PictionID:44808603 - Title:Atlas Payload Component - Catalog:14_014197 - Filename:14_014197.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

The Polydyne 5 is a private brand radio manufactured by the Earl Radio Corporation. It is one of the "Q" model series which was sold under the Freshman brand name as well under the Polydyne and other private brand names.

 

The radio was advertised in a 1928 catalog of the Chicago Salvage Stock Store. The price for the radio with tubes, aerial and ground was $29.18. In the same catalog, the seller also used other private brand names including Cadillac, Starko and Star-Ko for other components. Auction Item 254

not so grainy on larger size [all sizes]

 

constructive components made of paper tubes, rolls of aluminum (offset) rubber and some wire, exceeds of the press of a newspaper

 

sort of shigeru ban

Francisco Sá Carneiro Airport. Maia - Portugal

Olympus XA2 + Fujichrome Velvia 50 (Expired April 2004)

Innate disposition

Associated processes

Change accord

 

pastie.org/1000404

(all the parts are grouped separately)

 

Includes stock, trigger, handgaurd, shotgun shell, and carry handle/sights

Purtroppo per noi manca ancora un mese alla fatidica data e, per il momento, dovremo continuare ad accontentarci di rumor: dopo la nuova immagine trapelata poche ore fa, sono spuntati sul social network cinese Weibo altri due scatti, che ritraggono un probabile Mi5 dal retro.

Quel che potremmo ...

 

www.fasa.technology/xiaomi-mi5-componenti-e-colorazioni/

Tofu, also known as bean curd, is a food made by coagulating soy milk and then pressing the resulting curds into soft white blocks. It is a component in East Asian and Southeast Asian cuisines. There are many different varieties of tofu, including fresh tofu and tofu that has been processed in some way. Tofu is bought or made to be soft, firm, or extra firm. Tofu has a subtle flavor and can be used in savory and sweet dishes. It is often seasoned or marinated to suit the dish.

 

Tofu originated in Han dynasty China some 2,000 years ago.[5] Chinese legend ascribes its invention to prince Liu An (179–122 BC). Tofu and its production technique were introduced into Korea and then Japan during the Nara period (710–794). Some scholars believe tofu arrived in Vietnam during the 10th and 11th century. It spread into other parts of Southeast Asia as well. This spread probably coincided with the spread of Buddhism because it is an important source of protein in the vegetarian diet of East Asian Buddhism. Li Shizhen in the Ming Dynasty described a method of making tofu in the Compendium of Materia Medica.

 

Tofu has a low calorie count and relatively large amounts of protein. It is high in iron, and depending on the coagulants used in manufacturing (e.g. calcium chloride, calcium sulfate, magnesium sulfate), it can have higher calcium or magnesium content.

 

The term tofu by extension can be used in similarly textured curdled dishes that do not use soy products at all, such as "almond tofu" (almond jelly), tamago-dōfu (ja) (egg), goma-dōfu (ja) (sesame), or peanut tofu (Chinese 落花生豆腐 luòhuāshēng dòufu and Okinawan jīmāmi-dōfu (ja)).

 

ETYMOLOGY

The English term comes from Japanese tōfu (豆腐), borrowed from the original Chinese equivalent (豆腐 or 荳腐) transcribed tou4-fu3 (Wade-Giles) or dòufu (pinyin), literally "bean" (豆) + "curdled" or "fermented" (腐).

 

A reference to the word "towfu" exists in a letter dated 1770 from English merchant James Flint to United States statesman and scientist Benjamin Franklin. This is believed to be the first documented usage of the word in English.

 

The term "bean curd(s)" for tofu has been used in the United States since at least 1840. It is not frequently used, however, in the United Kingdom, Australia or New Zealand.

 

PRODUCTION

Tofu is made by coagulating soy milk and pressing the resulting curds. Although pre-made soy milk may be used, some tofu producers begin by making their own soy milk, which is produced by soaking, grinding, boiling and straining dried (or, less commonly, fresh) soybeans.

 

Coagulation of the protein and oil (emulsion) suspended in the boiled soy milk is the most important step in the production of tofu. This process is accomplished with the aid of coagulants. Two types of coagulants (salts and acids) are used commercially.

 

SALT COAGULANTS

Calcium sulfate (gypsum): The traditional and most widely used coagulant to produce Chinese-style tofu. It produces a tofu that is tender but slightly brittle in texture. The coagulant itself has no perceivable taste. Use of this coagulant also makes a tofu that is rich in calcium. As such, many tofu manufacturers choose to use this coagulant to be able to market their tofu as a good source of dietary calcium.

 

Chloride-type Nigari salts or Lushui ( Traditional: 鹵水, 滷水; Simplified: 卤水, lǔshuǐ) - Magnesium chloride and calcium chloride: Both of these salts have a high solubility in water and affect soy protein in the same way, whereas gypsum is only very slightly soluble in water and acts differently in soy protein precipitation, the basis for tofu formation. These are the coagulants used to make tofu with a smooth and tender texture. In Japan, a white powder called nigari, which consists primarily of magnesium chloride, is produced from seawater after the sodium chloride is removed and the water evaporated. Depending on its production method, nigari/Lushui may also contain small quantities of magnesium sulfate (Epsom salt), potassium chloride, calcium chloride, and trace amounts of other naturally occurring salts. Although the term nigari is derived from nigai, the Japanese word for "bitter," neither nigari nor pure magnesium chloride imparts a perceivable taste to the finished tofu. Calcium chloride is a common coagulant for tofu in North America. Fresh clean sea water itself can also be used as a coagulant.

 

ACID COAGULANTS

Glucono delta-lactone (GDL): A naturally occurring organic acid also used in cheese making, which produces a very fine textured tofu that is almost jelly-like. This coagulant is used especially for "silken" and softer tofus, and confers an almost imperceptible sour taste to the finished product. Commonly used together with calcium sulfate to give soft tofu a smooth tender texture.

Other edible acids: Though they can affect the taste of the tofu more, and vary in efficacy and texture, acids such as acetic acid (vinegar) and citric acid (such as lemon juice), can also be used to coagulate soy milk and produce tofu.

 

ENZYME COAGULANTS

Among enzymes that have been shown to produce tofu are papain, and alkaline and neutral proteases from microorganisms. In the case of papain, the enzyme to substrate ratio, by weight, was held constant at 1:400. An aliquot of 1% crude papain was added to "uncooked" soy milk at room temperature and heated to 90–100 °C. Papain, moreover, has been studied as a gelling agent to produce "instant tofu" from soy protein isolate and soy glycinin (11S) protein.

 

Contemporary tofu manufacturers may choose to use one or more of these coagulants, since they each play a role in producing a desired texture in the finished tofu.Different textures result from different pore sizes and other microscopic features in tofus produced using each coagulant. The coagulant mixture is dissolved into water, and the solution is then stirred into boiled soy milk until the mixture curdles into a soft gel.

 

The curds are processed differently depending on the form of tofu that is being manufactured. For soft silken tofu (嫩豆腐; nèn dòufu) or tofu flower (豆花, dòuhuā) the soy milk is curdled directly in the tofu's selling package. For standard firm Asian tofu, the soy curd is cut and strained of excess liquid using cheese cloth or muslin and then lightly pressed to produce a soft cake. Firmer tofus, such as Asian dry tofu (豆干) or Western types of tofu, are further pressed to remove even more liquid. In Vietnam, the curd is strained and molded in a square mold and the end product is called đậu khuôn (molded bean) or đậu phụ (one of the Vietnamese ways to pronounce the Chinese dòufu). The tofu curds are allowed to cool and become firm. The finished tofu can then be cut into pieces, flavored or further processed.

 

Although tartness is sometimes desired in dessert tofu, the acid used in flavoring is usually not the primary coagulant since it is not desirable to the flavor or texture of the resulting tofu to add it in a sufficiently high concentration so as to induce coagulation. A sour taste in tofu and a slight cloudiness in its storing liquid is also usually an indication of bacterial growth and, hence, spoilage.

 

VARIETIES

There is a wide variety of tofu available in both Western and Eastern markets. Despite the large variety, tofu products can be split into two main categories: fresh tofu, which is produced directly from soy milk, and processed tofu, which is produced from fresh tofu. Tofu production also creates important side products which are often used in various cuisines.

 

FRESH TOFU

Depending on the amount of water that is extracted from the tofu curds, fresh tofu can be divided into three main varieties. Fresh tofu is usually sold completely immersed in water to maintain its moisture content.

 

SOFT OR SILKEN TOFU

Soft/silken tofu (嫩豆腐 or 滑豆腐, nèn dòufu or huá dòufu, in Chinese, lit. "soft tofu" or "smooth tofu"; 絹漉し豆腐, kinugoshi tōfu in Japanese, lit. "silk-filtered tofu"; 순두부, 純豆腐, sundubu in Korean, lit. "pure tofu") is undrained, unpressed tofu that contains the highest moisture content of all fresh tofus. Silken tofu is produced by coagulating soy milk without curdling it. Silken tofu is available in several consistencies, including "soft" and "firm", but all silken tofu is more delicate than regular firm tofu (pressed tofu) and has different culinary uses. In Japan and Korea, traditional soft tofu is made with seawater. Silken tofu is a versatile, reliable substitute for dairy and eggs, especially for smoothies and baked desserts.

 

Douhua (豆花, dòuhuā or 豆腐花, dòufuhuā in Chinese), or tofu brain (豆腐腦 or 豆腐脑, dòufunaǒ in Chinese) is often eaten as a dessert, but sometimes salty pickles or hot sauce are added instead. This is a type of soft tofu with an even higher moisture content. Because it is very difficult to pick up with chopsticks, it is generally eaten with a spoon. With the addition of flavorings such as finely chopped spring onions, dried shrimp, soy sauce, chilli sauce, douhua is a popular breakfast dish across China. In Malaysia, douhua is usually served warm with white or dark (palm) sugar syrup, or served cold with longans.

 

Some variation exists among soft tofus. Black douhua (黑豆花, hēidòuhuā) is a type of silken tofu made from black soybeans, which is usually made into dòuhuā (豆花) rather than firm or dry tofu. The texture of black bean tofu is slightly more gelatinous than regular douhua and the color is greyish in tone. This type of tofu is eaten for the earthy "black bean taste." Edamame tofu is a Japanese variety of kinugoshi tōfu made from edamame (fresh green soybeans); it is pale green in color and often studded with whole edamame.

 

FIRM TOFU

Firm tofu (called 老豆腐 lǎo dòufu in Chinese; 木綿豆腐, momen-dōfu in Japanese, lit. "cotton tofu"; 단단한두부, dandanhan dubu in Korean): Although drained and pressed, this form of fresh tofu still contains a great amount of moisture. It has the firmness of raw meat but bounces back readily when pressed. The texture of the inside of the tofu is similar to that of a firm custard. The skin of this form of tofu has the pattern of the muslin used to drain it and is slightly more resilient to damage than its inside. It can be picked up easily with chopsticks.

 

In some places in Japan, a very firm type of momen-dōfu is eaten, called ishi-dōfu (石豆腐; literally stone tofu) in parts of Ishikawa, or iwa-dōfu (岩豆腐; literally rock tofu) in Gokayama in the Toyama prefecture and in Iya in the prefecture of Tokushima. Due to their firmness, some of these types of tofu can be tied by rope and carried.[citation needed] These types of firm tofu are produced with seawater instead of nigari (magnesium chloride), or using concentrated soy milk. Some of them are squeezed of excess moisture using heavy weights. These products are produced in areas where travelling is inconvenient, such as remote islands, mountain villages, heavy snowfall areas, and so on.

 

EXTRA FIRM TOFU

Dòu gān (豆干, literally "dry tofu" in Chinese) is an extra firm variety of tofu where a large amount of liquid has been pressed out of the tofu. Dòu gān contains the least amount of moisture of all fresh tofu and has the firmness of fully cooked meat and a somewhat rubbery feel similar to that of paneer. When sliced thinly, this tofu can be crumbled easily. The skin of this form of tofu has the pattern of the muslin used to drain and press it. Western firm tofu is milled and reformed after the pressing and sometimes lacks the skin with its cloth patterning. One variety of dried tofu is pressed especially flat and sliced into long strings with a cross section smaller than 2 mm × 2 mm. Shredded dried tofu (豆干絲, dòugānsī in Chinese, or simply 干絲, gānsī), which looks like loose cooked noodles, can be served cold, stir-fried, or similar in style to Japanese aburaage.

 

PROCESSED TOFU

Many forms of processed tofu exist, due to the varied ways in which fresh tofu can be used. Some of these techniques probably[citation needed] originate from the need to preserve tofu before the days of refrigeration, or to increase its shelf life and longevity. Other production techniques are employed to create tofus with unique textures and flavors.

 

FERMENTED

Pickled tofu (豆腐乳 in Chinese, pinyin: dòufurǔ, lit. "tofu dairy," or 腐乳 fŭrŭ; chao in Vietnamese): Also called "preserved tofu" or "fermented tofu," this food consists of cubes of dried tofu that have been allowed to fully air-dry under hay and slowly ferment from aerial bacteria. The dry fermented tofu is then soaked in salt water, Chinese wine, vinegar, and minced chiles, or a unique mixture of whole rice, bean paste, and soybeans. In the case of red pickled tofu (紅豆腐乳 in Chinese, Pinyin: hóng dòufurǔ), red yeast rice (cultivated with Monascus purpureus) is added for color. And in Japan, pickled tofu with miso paste is called "tofu no misodzuke," which is a traditional preserved food in Kumamoto. In Okinawa, there is a pickled and fermented tofu called "tofuyo"(豆腐餻). It is made from "Shima-doufu" (an Okinawan variety of large and firm tofu). It is fermented, and matured with koji mold, red koji mold, and awamori.

 

Stinky tofu (臭豆腐 in Chinese, Pinyin: chòudòufu): A soft tofu that has been fermented in a unique vegetable and fish brine. The blocks of tofu smell strongly of certain pungent cheeses, and are described by many as rotten and fecal.[citation needed] Despite its strong odor, the flavor and texture of stinky tofu is appreciated by aficionados, who describe it as delightful. The texture of this tofu is similar to the soft Asian tofu from which it is made. The rind that stinky tofu develops from frying is said to be especially crisp, and is usually served with soy sauce, sweet sauce, or hot sauce.

 

DRIED TOFU

Two kinds of dried tofu are produced in Japan. They are usually rehydrated (by being soaked in water) prior to consumption. In their dehydrated state they do not require refrigeration.

 

FRIED

With the exception of the softest tofus, all forms of tofu can be fried. Thin and soft varieties of tofu are deep fried in oil until they are light and airy in their core 豆泡 dòupào, 豆腐泡 dòufupào, 油豆腐 yóudòufu, or 豆卜 dòubǔ in Chinese, literally "bean bubble," describing the shape of the fried tofu as a bubble).

Tofus such as firm Asian and dòu gān (Chinese dry tofu), with their lower moisture content, are cut into bite-sized cubes or triangles and deep fried until they develop a golden-brown, crispy surface (炸豆腐 in Chinese, zhádòufu, lit. "fried tofu"). These may be eaten on their own or with a light sauce, or further cooked in liquids; they are also added to hot pot dishes or included as part of the vegetarian dish called luohan zhai. This deep fried tofu is also called Atsuage (厚揚げ) or Namaage (生揚げ) in Japan. The thinner variety is called Aburaage (油揚げ) which develops a tofu pouch when fried that is often used for Inari-sushi.

 

FROZEN

Thousand layer tofu (千葉豆腐, 凍豆腐 dòngdòufu or 冰豆腐 bīngdòufu in Chinese, literally "thousand layer tofu" or "frozen tofu"): By freezing tofu, the large ice crystals that develop within the tofu result in the formation of large cavities that appear to be layered. The frozen tofu takes on a yellowish hue in the freezing process. Thousand layer tofu is commonly made at home from Asian soft tofu though it is also commercially sold as a specialty in parts of Taiwan. This tofu is defrosted, and sometimes pressed to remove moisture, prior to use.

 

Koya-dofu (kōya-dōfu, 高野豆腐 in Japanese): The name comes from Mount Koya, a center of Japanese Buddhism famed for its shōjin ryōri, or traditional Buddhist vegetarian cuisine. It is sold in freeze-dried blocks or cubes in Japanese markets. Since it is dried, it can be preserved for long term. It must be soaked in water before eating, and is typically simmered in dashi, sake or mirin and soy sauce. In shōjin ryōri, vegetarian kombu dashi, made from seaweed, is used. When prepared in the usual manner, it has a spongy texture and mild sweet and savory flavor (the taste and flavor depend on what soup or cooking stock it was simmered in). A similar form of freeze-dried tofu, in smaller pieces, is found in instant soups (such as miso soup), in which the toppings are freeze-dried and stored in sealed pouches.

 

BYPRODUCTS OF TOFU PRODUCTION

Tofu production creates some edible byproducts. Food products are made from the protein-oil film, or "skin," which forms over the surface of boiling soy milk in an open shallow pan. The leftover solids from pressing soy milk are called okara.

 

TOFU SKIN

Tofu skin is produced through the boiling of soy milk, in an open shallow pan, thus producing a film or skin composed primarily of a soy protein-lipid complex on the liquid surface. The films are collected and dried into yellowish sheets known as soy milk skin (腐皮, fǔpí in Chinese; 湯葉, yuba in Japanese). Its approximate composition is : 50–55% protein, 24–26% lipids (fat), 12% carbohydrate, 3% ash, and 9% moisture.

 

The skin can also be bunched up to stick form and dried into something known as "tofu bamboo" (腐竹, fǔ zhú in Chinese; phù trúc in Vietnamese; kusatake, Japanese), or myriad other forms. Since tofu skin has a soft yet rubbery texture, it is folded or shaped into different forms and cooked further to imitate meat in vegan cuisine.

 

Some factories dedicate production to tofu skin and other soy membrane products.

 

OKARA

Okara (from the Japanese, おから, okara; known as 雪花菜, xuěhuācài, in Chinese, lit. "snowflake vegetable"; 豆腐渣, dòufuzhā, also Chinese, lit. "tofu sediment/residue"; and 콩비지, kongbiji, in Korean), is a tofu by-product, sometimes known in the west as "soy pulp" or "tofu lees",[40] consisting of the fiber, protein, and starch left over when soy milk has been extracted from ground soaked soybeans. Although it is mainly used as animal feed in most tofu producing cultures, it is sometimes used in Japanese and Korean cuisines, such as in the Korean stew kongbiji jjigae (콩비지찌개). It is also an ingredient for vegetarian burgers produced in many western nations.

 

NON-TOFU "TOFUS"

Due to their Asian origins and their textures, many food items are called "tofu" even though their production processes are not technically similar. For instance, many sweet almond tofus are actually gelatinous desserts hardened using agar or gelatin. As well, some foods such as Burmese tofu are not coagulated from the "milk" of the legume but rather set in a manner similar to soft polenta, Korean muk, or the jidou liangfen of Yunnan province of Southwest China.

 

NON-TOFU SWEETS

The "almond tofu" (Chinese: 杏仁豆腐 xìngrén dòufu; Japanese: annindōfu) is a milky white and gelatinous resembling tofu, but does not use soy products or soy milk and is hardened with agar. A similar dessert made with coconut milk or mango juices might occasionally be referred to as "coconut tofu" or "mango tofu", though such names are also given to hot dishes that use soy tofu and coconut or mango in the recipe.

 

EGG TOFU

Egg tofu (ja) (Japanese: 玉子豆腐, 卵豆腐, tamagodōfu) (Chinese: 蛋豆腐, dàn dòufu; often called 日本豆腐, rìbĕn dòufu, lit. "Japan bean curd") is the main type of savory flavored tofu. Whole beaten eggs are combined with dashi, poured into molds, and steamed in a steamer (cf. chawanmushi). The tofu has a pale golden color that can be attributed to the addition of egg and, occasionally, food coloring. This tofu has a fuller texture and flavor than silken tofu, which can be attributed to the presence of egg fat and protein. Plain "dried tofu" can be flavored by stewing in soysauce (滷) to make soy-sauce tofu. It is quite common to see tofu sold in market in this soy-sauce stewed form.

 

SESAME TOFU

The goma-dōfu (ja) is made by grinding sesame into a smooth paste, combining with liquid and kudzu starch, and heating until curdling occurs. It is often served chilled as hiyayakko.

 

PEANUT TOFU

In Okinawa, Japan, the jīmāmi-dōfu (ja) is made in a process similar to the sesame tofu. A peanut milk (made by crushing raw peanuts, adding water and straining) is combined with starch (usually sweet potato starch known locally as umukuji　or umukashi (芋澱粉?)) and heating until curdling occurs.

 

The Chinese equivalent is the 落花生豆腐 luòhuāshēng dòufu.

 

BURMESE TOFU

Burmese tofu (to hpu in Burmese) is a type of legume product made from besan (chana dal) flour; the Shan variety uses yellow split pea flour instead. Both types are yellow in color and generally found only in Myanmar, though the Burman variety is also available in some overseas restaurants serving Burmese cuisine.

 

Burmese tofu may be fried as fritters cut in rectangular or triangular shapes. Rice tofu, called hsan to hpu (or hsan ta hpo in Shan regions) is made from rice flour (called hsan hmont or mont hmont) and is white in color, with the same consistency as yellow Burmese tofu when set. It is eaten as a salad in the same manner as yellow tofu.

 

PREPARATION

Tofu has very little flavor or smell on its own. Consequently, tofu can be prepared either in savory or sweet dishes, acting as a bland background for presenting the flavors of the other ingredients used. As a method of flavoring it is often marinated in soy sauce, chilis, sesame oil, etc.

 

EASTERN METHODS

In Asian cooking, tofu is eaten in myriad ways, including raw, stewed, stir-fried, in soup, cooked in sauce, or stuffed with fillings. The idea of using tofu as a meat substitute is not common in East Asia. Many Chinese tofu dishes such as jiācháng dòufu (家常豆腐) and mápó dòufú (麻婆豆腐) include meat.

 

LIGHTLY FLVORED

In Japan, a common lunch in the summer months is hiyayakko (冷奴), silken or firm Asian tofu served with freshly grated ginger, green onions, or katsuobushi shavings with soy sauce. In the winter, tofu is frequently eaten as "yudofu," which is simmered in a claypot with some vegetables (ex:chinese cabbage, green onion etc.) using konbu dashi.

 

In Chinese cuisine, Dòuhuā (豆花) is served with toppings such as boiled peanuts, azuki beans, cooked oatmeal, tapioca, mung beans and a syrup flavored with ginger or almond. During the summer, "dòuhuā" is served with crushed ice; in the winter, it is served warm.[43] And also, in many parts of China, fresh tofu is similarly eaten with soy sauce or further flavored with katsuobushi shavings, century eggs (皮蛋 pídàn), and sesame seed oil.

 

In Korean cuisine, dubu gui (두부구이) consists of pan fried cubes of firm tofu, seasoned with soy sauce, garlic, and other ingredients. Cubes of cold, uncooked firm tofu seasoned with soy sauce, scallions, and ginger, prepared in a manner similar to the Japanese hiyayakko, are also enjoyed. The popular bar food, or anju (안주), called dubu kimchi (두부김치), features boiled, firm tofu served in rectangular slices around the edges of a plate with pan fried, sautéed or freshly mixed kimchi (김치) in the middle.

 

In the Philippines, the sweet delicacy taho is made of fresh tofu with brown sugar syrup and sago. The Malaysian version of taho or douhua is called tofufa. Warm soft tofu is served in "slices" (due to being scooped using a flat spoon from a wooden bucket) in a bowl with either pandan-flavored sugar syrup or palm sugar syrup.

 

In Vietnam, dòuhuā is pronounced đậu hủ. This variety of soft tofu is made and carried around in an earthenware jar. It is served by being scooped into a bowl with a very shallow and flat spoon, and eaten with either powdered sugar and lime juice or with a ginger-flavored syrup. It is generally eaten hot, even during summer.

 

FRIED

A common cooking technique in many parts of East and Southeast Asia involves deep frying tofu in vegetable oil, sunflower oil, or canola oil with varied results. In Indonesia, it is usually fried in palm oil. Although tofu is often sold preprocessed into fried items, pre-fried tofu is seldom eaten directly and requires additional cooking. Depending on the type of tofu used, the texture of deep fried tofu may range from crispy on the outside and custardy on the inside, to puffed up like a plain doughnut. The former is usually eaten plain in Chinese cuisine with garlic soy sauce, while the latter is either stuffed with fish paste to make Yong Tau Foo or cooked in soups. In Taiwan, fried tofu is made into a dish called "A-gei", which consists of a fried aburage tofu package stuffed with noodles and capped with surimi.

 

In Japan, cubes of lightly coated and fried tofu topped with a kombu dashi-based sauce are called agedashi-dofu (揚げ出し豆腐). Soft tofu that has been thinly sliced and deep fried, known as aburage in Japan and yubu (유부) in Korea, is commonly blanched, seasoned with soy sauce and mirin and served in dishes such as kitsune udon. Aburage is sometimes also cut open to form a pocket and stuffed with sushi rice; this dish is called inarizushi (稲荷寿司) and is also popular in Korea, where it is called yubu chobap (유부초밥). In Indonesia, tofu is called tahu, and the popular fried tofu is tahu goreng, tahu isi and tahu sumedang.

 

SOUPS, STEWS, AND BRAISED DISHES

A spicy Sichuan preparation using firm Asian tofu is mápó dòufu (麻婆豆腐). This involves braised tofu in a beef, chili, and a fermented bean paste sauce. A vegetarian version is known as málà dòufu (麻辣豆腐)[citation needed].

 

Dried tofu is usually not eaten raw but first stewed in a mixture of soy sauce and spices.[citation needed] Some types of dried tofu are pre-seasoned with special blends of spices, so that the tofu may either be called "five spice tofu" (五香豆腐 wǔxiāng dòufu) or "soy sauce stewed tofu" (鹵水豆腐 lǔshuǐ dòufu). Dried tofu is typically served thinly sliced with chopped green onions or with slices of meat for added flavor. Most dried tofu is sold after it has been fried or pre-stewed by tofu vendors.

 

Soft tofu can also be broken up or mashed and mixed with raw ingredients prior to being cooked. For example, Japanese ganmodoki is a mixture of chopped vegetables and mashed tofu. The mixture is bound together with starch and deep fried. Chinese families sometimes make a steamed meatloaf or meatball dish from equal parts of coarsely mashed tofu and ground pork. In India, tofu is also used as a low fat replacement for paneer providing the same texture with similar taste.

 

Tofu bamboos are often used in lamb stew or in a dessert soup. Tofu skins are often used as wrappers in dim sum. Freeze-dried tofu and frozen tofu are rehydrated and enjoyed in savory soups. These products are often taken along on camping trips since a small bag of these dried tofu can provide protein for many days.

 

Japanese 'miso soup', stocks with miso paste, is frequently made with tofu.

 

In Korean cuisine, soft tofu, called sundubu (순두부), is used to make a thick stew called sundubu jjigae (순두부 찌개). Firm, diced tofu often features in the staple stews doenjang jjigae (된장 찌개) and kimchi jjigae (김치

찌개).

 

SMOKED

At Qufu, the home town of Confucius, smoked tofu is a popular dish.

 

BACEM

Bacem is a method of cooking tofu originating from Java, Indonesia. The tofu is boiled in coconut water, mixed with lengkuas (galangal), Indonesian bay leaves, coriander, shallot, garlic, tamarind and palm sugar. After the spicy coconut water has completely evaporated, the tofu is fried until it is golden brown. The result is sweet, spicy, and crisp. This cooked tofu variant is commonly known as tahu bacem in Indonesian. Tahu bacem is commonly prepared along with tempeh and chicken.

 

AS FLAVORING

Pickled tofu is commonly used in small amounts together with its soaking liquid to flavor stir-fried or braised vegetable dishes (particularly leafy green vegetables like water spinach). It is often eaten directly as a condiment with rice or congee.

 

WESTERN METHODS

Generally, the firmer styles of tofu are used for kebabs, mock meats, and dishes requiring a consistency that holds together, while the softer styles can be used for desserts, soups, shakes, and sauces.

 

Firm western tofus can be barbecued since they will hold together on a barbecue grill. These types of tofu are usually marinated overnight as the marinade does not easily penetrate the entire block of tofu (techniques to increase penetration of marinades are stabbing repeatedly with a fork or freezing and thawing prior to marinating). Grated firm western tofu is sometimes used in conjunction with TVP as a meat substitute. Softer tofus are sometimes used as a dairy-free or low-calorie filler. Silken tofu may be used to replace cheese in certain dishes (such as lasagna).

 

Tofu has also been fused into other cuisines in the west, for instance used in Indian-style curries.

 

Tofu and soy protein can be industrially processed to match the textures and flavors to the likes of cheese, pudding, eggs, bacon, etc. Tofu's texture can also be altered by freezing, pureeing, and cooking. In the Americas, Europe, Australia and New Zealand, tofu is frequently associated with vegetarianism and veganism as it is a source of non-animal protein.

 

THREE THEORIES OF ORIGIN

The most commonly held of the three theories of tofu's origin maintains that tofu was invented in northern China around 164 BC by Lord Liu An, a Han Dynasty prince. Although this is possible, the paucity of concrete information about this period makes it difficult to conclusively determine whether Liu An invented the method for making tofu. Furthermore, in Chinese history, important inventions were often attributed to important leaders and figures of the time. In 1960, a stone mural unearthed from an Eastern Han dynasty tomb provided support for the theory of Han origin of tofu, however some scholars maintained that the tofu in Han dynasty was rudimentary, and lacked the firmness and taste of real tofu.

 

Another theory states that the production method for tofu was discovered accidentally when a slurry of boiled, ground soybeans was mixed with impure sea salt. Such sea salt would probably have contained calcium and magnesium salts, allowing the soy mixture to curdle and produce a tofu-like gel. This may have possibly been the way that tofu was discovered, since soy milk has been eaten as a savory soup in ancient as well as modern times. Its technical plausibility notwithstanding, there is little evidence to prove or disprove that tofu production originated in this way.

 

The last group of theories maintains that the ancient Chinese learned the method for the curdling of soy milk by emulating the milk curdling techniques of the Mongolians or East Indians. For, despite their advancement, no technology or knowledge of culturing and processing milk products existed within ancient Chinese society. (They did not seek such technology, probably because of the Confucian taboo on fermented dairy products and other so-called "barbarian foodstuffs".) The primary evidence for this theory lies with the etymological similarity between the Chinese term for Mongolian fermented milk (rufu, which literally means "milk curdled") and the term doufu ("beans curdled") or tofu. Although intriguing and possible, there is no evidence to substantiate this theory beyond the point of academic speculation.

 

HISTORY

IN ASIA

Tofu originated in ancient China,[5] although little else is known about the exact historic origins of tofu and of its method of production.

 

The theory that tofu was invented by Lord Liu An of Huainan in about 164 BC (early Han dynasty) has steadily lost favor among most scholars in China and abroad since the 1970s. The claim concerning Liu An was first made by Zhu Xi during the Song dynasty (960-1127 AD) - roughly 1,000 years after the supposed invention.

 

The theory that tofu-making is shown in a mural incised on a stone slab in Han Tomb No. 1, at Da-hu-ting, Mixian, Henan province attracted much attention after about 1990. Yet it too has lost favor because (1) no step of cooking the soy puree is shown in the mural, and (2) when Chinese food historians tried to make tofu without cooking the puree, the result was a tiny amount of unpalatable material.

 

Thus, while there are many theories regarding tofu's origins, historical information is scarce enough as to relegate the status of most theories to either speculation or legend. Like the origins of cheese and butter, the exact origin of tofu production may never be known or proven. The historical era starts in the year 965 AD (early Song dynasty) with the Qing Yilu by Tao Ku.

 

What is known is that tofu production is an ancient technique. Tofu was widely consumed in ancient China, and techniques for its production and preparation were eventually spread to many other parts of Asia.

 

Its development likely preceded Liu An, as tofu is known to have been a commonly produced and consumed food item in China by the 2nd century BC. Although the varieties of tofu produced in ancient times may not have been identical to those of today, descriptions from writings and poetry of the Song and Yuan Dynasty show that the production technique for tofu had already been standardized by then, to the extent that they would be similar to tofu of contemporary times.

 

In China, tofu is traditionally used as a food offering when visiting the graves of deceased relatives. It is claimed that the spirits (or ghosts) have long lost their chins and jaws, and that only tofu is soft enough for them to eat. Before refrigeration was available in China, tofu was often only sold during the winter time, due to the tofu not spoiling in the colder weather. During the warmer months, any leftover tofu would be spoiled if left for more than a day. Chinese war hero Guan Yu used to be a tofu maker before he enlisted in the army. Chinese martial arts expert and hero, Yim Wing-chun, was a celebrated tofu maker in her village. (Tofu as such plays a part in the 1994 movie about her life, Wing Chun.)

 

Tofu and its production technique were subsequently introduced into Korea and then Japan in the Nara period (late 8th century) as well as other parts of East Asia. The earliest document of tofu in Japan shows that the dish was served as an offering at the Kasuga Shrine in Nara in 1183. The book Tofu Hyakuchin (豆腐百珍 Dòufu Bǎizhēn), published in the Edo period, lists 100 recipes for cooking tofu.

 

The rise in acceptance of tofu likely coincided with that of Buddhism as it is an important source of proteins in the religion's vegetarian diet. Since then, tofu has become a staple in many countries, including Vietnam, Thailand, and Korea, with subtle regional variations in production methods, texture, flavor, and usage.

 

In Southeast Asia, tofu was introduced to the region by Chinese immigrants from sea-faring Fujian province, evident from the fact that many countries in Southeast Asia refer to tofu by the Min Nan Chinese pronunciations for either soft and firm tofu, or "tāu-hū" and "tāu-goan" respectively. In Indonesia, Malaysia, Singapore, Thailand and the Philippines, tofu is widely available and used in many local dishes. Tofu is called tahu in Indonesia, Indonesian dishes such as, tahu sumbat, taoge tahu, asinan, siomay and some curries, are often add slices of tofu as ingredients. In addition, tahu goreng, tahu isi and tahu sumedang are the popular fried tofu snacks. Tofu is called tauhu in Malaysia and Singapore. The Malaysian and Singaporean Indians use tofu in their cuisine such as Indian mee goreng, rojak pasembor. The strait peranakan cuisine often uses tofu, such as mee kari Penang, and laksa. The makers of tofu in these countries were originally the Chinese but tofu now is made by non-Chinese as well. Indonesia, Thailand, Malaysia and the Philippines are major producers of tofu and have plants located within many municipalities. However, Singapore imports its tofu from its neighboring country, Malaysia.

 

Tofu in the Philippines is essential to the daily diet, as taho, widely eaten as breakfast, or tokwa (a dry fried variation), which is a staple or alternative to meat in main meals, and in numerous regional dishes. Tofu was introduced to the archipelago in the 10th to 13th centuries by Song Chinese mariners and merchants, along with many different foods which had become staples of the Philippine diet. The use and production of tofu were first limited to urban centers with influential Chinese minorities, such as Cebu or Tondo, but were quickly spread to even remote native villages and islands, long before the Spanish arrival in the 17th century.

 

IN THE WEST

Benjamin Franklin was the first American to mention tofu in a 1770 letter to John Bartram. Franklin, who discovered it during a trip to London, included a few soybeans and referred to it as "cheese" from China. The first tofu company in the United States was established in 1878. In 1908 Li Yuying, a Chinese anarchist and a vegetarian with a French degree in agriculture and biology, opened a soy factory, the Usine de la Caséo-Sojaïne, which was the world's first soy dairy and the first factory in France to manufacture and sell beancurd. However tofu was not well known to most Westerners before the middle of the 20th century. With increased cultural contact between the West and East Asia and growing interest in vegetarianism, knowledge of tofu has become widespread. Numerous types of pre-flavored tofu can be found in many supermarket chains throughout the West. It is also used by many vegans and vegetarians as a means to gain protein without the consumption of meat products.

 

NUTRITION AND CHINESE MEDICINE CLAIMS

TRADITIONAL CHINESE MEDICINE CLAIMS

Tofu is considered a cool agent in Traditional Chinese medicine. It is claimed to invigorate the spleen, replenish qi, moisture and cool off Yang vacuity, and to detoxify the body. However, there is no scientific evidence supporting neither such claims, nor their implied notions.

 

FUNCTIONS

In Chinese traditional medicine, tofu is suitable for those who are weak, malnourished, deficient in blood and qi; is suitable for old, slim or otherwise; suitable for those with high fat content in blood, high cholesterol, overweight, and with hardened blood vessels; suitable for people with diabetes; for mothers with low breast milk supply; for children and young adults; for those with inflamed respiratory tract, with phlegm, coughing and asthma. Tofu is also suited for people of old age; it is recommended to eat with liquor, since tofu contains cysteine, which can speed up the detoxification of alcohol in the body, and lessen the harm done to the liver, protecting the liver.

 

PROTEIN

Tofu is relatively high in protein, about 10.7% for firm tofu and 5.3% for soft "silken" tofu with about 5% and 2% fat respectively as a percentage of weight.

 

In 1995, a report from the University of Kentucky, financed by Solae, concluded that soy protein is correlated with significant decreases in serum cholesterol, Low Density Lipoprotein LDL (″bad cholesterol″) and triglyceride concentrations. However, High Density Lipoprotein HDL (″good cholesterol″) did not increase. Soy phytoestrogens (isoflavones: genistein and daidzein) absorbed onto the soy protein were suggested as the agent reducing serum cholesterol levels. On the basis of this research, PTI, in 1998, filed a petition with Food and Drug Administration for a health claim that soy protein may reduce cholesterol and the risk of heart disease.

 

The FDA granted this health claim for soy: "25 grams of soy protein a day, as part of a diet low in saturated fat and cholesterol, may reduce the risk of heart disease." For reference, 100 grams of firm tofu coagulated with calcium sulfate contains 8.19 grams of soy protein. In January 2006, an American Heart Association review (in the journal Circulation) of a decade-long study of soy protein benefits showed only a minimal decrease in cholesterol levels, but it compared favorably against animal protein sources.

 

ALLERGIES

Because it is made of soy, individuals with allergies, particularly those allergic to legumes, should not consume tofu.

 

WIKIPEDIA

Perspex cube measuring approx 5cm to an edge with embedded electrical components.

Belgian Land Component - Mercedes Unimog 1.9T - Light Truck

Picture taken 1983 - digitally captured from paper print

__________________________________________

 

The orangutans (also spelled orang-utan, orangutang, or orang-utang) are the two exclusively Asian species of extant great apes. Native to Indonesia and Malaysia, orangutans are currently found in only the rainforests of Borneo and Sumatra. Classified in the genus Pongo, orangutans were considered to be one species. Since 1996, they have been divided into two species: the Bornean orangutan (P. pygmaeus) and the Sumatran orangutan (P. abelii). In addition, the Bornean species is divided into three subspecies.

 

Based on genome sequencing, the two extant orangutan species evidently diverged around 400,000 years ago. The orangutans are also the only surviving species of the subfamily Ponginae, which also included several other species, such as the three extinct species of the genus Gigantopithecus, including the largest known primate Gigantopithecus blacki. The ancestors of the Ponginae subfamily split from the main ape line in Africa 16 to 19 million years ago (mya) and spread into Asia.

 

Orangutans are the most arboreal of the great apes and spend most of their time in trees. Their hair is typically reddish-brown, instead of the brown or black hair typical of chimpanzees and gorillas. Males and females differ in size and appearance. Dominant adult males have distinctive cheek pads and produce long calls that attract females and intimidate rivals. Younger males do not have these characteristics and resemble adult females. Orangutans are the most solitary of the great apes, with social bonds occurring primarily between mothers and their dependent offspring, who stay together for the first two years. Fruit is the most important component of an orangutan's diet; however, the apes will also eat vegetation, bark, honey, insects and even bird eggs. They can live over 30 years in both the wild and captivity.

 

Orangutans are among the most intelligent primates; they use a variety of sophisticated tools and construct elaborate sleeping nests each night from branches and foliage. The apes have been extensively studied for their learning abilities. There may even be distinctive cultures within populations. Field studies of the apes were pioneered by primatologist Birutė Galdikas. Both orangutan species are considered to be endangered, with the Sumatran orangutan being critically endangered. Human activities have caused severe declines in the populations and ranges of both species. Threats to wild orangutan populations include poaching, habitat destruction, and the illegal pet trade. Several conservation and rehabilitation organisations are dedicated to the survival of orangutans in the wild.

 

ETYMOLOGY

The name "orangutan" (also written orang-utan, orang utan, orangutang, and ourang-outang) is derived from the Malay and Indonesian words orang meaning "person" and hutan meaning "forest", thus "person of the forest". Orang Hutan was originally not used to refer to apes, but to forest-dwelling humans.

 

The Malay words used to refer specifically to the ape are maias and mawas, but it is unclear if those words refer to just orangutans, or to all apes in general. The first attestation of the word to name the Asian ape is in Dutch physician Jacobus Bontius' 1631 Historiae naturalis et medicae Indiae orientalis – he reported that Malays had informed him the ape was able to talk, but preferred not to "lest he be compelled to labour". The word appeared in several German-language descriptions of Indonesian zoology in the 17th century. The likely origin of the word comes specifically from the Banjarese variety of Malay.

 

Cribb et al. (2014) suggest that Bontius' account referred not to apes (which were not known from Java) but rather to humans suffering some serious medical condition (most likely endemic cretinism) and that his use of the word was misunderstood by Nicolaes Tulp, who was the first to use the term in a publication.

 

The word was first attested in English in 1691 in the form orang-outang, and variants with -ng instead of -n as in the Malay original are found in many languages. This spelling (and pronunciation) has remained in use in English up to the present, but has come to be regarded as incorrect. The loss of "h" in Utan and the shift from n to -ng has been taken to suggest that the term entered English through Portuguese. In 1869, British naturalist Alfred Russel Wallace, co-creator of modern evolutionary theory, published his account of Malaysia's wildlife: The Malay Archipelago: The Land of the Orang-Utan and the Bird of Paradise.

 

The name of the genus, Pongo, comes from a 16th-century account by Andrew Battell, an English sailor held prisoner by the Portuguese in Angola, which describes two anthropoid "monsters" named Pongo and Engeco. He is now believed to have been describing gorillas, but in the 18th century, the terms orangutan and pongo were used for all great apes. Lacépède used the term Pongo for the genus following the German botanist Friedrich von Wurmb who sent a skeleton from the Indies to Europe.

 

TAXONOMY, PHYLOGENY AND GENETICS

The two orangutan species are the only extant members of the subfamily Ponginae. This subfamily also included the extinct genera Lufengpithecus, which lived in southern China and Thailand 2–8 mya, and Sivapithecus, which lived India and Pakistan from 12.5 mya until 8.5 mya. These apes likely lived in drier and cooler environments than orangutans do today. Khoratpithecus piriyai, which lived in Thailand 5–7 mya, is believed to have been the closest known relative of the orangutans. The largest known primate, Gigantopithecus, was also a member of Ponginae and lived in China, India and Vietnam from 5 mya to 100,000 years ago.

 

Within apes (superfamily Hominoidea), the gibbons diverged during the early Miocene (between 19.7 and 24.1 mya, according to molecular evidence) and the orangutans split from the African great ape lineage between 15.7 and 19.3 mya.

 

HISTORY OF ORANGUTAN TAXONOMY

The orangutan was first described scientifically in the Systema Naturae of Linnaeus as Simia satyrus. The populations on the two islands were classified as subspecies until 1996, when they were elevated to full species status, and the three distinct populations on Borneo were elevated to subspecies. The population currently listed as P. p. wurmbii may be closer to the Sumatran orangutan than the other Bornean orangutan subspecies. If confirmed, abelii would be a subspecies of P. wurmbii (Tiedeman, 1808).

 

Regardless, the type locality of P. pygmaeus has not been established beyond doubts, and may be from the population currently listed as P. wurmbii (in which case P. wurmbii would be a junior synonym of P. pygmaeus, while one of the names currently considered a junior synonym of P. pygmaeus would take precedence for the northwest Bornean taxon). To further confuse, the name P. morio, as well as some suggested junior synonyms, may be junior synonyms of the P. pygmaeus subspecies, thus leaving the east Bornean populations unnamed.

 

In addition, some fossils described under the name P. hooijeri have been found in Vietnam, and multiple fossil subspecies have been described from several parts of southeastern Asia. It is unclear if these belong to P. pygmaeus or

 

P. abelii or, in fact, represent distinct species.

 

GENOMICS

The Sumatran orangutan genome was sequenced in January 2011. Following humans and chimpanzees, the Sumatran orangutan has become the third species of hominid to have its genome sequenced. Subsequently, the Bornean species would have its genome sequenced. Genetic diversity was found to be lower in Bornean orangutans (P. pygmaeus) than in Sumatran ones (P. abelii), despite the fact that Borneo is home to six or seven times as many orangutans as Sumatra.

 

The comparison has shown these two species diverged around 400,000 years ago, more recently than was previously thought. Also, the orangutan genome was found to have evolved much more slowly than chimpanzee and human DNA. Previously, the species was estimated to have diverged 2.9 to 4.9 mya. The researchers hope these data may help conservationists save the endangered ape, and also prove useful in further understanding of human genetic diseases.

 

Bornean orangutans have 48 diploid chromosomes.

 

ANATOMY AND PHYSIOLOGY

An orangutan has a large, bulky body, a thick neck, very long, strong arms, short, bowed legs, and no tail. It is mostly covered with long, reddish-brown hair and grey-black skin. Sumatran orangutans have more sparse and lighter-coloured coats. The orangutan has a large head with a prominent mouth area. Though largely hairless, their faces can develop some hair in males, giving them a moustache.

 

Adult males have large cheek flaps to show their dominance to other males. The cheek flaps are made mostly of fatty tissue and are supported by the musculature of the face. Mature males' throat pouches allow them to make loud calls. The species display significant sexual dimorphism; females typically stand 115 cm tall and weigh around 37 kg, while flanged adult males stand 136 cm tall and weigh 75 kg. A male orangutan has an arm span of about 2 m.

 

Orangutan hands are similar to human hands; they have four long fingers and an opposable thumb. However, the joint and tendon arrangement in the orangutans' hands produces two adaptations that are significant for arboreal locomotion. The resting configuration of the fingers is curved, creating a suspensory hook grip. Additionally, without the use of the thumb, the fingers and hands can grip tightly around objects with a small diameter by resting the tops of the fingers against the inside of the palm, creating a double-locked grip.

 

Their feet have four long toes and an opposable big toe. Orangutans can grasp things with both their hands and their feet. Their fingers and toes are curved, allowing them to get a better grip on branches. Since their hip joints have the same flexibility as their shoulder and arm joints, orangutans have less restriction in the movements of their legs than humans have. Unlike gorillas and chimpanzees, orangutans are not true knuckle-walkers, and are instead fist-walkers.

 

ECOLOGY AND BEHAVIOUR

Orangutans live in primary and old secondary forests, particularly dipterocarp forests and peat swamp forests. Both species can be found in mountainous and lowland swampy areas. Sumatran orangutans live at elevations as high as 1500 m, while Bornean orangutans live no higher than 1000 m. Other habitats used by orangutans include grasslands, cultivated fields, gardens, young secondary forest, and shallow lakes. Orangutans are the most arboreal of the great apes, spending nearly all their time in the trees.Most of the day is spent feeding, resting, and travelling. They start the day feeding for 2–3 hours in the morning. They rest during midday then travel in the late afternoon. When evening arrives, they begin to prepare their nests for the night. Orangutans do not swim, although they have been recorded wading in water. The main predators of orangutans are tigers. Other predators include clouded leopards, wild dogs and crocodiles. The absence of tigers on Borneo may explain why Bornean orangutans can be found on the ground more often than their Sumatran relatives.

 

DIET

Orangutans are opportunistic foragers, and their diets vary markedly from month to month. Fruit makes up 65–90% of the orangutan diet, and those with sugary or fatty pulp are favoured. Ficus fruits are commonly eaten and are easy to harvest and digest. Lowland dipterocarp forests are preferred by orangutans because of their plentiful fruit. Bornean orangutans consume at least 317 different food items that include young leaves, shoots, bark, insects, honey and bird eggs.

 

A decade-long study of urine and faecal samples at the Gunung Palung Orangutan Conservation Project in West Kalimantan has shown that orangutans give birth during and after the high fruit season (though not every year), during which they consume various abundant fruits, totalling up to 11,000 calories per day. In the low-fruit season, they eat whatever fruit is available in addition to tree bark and leaves, with daily intake at only 2,000 calories. Together with a long lactation period, orangutans also have a long birth interval.

 

Orangutans are thought to be the sole fruit disperser for some plant species including the climber species Strychnos ignatii which contains the toxic alkaloid strychnine. It does not appear to have any effect on orangutans except for excessive saliva production.

 

Geophagy, the practice of eating soil or rock, has been observed in orangutans. There are three main reasons for this dietary behaviour: for the addition of mineral nutrients to their diet; for the ingestion of clay minerals that can absorb toxic substances; or to treat a disorder such as diarrhoea. Orangutans also use plants of the genus Commelina as an anti-inflammatory balm.

 

SOCIAL LIFE

Orangutans live a more solitary lifestyle than the other great apes. Most social bonds occur between adult females and their dependent and weaned offspring. Adult males and independent adolescents of both sexes tend to live alone. Orangutan societies are made up of resident and transient individuals of both sexes. Resident females live with their offspring in defined home ranges that overlap with those of other adult females, which may be their immediate relatives. One to several resident female home ranges are encompassed within the home range of a resident male, who is their main mating partner.

 

Transient males and females move widely. Orangutans usually travel alone, but they may travel in small groups in their subadult years. However, this behaviour ends at adulthood. The social structure of the orangutan can be best described as solitary but social. Interactions between adult females range from friendly to avoidance to antagonistic. Resident males may have overlapping ranges and interactions between them tend to be hostile.

 

During dispersal, females tend to settle in home ranges that overlap with their mothers. However, they do not seem to have any special social bonds with them. Males disperse much farther from their mothers and enter into a transient phase. This phase lasts until a male can challenge and displace a dominant, resident male from his home range. Adult males dominate sub-adult males.

 

Both resident and transient orangutans aggregate on large fruiting trees to feed. The fruits tend to be abundant, so competition is low and individuals may engage in social interactions. Orangutans will also form travelling groups with members moving between different food sources. These groups tend to be made of only a few individuals. They also tend to be consortships between an adult male and female.

 

COMMUNICATION

Orangutans communicate with various sounds. Males will make long calls, both to attract females and advertise themselves to other males. Both sexes will try to intimidate conspecifics with a series of low guttural noises known collectively as the "rolling call". When annoyed, an orangutan will suck in air through pursed lips, making a kissing sound that is hence known as the "kiss squeak". Infants make soft hoots when distressed. Orangutans are also known to blow raspberries.

 

NESTING

Orangutans build nests specialized for both day or night use. These are carefully constructed; young orangutans learn from observing their mother's nest-building behaviour. In fact, nest-building is a leading cause in young orangutans leaving their mother for the first time. From six months of age onwards, orangutans practice nest-building and gain proficiency by the time they are three years old.

 

Construction of a night nest is done by following a sequence of steps. Initially, a suitable tree is located, orangutans being selective about sites though many tree species are used. The nest is then built by pulling together branches under them and joining them at a point. After the foundation has been built, the orangutan bends smaller, leafy branches onto the foundation; this serves the purpose of and is termed the "mattress". After this, orangutans stand and braid the tips of branches into the mattress. Doing this increases the stability of the nest and forms the final act of nest-building. In addition, orangutans may add additional features, such as "pillows", "blankets", "roofs" and "bunk-beds" to their nests.

 

REPRODUCTION AND PARENTING

Males mature at around 15 years of age, by which time they have fully descended testicles and can reproduce. However, they exhibit arrested development by not developing the distinctive cheek pads, pronounced throat pouches, long fur, or long-calls until they are between 15 and 20 years old. The development of these characteristics depends largely on the absence of a resident male.

 

Males without them are known as unflanged males in contrast to the more developed flanged males. The transformation from unflanged to flanged can occur very quickly. Unflanged and flanged males have two different mating strategies. Flanged males attract oestrous females with their characteristic long calls. Those calls may also suppress development in younger males. Unflanged males wander widely in search of oestrous females and upon finding one, will force copulation on her. While both strategies are successful, females prefer to mate with flanged males and seek their company for protection against unflanged males. Resident males may form consortships with females that can last days, weeks or months after copulation.

 

Female orangutans experience their first ovulatory cycle around 5.8–11.1 years. These occur earlier in females with more body fat. Like other great apes, female orangutans enter a period of infertility during adolescence which may last for 1–4 years. Female orangutans also have a 22– to 30-day menstrual cycle. Gestation lasts for 9 months, with females giving birth to their first offspring between the ages of 14 and 15 years.

 

Female orangutans have eight-year intervals between births, the longest interbirth intervals among the great apes. Unlike many other primates, male orangutans do not seem to practice infanticide. This may be because they cannot ensure they will sire a female's next offspring because she does not immediately begin ovulating again after her infant dies.

 

Male orangutans play almost no role in raising the young. Females do most of the caring and socializing of the young. A female often has an older offspring with her to help in socializing the infant. Infant orangutans are completely dependent on their mothers for the first two years of their lives. The mother will carry the infant during travelling, as well as feed it and sleep with it in the same night nest. For the first four months, the infant is carried on its belly and never relieves physical contact. In the following months, the time an infant spends with its mother decreases.

 

When an orangutan reaches the age of two, its climbing skills improve and it will travel through the canopy holding hands with other orangutans, a behaviour known as "buddy travel". Orangutans are juveniles from about two to five years of age and will start to temporarily move away from their mothers. Juveniles are usually weaned at about four years of age. Adolescent orangutans will socialize with their peers while still having contact with their mothers. Typically, orangutans live over 30 years in both the wild and captivity.

 

INTELLIGENCE

Orangutans are among the most intelligent primates. Experiments suggest they can figure out some invisible displacement problems with a representational strategy. In addition, Zoo Atlanta has a touch-screen computer where their two Sumatran orangutans play games. Scientists hope the data they collect will help researchers learn about socialising patterns, such as whether the apes learn behaviours through trial and error or by mimicry, and point to new conservation strategies.

 

A 2008 study of two orangutans at the Leipzig Zoo showed orangutans can use "calculated reciprocity", which involves weighing the costs and benefits of gift exchanges and keeping track of these over time. Orangutans are the first nonhuman species documented to do so. Orangutans are very technically adept nest builders, making a new nest each evening in only in 5 to 6 minutes and choosing branches which they know can support their body weight.

 

TOOL USE AND CULTURE

Tool use in orangutans was observed by primatologist Birutė Galdikas in ex-captive populations. In addition, evidence of sophisticated tool manufacture and use in the wild was reported from a population of orangutans in Suaq Balimbing (Pongo abelii) in 1996. These orangutans developed a tool kit for use in foraging that consisted of both insect-extraction tools for use in the hollows of trees and seed-extraction tools for harvesting seeds from hard-husked fruit. The orangutans adjusted their tools according to the nature of the task at hand, and preference was given to oral tool use. This preference was also found in an experimental study of captive orangutans (P. pygmaeus).

 

Primatologist Carel P. van Schaik and biological anthropologist Cheryl D. Knott further investigated tool use in different wild orangutan populations. They compared geographic variations in tool use related to the processing of Neesia fruit. The orangutans of Suaq Balimbing (P. abelii) were found to be avid users of insect and seed-extraction tools when compared to other wild orangutans. The scientists suggested these differences are cultural. The orangutans at Suaq Balimbing live in dense groups and are socially tolerant; this creates good conditions for social transmission. Further evidence that highly social orangutans are more likely to exhibit cultural behaviours came from a study of leaf-carrying behaviours of ex-captive orangutans that were being rehabilitated on the island of Kaja in Borneo.

 

Wild orangutans (P. pygmaeus wurmbii) in Tuanan, Borneo, were reported to use tools in acoustic communication. They use leaves to amplify the kiss squeak sounds they produce. The apes may employ this method of amplification to deceive the listener into believing they are larger animals.

 

In 2003, researchers from six different orangutan field sites who used the same behavioural coding scheme compared the behaviours of the animals from the different sites. They found the different orangutan populations behaved differently. The evidence suggested the differences were cultural: first, the extent of the differences increased with distance, suggesting cultural diffusion was occurring, and second, the size of the orangutans' cultural repertoire increased according to the amount of social contact present within the group. Social contact facilitates cultural transmission.

 

POSSIBLE LINGUISTIC CAPABILITIES

A study of orangutan symbolic capability was conducted from 1973 to 1975 by zoologist Gary L. Shapiro with Aazk, a juvenile female orangutan at the Fresno City Zoo (now Chaffee Zoo) in Fresno, California. The study employed the techniques of psychologist David Premack, who used plastic tokens to teach linguistic skills to the chimpanzee, Sarah. Shapiro continued to examine the linguistic and learning abilities of ex-captive orangutans in Tanjung Puting National Park, in Indonesian Borneo, between 1978 and 1980.

 

During that time, Shapiro instructed ex-captive orangutans in the acquisition and use of signs following the techniques of psychologists R. Allen Gardner and Beatrix Gardner, who taught the chimpanzee, Washoe, in the late 1960s. In the only signing study ever conducted in a great ape's natural environment, Shapiro home-reared Princess, a juvenile female, which learned nearly 40 signs (according to the criteria of sign acquisition used by psychologist Francine Patterson with Koko, the gorilla) and trained Rinnie, a free-ranging adult female orangutan, which learned nearly 30 signs over a two-year period. For his dissertation study, Shapiro examined the factors influencing sign learning by four juvenile orangutans over a 15-month period.

 

ORANGUTANS AND HUMANS

Orangutans were known to the native people of Sumatra and Borneo for millennia. While some communities hunted them for food and decoration, others placed taboos on such practices. In central Borneo, some traditional folk beliefs consider it bad luck to look in the face of an orangutan. Some folk tales involve orangutans mating with and kidnapping humans. There are even stories of hunters being seduced by female orangutans.

 

Europeans became aware of the existence of the orangutan possibly as early as the 17th century. European explorers in Borneo hunted them extensively during the 19th century. The first accurate description of orangutans was given by Dutch anatomist Petrus Camper, who observed the animals and dissected some specimens.

 

Little was known about their behaviour until the field studies of Birutė Galdikas, who became a leading authority on the apes. When she arrived in Borneo, Galdikas settled into a primitive bark and thatch hut, at a site she dubbed Camp Leakey, near the edge of the Java Sea. Despite numerous hardships, she remained there for over 30 years and became an outspoken advocate for orangutans and the preservation of their rainforest habitat, which is rapidly being devastated by loggers, palm oil plantations, gold miners, and unnatural forest fires.

 

Galdikas's conservation efforts have extended well beyond advocacy, largely focusing on rehabilitation of the many orphaned orangutans turned over to her for care. Galdikas is considered to be one of Leakey's Angels, along with Jane Goodall and Dian Fossey. According to the World Wildlife Fund, half of the habitat of the Bornean orangutan has been lost since 1994.

 

A persistent folktale on Sumatra and Borneo and in popular culture, is that male orangutans display sexual attraction to human women, and may even forcibly copulate with them. The only serious, but anecdotal, report of such an incident taking place, is primatologist Birutė Galdikas' report that her cook was sexually assaulted by a male orangutan. This orangutan, though, was raised in captivity and may have suffered from a skewed species identity, and forced copulation is a standard mating strategy for low-ranking male orangutans.

 

A female orangutan was rescued from a village brothel in Kareng Pangi village, Central Kalimantan, in 2003. The orangutan was shaved and chained for sexual purposes. Since being freed, the orangutan, named Pony, has been living with the Borneo Orangutan Survival Foundation. She has been re-socialised to live with other orang-utans.

 

LEGAL STATUS

In December 2014, Argentina became the first country to recognize a non-human primate as having legal rights when it ruled that an orangutan named Sandra at the Buenos Aires Zoo must be moved to a sanctuary in Brazil in order to provide her "partial or controlled freedom". Although animal rights groups interpreted the ruling as applicable to all species in captivity, legal specialists considered the ruling only applicable to hominid apes due to their genetic similarities to humans.

 

CONSERVATION

CONSERVATION STATUS

The Sumatran and Bornean species are both critically endangered according to the IUCN Red List of mammals, and both are listed on Appendix I of CITES.

 

The Bornean orangutan population declined by 60% in the past 60 years and is projected to decline by 82% over 75 years. Its range has become patchy throughout Borneo, being largely extirpated from various parts of the island, including the southeast. The largest remaining population is found in the forest around the Sabangau River, but this environment is at risk.

 

Sumatran orangutan populations declined by 80% in 75 years. This species is now found only in the northern part of Sumatra, with most of the population inhabiting the Leuser Ecosystem. In late March 2012, some of the last Sumatran orangutans in northern Sumatra were reported to be threatened with approaching forest fires and might be wiped out entirely within a matter of weeks.

 

Estimates between 2000 and 2003 found 7,300 Sumatran orangutans and between 45,000 and 69,000 Bornean orangutans remain in the wild. A 2007 study by the Government of Indonesia noted a total wild population of 61,234 orangutans, 54,567 of which were found on the island of Borneo in 2004.

 

During the early 2000s, orangutan habitat has decreased rapidly due to logging and forest fires, as well as fragmentation by roads. A major factor in that period of time has been the conversion of vast areas of tropical forest to palm oil plantations in response to international demand. Palm oil is used for cooking, cosmetics, mechanics, and biodiesel. Hunting is also a major problem as is the illegal pet trade.

 

Orangutans may be killed for the bushmeat trade, crop protection, or for use for traditional medicine. Orangutan bones are secretly traded in souvenir shops in several cities in Kalimantan, Indonesia. Mother orangutans are killed so their infants can be sold as pets, and many of these infants die without the help of their mother. Since 2004, several pet orangutans were confiscated by local authorities and sent to rehabilitation centres.

 

CONSERVATION CENTRES AND ORGANISATIONS

A number of organisations are working for the rescue, rehabilitation and reintroduction of orangutans. The largest of these is the Borneo Orangutan Survival Foundation, founded by conservationist Willie Smits. It is audited by a multinational auditor company and operates a number of large projects, such as the Nyaru Menteng Rehabilitation Program founded by conservationist Lone Drøscher Nielsen.

 

Other major conservation centres in Indonesia include those at Tanjung Puting National Park and Sebangau National Park in Central Kalimantan, Kutai in East Kalimantan, Gunung Palung National Park in West Kalimantan, and Bukit Lawang in the Gunung Leuser National Park on the border of Aceh and North Sumatra. In Malaysia, conservation areas include Semenggoh Wildlife Centre in Sarawak and Matang Wildlife Centre also in Sarawak, and the Sepilok Orang Utan Sanctuary near Sandakan in Sabah. Major conservation centres that are headquartered outside of the orangutan's home countries; include Frankfurt Zoological Society, Orangutan Foundation International, which was founded by Birutė Galdikas, and the Australian Orangutan Project.

 

Conservation organisations such as Orangutan Land Trust work with the palm oil industry to improve sustainability and encourages the industry to establish conservation areas for orangutans. It works to bring different stakeholders together to achieve conservation of the species and its habitat.

 

WIKIPEDIA

Bauhaus masters' houses Dessau Germany / Walter Gropius - 1926

Parallel to the Bauhaus Building, the city of Dessau commissioned Walter Gropius to construct three pairs of identical semi-detached houses for the Bauhaus masters and a detached house for the director. These were built in a small pine wood near the Bauhaus school building. Gropius planned to build the complex based on a modular principle, using industrially prefabricated components. With this he wished to realise the principles of rational construction, both in the architecture and in the process of building. In view of the technical resources available at the time, his plan was only partially realised. The buildings take the form of interlocking cubic structures of various heights. Towards the street the semi-detached houses are distinguished by generously glazed studios; vertical strip windows on the sides let light into the staircases. Only the director’s house featured an asymmetric arrangement of windows. The light-coloured houses have generously-sized terraces and balconies and feature colourful accents on the window reveals, the undersides of the balconies and the drainpipes.

Walter Gropius and László Moholy-Nagy furnished their houses entirely with furniture by Marcel Breuer, while other masters brought their own furniture with them. All of the houses were fitted with built-in cupboards and modern household appliances. The list of residents reads like a ‘Who’s Who’ of modernists: László Moholy-Nagy, Lyonel Feininger, Georg Muche, Oskar Schlemmer, Wassily Kandinsky and Paul Klee, along with their families. Others lived here later, including Hannes Meyer, Ludwig Mies van der Rohe, Josef Albers, Hinnerk Scheper and Alfred Arndt. For the colour design of the interiors, artists such as Klee and Kandinsky developed own ideas that were closely related to their works. After the closure of the Bauhaus in 1932 the houses were let to third parties. The director’s house was destroyed in the war. Work on its reconstruction began just a few years ago. The rest of the complex was extensively renovated in 1992. The house that Kandinsky and Klee originally lived in and decorated is particularly fascinating on account of its colourfulness.

The Kandinsky/Klee Master House was reopened to visitors in 2019 after extensive restoration work. After the restoration, the Kandinsky/Klee Master House will give visitors the opportunity to experience with all their senses the life of Bauhaus masters in the surroundings they created themselves. Colours and furnishings depict the artistically shaped living and working environment, which was in contrast to Walter Gropius' design, especially in the Kandinsky/Klee Master House.

After the Bauhauslers moved out in 1932, the Masters’ Houses were radically transformed by modifications. Gropius House and Moholy-Nagy House were destroyed in an air raid in the final days of WWII. In the GDR era a single-family home with a pitched roof was erected on the foundations of Gropius House, but this was demolished again later. The gaps left behind in the ensemble of buildings were closed in 2014. A historically accurate reconstruction was rejected; Berlin-based architects Bruno Fioretti Marquez (BFM) created an ‘architecture of imprecision’ for the two demolished buildings. This evokes a deliberate sense of oscillation between specific historic state and reinterpretation. Emerging from the residential architecture designed by Walter Gropius in 1926 is an open spatial structure, which is used for exhibitions. Artist Olaf Nicolai has designed an installation for both buildings, which is inspired by Moholy-Nagy’s theories and in which abstraction and figuration interact. The Colour of Light (2014) links the texture of the render with the effects of daylight.

 

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Societa Italiana Auto Trasformazioni Accessori

Coachwork by Stabilimenti Farina

Chassis no. SL0216

 

Founded in 1926 in Turin, Italy by Giorgio Ambrosini, SIATA (Societa Italiana Auto Trasformazioni Accessori) began life as a tuning firm specialising in the modification of FIATs. When the company, now renamed SIATA Auto SpA, eventually introduced its first production car in 1949, FIAT components, in this case sourced from the Topolino, were the logical choice for the new Amica cabriolet. During the 1950s and on into the '60s, a variety of US engines including Crosley, Ford and Chrysler V8s was adopted in addition to FIAT's home-grown motors.

 

The Torinese firm's next effort, based on the FIAT 1400, was the Rallye, a traditionally styled roadster bearing more than a passing resemblance to the MG TD. Not all SIATA's designs were so obviously plagiarised, the series of FIAT 8V 2.0-litre V8-powered coupés of the 1950s, equipped with a variety of stylish Italian coachwork from the likes of Stabilimenti Farina, Vignale and Bertone and arguably the firm's finest creations, being particularly striking. We should also mention the similarly powered 208C Spyder - sister car of the Gran Sport – made famous by such owners as Steve McQueen, who dubbed his 'my little Ferrari'.

 

SIATA's Daina model of the early 1950s was based on the FIAT 1400 and built in both Convertible and Coupé forms, most of the former being bodied by Stabilimenti Farina and the latter by Bertone. Later cars were designated 'SL' Scatolato Lamiera – literally: sheet metal box). The Daina used the FIAT 1400 overhead-valve engine, modified by SIATA with a special cylinder head, pistons, and twin-carburettor inlet manifold. A 1,500cc unit was available as an option.

 

SIATA was active in racing from its earliest days, and a Daina Gran Sport driven by Dick Irish and Bob Fergus won its class in the inaugural Sebring 12 Hours race of 1952, finishing 3rd overall ahead of many larger-engined cars. The nimble handling of these cars was highly regarded in the USA, where many were modified to accept larger engines. SIATA was also a regular competitor in the famed Mille Miglia race in Italy.

 

The car offered here is an example of the rare SIATA Daina Gran Sport Type A. The Type A, distinguishable by its front-hinged bonnet and engine sitting over the front wheels, is much less numerous than the Type B, and it is estimated that only eight at most still exist. It is believed that chassis number 'SL0216' was originally sold by SIATA importer Ernie McAfee of Hollywood, California and shipped to Dayton, Ohio by a colonel in the United States Air Force. This is a well-known car with ownership history documented from the early 1980s onwards. It has spent most of its life in the USA, was registered in Germany from late 2006 and is currently registered as '278 YUB' in the UK.

 

The car was probably fitted with a 1,400cc SIATA engine originally (although it is possible that it was supplied without an engine) but this was replaced in the 1950s with a 265ci Chevrolet V8. When sold in 1969, the car had no drive train; by 1972 a 240bhp Ford 302ci V8 had been installed.

 

In 2014, an extensive restoration was carried out by Premium Classic Cars of Sudbourne, Suffolk in preparation for the 2015 Mille Miglia, for which the car was accepted. Works undertaken included returning the drive train and other areas, including the engine bay, to period specification. To this end, engine number 'SL0209' (recorded as an original SIATA unit) was installed, and Borrani wire wheels fitted, painted in gloss black like those of SIATA's original Mille Miglia car.

 

In terms of originality, great efforts were made to restore 'SL0216' as close as possible to original specification. However, the interior, though period, is not entirely original; rather, it has been configured to be comfortable for the Mille Miglia while at the same time incorporating a number of safety features (all as allowed by the Mille Miglia scrutineers). Noteworthy accessories include a rally trip meter, full tonneau, and auxiliary sockets for iPhone, etc.

 

Unfortunately, a water pump failure forced the car to retire from the 2015 Mille Miglia. It was accepted again for the Mille Miglia in 2016, prepared by Century Classics of Hungerford, and this time successfully completed the race. The car is presented today exactly as it finished the last Mille Miglia, still wearing the livery of 2015 and 2016. Nothing has been done to the car since the 2016 Mille Miglia, other than repairing the brake master cylinder to overcome the only problem affecting it during that event. The car will come with a spare water pump (the weak point that eliminated it from the 2015 Mille Miglia). Accompanying documentation consists of a current MoT certificate, UK V5C Registration Certificate, FIVA papers, and a full photographic record of the restoration.

 

From arguably the most evocative period of post-war sports car racing, this ultra-rare SIATA has been much admired at the Mille Miglia and has the potential for further development. Opportunities to acquire strong, Mille Miglia-eligible cars are increasingly rare, particularly when they are in recently restored condition like this one.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Estimated : € 280.000 - 380.000

 

Parijs - Paris

Frankrijk - France

February 2017

Saltwater vessel Charlie, passage during evening blue hour, loaded with wind turbine components for Duluth, MN

"The corner apartment building (Rooseveltova 15, Dvořákova 11) with a valuable historic facade represents a significant architectural monument and an important urban component of the city's heritage reserve." - info from the National Heritage Institute.

 

"Brno (/ˈbɜːrnoʊ/ BUR-noh, Czech pronunciation: [ˈbr̩no]; German: Brünn [bʁʏn]) is a city in the South Moravian Region of the Czech Republic. Located at the confluence of the Svitava and Svratka rivers, Brno has about 403,000 inhabitants, making it the second-largest city in the Czech Republic after the capital, Prague, and one of the 100 largest cities in the European Union. The Brno metropolitan area has approximately 730,000 inhabitants.

 

Brno served as the capital of Moravia from the Middle Ages until 1948, and remains the political and cultural hub of the South Moravian Region. Brno is an important centre of the Czech judiciary. The Constitutional Court, the Supreme Court, the Supreme Administrative Court, the Supreme Public Prosecutor's Office, as well as state authorities, such as the Ombudsman and the Office for the Protection of Competition, are all located here. Brno is also an important centre of learning and higher education, with 10 universities, 29 faculties and a student population of over 65,000, as well as more than 60 secondary schools throughout the city.

 

The Brno Exhibition Centre is one of the largest in Europe. The complex opened in 1928 and has a long history of hosting international trade fairs and expositions. The Masaryk Circuit has been hosting motorsport events since 1930, including the Road Racing World Championship Grand Prix. Another local tradition is the international fireworks competition and drone show Ignis Brunensis, which attracts over a million visitors annually.

 

Two medieval landmarks, the historic Špilberk Castle and its fortifications, as well as the Cathedral of Saints Peter and Paul on Petrov Hill, dominate the cityscape and are seen as Brno's traditional symbols. Another historic landmark is the Veveří Castle near the Brno Reservoir. The Villa Tugendhat, a seminal example of functionalist architecture, was added to the UNESCO World Heritage Sites List in 2001. One of the natural sights outside the city is the Moravian Karst. Brno is a member of the UNESCO Creative Cities Network and was designated a "City of Music" in 2017.

 

Moravia (Czech: Morava [ˈmorava]; German: Mähren) is a historical region in the east of the Czech Republic and one of three historical Czech lands, with Bohemia and Czech Silesia.

 

The medieval and early modern Margraviate of Moravia was a crown land of the Lands of the Bohemian Crown from 1348 to 1918, an imperial state of the Holy Roman Empire from 1004 to 1806, a crown land of the Austrian Empire from 1804 to 1867, and a part of Austria-Hungary from 1867 to 1918. Moravia was one of the five lands of Czechoslovakia founded in 1918. In 1928 it was merged with Czech Silesia, and then dissolved in 1948 during the abolition of the land system following the communist coup d'état.

 

Its area of 22,623.41 km2 is home to about 3.2 million of the Czech Republic's 10.8 million inhabitants. The people are historically named Moravians, a subgroup of Czechs, the other group being called Bohemians. The land takes its name from the Morava river, which runs from its north to south, being its principal watercourse. Moravia's largest city and historical capital is Brno. Before being sacked by the Swedish army during the Thirty Years' War, Olomouc served as the Moravian capital, and it is still the seat of the Archdiocese of Olomouc. Until the expulsions after 1945, significant parts of Moravia were German speaking." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

PictionID:44811543 - Catalog:14_014438 - Title:Atlas Payload Component - Filename:14_014438.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Electronic components manufacturer at Lilyfield in Sydney Australia

SFA002000464

 

Nationaal Archief/Spaarnestad Photo

 

Nederlands: Winkels in Nederland. De klanten wachten 's ochtends voor het smeedijzeren hek op de opening van warenhuis de Bijenkorf, 1933.

 

English: Clients waiting for department store to open the gates. The Netherlands, 1933.

 

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Meer foto’s van Spaarnestad Photo zijn te vinden op onze beeldbank: www.spaarnestadphoto.nl/

       

This is from Jana Roberts Benzon's dvd on Arabesque Canes.

Frame:*VELO ORANGE* piolet

Wheels:*VELOCITY* blunt ss rim × *VELO ORANGE* disc hub

Tire: *PANARACER* gravel king SS

Handle:*NITTO* LOSCO bar

Stem:*NITTO* V-5 stem

Saddle:*BROOKS* cambium

Crank:*SUGINO* mighty tour crank × *WOLF TOOTH COMPONENTS* drop stop chainring

Brakelever:*PAUL* love lever compact

Headset:*WHITE INDUSTRIES* external headset

Housing:*NISSEN*

Shift lever:*RIVENDELL* S-2 thumb shifter

Kickstand:*PLETSCHER* double kickstand

Front rack:*NITTO* rivendell basket rack RBW52F

Pedal:*MKS* gamma pedal

Fender:*HONJO*

Close up shot of a cars head and components,,

Eco Smart provides Solar Panels of world class premium brands up to 25 years of manufacturer warranty at wholesale prices. We provide many benefits over our Solar Panels and Components which will foremost bring you a long lasting value of our recommended components.For more information visit www.ecosmart-solar.com

1st Floor, Al Riqqa Building,

Near Clock Tower, Deira,

Dubai, U.A.E.

Phone: +971 4 2669986

E-mail: dubai@ecosmart-intl.com

RIAT 2022 Arrivals 14-07-2022

Display Rehearsal

Belgian Air Component

Dynamics F-16AM Fighting Falcon FA-87/19

[Full writeup here.]

 

Plungercam 2 keeps in the spirit of the original plungercam by using of cheap plumbing equipment and affixing it to precision optics. This iteration eliminates the need for glue altogether, so all the optical components can be easily taken out and re-used elsewhere.

 

The main component is a rubberized pipe coupling, which I got for $7 at the always awesome Center hardware. The two adjustable steel bands will be used to hold the mount and lens securely in place. This particular one is two inches on the narrow end, and three on the wider end.

 

To fix the problem with the body cap mount teeth fraying, I decided to replace it with a T-mount T-mount adapter. I picked up the one I'm using for $3 from one of the closing Ritz camera stores.

 

I'm re using the $12 (from ebay) Zenza bronica medium format lens that was in plungercam 1. Since this was only held in place using a metal clip, it was easy to take it out and re-use it.

 

Total cost: $22 :)

ST-S550ES Tuner (1992)

ST-S730ES Tuner (1988)

TA-E80ES Preamplifier (1991)

STR-GX909ES Receiver (1993)

One of the biggest and best Veterans Day parades this area has ever seen. More than 100 units with multiple components signed up to march or perform during this year's annual parade, hosted by the Hampton Roads Council of Veterans Organizations (HRCVO). The parade started at 9 a.m. at 16th Street and Atlantic Avenue, and ended at the Tidewater Veterans Memorial at 19th Street, across from the Virginia Beach Convention Center.

This year's Grand Marshal is CPL Johnny Johnson, USMC (Ret.) and MR1 William T. Jones, Jr., USN (Ret.) is this year's Co-Marshal. The parade will include, among others: Marching bands from the U. S. Army Training & Doctrine Command at Fort Eustis, Bayside, Green Run, Kellam, Landstown, Ocean Lakes, Salem and Tallwood High Schools, Honor Guards and/or Motorcycle and Mounted Units from Chesapeake, Portsmouth and Virginia Beach Police Departments and the Virginia Beach Sheriff's Office.

This year's parade is co-sponsored by the La Societe des Quarante Hommes et Huit Chevaux (40 & 8) Voiture Locale 86). It will include military units from the Army, Marine Corps, Navy, and Air Force that represent military installations across the region. Veterans from World War II, Korea, Vietnam, Desert Storm, Desert Shield, Operations Iraqi Freedom and Enduring Freedom will participate, as well as several Tidewater municipal and veterans support organizations, including Naval Junior ROTC Units and Boy Scout and Girl Scout Troops.

The Veterans Day Parade is sanctioned by the Department of Veterans Affairs National Veterans Day Committee and the Mayors of Chesapeake, Norfolk, Portsmouth, Suffolk and Virginia Beach who signed the Veterans Day Proclamation resolving that "citizens, businesses and organizations demonstrate due appreciation, admiration and respect for all veterans who have served our great nation."

Immediately following the parade, a formal ceremony was held at the Tidewater Veterans Memorial. This service included military and civilian honors to the Veterans. Afterwards, there was a luncheon at the DoubleTree Hotel.

 

Photography - Craig McClure

17076

 

© 2016

ALL Rights reserved by City of Virginia Beach.

Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.

there are so many layers to this...vintage linens, muslins,rosy fabric, buttons, oh so many components

Avaya Collaboration Pods are turnkey solutions that enable rapid deployment of Avaya real-time applications in private, hybrid and public clouds.

Continuing on the "what if" process. Working with a few new products.

  

PictionID:44808994 - Title:Atlas Payload Component - Catalog:14_014229 - Filename:14_014229.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Energy reaction display

Constituent phase composition

Partially determined organization

 

Arlo by Michele Wang - upsized

JURY DISTINCTION FOR CATEGORY 1. OBJECT OF STUDY

Copyright CC-BY-NC-ND: Salome Püntener

 

We are looking at a preparative thin-layer chromatography plate – a technique to spatially separate the components of a mixture. It was produced while purifying a complex fluorophore, a fluorescent compound. We design and synthesise novel fluorescent dyes in our laboratory that can be controlled by light, enzymes or other small biomolecules in order to improve fluorescence microscopy, an invaluable tool for observing live biological samples. This helps to elucidate biochemical processes and leads to a deeper understanding of cells and biology in general, potentially contributing to developments in medical or material sciences.

The image was taken spontaneously with a phone camera because it reminded me of an abstract work of art. The colourful lines might look pretty, but they indicate numerous – and unwanted – side reactions during the synthesis of the fluorophore, which were revealed in the chromatography analysis.

 

Comment of the jury │ A showcase for serendipity in research: an experimental hiccup leads to an abstract painting-like image with strong aesthetic appeal – instead of a useful result. Taken with little pretention and a rare admission of one’s fallibility, the photo unveils day-to-day life in a lab, reminding us that failure is an essential element of the scientific process.

 

--

 

Nous voyons une plaque de chromatographie en couche mince, une technique pour séparer spatialement les composants d’un mélange. Elle a été réalisée lors d’une étape de purification d’un fluorophore, un composé fluorescent. Dans notre laboratoire, nous concevons et synthétisons de nouveaux colorants fluorescents pouvant être contrôlés par la lumière, par des enzymes ou par d’autres petites biomolécules. L’objectif est d’améliorer la microscopie à fluorescence, un outil précieux pour observer des échantillons biologiques vivants, élucider des processus biochimiques, améliorer la compréhension de mécanismes cellulaires et biologiques et contribuer ainsi à des développements dans les sciences biomédicales.

J’ai pris cette image spontanément avec mon téléphone car elle me faisait penser à une œuvre d’art abstraite. Les lignes colorées peuvent avoir l’air jolies, mais elles sont le signe de nombreuses réactions secondaires et indésirables ayant eu lieu durant la synthèse du fluorophore et qui ont été révélées par l’analyse chromatographique.

Commentaire du jury │ Une belle incarnation de la sérendipité en science: au lieu du résultat scientifique espéré, un pépin expérimental conduit à une image très esthétique digne d’une peinture abstraite. Prise sans prétention et avec un rare aveu de faillibilité, la photo dévoile le quotidien au laboratoire et nous rappelle que l’échec constitue un élément essentiel du processus scientifique.  

 

--

 

Wir sehen eine Platte für die präparative Dünnschichtchromatografie, eine Methode zur räumlichen Trennung der Bestandteile einer Mischung. Sie wurde zur Reinigung eines Fluorophors, einer fluoreszierenden Verbindung, durchgeführt. In unserem Labor entwickeln und synthetisieren wir neue Fluoreszenzfarbstoffe, die durch Licht, Enzyme oder andere kleine Biomoleküle gesteuert werden können. Ziel ist es, die Fluoreszenzmikroskopie zu verbessern. Sie ist ein wertvolles Instrument zur Beobachtung lebender biologischer Proben, zur Analyse biochemischer Prozesse und zum besseren Verständnis biologischer Mechanismen auf Zellebene. Damit leisten wir einen Beitrag zu neuen Erkenntnissen in der Biomedizin.

Ich habe dieses Bild spontan mit meinem Handy aufgenommen, weil es mich an ein abstraktes Kunstwerk erinnerte. Die farbigen Linien sehen hübsch aus, sind aber ein Zeichen für verschiedene unerwünschte sekundäre Reaktionen während der Synthese des Fluorophors. Diese Reaktionen haben wir mit der chromatographischen Analyse sichtbar gemacht.

 

Kommentar der Jury │ Eine schöne Verkörperung zufälliger Entdeckungen in der Wissenschaft: Statt das erhoffte Ergebnis tragen unerwünschte Nebenprodukte zu einem sehr ästhetischen Bild bei, das an ein abstraktes Gemälde erinnert. Bescheiden und mit einem selten zu findenden Eingeständnis des Scheiterns veranschaulicht das Foto den Laboralltag und erinnert uns daran, dass Misserfolge ein wesentlicher Bestandteil des wissenschaftlichen Prozesses sind.

  

PictionID:44808837 - Title:Atlas Payload Component - Catalog:14_014216 - Filename:14_014216.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

The visual component of these vehicles create a hierarchical system of value and class; the more ornate and beautiful the truck is, the more valuable the goods they will be carrying. The tradition comes from the era of Raj in the olden days of real crafts and craftsmen. These vehicles take hordes of Pakistani craftsmen many months to complete. Extreme detail is paid to every aspect of these trucks, from the trucks artistic paint job to the finely hand-carved wooden doors. This elaborate style stems back to the old style of palace decor employed during the Mogul Empire.

OLYMPUS DIGITAL CAMERA

Mediterranean Eggplant and Barley Salad on smittenkitchen.com

Universal Studios Florida is a theme park located in Orlando, Florida. Opened on June 7, 1990, the park's theme is the entertainment industry, in particular movies and television. Universal Studios Florida inspires its guests to "ride the movies", and it features numerous attractions and live shows. The park is one component of the larger Universal Orlando Resort.

 

In 2013, the park hosted an estimated 7.06 million guests, ranking it the eighth-most visited theme park in the United States, and ranking it sixteenth worldwide.[2]

  

Contents [hide]

1 History 1.1 Park history

1.2 Branding

1.3 Timeline

1.4 Previous attractions

 

2 Park design 2.1 Production Central

2.2 New York

2.3 San Francisco

2.4 London/Diagon Alley

2.5 World Expo

2.6 Woody Woodpecker's Kidzone

2.7 Hollywood

 

3 Character appearances

4 Production facilities

5 Annual events 5.1 Grad Bash and Gradventure

5.2 Halloween Horror Nights

5.3 Macy's Holiday Parade

5.4 Mardi Gras

5.5 Rock the Universe

5.6 Summer Concert Series

 

6 Universal's Express Pass

7 Attendance

8 See also

9 References

10 External links

  

History[edit]

  

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

     

The original entrance to the theme park.

Over the years, Universal Studios Florida has not limited itself to attractions based on its own vast film library. It has occasionally licensed popular characters from other rival studios, many of whom did not operate theme parks themselves. Some examples include Ghostbusters and Men in Black, (Sony's Columbia Pictures), The Simpsons (20th Century Fox) and Shrek (DreamWorks Animation).

 

Many of the park's past and present attractions were developed with the actual creators of the films they were based on, and feature the original stars as part of the experience. Steven Spielberg helped create E.T. Adventure and was a creative consultant for Back to the Future: The Ride, Twister...Ride it Out, An American Tail Theatre, Jaws, Men in Black: Alien Attack and Transformers: The Ride.

 

In many current rides, the original stars reprised their film roles including: Rip Torn and Will Smith in Men in Black: Alien Attack, Brendan Fraser for Revenge of the Mummy: The Ride, Bill Paxton and Helen Hunt in Twister...Ride it Out, Arnold Schwarzenegger, Edward Furlong and Linda Hamilton reprised their roles for Terminator 2: 3-D Battle Across Time, Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow for Shrek 4D, Steve Carell, Miranda Cosgrove, Dana Gaier, and Elsie Fisher reprised their roles from Despicable Me for Despicable Me: Minion Mayhem, and Peter Cullen and Frank Welker reprised their roles as Optimus Prime and Megatron for Transformers: The Ride.

 

In many former rides, the many original stars were also to reprise their film roles such as: Christopher Lloyd and Thomas F. Wilson in Back to the Future: The Ride, Roy Scheider recorded a voice over for the conclusion of Jaws, Alfred Hitchcock and Anthony Perkins appeared in Alfred Hitchcock: The Art of Making Movies, additionally, various Nicktoon voice actors reprised their roles in Jimmy Neutron's Nicktoon Blast.

 

Park history[edit]

 

From its inception in 1982,[3] Universal Studios Florida was designed as a theme park and a working studio. It was also the first time that Universal Studios had constructed an amusement park "from the ground up." However, the proposed project was put on hold until 1986, when a meeting between Steven Spielberg, a co-founder for the park, and Peter N. Alexander prompted for the creation of a Back to the Future simulator ride in addition to the already planned King Kong based ride.[4]

 

A major component of the original park in Hollywood is its studio tour, which featured several special-effects exhibits and encounters built into the tour, such as an attack by the great white shark from the film Jaws. For its Florida park, Universal Studios took the concepts of the Hollywood tour scenes and developed them into larger, stand-alone attractions. As an example, in Hollywood, the studio tour trams travel close to a shoreline and are "attacked" by Jaws before they travel to the next part of the tour. In Florida, guests entered the "Jaws" attraction and would board a boat touring the fictitious Amity Harbor, where they encountered the shark, then exited back into the park at the conclusion of the attraction. Universal Studios Florida originally had a Studio Tour attraction that visited the production facilities, but that tour has since been discontinued.

 

Branding[edit]

 

Previous slogans for Universal Studios Florida were: See the Stars. Ride the Movies. (1990 - 1998); No one makes believe like we do! (1990 - 1998); Ride the Movies (1998 - 2008); Jump into the Action (2008–2012). The current slogan is: Experience the Movies (2012–present).

 

Timeline[edit]

1986: Land clearing takes place on the swamp land purchased by MCA/Universal that would hold the park.

1987: Universal Studios Florida is announced at a press conference on the Hollywood property, with a planned opening date of December 1989.

1988: Universal Studios Florida's opening date is delayed from December, 1989 to May 1, 1990. Shortly following, MCA/Universal releases a video detailing the future park, which stars Christopher Lloyd as the Universal character Doc Brown interacting with the various attractions at the Florida park.[5] Universal Studios allows guests to witness the production of television shows and motion pictures in the Florida park's soundstages in middle 1988, while the rest of the studio/park is still under construction.[6]

1989: MCA/Universal Studios claims that The Walt Disney Company and its CEO, Michael Eisner copied several concepts of the Universal Studios Florida park, and integrated them into Disney's recently opened Disney/MGM Studios park.[7]

1990: On January 31, Universal Studios Florida's opening date is again delayed from May 1, 1990 to June 7, 1990.[8] Universal Studios Florida begins soft openings for the general public in late May.[9] Many of the park's attractions are not yet open at the time, and still under testing. Universal Studios Florida is officially opened with a grand opening style ceremony on June 7.[10] The park opens with five themed areas: The Front Lot (entrance area), Production Central, New York, San Francisco/Amity, Expo Center, Hollywood as well as a Lagoon located in the center of the park. The Front Lot and Production Central areas are referred to as "In Production", the New York section is referred to as "Now Shooting", the San Francisco and Amity sections are referred to as "On Location" and the Expo Center area is referred to as "The World of CineMagic Center". Nickelodeon Studios also opened on this day where there was a grand opening ceremony hosted by Marc Summers. Due to massive technical problems with the original Kongfrontation, Earthquake: The Big One and Jaws rides, Universal begins a temporary voucher service to allow guests to re-visit the studio/park when the attractions are operating.[10] Jaws is temporarily closed by Universal on September 30 due to persistent major technical problems. During the shut-down, Universal sues the original designer of the Jaws ride,[11] Ride & Show Engineering, and hires Totally Fun Company to create a re-designed version of most of the ride.

1991: Universal adds four new attractions to the park: The Blues Brothers Show, StreetBusters, The Screen Test Home Video Adventure and How to Make a Mega Movie Deal.[12] Back to the Future: The Ride officially opens in the World Expo Center area of the park, in a grand opening ceremony.[13] The ride is considered to be a success, and receives positive reception from theme park critics.[14] Fright Nights debuts at the park. In 1992, it is renamed to Halloween Horror Nights.

1993: Jaws is re-opened, with many scenes altered. MCA/Universal announces plans to expand Universal Studios Florida into the Universal City, Florida resort complex, including a second theme park and multiple hotels.[15]

1995: Universal Studios Florida celebrates its 5th anniversary. A Day in the Park with Barney opens in the World Expo area. The Production Studio Tour is closed due to a dwindle in the studios' recent Film/TV production.

1996: Terminator 2: 3-D Battle Across Time opens in the Hollywood area.[16]

1997: Universal announces that Ghostbusters Spooktacular will be replaced by Twister...Ride it Out, with a planned opening date of Spring 1998[17] Universal Studios announces that the sole Studio park will be expanded into the Universal Studios Escape, including the Islands of Adventure park, Universal CityWalk Orlando and multiple hotels. The Islands of Adventure Preview Center opens in the New York area, replacing The Screen Test Home Video Adventure. It is meant to give guests a preview of the up-coming Islands of Adventure park, as well as expansion of the Studio park into the Universal Studios Escape resort.

1998: The expansion begins as the original open parking lot for Universal Studios Florida is demolished and replaced by CityWalk and a parking garage complex.[18] Universal delays the opening of Twister...Ride it Out from March, 1998 to May 4, 1998 out of respect for the 42 deaths caused by a recent El Nino outbreak of tornadoes in the central Florida area. Twister...Ride it Out opens in the New York area, replacing Ghostbusters Spooktacular.[19] A new area of the park, Woody Woodpecker's Kidzone, is officially opened, holding the attractions Curious George Goes to Town, StarToons and the previously opened Fievel's Playland, E.T. Adventure, Animal Actors Stage and A Day in the Park with Barney; CityWalk opens outside of the park.

1999: Woody Woodpecker's Nuthouse Coaster opens in the Woody Woodpecker's Kidzone area. Islands of Adventure opens next door to Universal Studios Florida.[20]

2000: Men in Black: Alien Attack opens in the World Expo area, on the former site of The Swamp Thing Set. Universal Studios Florida's 10th anniversary celebration.

2001: Animal Planet Live opens, replacing Animal Actors Stage.

2002: Universal Studios Escape is renamed Universal Orlando Resort. Kongfrontation closes in a closing ceremony. Halloween Horror Nights is moved to Islands of Adventure. Macy's Holiday Parade debuts at the park.

2003: Jimmy Neutron's Nicktoon Blast opens, replacing The Funtastic World of Hanna-Barbera.[21] Shrek 4-D opens with Donkey's Photo Finish, replacing Alfred Hitchcock: The Art of Making Movies and Stage 54 respectively.[22]

2004: Revenge of the Mummy: The Ride opens, replacing Kongfrontation.[23] Halloween Horror Nights takes place in both Universal Studios Florida and Islands of Adventure.

2005: Universal Express Plus is introduced, replacing Universal Express. Nickelodeon Studios closes after nearly 15 years. Fear Factor Live opens, replacing The Wild Wild Wild West Stunt Show. Universal Studios Florida celebrates its 15th anniversary.

2006: Delancey Street Preview Center opens in the New York area. Universal 360: A Cinesphere Spectacular opens, replacing Dynamite Nights Stunt Spectacular. Animal Planet Live is closed, and replaced by Animal Actors on Location. Halloween Horror Nights returns to Universal Studios Florida for its "Sweet 16".

2007: Back to the Future: The Ride closes on March 30.[24] Blue Man Group Sharp Aquos Theatre opens in CityWalk, replacing Nickelodeon Studios. Earthquake: The Big One closes in the San Francisco area on November 5.

2008: Disaster!: A Major Motion Picture Ride...Starring You! opens, replacing Earthquake: The Big One.[25] Universal announces Hollywood Rip Ride Rockit, with a planned opening of Spring 2009. The Simpsons Ride opens, replacing Back to the Future: The Ride.[26]

2009: The Universal Music Plaza Stage opens, replacing The Boneyard. Hollywood Rip Ride Rockit opens.

2010: The 20th anniversary of Universal Studios Florida in June, as well as Halloween Horror Nights in October.

2011: The 10th anniversary of Macy's Holiday Parade at the park.[27]

2012: Jaws and the surrounding Amity themed area closes, as announced on December 2, 2011.[28] Universal announces the additions of Universal’s Cinematic Spectacular: 100 Years of Movie Memories and Universal's Superstar Parade to the park, with openings on May 8, 2012.[29] Despicable Me: Minion Mayhem, opens replacing Jimmy Neutron's Nicktoon Blast; as announced on March 14, 2011 as "...one of many exciting things planned for the next couple of years".[30] Universal Orlando Resort announced Transformers: The Ride will officially open in the summer of 2013, replacing Soundstages 44 and 54, which were demolished on June 24, 2012.[31] SpongeBob StorePants,a gift shop themed after SpongeBob SquarePants opened in Woody Woodpecker's Kidzone replacing the Universal Cartoon Store

2013: The opening date for Transformers The Ride is announced for June 20, 2013. Details of The Wizarding World of Harry Potter expansion are officially announced. Details for the new Simpsons Land are announced and expected to open in the summer of 2013. Transformers: The Ride officially opens in the Production Central area replacing Soundstage 44. Simpsons Fast Food Boulevard (renamed Springfield U.S.A.) concludes its expansion as it includes one new ride: Kang and Kodos Twirl 'n' Hurl.

2014: The opening date for The Wizarding World of Harry Potter Diagon Alley is announced for July 8, 2014 amid the Diagon Alley preview red carpet premiere on June 18, 2014 with Domhnall Gleeson, Bonnie Wright, Evanna Lynch, Matthew Lewis, James and Oliver Phelps, Tom Felton, Robbie Coltrane, Warwick Davis and Helena Bonham Carter attending the premiere. King's Cross station opens on July 1, 2014 as well as the Hogwarts Express Hogsmeade station at Universal's Islands of Adventure, connecting park visitors to both theme Harry Potter theme parks via a full scale replica of the train that appears in the Harry Potter film series. Diagon Alley officially opens, replacing Jaws and the Amity section of the park.

 

Previous attractions[edit]

 

Main article: List of former Universal Studios Florida attractions

     

The previous icon of the Jaws ride is still a popular photo spot.

Like all theme parks, attractions are sometimes closed due to aging and replaced with more contemporary attractions. Universal has seen this happen several times. Some notable closures include Kongfrontation, Back to the Future: The Ride, The Funtastic World of Hanna-Barbera and Jaws. The closures of Kongfrontation, Back to the Future, and Jaws have been given homages by the park to honor veteran visitors who revered the former rides.

 

Park design[edit]

 

Main article: List of Universal Studios Florida attractions

 

Universal Studios Florida features seven themed areas all situated around a large lagoon. In 2012, this lagoon was the site of Universal’s Cinematic Spectacular: 100 Years of Movie Memories, a thematic display that showcased scenes from various Universal films, featuring lasers, projectors and fountains, and pyrotechnics.

 

The seven surrounding themed areas, clockwise from the entrance, are Production Central, New York, San Francisco, London/Diagon Alley, World Expo, Woody Woodpecker's Kidzone and Hollywood. Each area features a combination of rides, shows, attractions, character appearances, dining outlets and merchandise stores. A new area, based on Harry Potter's Diagon Alley was added to the park in the July of 2014.

 

Production Central[edit]

  

Ride

 

Year opened

 

Manufacturer

  

Despicable Me: Minion Mayhem 2012 Intamin

Shrek 4-D 2003 PDI/DreamWorks

Hollywood Rip, Ride, Rockit 2009 Maurer Söhne

Transformers: The Ride 3D 2013 Oceaneering International

The Universal Music Plaza Stage 2009

  

The area is also home to a variety of dining outlets and merchandise shops. Food and beverage items can be purchased from Beverly Hills Boulangerie or Universal Studios' Classic Monsters Cafe while merchandise can be bought from a variety of themed stores including Universal Studios Store, Studio Sweets, It's a Wrap!, Super Silly Stuff, Shrek's Ye Olde Souvenir Shoppe, and Transformers: Supply Vault.[32][33]

 

Copyright © 2021 by Craig Paup. All rights reserved.

Any use, printed or digital, in whole or edited, requires my written permission.

 

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

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La Porsche 911 è un'autovettura sportiva prodotta dalla Porsche a partire dal 1963. È tuttora in produzione, e nel corso degli anni ha avuto molti cambiamenti. Si possono, tuttavia, distinguere due serie fondamentali: le 911 con motore raffreddato ad aria (1963-1997) e le 911 "moderne" (dal 1998 ad oggi). Nella seconda metà degli anni cinquanta la Porsche 356 iniziava a sentire il peso degli anni. Il motore 4 cilindri boxer raffreddato ad aria era nato nel 1948 con cilindrata di 1.131 cm³ e 40 CV di potenza, ed era derivato, come altre componenti dell'auto, dalla Volkswagen Maggiolino. Il vecchio 4 cilindri aveva raggiunto il massimo del suo potenziale di sviluppo con la versione 2.0 Carrera GS da 130 CV. Per la progettazione della nuova vettura Ferry Porsche si occupò della parte tecnica, affidando l'innovazione stilistica al figlio Ferdinand Alexander Porsche soprannominato dai suoi familiari "Butzi". Le linee guida decise a priori comportavano il mantenimento dell'impostazione tecnico-stilistica della "356", con il motore boxer raffreddato ad aria e montato posteriormente, ma con un'abitabilità sufficiente a ospitare 4 persone. La costruzione in serie di una tale vettura, avrebbe consentito alla Porsche di entrare nel mercato delle Gran turismo "due litri", con un prezzo concorrenziale rispetto ai modelli costruiti artigianalmente da molti carrozzieri italiani, su meccaniche Alfa Romeo, Fiat e Lancia. Lo sviluppo tecnico non diede gravi difficoltà e la nuova meccanica, incluso l'inedito 6 cilindri boxer, era pronta già nel 1961. Problemi maggiori derivarono dalla definizione della carrozzeria. La soluzione trovata da Butzi alla fine del 1959, il prototipo "T7" (in seguito anche denominato "754"), non convinceva e le varie modifiche non riuscirono a trovare la giusta soluzione tra l'eleganza dell'aspetto e la necessità di ottenere il richiesto spazio per passeggeri dei sedili posteriori.

Un lungo lavoro di affinamento portò alle soluzioni più disparate e bizzarre, finché Butzi si vide costretto ad abbandonare l'iniziale punto programmatico dei 4 posti e ripiegare sulla configurazione 2+2, che consentiva di mantenere la linea di cintura iniziale, raccordando il padiglione con il cofano motore in una sola curva.

L'aspetto estetico risultò subito molto equilibrato e, ancor più la parentela stilistica con il modello "356". Per la nuova vettura venne scelta la sigla commerciale "901" e il primo esemplare costruito, di colore giallo, fu presentato al Salone dell'Automobile di Francoforte del 1963, ottenendo buoni apprezzamenti dal pubblico e dalla stampa specializzata. La commercializzazione della nuova "901", avviata all'inizio del 1964, fu subito ostacolata dalla diffida della Peugeot ad usare quella sigla, poiché depositaria di tutti i numeri a tre cifre con lo zero al centro da utilizzare per i suoi modelli. La Porsche fu quindi costretta a modificare la sigla in "911" a partire dal 10 novembre 1964. Marchiati "901" furono soltanto i primi 82 esemplari già venduti, quasi tutti allestiti in maniera artigianale, dato che la produzione di serie ebbe inizio il 14 settembre di quell'anno. Pur immediatamente ottenendo un buon successo di vendite, la "911" fu inizialmente investita da forti polemiche e contestazioni, soprattutto rivolte all'eccessivo prezzo di listino e alla problematica tenuta di strada. La questione del prezzo, provocò un vero e putiferio di rimostranze da parte della clientela Porsche, dato che il nuovo modello era proposto all'astronomica cifra di 23.900 DM, con un aumento di oltre 7.000 DM, rispetto alla "356". A seguito delle proteste, l'azienda decise di ridurre il prezzo della "911" a 22.400 DM. Inoltre propose una versione con finiture modeste e motore a 4 cilindri derivato dalla "356", al contenuto prezzo di 17.500 DM, poi divenuta "912" dall'aprile 1965. Di soluzione non altrettanto facile furono le carenze tecniche lamentate dalla clientela che si tramutarono, nel 1966, in un dimezzamento delle vendite, passando alle 1.709 vetture consegnate, contro le 3.389 dell'anno precedente. Venivano lamentate la scarsa ventilazione e l'eccessiva rumorosità nell'abitacolo, il comportamento nervoso della vettura e, soprattutto, l'instabilità direzionale oltre i 130 km/h e il notevole effetto sottosterzante. La 911 era una coupé 2+2 (gli affinamenti avevano ridotto lo spazio posteriore), con motore posteriore a sbalzo, trazione posteriore, sospensioni a 4 ruote indipendenti con barre di torsione, 4 freni a disco e cambio meccanico a 5 rapporti (spesso 4 per gli USA). Il 6 cilindri boxer raffreddato ad aria e alimentato da 2 carburatori Solex triplo corpo che la muoveva aveva una cilindrata di 1991 cm³ e una potenza massima di 130 CV. Nel 1966 venne lanciata anche la 911 S che, grazie ad una serie di modifiche all'albero motore, profilo dei pistoni, valvole maggiorate, raggiungeva una potenza di 160 CV. Su tutti i modelli si passò a carburatori Weber. Esternamente la S si riconosceva per i cerchi in lega Fuchs.

Sempre nel 1966 le coupé (standard e S) vennero affiancate dalle versioni Targa, con tetto rigido asportabile. Era la 911 T, con alimentazione a carburatori e motore meno prestante (110 CV); la 911 L manteneva il motore a carburatori da 130 CV ed aveva finiture di maggior pregio; la 911 S, ancora dotata di carburatori Weber, offriva 160 CV. Tutti i modelli erano disponibili sia in versione coupé che Targa.

Nel 1968, per rendere meno "nervoso" il comportamento stradale, venne allungato il passo di 6 cm (da 221 a 227 cm): il modello base era ancora la 911 T, con alimentazione a carburatori e motore da 110 CV; i modelli 911 E (140 CV) e 911 S (170 CV) erano dotati di iniezione meccanica Bosch. Nel 1969 fu cambiata la griglia posteriore e la cilindrata del motore: da 1991 a 2195 cm³. Le potenze salirono a 125 CV per la serie T (a carburatori), a 155 CV per la serie E (a iniezione) e a 180 CV per la serie S (pure a iniezione). Una serie S come si direbbe oggi "full optional" fu acquistata dalla Solar Film (casa produttrice statunitense che faceva capo a Steve McQueen) e usata nel film Le 24 Ore di Le Mans, con lo stesso Steve McQueen protagonista, che arriva sul circuito al volante proprio della 911 S grigia. Recentemente quest'auto, venduta dall'attore pochi anni dopo il film, e passata varie volte di mano, è stata battuta ad un'asta statunitense di auto d'epoca. Nel 1971 la cilindrata del boxer venne aumentata ulteriormente da 2195 cm³ a 2341 cm³ e le potenze crebbero a 130 CV (T), 165 CV (E) e 190 CV (S). La più potente 911 S ottenne anche uno spoiler anteriore per stabilizzare l'avantreno alle alte velocità. Nel 1972 fu proposta la 911 Carrera RS (RennSport), mossa da una versione di 2687 cm³ (210 CV) a iniezione meccanica del classico 6 cilindri boxer e carrozzeria alleggerita, con cofani e portiere in alluminio e lamiere non strutturali assottigliate. La Carrera RS era disponibile in una versione Touring con interno simile a quello delle 911 S e Sport, con allestimento interno semplificato per contenere ulteriormente il peso. Era riconoscibile per il celebre alettone posteriore "a coda d'anatra" (ducktail), le strip adesive sulla fiancata ed i cerchi (in lega) in tinta con le strip. Era disponibile nella sola versione coupé. Nel 1973 ne vennero creati otto esemplari da competizione denominati Carrera RSR. Utilizzando come base la RS, vennero montati nuovi freni ventilati a disco con quattro pistoncini e nuove sospensioni sportive irrigidite. I passaruota erano stati allargati per permettere il montaggio di pneumatici da competizione, più grandi rispetto a quelli di serie. Nella parte anteriore venne sistemato un nuovo radiatore dell'olio, mentre il propulsore impiegato era una versione 2.8 da 308 cv del motore della RS stradale. La sua gestione era affidata ad un cambio manuale a 5 rapporti. Questi modelli vennero affidati ai team Brumos e Penske per competere in alcune prove del Campionato Mondiale per vetture sport.

La prima prova fu alla 24 Ore di Daytona, dove i piloti Peter Gregg e Hurley Haywood del team Brumos ottennero la vittoria. Altre pregevoli conquiste furono La Targa Florio e la 12 Ore di Sebring. Nel 1974 le nuove norme USA sulla sicurezza e sull'inquinamento costrinsero i tecnici Porsche a rivedere la 911. Furono cambiati i paraurti, resi più grandi e ad assorbimento d'urto (i cosiddetti "impact bumpers"), con due pistoni idraulici al posto delle barre metalliche usate sul mercato europeo. I gruppi ottici posteriori vennero uniti da una fascia trasparente rossa inglobante i catarifrangenti. Dal punto di vista tecnico, invece, la cilindrata venne portata per tutte le versioni a 2687 cm³. Tutte adottarono l'alimentazione a iniezione meccanica, ma l'adozione di dispositivi antinquinamento ridusse la potenza utile. Anche gli interni furono aggiornati per migliorare comfort e sicurezza. La nuova gamma comprendeva la 911 standard (150 CV), la 911 S (177 CV) e la 911 Carrera (210 CV). Quest'ultima aveva la carrozzeria delle altre 911, senza alleggerimenti e variazioni estetiche, ed era disponibile anche in versione Targa (come pure la standard e la S), mentre il motore era lo stesso della Carrera RS della serie precedente: fu venduta solo sul mercato europeo ed in Sudafrica, ma non negli Stati Uniti. Nel 1975 venne introdotta la 911 Turbo, con motore portato a 2994 cm³ e sovralimentato con turbocompressore . La potenza cresceva così a 260 CV.

La 911 Turbo, disponibile solo in versione coupé, era facilmente riconoscibile per la carrozzeria allargata, l'ampio alettone posteriore (che incorporava l'intercooler), i cerchi sportivi con pneumatici maggiorati sui posteriori, lo spoiler anteriore più pronunciato e la verniciatura in nero opaco di tutte le parti cromate. Minime le modifiche all'interno. Lo stesso anno, data l'esigenza di proporla anche sul mercato statunitense, la cilindrata della Carrera crebbe a 2994 cm³, ma a causa dei dispositivi antinquinamento la potenza scese da 210 a 200 CV. Nel 1977 fu lanciata la 911 SC (SuperCarrera), che sostituiva tutte le altre versioni "non turbo" (standard, S e Carrera); aveva una cilindrata di 2994 cm³ e una potenza ridotta a 180 CV. Esteticamente le uniche modifiche riguardavano la verniciatura in nero opaco dei particolari prima cromati.

La SC, disponibile sia in versione coupé che Targa, venne lanciata in un momento in cui il management della Casa tedesca riteneva che la 911 fosse un modello superato, destinato ad essere gradualmente rimpiazzato dalla Porsche 928, lanciata proprio quell'anno e dotata di un nuovo motore V8 raffreddato ad acqua e meccanica transaxle. La 928 ebbe un buon successo di mercato, soprattutto negli USA, ma non riuscì mai a sostituire nel cuore degli appassionati la 911, che rimase sempre il modello Porsche più popolare. Nel 1978 la cilindrata della 911 Turbo crebbe da 2994 a 3299 cm³ e la potenza, grazie anche all'adozione dell'alimentazione a iniezione elettronica (anziché meccanica), raggiunse i 300 CV. Nel 1981 la potenza delle SC venne incrementata a 204 CV. Nel 1983 le versioni coupé e Targa vennero affiancate dalla 3.0 SC Cabriolet. Nel 1984 le 911 SC lasciarono il posto alle 911 Carrera 3.2, pressoché invariate esteticamente (a parte i piccoli fendinebbia rettangolari, ora integrati nello spoiler anteriore e non più solo opzionali, e il richiamo degli indicatori di posizione in posizione laterale), ma con importanti novità tecniche: cilindrata portata a 3164 cm³, alimentazione a iniezione elettronica anziché meccanica e potenza di 231 CV.

Fu realizzata anche in versione cabriolet. Nel 1987 venne proposta la nuova migliorata trasmissione G50 e la frizione idraulica. La fascia posteriore rossa ora comprende anche i retronebbia. Sono state prodotte due versioni commemorative della 3.2, chiamate comunemente, ma erroneamente, entrambe Giubileo.

Una del 1988 in occasione della 250.000ª 911 prodotta aveva un colore specifico (Diamantblau met cod. 697), la firma Ferry Porsche ricamata sugli appoggiatesta ed i cerchi ruota forgiati Fuchs con i "petali" nello stesso colore della carrozzeria anziché neri. Venne prodotta in tutte le varianti di carrozzeria, con motore catalizzato e non. Nell'anno seguente è stata realizzata una nuova versione commemorativa per i 25 anni di inizio di produzione della 911: in realtà erano 3 modelli con equipaggiamento molto completo e piuttosto rari, contraddistinti dai codici M097, M098 e M099. Rappresentavano una serie limitata di fine produzione del modello 3.2: M097 modello Anniversario 1989 25 anni 911 versione Germania, vernice blu profondo metallizzata, interni pelle totale colore grigio perla, tappetini in velluto effetto seta colore grigio perla, consolle centrale speciale, cerchi Fuchs in tinta, cruscotto in radica; prodotta principalmente con carrozzeria coupé, ha avuto anche versioni Targa e Cabrio, molto rare; M098 modello Anniversario 1989 25 anni 911 versione USA vernice argento metallizzata, interni in pelle totale colore grigio effetto seta, tappetini in velluto colore grigio, consolle centrale speciale, cerchi Fuchs in tinta; M099 modello Anniversario 1989 25 anni 911 versione Resto del mondo vernice blu metallizzata, pelle totale colore blu, tappetini in velluto colore argento-blu, consolle centrale speciale, cerchi Fuchs in tinta. Il Model Year 1989 rappresenta l'ultimo anno di produzione della 3.2 con la tipica carrozzeria Bumper e le "sospensioni a lame". Le vetture di quest'anno presentano tutta una serie di piccole evoluzioni tecniche e di dotazioni poi riprese dalla imminente 964. Sempre nel 1989 venne realizzata una piccola serie di 911 Speedster.

Si trattava di una cabriolet alleggerita con parabrezza più piccolo, calotta aerodinamica in plastica al posto dei sedili posteriori, carrozzeria slim o allargata "Turbo Look" e meccanica della normale derivata dalla Carrera 3.2. Nel giugno 1989 venne lanciata la 911 Carrera 4 (serie 964), con tantissime novità tecniche ed estetiche. Da punto di vista tecnico la novità principale era l'adozione della trazione integrale permanente e di un motore a cilindrata maggiorata da 3600 cm³ con doppia accensione e 250 CV. I freni ottennero l'ABS di serie, mentre lo sterzo era servoassistito. Esteticamente venivano adottati nuovi paraurti, diversi cerchi, inedito alettone posteriore retrattile e interni rivisti. Le versioni disponibili erano coupé, Targa e cabriolet.

Nel 1990 anche le versioni a trazione posteriore adottarono motore, freni e allestimento della Carrera 4. Il nome commerciale era 911 Carrera 2. Le versioni disponibili erano coupé, Targa e cabriolet. Anche le 964 Turbo (talvolta impropriamente indicate come 965) vennero aggiornate, prendendo i paraurti e gli interni delle Carrera 2/4. La potenza del motore 3,3 litri saliva a 320 CV. Lo stesso anno debuttò anche la Carrera 2 3.6 RS, alleggerita grazie ad un allestimento semplificato e potenziata a 260 CV. Nel 1987 per la prima volta venne proposta la 911 Turbo Cabriolet, e nel 1993 arrivarono la Carrera 2 Speedster e la Carrera 2 3.8 RS (con motore di 3,8 litri da 300 CV). La cilindrata della Turbo venne accresciuta a 3,6 litri con un conseguente aumento della potenza massima a 360 CV. I fari anteriori più inclinati ed il diverso taglio dei gruppi ottici posteriori costrinsero la Porsche a ridisegnare i parafanghi anteriori e alcune lamiere posteriori. Nuovi anche i paraurti e parte degli interni. Rilevanti anche le novità tecniche: nuova sospensione posteriore, denominata "LSA", acronimo che sta per "leggero, stabile, agile" (con traliccio che ingabbiava il motore) e 6 cilindri boxer con condotti di aspirazione a lunghezza variabile "Variocam" introdotta dal Model Year 1996 con conseguente aumento della potenza a 286 CV. Ulteriore novità tecnica fu l'adozione, per la prima volta su un'auto di serie, del fondo piatto, soluzione che migliorò l'aerodinamica e la stabilità della vettura.

La nuova sospensione garantiva un'eccellente tenuta di strada anche al cospetto dei 272 CV erogati dal 6 cilindri di 3,6 litri. Nuova anche la trazione integrale della Carrera 4. Sia le Carrera (a 2 ruote motrici) che le Carrera 4 erano disponibili in versione coupé o cabriolet. La versione Targa non venne inizialmente prodotta. La 911 Turbo della serie 993 venne potenziata con trazione integrale e sovralimentazione con 2 turbocompressori più intercooler, per un totale di 408 CV. Nel 1995, con il Model Year 1996, venne riproposta una versione denominata Targa: si trattava di una Carrera 2 con tetto apribile panoramico in cristallo azionato elettronicamente. Lo stesso anno vennero lanciate le Carrera S e Carrera 4 S, con carrozzeria "Turbo look". Nel 1996 entrarono in gamma la RS (motore di 3,8 litri da 300 CV, trazione posteriore e carrozzeria alleggerita di 100 kg) e la Turbo GT2 (trazione posteriore e motore biturbo da 450 CV). La serie delle 911 con motore raffreddato ad aria si chiuse nel 1997. Bisognava progettare un modello completamente nuovo, ma che mantenesse l'identità estetica e meccanica (motore 6 cilindri boxer posteriore a sbalzo) della 911, evitando gli errori commessi con le varie Porsche 944 e Porsche 968: evolute tecnicamente, ma fallimenti commerciali. Fu così che alla fine del 1997 nacque la 911 serie 996. Un modello completamente nuovo, sia tecnicamente che esteticamente, ma indubbiamente legato alla tradizione, in pratica una riedizione dei modelli tradizionali. Dal punto di vista tecnico le novità riguardarono soprattutto le sospensioni anteriori (comuni alla Porsche Boxster) a quadrilateri ed il motore, sempre sei cilindri boxer, ma con raffreddamento ad acqua e testata a 4 valvole per cilindro. Posteriormente venne riproposta una riedizione della sofisticata sospensione posteriore "LSA". L'ESP integrava il lavoro delle sospensioni ed erano disponibili due tipi di trazione: posteriore o integrale permanente a gestione elettronica.

Grazie alla distribuzione a 24 valvole con fasatura variabile il boxer, nonostante la cilindrata ridotta a 3387 cm³, era in grado di fornire 296 CV. Anche gli interni erano completamente nuovi. La gamma era composta dalle versioni coupé e cabriolet alle quali s'aggiunse successivamente la versione Targa con tetto in cristallo, come sulla 993. Nel 1999 arrivò la GT3, con motore aspirato di 3,6 litri da 360 CV e carrozzeria alleggerita.

Nel 2000 entrò in produzione la 911 Turbo con motore biturbo (420 CV) e trazione integrale che spinge la vettura da 0 a 100 km/h in soli 4,2 secondi. La carrozzeria, inizialmente solo coupé poi anche in versione cabrio, venne allargata rispetto alle "normali", ma era meno estrema rispetto alle edizioni precedenti. Nel frontale debuttarono fari diversi che anticiparono il restyling su tutta la gamma, e sono state introdotte due grosse prese d'aria laterali e feritoie sul paraurti posteriore più alettone (sdoppiato superati i 120 km/h) che ne aumentarono l'aggressività rispetto alla 911 standard, oltre che le prestazioni aerodinamiche. Nel 2002 è stato inoltre rilasciato il modello potenziato "Turbo S", una versione elaborata della 996 turbo che spinge il motore da 420 cv a 450 cv limando il 0-100 a 4,1 secondi, grazie alla rimappatura della centralina, e all'impiego di turbocompressori di maggiori dimensioni. Il tutto firmato Porsche. La carrozzeria è rimasta invariata, ad eccezione della S posteriore affiancata alla scritta turbo. Per i già possessori del turbo standard, la casa produttrice di Stoccarda ha rilasciato anche il KIT S, per poter rimanere al passo senza che i più esigenti abbiano dovuto rivendere il veicolo appositamente per avere la S. Infine, sempre nel 2002 venne lanciata la versione GT2, derivata dalla Turbo, ma potenziata a 462 CV, alleggerita e convertita in trazione posteriore. Quest'auto, particolarmente nervosa ed impegnativa da guidare, era priva di qualsiasi controllo di trazione e stabilità, proprio in nome della filosofia racing che Porsche adotta per le proprie versioni GT. Nel 2004 la GT2 venne leggermente aggiornata nella versione cosiddetta "Mark2", potenziata a 483 CV e modificata in alcuni particolari. Nel 2005 un restyling di fari anteriori, paraurti e interni ha dato vita alla serie 997. Rispetto alla precedente 996, la nuova versione oltre al ritorno dei fari anteriori circolari (oblunghi sulla serie precedente), riportava alcune novità tecniche, soprattutto riguardanti il motore con cilindrata di 3600 cm³ (325 CV) per le 911 Carrera standard e di 3800 cm³ (355 CV) per le 911 Carrera S.

Venne mantenuta disponibile la trazione integrale accanto a quella posteriore, sia per le versioni standard che S. Tutte sono disponibili con carrozzeria coupé, Targa o cabriolet. Nel 2006 hanno debuttato le versioni Turbo (3,6 litri biturbo, trazione integrale, turbine a geometria variabile e 480 CV), GT3 (3,6 litri aspirata da 415 CV), GT3 RS (con la stessa meccanica della GT3 standard, carrozzeria alleggerita e assetto ancora più esasperato) e Carrera 4 Targa (con tetto panoramico in cristallo ad azionamento elettrico e trazione integrale). Alla fine dell'autunno 2006 viene proposta la 911 997 Targa. Nella primavera del 2009 la Porsche annuncia una versione commemorativa che si chiama Sport Classic e si rifà alle 911 classiche: in primis la 2.7 Carrera RS, di cui riprende l'alettone a coda d'anatra e i cerchi "Fuchs style" da 19". La meccanica è quella della Carrera S potenziata a 408 CV, il tetto ha la doppia gobba; ne verranno prodotti solo 250 esemplari.Nel 2010 viene lanciata la GT2 RS: in pratica un'auto da corsa targata. L'abitacolo presenta un roll-bar, e il motore è biturbo con 620 CV, scaricati solo sull'assale posteriore: la più potente Porsche omologata per circolare per strada. Inoltre è stata creata la versione Speedster della 997: a livello meccanico e stilistico è uguale alla Sport Classic, la differenza è naturalmente il tetto ripiegabile nella calotta aerodinamica in plastica. Ne verranno prodotti solo 365 esemplari.

Classically-styled, lightweight city cruiser. Features 1x9 drivetrain with Shimano parts, a 9-speed thumb shifter, and components from Velo Orange.

A pattern from a close up of component inside of a computer.