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Do not wait; the time will never be "just right'. Start where you stand, and work with whatever tools you may have at your command, and better tools will be found as you go along.
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P-PASSIONATE
H-HARDWORKING
O-OUTSTANDING
T-TALENTED
O-OPPORTUNE
G-GOD-GIFTED
R-REAL
A-ADVENTUROUS
P-PERSONABLE
H-HAPPY GO LUCY
E-ENERGETIC
R-ROMANTIC
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This is my best friend Olya by the Monument to a Hardworking Honeybee in Ternopil, western Ukraine. More about cute and funny monuments of Ternopil
Longridge won this game having dominated possession , and creating enough early chances to win 3 games, against a very well organised and hardworking Whitehaven side.
Town started strongly and should have scored at least the opening goal as the Whitehaven keeper saved well from Brad Carsley, McDonald crashed a volley against the bar, Carsley hit the post and McKenna was denied what looked a clear penalty by the referee on 20 minutes.
Chances came and went, as Longridge played their best football for several weeks without getting the breakthrough they deserved and the inconsistency of the referee, bizarrely chosen for this game despite his performance in Towns recent defeat to Garstang, hindered both sides.
Half time came at 0-0, but the Town faithful remained confident as Asheys side were dominating the game, and the vital first goal would surely come in the second half.
Carsley had a free kick well saved 10 minutes into the half, and Ged Smith had a decent penalty shout waved away a minute later.
Ashcroft then replaced Ryan McKenna on the hour as the Manager looked for the vital 3 points, going straight up front with Carsley, and Longridge looked more threatening immediately.
Dovey in the Town goal was having a quiet day, and remained untroubled, as Whitehaven sat deep and were quite content to defend their clean sheet, albeit they were doing it very well.
The goal came on 70 minutes as an inswinging Ged Smith corner looked destined to go straight in, before Carsley made sure with a deft flick of the head, to make it 1-0 to Longridge. No more than 'The Ridge' deserved and the feeling now amongst a celebrating home crowd of 108 was that Town would go on to add to their lead.
Jordan Bowen and Luke McKenna were having excellent games for Longridge, and kept the ball at will before finding Carsley wide right with just 5 minutes remaining. The powerful striker drove at the visiting defence before being brought down for Towns 3rd penalty shout of the game. He got himself to his feet to take the kick, but was thwarted as the young Whitehaven keeper made an excellent save diving to his right. Stil 1-0 to Longridge.
Both Jack Preston and youngster Elliot Breakell were brought on for cameo appearances, before the referee added six additional minutes to the dismay of the players, crowd, team Managers and Linesmen, the last of his bewildering decisions of the day.
The result was never put in doubt however, as Town kept possession and played out time to take the 3 points that keeps them at the top of the West Lancashire League Premier Division with just two games remaining.
Davison Building appears in the background.
Repository: Duke University Archives. Durham, North Carolina, USA. library.duke.edu/uarchives
Jewish gilr is hardworking for Pharao.
"Escape from Egypt" - Foundation Degree Performing Arts at Barnett Colege from Great Britain
XXI International Street Theatre Festival
Model: Rannith Ramada
Location:
The New Susing's Guitar
Abuno Pajac, Lapu-Lapu City
Mactan Island Cebu Philippines
For more information about their Products, please call:
(032) 505 0723 ( Look for, Sally )
“Her husband Joseph was a righteous man…” (Matthew 1: 19)
Jabulisa Ndlovu and his wife Zuzeni have 4 children, including 1 year old Sharon. They live in the drought-prone southwest of Zimbabwe where Christian Aid partner Dabane Trust have improved the community’s access to water by building a sand dam. The dam’s water enables them to grow more food in the market garden (which Jabulisa works hard to manage on behalf of the community) and to collect clean, safe drinking water for their family.
One of the bosses from ThinkStudio prepping up the lamps for a long night, hardworking peoples.
Ok, this is an a**kissing post.
★Sony Alpha A7/ILCE-7, Minolta M-Rokkor 90mm f/4
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Thank you all! ありがとうございました! 谢谢大家! Grazie a tutti! Terima kasih semua!
2USD is all what they get paid for working their blood out for the whole day in such safety environment. . there must be a change.
冒著生命的一整天 就是為了兩塊錢美金 是需要一些改變了
hands that speaks for itslf . .!! your work defines you without speaking . . .so let the hand do the work. .!!
5-24-08 I celaned all the windows today. Boy do they look fabulous. It's amazing how good clean windows can make you feel
Every job is a self portrait of the person who does it. Autograph your work with excellence. - Unknown
This is a sneak shot of my wife's hand while she was working at home. Long hours for so long. And she is enjoying still what she is doing.
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
Seminar on Fare and Transparent Election held at Town hall.
By: Gul Hamaad Farooqi
CHITRAL: A daylong seminar on Fare and transparent election was held at Town Hall Chitra under auspices of South Asia partnership Pakistan in coloration with Rural Community Development Program (RCDP). Briefing about the seminar Engineer Temour Shah said that main objectives of this seminar are creating awareness among the women folk, minorities and illiterate people for their assurance in positive participation in election. And to motivate them to must cast their vote for developmental process in the country. The speakers said that democracy is at initial stages at Pakistan because our country mostly remained under military dictatorship. They said that women folk are barred and deprived them from casting their vote in past but now it has been declare a crime but even than they are still stop from vote in some cast and families. They said that minority also have equal right in our motherland. Addressing on the occasion Wazir Zada Kalash said that
Islam always stressed on democracy quoting caliphs of Islam that Hazrat Abu Bakar was elected as first Khaleefa of Islam although Hazrat Ali was first cousin and son in law of the Holy Prophet (PBUH). They said that we should to cast our vote in favor of honest, dedicated, hardworking and social candidate irrespective of our political, religious and tribe affiliation to bring positive changes in the country. The seminar was also supported by RCDP, Ayun and Valley development program (AVDP), BLSO and young star development Organization. Those who spoke on the occasion were Engineer Temor Shah, Abdul Majeed Qureshi, Senior journalist Muhkamuddin, Mirdula Jan advocate, Haji Akbar, Qazi Sajjad Advocate, Wazir Zada Kalash, Nasreen Bibi and Khadija Sardar. A large number of women folk including minority stakeholders form Kalash community also participated In the seminar.
G.H. Farooqi C/O Manager bank Islami Main branch Chitral phone No 0943-320737, 0943-316052, 0943-414418 , 03025989602, 03337069572, 03159698446, 03469002167
email: gulhamad@gmail.com