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PRESIDIO OF MONTEREY, Calif. -- The 26th commandant of the Defense Language Institute Foreign Language Center retired during a ceremony on Soldier Field here April 18. Retired Brig. Gen. Russell D. Howard officiated the ceremony in which Col. Danial D. Pick was recognized for his nearly three decades of Army service. Pick, a graduate of the DLIFLC Basic Arabic Course, speaks Arabic, Persian-Farsi, Persian-Dari and Assyrian. Prior to taking the position of DLIFLC commandant on May 6, 2010, Pick served as the director of the Army’s Foreign Area Officer program here.
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, Calif. - The Presidio's Outdoor Recreation program took military members from the Defense Language Institute Foreign Language Center and Naval Postgraduate School for a fun-filled weekend getaway north of Ventura, Calif. on Nov. 18-20. In addition to great food and gorgeous vistas, the trip was an opportunity to try a host of ocean related activities including surfing, scuba diving, and kayaking. For information on more upcoming trips and other great services from the Presidio's Family and Morale, Welfare and Recreation Directorate you can view their monthly newsletter by clicking here .
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, California -- The Defense Language Institute Foreign Language Center celebrated the upcoming Memorial Day with a ceremony on Presidio’s Soldier Field May 25. The ceremony included a solemn invocation by the Chaplain, a 21-gun salute rendered to fallen service members, firing of the ceremonial cannon, performances by the DLIFLC Joint Service Student Choir, and three names added to the plaque in honor of DLIFLC graduates killed in action during the Vietnam War. Guest speaker for the event was City of Salinas Mayor Joe Gunter, who is also a Marine Corps veteran.
Following the ceremony, the Presidio Garrison hosted a special reception event for Gold Star Families who were in attendance.
Official Presidio of Monterey Web site
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Photo by Hiro Chang, Presidio of Monterey Public Affairs
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Amber K. Whittington)
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Amber K. Whittington)
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Patrick Bray)
Angie Liston provides American Sign Language interpretation at the 2012 United Methodist General Conference in Tampa, Fla. Liston is a member of Morrison United Methodist Church in Leesburg, Fla. A double exposure for UMNS by Paul Jeffrey.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
A Montessori Poem .... Today I did my math and language, practical life too, I used my eyes, my ears and hands, my senses the whole day through. I added and subtracted, learned patience all the day I used tweezers, blocks, and puzzles, And worked with the scrubbing tray. I learned how to mix colors, And learned how to weigh. So mom and dad, please don’t say, “DID YOU BRING ANY PAPERS HOME TODAY?” You see, I’m sharing as I play, Learning self-control throughout the day, I’m learning to listen and speak clearly when I talk, To wait my turn and when inside to walk, To put my words into phrases, To balance along the “Red Rod” maze, To find my name and write it down, I do it with a smile, not a frown. So mom and dad, please don’t say, “WHY DON’T YOU HAVE ANY PAPERS TODAY?” I learned about a snail, I learned about a worm, I learned about flags and maps, And how to take a turn, I helped a friend when he was stuck, I learned that water runs off a duck. I looked at words from left to right, Agreed to differ, not to fight. Today I sang the continent song, I learned the difference between right and wrong, So mom and dad, please don’t say, “DID YOU ONLY PLAY TODAY?” Because yes, I played the whole day through, I worked to learn the things I do, Encounter a problem, find the clue and work it out for myself, I do. My teachers set the scene and stand near-by, They want me to succeed and teach me how to try. They pose the questions, and help me to think, They keep me afloat and would never let me sink. So don’t get discouraged and frustrate me, I try my best and I’m learning each day. So mom and dad, please don’t say, “HAVEN’T YOU DONE ANY WORK TODAY?” -Author Unknown-
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Amber K. Whittington)
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Amber K. Whittington)
Leaving Deal and driving out into the countryside, I see the octagonal shingled tower of Worth, and winder if it was open.
I drive down the one of the two roads into the village, they meet at the pond, the same corner which the church sits.
Jools went to check if it is open, and I am rewarded with a thumbs up from over the wall of the churchyard.
A lady is on duty all day, armed with a book, newspaper and CD player, I tank her generously as her dedication and of people like her, make ride and stride and heritage weekend possible.
-------------------------------------------
WORD.
WRITTEN formerly Worthe, is the next parish eastward from Woodnesborough, which latter is the original Saxon name, the letter d in that language being stricken through, making it the same sound as th. (fn. 1)
There are three boroughs in this parish, viz. Felderland, Word-street, and Hackling; the borsholders for the two former of which are appointed at Eastrycourt, being within the jurisdiction of that manor; for the latter at Adisham, which manor claims over a part of this borough.
THE PARISH OF WORD lies very flat and low, and is very unhealthy; it is in shape very long and narrow, being near three miles from east to west, and not more than one mile across the other way. The village called Word-street, containing twenty-nine houses, having the church close to it, is situated nearly in the middle of the parish; at the southern boundary of which, is the hamlet of Hackling, containing five houses, the principal estate in which, called Hackling farm, belongs to Mrs. Eleanor Dare, of Felderland. At the western extremity of the parish is the borough and hamlet of Felderland, or Fenderland, partly in Word, and partly in Eastry, formerly esteemed a manor, the property of the Manwoods, afterwards of the Harveys, of Combe, and now belonging to the right hon. PeterLewis-Francis, earl Cowper; adjoining to which, in the same borough, is the farm of Upton, situated about a quarter of a mile westward of the church, the estate of which likewise belongs to earl Cowper.
At a small distance further the marshes begin, where there is a parcel of land called Worth, or Worde Minnis, and belongs to the archbishop, the present lessee being Mr. Thomas Rammel, of Eastry. Here are two streams, called the south and north streams, which direct their course through these marshes northwestward towards Sandwich; the latter of these was formerly the famous water of Gestling, through which the sea once flowed, and was noted much for being the water in which felons were punished by drowning, their bodies being carried by the current of it into the sea. The marshes here are called Lydden valley, (from the manor of Lydde-court, in this parish, below described, called formerly Hlyden) which is under the direction of the commissioners of sewers for the eastern parts of Kent; and to which the north stream is the common sewer. The marshes continue beyond this stream about half a mile northward, where the sand downs begin.
These sand downs are a long bank of sand, covered with green swerd of very unequal surface, and edge the sea shore for five miles and upwards from Peppernesse, which is the south east point of Sandwich bay, as far as Deal. They are about a quarter of a mile broad, except about the castle, which is, from its situation, called Sandowne castle, where they end with the beach, but a little way within the shore, about the middle of them is a cut, called the Old Haven, which runs slanting from the sea along these downs, near but not quite into the river Stour, about three quarters of a mile eastward below Sandwich. The castle of Sandowne is situated about half a mile from the north end of the town of Deal; it was built with Deal castle, and several others, by king Henry VIII. in the year 1539, for the desence of this coast, each being built with four round lunets of very thick stone arched work, with many large portholes; in the middle is a great round tower, with a large cistern for water on the top of it; underneath is an arched cavern, bomb proof; the whole is encompassed with a fossee, over which is a draw-bridge. It is under the government of the lord warden, who appoints the captain and other officers of it, by the act of 32d of king Henry VIII. This castle has lately had some little repair made to it, which, however, has made it but barely habitable.
This parish contains about fifty houses. The lands in it are of about the annual value of 3000l. The soil is very rich and fertile, and may properly be called the garden of this part of Kent, and is the most productive for wheat, of any perhaps within the county. There are no woodlands in it. There is no fair.
THE PRINCIPAL MANOR in this parish is that of LYDDE-COURT, written in Saxon,Hlyden, which was given by Offa, king of Mercia, in the year 774, to the church of Christ, in Canterbury, L. S. A. as the charter expresses it, meaning, with the same franchises and liberties that the manor of Adisham had before been given to it. After which, this manor continued with the priory of Christ-church, and king Edward I. in his 7th year, granted to it the liberty and franchise of wreck of the sea, apud le Lyde, which I suppose to be this manor; and king Edward II. in his 10th year, granted to the priory, free-warren within their demesne lands within it; (fn. 2) and in this state this manor continued till the dissolution of the priory in the 31st year of king Henry VIII. when it came into the king's hands, who settled it, among other premises, in his 33d year, on his new erected dean and chapter of Canterbury, by whom it was afterwards, in the 36th year of that reign, regranted to the king, who sold it that year to Stephen Motte, and John Wylde, gent. and they alienated it to Richard Southwell, who in the 1st year of king Edward VI. passed it away by sale to Thomas Rolfe, and he afterwards conveyed it to William Lovelace, serjeant-at-law, who died possessed of it in 1576, and his son Sir William Lovelace, of Bethersden, alienated it to Thomas Smith, esq. of Westenhanger, from whom it descended down to Philip, viscount Strangford, who sold it to Herbert Randolph, esq. and he passed away a part of it, called afterwards Lydde Court Ingrounds, with the manor or royalty of Lydde-court, in Word and Eastry, and lands belonging to it, in 1706, to Sir Henry Furnese, bart. of Waldershare, and his grandson of the same name, dying in 1735, under age and unmarried, his estates became vested in his three sisters, as the three daughters and coheirs of his father Sir Robert Furnese, in equal shares, in coparcenary. After which a partition of them having been agreed to, which was confirmed by an act next year, this manor, with the lands and appurtenances belonging to it, was allotted to Selina, the third daughter, (fn. 3) who afterwards married E. Dering, esq. and entitled him to this estate. He survived her and afterwards succeeded his father in the title of baronet, and continued in the possession of this estate till 1779, when he passed it away by sale to Mr. William Walker and Mr. James Cannon, of Deal, Who are the present owners of it.
The house, called the Downes house, is the courtlodge, but no court has been held for many years.
THE REMAINING, and by far the greatest partof this estate, called, for distinction,
LYDDE-COURT OUTGROUNDS, was likewise in the possession of the Smiths, of Westenhanger, and was demised by Thomas Smith, esq. of that place, to Roger Manwood, jurat of Sandwich, for a long term of years, at which time the outer downs were enwarrened for hares and rabbits.
From Thomas Smythe, esq. this estate descended down to Philip, viscount Strangford, who sold the whole of it, with the manor, royalties, &c. as has been mentioned before, to Herbert Randolph, esq. who passed a way the manor and part of the lands belonging to it, to Sir Henry Furnese, bart. and the other, being by far the greatest part of it, since called Lydde Court Outgrounds, to Richard Harvey, esq. of Eythorne, who in 1720 alienated it to Sir Robert Furnese, bart. before mentioned, in whose descendants it continued down to Catherine, his daughter and coheir, who carried it in marriage, first to Lewis, earl of Rockingham, and secondly to Francis, earl of Guildford, to whom on her death in 1766, she devised this estate. He died possessed of it in 1790, and his grandson, the right hon. George Augustus, earl of Guildford, is the present possessor of it. This estate comprehends all that tract of land, partly sandy, partly marshy, and the whole nearly pasturage, lying on the south side of Sandwich haven, bounded on the east by the sea shore, and on the west by the ditch, along which the footway to Deal leads, and which is the eastern boundary of Lydde court Inngrounds.
In the year 1565, there was a suit in the star chamber, respecting a road from Sandowne gate and Sandwich, to the castle in the Downes, which was referred to the archbishop and Sir Richard Sackville; who awarded, that there should be a highway sixteen feet broad over Lyd-court grounds.
SANDOWNE, so called from the sand downs over which it principally extends, is a manor, which lies partly in this parish, and partly in that of St. Clement's, in Sandwich, within the jurisdiction of which corporation the latter part of it is. This manor was antiently the estate of the Perots, who held the same, as the private deeds of this name and family shew, as high as the reign of king Henry III. Thomas de Perot died possessed of it in the 4th year of that reign, at which time he had those privileges and franchises, the same as other manors of that time; Henry Perot, the last of this name, at the beginning of king Edward III.'s reign, was succeeded by John de Sandhurst, who left an only daughter and heir Christian, who married William de Langley. (fn. 4) After which it continued in his descendants till it passed to the Peytons, and thence in like manner as Knolton above described, by sale to the Narboroughs, and afterwards by marriage to Sir Thomas D'Aeth, bart whose grandson Sir Narborough D's Aeth, bart. now of Knolton, is the present owner of it. A court baron is held for this manor.
There are no parochial charities.The poor constantly relieved are about twenty-five, casually as many.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Sandwich.
¶The church, which is dedicated to St. Peter and St. Paul, is a small mean building, having a low pointed wooden turret at the west end, in which are two bells. The church consists of a nave, two isles, and a chancel, the north isle extending only about halfway towards the west end. In the south wall of the chancel is an arched tomb, on which probably was once the figure of some person, who was the founder, or at least a good benefactor towards the building. In the south isle are several gravestones for the Philpotts, of this parish; and an altar monument for Mr. Ralph Philpott, obt. 1704.
In the church-yard are altar tombs to the memories of the same family of Philpott.
The church of Word, or Worth, has ever been esteemed as a chapel to the mother church of Eastry, and continues so at this time, being accounted as a part of the same appropriation, a further account of which may be seen in the description of that church before. The vicar of Eastry is inducted to the vicarage of the church of Eastry, with the chapels of Shrinkling and Word annexed to it.
It is included with the church of Eastry in the valuation of it in the king's books. In 1578 here were communicants one hundred and forty-four, in 1644 only one hundred and fourteen.
The rectorial or great tithes of this parish, as part of the rectory of Eastry, were demised on a beneficial lease, to the late countess dowager of Guildford, whose younger children are now entitled to the present interest in this lease.
The lessee of the parsonage is bound to repair the chancel of this church.
1 December 2006
A primarily anglophone travel book store near Grote Markt had several Zwarte Piet candies as decorations in it's front window.
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Amber K. Whittington)
Prat Gran sport center, Carrer del Parnal, Escaldes, Andorra city, Andorra, Pyrenees - (c) Lutz Meyer
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PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
www.army.mil/article/182277/fairy_tale_for_soldiers_at_pe...
PRESIDIO OF MONTEREY, Calif. -- Soldiers from Presidio's 229th Military Intelligence Battalion came out to represent the Army and witness the 3-M Celebrity Challenge charity event at Pebble Beach Golf Links, Feb. 8. The event was part of the AT&T Pebble Beach Pro-Am and held one day prior to the start of the PGA tournament. The celebrity challenge is played over five holes with twelve celebrities paired in teams and playing alternate-shot format for a total purse of $100,000 to celebrities' designated charities. Participating celebrities were Bill Murray, Huey Lewis, Larry the Cable Guy, Toby Keith, Kenny G, Clay Walker, Alfonso Ribeiro, Gary Mule Deer, Andy Garcia, Kelly Rohrbach, Kunal Nayyar, and Josh Duhamel.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Photo by Hiro Chang
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
The Kuman people number about 120,000 and are found in the northern part
of Simbu Province in Papua New Guinea. Kuman is the 3rd largest
language group in the country.
First contact with the outside world occurred in the early 1930s.
Several denominations came in and planted churches at that time. Early
missionaries learned the language, worked on the alphabet, and did some
translation work, but translation work came to a halt by the early 1970s.
SIL placed Dunc and Mary Pfantz in the language group in 1988 as a joint
program with the Bible Society. They mentored a team of national
translators from various denominations and areas of the language group.
Over the years, literacy materials, scripture portions, and the Jesus
video were produced. The complete New Testament in Kuman was dedicated
on June 27, 2008, in Kundiawa, the provincial capital of the province.
Posted in Osaka Hana Hostel.
Sign reads:
"USOYAN!?
"Usoyan (うそやん)" means "Are you lying to me!?"
The normal Japanese phrase is "Uso desyo (うそでしょ)?"
BOCHI BOCHI
"Bochi bochi (ぼちぼち)" means "so so".
The normal Japanese word is "Maa maa (まあまあ)".
YAYAKOSHII
"Yayakoshii (ややこしい)" means "it is complicated" or "Not simple"."
Urmia (Turkish language: Urmu, Urmiyə, اورمیه; farsi: ارومیه) variously translitterated as Oroumiyeh, Orūmīyeh and Urūmiyeh, is a city in and the capital of West Azerbaijan Province, Iran. At the 2006 census, its population was 577,307, with 153,570 households.
The city lies at an altitude of 1,330 m above sea level on the Shahar Chay river (City River). Urmia is the 10th most populated city in Iran. The population is mainly mainly Azerbaijanian Turkish(85-90%), with Kurdish, Assyrian Christian, and Armenian minorities.
Urmia is situated on a fertile plain called Urmia Plain, on western side of Lake Urmia; and eastern side of Turkish border and marginal range of mountains.
Urmia is the trade center for a fertile agricultural region where fruit (especially Apple and Grape) and Tobacco are grown. An important town by the 9th cent., Urmia was seized by the Seljuk Turks (1184), and later occupied a number of times by the Ottoman Turks.
Urmiye (Türkçesi:اورمو, Urmu, اورمیه, Urumiyə;Farsça: ارومیه, Orumieh), İran'ın Batı Azerbaycan Eyaleti'nin yönetim merkezi olan şehir. Şehir, bağlı olduğu eyaletin orta kısmında, Urmiye Gölü ile Türkiye sınırı arasında, kendi adıyla anılan ovada kuruludur. Nüfusu 2006 yılı verileriyle 577,307 kişidir ki Urmiye ülkenin en büyük 10. şehridir.
Urmiye şehrinde nüfusun çoğunluğunu (tahmini 90%) Türklerdir, azınlık kısmınıysa Kürtler, Süryaniler ve Ermeniler oluşturuyor.
PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Symposium on Indigenous Languages at the University of Pennsylvania's Quechua program. October 2019.
Taplan. 8 kms from border.
Taplan means “grass tree” in an Aboriginal language. Taplan railway siding and yards, the life blood of the town in early years, opened in 1913. Like most Murray Mallee railways it closed in 1992 and sadly the rail lines were removed soon after in 1995. The tiny settlement soon had a general store and Post Office which finally closed in 1982 but a community Post Office still operates. The town was in the midst of a grain farming centre. It was declared a town in 1913 and by 1915 Taplan had 35 adults on the local electoral roll. After World War One this increased as in 1919 the SA government bought 14,000 acres of scrubland near Taplan for a soldier settlement community. The land was divided into thirteen farms for soldier settlers who arrived in 1921. Few were successful and the land was sold to other farmers. In the early 1920s a number of German background Lutheran families moved to the Taplan district. Like most communities the locals soon wanted an institute for social events, meetings, weddings etc. The Taplan Institute opened in 1917. The building of the Institute caused a major community division. One person offered land for an Institute associated with the Institutes Association and another offered land for a Public Hall. The institute group won and work began on its construction in 1916. The Commissioner of Crown Lands opened the new Institute on 15 April 1917. The Taplan School opened in the first Institute in July 1917 with Isabella Oliver being the first teacher. The first Taplan Institute was not big enough for the community and a new Institute was opened by a local politician in 1924 which had been added on to the original Institute. It was still part of the Institutes Association but called the Taplan Hall. The new expanded hall was to be used for showing movies by the 1930s. Eventually the Institute became the Hall and it closed and was sold in 1994. A new government school building opened on July 25 1927 despite the sign saying 1929. This school room closed in 1967. The other public building of the town was St John’s Evangelical Lutheran church. Its dedication service was held in October 1923 but the Lutheran congregation was formed in 1918. Services were held in German and records written in old German script but a number of young Lutheran men joined the Australian forces in World War One to support king and country. Services and records continued in German until January 1940 when English was adopted for some services. But one service a month was still held in Luther’s German. From 1941 English language Bibles were in use. It was 1959 before the church became St Johns (not St Johannes) and English was adopted for all services including Holy Communion. The porch was added to St Johanne’s church in 1948. Taplan has a cemetery run by the Lutheran Church. Methodist Church services were held in the Institute in 1920s. The Lutheran Church recently closed and is now a private residence. Family names for burials in Taplan Lutheran cemetery are: Hampel; Jaeschke; Koch; Maudsley; Obst; Pech; Schneck; Teusner; Vogelsang; Zacher; Zimmerman. In 1982 the Tapalan Post Office and general store closed but a Community run Post Office now exists there.
In 2013 for the town’s centenary a stone cairn and plaque was unveiled at the site of the former railway station. Although Taplan is well above Goyder’s Line it is now fairly viable farming country. The grain farms that began with 2,000 acres or less in 1913 are now between 10,000 and 15,000 acres each. This increase in acreage led to rural depopulation and the new massively big computerised seeders, harvesters etc allow these farms to be run with just one or two people. The 1913 farms with their eight draft horse teams for seeding, ploughing and reaping usually had around 5 or six workers to run them. Farms around Taplan now produce viable incomes for those who remain here and throughout the Murray Mallee.
Language of love is so special...
A young kid understands what love is...
A blind man sees what it means...
A deaf man hears what it sounds...
A poor man and a rich man also speak the same language...
Today I am so busy with my work...So tired...and very sleepy +__+ . My eyes look like panda bear eyes. Now I need to sleep, my brain is not bright. I am so sorry. I will catch your great photostream later. Have a sweet dream, all my dear friends ;-)!
Jasmine....
NO INVITES PLEASE...Thanks so much for your visits and also for any comments and faves. I appreciate for all. All your words are nice awards for me. Thank you..thank you ;-)!
The Defense Language Institute Foreign Language Center held their annual Language Day 2016 at the Presidio of Monterey, California, May 13 to promote and encourage cultural understanding and customs from around the world.
Approximately 5,000 people attended the event, which features cultural displays and activities as well as ethnic foods served by local international vendors on the Presidio’s Soldier Field every year.
(Photo by Amber K. Whittington)
by David McFadden.
Toronto, Letters, spring [ie 4 april] 1992. [198] numbered copies.
16 pp/6 printed, photocopy. 5-1/2 x 8-1/2, stapled wrappers.
a poem, "ripped from his Anonymity Suite (1992/M&S) to jumpstart the spring 92 smallpress fair". uncommon in the trade.
65.oo