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Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
Seguendo il "Gruppo Storico Romano" durante l'evento "Le Notti di Cicerone" presso Formia il 14 Settembre 2012
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment
We believe that urban forms – in fact all habitats – are energized by its citizens and users. The contingencies of contemporary economic and political needs produce overarching frameworks and policies that produce top-down urban visions. These cannot fully match the complexity of what urban economies are all about. So far – policies have been simply pushing ahead and providing quick-fix solutions to the leakages – which in several contexts are pretty large. Instead, what our projects try to do is simply allow residents and users of neighbourhoods to have a say, propose plans, collaborate with professional and take charge of their spaces in cultural, economic and social terms. We believe that Dharavi is already developing, it doesn’t need to be redeveloped. What it needs is support systems. We have an office in Dharavi and networks deep in the communities there with whom we work on specific projects – cultural, economic, architectural and beyond.
URBZ is our portal – part online – part on the ground. It provides a set of tools for residents and users to start the process of taking charge of their neighbourhoods. The online side is an interactive website that allows users to work with a global community of supporters. It offers a way for them to showcase and upload their city/habitat/neighbourhood onto the virtual world in a manner that connects to a hyper-local scale where the smallest of information becomes a source of local control. We use all existing online technologies and make them accessible to the residents through on-the ground activities such as workshops and community related get-togethers around specific issues. We complement this process by supporting local initiatives by connecting users to each other in a manner that allow skills to be shared.
URBZ was co-founded by Geeta Mehta and us and we have a big team helping us and working with us – Cole from Chile, Nishit Mehta our ICT coordinator and Dipti and George our interns working with us now besides a whole host of partners and interns details of whom can be seen on our site.
This picture shows the rear floor section, with the "Hump" that was beaten in - with the use of the wood form.
Collaboration with Nadya Prilutskaya
www.flickr.com/people/35165895@N03/
The object is made for Exhibition called "Transformation". Constructed from natural elements it shows transformation states of a tree - grass, timber, paper, ash.
Port Phillip Bay was formed 7,000 to 10,000 years ago at the end of the last Ice Age, when the sea-level rose to drown what was then the lower reaches of the Yarra River, vast river plains, wetlands and lakes. The Yarra and other tributaries flowed down what is now the middle of the bay, (and what is today the main shipping channel to the Port of Melbourne ), formed a lake in the southern reaches of the bay, dammed by The Heads, subsequently pouring out into Bass Strait through a breakthrough in the sand dunes fronting Bass Strait (known today as "The Heads" )
The Aboriginal people were in occupation of the area long before the bay was formed, having arrived at least 20,000 years ago and possibly 40,000 years ago. Large piles of semi-fossilised sea-shells known as middens, can still be seen in places around the shoreline, marking the spots where Aboriginal people held feasts. They made a good living from the abundant sea-life, which included penguins and seals.
(Acknowledgements to Wikipedia)
These photos show that parts of the sunken land that formed Port Phillip Bay subsequently rose, creating an area of swamps and wetlands known as the Carrum-Carrum swamp. These photos are about 200 metres from residential areas of the Southern Melbourne suburb of Edithvale, and about 2 kms from the current shoreline of Port Phillip Bay.
Boxelder, or Ashleaf Maple - Acer negundo
Distinctive winged seeds starting to form on 7 April 2019 along White Oak Creek Greenway in Chatham County, North Carolina.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Artist: Dame Barbara Hepworth
Title: Single Form (Eikon)
Material: bronze
Tate Liverpool
Albert Dock
Liverpool, Merseyside, England, UK
The Secondary school at Buttershaw has had a number of name changes since its opening in 1956.
In 1956 it opened as Buttershaw Secondary School , since then it has been Buttershaw Comprehensive, Buttershaw Upper School and Buttershaw High School. Currently it enjoys the name of Buttershaw Business and Enterprise College.
The original 1956 buildings were extended in the early 1960. Further building work continued during the 70’s 80’ and 90’s.
In 2008 the new building was opened and the old building demolished.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
L’exposition L’Usage des formes explore l’ingéniosité humaine et la relation passionnée que les créateurs entretiennent avec leurs outils, en abordant l’instrument comme un élément fondamental du rapport de l’homme au monde. Faisant dialoguer artisans d’art et artistes, l’exposition rassemble les métiers d’art, le design, les arts plastiques et l’architecture dans une scénographie conçue par le designer Robert Stadler et réalisée en collaboration avec des artisans d’art.
Le début du parcours invite à plonger dans l’univers de l’atelier. Au sein de cette fabrique, l’outil se donne à voir comme une incarnation de l’Histoire, en ce qu’il correspond fondamentalement à la transmission ou réécriture de la pratique qui lui est associée. L’exposition aborde ensuite la notion de prise en main de l’outil. L’objet technique est l’instrument de cette préhension qui permet de mettre l’homme en contact avec le monde. Telle une prothèse, l’outil est précisément cette extension du corps qui permet à l’homme d’interagir avec son environnement et de passer ainsi de l’état de nature à l’état de culture. Apprendre à manipuler un outil révèle les propriétés cachées de la matière. L’outil, par conséquent, est un objet qui permet d’extraire de l’information, de mesurer et de quantifier le réel et d’opérer des croisements fructueux entre la science, la technologie et l’artisanat. L’exposition se clôt sur la double dimension symbolique - voire magique - et utilitaire de l’outil : à l’instar du compas des Compagnons du Devoir, devenu symbole philosophique de la Franc-maçonnerie, ou encore du dodécaèdre gallo-romain, mystérieux objet de divination, présentés dans cette section. Par leur préciosité ou par le sens dont ils ont été investis, ces objets, à l’origine simples instruments, deviennent de puissants symboles de l’humanité et des vecteurs de contemplation. (Source : www.palaisdetokyo.com/fr/exposition/lusage-des-formes)
The Eastern Reef Egret is found on the coast and islands of most of Australia, but is more common on the Queensland coast and Great Barrier Reef than elsewhere. It is now rare on Victorian and Tasmanian coasts. The dark form predominates in temperate areas, the white form in the tropics.
The Eastern Reef Egret lives on beaches, rocky shores, tidal rivers and inlets, mangroves, and exposed coral reefs.
Eastern Reef Egrets hunt by both day and night for small fish, crustaceans and insects. They also invade colonies of nesting terns and steal fish brought in to feed to the young."
Photographed Lady Elliot Island, Queensland, Australia.
Water & Form: clay, fiber and encaustic by Emily Miller
Oct. 6 - Nov. 17, 2017
510 Museum & ARTspace, Lake Oswego, Oregon
No podÃamos faltar a la gran cita tenÃstica que tuvo lugar la pasada semana en Barcelona, asà que un equipo de La Web del Tenis La Amistad formado por Rafa González y José Sepúlveda partieron rumbo a Cataluña para disfrutar de lo que ha sido la mejor edición del Torneo Conde Godó según la propia organización.
Los mejores jugadores en tierra batida del circuito ATP acudieron al torneo que deparó enfrentamientos interesantÃsimos como el
Mario Ancic-Andy Murray ó el Nalbandian-Calleri, además disfrutamos de los apasionantes partidos del invencible Nadal y seria un error el no estacar a una de las nuevas promesas del circuito, Ernest Gulbis, un jugador que dará mucho que hablar en el futuro, propietario de un gran tenis que seguro le llevará a lo mas alto del circuito ATP en breve.
En resumen, un torneo de lujo, con una organización inmaculada y en un club en el que se respira tenis por todos los rincones, sin nada que envidiar al Masters Series de Madrid, el Godó es un punto de referencia para todo la comunidad tenÃstica española y un claro sÃmbolo de la identidad y calidad de nuestro tenis en polvo de arcilla.
No podÃamos faltar a la gran cita tenÃstica que tuvo lugar la pasada semana en Barcelona, asà que un equipo de La Web del Tenis La Amistad formado por Rafa González y José Sepúlveda partieron rumbo a Cataluña para disfrutar de lo que ha sido la mejor edición del Torneo Conde Godó según la propia organización.
Los mejores jugadores en tierra batida del circuito ATP acudieron al torneo que deparó enfrentamientos interesantÃsimos como el
Mario Ancic-Andy Murray ó el Nalbandian-Calleri, además disfrutamos de los apasionantes partidos del invencible Nadal y seria un error el no estacar a una de las nuevas promesas del circuito, Ernest Gulbis, un jugador que dará mucho que hablar en el futuro, propietario de un gran tenis que seguro le llevará a lo mas alto del circuito ATP en breve.
En resumen, un torneo de lujo, con una organización inmaculada y en un club en el que se respira tenis por todos los rincones, sin nada que envidiar al Masters Series de Madrid, el Godó es un punto de referencia para todo la comunidad tenÃstica española y un claro sÃmbolo de la identidad y calidad de nuestro tenis en polvo de arcilla.
No podÃamos faltar a la gran cita tenÃstica que tuvo lugar la pasada semana en Barcelona, asà que un equipo de La Web del Tenis La Amistad formado por Rafa González y José Sepúlveda partieron rumbo a Cataluña para disfrutar de lo que ha sido la mejor edición del Torneo Conde Godó según la propia organización.
Los mejores jugadores en tierra batida del circuito ATP acudieron al torneo que deparó enfrentamientos interesantÃsimos como el
Mario Ancic-Andy Murray ó el Nalbandian-Calleri, además disfrutamos de los apasionantes partidos del invencible Nadal y seria un error el no estacar a una de las nuevas promesas del circuito, Ernest Gulbis, un jugador que dará mucho que hablar en el futuro, propietario de un gran tenis que seguro le llevará a lo mas alto del circuito ATP en breve.
En resumen, un torneo de lujo, con una organización inmaculada y en un club en el que se respira tenis por todos los rincones, sin nada que envidiar al Masters Series de Madrid, el Godó es un punto de referencia para todo la comunidad tenÃstica española y un claro sÃmbolo de la identidad y calidad de nuestro tenis en polvo de arcilla.
The Kamakshi Temple is a famous Hindu temple dedicated to Kamakshi, one of the forms of the goddess Parvati. It is located in the historic city of Kanchipuram, near Chennai, India and is popularly associated with Sankaracharya, one of the greatest Hindu gurus. The Meenakshi Temple in Madurai, the Akilandeswari temple in Thiruvanaikaval near Tiruchirappalli and this Kamakshi are the important centers of worship of Parvati as the mother goddess, in the state of Tamil Nadu. The temple was most probably built by the Pallava kings, whose capital was Kanchipuram, around 6 C.E.
The main deity, Kamakshi, is seated in a majestic Padmasana, an yogic posture signifying peace and prosperity, instead of the traditional standing pose. The goddess holds a sugarcane bow and bunch of flowers in the lower two of her arms and has a pasha (lasso), an ankusha (goad) in her upper two arms. There is also a parrot perched near the flower bunch. There are no other Parvati temples in the city of Kanchipuram, apart from this temple, which is unusual in a traditional city that has hundreds of traditional temples. There are various legends that account for this fact. One of them according to Kamakshivilasa is that the Goddess had to absorb all the other shakthi forms to give a boon to Kama, the Hindu god of love. Another legend attributes it to the Raja Rajeswari pose of the deity that signifies an absolute control over the land under the deity's control. Legend has it that Kamakshi offered worship to a Shivalingam made out of sand, under a mango tree and gained Shiva's hand in marriage.
FESTIVALS
Four worship services are offered each day. The annual festival falls in Spring, in the Tamil month of Masi, which runs from mid-March to mid-April. During this time the chariot festival (Ther) and float festival, (Theppam) are held. Other festivals include Navaratri, Aadi and Aippasi Pooram, Sankara Jayanthi and Vasanta Utsavam in the Tamil month of Vaikasi. All Fridays are considered sacred, though the Fridays in the Tamil months of Adi (mid-July to mid-August) and Thai (mid-January to mid-February) are celebrated.
THE OLD KAMAKSHI DEVI TEMPLE
The original Kamakshi Devi Temple is what is now known as Adi Peeteswari or the Adi Peeta Parameswari. This temple is just adjacent to the Kumarakottam, and is near to the Kamakshi Devi temple.
Adi Shankaracharya, the famous 8th-century CE scholar and saint, established the Sri Chakra at this original Kamakshi Devi temple in the trough-like structure in that shrine. This Sri Chakra soon became the All India famous Kamakoti Peeta. The Acharya's Lalitha Trishati Bhashya comments Kamakoti Peetam as Sri Chakra.
The Acharya changed the fierce form of worship into a sowmya form. The Devi in this original Kamakshi temple is called by various names like Kirtimati, Devagarbha in extant Tantric works like Tantrachudamani. She has four hands containing in each of them respectively, Ankusa, PAsa, Abhaya and a Kapala. This description corresponds to those extant old tantric works. Further, Girvanendra Saraswathi describes precisely this swaroopa as Kameswari.
Sundaramurthi Nayanar, the Saiva saint of the 12th century is aware of the Kamakottam. He in fact mentions that the Kamakottam has come in existence just at that time.
THE MODERN KAMAKSHI DEVI TEMPLE AT KANCHI
The Siruthondar Puranam of Sekkilar Peruman, written during this time, is aware of both the temples and mentions the original temple as the Yoga Peeta and the present Kamakshi devi temple as Bhoga peetam. The reference to the present Kamakshi Devi as Aram Purappaval (bestower of boons)by Sekilar Peruman is noteworthy, as the present name of the street in which this new temple is located in Kanchipuram is called Arapanak Ara Theru.
The present Kamakshi temple too, has a Sri Chakra which was established during the 16th Century by NrusimhAdvari, of the famous dathamAnji family. There is a stone inscription inside the new temple, near this Sri Chakra, which states this fact. It is noteworthy that Arunagirinathar a 15th Century Tamil Saint, sings in praise of the Goddess as devi of dark emarald complexion and the mother of Muruga of Kumarakottam. The Original Kamakshi Devi temple i.e. Adi PeeteswariKamakshi Devi temple is just adjucant to the Kumarakottam. Arunagirinathar mentions the Sri Yantra in the Kamakshi Devi temple, which can apply, during the 15th century, only to the original Adi Peeteswari Kamakshi Devi, which contained the Sri Chakra installed by Adi Shankara. Arunagirinathar does not make any reference to the new temple.
Also noteworthy is the fact that this new temple's legend considers the Bangaru Kamakshi at Thanjavur as Dharmadevi This is the metallic counterpart of the stone image of Dharmadevi, which is at present at Thiruparuthikunram (Jina Kanchi) to where it was removed from this present Kamakshi (Tara Devi) temple after the conversion of the Jain Tara Devi temple into Hindu Sakta tradition has become stronger. There is a stone inscription at the Jina Kanchi temple which explains this fact. There are strong evidences that Dharadevi was worshipped in the present day main shrine.
THE KANCHI KAMAKSHI AMMAN TEMPLE AS A
SHAKTI PEETH
The mythology of Daksha yaga and Sati's self immolation is the main theme in the origin of Shakti Peethas.
Shakti Peethas are divine temples of Adiparashakti. The cause of the presence of Devi's presence is due to the falling of body parts of the corpse of Sati Devi. The eyes/back of Sati Devi is believed to have fallen here. There are 51 Shakti Peeth linking to the 51 alphabets in Sanskrit. There are also arguments that the old Kanchi temple is the Shakti peetha, where Sankaracharya has installed the Shri Chakra. It is reverred world wide as Kanchi Kamakoti Peetham.
TIRUKKALAVANUR
In the shrine of Kamakshi Amman close the sanctum, the Tirukalavanur Divya Desam, the temples dedicated to Lord Vishnu glorified by the 7th-10th century alwars (Tamil saint poets) is present. The temple faced west went to ruins and the deity is now placed inside the Kamakshi Amman temple. There are shrines over the vimana.
WIKIPEDIA
Formed of a Pressed Steel driving trailer (W54287) and Met Cam DMBS (53155), unit no L206 passes Aynho with an Oxford - Banbury local.
Agnontas ist Fischerhafenidylle in seiner reinsten Form.
Die bunten Boote im Fischerhafen von Agnontas wiegen sich sanft in den Wellen und laden zum Träumen ein. Direkt am Wasser gibt es einige Tavernen mit hervorragendem fangfrischen Fisch. Gelegenlich kann man sogar zusehen wie die Fischer mit Harpune und Schorchelausrüstung auf die Jagd gehen.
Die bunten Boote im Fischerhafen von Agnondas wiegen sich sanft in den Wellen und laden zum Träumen ein. Direkt am Wasser gibt es einige Tavernen mit hervorragendem fangfrischen Fisch. Gelegendlich kann man sogar zusehen wie die Fischer mit Harpune und Schorchelausrüstung auf die Jagd gehen.
Agnondas zählt sicherlich zu einem der ursprünglisten und schönsten Orte Griechenlands.
Die Pflasterstrasse vom Stafilos - Strand führt zu der hübschen Bucht, wo sich der wunderbare Kieselsteinstrand Agnondas befindet. Der Name Agnondas wurde der Bucht in der Antike von den Einwohnern gegeben, um Agnondas zu ehren, der einen Lauf in den Olympischen Spielen im Jahre 569 v. Chr. gewann. In dieser Bucht ist der dritte Hafen von Skopelos beheimatet, an dem Schiffe und Fähren ankern, falls sie der Wind hindert, die anderen Häfen der Insel zu erreichen. Regelmäßige Fährverbindungen gibt es jedoch nicht. Das kleine Dorf oberhalb des Strandes hat Hotels, Zimmervermietungen und Tavernen.
Das ruhige und malerisch gelegene griechische Fischerdorf Agnontas welches im Süden der Insel Skopelos liegt bietet die perfekten Vorraussetzungen für ihren Urlaub auf Skopelos und zählt zu den schönsten Plätzen auf Skopelos bzw. ist einer der schönsten Orte Griechenlands.
Agnontas verfügt über einen kleinen eigenen Naturhafen und wird bei schlechtem Wetter auch von den Fähren und Flying Cats angelaufen.
Agnontas liegt nur 9 km entfernt von der Stadt Skopelos und 19 km von Glossa. Agnontas ist der perfekte Startpunkt um die Insel Skopelos per Boot zu erkunden. Von Agnontas aus können sie ganz leicht per Boot den Strand von Limonari besuchen welcher von vielen als bester Strand Skopelos bezeichnet wird. Klicken sie hier für mehr Informationen zum Thema Skopelos Bootsverleih.
Der kleine aber wunderschöne Strand von Agnontas ist während der Hochsaison sehr populär und wird gerne von Besuchern aus allen Ecken der Insel Skopelos angefahren. Der Strand von Agnontas glänzt mit kristallklarem türkisfarbenen Wasser und weißem feinen Kieselstrand.
In der unmittelbaren Nachbarschaft finden sich auch die Strände von Stafylos, Panormos und Milia Beach welche sie auf jeden Fall auch besuchen sollten.
Agnontas ist ein sehr schönes Dorf und wenn sie ein ursprüngliches, unverfälschtes und ruhiges Fischerdorf mit einmaligen Momenten suchen sind sie in Agnontas auf Skopelos genau richtig!
Vergessen sie auf keinen Fall auch den malerisch gelegenen Ort Glossa zu besuchen!
Mehr Informationen über Agnontas und Skopelos finden Sie hier www.skopelosholidays.de/a-z/skopelos-orte/agnondas/
Skopelos Holidays ist Ihr Partner für Ihren Skopelos Urlaub und mehr...
Feast trough in the form of a crocodile
Kalikongu village, Roviana lagoon, Solomon Islands
Late C19th
Confiscated during Admiral Edward Davis's second voyage on the HMS Royalist, between 3rd June and 25th August 1891.
Taken in Oceania
(September — December 2018)
The year is 1768, and Britain is in the throes of the Age of Enlightenment. As a group of artists agrees to found the Royal Academy, Captain James Cook sets sail on a voyage of discovery to track the transit of Venus and search for terra australis incognita – the unknown southern continent, as Europeans called it. What Cook and his crew encounter on arrival is a vast number of island civilisations covering almost a third of the world’s surface: from Tahiti in Polynesia, to the scattered archipelagos and islands of Melanesia and Micronesia.
The indigenous populations they met came with their own histories of inter-island trade, ocean navigation, and social and artistic traditions. This spectacular exhibition reveals these narratives – celebrating the original, raw and powerful art that in time would resonate across the European artistic sphere.
Oceania brings together around 200 exceptional works from public collections worldwide, and spans over 500 years. From shell, greenstone and ceramic ornaments, to huge canoes and stunning god images, we explore important themes of voyaging, place making and encounter. The exhibition draws from rich historic ethnographic collections dating from the 18th century to the present, and includes seminal works produced by contemporary artists exploring history, identity and climate change.
[Royal Academy]