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The Kandy Esala Perahera Pageant Procession of Sri Lanka, the most spectacular religious procession in Asia is held annually at the medieval royal city of Kandy beginning with the full moon poya day on the Buddhist month of Esala falling in July or August. The big event lasts for 10 days and has become a unique symbol of Sri Lanka. It is a Buddhist festival consisting of numerous dancers and up to 100 richly-decorated Elephants. There are fire-dancers, whip-dancers, Kandyan dancers, drummers, torch bearers, flag bearers and acrobats. The elephants are adorned with lavish garments which are renewed every year.
The significance of the processions is to invoke blessings of the gods to give the farmers rain to cultivate their crops. This ritual is performed by carrying the sacred tooth relic of the Buddha through the city streets which is done with great ceremony. The tooth relic was brought to Ceylon (Sri Lanka) in the year 310 AD and the first Perehera was performed in Anuradhapura, the first capital where the sacred relic was housed. Now it lies in the "Dalada Maligawa" (Palace of the Tooth Relic) in Kandy, the most visited and important temple of Sri Lanka.
Het Kandy Perahera Festival in Kandy is de meest spectaculaire religieuze processie van Azië en wordt elk jaar in juli/augustus gehouden. Het boeddhistische festival is een uniek symbool van Sri lanka geworden en duurt 10 dagen waarbij elke avond steeds langer wordende processies door de straten van Kandy trekken. In een magisch schouwspel komende duizenden dansers, drummers, acrobaten, toortsdragers en vele rijk versierde olifanten voorbij. De eerste vijf avonden vormen het Kumbal Festival, daarna volgt het Randoli Festival. Elke avond wordt de processiestoet langer en komen er meer olifanten bij. Op de laatste avond lopen ca. 100 olifanten mee. Het doel van de processies is om de goden een zegen te vragen voor voldoende regen en een goede oogst. Het hoogtepunt komt wanneer de heilige tand van Boeddha met groot ceremonieel in een gouden kooi op de rug van een olifant langs komt.
An important ingredient for winter bbq is good boots. Like any good Canadian boy, I have a pair of Sorels laying around. Yeah, they have a pink stripe. Got a problem with that?
Important legal note.
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Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liaIble to prosecution.
Some people find new years eve day important for traditional reasons party, celebration, resolution and new start, others cause its the start day of most spectacular annual rally on the planet. "Paris - Dakar"
Honestly I would love to join race not as a participant or even in the category of amateur cause 80% if I'm not wrong of participants are amateurs racers, but the best and most risky and dangerous option as a follower.
As a follower you are cut of the all safety which is "Dakar" organization making available radio-communication etc. As a follower you are completely depending on your own, so for something like that one need trustable group of at least three till four "four wheelers" determination and adventurers spirit.
What could be better than, scorpions in your shoes, ever fear if all be allright, hostile locals and travel though the spectacular scenery from south Europe through Sahara to the black Africa. If you think you are that one let me know and lets go!
This year route Dakar 2006 is 28th edition that will take place from the 31st of December to the 15th of January 2006 will this time take off from the capital of the Portugal Lisbon.
Once the Mediterranean Sea crossed, the rally caravan will head to Dakar going through Morocco, Mauritania, Mali and Guinea (that hasn’t been visited by the Dakar since 1986) and finally to the capital city of Senegal (Africa).
"Each year, the fascination and pull of the Dakar are stronger than ever, as is its capacity to inspire dreams and passion for adventure and the desert. The 2006 vintage is no exception to the rule. No less than 747 vehicles will be lining up in Lisbon for the 28th edition, among which 240 motorcycles, 187 cars and 80 trucks, topped up by 240 registrations in the Assistance category. After the 695 competitors in the 2005 edition, 2006 will be a new benchmark.
With 40 nations represented, the Dakar this year confirms once more its international stamp, even if the French still make up the largest contingent with 33% of registrations followed by the Spanish, Belgians, Dutch and Italians. Another trend is gaining ground. Each year, the Dakar is opening up a little more to women, and this time 23 will be lining up in Lisbon: 8 bikers and 15 in Car and Truck categories.
First-timers will also be thick on the ground - 38% on motorcycles and 8% in cars, a real freshers’ ball.
Once again this year, Amaury Sport Organisation had to deal with a spate of requests. The maximum enrolment quotas were reached as early as June, forcing the organisation to close registrations in order to ensure that the race took place in proper conditions, both from a sporting point of view and so as to preserve the friendly atmosphere of the bivouac.
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Saffron Grill is owned by our favorite Seattle restaurenter, Mr. Mohammad Bhatti. He started Cedars and Taste of India in the University District area. Cedars on Brooklyn has been sold, while Taste of India is run by his son. He and his wife desgned Saffron from scratch. It is a beautifully decorated restaurant as we found out during our tour after dinner.
Most importantly, the Indian and Mediterranean food is just excellent, if anything, better than wat we were used to at Cedars. The service is impeccable, we recognized a number of the staff. I can guarantee we will be back, and I can highly recommend this as a great place for lunch or dinner.
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Fredericia, Denmark, Lyntogs and More, 17 Aug 1984
On Friday eventing, 17 August 1984, I took the bus from Karup air station to Herning after work, and from there took train IC 180 behind MZ 1439 to Fredericia. This was really my first time strictly railfanning in Denmark as the other days I'd been out seeing some of the other sites in the places I visited. In Fredericia, I just hung out on the platforms for a little over an hour.
Fredericia is a city of about 40,000 people. From a railroad perspective, it is an important junction as it is the place where all rail lines in Jutland come together and funnel onto the line across the Little Belt to the island of Fyn and then to Copenhagen.
In the little over an hour I was there, I saw 3 Lyntogs, several Intercity trains, MR DMUs and a few freights with MZ and MX power, plus a couple of MH switchers. Lots of trains and good variety.
The Lyntogs were the DSB version of the German VT11. The VT11s were all first class TEEs, while the Lyntogs had first and second class seating. The Lyntogs had a power car at each end, a first class coach a second class coach, two second class coaches with cabs, a second class coach and a first class coach. The reason for the driving cabs was that the Lyntogs split on Jutland and the 2 sections served different lines, so 2 Lyntogs out of Copenhagen could directly serve 4 destinations on Jutland with one seat service. The Intercity trains offered schedules that were nearly as fast, but did not split en route so an IC ran through to one destination and other lines along the way were served by DMU connections.
Today Fredericia is electrified and the electric trains run through to Copehagen without having to ride a ferry boat across the Great Belt from Fyn to Sjaelland. The fast trains make the 215 km run to Copenhagen in 1 hr 46 min, quite a bit faster than in the days of the ferry crossing.
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i thought about doing a picture series of the stuff i carry in my bag everyday, but for now these are some of the things that are my essentials. I had to take meds for the total knee replacement, but I am pretty good to go now!
A mule on a steep slope
Malaga Raisin Production System in La Axarquía, Spain
The raisin production in Axarquía has gone through centuries and di erent civilisations until today, maintaining most of its characteristics. The cultivation of Muscatel grapes in the mountainous areas of Málaga is very important in the agricultural economy, as it is developed on steep slopes without any other agricultural alternative.
Maintaining this grape-growing system and its sun-drying transformation process is essential to maintain the landscape, as it prevents erosion and deserti cation processes and it is an example of how the people in this area relate with their territory and their cultural traditions.
Photo credit must be given Editorial use only. Copyright © Beatriz Moreno Escalona
The monument includes a late 16th century artillery fort, superseded by and partially incorporated into a mid 17th century bastioned artillery defence, called the Citadel, with associated outworks. The monument also includes a series of alterations and additions made to the Citadel during subsequent centuries, and a statue of George II erected in 1728. The monument is situated on the eastern part of Plymouth Hoe, a limestone cliff overlooking the strategically important entrance to the Cattewater in Plymouth Sound on the south west coast of Devon.
Historical sources provide the context for the construction of the late 16th century artillery fort between 1592-1598 in response to a perceived threat of attack by sea from the Spanish. Although the Armada had been defeated in 1588, fears that Spain would attempt to invade England again led to a strengthening of English defences. The construction of the fort at Plymouth was part of these works. Situated at the east end of the Hoe, it protected the entrance to the important sheltered anchorage of the Cattewater and the harbour in Sutton Pool. Contemporary plans show this fort consisted of two parts: a roughly triangular fort with two bastions pointing to the north and west to defend against landward attack from the Hoe, and the lower fort containing the main armament in ramparts of earth and stone, called bulwarks, along the shore. The stone walls of this fort were about 4m high, and 1.4m thick at the base, accompanied by an outer ditch 6m wide. Guns were mounted on timber staging on earth platforms. The main fort contained the captain's lodgings, barracks, a storehouse, stables, guardhouse, powderhouse and the medieval Chapel of St Katherine on the Hoe, an important landmark for shipping. Parts of this fort have been revealed by partial excavation.
The late 16th century artillery fort was partially incorporated into the mid 17th century Citadel. Although much of the walling around the main area of the earlier fort was demolished as the Citadel was constructed, the lower fort, at the south eastern end of the main 16th century fort was retained. Within the Citadel, the south curtain wall from and including the Cumberland Battery to Prince Henry's Demi-Bastion follows the line of the dividing wall between the 16th century main fort and its lower fort. The Citadel's curtain wall between Prince Edward's Bastion and Prince Henry's Demi-Bastion may also preserve the line of the earlier main fort's east wall. The base of the point of Prince Henry's Demi-Bastion and the sides of Piper's Platform contain some original 16th century stonework and the wall running south east from Piper's Platform towards Fisher's Nose continues the line of the 16th century lower fort wall. Beyond this monument, further walling of the 16th century lower fort is likely to survive along the coastal margin by the blockhouse at Fisher's Nose.
The mid 17th century Citadel was constructed between 1665-1675 in response to another perceived threat of war, this time with the Dutch, rivals for overseas trade with the colonies. Charles II wished to secure Plymouth as a naval base, whose town and hinterland was large enough to victual a large number of ships, and which had a large sheltered anchorage. The Citadel was situated at the east of the Hoe on the site of the late 16th century fortress, retaining the earlier lower fort at its south east end. Designed by Sir Bernard de Gomme, the King's Engineer General, the original plan had been for a regular five bastioned fort to the west of the Elizabethan fort, but was adapted to incorporate as much as possible of the earlier fort and to maintain defence of the Cattewater while it was being built. The resulting Citadel was constructed as a six bastioned walled fortification. The wall was backed by an earth rampart. Beyond the wall was a broad flat-bottomed ditch except on the south east side where it was adjoined by the lower fort. The surface against the outer side of the ditch was levelled to create a covered way, protected by a raised outer lip from which a long outer slope, called a glacis, descended to the surrounding ground surface. Within the ditch, a triangular outwork, called a ravelin, protected the main entrance to the north; the covered way outside the ditch was enlarged on the east and west to create two assembly points for troops, called place d'armes. Beyond this monument, a small rock cut harbour was constructed to the south of the lower fort to supply ships under cover of the Citadel.
By the end of 1667 most of the defensive works had been completed, as had the impressive main gateway, though the interior still required the completion of the ramparts and construction of the buildings needed to house the garrison. Work finished on the Citadel in 1675.
The walls of the Citadel enclose an area approximately 280m east-west by 270m north-south, and survive as an almost complete circuit meeting either side of the northern main entrance. The walls are constructed of limestone quarried from the ditch supplemented by limestone from the two nearby quarries of Lambhay and Tinside. Dartmoor granite was used for the quoins on the corners of the bastions, for the sides of the gun ports, called embrasures, and for the cordon, a rounded horizontal moulding running around the exterior face of the Citadel just below the embrasures. There were also granite corbels or moulded supports for sentry boxes close to the top of the bastions, one of which survives on the north east point of Prince of Wales' Bastion. Originally there were stone sentry boxes on the top of the walls at various points around the Citadel. The only portion of wall which has not survived to its original height is along Prince of Wales' Curtain where it was lowered in the 1890s. The walls are capped with turf, except between Bath's Bastion and Prince Henry's Demi-Bastion where it is capped with asphalt above the later casemates.
The walls form six bastions and one demi-bastion linked by sections of curtain wall; of these only Prince George's Bastion to the north west and King Charles' Bastion to the south west are of regular design. Prince of Wales' Bastion to the north east is truncated because of the steep slope of the ground to the east. Bath's Bastion is extended to link with the line of the earlier fort. The curtain wall from Prince Edward's Bastion towards Prince Henry's Demi-Bastion also links with or possibly follows the line of the earlier fort. The other bastion and the demi-bastion follow the line of the earlier fort. There are several large water tanks, now disused, within Prince George's and King Charles' Curtain walls. Originally there were probably five entrance ways, called sallyports, through the walls. The sallyports have granite doorways or lintels, decorated in each corner above their arched entrance. One sallyport is in the west wall facing the Hoe with a plain arched entrance; another to the south west has a later doorway; one faces south into the lower fort, now facing the Queen's Battery, and another faces south east to Piper's Platform. There was probably a sallyport facing north east before the Prince of Wales' Curtain was taken down. The Queens Battery is a tenaille, a low wall enclosing the area between Cumberland Battery and Prince Henry's Demi-Bastion in front of the curtain wall, it was constructed to provide extra cover for the curtain wall above the lower fort and also gave access to the lower fort.
The ramparts were constructed of earth and stone immediately behind the inner face of the walls and provided platforms for the guns for the defence of the Citadel. The ramparts survive as steep turfed banks and are approximately 8m to 12m thick and 4m to 5m high. Gently sloping inclines or paths up the ramparts' inner faces provided access for the guns and gun carriages; these are now tarmacked but were originally cobbled, as survives in a small area on one incline. Four inclines survive in all: to the west of the main entrance, to King Charles' Bastion, to Bath's Bastion and to Prince Edward's Bastion. Originally there was an incline east of the main entrance and two more between King Charles' Bastion and Prince George's Bastion. The north side of the incline to Prince Edward's Bastion forms three wide shallow steps.
On the ramparts, the gun ports, called embrasures, are backed by granite paved gun platforms, a rectangular area paved with large granite blocks, on which a gun on its carriage would stand. There were embrasures around King Charles' Bastion to the south west, Prince George's Bastion to the north west, Prince Edward's Bastion to the south east and Prince of Wales' Bastion to the north east, and along the west curtain. On the wall facing the ramparts between Cumberland Battery and Prince Henry's Demi-Bastion is a rectangular stone plaque which was probably a name plate for the battery or curtain wall. On King Charles' Bastion four traversing guns were positioned, their metal racers surviving. Similar racers for another traversing gun survive on Prince Henry's Demi-Bastion. Both Bath's Bastion and Queen's Battery have grooves in the granite where the racers for a traversing gun have been. The full length of Cumberland Battery is paved with granite forming interlocking wedge shapes, reflecting its use also as a saluting battery. The positions of former merlons (the solid part of a parapet, between two embrasures) can be seen where the parapet has been made good upon their removal. The brick sills of the former embrasures remain, well weathered, each opposite the earlier phase of wedge shaped granite platforms. Remains of paved gun platforms also survive on the Queen's Battery.
There are four surviving magazine stores on the inner edge of the ramparts, a short length of high wall against which ammunition may have been stored. However the lengths of these walls and the fixing positions for lean to roofs and racking suggest that these may have been side-arms sheds, or stores for ramrods, sponges, traversing staves and ropes. The one along Prince Edward's Bastion is wider than the other three, which are between Prince George's Bastion and King Charles' Bastion. The only section of the ramparts which has been removed, during the 1890s, is along Prince of Wales' Bastion and Curtain wall. The ramparts between Bath's Bastion and Prince Henry's Demi-Bastion were not completed in 1665-1670, when only some masonry arches and piers were built.
The main entrance to the Citadel is in the north wall. It was designed by Sir Thomas Fitch or Fitz, an associate of Sir Christopher Wren. Flanking the arch are paired Ionic pilasters with carved motifs between them. The keystone is adorned with the coat of arms of John Grenville, Earl of Bath. Above the arch is a large niche which probably displayed a statue of Charles II until the early 19th century, when it appears to have fallen and never been replaced; the niche now contains a small pile of four cast-iron spherical mortar bombs. Above the niche is the date 1670 and to either side, a Corinthian column and carved motifs of trophies of arms. The pediment bears the royal coat of arms in relief. Between the large niche and the royal arms is a rectangular stone tablet inscribed `Carolus secundus dei gratia magnae brittaniae franciae et hiberniae'. Originally a guardroom occupied the floor over the arch, later taken down, leaving the decoration above the arch fronting a facade. The interior face of the entrance displays the royal coat of arms above the archway.
EH Listing
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Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liable to prosecution.
On the pavement of the Raekoja plats (Town Hall square) in Tallinn there is a stone disk with compass bearings and the text "Raekoja platsil asus vana Tallinna nullpunkt". The text translates as "Zero point of old Tallinn was located on the Town Hall Square". That is the place determining house numbering direction in all streets of Tallinn.
Town Hall Square is also the starting point of the oldest streets in Tallinn: Apteegi, Dunkri, Kinga, Kullassepa, Saiakang, Vanaturu kael, Voorimehe, Raekoja.
Tallinn, Estonia, 2018
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
Hősök tere is surrounded by two important buildings, Museum of Fine Arts on the left and Palace of Art (or more accurately Hall of Art) on the right. On the other side it faces Andrassy Avenue which has two buildings looking at the square — one is residential and the other one is the embassy of Serbia (former Yugoslavian embassy where Imre Nagy secured sanctuary in 1956).
The central site of the hero's square, as well as a landmark of Budapest, is the Millennium Memorial (also known as Millennium Monument or Millenary Monument) with statues of the leaders of the seven tribes that founded Hungary in the 9th century and other outstanding figures of Hungarian history (see below). The construction of the memorial was started when the one thousandth anniversary was celebrated (in 1896), but it was finished only in 1900 and the square got its name then.
When the monument was originally constructed, Hungary was a part of the Austrian Empire and thus the last five spaces for statues on the left of the colonnade were reserved for members of the ruling Habsburg dynasty. From left to right these were: Ferdinand I (relief: Defense of the Castle at Eger); Leopold I (relief: Eugene of Savoy defeats the Turks at Zenta), Charles III, Maria Theresa (relief: The Hungarian Diet votes support "vitam et sanguinem") and Franz Joseph (relief: Franz Joseph crowned by Gyula Andrássy) The monument was damaged in World War II and when it was rebuilt the Habsburgs were replaced by the current figures.
On the 16th June 1989 a crowd of 250,000 gathered at the square for the historic reburial of Imre Nagy, who had been executed in June 1958.
It is also a station of the yellow M1 (Millennium Underground) line of the Budapest Metro.
There are also three other squares in Budapest entitled Hősök tere, in Soroksár, Békásmegyer and Rákosliget.
Behind the cenotaph but within the decorative chain is a flat bronze plate which marks the site of an artesian well whose drilling was completed in 1878 by Vilmos Zsigmondy. This well provides water for the Széchenyi Baths behind the monument and the Dagály Baths in the Népfürdő utca. The well reached a depth of 971 meters and produces 831 liters of hot water per minute at 74 degrees Celsius
The Heroes' Square monument has a 90% duplicate in Shanghai Global Paradise, Shanghai. Since its opening in 1996, it has been mostly degraded and most statues removed
Important legal note.
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Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
A visit to The Art Gallery of New South Wales 14/2019
The Art Gallery of New South Wales (AGNSW), located in The Domain in Sydney, New South Wales, Australia, is the most important public gallery in Sydney and one of the largest in Australia. The Gallery's first public exhibition opened in 1874. Admission is free to the general exhibition space, which displays Australian art (from settlement to contemporary), European and Asian art. A dedicated Asian Gallery was opened in 2003.
Garden Palace
The Art Gallery of New South Wales (c.1900)
On 24 April 1871, a public meeting was convened in Sydney to establish an Academy of Art 'for the purpose of promoting the fine arts through lectures, art classes and regular exhibitions.' From 1872 until 1879 the Academy's main activity was the organisation of annual art exhibitions. The first exhibition of colonial art, under the auspices of the Academy, was held at the Chamber of Commerce, Sydney Exchange in 1874. In 1875 Apsley Falls by Conrad Martens, commissioned by the trustees and purchased for £50 out of the first government grant of £500, became the first work on paper by an Australian artist to be acquired by the Gallery.[2]
The Gallery's collection was first housed at Clark's Assembly Hall in Elizabeth Street where it was open to the public on Friday and Saturday afternoons. The collection was relocated in 1879 to a wooden annexe to the Garden Palace built for the Sydney International Exhibition in the Domain and was officially opened as "The Art Gallery of New South Wales". In 1882, the first Director, Eliezer Montefiore and his fellow trustees opened the art gallery on Sunday afternoons from 2 pm to 5 pm. Montefiore believed:
... the public should be afforded every facility to avail themselves of the educational and civilising influence engendered by an exhibition of works of art, bought, moreover, at the public expense.[3]
The destruction of the Garden Palace by fire in 1882 placed pressure on the government to provide a permanent home for the national collection.[2] In 1883 private architect John Horbury Hunt was engaged by the trustees to submit designs. The same year there was a change of name to "The National Art Gallery of New South Wales". The Gallery was incorporated by The Library and Art Gallery Act 1899.[4][5]
In 1895, the new Colonial Architect, Walter Liberty Vernon (1846–1914), was given the assignment to design the new permanent gallery and two picture galleries were opened in 1897 and a further two in 1899. A watercolour gallery was added in 1901 and in 1902 the Grand Oval Lobby was completed.[5]
20th century
Over 300,000 people came to the Gallery during March and April 1906 to see Holman Hunt’s painting The Light of the World. In 1921, the inaugural Archibald Prize was awarded to W.B. McInnes for his portrait of architect Desbrowe Annear. The equestrian statues The offerings of peace and The offerings of war by Gilbert Bayes were installed in front of the main facade in 1926.[6] James Stuart MacDonald was appointed director and secretary in 1929. In 1936 the inaugural Sulman Prize was awarded to Henry Hanke for La Gitana. John William Ashton was appointed director and secretary in 1937.[2]
William Dobell, photographed by Max Dupain (1942)
The first woman to win the Archibald Prize was Nora Heysen in 1938 with her portrait Mme Elink Schuurman, the wife of the Consul General for the Netherlands. The same year electric light was temporarily installed at the Gallery to remain open at night for the first time. In 1943 William Dobell won the Archibald Prize for Joshua Smith, causing considerable controversy. Hal Missingham was appointed director and secretary in 1945.
In 1958 the Art Gallery of New South Wales Act was amended and the Gallery’s name reverted to "The Art Gallery of New South Wales".[7]
In 1969 construction began on the Captain Cook wing to celebrate the bicentenary of Cook's landing in Botany Bay. The new wing opened in May 1972, following the retirement of Missingham and the appointment of Peter Phillip Laverty as director in 1971.[2]
The first of the modern blockbusters to be held at the Gallery was Modern masters: Monet to Matisse in 1975. It attracted 180,000 people over 29 days. The 1976 the Biennale of Sydney was held at the Gallery for the first time. The Sydney Opera House had been the location for the inaugural Biennale in 1973. 1977 saw an exhibition "A selection of recent archaeological finds of the People's Republic of China."[8][9] Edmund Capon was appointed director in 1978 and in 1980 The Art Gallery of New South Wales Act (1980) established the "Art Gallery of New South Wales Trust".[10] It reduced the number of trustees to nine and stipulated that "at least two" members "shall be knowledgeable and experienced in the visual arts".[2]
With the support of then Premier Neville Wran a major extension of the Gallery became a Bicennential project. Opened just in time in December 1988, the extensions doubled the floor space of the Gallery. In 1993 Kevin Connor won the inaugural Dobell Prize for Drawing for Pyrmont and city. In 1994, the Yiribana Gallery, dedicated to Aboriginal and Torres Strait Islander art, was opened.[2]
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Bonkers determined to do something very important, probably visit the litter box, from his spot on the bed in Kitahiroshima in June of 2019.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Gurupurnima is the most important day in the year where we praise our Gurudev and thank him from the bottom of our hearts for everything that He is giving to us.
Devotees from all around the world gathered to celebrate this special day at the Shree Peetha Nilaya, Bhakti Marga Centre and Ashram, in Germany.
The Day started with Pada Puja followed by Guruji performing puja to His personal Deities. During the day we celebrated with Bhajan Mala, with all devotees from around the world singing 108 Bhajans devoted to Guruji.
In the evening there was Pada Abhishek to Gurujis feet where devotees could come and offer their love for Him.
Guruji ended the day with blessings and thanks, and a special request to all that the life of all living creatures is to be respected by living and promoting a life of pure vegetarianism.
Please visit our website www.bhaktimarga.org
Gender equality has been recognized as an important goal in itself as well as important to achieving other development objectives, such as reducing hunger and poverty. This is true worldwide and especially so in rural Africa, where women play an important role in the agricultural sector. Gender-sensitive policies and programming are central to effectively advancing the Malabo Declaration’s agricultural transformation agenda. But what is the progress in achieving gender equality? What are the major challenges, and what are the effective means of overcoming those challenges?
Seminar speakers will address these questions and discuss the findings and recommendations of the 2019 Annual Trends and Outlook Report, Gender Equality in Rural Africa: From Commitments to Outcomes. The report takes an in-depth look at gender in Africa by examining the intersections of gender and 1) context and institutions, 2) assets, 3) shocks and resilience, 4 livelihood strategies, 5) income and control of income, and 6) well-being.
The report is produced by the Regional Strategic Analysis and Knowledge Support System (ReSAKSS), which provides data and analyses to inform the implementation of the Comprehensive Africa Agriculture Development Programme (CAADP). ReSAKSS is funded by the United States Agency for International Development (USAID) and the Bill & Melinda Gates Foundation.
Opening Remarks
Ousmane Badiane, Director for Africa, IFPRI
Speakers
Agnes Quisumbing, Senior Research Fellow, Poverty Health and Nutrition Division, IFPRI (Presentation)
Ruth Meinzen-Dick, Senior Research Fellow, Environment and Production Technology Division, IFPRI (Presentation)
Jemimah Njuki, Senior Program Officer, International Development Research Centre (IDRC) (Presentation)
Discussants
Sarah Gammage, Director of Gender, Economic Empowerment and Livelihoods, International Center for Research on Women (ICRW)
Michael O'Sullivan, Senior Economist, World Bank Group (Presentation)
Meredith Soule, Technical Division Chief, Bureau for Food Security, United States Agency for International Development (USAID)
Moderator
Rajul Pandya-Lorch, Director of Communications and Public Affairs & Chief of Staff in the Director General's Office, IFPRI
Photo by Lee Dixon/IFPRI