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A large three-storey hotel building, constructed in 1887 of stuccoed brickwork. Designed by architect G I Inskip. The original verandahs over the pavement did not survive.
The chaste Victorian Classical revival architectural character is important. Notwithstanding the loss of the original verandahs over the pavement, of greater significance is the contribution the building makes to the Victorian streetscape of the west end of the city and, in particular, in relation to the Town Hall opposite and to the commercial premises which extend around the corner and into High Street. A building whose presence reinforces the surviving Victorian character of the very centre of the city where Town Hall, Church and commercial premises combine to produce a significant and cohesive townscape.
Source: www.environment.gov.au/cgi-bin/ahdb/search.pl?mode=place_...
The Federal Hotel traded for approximately 20 years as Rosie O'Grady's but returned to its original name, The Federal Hotel in January 2016.
For more background on the Federal Hotel’s history do visit Fremantle Stuff at fremantlestuff.info/hotels/federal.html
~Harold Wilson
Thank you for all the kind comments and emails in relation to my migraine. I had another bad weekend, dark room, cold flannel, pain killers and relaxation techniques - non of which seemed to help. My vision was badly distorted on Saturday and improved a little on Sunday. Today it is still there but much better but unfortunately I am having to do a lot of computer work which is most likely not helping!
I do hope to try many of the suggestions you told me about. I also hope to get to answer the emails your sent me. I really appreciate the time you took to email and comment. I see so many of you also suffer or know someone who suffers from Migraine so understand how debilitating they can be. I heard today that they isolated the gene that causes Migraine so maybe in the they future, they will be a think of the past. Lets hope so!
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Bonjour.
Un bon moment revient maintenant.
Comment s'est passée votre relation avec votre mère ?
Notre plus précieuse mère, la planète Terre ?
La relation a-t-elle été cordiale, gentille, collaborative ?
Avez-vous souhaité moins et partagé plus ?
Ou vous avez toujours cherché le dernier modèle de ce qui semble briller devant vous,
alors qu'il y a peu de temps ce qui pour vous brillait,
ne brille plus, maintenant des tas au sommet de la montagne de ferraille
ou flotte maintenant sans but,
polluait les mers ?
Comment méditez-vous ? De quelle manière ?
Méditez-vous en vidant votre espirit ?
Ou méditez-vous en apprenant à remplir votre esprit de ce qui compte ?
Comment s'est passée votre relation avec la précieuse mère ? La planète Terre !
Nous sommes au moment de la renaissance de la vie à Noël.
Un bon moment pour renouveler notre façon de méditer,
à votre avantage.
Et alors ? Comment s'est passée votre relation avec votre mère ?
Voulez moins et partagez plus !
Souviens-vous de la mer,
souviens-vous des montagnes,
souviens-vous des forêts,
souviens-vous de votre ville,
souviens-vous de votre précieuse mère,
souviens-vous de toi !
Nous sommes arrivés à Noël.
Mes amis(es)
: ]
Ivan
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Hello.
A good time is coming back now.
How has been your relationship with your mother ?
Our most precious mother, the planet Earth ?
Has been the relationship collaborative ?
Have you wished less and you shared more ?
Or you have always searched for the latest model of what seems to shine in front of you,
while a short time ago what for you shone no longer shines,
now heaps on top of scrap mountain or now floats aimlessly, polluted the seas ?
How do you meditate ? In what way ?
Do you meditate while emptying your mind ?
Or do you meditate as you learn to fill your mind with what matters ?
How has been your relationship with the precious mother ? The earth !
We are at the time of the rebirth of life at Christmas.
A good time to renew our way of meditating,
to your advantage.
So ? How has been your relationship with your mother ?
Want less and share more !
Remember of the sea,
remember of the mountains,
remember of the forests,
remember of your city,
remember of your precious mother,
remember of yourself !
We arrived at Christmas !
My friends
: ]
Ivan
SN/NC: Inga edulis, Syn. Paterna Sp. Fabaceae Family
Inga edulis known as ice-cream-bean, joaquiniquil, cuaniquil, guama or guaba, is a fruit native to South America. It is in the mimosoid tribe of the legume family Fabaceae. It is widely grown, especially by indigenous Amazonians, for shade, food, timber, medicine, and production of the alcoholic beverage cachiri. It is popular in Peru, Ecuador, Pernambuco-Brazil, Venezuela and Colombia. The name inga is derived from its name with the Tupí people of South America. Its name "ice cream bean" originates from the sweet flavor and smooth texture of the pulp. The Inga plant can also form symbiotic relationships where nitrogen gas can be fixated by rhizobial bacteria and mycorrhiza as other legumes can. Surveys have shown that Inga edulis undergo a mutualistic relationships with the bacterial strain of Bradyrhizobium.
A Inga edulis, conhecida como ingá, ingá-cipó, ingá-de-metro, ingá-rabo-de-mico, guaba ou ingá-de-beira-de-rio, é uma fruta nativa da América do Sul. Ela pertence à tribo Mimosoidae da família das leguminosas, Fabaceae. É amplamente cultivada, especialmente pelos povos indígenas da Amazônia, para sombra, alimentação, madeira, medicina e produção da bebida alcoólica cachiri. É popular no Peru, Equador, Pernambuco (Brasil), Venezuela e Colômbia. O nome "inga" deriva de sua denominação entre os povos Tupi da América do Sul. O nome "ingá" (ou "ice cream bean") origina-se do sabor doce e da textura cremosa da polpa. A planta Inga também pode formar relações simbióticas onde o nitrogênio atmosférico é fixado por bactérias rizóbias e micorrizas, como outras leguminosas. Pesquisas mostraram que a Inga edulis estabelece uma relação mutualística com a estirpe bacteriana Bradyrhizobium.
L'Inga edulis, conosciuta come fagiolo gelato, joaquiniquil, cuaniquil, guama o guaba, è un frutto originario del Sud America. Appartiene alla tribù Mimosoidae della famiglia delle leguminose, Fabaceae. È ampiamente coltivata, specialmente dalle popolazioni indigene amazzoniche, per l'ombra, l'alimentazione, il legname, la medicina e la produzione della bevanda alcolica cachiri. È popolare in Perù, Ecuador, Pernambuco (Brasile), Venezuela e Colombia. Il nome "inga" deriva dalla sua denominazione presso il popolo Tupí del Sud America. Il nome "fagiolo gelato" ("ice cream bean") trae origine dal sapore dolce e dalla texture cremosa della polpa. La pianta di Inga può anche formare relazioni simbiotiche in cui l'azoto gassoso viene fissato da batteri rizobici e micorrize, come altre leguminose. Ricerche hanno dimostrato che l'Inga edulis stabilisce una relazione mutualistica con il ceppo batterico di Bradyrhizobium.
L'Inga edulis, connue sous le nom de pois sucré, joaquiniquil, cuaniquil, guama ou guaba, est un fruit originaire d'Amérique du Sud. Il appartient à la tribu des Mimosoidae de la famille des légumineuses, Fabaceae. Il est largement cultivé, notamment par les peuples autochtones d'Amazonie, pour l'ombre, l'alimentation, le bois, la médecine et la production de la boisson alcoolisée cachiri. Il est populaire au Pérou, en Équateur, au Pernambouc (Brésil), au Venezuela et en Colombie. Le nom « inga » dérive de son appellation chez le peuple Tupí d'Amérique du Sud. Son surnom de « pois sucré » (« ice cream bean ») vient de la saveur sucrée et de la texture crémeuse de sa pulpe. La plante Inga peut également former des relations symbiotiques où l'azote gazeux est fixé par des bactéries rhizobiennes et des mycorhizes, comme le font d'autres légumineuses. Des études ont montré que l'Inga edulis entretient une relation mutualiste avec la souche bactérienne Bradyrhizobium.
La Inga edulis, conocida como guaba, guama, joaquiniquil, cuaniquil o "frijol de helado", es una fruta nativa de Sudamérica. Pertenece a la tribu Mimosoidae de la familia de las leguminosas, Fabaceae. Es ampliamente cultivada, especialmente por los pueblos indígenas amazónicos, para sombra, alimento, madera, medicina y la producción de la bebida alcohólica cachiri. Es popular en Perú, Ecuador, Pernambuco (Brasil), Venezuela y Colombia. El nombre "inga" deriva de su denominación entre el pueblo Tupí de Sudamérica. Su apodo "frijol de helado" ("ice cream bean") se origina en el sabor dulce y la textura cremosa de la pulpa. La planta de Inga también puede formar relaciones simbióticas en las que el nitrógeno gaseoso es fijado por bacterias rizobianas y micorrizas, como lo hacen otras leguminosas. Estudios han demostrado que la Inga edulis establece una relación mutualista con la cepa bacteriana de Bradyrhizobium.
De Inga edulis, bekend als ice-cream-bean, joaquiniquil, cuaniquil, guama of guaba, is een fruitsoort die inheems is in Zuid-Amerika. Het behoort tot de Mimosoidae-stam van de vlinderbloemenfamilie, Fabaceae. Hij wordt op grote schaal gekweekt, vooral door inheemse Amazonevolken, voor schaduw, voedsel, hout, medicijnen en de productie van de alcoholische drank cachiri. Hij is populair in Peru, Ecuador, Pernambuco (Brazilië), Venezuela en Colombia. De naam "inga" is afgeleid van zijn benaming bij het Tupí-volk van Zuid-Amerika. Zijn naam "ice cream bean" (ijsboon) is afkomstig van de zoete smaak en de romige textuur van het pulp. De Inga-plant kan ook symbiotische relaties vormen waarbij stikstofgas kan worden gefixeerd door rhizobium-bacteriën en mycorrhiza, net als andere vlinderbloemigen. Onderzoek heeft aangetoond dat Inga edulis een mutualistische relatie aangaat met de bacteriestam Bradyrhizobium.
Der Inga edulis, bekannt als Eiscremebohne, Joaquiniquil, Cuaniquil, Guama oder Guaba, ist eine in Südamerika heimische Frucht. Er gehört zum Tribus Mimosoidae innerhalb der Hülsenfruchtfamilie Fabaceae. Er wird weit verbreitet angebaut, insbesondere von indigenen Völkern Amazoniens, für Schatten, Nahrung, Holz, Medizin und die Herstellung des alkoholischen Getränks Cachiri. Er ist in Peru, Ecuador, Pernambuco (Brasilien), Venezuela und Kolumbien beliebt. Der Name "Inga" leitet sich von seiner Bezeichnung bei den Tupí-Völkern Südamerikas ab. Sein Name "Eiscremebohne" ("ice cream bean") rührt vom süßen Geschmack und der cremigen Textur des Fruchtfleisches her. Die Inga-Pflanze kann auch symbiotische Beziehungen eingehen, bei denen Stickstoffgas durch Knöllchenbakterien (Rhizobien) und Mykorrhiza gebunden wird, wie es andere Hülsenfrüchte können. Untersuchungen haben gezeigt, dass Inga edulis eine mutualistische Beziehung mit dem Bakterienstamm Bradyrhizobium eingeht.
نبات إنغا إيدوليس (Inga edulis)، المعروف باسم فول الآيس كريم، أو الجواكينيكيل، الكوانيكيل، الجواما، أو الجوابا، هو فاكهة أصلية في أمريكا الجنوبية. تنتمي إلى قبيلة ميموسويد (Mimosoidae) من عائلة البقوليات (Fabaceae). تُزرع على نطاق واسع، لا سيما من قبل سكان الأمازون الأصليين، من أجل الظل، والغذاء، والأخشاب، والدواء، وإنتاج المشروب الكحولي كاتشيري. وهي شائعة في بيرو، والإكوادور، وبيرنامبوكو (البرازيل)، وفنزويلا، وكولومبيا. اشتق اسم "إنغا" (inga) من تسميتها لدى شعب توبي (Tupí) في أمريكا الجنوبية. يُشتق اسم "فول الآيس كريم" ("ice cream bean") من الطعم الحلو والملمس الكريمي لللب. يمكن لنبات الإنغا أيضاً تكوين علاقات تكافلية حيث يمكن تثبيت غاز النيتروجين بواسطة بكتيريا الريزوبيوم وفطريات الميكوريزا، كما تفعل البقوليات الأخرى. أظهرت الدراسات أن نبات إنغا إيدوليس يدخل في علاقة تبادلية مع السلالة البكتيرية براديرهيزوبيوم (Bradyrhizobium).
インガ・エドゥリス（Inga edulis）は、アイスクリームビーン、ホアキニキル、クアニキル、グアマ、またはグアバとして知られ、南米原産の果物です。マメ科（Fabaceae）のミモソイド連（Mimosoidae）に属します。日陰樹、食料、木材、医薬品、そしてアルコール飲料「カチリ」の製造のために、特にアマゾンの先住民によって広く栽培されています。ペルー、エクアドル、ペルナンブーコ（ブラジル）、ベネズエラ、コロンビアで人気があります。「インガ」という名前は、南米のトゥピ族による呼称に由来しています。「アイスクリームビーン」という通称は、果肉の甘い風味と滑らかな食感に由来します。インガ属の植物は、他のマメ科植物と同様に、根粒菌（リゾビウム）と菌根菌による大気中の窒素固定を行う共生関係を形成することもできます。調査により、インガ・エドゥリスはブラディリゾビウム（Bradyrhizobium）菌株と相利共生関係を築くことが示されています。
Inga edulis，通常被称为冰淇淋豆（ice-cream-bean）、joaquiniquil、cuaniquil、guama 或 guaba，是一种原产于南美洲的水果。它属于豆科（Fabaceae）含羞草族（Mimosoidae）。它被广泛种植，特别是被亚马逊原住民，用于遮荫、食物、木材、医药以及生产酒精饮料卡奇里（cachiri）。它在秘鲁、厄瓜多尔、伯南布哥（巴西）、委内瑞拉和哥伦比亚很受欢迎。“Inga”这个名字来源于南美洲图皮人（Tupí）对它的称呼。其“冰淇淋豆”的名称源于果肉甜美的风味和柔滑的质地。与其他豆科植物一样，英加属植物也能形成共生关系，通过根瘤菌和菌根来固定氮气。调查表明，Inga edulis 与慢生根瘤菌（Bradyrhizobium）菌株建立了互利共生关系。
This collaborative performance at the 37th Venice Biennale in 1976 was the firs ins a series of relation works that would form this portfolio with the same title. Abramovic and Ulay repeatedly ran toward one another, their naked bodies colliding at ever-increasing speed. Using their bodies to explore the potential and failings within the male-female dualism, they pushed physical and mental limits, their stamina often determining the performance’s length.
Excerpt from www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=340:
Fort Malden National Historic Site of Canada
Amherstburg, Ontario
Address : 100 Laird Avenue South, Amherstburg, Ontario
Recognition Statute: Historic Sites and Monuments Act (R.S.C., 1985, c. H-4)
Designation Date: 1921-05-21
Dates:
•1796 to 1799 (Construction)
•1796 to 1813 (Significant)
•1812 to 1812 (Significant)
•1813 to 1815 (Significant)
•1837 to 1838 (Significant)
•1820 to 1820 (Other addition)
Event, Person, Organization:
•War of 1812 (Event)
•Royal Canadian Volunteers (Organization)
•The Black Militia (Organization)
Other Name(s):
•Fort Malden (Designation Name)
•Fort Amherstburg (Other Name)
Existing plaque: 100 Laird Avenue South, Amherstburg, Ontario
This post was begun by the Royal Canadian Volunteers in 1796 to replace Detroit and to maintain British influence among the western Indians. As the principal defence of the Detroit frontier in 1812, it was here that Isaac Brock gathered his forces for the attack on Detroit. The next year, with supply lines cut and control of Lake Erie lost to the Americans, the British could not hold the fort, which they evacuated and burned. Partially rebuilt by the invading Americans, it was returned on 1 July 1815 to the British, who maintained a frontier garrison here until 1851. *Note: This designation has been identified for review. A review can be triggered for one of the following reasons - outdated language or terminology, absence of a significant layer of history, factual errors, controversial beliefs and behaviour, or significant new knowledge.
Description of Historic Place
The Fort Malden National Historic Site of Canada is an extensive, park-like area defined by surviving earthworks, a brick barracks building and a classically inspired structure of a domestic nature, situated on the banks of the Detroit River opposite Bois Blanc Island in Amherstburg, Ontario.
Heritage Value
Fort Malden was designated a national historic site of Canada for its role : as the principal military station for the defence of the western frontier for the period 1796-1813; in the War of 1812; in the defence of the western frontier during the border raids of 1837-38.
The heritage value of Fort Malden National Historic Site of Canada lies in the association of surviving cultural resources with the military role of the fort in the 18th and 19th centuries. The fort consisted of a deep protective ditch lined with pickets and a raised earthen parapet with bastions and mounted artillery which helped to define its interior parade square. The fort's only surviving building is the Men's Brick Barracks built in 1820. Fort Malden was established in 1796, and built as Fort Amherstburg by the Second Battalion Royal Canadian Volunteers in 1797-1799. It was strengthened in 1812, but evacuated and burned by the British in September 1813. The Americans partially rebuilt the fort in 1815. After the War of 1812, Fort Malden returned to the British and in 1837-38 was reconfigured in order to serve as a border post.
Key features contributing to the heritage value of this site include:
the cultural landscape as a remnant defence work with its siting, the form and footprint of its earthworks, parade square and other man-made landscape features and surviving building; siting on a steep bank above the Detroit River.
Men's Brick Barracks its massing as a long low single-storey rectangle with a moderately pitched hipped roof punctuated by large brick chimneys and the duplication of these shapes at a more modest scale in the 1840s brick addition to the building; the dominant porch and symmetrical definition of its main facade with a central door, flanking doors with sidelights, and the balanced arrangement of doors and windows on other facades; defensive loopholes on the south and east walls of the 1840s addition; original exterior materials and their craftsmanship (rubblestone foundation and brick walls); surviving evidence of original interior layout, materials and finishes including brick partition walls and centrally placed chimneys, roof framing, original plaster and trim; siting at perimeter of the parade square.
Archaeological remains vestiges of buildings, defensive works and activities.
Landscape features footprint and form of the earthworks and parade square with their view of associated ditch, bastions, and glacis (on neighbouring property); the scale and location of these works in relation to each other and to the Brick Barracks; evidence of historic entrances to the fort from the town and from the river to the fort; viewplanes to and from Fort Malden, to the narrow channel of the Detroit River and Bois Blanc Island and the view to and from the southwest bastion down Dalhousie St. to the town of Amherstburg and the former naval yard.
This collaborative performance at the 37th Venice Biennale in 1976 was the firs ins a series of relation works that would form this portfolio with the same title. Abramovic and Ulay repeatedly ran toward one another, their naked bodies colliding at ever-increasing speed. Using their bodies to explore the potential and failings within the male-female dualism, they pushed physical and mental limits, their stamina often determining the performance’s length.
Matthew Cooper and I (no relation) have been doing this Disney photography thing since 2010, except on different coasts, and in different Parks. He and I were both into HDR images in Disney Parks way early on. I always thought he and I were of equal quality yet each of us has slightly different looks...From my point of view, Matt's work is clean and crisp and technically superb with those trademark stars. I tend to like details and lightplay and texture, particularly on pathways, and we both enjoy creative compositions...
I started the HDR journey by reading books and watching videos, trying different HDR sofware methods and eventually settling on mixing and masking layers and exposures manually as needed. Lately, luminosity masks have become a big part of my routine.
Having recently joined the IDP team of admins, I have enjoyed getting to know everyone and sharing my Disneyland photography experiences with them. Matthew and Sean recently made it out here to Disneyland on separate trips, and I was able to meet up briefly with them both for a couple hours in the Parks.
Matthew and I thought it would be nifty if we could shoot and process similar shots side by side. This is the first...the classic front view of Sleeping Beauty Castle. For reference, my Canon 5DIII is mounted on a fully extended tripod. Mathew's Nikon 810 is mounted on a collapsed tripod directly below mine.
For my image, I already knew from experience that my camera was not as light sensitive as the 810 and I would probably need more exposures and higher ISO for my final image. I ended up shooting 5 base exposures at ISO 200, f/9, with a 14mm Rokinon manual lens. I shot some additional images at ISO 400 and ISO 800 of the sky and to use for masking out various people as they gathered in front of the castle. I used a total of 8 images to make the final product, merged by manually masking them together and some liminosity masking. It should be noted that photos of this particular castle are a challenge to edit due to the extremely hot and colorful lighting, and the usually overcast skies that can be terribly affected by light pollution in the urban environment that Disneyland occupies....
No relation to the European operation of same name the AOE was a luxury landcruise that ran in the US (and briefly Mexico) between 1994 and 2008 that operated to varied itineraries. This was the only occasion I ever saw it, with the passengers enjoying a cold and very wet day in Glacier National Park. Amtrak provided the power, which this day was a P40 & P42.
Serenity is to keep oneself so to speak above the clouds, in the calm and coolness of emptiness and far from all the dissonances of this lower world; it is never to allow the soul to immerse itself in impasses of disturbances, bitterness, or secret revolt, for it is necessary to beware of implicitly accusing Being when accusing some phenomenon.
Serenity is resignation, at once intellectual and moral, to the nature of things: it is patience in relation to All-Possibility insofar as the latter requires, by its very limitlessness, the existence of negative possibilities, those that deny Being and the qualities manifesting It.
Serenity consists in resigning oneself to that destiny, at once unique and permanent, which is the present moment: to this itinerant “now” that no one can avoid and that in its substance pertains to the Eternal.
The man who is conscious of the nature of pure Being willingly remains in the moment that Heaven has assigned him; he is not feverishly straining towards the future nor lovingly or sadly bent over the past. The pure present is the moment of the Absolute: it is now — neither yesterday nor tomorrow — that we stand before God.
----
excerpts from Roots of the Human Condition by Frithjof Schuon
Umblical relation/ “தொப்புள் கொடி” உறவு
Title inspired from Karthik'z
*** CHECK MY MANGALORE TRIP REPORT ***
HBW!
Shot on the way to Moodabidri from Mangalore.
Shot at 300mm.
Levels adjusted.
Check-out other Mangalore pics!
ALL RIGHTS RESERVED!
© Murali Alagar Photography
muraliwind@yahoo.com
In relation with: Hétköznapi Hősök temporary exhibition,
4th June 2016 – 10th June 2016
Full project: www.behance.net/gallery/48395069/Exhibition-identity-Htko...
© Cynthia E. Wood
www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb | Instagram @cynthiaewood
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme.
Neil Peart
Pelham Crescent, Joseph Kay (no relation), 1824-1828.
"On a wild November day, when foaming white horses gallop up the beach hellbent on crashing into Hastings seafront, Pelham Crescent shrinks back into the cliff face, lowering its lashes, gathering its skirts. This delicately wrought architectural marvel, with its bow windows and curved balconies (as good as Cadiz!) was built by celebrated 19th-century architect Joseph Kay between 1824 and 1828 for Thomas Pelham, 2nd Earl of Chichester. Pelham owned Hastings Castle above it and cut back the sandstone cliff to make room for a terrace bearing his family name.
Kay incorporated both a church – St. Mary-in-the-Castle –and a shopping arcade into the design of the crescent. The church was a private chapel, consecrated for public use, and built, unusually, in a D-shape, so the preacher was closer to his congregation. It is now boarded up, its pews – once catering for 1,500 worshippers – layered with dust. At the time it was much admired: ‘The church is top-lit and has an Ionic prostyle portico, while beneath the terrace in front of the whole composition is an ingenious structure intended for shops and services.’ [Oxford Dictionary of Architecture]." ROSA Magazine
The Hamar (or Hamer) is a catlle herder tribe which lives on the Eastern side of the Omo Valley in Southern Ethiopia. Honey collection is their major activity and their cattle is the meaning of their life. There are at least 27 words for the subtle variations of colours and textures of a cattle ! And each man has three names: a human, a goat and a cow name.
The Hamar have very unique rituals such as a bull-leaping ceremony, that a young men has to succeed in order to get married. The cow jumping is an initiation rite of passage for boys coming of age in Hamar tribe. Cows are lined up in a row. The initiate, naked, has to leap on the back of the first cow, then from one bull to another, until he finally reaches the end of the row. He must not fall of the row and must repeat successfully the test four times to have the right to become a husband. While the boys walk on cows, Hamar women accompany him: they jump and sing. Totally committed to their initiated sons, the mothers are whipped to blood, in order to prove their courage and accompany their sons during the test.
The Hamar are very preoccupied with their beauty. They have at times spectular haidresses.
Men use a wooden head rest which prevents the hair from touching the ground. You can see them walking with it everywhere ! It is used as head rest to protect the clay wig that some do on the top of the head, but it is also usefulas a seat ! Even if there is a chair close to them, they prefer to use the head rest !
Women know many ways to do their hair. The most famous hair style is when their hair is in short tufts rolled in ochre and fat or in long twisted strands. These coppery coloured strands are called "goscha", it's a sign of health and welfare.
They also wear bead necklaces, iron bracelets around their arms, and decorate their breast with lots of cowry shells, like a natural bra.
Around married women's necks, you can see "esente": torques made of iron wrapped in leather. These are engagement presents; they are worn for life and indicate their husband's wealth. One of the necklaces catch more especially the attention: it is called the "bignere". It's also an iron and leather ring, which has a phallic-shape end. But this jewelry can only be worn by a man's first wife.
I remember a woman I have met. On her neck, there were three necklaces. According to what I just explained about the bignere, the biggest one at the top means she was "First Wife". This is important, as her statut is the higher one in Hamer society. But as she has two more simple necklaces around her neck: that means her husband took two more wives... The Hamar women who are not first wife have a really hard life and they are more slaves than wives... During my trip, I could see some of these women, working like slaves for the men: their skin were covered with clay, butter and animal fat... So they were a little scary ! Another thing to know about these women: the more scars one has on her back, the higher is her status.
The young unmarried girls, for their part, wear a kind of oval shape plate, in metal. It is used like a sunshield, but it tends to be rare in the tribe. Some of them have fund their future husband, but have to wait in their house until the so-called prentender can provide all the money for the ceremony: he has to pay for all the cows the bride-to-be's family asks for. These girls are called "Uta" and have to wait three months, entirely covered with red clay... And no right to take baths or showers ! They cannot go out of the house, let alone the village.That's why it is very rare to see or take a photo of a Uta. A cruel tradition still has currency for some Hamar: unmarried women can have babies to test their fertility, but some of them are just abandonned in the bush. This tradition tends to disapear but NGO still save abandonned new borns. Abandonments are all the more frequent than some Hamar believe that a child born out of formal marriages has "mingi", as to say something abnormal and unclean. For them, it is the expression of the devil, which may cause disasters such as epidemics or drought in the village. So, illegitimate children are abandoned. This kind of beliefs can also be observed in other Ethiopan tribes: many parents prefer to sacrifice their own child rather than risk being affected by the evil eye.
Something left me a really strong impression in Africa: football is of the highest importance, even in the most remote places !
I remember a boy, who was living several days-walk from the Turmi market. But as most of the young Hamar, he came there to watch football on television ! This guy was wearing a Chelsea tee-shirt, but still had to jump over ten bulls to be able to marry a girl in his tribe: a real culture shock! They are all really into Chelsea, Arsenal... such as many Ethiopians, who are just crazy about English football, because the national TV brodcasts every single match ! So, while I was in deep South Ethiopia, I still could ask “did Arsenal win?”, and always had an accurate answer: the score, the name of the scorers, etc...Strange, but true ! Meantime, the world economic crisis was at its high ! Even if you do not speak their language, you can exchange with those guys with few words like “Ribery, Thierry Henry, Drogba", etc. ! Of course, all the tribes do not go into this village, and only the ones who are not too far have this passion.
Other special feature in these tribes: their relation to the photos. I remember a day, in a restaurant in Dimeka -not to say the only one around there. I made a polaroid of a Hamar couple. The man was angry because, as he said, "the colors were not good" ; he threw the picture away. But the lady finally let him go, and took the picture with her ! It' was not the first time those people, from remote areas, do not have any pictures of themselves and so are very demanding about the quality of the picture they are on! For instance, the Mursi do not understand why the picture do not have their own real size !
Besides, it is not so easy to get smiles in this area. First, because people work really hard and second, because it is very difficult to share anything with them as we are seen as walking wallet with cameras !
© Eric Lafforgue
Castlefield, Manchester
If you saw my posting yesterday then you will know why I was in Manchester waiting for the shops to open. Has an hour or two to kill so visited the Castlefield site to shoot a few frame. I noticed the name of the barge moored alongside the viaducts from the Bridgewater Canal tow path where this picture was taken. Did consider titling the image "Emmeline Pankhurst" but it bares no relation to the image or location, but for those of you who have never heard of her, here are a few notes lifted from Wikipedia.
Emmeline Pankhurst (15 July 1858 – 14 June 1928)
was a British political activist and leader of the British suffragette movement who helped women win the right to vote. In 1999 Time named Pankhurst as one of the 100 Most Important People of the 20th Century, stating: "she shaped an idea of women for our time; she shook society into a new pattern from which there could be no going back." She was widely criticised for her militant tactics, and historians disagree about their effectiveness, but her work is recognised as a crucial element in achieving women's suffrage in Britain.
Born in Moss Side, Manchester to politically active parents, Pankhurst was introduced at the age of 14 to the women's suffrage movement. On 18 December 1879, she married Richard Pankhurst, a barrister 24 years her senior known for supporting women's right to vote; they had five children over the next ten years. He supported her activities outside the home, and she founded and became involved with the Women's Franchise League, which advocated suffrage for both married and unmarried women. When that organisation broke apart, she tried to join the left-leaning Independent Labour Party through her friendship with socialist Keir Hardie but was initially refused membership by the local branch on account of her sex. While working as a Poor Law Guardian, she was shocked at the harsh conditions she encountered in Manchester's workhouses.
In 1903, five years after her husband died, Pankhurst founded the Women's Social and Political Union (WSPU), an all-women suffrage advocacy organisation dedicated to "deeds, not words." The group identified as independent from – and often in opposition to – political parties. It became known for physical confrontations: its members smashed windows and assaulted police officers. Pankhurst, her daughters, and other WSPU activists received repeated prison sentences, where they staged hunger strikes to secure better conditions. As Pankhurst's eldest daughter Christabel took leadership of the WSPU, antagonism between the group and the government grew. Eventually the group adopted arson as a tactic, and more moderate organisations spoke out against the Pankhurst family. In 1913 several prominent individuals left the WSPU, among them Pankhurst's daughters Adela and Sylvia. Emmeline was so furious that she "gave [Adela] a ticket, £20, and a letter of introduction to a suffragette in Australia, and firmly insisted that she emigrate." Adela complied and the family rift was never healed. Sylvia became a socialist.
With the advent of the First World War, Emmeline and Christabel called an immediate halt to militant suffrage activism in support of the British government's stand against the "German Peril." They urged women to aid industrial production and encouraged young men to fight, becoming prominent figures in the white feather movement. In 1918 the Representation of the People Act granted votes to all men over the age of 21 and women over the age of 30. This discrepancy was intended to ensure that men did not become minority voters as a consequence of the huge number of deaths suffered during the First World War. Pankhurst transformed the WSPU machinery into the Women's Party, which was dedicated to promoting women's equality in public life. In her later years, she became concerned with what she perceived as the menace posed by Bolshevism and joined the Conservative Party and was selected as a Conservative Party candidate for Stepney in 1927. She died on 14 June 1928, only weeks before the Conservative government's Representation of the People Act (1928) extended the vote to all women over 21 years of age on 2 July 1928. She was commemorated two years later with a statue in London's Victoria Tower Gardens.
An icon with an inimitable style, Louise Nevelson is now recognized as one of the major sculptors of the 20th century. Her art is generally discussed in relation to Cubism, Constructivism, Schwitters, the readymade, or the collage practices of the Dada and Surrealist movements. But her sources of inspiration are far broader, and her work invites us to explore an art history where dance and performance—around which the exhibition is structured—play a leading role. Thirty years after her death, her legacy continues to resonate with the young contemporary art scene, even in the world of fashion.
Nevelson's twenty-year study of eurythmy, a method of bodily expression aimed at discovering one's vital force and creative energy, revolutionized her life and work. In 1950, her discovery of Mexico and Guatemala gave a monumental dimension to her work, now imbued with a blend of geometry and magic. Under this dual influence, her environments gradually emerge, becoming monumental, enveloping, totemic, and sacred.
The works are composed of reclaimed wooden objects that she gathers in boxes, before stacking and painting them black, unifying the composition with a monochrome veil. Beyond the synthesis she achieves between pre-Columbian art, Cubism, and the Color Field painting movement, Nevelson envisions a space to be explored rather than a sculpture to be viewed head-on.
source: www.centrepompidou-metz.fr/en/programme/exposition/louise...
ATMOSPHERE AND ENVIRONMENT
Between 1966 and 1968, Nevelson created several series in Plexiglas, whose transparency allowed her to explore new dimensions of light. (...) At the same time, she continued to use wood to create monumental walls, as evidenced by Homage to the Universe in 1968.
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Icône au style inimitable, Louise Nevelson est aujourd’hui reconnue comme l’une des sculptrices majeures du XXème siècle. Son art est généralement évoqué à l’aune du cubisme, du constructivisme, de Schwitters, du ready-made ou des pratiques du collage des mouvements dada et surréalistes. Mais ses sources d’inspiration sont bien plus vastes et son œuvre invite à évoluer dans une histoire des arts où la danse et la performance – autour desquels l’exposition s’articule – jouent un rôle de premier plan. Trente ans après sa mort, son héritage continue de résonner auprès de la jeune scène contemporaine, jusque dans le monde de la mode.
L’étude pendant vingt ans de l’eurythmie qui enseigne une expression corporelle dont l’objectif était de découvrir sa force vitale et son énergie créatrice révolutionneront la vie et l’œuvre de Nevelson.
En 1950, sa découverte du Mexique et du Guatemala donnera une dimension monumentale à son œuvre, désormais porté par un mélange de géométrie et de magie. Sous cette double influence émergent ses environnements, progressivement monumentaux, enveloppants, totémiques et sacrés.
Les œuvres sont composées d’objets en bois récupérés qu’elle rassemble dans des boîtes, avant de les empiler et de les peindre en noir, unifiant la composition par un voile monochrome. Au-delà de la synthèse qu’elle opère entre l’art pré-colombien, le cubisme ou encore le mouvement de la color field painting, Nevelson imagine un lieu à explorer plutôt qu’une sculpture à regarder frontalement.
source: www.centrepompidou-metz.fr/fr/programmation/exposition/lo...
ATMOSPHERE AND ENVIRONMENT
Entre 1966 et 1968, Nevelson réalise plusieurs séries en Plexiglas, dont les qualités
de transparence lui offrent la possibilité d’explorer de nouvelles dimensions de la
lumière. (...)
En parallèle, elle continue de recourir au bois pour réaliser des murs
monumentaux, comme en témoigne Homage to the Universe en 1968.