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Bueno el filete al Roquefort que presentó una carne tierna, jugosa y muy al punto. Quien se lo comió dijo que estuvo muy bueno.
Sloane Square Kings Road Chelsea Christmas Lights Switch on with The Cocoa Butter Club Hosted by Sadie Sinner the Song Bird and Others
Åhus, Täppetstranden
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Kristianstad municipality images are for free publication. They should be used in context and in materials where Kristianstad municipality as an organization or geographic location is mentioned. The images may be cropped but not altered. The photographer's name and Kristianstad municipality must be stated. If you find photos of yourself in our photostream and you wish us to delete them please contact us on kommun@kristianstad.se
Virtual machine host servers in data center. Using EMC FC for their datastores. HP, Cisco and Sun from top to bottom.
PsP gallery (buy PsP pictures on SmugMug)
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Wintrade Women In Trade Week London 2017 Hosted by RBS with Gina Miller True and Fair Foundation en.wikipedia.org/wiki/Gina_Miller
African Achievers Awards at the House of Lords Westminster London Hosted by Diane Abbott MP Member of Parliament British Labour Party politician who was appointed Shadow Home Secretary
Imagen capturada desde cierta altura en la avenida de Navarra y centrada en el moderno hostal y garaje Oroel, ubicados en el nº 50 de la avenida, cuando los accesos, la acera y la calzada aún no habían sido urbanizadas convenientemente. A la izquierda, vista parcial del moderno Mercado de Pescados. A la derecha, el vecino y también novísimo inmueble edilicio del nº 40 de la avenida.
Fuente visual: www.delcampe.net
Proyecto GAZA ("Gran Archivo Zaragoza Antigua") es un compendio de imágenes de la antigua Zaragoza (España), acompañadas de textos creados por José María Ballestín Miguel
y la colaboración de Antonio Tausiet.
Host Baratunde Thurston speaks at TED Talks Live - Science and Wonder, November 5-6, 2015, The Town Hall, New York, NY. Photo: Ryan Lash/TED
In about 1975 the planners repented of their action in demolishing the houses in Christmas Street and decided to re-enclose the bottom of Christmas Steps. I suppose they thought that this would make everything alright but, unfortunately, once you have demolished 400-year old buildings you can only replace them with something new ...and in the late 20th century this meant something worse. The building on the left lost about a third of its length to provide a car turning space at the bottom of the street and suffered a refurbishment in the "post modern" style. A fake repro gas light, with electric bulb, now marks the position of the old hybrid lamp-post.
Mingle Media TV and Red Carpet Report hosts, Linda Antwi, Ashley Bornancin and Erin White were on the hottest red carpet out there, Oscars Red Carpet at the Dolby Theatre on Sunday after a busy time attending events, getting interviews and photos and bringing you the story from the events we covered. Be sure to watch out for our special magazine for Awards season 2013 coming next week.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
•www.facebook.com/RedCarpetReportTV
Here are the 2013 Oscar Winners by Studio:
•20th Century Fox - 4 Oscars
•Sony - 3 Oscars
•Universal - 3 Oscars
•Warner Bros - 3 Oscars
•Weinstein Co - 3 Oscars
•Disney - 2 Oscars
•DreamWorks - 2 Oscars
•MGM - 2 Oscars
•Sony Pictures Classics - 2 Oscars
•Focus Features - 1 Oscars
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
•www.facebook.com/minglemediatvnetwork
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Follow our host, Linda at https://twitter.com/LindaIsSoGirlie
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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world's preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards–in which the members vote to select the nominees and winners-the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.
FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy
Ashley's Look -
Ring by LuciousS - www.LuciousS.com
Erin's Look -
Dress by Emil Couture www.emildesign.com/ courtesy of The Ross Group http://www.thereelrossgroup.com/
Hair by Maeven Marie Ramirez salon-eleven.com/
Make Up by Veronica Matiar salon-eleven.com/
Linda's Look -
Dress by Shekhar Rahate - www.ShekharRahate.com
Necklace by Erin Fader Jewelry Design - www.ErinFader.com
BEST PICTURE
• "Amour" Margaret Menegoz, Stefan Arndt, Veit Heiduschka and Michael Katz, Producers
• "Argo" Grant Heslov, Ben Affleck and George Clooney, Producers - WINNER
• "Beasts of the Southern Wild" Dan Janvey, Josh Penn and Michael Gottwald, Producers
• "Django Unchained" Stacey Sher, Reginald Hudlin and Pilar Savone, Producers
• "Les Misérables" Tim Bevan, Eric Fellner, Debra Hayward and Cameron Mackintosh, Producers
• "Life of Pi" Gil Netter, Ang Lee and David Womark, Producers
• "Lincoln" Steven Spielberg and Kathleen Kennedy, Producers
• "Silver Linings Playbook" Donna Gigliotti, Bruce Cohen and Jonathan Gordon, Producers
• "Zero Dark Thirty" Mark Boal, Kathryn Bigelow and Megan Ellison, Producers
BEST FOREIGN FILM
Amour, Austria – WINNER
Kon-Tiki, Norway
No, Chile
A Royal Affair, Denmark
War Witch, Canada
BEST ANIMATED FEATURE FILM
Brave - WINNER
Frankenweenie
ParaNorman
The Pirates! Band of Misfits
Wreck-It Ralph
BEST ANIMATED SHORT FILM
Adam and Dog, Minkyu Lee
Fresh Guacamole, PES
Head over Heels, Timothy Reckart and Fodhla Cronin O’Reilly
Maggie Simpson in The Longest Daycare, David Silverman
Paperman, John Kahrs – WINNER
BEST LIVE ACTION SHORT FILM
Asad, Bryan Buckley and Mino Jarjoura
Buzkashi Boys, Sam French and Ariel Nasr
Curfew, Shawn Christensen - WINNER
Death of a Shadow (Dood van een Schaduw), Tom Van Avermaet and Ellen De Waele
Henry, Yan England
BEST DOCUMENTARY FEATURE
5 Broken Cameras
The Gatekeepers
How to Survive a Plague
The Invisible War
Searching for Sugar Man – WINNER
BEST DOCUMENTARY SHORT SUBJECT
Inocente, Sean Fine and Andrea Nix Fine – WINNER
Kings Point, Sari Gilman and Jedd Wider
Mondays at Racine, Cynthia Wade and Robin Honan
Open Heart, Kief Davidson and Cori Shepherd Stern
Redemption, Jon Alpert and Matthew O’Neill
BEST ACTOR
Bradley Cooper, Silver Linings Playbook
Daniel Day-Lewis, Lincoln – WINNER
Hugh Jackman, Les Miserables
Joaquin Phoenix, The Master
Denzel Washington, Flight
BEST ACTRESS
Jessica Chastain, Zero Dark Thirty
Jennifer Lawrence, Silver Linings Playbook – WINNER
Emmanuelle Riva, Amour
Naomi Watts, The Impossible
Quvenzhané Wallis, Beasts of the Southern Wild
BEST SUPPORTING ACTOR
Alan Arkin, Argo
Robert De Niro, Silver Linings Playbook
Philip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln
Christoph Waltz, Django Unchained – WINNER
BEST SUPPORTING ACTRESS
Amy Adams, The Master
Sally Field, Lincoln
Anne Hathaway, Les Miserables – WINNER
Helen Hunt, The Sessions
Jacki Weaver, Silver Linings Playbook
BEST DIRECTOR
Michael Haneke, Amour
Ang Lee, Life of Pi – WINNER
David O. Russell, Silver Linings Playbook
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild
BEST ORIGINAL SCREENPLAY
Wes Anderson and Roman Coppola, Moonrise Kingdom
Mark Boal, Zero Dark Thirty
John Gatins, Flight
Michael Haneke, Amour
Quentin Tarantino, Django Unchained – WINNER
BEST ADAPTED SCREENPLAY
Lucy Alibar and Benh Zeitlin, Beasts of the Southern Wild
Tony Kushner, Lincoln
David Magee, Life of Pi
David O. Russell, Silver Linings Playbook
Chris Terrio, Argo – WINNER
BEST CINEMATOGRAPHY
Anna Karenina, Seamus McGarvey
Django Unchained, Robert Richardson
Life of Pi, Claudio Miranda – WINNER
Lincoln, Janusz Kaminski
Skyfall, Roger Deakins
BEST ORIGINAL SCORE
Anna Karenina, Dario Marianelli
Argo, Alexandre Desplat
Life of Pi, Mychael Danna – WINNER
Lincoln, John Williams
Skyfall, Thomas Newman
BEST ORIGINAL SONG
“Before My Time” from Chasing Ice, Music and Lyric by J. Ralph
“Everybody Needs A Best Friend” from Ted, Music by Walter Murphy; Lyric by Seth MacFarlane
“Pi’s Lullaby” from Life of Pi, Music by Mychael Danna; Lyric by Bombay Jayashri
“Skyfall” from Skyfall, Music and Lyric by Adele Adkins and Paul Epworth – WINNER
“Suddenly” from Les Misérables, Music by Claude-Michel Schönberg; Lyric by Herbert Kretzmer and Alain Boublil
BEST COSTUME DESIGN
Anna Karenina, Jacqueline Durran – WINNER
Les Misérables, Paco Delgado
Lincoln, Joanna Johnston
Mirror Mirror, Eiko Ishioka
Snow White and the Huntsman, Colleen Atwood
BEST FILM EDITING
Argo, William Goldenberg – WINNER
Life of Pi, Tim Squyres
Lincoln, Michael Kahn
Silver Linings Playbook, Jay Cassidy and Crispin Struthers
Zero Dark Thirty, Dylan Tichenor and William Goldenberg
BEST MAKEUP AND HAIRSTYLING
Hitchcock, Howard Berger, Peter Montagna and Martin Samuel
The Hobbit: An Unexpected Journey, Peter Swords King, Rick Findlater and Tami Lane
Les Misérables, Lisa Westcott and Julie Dartnell – WINNER
BEST PRODUCTION DESIGN
Anna Karenina, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
The Hobbit: An Unexpected Journey, Production Design: Dan Hennah; Set Decoration: Ra Vincent and Simon Bright
Les Misérables, Production Design: Eve Stewart; Set Decoration: Anna Lynch-Robinson
Life of Pi, Production Design: David Gropman; Set Decoration: Anna Pinnock
Lincoln, Production Design: Rick Carter; Set Decoration: Jim Erickson – WINNER
BEST SOUND EDITING - TIE
Argo, Erik Aadahl and Ethan Van der Ryn
Django Unchained, Wylie Stateman
Life of Pi, Eugene Gearty and Philip Stockton
Skyfall, Per Hallberg and Karen Baker Landers – WINNER
Zero Dark Thirty, Paul N.J. Ottosson - WINNER
BEST SOUND MIXING
Argo, John Reitz, Gregg Rudloff and Jose Antonio Garcia
Les Misérables, Andy Nelson, Mark Paterson and Simon Hayes – WINNER
Life of Pi, Ron Bartlett, D.M. Hemphill and Drew Kunin
Lincoln, Andy Nelson, Gary Rydstrom and Ronald Judkins
Skyfall, Scott Millan, Greg P. Russell and Stuart Wilson
BEST VISUAL EFFECTS
The Hobbit: An Unexpected Journey, Joe Letteri, Eric Saindon, David Clayton and R. Christopher White
Life of Pi, Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott –WINNER
Marvel’s The Avengers, Janek Sirrs, Jeff White, Guy Williams and Dan Sudick
Prometheus, Richard Stammers, Trevor Wood, Charley Henley and Martin Hill
Snow White and the Huntsman, Cedric Nicolas-Troyan, Philip Brennan, Neil Corbould and Michael Dawson.
Babs and Gaz from Heart FM hosted the Stevenage Christmas Lights Switch-on 2009 event on 26 November 2009.
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
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In fashion, they say everything old begins new again. This season’s finest example may be couture designer Naeem Khan’s Art Deco inspired fashion show. A mainstay on Awards Show Red Carpets and First Lady Michelle Obama, Naeem Khan has made a name for himself as one of America’s most successful and iconic high end designers.
Originally from Mumbai, India, Khan has long had a love of clothes and appreciation for textiles. He moved to the United States as a teenager where he was an apprentice for Halston. He launched his label in 2003 to immediate global success. A favorite of Michelle Obama, Naeem Khan’s designed have also been worn by Beyoncé, Carrier Underwood, Eva Longoria, Penelope Cruz, Leighton Meester, and others. His clothes are best known for their exquisite fit and modern sensibility. In 2008, Naeem Khan was named to the prestigious council of Fashion Designers of America (CFDA.)
For this year’s collection recently debuted at New York Fashion Week, Naeem Khan said he wanted to add more glamour. Describing his Art Deco looks as “Super Glam,” Khan says he was inspired by famous artist Erte. Considered the father of Art Deco, Erte’s looks defined the 1920s and 30s. Interestingly enough, Khan’s take is not the first update of the Art Deco movement. IN the 1960s, Erte himself propelled an Art Deco resurgence that not only breathed new life into a second phase successful art career, but also influenced architecture, design, and fashion.
Drawing on Erte for inspiration is also not a fear reach, unlike artists who paint still lifes or landscapes, Erte’s work primarily focused on fashion. During his career, Erte worked as a costume designer and created covers for iconic fashion magazines like Harper’s Bazaar and Vogue. His most famous fine art featured women fashionably dressed in Art Deco clothing. Erte is the most famous fashion artist of all time, and his legacy has inspired virtually every aspect of twentieth century design since.
Naeem Khan updated Erte’s classic French Art Deco aesthetic to bring it into the modern era. He combined influences form the Ottoman and Byzantine Empires to add a feeling of luscious opulence. He also streamlined the looks so they look at home in place of the modern woman who looks for simple, clean lines and flattering silhouettes. The results are looks that borrow heavily from the past, but are also thoroughly modern. Stacy Keibler (who you may know better as George Clooney’s girlfriend,) wore a stunning Naeem Khan Erte inspired Art Deco gown to this year’s Academy Awards. Since Naeem Khan is a favorite on red carpets everywhere there is no doubt we will soon be seeing more Erte inspired looks.
Naeem Khan will present his 2013 Fall Collection with Neiman Marcus at the annual Globe Guilders’s Fashion Show and luncheon on May 21 in San Diego. The event will be held at the Hilton San Diego Bayfront, 1 Park Blvd. Proceeds will go to The Old Globe Theatre, San Diego’s largest performing arts institution.
Story by La Jolla Light
North Platte Community College hosted its annual Inter-High Scholastic Competition and TECH-Knowledge & Skills Discovery Day on Wednesday at the North and South Campuses of the college.
The theme for Inter-High Day this year is “Spotlight on Success.” Students from 28 area schools took nearly 900 tests in the Inter-High Scholastic competition. In the TECH-Knowledge and Skills competition, more than 120 students represented 21 high schools.
Awards were presented to the top three individual finishers in all categories. They also received a certificate for up to three credit hours of free tuition to be used at MPCC this summer. First place winners were awarded with $500 Mid-Plains Community College Area scholarships. The schools also competed in divisions.
Results of NPCC’s Inter-High Day are:
Accounting:
First - Megan Stokey, North Platte High School
Second - Megan Trierweiler, St. Patrick’s
Third - Carissa Rayburn, Brady
Art:
First - Alissa Rosentrater, Wallace
Second - Amber Nelson, Elwood
Third - Brooklyn Nordhausen, Wauneta-Palisade
Athletic Training:
First - Maegan Hiatt, Hershey
Second - Sage Schmidt, Medicine Valley
Third - Brittany Lawrence, St. Patrick’s
Biological Science:
First - Jordon Laubry, Eustis Farnam
Second - Jocy Nelson, Sutherland
Third - Calyn Werkmeister, Maywood
Business Communications:
First - Libby Jensen, Dundy County Stratton
Second - Abby Daffer, Southwest
Third - Sam Staggs, Sutherland
Chemistry:
First - Megan Kelley, Southwest
Second - Alec Fox, Paxton
Third - David Trierweiler, St. Patrick’s
Dramatic Arts:
First - Alex Roc, McCook
Second - David McCown, Maxwell
Third - Karni Doyle, Callaway
Fire Science/EMS:
First - Kris Kopetzky, South Platte
Second - Chris Werth, Eustis Farnam
Third - Tristan Johnson, Arnold
Grammar & Composition:
First - Grace Magill, Arnold
Second - Christi Christner, Wauneta-Palisade
Third - Bailee Clark, St. Patrick’s
Health Occupations:
First - Sabine Vanhaaren, Cody-Kilgore
Second - Jamie Smith, St. Patrick’s
Third - Taylor Ellison, Callaway
History:
First - David Trierweiler, St. Patrick’s
Second - John Klintworth, Medicine Valley
Third - Joey Anderjaska, Hayes Center
Information Technology:
First - Jared Brosius, St. Patrick’s
Second - Hayden Pollmann, Wauneta-Palisade
Third - Nathaniel Maxcy, Sutherland
Introduction to Business:
First - Cody Ballew, Elwood
Second - Dawson Brunswick, McCook
Third - Chance Kennicutt, Wallace
Literary Analysis:
First - Justin Hardwick, Paxton
Second - Rebekka Ralston, Sutherland
Third - Izzy Fox, Dundy County Stratton
Mathematics:
First - Megan Siebrandt, McCook
Second - Hayden Pollmann, Wauneta-Palisade
Third - Isaac Langan, McCook
Music Performance (Instrumental)
First – Sohyeon Yi, Cody-Kilgore
Second - Matti Mickelsen, Medicine Valley
Third - Brandon Montgomery, Brady
Music Performance (Vocal):
First - Nathan Rick, Hitchcock County
Second - Rachel Gordine, McCook
Third - Alisha Heelan, Garden County
Music Theory:
First – Josie Burke, Sutherland
Second – Matti Mickelsen, Medicine Valley
Third – Mason Harouff, Hayes Center
NPCC Facts:
First - Cheyanne Loeffler, Paxton
Second - Valerie Most, Brady
Third - Alexis Franzen, Brady
Personal Finance:
First - Cassandra Medina, Sutherland
Second - Marley Sandberg, Sutherland
Third - Ian Bridge, North Platte High School
Physics/Engineering (session one):
First - Cody Trump, Cody-Kilgore
Second - Kyle Halsted, North Platte High School
Third - Chet Krajewski, Garden County
Physics/Engineering (session two):
First - Lane Vasa, Arthur County
Second - David McCown, Maxwell
Third - Dakota Seng, Callaway
Word Processing:
First - Brooke Scott, Hitchcock County
Second - Tristan Johnson, Arnold
Third - Rebecca Lorens, Dundy County Stratton
Results by Division are:
Division 1 –
First – St. Patrick’s
Second – Sutherland
Third – McCook
Division 2 –
First – Cody-Kilgore
Second – Medicine Valley
Third – Hitchcock County
Division 3 –
First – Wauneta-Palisade
Second – Arnold
Third – Elwood
Results of NPCC’s TECH-Knowledge & Skills competition are:
Autobody:
First – Aaron Stegman, Garden County High School
Second – Joel Anderson, Garden County High School
Third – Jon Jackson, Franklin High School
Automotive/Diesel:
First – Philip Hammer, North Platte High School
Second – Logan Mull, North Platte High School
Third – Wesley Hoatson, North Platte High School
Building Construction (teams):
First – Walker Wolff, Ivan Rosfeld, Austin Wobig and Wyatt Galloway of Cody-Kilgore High School
Second – Lucas French, Jayson Rezek, Nick Hahn and Calvin Carsten of Sutherland High School
Third – Brock Alexander, Caleb Kleewein, Justin Cosler and Clancey Barnum of Stapleton High School
Electrical:
First – Tyler Daniels, Franklin High School
Second – Walker Wolff, Cody-Kilgore High School
Third – Ivan Dobesh, North Platte High School
Heating, Ventilation and Air Conditioning:
First – Wesley Hoatson, North Platte High School
Second – Logan Mull, North Platte High School
Third – Blaker Morrissey, Maxwell High School
Welding:
First – Dillon Schultz, North Platte High School
Second – Colton Thompson, North Platte High School
Third – Trevor Hanna, Stapleton High School