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Name: Sam Purinton
Class year: 2018
Trip title: Language Immersion in Montpellier, France
Panorama of Roman Amphitheater in Arles France
Cortals de Sispony, Sispony, La Massana, Vall nord, Andorra, Pyrenees
More Sispony images: Follow the group links at right side.
.......
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Thesis for MC Black&White,
"the language of hands" photos + haikus (sorry only in dutch)
Put the music on and relax
Title in other languages:
Deutsch: Haus in Ommen, Niederlande
English: House in Ommen, The Netherlands
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
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Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
FILE MÍDIA ARTE | FILE MEDIA ART
Aaron Oldenburg – Baptize – Estados Unidos | United States
Alan Bigelow – Saving the alphabet - Estados Unidos | United States
Alan Bigelow – My summer vacation - Estados Unidos | United States
Alan Bigelow – Brainstrips - Estados Unidos | United States
Alice Bradshaw – Static - Reino Unido | United Kingdom
Alix Poscharsky - Arthur N. Ghell - Reino Unido | United Kingdom
Annette Weintraub - One Text, Many Stories [URBAN MEMORY LOSS: a Nightmare of Change in which Time is Inscribed in Space or How a Text Became a Story] - Estados Unidos | United States
Apokalipso: Rafael Gomes, Áthila Benites, Sávio Oliveira, Leandro Caro, Natanael Andrade, Fernando Gavronski & Fernanda Ferreiro – Senmorta – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Leonardo Domingues – A sorte – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Marcio Vieira – Mundo mudo - Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Filippe Lyra & William Paiva – Voltage - Brasil | Brazil
boredomresearch: Vicky Isley & Paul Smith – Lost Calls of Cloud Mountain Whirligigs (View 2, Right & Left) - Reino Unido | United Kingdom
Brad Todd - film noir – Canadá | Canada
Bruno M. Rocha, Camilo S. Lima, Caroline V. Costa & Daniela Bissoli - WIRESCAPES_simulação transversa de uma condição de metrópole - Brasil | Brazil
Calin Man - Have a Nice Click - Romênia | Romania
Caterina Davinio - The First Poetry Space Shuttle Landing on Second Life – Itália | Italy
Céline TROUILLET - Song No. 9 – França | France
Céline TROUILLET - Song No. 11 – França | France
Chris Coleman - The Magnitude of the Continental Divides – Estados Unidos | United States
Christin Bolewski - Shan-Shui-Hua – Alemanha | Germany
Coletivo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Repensando a Obra de arte repensada, Eu Tu Ele, Nós, Vós, Eles ou Labirinto Flutuante – Brasil | Brazil
Daito Manabe & Motoi ishibashi - Pa++ern – Brasil | Brazil
Danilo Guimarãres - (L) anos de Brasília! – Brasil | Brazil
David Clark, Marina Roy & Graham Meisner - Sign After The X - Canadá | Canada
Eric Schockmel - Occupation: Movement I (Syscape#4) - Reino Unido | United Kingdom
Fernanda Antoun - Um, Dois! Um, Dois! - Brasil | Brazil
Fundamental Research Lab: Robert B. Lisek – NEST – Polônia | Polony
Gabriela Golder – RESCATE – Argentina | Argentina
hint.fm: Fernanda Viegas & Martin Wattenberg – Fleshmap - Estados Unidos | United States
Hyun Ju Song - NOTHING IS FINISHED - Alemanha | Germany
Ivan Henriques – ReLandscaping - Holanda - Netherlands
Jason Nelson - Evidence of Everything Exploding - Austrália | Australia
Jonathan Monaghan - French Penguin - Estados Unidos | United States
Juliana Yamashita - Metro Tracks - Brasil | Brazil
Kevin Evensen – Danses - Estados Unidos | United States
Kika Nicolela – Flickering - Brasil | Brazil
Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard & Kristian Haarløv - Radiant Copenhagen - Dinamarca | Denmark
lemeh42 - Inner Klänge – Itália | Italy
Leonardo Uehara - An interactive sound tale - Brasil | Brazil
Martin John Callanan - I wanted to see all the news from today - Reino Unido | United Kingdom
Maya Watanabe – ABRASIS – França | France
Michael Takeo Magruder - Data_plex (economy) - Reino Unido | United Kingdom
Michael Takeo Magruder - Data_sea - Reino Unido | United Kingdom
Michele Barker & Anna Munster - Duchenne's Smile - Austrália | Australia
Miriam Thyes - Global Vulva - Alemanha | Germany
mitumBACK: Coelestine Engels, Markus Hafner & Christof Berthold – mitumBACK - Áustria | Austria
moddr: Gordan Savicic, Walter Langelaar & Danja Vassiliev - Web 2.0 Suicidemachine - Holanda - Netherlands
Não se Cale!: Amanda Miyuki de Sá, Danilo Polo Cain, Douglas Ferreira Neto, Fábio Henrique Alves Will, Patrícia Hitomi Nakazone, Talles Marques Duarte - NÃO SE CALE: A VIOLÊNCIA CONTRA A MULHER A PARTIR DAS PROPOSTAS FOTOGRÁFICAS DE BARBARA KRUGER – Brasil | Brazil
Nicholas Knouf – MAICgregator - Estados Unidos | United States
Nicole Kenney & KS Rives - Before I die I want to - Estados Unidos | United States
Nicole Stenger – DYNASTY - França | France
Osvaldo Cibils - 300x300artsport - Itália | Italy
Owen Eric Wood – Holobomo - Canadá | Canada
Owen Eric Wood – Parallel - Canadá | Canada
OZCAN TURKMEN - ENTROPIC POETRY - Turquia | Turkey
Pipol - TV Cronópios - Brasil | Brazil
Rachelmauricio – towtom - Brasil | Brazil
Rachelmauricio – TexET - Brasil | Brazil
Rachelmauricio - NO_HAHAB - Brasil | Brazil
Regina Pinto – AlphaAlpha - Brasil | Brazil
Regina Pinto - DAVID DANIEL'S 200+ HUMANS BEINGÈD HYMN TO HUMANITY - Brasil | Brazil
rgb3000 - superfreedraw.com - Alemanha | Germany
Richard O'Sullivan – Monitor - Reino Unido | United Kingdom
Richard O'Sullivan - Broken Windows - Reino Unido | United Kingdom
Roderick Coover – Canyonlands - Estados Unidos | United States
Roderick Coover - SOMETHING THAT HAPPENED ONLY ONCE - Estados Unidos | United States
Rosa Menkman - Glitch Studies Manifesto - Holanda - Netherlands
Rui Filipe Antunes - Senhora da Graça - Reino Unido | United Kingdom
Sally Grizell Larson – Axiom - Reino Unido | United Kingdom
Sergio Sotomayor - Madera (Wood) - Espanha | Spain
Silvia Laurentiz - Poesias Digitais: Projeto Percorrendo Escrituras - Brasil | Brazil
Spot - Dreams In High Fidelity II - Estados Unidos | United States
Stanza – Sondcities - Reino Unido | United Kingdom
Stuart Pound - Dance 0-19 - Reino Unido | United Kingdom
Stuart Pound - She's not there - Reino Unido | United Kingdom
Stuart Pound - Bus Stop version 2010 - Reino Unido | United Kingdom
Stuart Pound - Not you again! - Reino Unido | United Kingdom
Stuart Pound - Oh no, not you again! - Reino Unido | United Kingdom
Stuart Pound - Sticky Pixels - Reino Unido | United Kingdom
Susanne Berkenheger - The Last Days of Second Life - Alemanha | Germany
Tchello d'Barros - "Convergências" | "Convergences" - Brasil | Brazil
Tim Webster - Wonderlands: Machu Picchu - Austrália | Australia
Tina Velho - Tão longe...tão perto - Brasil | Brazil
Trace Sanderson aka Lainy Voom & Tamara Russel aka Gala Charron - Virtual Build Archive (VBA) - Reino Unido e Estados Unidos | United Kingdom and United States
Tuvalu Vizualization Project: Hidenori Watanave, Makiko Suzuki & Shuichi Endou - Tuvalu Vizualization Project - Japão | Japan
UBERMORGEN.COM - SUPERENCHANCED GENERATOR - Áustria | Austria
UBERMORGEN.COM - UGI - UNIVERSAL HEALTH - Áustria | Austria
VJ Eletro-I-MAN - Projeto Representa Corisco - Espanha | Spain
Wilton Azevedo, Rita Varlesi & Savana Pace – Atame: a Angústia do Precário - Brasil | Brazil
ZAO – hearts - Brasil | Brazil
HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS
++CAYCE POLLARD coletivodeartecomputacional; Nicolau Centola e Fabrizio Poltronieri - A Night in São Paulo - Brasil | Brazil
4propri8 - Junglow Drift - Brasil | Brazil
all your gardening needs – Arranco - Brasil | Brazil
Basavizi: André Damião Bandeira, Fernando Visockis & Sérgio Saad - HID - Human Improvisation Delight - Brasil | Brazil
Berger Rond - Stairs of Unsteady - Canadá | Canada
Carlos Dohrn - x → y - Brasil | Brazil
Carol Robinson – BILLOWS - França | France
Claudio Parodi - The Mother of All Feedback - Itália | Italy
Daniel Gazana - MISTÉRIO MUDO - Brasil | Brazil
Daniel Gazana - RE-CONNECT - Brasil | Brazil
Daniel Gazana - THE KINGDOM OF THE STEEL PORTAL - Brasil | Brazil
Danilo Rossetti - Metropolis parte 1 - Brasil | Brazil
Debashis Sinha - The Bell Garden - Canadá | Canada
Edilson Cardoso - Hâhnio - Ruídos para Filmes de Horror B - Brasil | Brazil
Eduardo Patrício - Electric Talk M.M.S. - Brasil | Brazil
Edwin Lo - Auditory Scenes: The other side of Tides in Limbo - China | China
Emanuele Battisti - Electrode - Study on Pink Noise N.1 - Itália | Italy
Felipe Kirst Adami - Piano Harm - Brasil | Brazil
Franklin Valverde – Sonóricos - Brasil | Brazil
Graeme Truslove - Divergent Dialogues - Reino Unido | United Kingdom
Graeme Truslove – Concrètisations - Reino Unido | United Kingdom
Graeme Truslove – Portals - Reino Unido | United Kingdom
Graeme Truslove – Elements - Reino Unido | United Kingdom
Gustavo Alfaix - (en)treses - Brasil | Brazil
John Young – Lamentations - Reino Unido | United Kingdom
Kunkuni Mix Project: Rosa Apablaza & Federico Duret - Posible Objetivo Patera - Holanda | Netherlands
Minusbaby - Subversive Motives in Chip Music or The 8bitpeople's party - Estados Unidos | United States
Ocp – Rejects - Portugal | Portugal
Panayiotis KOKORAS - Contruct Synthesis - Grécia | Greece
PAULO GUICHENEY - rec on struction - Brasil | Brazil
Philip Mantione - Dialtone and Strings - Estados Unidos | United States
Regina Porto - Metrópolis São Paulo - Brasil | Brazil
Rohan De Livera – Haiku - Sri Lanka | Sri Lanka
Secret Axis Sonic Collective: Vanderlei Lucentini, Kojiro Umezaki, Yann Novak, Manrico Montero, Terjen Paulsen, Adam Tindale, Scott Smalwood, Zbgniew Karkowski & Hangchul Ki - Secret Axis - Brasil | Brazil
SIMPLE.NORMAL: CLEBER GAZANA – CONSTRUCT - Brasil | Brazil
Sol Rezza - 25 segundos de vida - México | Mexico
The Tiny Orchestra - THE LANGUAGE OF WAITING - Canadá | Canada
Túlio Falcão - Túlio Falcão apresenta: a música de Enrorlando di Falcus - Brasil | Brazil
Vanessa Rossetto - Dogs in English Porcelain - Estados Unidos | United States
Victor Valentim – Estralactides - Brasil | Brazil
HIPERSÔNICA SCREENING – HYPERSONICA SCREENING
Daniel Gazana - MAN-MACHINE-TIME - Brasil | Brazil
Eduardo Raccah – EY - Alemanha | Germany
Fernando Velázquez - SP, automata landscape - Brasil | Brazil
Jaap: Harriet Payer Anderss, Jorge Esquivelzeta - Sound of this City - México | Mexico
Pink Twins - Defenestrator - Finlândia | Finland
Roberto Doati – Sindrome scamosciata - Itália | Italy
Rodrigo F. Cadiz - ID-FUSIONES - Chile | Chile
Sandra Crisp – Oceanics - Reino Unido | United Kingdom
Soundsthatmatter – skinstryment - Brasil | Brazil
Soundsthatmatter – bwavssh - Brasil | Brazil
Soundsthatmatter – soundstrain - Brasil | Brazil
FILE MAQUINEMA | FILE MACHINIMA
Andrzej Kozlowski aka CapKosmaty - Apocalypsis Ex Machinima - Polônia | Poland
Annie Ok - My life as an avatar (03-10) - Estados Unidos | United States
Annie Ok - My life as an avatar (04-08) - Estados Unidos | United States
Annie Ok - My life as an avatar (06-08) - Estados Unidos | United States
Basile Vignes aka Tutsy Navarathna - To Each one his own Dreams - Índia | India
Basile Vignes aka Tutsy Navarathna - Vegetal Planet - Índia | India
Berardo Carboni aka Finally Outlander – Volavola - Itália | Italy
Bernard Capitaine aka Iono Allen - The story of Susa Bubble - França | France
Chantal Gerads aka Chantal Harvey - A Woman´s Trial - Holanda | Netherlands
Corndog & Oil Tiger Machinima Team - War of Internet Addiction - China | China
Daniel Wasiluk aka Surgee - The Demise - Polônia | Poland
Egils Mednis aka Demoplay - The Ship - Letônia | Latvia
Elise Carlson aka Lyric Lundquist - Cradle and Trap - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Cyberspace is Vast - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Sideways Time - Estados Unidos | United States
Elizabeth Pickrd aka Liz Solo - The Death of an avatar - Canadá | Canada
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions – Clockwork - Estados Unidos | United States
Iain Friar aka IceAxe – Clockwork - Reino Unido | United Kingdom
Iain Friar aka IceAxe – Embers - Reino Unido | United Kingdom
J. Joshua Diltz - Six Days - Estados Unidos | United States
James Thorpe aka Blackace - Daddy is Home - Reino Unido | United Kingdom
Les Riches Douaniers: Gilles Richard & Fabrice Zoll - Chevauchée Nocturne - França | France
Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Kamikaze - França | France
Luca Lisci aka Voom – Prometheus - Itália | Italy
Luca Lisci aka Voom - The Blue Planet - Itália | Italy
Luca Lisci aka Voom - Valentina 'Riflesso' - Itália | Italy
Mark Capell aka Hardy Capo - Control Point - Reino Unido | United Kingdom
Miguel Moreira aka Hadj Ling - The Black Chant - Portugal | Portugal
Pineapple Pictures: Kate Fosk & Michael Joyce – Voices - Reino Unido | United Kingdom
Piotr Kopik - Big Psomm 2 - Polônia | Poland
Rob Wright aka Robbie Dingo - Watch the world(s) - Reino Unido | United Kingdom
Sam Goldwater aka Lorka - The Monad - Reino Unido | United Kingdom
Simone Schleu aka Sisch - Saving Grace - Alemanha | Germany
Simone Schleu aka Sisch – Transient - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Erlköning - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Handschuh - Alemanha | Germany
Tobias Lundmark aka Dopefish & Malu05 - Among Fables and Men - Suécia | Sweden
Tom Jantol - Brief Encounter - Croácia | Croatia
Tom Jantol - Wizard of OS: The Fish Incident - Croácia | Croatia
Tony Bannan aka Ammo Previz - Folie à Deux - Austrália | Australia
Trace Sanderson aka Lainy Voom – Fall - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Postcard - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Push - Reino Unido | United Kingdom
Van Aerden & Nicolas Bonne – Metabup - França | France
Van Aerden & Nicolas Bonne - Transbup (Trailer) - França | France
Vivian Kendall aka Osprey Therian - Alazi Sautereau - Estados Unidos | United States
Vivian Kendall aka Osprey Therian - Virtual Reality in the Future - Estados Unidos | United States
Zachariah Scott - Jill´s song - Estados Unidos | United States
GAMES
Alexandre Machado | 44 Bico Largo - Robo Sucata - Brasil | Brazil
Behold Studios | Buraco de Bala - Luna - Magnetoware Adventures - Brasil | Brazil
Eddy Boxerman & Dave Burke – Osmos - Canadá | Canada
Elias Holmlid, Dmitri Kurteanu, Guy Lima Jr. & Stefan Mikaelsson – Continuity - Suécia | Sweden
Erik Svedäng - Blueberry Garden - Suécia | Sweden
Florian Faller & Adrian Stutz – Feist - Suíça | Switzerland
Grupo Yellow Jam: Luciano José Firmino Júnior, Luiz José Barbosa de Moura Souza, Rafael Valle Barradas & Heloise Dantas Oliveira - Last Hope - Brasil | Brazil
Guilherme Bischoff, Francesco Sciamarella, Cauê Madeira & Evandro Valente | Kidguru Studios – Lumaki - Brasil | Brazil
Jairo Margatho | Overplay - Night Life - Brasil | Brazil
Joannie Wu & Lee Byron – Fireflies - Estados Unidos | United States
Kokoromi & Polytron - super HYPERCUBE - Canada | Canadá
Leonardo Arantes | Isis Interactive Graphics - Freestyle Challenge - Brasil | Brazil
Luiz Gerosa | Interama - Esther Art Gallery - Brasil | Brazil
Paulo Biagioni – Mutualismo - Brasil | Brazil
Philip Mangione - Chameleon Puzzle Runners - Brasil | Brazil
Q-Games - PixelJunk Eden - Japão | Japan
Rafael Fernandes | TecToy Digital - Vovó a solta - Brasil | Brazil
Rob Jagnow – Cogs - Estados Unidos | United States
Steph Thirion – Eliss - Portugal | Portugal
Tales of Tales – Vanitas - Belgica | Belgium
Tiago Fernandes | TecToy Digital - Dragon vs Heroes - Brasil | Brazil
Tiger Style Games - Spider: The Secret of Bryce Manor - Estados Unidos | United States
Tyler Glaiel – Closure - Estados Unidos | United States
Petri Purho - Crayon Physics Deluxe - Finlândia | Finland
INSTALAÇÕES | INSTALLATIONS
Andrew Hieronymi - Virtual Ground - Estados Unidos | United States
Corby & Baily, Jonathan Mackenzie - Southern Ocean Studies # 1.0 - Reino Unido | United Kingdom
Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – SuperFluidity - França | France
Ernesto Klar - Luzes relacionais (Relational Lights) - Estados Unidos e Venezuela | United States and Venezuela
Guto Nóbrega – Breathing - Brasil | Brazil
Jarbas Jácome – Vitalino - Brasil | Brazil
Jeraman & Filipe Calegario - Marvim Gainsbug - Brasil | Brazil
Jonas Bohatsch - v+ - Áustria | Austria
Jörg Piringer - abcdefghijklmnopqrstuvwxyz for iPhone - Áustria | Austria
Jorge Luis Crowe - 2x (Power of two) - Argentina | Argentina
José Luis de Vicente, Irma Vilà & Bestiario - Atlas of Electromagnetic Space - Espanha | Spain
Keiko Takahashi & Shinji Sasada - Diorama Table - Japão | Japan
LEMUR: League of Electronic Musical Urban Robots & Eric Singer - LEMUR GuitarBot II - Estados Unidos | United States
Luo, He-Lin & Chen, I- Chun - Light Calligraphy - Taiwan (R.O.C.) | Taiwan (R.O.C.)
Markus Decker, Dietmar Offenhuber & Ushi Reiter - From Dust Till Dawn - Áustria | Austria
MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Mediaflow - Alemanha | Germany
Muk - disc.o - Áustria | Austria
Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla - Hi! A real human interface - Espanha | Spain
Myrto Karanika & Jeremy Keenan – Strings - Reino Unido | United Kingdom
Pierre Proske - Frame Seductions - França e Austrália | France and Australia
Rachel Zuanon & Geraldo Lima – BioBodyGame - Brasil | Brazil
Raquel Kogan – Reler - Brasil | Brazil
Ricardo Barreto, Maria Hsu & AMUDI: Núcleo de Arte e Tecnologia da Escola Politécnica de Engenharia da USP: Breno Flesch Franco, Daniel Augusto Azevedo Moori, Erica Usui, Guilherme Wang de Farias Barros, João Flesch Fortes, Leandro Molon e Nadia Sumie Nobre Ota – feelMe - Brasil | Brazil
Ricardo Brazileiro – METROBANG - Brasil | Brazil
Rob Seward - Death Death Death - Estados Unidos | United States
Robert Mathy - Light Frequency Fingertips - Áustria | Austria
Sebastian Schmieg - Roy Block - Alemanha | Germany
SWAMP: Douglas Easterly, Matt Kenyon & Tiago Rorke – Tardigotchi - Nova Zelândia | New Zealand
Yacine Sebti - Jump! - Bélgica e Marrocos | Belgium and Morocco
PERFORMANCE
27/07
Minusbaby (Richard Alexander Caraballo) - Subversive Motives in Chip Music, or The 8bitpeoples' Party - Estados Unidos | United States
Celia Eid, Sébastien Béranger & Amilcar Zani – Dislocations - Brasil | Brazil
28/07
Jaime E Oliver LR - Silent Percussion Project - Peru | Peru
Panetone - Short lived like a butterfly - Brasil | Brazil
29/07
HEARTCHAMBERORCHESTRA - TERMINALBEACH: Erich Berger [Áustria e Finlândia | Austria and Finland] & Peter Votava [Áustria e Alemanha | Austria and Germany]
30/07
MooM: Dino Vicente & Bill Meirelles - Câmara Secreta - Brasil | Brazil
Ricardo Carioba - dáblio (w) - Brasil | Brazil
DOCUMENTA
27/07
Gustavo Godinho & Vladimir Cunha - Brega S/A- Brasil | Brazil
Claudio Mojope - Talk o Meu Coração ZunZunZunTV - Brasil | Brazil
28/07
Andreas Johnsen & Rasmus Poulsen - Man Ooman (Man Woman) - Dinamarca | Denmark
Fenton Bayle & Randy Barbato - Party Monster: The Shockumentary - Estados Unidos | United States
29/07
João Wainer & Roberto T. Oliveira – PIXO - Brasil | Brazil
Otávio Donasci - 30 Anos de Vídeocriaturas - Brasil | Brazil
30/07
Andreas Johnsen - Good Copy Bad Copy - Dinamarca | Denmark
Robert Baca & Joshua Rizzo - Welcome to Macintosh - Estados Unidos | United States
The word Allah
The Semitic language which is spoken in the celestial spheres, is the language in which the angels and God address each other. Adam Safi-Allah spoke the same language in paradise. Adam and eve then came into the world and settled in Arabia. Their children also spoke the same language. Then as a result of the descendants of Adam spreading in the world, this language passed from Arabic, Persian, Latin and into English and God was then known by different names in the different languages. As Adam lived in Arabia, there are many words of the Semitic language which are still found in the Arabic language. God addressed the Prophets, Adam as Adam Safi-Allah, Noah as Nuh Nabi-Allah, Abraham as Ibraheem Khalil-Allah, Moses as Musa Kalim-Allah, Jesus as I’sa Ruh-Allah and Mohammed Rasul-Allah. All these titles, in the Semitic language were written on the Tablet before the arrival of the Prophets. This is why the Prophet Mohammed said: “I was a Prophet even before I came in to this world.”
Many people believe that the word Allah is a name given by Muslims, this is not so.
The Prophet Mohammed’s fathers name was Abd-Allah, at a time when Islam did not exist. Prior to the advent of Islam the Name Allah was announced with the title of every Prophet. When the souls were created, the first Name on their tongue was Allah and when the soul entered the body of Adam, it said, Ya-Allah, and only then it entered the body. Many religions understand this enigma and chant the Name Allah and many others because of doubt are deprived of the Name.
Any name which is used to point towards God is worthy of respect.
In other words, which points towards God. The mystical effect of the Name of God has been diversified due to the different names. Every letter of the alphabet has a separate numeric value. This is also a celestial knowledge. All the numeric values are connected with all of the human race. Occasionally the numeric values do not agree with the astronomical calculations as a result of which people become afflicted. Many people go to astrologers and experts of this knowledge and have charts prepared based on the stars. They name their children on this basis.
Just as the letters (a, b, j, d,) (1, 2, 3, 4) when added have the numerical value of ten. Similarly every name has a separate numeric value. As God has been given so many different names, this has caused a conflict between the numeric value of the different names. If all the people called upon God by the same name, then despite the fact that they would all have separate religions, they would all be united inwardly. They too, like Nanak Sahib and Baba Farid would then say:
“All the souls have been created by the light of God, even though their environment and communities are separate.”
The angels that are assigned tasks in the world are also taught the languages of the people of the world.
It is important for the people of every Prophet that they recite, chant and affirm the Title of their Prophet which was granted by God to the Prophet at his time, for the recognition, spiritual grace and purification of his people. The recital and affirmation should be in the same method and in the language of their Prophet.
The entry of any individual into any religion is subject to the condition that the individual accepts and affirms the Title of the Prophet of that religion. Just as the affirmation and the verbal vows are a condition of any marriage.
Entry into the heavens has been made subject to the acceptance and affirmation of the Titles of the Prophets. In the western world many Muslims and Christians have no knowledge of their Prophet’s Title furthermore many do not even know their Prophets original name (in the original language of the Prophet.)
People who only verbalize the affirmation of their Prophet’s Title rely upon their good deeds. Those that reject and do not affirm their Prophet’s Title are refused entry to paradise. Those individuals in whose hearts the affirmation of their Prophet’s Title has descended (entered) they will enter paradise without any accountability.
The revealed celestial Scriptures, whichever language they are in so long as they are in the original form, are a means to finding God. Where the texts and the translations that have been adulterated, just as adulterated flour is harmful for the stomach, the adulterated books have become harmful and people of the same religion and the same of Prophet have divided into so many sects.
To be sure of the straight and guided path it is better that you are guided by the Light (of God) also.
The method of producing light.
In prehistoric times stones would be rubbed together to make fire. Whereas a spark can also be produced by rubbing two metals together. In a similar way electricity is made from water. Similarly by the friction of the blood inside the human body, in other words electric energy is produced by the vibrating heartbeat. In every human being there is present, approximately one and a half volts of electricity due to which the body is energetic. As the heartbeat slows in old age, this reduces the electricity in the body and this in turn also causes a reduction of the energy level in the body.
Firstly, the heartbeat has to be made vibrant and pronounced. Some do this by dancing, some by sports and exercise and some people try to do this by meditating and chanting the Name of God Allah.
When the heartbeat becomes vibrant and pronounced then by chanting the Name Allah try to synchronize it with every heartbeat. Alternatively try to synchronize Allah with one heartbeat and Hu with the other. Some time by placing your hand on the heart and when you feel your heartbeat, again try to synchronize the Name Allah by chanting it with the rythm of the heartbeat and imagine that the Name Allah is entering the heart.
The chanting of Allah Hu is better and more effective but if anyone has an objection, or a fear of chanting Hu, then instead of being deprived one should solely use the Name Allah, repetitively in the chanting. It is beneficial for people who chant and practice this discipline and who read mantras to physically remain as clean as possible as the:
“disrespectful are unfulfilled and the respectful are fulfilled.”
The first method for producing light.
Write Allah on a paper in black ink, and do this exercise for as long as you wish on a daily basis. Soon thereafter, the Word Allah will be transported from the paper and hover over the eyes. Then with one-pointed concentration, attempt to transport the word from the eyes to the heart.
The second method for producing light.
Write Allah on a zero watt bulb, in yellow. Whilst you are awake or just before sleep, concentrate and try to absorb it into the eyes. When it appears on the eyes then try to transport it to the heart.
The third method for producing light.
This method is for those people who have perfect spiritual guides and teachers and who due to their spiritual connection are spiritually assisted by them.
Sit alone and imagine that your index finger is a pen. Using your finger and with your concentration, attempt to write Allah on your heart. Call upon your spiritual teacher (spiritually), so that he too may, hold your finger, and write Allah on your heart. Continue to do this exercise everyday, until you see Allah written on your heart.
By the first and second method, the Name Allah becomes inscribed on the heart, just as it was written and seen by you but when it becomes synchronized with the heartbeat, then it slowly starts to shine. In the synchronized method, the assistance of the spiritual teacher is provided and for this reason it is seen shining and well written on the heart right from the beginning.
Many Prophets and Saints have come into the world, and just for the sake of testing this, if you feel it appropriate, concentrate or call upon all of them when you are practicing your meditation.
Whilst concentrating on any Prophet or Saint, during your meditating practice, if the rhythm of your heartbeat increases, in its vibration or you feel an improvement then this means that your destiny (spiritual fruits) lies with that Prophet or Saint.
Thereafter it is beneficial to concentrate on that same person whenever you practice your meditation as spiritual grace is transferred in this way, because every Saint is spiritually connected to a Prophet, even if that Prophet is not physically living.
The spiritual fruit (grace) of every illuminated person is in the hands of one Saint or another. It is essential that the Saint is living. Sometimes a very fortunate person is gifted with celestial spiritual grace by a perfect Saint who is not living, but this is very rare. However Saints not living in our human realm can provide worldly spiritual grace and assistance to people from their tombs. This is known as Owaisi spiritual grace.
The recipients of such spiritual grace often get entangled in their spiritual insights, visions and dreams because the spiritual guide providing the assistance is in the spiritual realm and so too is Satan and the recognition of the two becomes difficult.
Along with the spiritual grace it is important to have knowledge, for which a living Saint is more appropriate. If a person (Saint) possesses spiritual grace but is without knowledge, that person is known as a Majzoob (Godly but abstracted due to the complete absorption into the Essence of God and who is not in full control of his faculties).
A person (Saint) having spiritual grace and knowledge is known as a Mehboob (literally, loved one). Such people (Saints) as a result of their knowledge provide worldly spiritual assistance as well as spiritual grace and benefit. Whereas the Majzoobs are known to provide worldly spiritual assistance to people by their unusual but accepted practices of shouting obscenities and poking people with their wooden sticks.
If any (Prophet or Saint) appears but does not help or assist you then put Gohar Shahi to the test.
You may belong to any religion, there is no condition in this respect as long as the individual is not eternally ill-fated.
Many people have received the spiritual grace of Qalb meditation from the Moon. This is obtained when there is a full Moon from the East. Look at it with concentration and when you see the image of Gohar Shahi on it say Allah, Allah, Allah three times and you will be blessed with this spiritual grace. Thereafter without any fear or reservation practice the meditation as described.
Believe (the fact) that the image on the Moon has spoken to many people in many different languages. You can try looking and speaking to it also.
About Muraqba
(transcendental meditation)
(Literally. journey. Meditation in which the soul leaves the human body)
Many people without having acquired the illumination of the spiritual entities (‘Lata’if/Shaktian’) and without attaining spiritual strength and prowess try to engage in this meditation. They either fail to reach the meditative state or become the subject of Satanic interference. This type of meditation is for illuminated people, whose spiritual entity of the self has been purified and the Qalb has been cleansed. The practice or attempt at this type of meditation is foolish no matter what type of physical worship is used to achieve this. To collect and gather the strength of the soul and the spiritual entities and then to travel to a place is what is known as meditation.
Sainthood is the one fourtieth part of Prophecy.
Every dream, meditative journey, inspiration or revelation of a Prophet is accurate and authentic and does not need verification. Only fourty out of a hundred dreams, meditative journeys, inspirations and revelations of Saints are accurate the remaining sixty percent are inaccurate.
God cannot be understood without knowledge
The lowest type of meditative journey is started only after the illumination and awakening of the spiritual entity of the Qalb. This is impossible without first achieving the meditation of the Qalb (meditation with the vibrating heartbeat synchronized with the Name Allah). It takes one jerk or shake to bring the person out of this meditative state and back to consciousness. The faculty of the augury (foretelling the future by reading verses or looking into designated books) is also connected to the Qalb.
The next stage is the meditative journey of the soul. It takes three jerks or shakes to return a person back to normality from this meditative state.
The third stage of the meditative journey is done by the spiritual entity, Anna and the soul together. The soul travels along with the spiritual entity Anna, to the realm of souls just as the Archangel Gabriel accompanied the Prophet Mohammed to the realm of souls.
People who are in this meditative state are sometimes even taken to be buried in their graves and they are unaware of this happening to them. Such a meditative state and journey was taken by the “Companions of the Cave” as a result of which they remained asleep in the cave for more than three hundred years.
When this meditative state and journey was undertaken by the Sheikh, Abdul-Qadir al-Jilani, in the jungle, the occupants of the jungle would regard the Sheikh as dead and would take him to a grave for burial but the meditative journey would break just before the burial (the Sheikh would return to consciousness).
How to recognize a special inspiration and revelation from God.
When a person has awakened and illuminated the spiritual entities in the chest and is worthy of receiving the rays of the Grace of God, then at that point God communicates with that person. God is All-Powerful and can do as he pleases and thus communicate with the human being in any way fit, but he has made a special method for his recognition so that his friends can be saved from the deception of Satan.
Firstly, text in the Semitic language appears on the seekers heart and its translation is seen in the language of the seekers mother-tongue. The text is white and shiny and the eyes close automatically and look at the text (internally). The text then passes the Qalb and moves towards the spiritual entity Sirri as a result of which it shines even more. Then the text moves towards the spiritual entity, Akhfa and from here it shines more and then moves onto the tongue. The voice then spontaneously starts to repeat that text.
If this inspiration is from Satan then an illuminated heart will dull the text and if the text is strong and prominent then the spiritual entities Sirri or Akhfa destroy that text. Further if due to the weakness of the spiritual entities the text does arrive at the tongue, then the voice will prevent it from being spoken into words.
This type of inspiration is for special types of Saints, whereas in respect of ordinary Saints, God sends messages to them through the angels or other spiritual entities. When the Archangel Gabriel accompanies the special and inspired text, this is known as revelation which is confined to the Prophets.
For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags
Text taken from the official English language version of the Ferrari website:
www.ferrari.com/english/gt_sport%20cars/classiche/all_mod...
Design and styling:
When designing the Ferrari California, Pininfarina opted for a classic, sculpted chassis, with a long bonnet and the passenger area slightly weighted towards the rear. The side of the car features a strong, dynamic, raked line. The line lifts at the height of the door handle to trace the outline of the typical Ferrari rear bumper. The air intake in the front bumper is enhanced by a traditional grille. The slender air intake vent on the bonnet and the side air vents both echo distinctive features of the 1957 Ferrari California 250.
Exterior style:
The Ferrari California is ideal for those looking for a highly exclusive sports car, that consider driving enjoyment a value to pursue on every occasion: a weekend out of town, a long journey, shopping in the city, or simply getting to the office. The rear baggage space has a capacity which is unique for a convertible of this type. The boot, for the first time, connects directly to the rear bench or seats via the folding seat-back. When folded down, the hard-top takes up only 100 of the 340 litres in the luggage compartment, thus saving plenty of storage capacity. A wide opening of the luggage compartment level with the bottom simplifies the various operations. The large amount of space available allows two large and two small suitcases to be accommodated or, with the seat back folded down, two golf bags, skis, or snowboards.
Ferrari once again turned to its historical partner Pininfarina for the design of the California. The result was muscular, flowing, sculpted lines where considerable attention was paid to ensuring perfect proportions and harmoniously balanced volumes with the roof up or down.
Work on defining the styling was undertaken in close collaboration with Ferrari's own in-house Styling Centre, and great emphasis was placed on characterizing the design and function of every individual detail to confer an immediate and lasting sense of quality and bespoke craftsmanship.
The sides are characterised by a strong dynamic line rising to the level of the door handle, to create a powerful and muscular outline of the rear wheel arch, in line with the car's character. The waist is high, while convex and concave surfaces follow each other with pleasing fluidity. The nose, which takes up the characteristics of the side and rear lines, has the teardrop lighting cluster and the slatted radiator grill typical of Ferrari. The slender air intake vent on the bonnet and the side air vents both echo distinctive features of the 1957 Ferrari California 250.
The Model:
This Lego miniland-scale model has been created for Flickr LUGNuts 76th build Challenge, - "Viva Italia", - celebrating all things automotive and Italian.
An old lady reads holi book written in Pali language in Boghgaya, India.
Please visit and 'Like' - Facebook - Jonak Photography
© All rights reserved Jonak 2012
Email at jonak.photography@gmail.com if you want to use this photo.
The Italian language is fascinating. Even mundane things sound better in Italian, such as this car's name, simply called 'four door'. You couldn't do that in English. Or German (Vier Türen). Maybe in Spanish (Cuatro Puertas).
Regardless, pictured here is the fourth generation of the Fourdoor, introduced in 1994 but actually based on the Biturbo that first saw light in the early 1980s. About 2.400 copies were built until 2001, with six- or eight-cylinder engines producing between 284 and 326 PS depending on the version.
This generation was attractively styled if a bit restrained for Italian standards. This particular car appears to be in good condition, finished in an attractive blue (or is that grey?).
Work from the 'Language of the Future' project I did back in Uni. For my project I looked at three types of communication - between people (ie languages), between circuits and electronics, and biological between cells etc. I think this was my favourite project I did in my whole time there.
Stitched drawing on wool blanket fabric using heat transfer print, fabric scraps, free-machine stitching, hand stitching and beads. It really is fluorescent!!
Year 2 "Language of the Future" project, 2006
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The map of modern dialects of Basque language
Western (Biscayan)
Central (Gipuzkoan)
Upper Navarrese
Lower Navarrese–Lapurdian
Souletin (Zuberoan)
other Basque areas ca 1850 (Bonaparte)
www.eyeqido.com/2015/10/14/the-modern-dialects-of-basque-...
Programming language share of sell through, per Neilsen Bookscan, from January 2003 through mid-June 2005.
Minna Sundberg’s illustration maps the relationships between Indo-European and Uralic languages. The creator of the webcomic Stand Still. Stay Silent, put the illustration together to show why some of the characters in her comic were able to understand each other despite speaking different languages. She wanted to show how closely related Swedish, Danish, Norwegian, Icelandic were to each other, and how Finnish came from distinct linguistic roots.
You can read the comic here: sssscomic.com/index.php?id=home
There’s more to language learning than picking up dates in a foreign country. We investigated some of the craziest methods of adult language education out there.
greatist.com/happiness/adult-learn-foreign-languages/
Photo by Jess Ivy
Collective 52 Photo Project "2016"
Week 25 - Sign Language
A photo from the archives,
'Ferme de Sainte-Colombe'
old sign on the wall of an abandoned farmhouse ...
The Venetian Ghetto was the area of Venice in which Jews were compelled to live under the Venetian Republic. It is from its name in Italian ("ghetto"), that the English word "ghetto" is derived: in the Venetian language it was named "ghèto". The Venetian Ghetto (incidentally, the first Ghetto) was instituted in 1516, though political restrictions on Jewish rights and residences existed before that date.
Though it was home to a large number of Jews, the population living in the Venetian Ghetto never assimilated to form a distinct, "Venetian Jewish" ethnicity. Four of the five synagogues were clearly divided according to ethnic identity: separate synagogues existed for the German (the Scuola Grande Tedesca), Italian (the Scuola Italiana), Spanish and Portuguese (the Scuola Spagnola), and Levantine Sephardi communities (The Scola Levantina). The fifth, the Scuola Canton, is believed to have been either French, or a private synagogue for the families who funded its construction. Today, there are also populations of Ashkenazic Jews in Venice, mainly Lubavitchers who operate one of two kosher foodstores, a yeshiva, and the aforementioned Chabad synagogue.
In September 1938, the promulgation of the fascist racial laws deprived the Jews of civil rights, and the Jewish community entered a difficult period under the leadership first of Aldo Finzi and subsequently (from June 1940 onwards) of Professor Giuseppe Jona.
In September 1943, Italy changed from being an ally of Nazi Germany into an occupied country, and the Nazis started a systematic hunt for Jews in Venice as in other Italian cities. On 17 September, Professor Jona committed suicide rather than hand over to the German authorities a list of Jewish community residents.
In November 1943, Jews were declared 'enemy aliens' in accordance with the manifesto of the Italian Social Republic, to be arrested and their property seized. Although some Jews managed to escape to neutral Switzerland or Allied-occupied southern Italy, over two hundred were rounded up, most between 5 December 1943 (when approximately 150 were arrested) and late summer 1944. They were held at the city's Marco Foscarini college, the women's prison on Giudecca, the prison at Santa Maria Maggiore and subsequently at Fossoli concentration camp, before being deported, in most cases, to Auschwitz-Birkenau in 1944. Those arrested later in 1944 included some 20 residents of a Jewish convalescence home, the Casa di Ricovero Israelitica (including Venice's Chief Rabbi, Adolfo Ottolenghi, who chose to follow the fate of his fellow deportees) and 29 from a Jewish hospital. Most of those arrested in the summer of 1944 spent time incarcerated at Risiera di San Sabba concentration camp, Trieste. Although a figure of two hundred and five Jewish deportees from Venice between November 1943 and August 1944 is often quoted, one source give the higher figure of 246, which includes those deported to Trieste, some of whom died there, and a smaller number of arrests after this point up until the end of the war. Only 8 Jewish residents of Venice emerged from the death camps. The 1938 Jewish population of Venice (2000) was reduced by the war's end to 1500, or in some sources 1050.
What was Europe's first ghetto is now a lively and popular district of the city where the religious and administrative institutions of the Jewish Community and its five synagogues still persist.
Today, the Ghetto is still a center of Jewish life in the city. The Jewish Community of Venice, that counts 500 people, is of such cultural vitality that it is often a centre for the cultural life of the entire city.
Vancouver, officially the City of Vancouver, is a coastal seaport city on the mainland of British Columbia, Canada, and the most populous city in the province. The 2011 census recorded 603,502 people in the city, making it the eighth largest Canadian municipality. The Greater Vancouver area of around 2.4 million inhabitants is the third most populous metropolitan area in the country. Vancouver is one of the most ethnically and linguistically diverse cities in Canada; 52% of its residents have a first language other than English. Vancouver is classed as a Beta global city. The City of Vancouver encompasses a land area of about 114 square km, giving it a population density of about 5,249 people per square km (13,590 per square mi). Vancouver is the most densely populated Canadian municipality with over 250,000 residents, and the fourth most densely populated such city in North America behind New York City, San Francisco, and Mexico City. The original settlement, named Gastown, grew up on clearcuts on the west edge of the Hastings Mill logging sawmill's property, where a makeshift tavern had been set up on a plank between two stumps and the proprietor, Gassy Jack, persuaded the curious millworkers to build him a tavern, on 1 July 1867. From that first enterprise, other stores and some hotels quickly appeared along the waterfront to the west. Gastown became formally laid out as a registered townsite dubbed Granville, B.I. ("B.I" standing for "Burrard Inlet"). As part of the land and political deal whereby the area of the townsite was made the railhead of the CPR, it was renamed "Vancouver" and incorporated shortly thereafter as a city, in 1886. By 1887, the transcontinental railway was extended to the city to take advantage of its large natural seaport, which soon became a vital link in a trade route between the Orient, Eastern Canada, and Europe. As of 2014, Port Metro Vancouver is the third largest port by tonnage in the Americas (displacing New York), 27th in the world, the busiest and largest in Canada, and the most diversified port in North America. While forestry remains its largest industry, Vancouver is well known as an urban centre surrounded by nature, making tourism its second-largest industry. Major film production studios in Vancouver and Burnaby have turned Greater Vancouver and nearby areas into one of the largest film production centres in North America, earning it the film industry nickname, Hollywood North. [source: en.wikipedia.org/wiki/Vancouver]
Translating Genesis 11: 1-9 is a common translation exercise used by conlangers to “test drive” their conlangs. This is known as the “Babel Text” since it recounts the story of the Tower of Babel and the creation of the world’s numerous languages, an appropriate text for conlangers. The concept of using these verses for comparisons across conlangs was initiated by Jeffrey Henning, creator of the Langmaker web site (http://www.langmaker.com) and one of the pivotal figures in modern conlanging. For detailed information on any one translation, you are encouraged to take a look at the accompanying source web site. And now, for a sampling of Babel Texts...
9.B. Text:
For comparison, here is the Babel Text in English from the New International Version:
1.Now the whole world had one language and a common speech.
2.As men moved eastward, they found a plain in Shinar and settled there.
3.They said to each other, "Come, let's make bricks and bake them thoroughly." They used brick instead of stone, and tar for mortar.
4.Then they said, "Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves and not be scattered over the face of the whole earth."
5.But the LORD came down to see the city and the tower that the men were building.
6.The LORD said, "If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them.
7.Come, let us go down and confuse their language so they will not understand each other."
8.So the LORD scattered them from there over all the earth, and they stopped building the city.
9.That is why it was called Babel -- because there the LORD confused the language of the whole world. From there the LORD scattered them over the face of the whole earth.
9.C. Text:
The Babel Text in Sen:esepera
In honor of Jeffrey Henning, we begin with one of his personal creations: his attempt at reforming Esperanto.
1.O tutan tera eseti codo unin lingifa, o codo unin parola.
2.O tina ocasi, caim:tempo hu foiagi delo orienta, demo hu terofi pelatan loca eno loca codo Sinara [Shinar]; o hu domi dem:loca.
3.O hu paroli unin alo omin:una, "Feni, imu posete cusi berica, o pele beruli hu." O hu hafi berica contero setona, o cota hafi hu contero unigi berica.
4.O hu paroli, "Feni, imu posete conseteri imu ureba, o tura, caim:unon supera ebele atingi alo paradisa; o imu posete cusi imu enoma, ro imu ebele pere:emeti foran supero:eno fisaga codo tutan tera."
5.O Dia feni im:supere o fidi ureba o tura, caimo dimin:homa codo homa conseteri.
6.O Dia paroli, "Fidi, homa eseti unin, o hu hafi tutan unin lingifa; o tino hu comenci o fari: o ene hu ebele inhibici delo an:obica, caimo hu ebele emagi o fari.
7.Feni, imu posete iri im:supere, o dem:loca sangi hun lingifa, demo hu im:ebele compereni unin omin:unan parola."
8.Dia posete pere:emeti hu foron pano fisaga codo tutan tera: o hu cesige conseteri ureba.
9.Hun enoma eseti Babela [Babel]; cuso Dia dem:loca sangi lingifa codo tutan tera: o delo dem:loca Dia pere:emeti hu foran supero:eno fisaga codo tutan tera.
Translated by Jeffrey Henning
(http://www.langmaker.com/babel/senesper.htm)
9.D. Text:
The Babel Text in Lojban
Lojban began development in 1987 by the Logical Language Group. Derived from the much older Loglan, it is specifically designed to be culturally neutral, logic-based, grammatically unambiguous, and easily learned. More information can be found at www.lojban.org.
1..i piro le munje cu se bangu pada gi'e selkau le ka tavla fo makau
2..i ca le nu litru fa'a le stuna kei lei remna cu penmi lo foldi la cinar .i co'a xabju fy
3..i ry simsku lu .e'u mi'o loi kitybli cu zbasu gi'e mo'u seltokygau li'u .i ry pilno loi kitybli pe seba'i loi rokci .i loi tarla peseba'i loi rokpu'o
4..i ry cusku lu .e'u mi'o zmadu lo tcadu .e lo galdi'u poi le cpana be ke'a cu lamji le tsani .ija'ebo mi'o misno gi'enai pulce fi le terdi sefta li'u
5..i ku'i le nolcei cu dzikla tezu'e le nu catlu le tcadu .e le galdi'u poi lei remna ke'a ca'o zmadu
6..i le nolcei cu cusku lu za'a lei remna noi se bangu pa da cu ba'oco'a zmadu ti .ija'o no selpla ba nalselka'e ry
7..i .ai mi dzikla gi'e fi'urgau le bangu ry ja'e le nu na simjmi li'u
8..i le nolcei fairgau ry piro le terdi .i ry de'a zmadu le tcadu
9..i ki'u la'e di'u ty se cmene zo babel .i ki'u le nu bu'u ty le nolcei pu fi'urgau le bangu be le munje .i fe'eco'a ty le nolcei fairgau ry le pirosi'e terdi sefta
(http://www.omniglot.com/babel/lojban.htm)
9.E. Text:
The Babel Text in Elasin
Elasin, created as the language of a fictional race of beings, was intended to give the flavor of a cross between Zulu and Finnish.
1.Huana! Yevopa (Yeneva votelor pali) fathieneth avute vesotham dofa li mabienen sotheram thoshi.
2.Uitukieneth vuanana maku'ii hadarova mi'iamem Shinaroth li panamiene parshoth ka.
3.Vasieneth. Ti Fana. Sathitudison mosuanoram li kathitudison pivani ti. Sathitiene avu mosuanorsa hau kivashersa le'i ratemsa hau molesa le'i.
4.Vasieneth. Ti Fana. Sathitudisoth maram hapamef ludanu'ii kalathem shasta sathitudisoth manalam ebas ko. Hau kanitudiso lafonesa le ti.
5.Palakieta somara uhanin panamesh. Fanieta shasta faruthuditu tashemun avu marami hapamemi ko.
6.Vasieta takaleba. Ti Shemath. Iene vuanana dofa li mabuaneth vesotham dofa. Uatu sathitu ka uamuineth nekuare shipa dofani. Faruthudito shado avunash aben.
7.Fana. Shibaludisoth nivesotham ko hau wevakudinen le ko ti.
8.Kanitietan somara uhanin li sathitievinen avu nimarami nihapamemi.
9.Mabietoth mar manalam Shibalu'in kashko shibalietan parshoth ka somara uhanin vesotharam uhanin ko.
Translated by Don Boozer
(http://www.geocities.com/donaldboozer/elasin_trans.html)
9.F.1. Image: zhyler_babel.jpg
9.F.2. Text:
The Babel Text in Zhyler
“Zhyler is an SOV language with fifty-seven noun cases (in honor of the ketchup co.), all suffixing, and a robust vowel harmony system. In addition, there are seventeen noun classes, à la Swahili, which do much of the derivational footwork.” ~ David J. Peterson
(transliteration)
1.al erwi ymM ergajajan las MlDaja.
2.kedemiT dZarm2sleraz, urDar MlDaz Sinaraja Dejler, ras vMnase eZZanlar.
3.kaja n2nzerler, "zin! rymSuj kenlymeje, ame dZimMSSMja." ame rymSuj tSurjujkMjat mekler, ame kenelwi solwMxMja mekler.
4.ame n2nlerkaja, "zin! majaS tajdZar, enedwizM dZ2f deJdZeje ulbolarnam valzamaja, ras l2Za majaS ZenDer levzemeje, volanaz meJjaf ketSlerjes noGenzerneswimej."
5.ame ziliryf meSkajaja valdZajalara tajdZa, ulbolnamuf mataljatSot valar.
6.ame n2nler, "mat! al MlDa, je al erwi laskaS bel, ame ledZer edZZaNkaja. je manarDawMxMja r2zDe kajas Zarreznezze.
7.zin! tSot zixM erwixMf SirkMjar matkMNwMriz, vazamaja, ame erwixMjMr vMnase ugdazamaj.
8.ame meJjaf ketSlerjes vMnaseT noGenzerkajalar, ras kaja tajdZar valzMklar.
9.ras "babelet" Zennesler, tSot meJjaf erwijes vMnase ugdalar, ame meJjaf ketSlerjes vMnaseT noGenzerkajalar.
Translated by David J. Peterson
(http://dedalvs.free.fr/zhyler/babel.html)
9.G. Text:
The Babel Text in Alurhsa
Alurhsa is the creation of Anthony Harris of Vermont and is only a small part of his imaginary world. For much more on the language and culture of Aluria, visit Anthony's site at alurhsa.org.
1.Ná, ttòsnë zh'óñen ñeveláynû dwi sùlën hályen, ddá vìgeláynû dwi sùlë ¿óv ñevóznáyëná.
2.Ddá vëzhelû, shthálázályën ghel máçisáç, dyárán ghílâ ddeksánthán tye tirá Shínár, ddá geveláynun vá.
3.Ddá dívelùnyun áyáshénÿ, ráyv, ersháyá vóçón, ddá túgròsháyá dyárán. Ddá vóçón kúweláynun kólf senéfón ddá móllán kólf jóttem.
4.Ddá dívelun, ká, vreleksáyá íthlánán vùn tárháyá, teyá beren yáqánô Kálrÿíszán, ddá ersháyá kìvá ólvínÿ fárshán eleván, spé ághálsárrenelyá ás ttòsnënÿ zh'óñenyánÿ.
5.Ddá qíëdelû Áxván pólef sperrâ zh'íthlánán vùn zhë tárháyá ten vrelekseláyná káyár bóyená.
6.Ddá dívelû Áxván, ráyv, lhôñ dwensá zhë ¿áms ddá xónyá dwi sùlën hályen, ddá úmázhën fakályónyá. Kólfe ñeyësán dyáráç feñené ten ïnáqánónyá kályâ.
7.Ká, ándzáláyá ddá vezénáyá dyárs-hályen pólef el ñe vùzùnùnyá ñevësán áyáshéyá.
8.Eref dyárán ághálsárrelô Áxván ghel váç ás ttòsnënÿ zh'óñenyánÿ, ddá lepelun vreleksâ zh'íthlánán.
9.Ddá eref zhë shthevá sódlô Bábel, kálÿ vá vezénelû Áxván hályen ttòsná zh'óñenyá, ddá ghel váç ághálsárrelû Áxván dyárán ás ttòsnënÿ zh'óñenyánÿ.
Translated by Anthony Harris
(http://alurhsa.org/)
9.H. Text:
The Babel Text in Kimva
Kimva was part of the ConlangEvolutionExperiment (http://talideon.com/concultures/wiki/?doc=ConlangEvolutionExperiment).
1.shes gu mitp fok yi kimva ka fi loffaloffa.
2.shes liyley gÿif fontshixka, nashumva i mitsa, kalepfing kasinrasing, ka napische.
3.liyley fish, kalinzrak, gÿidachighng pekxutpekxut ka tugngoxorzeko gÿidapevma. nafok pekxutpekxut, ka natugngona ngu ngindu, ka mwech, ka natugngofa ngu lunggo.
4.nafish, gÿidafing i kex kayifok, ka i xaxsulofsa kafafok sich kakusxasing, ka gÿidachighng ngu kagÿifok, ka xiy ufefpagÿi gu kamitpfing.
5.ka YEF kom fombmogÿika fingghiche ka fesombi kex ka xaxsulofsa, liyley fingna.
6.ka YEF fish, desombi, na-s yi pum, ka gu nafok yi kimva, ngong xiÿghey nasek, yu vakepchina, ka nafuvmviy, nahumikxekxa.
7.kom fombmogÿika ayidafinghiche ka ayidapoy kimva kenofak, kumash nahumwitpu vaf kalimvok.
8.va-s muy YEF fepfeno kamitpfing gu, ka nachimving kex.
9.vaxkup kefofak nga si pabwu, kumash kangugÿising YEF poy kimva kenofak, ka YEF fepfeno fombjika gu kamitpfing.
Translated by Alex Fink
(http://talideon.com/concultures/wiki/?doc=kimva)
[ADDENDUM: From an email from Alex Fink to Don Boozer on the misattribution of this Babel Text: "I've spotted a misattribution, in the case of Babel texts. Kimva is not in fact my creation, but that of Pete Bleackley. I presume the misattribution came about because of the "Descendents" listing on talideon.com/concultures/wiki/?doc=kimva attributing the daughter language kimwa lilyeho to me; the attribution proper to kimva itself is the line saying "PeteBleackley" below that." Please check out the web source for this Babel Text for further information - DB]
9.I. Text:
The Babel Text in Itlani
Itlani is the creation of James E. Hopkins who speaks and writes the language fluently. James holds a B.A. in French and a Master's degree in Philosophy and has a wide range of interests including writing, dancing, poetry, and linguistics. His recently self-published book, Eden's Day, includes poetry in English and Itlani.
1.Shukhrám tá kúlit untár mú sholóva véy mú eypotóva lafiyáva.
2.Véy brinkiyáva ú mashrá tá pirénay dzevyáven, brenduóva díni tá skáan Shinár zhanyáven, véy izá paleyáven.
3.Véy marruvyáven, "Kadimyátay, shevedzovó korunyáti véy vutóva iküirunchyáti." Véy tá shevedzovó résh chendjeynúey lafiyáven véy tá khalmasóva résh indisíey lafiyáven.
4.Véy ruvyáren, "Kadimyátay, mogése shatardjaóva sitagyáti, véy kitsanóva, tá móyto kiína díni tá fridádjan onyázha: komshayóva mogése vataranyáti reshú véyla tá vísan tá kúlit untára rá-kreyifyáti.
5.Rúzay Uramún stinatyávad reshú tá shatardjaóva véy tá kitsanóva shunyátad, kiinovó tá peshsuú sitagávit onyáven.
6.Véy Uramún ruvyávad, "Tá ebón mú onyára khaá véy shéy vút mú sholóva lafiyáren, véy iíd onyára idá kiinóva korúnya mabugyáren; tsórni rahá kiinóva harvolyázhen vútay inutebyízha."
7.Kadimyátay, stinatyáti véy izá vútit sholóva ubikeyyáti, reshú tá eypotóva mutatamág dayáten rá.
8.Chalí, Uramún vutóva izáay véyla tá vísan tá kúlit untára kreyafyávad, véy tá shatardjaóva sitágya spranichyáven.
9.Idakín Babél mishtaratyíra, vár izá Uramún tá sholóva tá kúlit untára ubikeyyávad; véy izáay Uramún vutóva véyla tá vísan tá untára kreyafyávad.
Translated by James E. Hopkins
(http://www.langmaker.com/db/Itlani_Babel_Text)
9.J. Text
The Babel Text in Interlingua
Interlingua is an international auxiliary language (like Esperanto) that began development in 1924 by the International Auxiliary Language Association (IALA) and was published in 1951. Alice Vanderbilt Morris was the primary founder and funder of the project which was headed by Alexander Gode and William E. Collinson. Interlingua was sometimes referred to as “Standard Average European” by Dr. Gode.
1.Nunc le tote mundo habeva un lingua e un parola comun.
2.Como homines moveva se al est, illes trovava un plana in Shinar e establiva se illac.
3.Illes deciva a le un, "Veni, lassa nos facer briccas e cocer los minutosemente." Illes usava bricca in vice de petra, e catran pro mortero.
4.Tun illes deciva, "Veni, lassa nos construer nos un citate, con un turre que arriva a le celoes, a fin que nos pote facer un nomine pro nos e non esser dispersate trans le facie del tote mundo."
5.Ma le Senior veniva a basso vidar le citate e le turre que le homines construeva.
6.Le Senior deciva, "Si como un gente que parla le mesme lingua illes ha comenciate facer isto, tun nil que illes plana facer essera impossibile pro illes.
7.Veni, lassa nos descender e confunde lor lingua dunque illes non comprendera a le un."
8.Assi le Senior dispersava les de illac trans tote le mundo, e illes cessava construente le citate.
9.Que es proque il esseva appellate Babel -- proque illac le Senior confundeva le lingua del tote mundo. De illac le Senior dispersava les trans le facie del tote mundo.
Submitted to Langmaker by Dan Dawes
(http://www.langmaker.com/babel/interlingua.htm)
9.K. Text
The Babel Text in Talossan
Talossan was created by R. Ben Madison to be the official language of his micronation Talossa (which is entirely surrounded by the city of Milwaukee, WI). Madison has said “The Talossan language was created not as an amorphous conlang project for the world. It is not Esperanto. It was created for one purpose and one purpose only: to give a linguistic identity to the Kingdom of Talossa." For more information on Talossa and its language and culture, check out the official site at www.kingdomoftalossa.net.
1.És toct i tzarâ tigñhova viens glheþ és 'n parlançeu común.
2.Quând që os voiatxevent da l'est, os trovevent 'n azaçhár în Shinar, és os loc þavitevent.
3.Si zireva à sieu amíc, "Vetz! Láßetz që noi ládariçadrent ládarâs és lor baqadrent cumplätsmînt." És las ládarâs füvent els cräpsilor për lor, és la cretâ füt la muôltâ për lor.
4.És os zirevent, "Vetz! Láßetz që noi fraicadrent për üns 'n cità és 'n turmeu cün ça moláirâ în el çéu, és láßetz që noi façadrent 'n nôminâ për noi, da cráintschâ që noi estadrent spaperseschti sür la façâ da toct la tzarâ."
5.És Iáhave descendeva për vidarë la cità és el turmeu që els vürs tigñhovent fraichescù.
6.És Iáhave zireva, "Eiceâ, véiçi viens naziun, qi tent viens glhetg, és os en tienent auspicat. Nun niþil serà catxantat da lhor që os cunceptarhent à façarë.
7.Vetz! Láßetz që noi descendradent és loc cunfundadrent lor glhetg, svo að si non auscultarha el glhetg da sieu amic."
8.Aglhôrc Iáhave lor spaperseva dalà sür la façâ da toct la tzarâ, és os ceßevent à fraicar la cità.
9.Për aceastâ raziun a isch nominadâ Babel, cáir Iáhave loc cunfundeva el glhetg da toct la tzarâ, és c'è dalà që Iáhave lor spaperseva sür la façâ da toct la tzarâ.
Translated by C.M. Siervicül
(http://www.langmaker.com/db/Talossan_Babel_Text)
9.L. Text:
The Babel Text in Tepa
Tepa, created by Dirk Elzinga, is an attempt at "constructing" a plausible, vanished Native American language. Traces of the Tepa, Dirk says, vanished with the creation of Lake Powell.
1.huisi leqa sukuuqu, huisi tepa.
2.hukahekahee metapu sinaa kenipa eaqa kitile. hukate yu.
3.huyakkee, hawananpaqana.
4.huhawaqakkassa hanima etiqe ukaiqu kupine. huwaweletii pewalilkatta metasewe.
5.husahu qamana epite hanimaa akasa tukua.
6.huyakee qamana, hasua! isi tukua huisi leqa nequ. huqanani humuqappulpa eqana eamine.
7.wasahu huhawanulu leqane numuhuyu eteppa.
8.hulika metasewe tukua qamana huapupa ekasa hanimaa.
9.huten papele, anulu yu leqa tukua qamana elika yule metasewe.
Translated by Dirk Elzinga
(http://www.langmaker.com/featured/tepababel.htm)
9.M. Text:
The Babel Text in Konya
Konya is an international auxiliary language created by Larry Sulky designed to be easily learned.
1.posen-wi xoxe yo, telaxi tote tenu sile tokun-moti mune.
2.lawa, suki xoxe xon-ken-yu faisi ye tufu xon-xemapi lun-yo Xinarya ye kepu son-wi.
3.lawa, kusi toku tun-yo failen-sefi kayu "min-min-wi tepu fetu ketaten-peti ye sexen-kusu fine xon-wi" wo. lawa, kusi lilu lone ketaten-peti lono peti ye tauli lono petin-tauli.
4.lawa, kusi toku kayu "min-min-wi tepu fetu xiti wa ten-yo kaipasi, yo lelen-toxu saili wo, leso min-min-wi tepu lan-kenu suki tote ye tepu lan-pefu nin-ye tun-yo telaxi tote" wo.
5.naye, Sailin-punin-ya xain-yu saili leso sinu xiti ye kaipasa, yo suki fetu son-wi.
6.lawa, Sailin-punin-ya toku kayu "suki tote wa sukin-seti, yo toku lilo tokun-moti mune wo, taye kusi kaimu fuxu fetun-wi tise, ye taye fetun-wi tole, yo kusi sepu wo, pan-male wa nolo kusi" wo.
7.kayu min-wi sepu ken-yu telaxi ye pan-fun-pimen-yu tokun-moti yu kusi leso kusi pimen-lolu nin-ye failen-sefi wo.
8.taye Sailin-punin-ya pefu kusi xain-yo lun-tisen-wi tun-yo tote yu telaxi ye kusi kailu fetu xiti.
9.taye noli nemu xiti tuso Bebalya xemo Sailin-punin-ya pan-fun-pimen-yu lun-yo lun-tisen-wi tokun-moti yu telaxi tote. lawa, Sailin-punin-ya pefu kusi xain-yo lun-tisen-wi tun-yo telaxi tote.
Translated by Larry Sulky
(http://ca.geocities.com/handydad/konya/konya-babel.html)
9.N. Text:
Babel Text in Kēlen
Kēlen is the language of the Kēleni, inhabitants of Sylvia Sotomayor's conworld Tērjemar. The language is an attempt at constructing a language with no verbs, thus violating one of Greenberg's Universals. The conlang was the topic of Sylvia's talk at the second Language Creation Conference.
1.ielte la anmārwi pa antaxōni ān tēna;
2.il ñatta jarēþa rūānnie il ñatta jamāes japōññe sū jekiēn xīnār il aþ ñatta āke jamāramma;
3.ē teteñ ien hēja ñanna jacālmi jajūti nā aþ ōrra ñatta ancālmi to ankīþi aþ ōrra ñatta ancērri to anhērmi;
4.ē teteñ ien hēja ñanna jamāonre pa jakōnōr ja ñi jōl rā anīstīli; ē teteñ ien hēja ñanna lewēra tō tūaþ wā ñi ñēim makkepōlien rā anmārwi āñ pēxa;
5.il aþ ñi rā āke ā λi ārōn tō sema mo sarōña jamāonre pa jakōnōr ja ñatta ōrra;
6.il tamma ien ē ñi mēli mānīki ī la sāim antaxōni ān tēna ī la jāo jānne jakāe ja ñatta;
7.il tamma ien rēha ñatta janahan ja ñi jaþēŋŋe cēja lā;
8.il tamma ien ē ñi liēn rā āke tā aþ ñalla anwaxāon tō tūaþ ñi anxiēna ankewōra nīkamma sāim cī;
9.ē ñamma jāo ā λi ārōn ī ñamma sāim makkepōlien rā anmārwi āñ pēxa ī ñamma jamāonre anlāīke ankewōra; tō jāo sete sawēra λi waxāon tō ōrra ñamma anwaxāon antaxōni tēna sū āke ā λi ārōn;
Translated by Sylvia Sotomayor
(The Kēlen Babel Text can be accessed by typing cache:www.terjemar.net/babeltext.php into the Google search box.)
9.O. Text:
The Babel Text in Wasabi
Wasabi was a collaborative conlang venture undertaken by a class taught by David J. Peterson that examined the creation of pidgins. For a detailed look at the development of Wasabi, check out dedalvs.free.fr/wasabi.html.
1.Yasa ukali saya anu alima nala.
2.Si lamu amasu sami ala si siya numa niki isana kunayu si Shinar, aki wima isu.
3.Yasa alima anu si ika, "Wani kana nusika puma samapu aki si kusasi." Puma yumu nusika puma, alasa ukali yumu liwika.
4.Aki alima: "Niki! Wani pila amasu wima kunayu wa pika kunayu, ikala nali, wani ana wani amasu sami, unu lusa yumu wani unu liwika si yasa ukali."
5.Sika si nali niki ukali yata amasu wima kunayu wa pika kunayu malika sika pila.
6.Sika si nali alima: "Yata! Anu liwika kunayu yasa wa anu alima nala, ya aki pila wa unu yumu numa.
7.Niki! Wani niki si ukali, wani sunati nala, si yumu aki unu kisa ika sami alima.
8.Sika si nali unu liwika aki si yasa ukali, aki numa unatu si amasu wima kunayu.
9.Si ya yumu aki tasi ana Babel, yumu isu sika si nali sunati nala si yasa ukali, si isu sika si nali unu liwika aki si yasa ukali.
Translated by Mari Bandoma, Deise Benítez, Allison Buckley, Pablo Cabrera, Marc Callado, Patrick Chan, Charles Chang, Sarah Choi, Lizzy Ghedi-Ehrlich, Julie Gutiérrez, Norma Guzmán, Helen Khlystova, Jason Lin, Tom Nosewicz, Miriam Ochoa, David J. Peterson, Chris Ramiro, Michael Rivera, Adam Simpson, Amy Soong.
(http://www.langmaker.com/db/Bbl_wasabi.htm)
Title in other languages:
Deutsch: Der Kanal "Haagse Trekvliet" nahe des Bahnhofs "Hollands Spoor" in Den Haag, Niederlande
English: Channel "Haagse Trekvliet" close to the station "Hollands Spoor" in The Hague, The Netherlands
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
I just love the folded arms of doubt on the Ban-Garda (Female Police Officer in Irish Language) to the left .
If I print this again I must 'burn' in around the neck and cleavage of the lady being interviewed more to bring out detail.
Taken with Nikon F75: 50mm f/1.4D lens. Y44 Filter. Fomapan 200 film Developed in Xtol Stock @21C for 6'30'' at 5'' Agitation/30''
Scan from 5''x7'' Print on Ilford MGIV Pearl
1. The spiritual entity Qalb
Prophecy and knowledge relating to this was granted to the Prophet Adam
In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.
Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.
Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."
Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.
The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.
After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.
After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.
Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.
Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.
The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.
Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?
The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.
Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).
A Prophetic statement:
“The mercy of God descends upon a broken heart and an afflicted grave.”
Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.
God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”
2. The Human Soul
Prophecy and knowledge relating to this was granted to the Prophet Abraham
This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.
3. The spiritual entity Sirri
Prophecy and knowledge relating to this was granted to the Prophet Moses
This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.
4. The spiritual entity Khaffi
Prophecy and knowledge relating to this was granted to the Prophet Jesus
This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.
5. The spiritual entity Akhfa
Prophecy and knowledge relating to this was granted to the Prophet Mohammed
This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.
The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.
The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.
Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.
6. The spiritual entity Anna
This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.
With the spiritual entity, Anna, God is seen in the dream state.
With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.
Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.
It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.
The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).
Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.
Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.
The functions of the spiritual entities inside the human body
Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.
Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.
Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.
The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.
Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.
Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.
These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.
Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center Joint Service Color Guard and marching units representing the four military services helped Monterey residents and visitors celebrate Independence Day by participating in the City of Monterey's 4th of July parade in downtown Monterey on July 4.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Body language can be so revealing sometimes.... don't you think?
I wonder if he had lost his faith and hope and was about to leave the place, or if on the contrary he was there trying to find some...
14th Street, between 8th and 9th Avenues,
New York
Taken with a 3G iPhone
Historic Town of Sukhothai and Associated Historic Towns
Sukhothai, Si Satchanalai and Kamphaeng Phet all shared a common language and alphabet, a common administrative and legal system, and other features which leave no doubt as to their unity as a single political entity. All three towns also boasted a number of fine monuments and works of monumental sculpture, illustrating the beginning of Thai architecture and art known as the “Sukhothai style.”
Wat Chedi Chet Thaeo
Wat Chedi Chet Thaeo (Thai: วัดเจดีย์เจ็ดแถว) means the temple of seven rows of stupa. The temple is one of the most important historic sights inside the town wall of Si Satchanalai. The temple is located in front of Wat Chang Lom and is considered unique than other temples in Sukhothai Kingdom, because the temple consists of 32 stupas of different sizes in different styles. The gigantic size of the temple in the town center indicating that this temple was built for the royal family. Vajiravudh wrote in his Phra Ruang City Journey that a local claimed that the temple was once called Wat Kalayanimit and was built by a daughter of Lithai. Damrong Rajanubhab believed that the temple was the burial place for the ruler family of Si Satchanalai. Pattern of Stupas at Wat Chedi Chet Thaeo are influenced from various arts such as Sri Lanka, Lanna and Bagan stupa which has unique square tower base with spherical top and arched hall facade stucco for standing Buddha image in beautiful Sukhothai style. Inside the temple, there were vihara, ordination hall, five mandapas and sacred pond. There was also a defensive wall around the temple which was originally surrounded by a moat.
en.wikipedia.org/wiki/Si_Satchanalai_Historical_Park
The Si Satchanalai Historical Park (Thai: อุทยานประวัติศาสตร์ศรีสัชนาลัย) is a historical park in Si Satchanalai district, Sukhothai Province, northern Thailand. The park covers the ruins of Si Satchanalai and Chaliang. Si Satchanalai, which literally means "City of good people", was founded in 1250 as the second center of Sukhothai Kingdom and a residence of the crown prince in the 13th and 14th centuries.
The city was rectangular in shape. In the 16th century, a 5-metre high wall with an upstream moat was built to fend off the growing Burmese attacks. The location of the town was facilitated by two the neighborhood dominant hill. The park is maintained by the Fine Arts Department of Thailand with help from UNESCO, which has declared it a World Heritage Site together with the associated historic parks in Kamphaengphet and Sukhothai. Similar to Sukhothai Historical Park, Si Satchanalai Historical Park attracts thousands of visitors each year, who marvel at the ancient Buddha figures, palace buildings and ruined temples. The park is easily toured by bicycle or even on foot.
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Kathmandu is the capital and largest municipality of Nepal. It is the only city of Nepal with the administrative status of Mahanagar (Metropolitan City), as compared to Upa-Mahanagar (Sub-Metropolitan City) or Nagar (City). Kathmandu is the core of Nepal's largest urban agglomeration located in the Kathmandu Valley consisting of Lalitpur, Kirtipur, Madhyapur Thimi, Bhaktapur and a number of smaller communities. Kathmandu is also known informally as "KTM" or the "tri-city". According to the 2011 census, Kathmandu Metropolitan City has a population of 975.453 and measures 49,45 square kilometres.
The city stands at an elevation of approximately 1.400 metres in the bowl-shaped Kathmandu Valley of central Nepal. It is surrounded by four major hills: Shivapuri, Phulchoki, Nagarjun, and Chandragiri. Kathmandu Valley is part of three districts (Kathmandu, Lalitpur, and Bhaktapur), has the highest population density in the country, and is home to about a twelfth of Nepal's population.
Historically, the Kathmandu Valley and adjoining areas were known as Nepal Mandala. Until the 15th century, Bhaktapur was its capital when two other capitals, Kathmandu and Lalitpur, were established. During the Rana and Shah eras, British historians called the valley itself "Nepal Proper". Today, Kathmandu is not only the capital of the Federal Democratic Republic of Nepal, but also the headquarters of the Bagmati Zone and the Central Development Region of Nepal.
Kathmandu is the gateway to tourism in Nepal. It is also the hub of the country's economy. It has the most advanced infrastructure of any urban area in Nepal, and its economy is focused on tourism, which accounted for 3.8% of Nepal's GDP in 1995–96. Tourism in Kathmandu declined thereafter during a period of political unrest, but since then has improved. In 2013, Kathmandu was ranked third among the top 10 travel destinations on the rise in the world by TripAdvisor, and ranked first in Asia.
The city has a rich history, spanning nearly 2000 years, as inferred from inscriptions found in the valley. Religious and cultural festivities form a major part of the lives of people residing in Kathmandu. Most of Kathmandu's people follow Hinduism and many others follow Buddhism. There are people of other religious beliefs as well, giving Kathmandu a cosmopolitan culture. Nepali is the most commonly spoken language in the city. English is understood by Kathmandu's educated residents. Kathmandu was devastated by a 7.8 magnitude earthquake on April 25, 2015.
ETYMOLOGY
The city of Kathmandu is named after Kasthamandap temple, that stood in Durbar Square. In Sanskrit, Kastha (काष्ठ) means "wood" and Mandap (/मण्डप) means "covered shelter". This temple, also known as Maru Satal (in ″Newar language″), was built in 1596 by King Laxmi Narsingh Malla. The two-storey structure was made entirely of wood, and used no iron nails nor supports. According to legend, all the timber used to build the pagoda was obtained from a single tree. The structure unfortunately collapsed during the major earthquake in April 2015.
The colophons of ancient manuscripts, dated as late as the 20th century, refer to Kathmandu as Kasthamandap Mahanagar in Nepal Mandala. Mahanagar means "great city". The city is called "Kasthamandap" in a vow that Buddhist priests still recite to this day. Thus, Kathmandu is also known as Kasthamandap. During medieval times, the city was sometimes called Kantipur (कान्तिपुर). This name is derived from two Sanskrit words - Kanti and pur. "Kanti" is one of the names of the Goddess Lakshmi, and "pur" means place.
Among the indigenous Newar people, Kathmandu is known as Yen Desa (येँ देश), and Patan and Bhaktapur are known as Yala Desa (यल देश) and Khwopa Desa (ख्वप देश). "Yen" is the shorter form of Yambu (यम्बु), which originally referred to the northern half of Kathmandu.
HISTORY
Archaeological excavations in parts of Kathmandu have found evidence of ancient civilizations. The oldest of these findings is a statue, found in Maligaon, that was dated at 185 AD. The excavation of Dhando Chaitya uncovered a brick with an inscription in Brahmi script. Archaeologists believe it is two thousand years old. Stone inscriptions are an ubiquitous element at heritage sites and are key sources for the history of Nepal
The earliest Western reference to Kathmandu appears in an account of Jesuit Fathers Johann Grueber and Albert d'Orville. In 1661, they passed through Nepal on their way from Tibet to India, and reported that they reached "Cadmendu, the capital of the Kingdom of Necbal".
ANCIENT HISTORY
The ancient history of Kathmandu is described in its traditional myths and legends. According to Swayambhu Purana, the present day Kathmandu was once a lake called Nagdaha. The lake was drained by Manjusri, who established a city called Manjupattan and made Dharmakar the ruler of the land.
Kotirudra Samhita of Shiva Purana, Chapter 11, shloka 18 refers to the place as Nayapala city famous for its Pashupati Shivalinga. The name Nepal probably originates from this city Nayapala.
Very few historical records exist of the period before the medieval Licchavis rulers. According to Gopalraj Vansawali, a genealogy of Nepali monarchs, the rulers of Kathmandu Valley before the Licchavis were Gopalas, Mahispalas, Aabhirs, Kirants, and Somavanshi. The Kirata dynasty was established by Yalamber. During the Kirata era, a settlement called Yambu existed in the northern half of old Kathmandu. In some of the Sino-Tibetan languages, Kathmandu is still called Yambu. Another smaller settlement called Yengal was present in the southern half of old Kathmandu, near Manjupattan. During the reign of the seventh Kirata ruler, Jitedasti, Buddhist monks entered Kathmandu valley and established a forest monastery at Sankhu.
MEDIEVAL HISTORY
LICCHAVI ERA
The Licchavis from the Indo-Gangetic plain migrated north and defeated the Kiratas, establishing the Licchavi dynasty. During this era, following the genocide of Shakyas in Lumbini by Virudhaka, the survivors migrated north and entered the forest monastery in Sankhu masquerading as Koliyas. From Sankhu, they migrated to Yambu and Yengal (Lanjagwal and Manjupattan) and established the first permanent Buddhist monasteries of Kathmandu. This created the basis of Newar Buddhism, which is the only surviving Sanskrit-based Buddhist tradition in the world. With their migration, Yambu was called Koligram and Yengal was called Dakshin Koligram during most of the Licchavi era.Eventually, the Licchavi ruler Gunakamadeva merged Koligram and Dakshin Koligram, founding the city of Kathmandu. The city was designed in the shape of Chandrahrasa, the sword of Manjushri. The city was surrounded by eight barracks guarded by Ajimas. One of these barracks is still in use at Bhadrakali (in front of Singha Durbar). The city served as an important transit point in the trade between India and Tibet, leading to tremendous growth in architecture. Descriptions of buildings such as Managriha, Kailaskut Bhawan, and Bhadradiwas Bhawan have been found in the surviving journals of travelers and monks who lived during this era. For example, the famous 7th-century Chinese traveller Xuanzang described Kailaskut Bhawan, the palace of the Licchavi king Amshuverma. The trade route also led to cultural exchange as well. The artistry of the Newar people - the indigenous inhabitants of the Kathmandu Valley - became highly sought after during this era, both within the Valley and throughout the greater Himalayas. Newar artists travelled extensively throughout Asia, creating religious art for their neighbors. For example, Araniko led a group of his compatriot artists through Tibet and China. Bhrikuti, the princess of Nepal who married Tibetan monarch Songtsän Gampo, was instrumental in introducing Buddhism to Tibet.
MALLA ERA
The Licchavi era was followed by the Malla era. Rulers from Tirhut, upon being attacked by Muslims, fled north to the Kathmandu valley. They intermarried with Nepali royalty, and this led to the Malla era. The early years of the Malla era were turbulent, with raids and attacks from Khas and Turk Muslims. There was also a devastating earthquake which claimed the lives of a third of Kathmandu's population, including the king Abhaya Malla. These disasters led to the destruction of most of the architecture of the Licchavi era (such as Mangriha and Kailashkut Bhawan), and the loss of literature collected in various monasteries within the city. Despite the initial hardships, Kathmandu rose to prominence again and, during most of the Malla era, dominated the trade between India and Tibet. Nepali currency became the standard currency in trans-Himalayan trade.
During the later part of the Malla era, Kathmandu Valley comprised four fortified cities: Kantipur, Lalitpur, Bhaktapur, and Kirtipur. These served as the capitals of the Malla confederation of Nepal. These states competed with each other in the arts, architecture, aesthetics, and trade, resulting in tremendous development. The kings of this period directly influenced or involved themselves in the construction of public buildings, squares, and temples, as well as the development of water spouts, the institutionalization of trusts (called guthis), the codification of laws, the writing of dramas, and the performance of plays in city squares. Evidence of an influx of ideas from India, Tibet, China, Persia, and Europe among other places can be found in a stone inscription from the time of king Pratap Malla. Books have been found from this era that describe their tantric tradition (e.g. Tantrakhyan), medicine (e.g. Haramekhala), religion (e.g. Mooldevshashidev), law, morals, and history. Amarkosh, a Sanskrit-Nepal Bhasa dictionary from 1381 AD, was also found. Architecturally notable buildings from this era include Kathmandu Durbar Square, Patan Durbar Square, Bhaktapur Durbar Square, the former durbar of Kirtipur, Nyatapola, Kumbheshwar, the Krishna temple, and others.
MODERN ERA
EARLY SHAH RULE
The Gorkha Kingdom ended the Malla confederation after the Battle of Kathmandu in 1768. This marked the beginning of the modern era in Kathmandu. The Battle of Kirtipur was the start of the Gorkha conquest of the Kathmandu Valley. Kathmandu was adopted as the capital of the Gorkha empire, and the empire itself was dubbed Nepal. During the early part of this era, Kathmandu maintained its distinctive culture. Buildings with characteristic Nepali architecture, such as the nine-story tower of Basantapur, were built during this era. However, trade declined because of continual war with neighboring nations. Bhimsen Thapa supported France against Great Britain; this led to the development of modern military structures, such as modern barracks in Kathmandu. The nine-storey tower Dharahara was originally built during this era.
RANA RULE
Rana rule over Nepal started with the Kot Massacre, which occurred near Hanuman Dhoka Durbar. During this massacre, most of Nepal's high-ranking officials were massacred by Jang Bahadur Rana and his supporters. Another massacre, the Bhandarkhal Massacre, was also conducted by Kunwar and his supporters in Kathmandu. During the Rana regime, Kathmandu's alliance shifted from anti-British to pro-British; this led to the construction of the first buildings in the style of Western European architecture. The most well-known of these buildings include Singha Durbar, Garden of Dreams, Shital Niwas, and the old Narayanhiti palace. The first modern commercial road in the Kathmandu Valley, the New Road, was also built during this era. Trichandra College (the first college of Nepal), Durbar School (the first modern school of Nepal), and Bir Hospital (the first hospital of Nepal) were built in Kathmandu during this era. Rana rule was marked by tyranny, debauchery, economic exploitation and religious persecution.
GEOGRAPHY
Kathmandu is located in the northwestern part of Kathmandu Valley to the north of the Bagmati River and covers an area of 50,67 square kilometres. The average elevation is 1.400 metres above sea level. The city is directly bounded by several other municipalities of the Kathmandu valley: south of the Bagmati by Lalitpur Sub-Metropolitan City (Patan) with which it today forms one urban area surrounded by a ring road, to the southwest by Kirtipur Municipality and to the east by Madyapur Thimi Municipality. To the north the urban area extends into several Village Development Committees. However, the urban agglomeration extends well beyond the neighboring municipalities, e. g. to Bhaktapur and just about covers the entire Kathmandu valley.
Kathmandu is dissected by eight rivers, the main river of the valley, the Bagmati and its tributaries, of which the Bishnumati, Dhobi Khola, Manohara Khola, Hanumant Khola, and Tukucha Khola are predominant. The mountains from where these rivers originate are in the elevation range of 1.500–3.000 metres, and have passes which provide access to and from Kathmandu and its valley. An ancient canal once flowed from Nagarjuna hill through Balaju to Kathmandu; this canal is now extinct.
Kathmandu and its valley are in the Deciduous Monsoon Forest Zone (altitude range of 1.200–2.100 metres), one of five vegetation zones defined for Nepal. The dominant tree species in this zone are oak, elm, beech, maple and others, with coniferous trees at higher altitude.
TOURISM
Tourism is considered another important industry in Nepal. This industry started around 1950, as the country's political makeup changed and ended the country's isolation from the rest of the world. In 1956, air transportation was established and the Tribhuvan Highway, between Kathmandu and Raxaul (at India's border), was started. Separate organizations were created in Kathmandu to promote this activity; some of these include the Tourism Development Board, the Department of Tourism and the Civil Aviation Department. Furthermore, Nepal became a member of several international tourist associations. Establishing diplomatic relations with other nations further accentuated this activity. The hotel industry, travel agencies, training of tourist guides, and targeted publicity campaigns are the chief reasons for the remarkable growth of this industry in Nepal, and in Kathmandu in particular.
Since then, tourism in Nepal has thrived; it is sometimes called the "third religion" of Nepal. It is the country's most important industry. Tourism is a major source of income for most of the people in the city, with several hundred thousand visitors annually. Hindu and Buddhist pilgrims from all over the world visit Kathmandu's religious sites such as Pashupatinath, Swayambhunath, Boudhanath and Budhanilkantha. From a mere 6179 tourists in 1961–62, the number jumped to 491504 in 1999-2000. With the end of Maoist insuregency period in 2009 there was a significant rise of 509,956 tourist arrivals. Since then, tourism has improved as the country turned into a Democratic Republic. In economic terms, the foreign exchange registered 3.8% of the GDP in 1995–96 but then started declining. The high level of tourism is attributed to the natural grandeur of the Himalayas and the rich cultural heritage of the country.
The neighborhood of Thamel is Kathmandu's primary "traveler's ghetto", packed with guest houses, restaurants, shops, and bookstores, catering to tourists. Another neighborhood of growing popularity is Jhamel, a name for Jhamsikhel coined to rhyme with Thamel. Jhochhen Tol, also known as Freak Street, is Kathmandu's original traveler's haunt, made popular by the hippies of the 1960s and 1970s; it remains a popular alternative to Thamel. Asan is a bazaar and ceremonial square on the old trade route to Tibet, and provides a fine example of a traditional neighborhood.
With the opening of the tourist industry after the change in the political scenario of Nepal in 1950, the hotel industry drastically improved. Now Kathmandu boasts several five-star hotels like Hyatt Regency, Hotel Yak & Yeti, The Everest Hotel, Hotel Radisson, Hotel De L'Annapurna, The Malla Hotel, Shangri-La Hotel (which is not operated by the Shangri-La Hotel Group) and The Shanker Hotel. There are several four-star hotels such as Hotel Vaishali, Hotel Narayani, The Blue Star and Grand Hotel. The Garden Hotel, Hotel Ambassador, and Aloha Inn are among the three-star hotels in Kathmandu. Hotels like Hyatt Regency, De L'Annapurna and Hotel Yak & Yeti are among the five-star hotels providing casinos as well.
DEMOGRAPHICS
Kathmandu's urban cosmopolitan character has made it the most populous city in Nepal, recording a population of 671846 residents living in 235387 households in the metropolitan area, according to the 2001 census. According to the National Population Census of 2011, the total population of Kathmandu city was 975543 with an annual growth rate of 6,12% with respect to the population figure of 2001. 70% of the total population residing in Kathmandu are aged between 15 and 59.
Over the years the city has been home to people of various ethnicities, resulting in a range of different traditions and cultural practices. In one decade, the population increased from 427045 in 1991 to 671805 in 2001. The population was projected to reach 915071 in 2011 and 1.319.597 by 2021. To keep up this population growth, the KMC-controlled area of 5,076.6 hectares has expanded to 8.214 hectares in 2001. With this new area, the population density which was 85 in 1991 is still 85 in 2001; it is likely to jump to 111 in 2011 and 161 in 2021.
ETHNIC GROUPS
The largest ethnic groups are Newar (29.6%), Matwali (25.1% Sunuwar, Gurung, Magars, Tamang etc.), Khas Brahmins (20.51%) and Chettris (18.5%) . Tamangs originating from surrounding hill districts can be seen in Kathmandu. More recently, other hill ethnic groups and Caste groups from Terai have become present as well in vast majority. The major languages are Nepali, Nepal Bhasa and English is understood by about 30% of the people. The major religions are Hinduism and Buddhism.
The linguistic profile of Kathmandu underwent drastic changes during the Shah dynasty's rule because of its strong bias towards the Brahminic culture. Sanskrit language therefore was preferred and people were encouraged to learn it even by attending Sanskrit learning centers in Terai. Sanskrit schools were specially set up in Kathmandu and in the Terai region to inculcate traditional Hindu culture and practices originated from Nepal.
ARCHITECTURE AND CITYSCAPE
The ancient trade route between India and Tibet that passed through Kathmandu enabled a fusion of artistic and architectural traditions from other cultures to be amalgamated with local art and architecture. The monuments of Kathmandu City have been influenced over the centuries by Hindu and Buddhist religious practices. The architectural treasure of the Kathmandu valley has been categorized under the well-known seven groups of heritage monuments and buildings. In 2006 UNESCO declared these seven groups of monuments as a World Heritage Site (WHS). The seven monuments zones cover an area of 188,95 hectares, with the buffer zone extending to 239,34 hectares. The Seven Monument Zones (Mzs) inscribed originally in 1979 and with a minor modification in 2006 are Durbar squares of Hanuman Dhoka, Patan and Bhaktapur, Hindu temples of Pashupatinath and Changunarayan, the Buddhist stupas of Swayambhu and Boudhanath.
DURBAR SQUARES
The literal meaning of Durbar Square is a "place of palaces". There are three preserved Durbar Squares in Kathmandu valley and one unpreserved in Kirtipur. The Durbar Square of Kathmandu is located in the old city and has heritage buildings representing four kingdoms (Kantipur, Lalitpur, Bhaktapur, Kirtipur); the earliest is the Licchavi dynasty. The complex has 50 temples and is distributed in two quadrangles of the Durbar Square. The outer quadrangle has the Kasthamandap, Kumari Ghar, and Shiva-Parvati Temple; the inner quadrangle has the Hanuman Dhoka palace. The squares were severely damaged in the April 2015 Nepal earthquake.
Hanuman Dhoka is a complex of structures with the Royal Palace of the Malla kings and of the Shah dynasty. It is spread over five acres. The eastern wing, with ten courtyards, is the oldest part, dating to the mid-16th century. It was expanded by King Pratap Malla in the 17th century with many temples. The royal family lived in this palace until 1886 when they moved to Narayanhiti Palace. The stone inscription outside is in fifteen languages.
Kumari Ghar is a palace in the center of the Kathmandu city, next to the Durbar square where a Royal Kumari selected from several Kumaris resides. Kumari, or Kumari Devi, is the tradition of worshipping young pre-pubescent girls as manifestations of the divine female energy or devi in South Asian countries. In Nepal the selection process is very rigorous. Kumari is believed to be the bodily incarnation of the goddess Taleju (the Nepali name for Durga) until she menstruates, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury are also causes for her to revert to common status. The current Royal Kumari, Matina Shakya, age four, was installed in October 2008 by the Maoist government that replaced the monarchy.
Kasthamandap is a three-storeyed temple enshrining an image of Gorakhnath. It was built in the 16th century in pagoda style. The name of Kathmandu is a derivative of the word Kasthamandap. It was built under the reign of King Laxmi Narsingha Malla. Kasthamandap stands at the intersection of two ancient trade routes linking India and Tibet at Maru square. It was originally built as a rest house for travelers.
PASHUPATINATH TEMPLE
The Pashupatinath Temple is a famous 5th century Hindu temple dedicated to Lord Shiva (Pashupati). Located on the banks of the Bagmati River in the eastern part of Kathmandu, Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It served as the seat of national deity, Lord Pashupatinath, until Nepal was secularized. However, a significant part of the temple was destroyed by Mughal invaders in the 14th century and little or nothing remains of the original 5th-century temple exterior. The temple as it stands today was built in the 19th century, although the image of the bull and the black four-headed image of Pashupati are at least 300 years old. The temple is a UNESCO World Heritage Site. Shivaratri, or the night of Lord Shiva, is the most important festival that takes place here, attracting thousands of devotees and sadhus.
Believers in Pashupatinath (mainly Hindus) are allowed to enter the temple premises, but non-Hindu visitors are allowed to view the temple only from the across the Bagmati River. The priests who perform the services at this temple have been Brahmins from Karnataka, South India since the time of Malla king Yaksha Malla. This tradition is believed to have been started at the request of Adi Shankaracharya who sought to unify the states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is followed in other temples around India, which were sanctified by Adi Shankaracharya.
The temple is built in the pagoda style of architecture, with cubic constructions, carved wooden rafters (tundal) on which they rest, and two-level roofs made of copper and gold.
BOUDHANATH
The Boudhanath, (also written Bouddhanath, Bodhnath, Baudhanath or the Khāsa Chaitya), is one of the holiest Buddhist sites in Nepal, along with Swayambhu. It is a very popular tourist site. Boudhanath is known as Khāsti by Newars and as Bauddha or Bodhnāth by speakers of Nepali. Located about 11 km from the center and northeastern outskirts of Kathmandu, the stupa's massive mandala makes it one of the largest spherical stupas in Nepal. Boudhanath became a UNESCO World Heritage Site in 1979.The base of the stupa has 108 small depictions of the Dhyani Buddha Amitabha. It is surrounded with a brick wall with 147 niches, each with four or five prayer wheels engraved with the mantra, om mani padme hum. At the northern entrance where visitors must pass is a shrine dedicated to Ajima, the goddess of smallpox. Every year the stupa attracts many Tibetan Buddhist pilgrims who perform full body prostrations in the inner lower enclosure, walk around the stupa with prayer wheels, chant, and pray. Thousands of prayer flags are hoisted up from the top of the stupa downwards and dot the perimeter of the complex. The influx of many Tibetan refugees from China has seen the construction of over 50 Tibetan gompas (monasteries) around Boudhanath.
SWAYAMBHU
Swayambhu is a Buddhist stupa atop a hillock at the northwestern part of the city. This is among the oldest religious sites in Nepal. Although the site is considered Buddhist, it is revered by both Buddhists and Hindus. The stupa consists of a dome at the base; above the dome, there is a cubic structure with the eyes of Buddha looking in all four directions.[clarification needed] There are pentagonal Toran above each of the four sides, with statues engraved on them. Behind and above the torana there are thirteen tiers. Above all the tiers, there is a small space above which lies a gajur.
CULTURE
ARTS
Kathmandu valley is described as "an enormous treasure house of art and sculptures", which are made of wood, stone, metal, and terracotta, and found in profusion in temples, shrines, stupas, gompas, chaityasm and palaces. The art objects are also seen in street corners, lanes, private courtyards, and in open ground. Most art is in the form of icons of gods and goddesses. Kathmandu valley has had this art treasure very long, but received worldwide recognition only after the country opened its doors to the outside world in 1950.
The religious art of Nepal and Kathmandu in particular consists of an iconic symbolism of the Mother Goddesses such as: Bhavani, Durga, Gaja-Lakshmi, Hariti-Sitala, Mahsishamardini, Saptamatrika (seven mother goddesses), and Sri-Lakshmi(wealth-goddess). From the 3rd century BC, apart from the Hindu gods and goddesses, Buddhist monuments from the Ashokan period (it is said that Ashoka visited Nepal in 250 BC) have embellished Nepal in general and the valley in particular. These art and architectural edifices encompass three major periods of evolution: the Licchavi or classical period (500 to 900 AD), the post-classical period (1000 to 1400 AD), with strong influence of the Palla art form; the Malla period (1400 onwards) that exhibited explicitly tantric influences coupled with the art of Tibetan Demonology.
A broad typology has been ascribed to the decorative designs and carvings created by the people of Nepal. These artists have maintained a blend of Hinduism and Buddhism. The typology, based on the type of material used are: Stone Art, Metal Art, Wood Art, Terracotta Art, and Painting.
MUSEUMS
Kathmandu is home to a number of museums and art galleries, including the National Museum of Nepal and the Natural History Museum of Nepal. Nepal's art and architecture is an amalgamation of two ancient religions, Hinduism and Buddhhism. These are amply reflected in the many temples, shrines, stupas, monasteries, and palaces in the seven well-defined Monument Zones of the Kathmandu valley recognized as a UNESCO World Heritage Site. This amalgamation is also reflected in the planning and exhibitions in museums and art galleries throughout Kathmandu and its sister cities of Patan and Bhaktapur. The museums display unique artifacts and paintings from the 5th century CE to the present day, including archeological exportation.
KATHMANDU MUSEUMS ABD ART GALLERIES INCLUDE:
The National Museum
The Natural History Museum
Hanumandhoka Palace Complex
The Kaiser Library
The National Art Gallery
The NEF-ART (Nepal Fine Art) Gallery
The Nepal Art Council Gallery
Narayanhity Palace Museum
The Taragaon Museum
The National Museum is located in the western part of Kathmandu, near the Swayambhunath stupa in an historical building. This building was constructed in the early 19th century by General Bhimsen Thapa. It is the most important museum in the country, housing an extensive collection of weapons, art and antiquities of historic and cultural importance. The museum was established in 1928 as a collection house of war trophies and weapons, and the initial name of this museum was Chhauni Silkhana, meaning "the stone house of arms and ammunition". Given its focus, the museum contains an extensive quantity of weapons, including locally made firearms used in wars, leather cannons from the 18th–19th century, and medieval and modern works in wood, bronze, stone and paintings.
The Natural History Museum is located in the southern foothills of Swayambhunath hill and has a sizeable collection of different species of animals, butterflies, and plants. The museum is noted for its display of species, from prehistoric shells to stuffed animals.
The Tribhuvan Museum contains artifacts related to the King Tribhuvan (1906–1955). It has a variety of pieces including his personal belongings, letters and papers, memorabilia related to events he was involved in and a rare collection of photos and paintings of Royal family members. The Mahendra Museum is dedicated to king Mahendra of Nepal (1920–1972). Like the Tribhuvan Museum, it includes his personal belongings such as decorations, stamps, coins and personal notes and manuscripts, but it also has structural reconstructions of his cabinet room and office chamber. The Hanumandhoka Palace, a lavish medieval palace complex in the Durbar, contains three separate museums of historic importance. These museums include the Birendra museum, which contains items related to the second-last monarch, Birendra of Nepal.
The enclosed compound of the Narayanhity Palace Museum is in the north-central part of Kathmandu. "Narayanhity" comes from Narayana, a form of the Hindu god Lord Vishnu, and Hiti, meaning "water spout" (Vishnu's temple is located opposite the palace, and the water spout is located east of the main entrance to the precinct). Narayanhity was a new palace, in front of the old palace built in 1915, and was built in 1970 in the form of a contemporary Pagoda. It was built on the occasion of the marriage of King Birenda Bir Bikram Shah, then heir apparent to the throne. The southern gate of the palace is at the crossing of Prithvipath and Darbar Marg roads. The palace area covers 30 hectares and is fully secured with gates on all sides. This palace was the scene of the Nepali royal massacre. After the fall of the monarchy, it was converted to a museum.The Taragaon Museum presents the modern history of the Kathmandu Valley. It seeks to document 50 years of research and cultural heritage conservation of the Kathmandu Valley, documenting what artists photographers architects anthropologists from abroad had contributed in the second half of the 20th century. The actual structure of the Museum showcases restoration and rehabilitation efforts to preserve the built heritage of Kathmandu. It was designed by Carl Pruscha (master-planner of the Kathmandy Valley) in 1970 and constructed in 1971. Restoration works began in 2010 to rehabilitate the Taragaon hostel into the Taragaon Museum. The design uses local brick along with modern architectural design elements, as well as the use of circle, triangles and squares. The Museum is within a short walk from the Boudhnath stupa, which itself can be seen from the Museum tower.
ART GALLERIES
Kathmandu is a center for art in Nepal, displaying the work of contemporary artists in the country and also collections of historical artists. Patan in particular is an ancient city noted for its fine arts and crafts. Art in Kathmandu is vibrant, demonstrating a fusion of traditionalism and modern art, derived from a great number of national, Asian, and global influences. Nepali art is commonly divided into two areas: the idealistic traditional painting known as Paubhas in Nepal and perhaps more commonly known as Thangkas in Tibet, closely linked to the country's religious history and on the other hand the contemporary western-style painting, including nature-based compositions or abstract artwork based on Tantric elements and social themes of which painters in Nepal are well noted for. Internationally, the British-based charity, the Kathmandu Contemporary Art Centre is involved with promoting arts in Kathmandu.
Kathmandu contains many notable art galleries. The NAFA Gallery, operated by the Arts and crafts Department of the Nepal Academy is housed in Sita Bhavan, a neo-classical old Rana palace.
The Srijana Contemporary Art Gallery, located inside the Bhrikutimandap Exhibition grounds, hosts the work of contemporary painters and sculptors, and regularly organizes exhibitions. It also runs morning and evening classes in the schools of art. Also of note is the Moti Azima Gallery, located in a three storied building in Bhimsenthan which contains an impressive collection of traditional utensils and handmade dolls and items typical of a medieval Newar house, giving an important insight into Nepali history. The J Art Gallery is also located in Kathmandu, near the Royal Palace in Durbarmarg, Kathmandu and displays the artwork of eminent, established Nepali painters. The Nepal Art Council Gallery, located in the Babar Mahal, on the way to Tribhuvan International Airport contains artwork of both national and international artists and extensive halls regularly used for art exhibitions.
CUISINE
The staple food of most of Kathmanduites is dal bhat. It consists of rice and lentil soup, generally served with vegetable curries, achar and sometimes Chutney. Momo, a type of Nepali version of Tibetan dumpling, has become prominent in Nepal with many street vendors selling it. It is one of the most popular fast foods in Kathmandu. Various Nepali variants of momo including buff (i.e. buffalo) momo, chicken momo, and vegetarian momo are famous in Kathmandu. Dal Bhaat is the local cuisine of Kathmandu.
Most of the cuisines found in Kathmandu are non-vegetarian. However, the practice of vegetarianism is not uncommon, and vegetarian cuisines can be found throughout the city. Consumption of beef is very uncommon and considered taboo in many places. Buff (meat of water buffalo) is very common. There is a strong tradition of buff consumption in Kathmandu, especially among Newars, which is not found in other parts of Nepal. Consumption of pork was considered taboo until a few decades ago. Due to the intermixing with Kirat cuisine from eastern Nepal, pork has found a place in Kathmandu dishes. A fringe population of devout Hindus and Muslims consider it taboo. The Muslims forbid eating buff as from Quran while Hindus eat all varieties except Cow's meat as the consider Cow to be a goddess and symbol of purity. The chief breakfast for locals and visitors is mostly Momo or Chowmein.
Kathmandu had only one restaurant in 1955. A large number of restaurants in Kathmandu have since opened, catering Nepali cuisine, Tibetan cuisine, Chinese cuisine and Indian cuisine in particular. Many other restaurants have opened to accommodate locals, expatriates, and tourists. The growth of tourism in Kathmandu has led to culinary creativity and the development of hybrid foods to accommodate for tourists such as American chop suey, which is a sweet-and-sour sauce with crispy noodles with a fried egg commonly added on top and other westernized adaptations of traditional cuisine. Continental cuisine can be found in selected places. International chain restaurants are rare, but some outlets of Pizza Hut and KFC have recently opened there. It also has several outlets of the international ice-cream chain Baskin-Robbins
Kathmandu has a larger proportion of tea drinkers than coffee drinkers. Tea is widely served but is extremely weak by western standards. It is richer and contains tea leaves boiled with milk, sugar and spices. Alcohol is widely drunk, and there are numerous local variants of alcoholic beverages. But its use has been now reduced.refnational survey. Drinking and driving is illegal, and authorities have a zero tolerance policy. Ailaa and thwon (alcohol made from rice) are the alcoholic beverages of Kathmandu, found in all the local bhattis (alcohol serving eateries). Chhyaang, tongba (fermented millet or barley) and rakshi are alcohols from other parts of Nepal which are found in Kathmandu. However, shops and bars in Kathmandu widely sell western and Nepali beers. Shops are forbidden to sell alcohol on the first two days and last two days of the Nepali month (Nepal Sambat).
FESTIVALS
Most of the fairs and festivals in Kathmandu originated in the Malla period or earlier. Traditionally, these festivals were celebrated by Newars. In recent years, these festivals have found wider participation from other Kathmanduites as well. As the capital of the Republic of Nepal, various national festivals are celebrated in Kathmandu. With mass migration to the city, the cultures of Khas from the west, Kirats from the east, Bon/Tibetan from the north, and Mithila from the south meet in the capital and mingle harmoniously. The festivities such as the Ghode (horse) Jatra, Indra Jatra, Dashain Durga Puja festivals, Shivratri and many more are observed by all Hindu and Buddhist communities of Kathmandu with devotional fervor and enthusiasm. Social regulation in the codes enacted incorporate Hindu traditions and ethics. These were followed by the Shah kings and previous kings, as devout Hindus and protectors of Buddhist religion.
Cultural continuity has been maintained for centuries in the exclusive worship of goddesses and deities in Kathmandu and the rest of the country. These deities include the Ajima, Taleju (or Tulja Bhavani), Digu taleju, and Kumari (the living goddess).[citation needed] The artistic edifices have now become places of worship in the everyday life of the people, therefore a roster is maintained to observe annual festivals. There are 133 festivals held in the year.
Some of the traditional festivals observed in Kathmandu, apart from those previously mentioned, are Bada Dashain, Tihar, Chhath, Maghe Sankranti, Naga Panchami, Janai Poornima, Pancha Dan, Teej/Rishi Panchami, Pahan Charhe, Jana Baha Dyah Jatra (White Machchhendranath Jatra), and Matatirtha Aunsi.
HINDUISM
Assumedly, together with the kingdom of Licchhavi (c. 400 to 750), Hinduism and the endogam social stratification of the Caste was established in Kathmandu Valley. The Pashupatinath Temple, Changu Narayan temple (the oldest), and the Kasthamandap are of particular importance to Hindus. Other notable Hindu temples in Kathmandu and the surrounding valley include Bajrayogini Temple, Dakshinkali Temple, Guhyeshwari Temple, and the Sobha Bhagwati shrine.
The Bagmati River which flows through Kathmandu is considered a holy river both by Hindus and Buddhists, and many Hindu temples are located on the banks of this river. The importance of the Bagmati also lies in the fact that Hindus are cremated on its banks, and Kirants are buried in the hills by its side. According to the Nepali Hindu tradition, the dead body must be dipped three times into the Bagmati before cremation. The chief mourner (usually the first son) who lights the funeral pyre must take a holy riverwater bath immediately after cremation. Many relatives who join the funeral procession also take bath in the Bagmati River or sprinkle the holy water on their bodies at the end of cremation as the Bagmati is believed to purify people spiritually.
BUDDHISM
Buddhism started in Kathmandu with the arrival of Buddhist monks during the time of Buddha (c. 563 - 483 BC). They started a forest monastery in Sankhu. This monastery was renovated by Shakyas after they fled genocide from Virudhaka (rule: 491-461 BC).
During the Hindu Lichchavi era (c. 400 to 750), various monasteries and orders were created which successively led to the formation of Newar Buddhism, which is still practiced in the primary liturgical language of Hinduism, Sanskrit.
WIKIPEDIA
The 2011 Census included questions for the first time on English language proficiency for those who had a main language other than English. For residents who lived in Wales, the English category included those whose main language was Welsh.
The latest analysis from ONS has looked at how proficiency in English varied across the different main languages spoken, how health related to proficiency in English and looked at the proficiency of 3-15 year olds across local authorities in England and Wales.
www.ons.gov.uk/ons/rel/census/2011-census/detailed-charac...
Current work about the sign language for a cursus at Brest's University (France) with my sister Danielle. Handmade (copyright).
Drawing with the arrow for the direction of the hand.
This large Ethiopian Gospel Book was made in the first half of the sixteenth century and is written in Ge'ez, the traditional liturgical language of the Ethiopian church. Containing eleven full-page miniatures, six canon tables and five elaborately ornamented harags, or headpieces, this manuscript represents the Golden Age of what has been termed the Gunda Gunde style, named after a monastery in the town of Agame. The Gunda Gunde style is characterized by bold blocks of color defined by detailed and often delicate linear motifs. Figures are highly stylized and expressive, while the accompanying canon tables and harags are filled with intricate interlace and geometric forms. The manuscript is exceptionally well preserved, and is an excellent and rare example of Ethiopian illumination from one of its most important artistic centers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.