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Managing Director Kristalina Georgieva delivers opening remarks during a Parliamentary Townhall event as part of the IMF/World Bank Annual Meetings 2020
Managed forest of birches outside Växjö, Sweden. Very nice weather today, the sun was warm enough to wear your jacket open even thought the air was cold. I saw the crisp shadows from these trees from some distance away and dared to hope for some interesting photos.
Managed to get ahold of a hybrid M-line body w/ the a-line cutie bust! It's so nice having Phaedra back and even better not having to worry about hiding the tan skin when she was borrowing Yvette's tan skin body. Ahaha.
Managed to snap this at lunch-time, on a busy road (New St) when no-one was about. Gawd knows whats going to happen to this historic building, it's been closed up for a few years now. The home of radio...
Like in the military, days begin early on tiger tours.
Our flight was at five to seven, therefore to get up, meet up, travel to the (correct) terminal, check in, go through security, find the gate and board before quarter past seven, we had meet in the lobby at four, and up an hour earlier.
Which we managed.
We climbed on the bus with our luggage, drive 15 minutes to the wrong terminal and five more to the right one, then find which of the shiny new desks we had to check in at. And all before the first coffee of the day!
We got in line and handed over our bags, one by one, then made our way to security, where India has its own strict rules.
That took another half hour, then a ten minute walk to the gate, which had just started to board.
I grabbed a Coke to sup, to heal ease my achey back and legs, though in truth I was doing OK.
We all got on, for the 90 minute flight to Nagpur, through most of it I slept. Which was the best way.
The landing was dramatic and sideways, or felt like it, and if it were a test the pilot would have failed. But we were safe.
We went into the terminal, got our cases, and went outside to arrivals where our fixer was here, and lead us out into the morning sun and heat to a fleet of landcruisers to take us to our lodges outside the reserve.
Nagpur seemed a small city, though has a metro, and also has the usual mix of houses, rich and poor to barely standing.
Then out into the countryside, where the harvest had just been gathered, and the land is being ploughed, though some fields of cotton were still standing.
The journey had less horn tooting, but to make it more interesting, short stretches of motorway ended at towns, where there were junctions with no give way lines, no obvious priority, so was a tootin free for all.
Someone left their wallet at the service station: the call came over the drivers’ mobiles. It was Jools’s.
So we had to turn round and go back five miles to meet the manager, who after Jools described it, returned it, and took no reward.
That act saved our holiday.
Suddenly we turned off, down an Indian six foot sixer, which I can tell you is a scary thing. Across farmland, bridges barely standing, and dirt-poor villages whose inhabitants hardly marked our passing.
Passing traffic did so by playing a game of chicken as to who would drive off the pavement. It made for an interesting drive.
And then we swung off the road, though a gate and into a collection of buildings: our lodges.
We were met by the owner, made to feel welcome, then offered dinner. More buffet curry.
And then onto the main event, or the first of 17 main events, as that’s how many safaris there is going to be.
A fleet of converted jeeps arrives, with two rows of elevated seating behind the driver: Jools and I get in, and a guide gets in behind us.
We drive at breakneck speed, through a sometimes quiet village, to the gates of Tadoba National Park, where our credentials had been presented, and one of the limited slots given to us.
Our passports checked, we enter the park.
It is jungle, but not as we think of it. Dryer, but primitive, with access roads to parts, but others eft alone so not to disturb all the 91 tigers that live here.
We see two species of deer: barking and spotted, as well as birds. Though those you mostly hear.
It is blindingly hot, and with the heat and bouncing around on red dusty tracks, Jools soo felt ill, but soldiered on, as there was little choice.
We came across a troop of monkeys, who looked at us with the distain we deserved. I took shots.
We then joined about a dozen other vehicles at a watering hole, as this is where the tigers and cubs came to drink,
Most animals come here to drink.
A pack of wild dogs arrived, but were soon alarmed, a deer was barking out warnings that became more frequent, until a majestic male tiger was seen through the undergrowth.
Even tigers need a drink.
He came along a bank and out of the grass, right in front of me, paused, then walked on paw at a time into the water, and out the other side to see what the wild dog was barking about.
The dog yelped, and the tiger made two or three quick paces, and the dog fled, so the tiger relaxed. But clearly wasn’t happy with the fleet of jeeps and cameras recording his every move.
In time he crossed the road and went into the dense vegetation, so after a few minutes, we made to move off.
The back of a tiger’s ears look like huge eyes, and our guide spotted him laying down, so we stopped.
The tiger yawned, then got up and walked back to the pond before slowly moving off.
Most other jeeps moved off, but we stayed, as our guide had heard more warnings by the deers.
And sure enough, a lone female appeared, walked over the track and along the edge of the pond nearest us. She laid down, yawned, and surveyed her options.
The walked on, then backed into the water and lay down, taking the edge off the day’s heat.
We moved off. In truth the weather had changed No longer forty degrees and hot with it, clouds were building, and flashes of lightning were seen. A keen breeze appeared, knocking dried leaves from the trees above the track as we sped back to the entrance falling on us like snow.
Dust devils danced in front of us, and we thought we would get soaked.
The journey back took over an hour, with the weather getting worse minute by minute, but staying dry.
We reached the gate, dropped off our park guide who hadn’t guided us at all, and we sped back through the village to the camp.
WE all went back to our cabins for showers, and even after a good soaking, the white towels showed large amounts of orange dust still came out of our hair and pores.
Tired, but happy, we met at eight for supper of, you guessed it, buffet curry and salad. And beer.
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The Bengal tiger is a population of the Panthera tigris tigris subspecies and the nominate tiger subspecies. It ranks among the largest wild cats alive today. It is estimated to have been present in the Indian subcontinent since the Late Pleistocene for about 12,000 to 16,500 years. Its historical range covered the Indus River valley until the early 19th century, almost all of India, western Pakistan, southern Nepal, Bangladesh, Bhutan and southwestern China. Today, it inhabits India, Bangladesh, Nepal, Bhutan, and southwestern China. It is threatened by poaching, habitat loss and habitat fragmentation.
As of 2022, the Bengal tiger population was estimated at 3,167–3,682 individuals in India, 316–355 individuals in Nepal, 131 individuals in Bhutan and around 114 individuals in Bangladesh.
Felis tigris was the scientific name used by Carl Linnaeus in 1758 for the tiger.[1] It was subordinated to the genus Panthera by Reginald Innes Pocock in 1929. Bengal is the traditional type locality of the species and the nominate subspecies Panthera tigris tigris.[2]
The validity of several tiger subspecies in continental Asia was questioned in 1999. Morphologically, tigers from different regions vary little, and gene flow between populations in those regions is considered to have been possible during the Pleistocene. Therefore, it was proposed to recognise only two subspecies as valid, namely P. t. tigris in mainland Asia, and P. t. sondaica in the Greater Sunda Islands and possibly in Sundaland.[3] The nominate subspecies P. t. tigris constitutes two clades: the northern clade comprises the Siberian and Caspian tiger populations, and the southern clade all remaining continental tiger populations.[4] The extinct and living tiger populations in continental Asia have been subsumed to P. t. tigris since the revision of felid taxonomy in 2017.
The Bengal tiger's coat is yellow to light orange, with stripes ranging from dark brown to black; the belly and the interior parts of the limbs are white, and the tail is orange with black rings. The white tiger is a recessive mutant, which is reported in the wild from time to time in Assam, Bengal, Bihar and especially in the former State of Rewa. However, it is not an occurrence of albinism. In fact, there is only one fully authenticated case of a true albino tiger, and none of black tigers, with the possible exception of one dead specimen examined in Chittagong in 1846.[9] Fourteen Bengal tiger skins in the collection of the Natural History Museum, London have 21–29 stripes.[3] Another recessive mutant is the golden tiger that has a pale golden fur with red-brown stripes.[10] The mutants are very rare in nature.[11]
The greatest skull length of a tiger is 351 mm (13.8 in) in males and 293 mm (11.5 in) in females.[12] It has exceptionally stout teeth. Its canines are 7.5 to 10 cm (3.0 to 3.9 in) long and thus the longest among all cats.[
The Bengal tiger ranks among the biggest wild cats alive today.[14] Males and female Bengal tigers in Panna Tiger Reserve reach a head-to-body length of 183–211 cm (72–83 in) and 164–193 cm (65–76 in) respectively, including a tail about 85–110 cm (33–43 in) long. Total length ranges from 283 to 311 cm (111 to 122 in) for male tigers and 255–285 cm (100–112 in) for female tigers.[15] They typically range from 90–110 cm (35–43 in) in shoulder height.
In the 20th century, Indian censuses of wild tigers relied on the individual identification of footprints known as pug marks – a method that has been criticised as deficient and inaccurate. Camera traps are now being used in many sites.[35]
Good tiger habitats in subtropical and temperate forests include the Tiger Conservation Units (TCUs) Manas-Namdapha. TCUs in tropical dry forest include Hazaribag Wildlife Sanctuary, Nagarjunsagar-Srisailam Tiger Reserve, Kanha-Indravati corridor, Orissa dry forests, Panna National Park, Melghat Tiger Reserve and Ratapani Tiger Reserve. The TCUs in tropical moist deciduous forest are probably some of the most productive habitats for tigers and their prey, and include Kaziranga-Meghalaya, Kanha-Pench, Simlipal and Indravati Tiger Reserves. The TCUs in tropical moist evergreen forests represent the less common tiger habitats, being largely limited to the upland areas and wetter parts of the Western Ghats, and include the tiger reserves of Periyar, Kalakad-Mundathurai, Bandipur and Parambikulam Wildlife Sanctuary.
Managed to get some new Redpoll pictures yesterday, despite the snow. I love these little guys!
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Bruce Decoteau (Williams) , KellyLynn Bentz (BBL/Skanska), and Neil Davis (Skanska) inspecting progress
Featuring:
David Wachter - Managing Partner, W Capital Partners
Raj Chall - Principal, Secondary Investments, Hamilton Lane
Nicolas Schellenberg - Managing Director, Cambridge Associates
Gabriel Möllerberg - Head of Vintage Strategies, EMEA, Goldman Sachs
John Carter - Managing Partner, Hollyport Capital
Moderator
Janet Heckman
Managing Director SEMED, Cairo, EBRD - Cairo
Speakers
Ahmed El Alfi
Chairman of the Board, Sawari Ventures
Basil El-Baz
CEO & Chairman, Carbon Holdings
Malek Fawaz
Advisor to the Minister, Ministry for International Cooperation
Ashraf Ghazaly
CEO, NI Capital
Terje Osmundsen
Senior Vice President, Scatec Solar
BLM managed lands around Fredonyer Peak offer panoramic views of Eagle Lake and surrounding valleys.
Photo by Jesse Pluim, BLM.
Managing Partner Maxus where she leads the L’Oréal team giving an inspirational talk to our students
Delegates from eight countries from Africa and the Middle East with Vijay Dev, Delhi’s Chief Electoral Officer. [Photo: Zubeni Lotha/UNDP India]
As a part of the MSc in Marketing & Creativity programme at ESCP Europe Business School, students complete a module named 'Managing For Social Impact'.
During the module, the students are challenged to employ their marketing and management skills to develop creative solutions for a better world, working alongside social entrepreneurs either in the UK or in the context of an emerging economy.
Students are offered the choice between taking part in one of two experiential-learning missions overseas or completing a London-based social consultancy project with an organisation closer to home. Previous year groups have travelled to Uganda and worked with grassroots organisations to develop revenue-generating businesses and to build local competences; they have also worked during term time with a range of organisations on issues such as international microcredit, disadvantaged child and orphan care, corporate transparency and social entrepreneurship.
These pictures are from a project completed in the Philippines. Student Miguel J Saavedra has written a report on the trip, which you can read here: escpeuro.pe/1JOBDbP
This was a late-day session just west of the Eden Shores housing development. I have photographed this area a few times and have been drawn back by the colors and textures of what I believe are old duck hunting ponds next to Eden Shores. These ponds fill seasonally with rainwater and then dry out during our summers. This session caught them before our fall rains arrived so they are empty and dry. As I read it, residual salt from the Baumberg salt plant, which operated here into the 1950s, is still present in quantities that support halophiles and these lend interesting colors to the soil and mud. The area also has low-slung levees with interesting visual features, subtle curves, and intersections with levee top widths that vary curiously. I often wonder how old they are and how they came to be like this.
Just west of the fallow duck ponds is a small group of three former salt ponds. By the look of them, they were part of the crystallizer bed system for the Baumberg salt plant. Now part of the Eden Landing Ecological Reserve they are designated the North Creek Managed Pond. Like the duck ponds, these former salt ponds seem to fill with the winter rains and evaporate dry during the summer. During this photo session, they were dry except for a shallow pool in the northernmost pond. The middle pond displayed a large field of buckled gypsum.
I lost a portion of this photo session, images of Salt Pond E6A and Eden Shores, due to a camera cradle failure. The IR LED that my radio control system uses to fire the Canon camera’s remote shutter became misaligned. It is the first malfunction in quite a few years and easily remedied.
I am taking these documentary photographs under a Special Use Permit from the California Department of Fish & Wildlife. Kite flying is prohibited over the Eden Landing Ecological Reserve without a Special Use Permit.
Managing Euro-Atlantic and Asia-Pacific Security
Dr Lynn Kuok, Shangri-La Dialogue Senior Fellow, IISS-Asia; Editor, Asia-Pacific Regional Security Assessment
Oleksii Reznikov, Minister of Defence, Ukraine
Cui Tiankai, Former Vice Minister, Ministry of Foreign Affairs, China
Andi Widjajanto, Governor, National Resilience Institute, Indonesia
Kajsa Ollongren, Minister of Defence, The Netherlands
Captain Sir Thomas Moore (30 April 1920 – 2 February 2021), more popularly known as Captain Tom, was a British Army officer and fundraiser. He made international headlines in April 2020 when he raised money for charity in the run-up to his 100th birthday during the COVID-19 pandemic. He served in India and the Burma campaign during the Second World War, and later became an instructor in armoured warfare. After the war, he worked as managing director of a concrete company and was an avid motorcycle racer.
On 6 April 2020, at the age of 99 during the first COVID-19 national lockdown, Moore began to walk 100 lengths of his garden in aid of NHS Charities Together, with the goal of raising £1,000 by his 100th birthday on 30 April. In the 24-day course of his fundraising, he made many media appearances and became a household name in the UK, earning a number of accolades and attracting over 1.5 million individual donations.
In recognition of his efforts, he received the BBC Sports Personality of the Year Helen Rollason Award at the 2020 ceremony. He performed in a cover version of the song "You'll Never Walk Alone" sung by Michael Ball, with proceeds going to the same charity. The single topped the UK Singles Chart, making him the oldest person to achieve a UK number one.
On the morning of Moore's 100th birthday, the total raised by his walk passed £30 million, and by the time the campaign closed at the end of that day had increased to over £32.79 million (worth almost £39 million with expected tax rebates). His birthday was marked in a number of ways, including flypasts by the Royal Air Force and the British Army. He received over 150,000 cards, and was appointed as honorary colonel of the Army Foundation College. On 17 July 2020, he was personally knighted by Queen Elizabeth II at Windsor Castle. He died in 2021 aged 100, at Bedford Hospital, where he was taken after being treated for pneumonia and then testing positive for COVID-19.
Irony of his story is he most likely died after taking the CV19 vaccination.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Managing Director Kristalina Georgieva conducts a virtual meeting with all of the European Union Finance Ministers during the 2020 Annual Meetings at the International Monetary Fund in Washington, DC, on October 12, 2020. IMF Photo/ Cory Hancock
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George Street Playhouse Managing Director Kelly Ryman speaks at the Spotlight Conference on Opiod Abuse and It's Impact On Teens and Families presented by the George Street Playhouse at Rutgers University in New Brunswick, N.J. on Tuesday, Sept. 25, 2018. (Office of the Attorney General / Tim Larsen)
Managing Director of Mount Gay Distilleries, Mr. Raphael Grisoni, Esq. finds time for an interview after completing the race with The Spirit of Juno.
Photo Credit: Grantley Sealy
Alison Kennedy, Strategy Lead, ASEAN; Managing Director, Accenture, Singapore captured at the World Economic Forum on ASEAN in Kuala Lumpur, Malaysia, June 1, 2016. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
Mr. Mukesh Agarwal, Managing Director of Paramount Group; Mr. Cord Meier-Klodt, Minister and Deputy Chief of Mission, German Embassy; Mr. Manfred Seitz, Group Chairman, Aluplast Group, Germany and Mr. Ashwani Prakash, Executive Director Paramount Groups at Signing Ceremony Of Mou Between Paramount & Aluplast Pictures
How Honduras managed to carry out genomic sequencing for the first time
June 2023
When microbiologist Soany Ávilez was selected to implement the genomic sequencing of the SARS-CoV-2 virus in Honduras, she was amazed. In the wake of the pandemic, Soany had started working at the National Virology Laboratory in 2020 performing PCR tests. At that time, genomic sequencing to detect circulating variants of the virus that causes COVID-19 was carried out outside the country. But a project to provide Honduras with the capabilities to do it in situ and obtain faster results was being developed with technical support from the Pan American Health Organization (PAHO) and financial support from the United States Government.
Although she lacked knowledge on the subject, Soany remembers that she longed for the opportunity to work in sequencing. "When they chose us (her and her partner Karla Romero) to implement sequencing in the country and move the area forward, I couldn't believe it," she says.
Genomic surveillance allows us to know the evolution of viruses and other pathogens as they change over time. Knowing those changes or mutations that can modify its transmissibility and severity, allows us to guide public health measures. During the pandemic, it was a key strategy to monitor the behavior of SARS-CoV-2 and a technique that is being integrated into the surveillance of other pathogens.
Karla Romero, the other microbiologist in charge of genomic surveillance, acknowledges that the implementation of sequencing in Honduras has been "a great challenge" that required a lot of "sacrifice and commitment" both inside and outside the laboratory.
The sequencing area had to be created from scratch. In 2022, the authorities selected and conditioned a space within the National Virology Laboratory. With the support of PAHO, a sequencer, supplies, reagents, and furniture were purchased, and Soany and Karla were trained in bioinformatics and genomic sequencing at the Gorgas Memorial Institute in Panama.
“All with the aim of strengthening the capacities for genomic surveillance of SARS-CoV-2 and other pathogens in Honduras,” says Gabriela Rodriguez Segura, coordinator of the PAHO Project for the Consolidation of Genomic Sequencing Capacities in Honduras. Before these capacities were created at the local level, samples to determine the variants circulating in the country were sent to the laboratories of the Regional Network for Genomic Surveillance of COVID-19 (COVIGEN) created by PAHO to support countries without capacity to carry out sequencing in its territory.
In March 2023, the effort paid off and excitement took over the National Virology Laboratory when, after several attempts, the first sequencing of SARS-COV-2 in the country was successfully carried out. “We couldn't believe it,” says Soany. "We feel very happy because it was a great challenge and the result made us feel fulfilled."
On March 21, 2023, the results were obtained and it was the first time that the XBB sublineage of the omicron variant was detected in the country and by Honduran health professionals. For Karla, the key was “not to give up in the face of the biggest challenge”.
"It is a milestone for the country that genomic sequencing is being carried out," says Dr. Mitzi Castro, head of the National Health Surveillance Laboratory of Honduras. “It is a historic moment because we are starting from here to carry out future genomic surveillance of other pathogens of sanitary interest to the country,” she adds.
According to Dr. Castro, the country now has state-of-the-art technology. "The laboratory is at the forefront, and that is a success and a source of pride, for which we thank all those who have contributed their bit so that Honduras is not left behind."
Gim Huay Neo, Managing Director, Centre for Nature and Climate, World Economic Forum, Olivier M. Schwab, Managing Director, World Economic Forum, Saadia Zahidi, Managing Director, World Economic Forum, Francois Bonnici, Director, Schwab Foundation for Social Entrepreneurship; Head of Foundations, World Economic Forum, Johanna Mair, Professor of Organization, Strategy and Leadership, Hertie School, Germany speaking in the A Multistakeholder Approach to Systems Leadership session at the Schwab Foundation and Global Alliance Annual Summit 2023 in Geneva, Switzerland, 15 June 2023. World Economic Forum Headquarters, Plenary Tent. Copyright: World Economic Forum/Pascal Bitz