Taoist houses of worship. Most pagodas were built to have a religious function, most commonly Buddhist, and were often located in or near temples. This term may refer to other religious structures in some countries. In Vietnam, pagoda is a more generic term referring to a place of worship, although pagoda is not an accurate word to describe a Buddhist temple. The modern pagoda is an evolution of the Ancient Indian stupa, a tomb-like structure where sacred relics could be kept safe and venerated.[1] The architectural structure of the stupa has spread across Asia, taking on many diverse forms as details specific to different regions are incorporated into the overall design. Arniko, the famed architect of Nepal, is widely believed to have taken this architectural form to other parts of Asia, leading to the development of the pagoda design unique to China, Japan and the rest of the continent.
Source: Wikipedia
Jun 7/11 I think this couple was having a kind of argument. Based on their body language. She had raised eyebrows almost all night and not one smile.
Located on the campus of the prestigious Syracuse University in Syracuse, New York.
The Hall of Languages was designed by Horatio Nelson White and built in 1871-73. It is made of Onondaga limestone and features three large towers or cupolas. It was the first building constructed on the Syracuse University campus and the building originally housed the entire university.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
Info Island International (233,205,33)
International Plaza-Rare languages booth area
The Lakhota Language booth serves as an awareness to a language still in usage and under going a revival. The Booth put together by Willow Shenlin presents a web-browser (menu), a glossary (translations), a dreamcatcher (SLURLs list) and a mustang (audio URLs)
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center’s most colorful day of the year came May 8 as the Presidio opened its doors and welcomed a crowd estimated at more than 5,000 during its 31st hosting of Language Day. Attendees were treated to a diversity of songs, skits, dances, classroom demonstrations as well as food and wares that represented the cultures of 23 languages studied here at the military’s preeminent language training facility. Also in attendance were 54 combat veterans of the Vietnam War, honored guests during a “Welcome Home” ceremony led by Col. Paul Fellinger, Presidio of Monterey garrison commander, and Dan Presser, Military and Veterans Affairs Advisory Committee member, in commemoration of the war’s 50th anniversary.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.