Renault Avantime offers an outstanding level of illumination thanks to the generous glazed surface and a panoramic glass sunroof. One press of the Open Air button opens all the windows to give a feeling of freedom hitherto reserved for cabriolet owners.

 

Renault Avantime built BY Matra

The Renault Avantime (2001-2003) was a one-box design without door pillars and set out to woo the motorist to take advantage of the space and design of an MPV with the style of a 2+2 coupe.

 

The name combines the French word 'Avant' (meaning "ahead") and the English word 'time'.

 

The original idea "CoupéSpace" came from Matra which had a hand in its development, and was designed by Patrick Le Quement. Renault wanted the wowfactor with this model and threw in some remarkable features including a grand-air button which opened windows and sunroof at the same time.

 

There was also a clever double hinge system on the long side doors which facilitated easy car park access without having to take up two spaces.

 

Windows featured poweroperated sunshades and the rear seats were higher than the front giving theatre style accommodation.

 

But like so many cars ahead of their time, the Avantime's sales were poor and when Matra decided to pull out of the automotive production business in 2003 (partly as a result of the financial loss incurred by the poor sales of the Avantime), Renault chose to discontinue the Avantime rather than move its production elsewhere.

 

Only 8,557 Avantime's were built. The problem was that many drivers associated the one-box shape with boring MPVs or utility vehicles and never gave the Avantime the chance it so deserved.

Dental implants offer the opportunity to permanently replace lost or missing teeth. Once installed, dental implants look and function just like your natural teeth. Many people only consider the aesthetic benefits of dental implants, but there are plenty of health benefits that come with this advanced dental procedure. If you’d like to learn more about full mouth dental implants, schedule a consultation today at Envision a Smile, online or over the phone.

 

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Emirates Airlines will begin nonstop daily service from Dubai, United Arab Emirates, to San Francisco International Airport in October, San Francisco Mayor Gavin Newsom has announced.

 

The Dubai-based airline will be the first airline to connect the two cities, using a Boeing 777-200LR for the 16-hour flight, according to Newsom's office. The aircraft can seat up to 266 passengers for the 8,103-mile flight.

 

"It's my pleasure to welcome Emirates to San Francisco," Newsom said. "We know this will be a long and advantageous relationship between two of the leading tourism centers of the world."

 

Emirates Airlines serves 99 cities in 62 countries across the Middle East, Africa, the Indian subcontinent, Europe, the Far East and four destinations in North America, Newsom's office reported. The airline's other U.S. destinations are New York, Houston and Los Angeles.

 

"There is a strong demand for connections the between the San Francisco Bay Area and both the Middle East and Indian subcontinent," Chairman and Chief Executive of Emirates Airlines and Group HH Sheikh Ahmed bin Saeed said in a statement. "We see San Francisco as an integral part of our network development."

In the game of thrones that is the Android OEM area, Chinese smartphone maker Oppo’s star is rising. It said today it offered 50 million smartphones in the comprehensive 12 months 2015 — a progress price of 67 for every cent, 12 months more than 12 months.

The product sales spurt propelled i...

 

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Spokes

 

June 6 - August 31, 2008

 

Upper Gallery

 

Spokes

 

Though propelled by legs rather than engines, bicycles are, of course, two-wheelers also. To the rider, whether a young person traversing the neighborhood, an adult for recreation and exercise, or an avid racer on a strenuous trek, the soul may be just as moved. In conjunction with Summer of Cycles, the Center offers Spokes, a companion exhibit that celebrates the bicycle in works of art and as works of art. Well-known featured artists include Tony Ortega, Phil Bender, Brenda Vang, Justin Beard, Zack Smith, Melissa Moore, and Paul Yalowitz.

Palolem Beach Resort is conveniently located in the popular Canacona area. The hotel offers a wide range of amenities and perks to ensure you have a great time. Restaurant, laundry service/dry cleaning, airport transfer, bar/pub, safety deposit boxes are on the list of things guests can enjoy. The well-appointed guestrooms feature complimentary bottled water, balcony/terrace, air conditioning, satellite/cable TV, shower. Recuperate from a full day of sightseeing in the comfort of your room or take advantage of the hotel’s recreational facilities, including garden, massage. Discover all South Goa has to offer by making Palolem Beach Resort your base.

  

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Kokonut Suites offers a unique experience through luxurious and spacious suites in fashionable Seminyak, one of Bali’s most sought after areas.

 

The one and two-bedroom suites each come with a private balcony and are set upon 5000 square metres of tranquil land. They are designed in a modern tropical style with delightful Balinese backdrop of rice fields and coconut trees, as if stepping back in time and relaxing with the most up-to-date facilities. These facilities include a uniquely shaped swimming pool, resort spa, open concept Suka Suka Restaurant, bar and pool lounge, gym, and large parking area.

One Bedroom Suite - Room details

 

* Location - Three-level building

* View - Overlooking swimming pool and agricultural backdrop

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* Extra bed (by request) - For children under 12 years old

* Living Room

* Fully equipped kitchen, dining table, single sofa, long sofa, lazy chair.

* Bathrooms - Combined shower and bathtub

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. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!

If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.

_____________________________________

 

The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").

 

The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

 

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

 

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

 

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.

 

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

 

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to

 

CHRISTIANITY

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

 

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

 

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

 

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

 

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

 

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

 

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

 

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.

 

RELIGIOUS AFFILIATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

 

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

 

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

 

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

 

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

 

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

 

Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.

 

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

 

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

 

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

 

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

 

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

 

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

 

DANCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

 

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

 

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

 

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

 

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .

 

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

 

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

 

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

 

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

 

Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

 

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

 

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

 

WIKIPEDIA

. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!

If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.

_____________________________________

 

The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").

 

The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

 

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

 

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

 

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.

 

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

 

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to

 

CHRISTIANITY

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

 

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

 

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

 

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

 

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

 

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

 

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

 

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.

 

RELIGIOUS AFFILIATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

 

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

 

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

 

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

 

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

 

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

 

Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.

 

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

 

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

 

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

 

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

 

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

 

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

 

DANCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

 

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

 

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

 

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

 

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .

 

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

 

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

 

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

 

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

 

Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

 

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

 

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

 

WIKIPEDIA

Kokonut Suites offers a unique experience through luxurious and spacious suites in fashionable Seminyak, one of Bali’s most sought after areas.

 

The one and two-bedroom suites each come with a private balcony and are set upon 5000 square metres of tranquil land. They are designed in a modern tropical style with delightful Balinese backdrop of rice fields and coconut trees, as if stepping back in time and relaxing with the most up-to-date facilities. These facilities include a uniquely shaped swimming pool, resort spa, open concept Suka Suka Restaurant, bar and pool lounge, gym, and large parking area.

One Bedroom Suite - Room details

 

* Location - Three-level building

* View - Overlooking swimming pool and agricultural backdrop

* Décor - Featuring modern minimalism with simple modern furnishings, sensuous colours, and exotic ambience that personifies Indonesian art and luxury.

* Beds - King size

* Extra bed (by request) - For children under 12 years old

* Living Room

* Fully equipped kitchen, dining table, single sofa, long sofa, lazy chair.

* Bathrooms - Combined shower and bathtub

* Maximum King size and 1 twin bed

* occupancy 2 adults and 1 child

 

Please Visit our Official Website: www.bali-individually.com/hotels.If you have questions or need assistance with a reservation, please call or click to chat online or send us e-mail for inquiry, the best price and packages: sales@bali-individually.com | Telp. +62 - 361-7415637 | text message: +62-81338579071 | facebook:http://www.facebook.com/pages/Bali-Hotel-Reservation/136414357516

     

March 2012.

 

 

The Offerings of Peace by Gilbert Bayes (England 1872–1953).

Art Gallery of New South Wales

Cast in London and installed in 1926.

  

The inscription reads: 'The real and lasting victories are those of peace and not of war.'

 

Peace offers the Arts and Plenty, which is represented by Greek comic and tragic masks, a lyre and some fruits.

  

  

From Wikipedia:

  

The Art Gallery of New South Wales (AGNSW), located in The Domain in Sydney, New South Wales, Australia, was established in 1897 and is the most important public gallery in Sydney and the fourth largest in Australia.

Admission is free to the general exhibition space, which displays Australian (from settlement to contemporary), European and Asian art.

 

In 1895, the new Colonial Architect, Walter Liberty Vernon (1846–1914), was given the assignment to construct a gallery. As a temporary measure, John Horbury Hunt, a private architect, had designed a small brick structure, built in 1885, to temporarily house the collection. This building, which was dwarfed by the new gallery when it opened in 1897, remained to the rear of the new gallery until it was demolished in 1969 to make way for the extensions.

 

The first two picture galleries were opened in 1897 and a further two in 1899. A watercolour gallery was added in 1901 and in 1902 the Grand Oval Lobby was completed.

 

In 1958, the gallery was renamed The Art Gallery of New South Wales under a new act of that name.

 

In 1968, the New South Wales Government decided that the gallery would be extended as a major part of the Captain Cook Bicentenary celebrations. As a result, the "Captain Cook wing" was built and opened to public in November 1970. New gallery space was provided in five storeys behind the original classical façade, increasing the racking space to 1.25 linear kilometres, with a new café, a sculpture courtyard and administrative offices. The extensions were designed by Andrew Andersons of PTW Architects and constructed of grey rough concrete.

 

More recently, as part of the "Open Museum" project, sculptures have been positioned along the entry road. On 23 October 2003 a new Asian Arts wing was opened. It was designed by Sydney architect Richard Johnson and included alterations to the original Asian gallery, a new temporary exhibition space above the Art Gallery’s entrance foyer, new conservation studios, a café, a restaurant and dedicated function area. In 2003 the gallery also extended its opening hours until 9pm on Wednesday nights.

  

Although the majority of Vernon's buildings are in the Arts and Crafts style, the 1897 building was built in a conservative classical tradition.

The facade has a central block with extending wings each terminating in a bow-fronted colonnaded pavilion. The central block is marked by a Neo-Classical portico with six columns of the Ionic order, the penultimate example of the neo-Greek temple as a portico for a major public institution in Sydney, the last being Vernon's building of similar design for the nearby State Library of New South Wales.

It was built of Sydney sandstone (yellowblock) from the Saunders quarries at Pyrmont.

 

The windowless wings and end pavilions are emblazoned along the cornice with the names of old master painters and sculptors. In a series of panels beneath, are an incomplete set of bronze relief sculptures by a range of different sculptors and symbolising the contribution to art by ancient civilisations. Those complete show significant scenes in the art history of Rome, Greece, Assyria and Egypt.

 

The portico leads into a vestibule designed by James Barnet, and reportedly "derived from Raphael's Villa Madama in Rome (c. 1520). The design and detailing of the cornices and arches of the foyer are described as" especially fine and unusual".

The foyer is illuminated by a leadlight dome, and has niches in the walls containing a collection of sculptured busts.

 

The older rooms of the gallery extend to the right of the foyer, and have been maintained in late-19th century style, to display the gallery's collection of early European, 19th century and Australian Impressionist works. The later extensions to the building are on five levels and contain a central long gallery giving access to other parts of the building, multi-purpose and specialised exhibition spaces, services such as lifts and escalators, restaurants, shops, terraces, a sculpture garden and windows with extended views of the harbour.

The Volcanic Tablelands offers exceptional bouldering opportunities, because of its unique geologic features formed by the cataclysmic volcanic eruption of the Long Valley Caldera 750,000 y.a. which left a highly dissected landscape of Bishop Tuff. Through time, this once barren tableau has evolved to support a unique and fragile environment that takes a keen eye and time to appreciate. The Volcanic Tablelands is situated at the ecological cusp of the Northern Mojave and Great Basin floristic Provinces where plants and associated wildlife species combine to make this an unusual and biologically diverse landscape. It has taken millennia for this environment to evolve and it will take responsible recreational users to preserve it into perpetuity - so enjoy and protect this place. In the early 90 s, the Tableland was visited only by local climbers. By the late 90 s, thousands of climbers were coming from all over the world to try out their climbing skills on the many boulder problems the Tableland has to offer. With this dramatic increase in use, the BLM and the local climbing community has developed a climbing management philosophy to protect the natural resources while preserving access to climbing opportunities. The Happy drainage and Sad drainage are located along the Inyo-Mono County line, approximately 7 miles north of Bishop, California. Both drainages are oriented in a north-south direction extending north from the Owens Valley. The crest of the Sierra Nevada of 14,000 ft (4,265 m) lies 16 miles (27 km) to the southwest, and the crest of the White mountains of 12,500 ft (3,800 m) is 11 miles (18 km) to the east. Both areas are in the transitional zone between cold semi-deserts of the Great Basin to the northeast and the hotter Mojave to the south.

 

Photo by Jesse Pluim, BLM.

Phoenix Pro Theater offers a theatrical experience brought to your living room. Sitting in the comfort of your home, you can sense the real feeling of watching a movie in an enriched theater. Any movie of choice, available in your PC or laptop, can be played in Phoenix Pro Theater.

 

store.steampowered.com/app/1727320/Phoenix_Pro_Theater_Me...

 

Phoenix Pro Theater, elevates you to the ownership of a personal theater. The ambiance excels to that of a real theater. The player is provided with all facilities to choose and play any movie available in your system. It is meticulously designed to cater to your taste, comfort and convenience.

In order to improve the ambiance and magnificence of the theater, facilities have been provided to customize the theater to your liking.

To the viewers’ delight, Phoenix Pro Theater offers surround sound, animated audience captured to visualize real life situation. The theater ambiance light mimics and adjusts to that of the brightness and color tone present in the movie played. The Theater is illuminated with pleasing lights, and movie can be watched either with the lights on or off, as per the liking of the viewers.

 

An array of choices offered are

(i) Selection of seats, in six Zones viz. Front (Left, Middle or Right) or Rear (Left Middle or Right),

(ii) 15 types of Leather Seat Upholstery,

(iii) Movie Brightness can be increased,

(iv) Choose from any one of the 6 Colors of lights displayed on Side Walls,

(v) Color tone of the movie played can be changed

(vi) Individual Color Theme, wherein the viewer can change the color of the dresses of all the characters in the movie offering a very unique experience not found in any main stream video player.

An impressive Control Panel has been provided to enable the viewer to select and exercise all available options and between choices. The LCD panel displays options selected.

Technically, Phoenix Pro Theater supports 12 video formats. It also supports vertical video playback plus video rotation and flip options. It is Full HD, 4K & 8K supported, making it future ready. The Auto resume option, remembers the last played scene and resumes playback from the last played position.

Ideally, the viewers’ long search for an ultimate theater is likely to stop at “PHOENIX PRO THEATER”.

 

Supported formats : mp4, mov, avi, mkv, wmv, m4v, webm, flv, vob, ogg, mpg, 3gp

  

Download on Steam !

 

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Offer

Train Chartering offers the private charter of El Expreso de la Robla, whilst the Luxury Train Club and Private Rail Cars cater for individuals and smaller groups.

 

The train, which combines a vintage design with modern amenities, has three lounges and four couchette wagons.

 

Each compartment has its own fully-equipped bathroom, air-conditioning and all the latest technical features.

 

It is designed for the passenger to enjoy the pleasure of travelling and to watch the beautiful countryside along the route through the train's large windows.

 

At night, the train stops at one of the stations so that the passengers can spend a pleasant evening on or off the train and can get a good night's sleep.

 

A coach is always provided to take the passengers to those spots not immediately on the train's route. A guide also accompanies the passengers and points out hidden gems along the route.

 

Breakfast is served on board the train every morning, which is when it sets off along the next stage of the route, so that the pleasure of breakfast is intensified by the spectacular landscapes of northern Spain.

 

Lunch and dinner are served at previously selected restaurants serving local cuisine.

 

Hotel Provincial

 

In a city distinguished internationally for the charm and hospitality of its venerable French Quarter, there exists a secluded, intimate hotel that offers its guests yet another dimension to the Vieux Carre experience. The Hotel Provincial, although conveniently located near all the desirable historic and tourist attractions of downtown New Orleans, also offers its visitors the serenity and unique style reserved for the private, residential section of the French Quarter.

 

Listed on the National Register of Historic Places, and locally owned by the Dupepe family since 1961, this hotel is valued as an architectural gem, and features modern amenities housed within a compound of meticulously restored historic structures. The beautifully appointed lobby area, lush tropical courtyards and carefully restored outbuildings offer the perfect place for enjoying a relaxing family vacation, planning a social or corporate event, or celebrating a memorable destination wedding.

 

Discover New Orleans hospitality at its finest at Hotel Provincial—a special place that successfully combines a welcoming family atmosphere with the amenities only an experienced, professional staff can offer.

 

•Address: 1020-1022 Chartres St.

•Significance Rating: Orange, unrated 20th century construction

•Building Type: Commercial

•Current Style: Modern / Faux Historical

•Square Number: 20

•National Landmark: No

•Primary/Secondary Use: Primary

•Easement: No

•Square: 20

•Lot Number: 22740

 

Property Info

 

•Vieux Carré Commission Evaluation: No change: orange. Provincial Motor Hotel (Nolan, Nolan and Nolan, original architects; Donald Zimmer, addition), constructed c. 1963 on the site of a c. 1903 ice house.

oOrange Portion of Building: Main Material: Masonry

Note: partially of Wood; Provincial Motor Hotel

•Dimensions (Dimensions run CCW)

oFrontage: 33' 4" 4'''

oSide 2: 63' 11" 0'''

oSide 3: 3' 2" 1'''

oSide 4: 63' 11" 3'''

oSide 5: 30' 1" 0'''

oSide 6: 127' 10" 6'''

 

Chain of Title

 

Last Update: Wednesday, October 1st 1980

 

•Wednesday, July 8th 1959

oRecord Source: COB

oVolume: 630

oPage: 285

oRecord Type: [sale?]

oAuthority: Brittmar P. Landry (Notary)

oAuthority Date: Not Given

oFrom: French Market Ice Manufacturing Company of New Orleans, Limited

oTo: Provincial Motels, Inc.

•Wednesday, April 29th 1903

oRecord Source: COB

oVolume: 191

oPage: 321

oRecord Type: [sale?]

oAuthority: P. J. Patorno (Notary)

oAuthority Date: Not Given

oFrom: Marie Ursule Soloy

oTo: French Market Ice Manufacturing Company of New Orleans, Limited

oBrief Description: Original Act: 3/75

•Tuesday, January 4th 1887

oRecord Source: COB

oVolume: 126

oPage: 994

oRecord Type: [sale?]

oAuthority: H. Fourcelle (Notary)

oAuthority Date: Not Given

oFrom: Marie Anne Trope

oTo: Marie Ursule Soloy Guilhauma Francingues

•Wednesday, January 1st 1879

oRecord Source: Unknown

oRecord Type: succession

oAuthority Date: Not Given

oFrom: Pierre Noel Canton

oTo: Marie Ann Trope Canton

oBrief Description: Inherited. [No date given.]

•Monday, July 1st 1878

oRecord Source: COB

oVolume: 111

oPage: 581

oCourt#: 9160

oRecord Type: sheriff’s sale

oAuthority: 5th District Court (Court)

oAuthority Date: Not Given

oFrom: Joseph Girod

oTo: Pierre Noel Canton

oBrief Description: From Joseph Giron in the suit of “Pierre Noel Canton vs. Joseph Girod.”

•Monday, July 12th 1852

oRecord Source: COB

oVolume: 58

oPage: 30

oRecord Type: survey

oAuthority: A. Mazureau (Notary)

oAuthority Date: Not Given

oBrief Description: Original Act: 43/167 Survey-sketch by L. Pilie, dated July 2, 1852, annexed to this act.

•Monday, June 28th 1852

oRecord Source: COB

oVolume: 55

oPage: 696

oRecord Type: [sale?]

oAuthority: A. Mazureau (Notary)

oAuthority Date: Not Given

oFrom: Pierre Laurans

oTo: Joseph Girod

oBrief Description: Original Act: 42/555A Pierre Laurans had three children: William Laurans, Mme. Louisa Laurans, wife of Auguste F. A. Garnier, and Mme. Marie Julie Adele Laurans, wife of Alphonse R. J. Martin Lavalle. The latter daughter died, but left two children: Marie J. A. Martin Lavalle, and Pierre Martin Lavalle. The two living children inherited one-third each of their father’s estate and the two grandchildren inherited each one-half of their deceased mother’s one-third. These same heirs were entitled to the same rights, and in the same proportion in the share and interest of their mother and grandmother, Mme. Julie Beauvais Laurans, wife of Pierre Laurans, by virtue of the donation inter vivos made by her to them by an act passed before Philibert L. Turguet and Philippe A. Beaufeu, Paris Notaries, August 31, 1846.

•Friday, January 19th 1838

oRecord Source: Original Act

oVolume: 63

oPage: 32

oRecord Type: partition

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Friday, January 19th 1838

oAgent/Single Party Act/Other: Jean Roques Marie Adeline Prudhomme Julie Beauvais Pierre Laurans

oBrief Description: Act of Partition between Mme. Julie Beauvais, wife of/and Pierre Laurans, and Mme. Marie Adeline Prudhomme, wife of/and Jean Roques. With the two houses constructed thereon. There has been constructed, according to this act, a party wall fixing the limits of the properties partitioned which had belonged to Pierre Laurans and his wife Julie Beauvais, and to Jean Roques and his wife, Marie Adeline Prudhomme, to whom the whole of the property partitioned in this act had belonged, one undivided half to each husband and wife. By this act Jean Roques and wife become sole owners of the property fronting on Levee Street, and Pierre Laurans and his wife become sole owners of this property fronting on Conde (Chartres) Street. Plan annexed to this act.

•Tuesday, April 5th 1831

oRecord Source: Original Act

oVolume: 14

oPage: 302

oRecord Type: survey

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Tuesday, April 5th 1831

oBrief Description: Excellent survey-sketch by L. Pilie, dated March 23, 1831, annexed to this act. Includes Lots No. 22739 and 22740-B. Note: Here this lot becomes part of a larger portion of land running the depth of the entire square from Chartres to Decatur streets, comprising present-day Lots NO. 22740, 22740-B, 22739, 22727, 22723, 22724, 22725 and 22726.

•Monday, January 5th 1829

oRecord Source: Original Act

oVolume: 6

oPage: 14

oRecord Type: [sale?]

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Monday, January 5th 1829

oRelated Lot: a) 22727

oRel. Lot Note: a) (interior lot)

oFrom: Angelique Pauline Carrick; Adeline Segond

oTo: Jean Roques; Pierre Laurans

oBrief Description: A lot of ground, on Levee Street, opposite in one part to the steam water works and the vegetable market, between St. Philip and Ursuline streets, having frontage on one side on Levee Street, and on the other side fronting on Conde (Chartres) Street, measuring F.M. 90' 2" front on Levee Street, keeping this width for a depth of 177' 10" on the line separating it from the lot belonging to l’Eveche, then widening 1' on the same side on the line that separates it from the property of J. Marcos and the Nuns of the Ursuline Convent, and measuring 165' as far as Conde (Chartres) Street, with a front footage on Conde Street measuring 94' 4" and maintaining this width for a depth of 60' on a line separating it from the property of Soniat Dufossat extending as far as the limits of Mr. Gillet’s property, then closing 3' and continuing this way for 282' 4" along the line that separates the property of Soniat Dufossat and that of Gillet as far as Levee Street; said lot of ground has from one street to the other 342' 10" depth on the line bordering that of l’Eveche, Marcos, and the Ursuline Nuns (Ursuline Street side) and 342' 4" on the line bordering the Widow Visosos, Mr. Cyprien Gros, R. Otero, Blineau, the Succession of Gayarre, Gillet, and Soniat Dufossat. With all buildings thereon constructed. Note: Excellent plan of the whole square, showing ownership as of this date and clearly delineating the area and footage of this lot, drawn by Joseph Pilie, dated December 24, 1827, annexed to this act. “The lot and buildings presently sold belong to the vendors in the following manner: To Mme. Angelique Pauline Carrick, wife of Andrew Lockhart, a portion measuring 32' 3" front on Conde Street by 123' in depth, bounded on one side by the property of the Ursuline Nuns and on the other side by the property of the Widow Carrick, as making part of the payment of the lot that had been constituted by her mother Mme. Carrick, has ascribed access on the rights of heritage in the Succession of the late James Carrick, her father, given to her before his death, thus it belongs to the contract of marriage passed between the said Mme. Lockhart and Andrew Lockhart, before Marc Lafitte, Notary, December 22, 1823, in which marriage contract it had been stipulated by the contracting parties, Article 3, that it would be allowed the future wife, with the authority of her future husband, and the said future husband with the consent of the said future wife, to sell and alienate the properties given in the said contract to the future wife to the tile of the dotal settlement, even as all other that will belong to them in the future with all personal responsibility, who accepts the responsibility. To Mme. Widow Carrick the remainder of the lot and buildings presently described and sold belong, as being part of the goods belonging to the Succession of James Carrick, her late husband, which she inherited jointly with her daughter, Mme. Lockhart, and a small portion of 3' 3" front on Chartres Street by 64' of depth, A.M., by means of the acquisition she made from Mme. Rosalie Segund, widow of Pierre Sauve. Mr. James Carrick had become proprietor of the whole of said lot of ground and buildings, with the exception of the 3' previously mentioned, by means of an acquisition which he had made during his lifetime of M. Elias Beauregard.”

•Thursday, September 27th 1827

oRecord Source: Unknown

oRecord Type: [sale?]

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Not Given

oFrom: Rosalie Segond

oTo: Adelaide Segond

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. A lot measuring, A.M., 3' 3" front on Conde (Chartres) Street by 64' of depth, bounded on one side by property of the purchaser and on the other side by property of Joseph Soniat Dufossat. This property belonged to Mme. Sauve, in common with her children, by virtue of the Succession of her husband, Pierre Sauve, who, during his lifetime, acquired it with a larger lot of ground.

•Saturday, August 3rd 1822

oRecord Source: Court

oRecord Type: succession

oAuthority: Probate Court (Court)

oAuthority Date: Not Given

oFrom: Pierre Sauve

oTo: Rosalie Segond Sauve

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Inherited from the Succession of her husband.

•Tuesday, April 20th 1819

oRecord Source: Original Act

oVolume: 17

oPage: 222

oRecord Type: succession; sale

oAuthority: M. de Armas (Notary)

oAuthority Date: Tuesday, April 20th 1819

oFrom: Lancelot Pearson

oTo: Pierre Sauve

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'.

•Tuesday, May 7th 1811

oRecord Source: Unknown

oRecord Type: [sale?]

oAuthority: Narcisse Broutin (Notary)

oAuthority Date: Not Given

oFrom: Simon Ducournau

oTo: Lancelot Pearson

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot forming the corner of St. Philip and Conde streets, the whole of which tract is bounded by the property of M. Launda [sic] on one side and by the property of the Succession of James Carrick on the other, on which lot is a principal house and two small houses of brick between posts, and with other buildings in the courtyard.

•Monday, December 19th 1808

oRecord Source: Original Act

oPage: 524

oRecord Type: [sale?]

oAuthority: Narcisse Broutin (Notary)

oAuthority Date: Monday, December 19th 1808

oFrom: Edmond Forstall; Edouard Forstall

oTo: Simon Ducournau

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'.

•Monday, December 19th 1808

oRecord Source: Original Act

oPage: 523

oRecord Type: [sale?]

oAuthority: Narcisse Broutin (Notary)

oAuthority Date: Monday, December 19th 1808

oFrom: Jeanne Darby

oTo: Edmond Forstall Edouard Forstall

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. A lot of ground at the corner of Conde and St. Philip streets, bounded by properties of Larionda and heirs to James Carrick, with a principal house and two smaller houses constructed of brick between posts, also other buildings in the courtyard.

•Thursday, January 1st 1807

oRecord Source: Unknown

oRecord Type: succession

oAuthority Date: Not Given

oFrom: Jean de la Villebeuvre

oTo: Jeanne Darby de la Villebeuvre

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Inherited from the Succession of her husband.

•Friday, June 27th 1800

oRecord Source: Original Act

oVolume: 37

oPage: 416

oRecord Type: [sale?]

oAuthority: Pierre Pedesclaux (Notary)

oAuthority Date: Friday, June 27th 1800

oFrom: Elias Beauregard

oTo: Santiago Carrick

oBrief Description: “Lot of ground measuring 89' to 90' in front, all the way to the back, bounded on one side by the property of His Majesty, and on the other by the property of the Widow Visoso. The property belongs to Elias Beauregard by means of an inheritance from the Succession of his mother, Dona Magdaline Cartier.”

•Tuesday, January 1st 1799

oRecord Source: Unknown

oRecord Type: succession

oAuthority Date: Not Given

oFrom: Magdalina Cartier

oTo: Elias Beauregard

oBrief Description: Inherited from the Succession of his mother. [No date given.]

•Wednesday, February 22nd 1775

oRecord Source: Unknown

oRecord Type: [sale?]

oAuthority: Juan B. Garic (Notary)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Antonio Beauregard

oBrief Description: Neighboring reference, related to Lot No. 22741, states that this property, as part of a larger lot, belonged to Antonio Beauregard. Note: A break occurs here in the record. However, the following continues the chain with two more transactions.

•Wednesday, February 22nd 1775

oRecord Source: Original Act

oRecord Type: [sale?]

oAuthority: Juan B. Garic (Notary)

oAuthority Date: Wednesday, February 22nd 1775

oFrom: Theresa Gallard

oTo: Jean de la Villebeuvre

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. One house and lot situated at a corner of Chartres and St. Philip, with other buildings, bounded on one side by property of Mrs. Cecilio Odorundo and on the other by that of Antonio Beauregard.

•Wednesday, September 16th 1772

oRecord Source: Original Act

oPage: 258

oRecord Type: sale

oPrice: $104.00<Pesos

oAuthority: Andres Almonester (Notary)

oAuthority Date: Wednesday, September 16th 1772

oFrom: Augustin Macarty

oTo: Henrique Desprez

oBrief Description: A lot situated on Conde (Chartres) Street, measuring 90' front by 150' of depth, bounded by the house owned by Madame Granpre and by lot owned by the King. Mr. Macarty acquired this lot at a public auction held by the creditors of Claudio Joseph Villars of his properties on March 12 of this year, and sells it mortgage free at a price of 104 pesos.

•Thursday, March 12th 1772

oRecord Source: Unknown

oRecord Type: auction sale

oAuthority Date: Not Given

oFrom: Claudio Joseph Villars

oTo: Augustin Macarty

oBrief Description: Public sale held by the creditors of Claudio Joseph Villars.

•Monday, January 1st 1731

oRecord Source: Map

oRecord Type: land grant

oAuthority: Gonichon Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Company of the West/Company of the Indies

oBrief Description: Lot No. 38 granted to the Company.

•Monday, January 1st 1731

oRecord Source: Map

oRecord Type: [land grant and/or sale and/or succession]

oAuthority: Gonichon Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Trudot

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 39 granted to Sieur Trudot.

•Thursday, January 1st 1728

oRecord Source: Map

oRecord Type: vacant

oAuthority: Broutin Map (Map)

oAuthority Date: Not Given

oBrief Description: Unassigned.

•Thursday, January 1st 1728

oRecord Source: Map

oRecord Type: [land grant and/or sale and/or succession]

oAuthority: Broutin Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Trudeau

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 46 granted to Sieur Trudeau.

•Thursday, January 1st 1722

oRecord Source: Map

oRecord Type: land grant

oAuthority: de la Tour Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: La Loire

oBrief Description: Lot No. 4 granted to Sieur La Loire.

•Thursday, January 1st 1722

oRecord Source: Map

oRecord Type: [land grant and/or sale and/or succession]

oAuthority: de la Tour Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Massy Trudeau

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 6 granted to Mr. Massy. “I believe they were not held by Mr. Massy, he not having given ___ on the frontage.” Marginal note: “Granted to the Sieur Trudeau in replacement of the No. 00 which was taken to build a warehouse.”

 

Citations (Specific to this address)

  

“NOTICE. FELIX, Ladies Hair dresser…Ladies wishing to have their hair dressed at his house, will please apply to his wife to appoint the hour. The price is two dollars. He also informs that he cuts gentlemen’s hair for a dollar at their houses, and 50¢ at his shop…he lives in Mme. Carrick’s house Conde Street opposite Mr. Moreau’s…”

 

—Source: Louisiana Courier Date: Wednesday, December 11th 1816

  

“Fire…6:30, November 5…French Market Ice Manufacturing Company, 1024 Chartres Street…damage chiefly to the building and equipment was estimated at $200,000…fire started in the 3rd floor of the building which is about 30 feet in the rear of the street facing a courtyard…explosions of crude oil storage tank and an ammonia tank…the only two modern buildings in the square are the French Market Branch of the Whitney Bank and the La Stella Manufacturing Company, corner of St. Philip and Chartres.”

 

—Source: Times-Picayune, p. 1, c. 1 Date: Sunday, November 6th 1927

French postcard by Editions P.I., no. 146, La Garenne Colombes, offered by Les Carbones Korés Carboplane, no. 55. Photo: Roger Carlet.

 

Gisèle Pascal (1921-2007) was an attractive French film actress and a lover of Rainier III, Prince of Monaco.

 

Gisèle (sometimes Giselle) Pascal was born Gisèle Marie Madeleine Tallone in Cannes, France in 1921. She studied shorthand and typing and intended to become a secretary, but she also attended dance classes. She was spotted by the film director Marc Allégret, who recommended her to Claude Dauphin, with whom she made her stage début. Allégret also cast her in L'Arlésienne/The Girl from Arles (Marc Allégret, 1942), based on Alphonse Daudet's play of the same name. Her co-stars were the popular comedian Raimu and the young Louis Jourdan. Raimu reportedly loved the Provençal accent of the beautiful ingénue. She also appeared in Allégret’s La belle aventure/Twilight (Marc Allégret, 1942) starring Claude Dauphin and Micheline Presle. She also appeared with Maria Denis and Louis Jourdan in La vie de bohème/ Bohemian life (Marcel L’Herbier, 1945). After the war, she played lead parts in such melodramas as Tombé du ciel/Dropped From Heaven (Emil E. Reinert, 1946) and Dernier refuge/Last Refuge (Alex Joffé, 1947). The latter, based on Le Locataire by Georges Simenon, wasn't successful. She also starred in such musical comedies as Mademoiselle s'amuse/Mademoiselle has Fun (Jean Boyer, 1948) and La Petite chocolatière/The Chocolate Girl (André Berthomieu, 1950), with Claude Dauphin.

 

For ten years, Gisèle Pascal had a royal affair with Prince Rainier. Pierre Perrone in The Independent: “Pascal had caught the eye of Rainier when he was a student at Montpellier University during the Second World War and she was treading the boards in boulevard plays. For a time, the couple openly shared a villa in Saint-Jean-Cap-Ferrat on the French Riviera when she wasn't away in Paris filming. There was even talk of marriage but, when Rainier ascended to the throne of the tiny principality in 1949 after the death of his father, Prince Louis II, his relationship with Pascal came under increasing pressure and eventually floundered.” Meddlesome Princess Antoinette, Rainier's older sister, seeking to obtain the throne of Monaco for her own son, spread malicious rumours that Pascal was incapable of bearing children. A contemplated marriage was called off when a medical examination claimed that she was infertile. Perrone: “Snobbery certainly also played a part in Rainier's wavering and eventual decision, since Pascal came from humble Italian stock and had worked in her parents' grocery as a child.” After her break-up with Rainier, she made one of her best films, Horizons sans fin/Endless Horizons (Jean Dreville, 1953) with Jean Chevrier. She portrayed the French pilot Hélène Boucher, who held seven world records and died in a plane crash in 1934. Hal Erickson at AllMovie: “Though the world of aviation was still essentially an all-male one (despite England's Amy Johnson and America's Amelia Earhart), Boucher perseveres, eventually breaking all existing male and female speed and height records. A bit slow on the uptake in the dramatic scenes, the film soars (no pun intended) during the aerial sequences. Horizons san Fin was the winner of the Catholic Award at the 1953 Cannes Film Festival.” Pascal took flying lessons to add credibility to her performance as Boucher. While promoting Horizons sans fin in Cannes, she met Hollywood star Gary Cooper. The couple became the talk of the festival but their affair ended when the actor's wife and daughter joined him in Paris a few weeks later.

 

In 1954, Gisèle Pascal winked to her affair with the Prince with her appearances in the historical drama Si Versailles m'était conté/Royal Affairs in Versailles (Sacha Guitry, 1954) which portrayed the personalities who lived in the Royal Palace, the Chateau of Versailles, and the sequel Si Paris nous était conté/If Paris Were Told to Us (Sacha Guitry, 1956). In 1955, she married actor Raymond Pellegrin. They had worked together on the ‘social realism’ dramas Le Feu dans la peau/Fire Under the Skin (Marcel Blistène, 1953) and Marchandes d'illusions/Women Without Shame (Raoul André, 1954) . Previously she had had a crush on Pellegrin when they had both appeared in the same play, but he was married to actress Dora Doll. However, their friendship blossomed into a relationship, and after his divorce they married. In 1962, they would have a daughter, actress Pascale Pellegrin. She returned to the screen in Le Masque de fer/The Iron Mask (Henri Decoin, 1962) inspired by the novels by Alexandre Dumas. Jean Marais played the aging d’Artagnan on his mission to rescue the imprisoned brother of Louis XIV. After taking a break from radio, theatre and film work in the 1970s, she played character parts in En haut des marches/At the Top of the Stairs (Paul Vecchiali, 1983) starring Danielle Darrieux, the comedy Les Compères/The fellows (Francis Veber, 1983) featuring Pierre Richard and Gérard Depardieu and remade in the U.S. as Fathers' Day (1997), the drama La Femme publique/The Public Woman (Andrzej Zulawski, 1983), and Juillet en septembre/July in September (Sébastien Japrisot, 1988). She also acted in several television series in France and Germany. Gisèle Pascal in 2007 in Nîmes, France. She was 85.

 

Sources: Pierre Perrone (The Independent), Hal Erickson (AllMovie), Cinememorial (French), AllMovie, Wikipedia, and IMDb.

EART is an IVF training institute in the field of assisted reproductive technologies offers Short course and hands on training. Embryology Academy for Research & Training is recognized research institute for IVF Training Programme for IVF / ICSI / ART Micromanipulation , Reproductive Medicine. Our Accrideted Embryology courses are Basic course in Semenology & IUI,Advanced course in ICSI,Introductory course in ART,Certificate course in ART,Advanced course in cryo preservation.

 

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- Offered in like-new condition with 133 kilometers shown at cataloging

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Broad Arrow’s Zoute Concours Auction

Approach Golf - Het Zoute

Estimated : € 175.000 - 225.000

Sold for € 184.000

 

Zoute Grand Prix Car Week 2025

Knokke - Zoute

België - Belgium

October 2025

WHEN: Sunday, Sept. 14

WHERE: Cathedral of Mary of the Assumption, 615 Hoyt Ave., Saginaw

SAGINAW —The Most Rev. Joseph R. Cistone, Bishop of Saginaw, commissioned 16 new members of the Lay Ministry Program on Sunday, Sept. 14 at the Cathedral of Mary of the Assumption in Saginaw. The Lay Ministry Program offers deep spiritual, theological and pastoral formation for lay people so that they may be even more effective in carrying out the lay apostolate and evangelization. Lay ministry formation involves four years of learning, spiritual formation and pastoral practice before each candidate is commissioned by the bishop for parish-based lay ministry or missioned by the bishop as a “Christian in the World.” The newly-commissioned lay ministers join more than 350 other lay ministers actively involved in service across the Diocese of Saginaw. Below is a list of those commissioned at Mass on Sept. 14:

 

• Thomas Collins from Nativity of the Lord Parish, Alma/St. Louis

• James Combs from St. Athanasius Parish, Harrison

• Margaret Lapham from Most Sacred Heart of Jesus Parish, Mount Pleasant

• Constance Lynch from St. Joseph the Worker Parish, Beal City

• Alex Malocha from Holy Family Parish, Saginaw

• Deborah McGraw from Our Lady of Grace Parish, Sanford

• Cheryl Morand from All Saints Parish, Bay City

• Kathy Ranck from Our Lady of Grace Parish, Sanford

• Catherine Richard from Blessed Sacrament Parish, Midland

• Mary Roth from Our Lady of Czestochowa Parish, Bay City

• Cindy Sisson from Christ the Good Shepherd Parish, Saginaw

• Dale Sisson from Christ the Good Shepherd Parish, Saginaw

• Ulrike Smith from St. Stephen Parish, Saginaw

• Mary Beth Stuart from Our Lady of Grace Parish, Sanford

• Michael Thomas from Our Lady of Grace Parish, Sanford

Mary Sue Plachta was missioned at the Mass and sent forth to live out her ministry “in the world” rather than in a parish setting. She is a member of Our Lady of Grace in Sanford. Several Lay Ministers were re-commissioned at the Mass, which means that each made a new multi-year commitment with his or her respective, sponsoring parish. Those interested in learning more about the Lay Ministry Program may call 989-797-6609.

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Family : Myrtaceae

 

Scotts Cove Lookout "offers visitors spectacular views of magnificent rugged, sheer cliffs. On a fine day the sparkling blue sea contrasts impressively with the earthy colours of the cliffs. The cliffs are 145 metres high at this point. The occasional fishing boat seen gently bobbing at its anchor below, seems vulnerable and fragile from this height. A careful scan with binoculars from the lookout may reward the observer with the sighting of a seal. The sealing industry began to wind down in the mid-1800s due to the depletion, bordering on extinction, of seals, caused by the wholesale slaughter of the animals. Remote colonies of fur seals (Arctocephalus forsteri and A. pusillus doriferus) and Australian sea-lions (Neophoca cinerea) were common at places like Scotts Cove.

A gang of sealers worked at Scotts Cove by lowering a man over the cliff by rope, to kill and skin the animals peacefully basking on the rocks below. When sufficient skins had been obtained the rest of the gang would haul the man and the skins up the cliff. Folklore has it that Scotts Cove was the scene of a gruesome murder when gang members refused to tolerate the brutality of their leader any longer. When this greatest ruffian of all was making his last ascent of the day, the haul rope was cut and he was dashed to pieces on the rocks below"

Reference

 

www.treesforlife.org.au/sites/default/files/TFL%20Kangaro...

. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!

If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.

_____________________________________

 

The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").

 

The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

 

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

 

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

 

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.

 

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

 

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to

 

CHRISTIANITY

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

 

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

 

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

 

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

 

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

 

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

 

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

 

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.

 

RELIGIOUS AFFILIATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

 

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

 

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

 

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

 

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

 

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

 

Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.

 

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

 

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

 

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

 

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

 

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

 

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

 

DANCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

 

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

 

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

 

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

 

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .

 

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

 

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

 

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

 

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

 

Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

 

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

 

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

 

WIKIPEDIA

The Iconic Ford Power Live Event took Place at Brands Hatch to Celebrate The Blue Badged Ford Motor Company and their Iconic Cars From both the Past and The Present. From Escort Mexico's to Modern Ford Mustang GT'S there was Everything for the Ford Enthusiast to enjoy.

 

The Support Races Featured During the Day were also Full of Different Makes and Models of Ford Racing Cars From The Focus RS to the Ford Escort and the Iconic Sierra Cosworth and even the Iconic Enduro KA series was Present and with Drivers and Spectators Ready the Racing was about to begin.

 

Lets Turn to the Race Track and See what is the First Support Race to make it onto the Race track.

 

Champion Of Brands (Qualifying)

 

First up Champion of Brands and with Fast and High Speed Action from Thease Machines Lets See who took that all important People Position to Start the Race in P1.

 

In First Place was (Tom Mills) in his Spectrum KMR with a Best Lap Time of 50.154 and a Top Speed of 86.70mph. Amazing work there Tom a truly Heroic and Brave Drive for Pole Position.

 

In Second Place was (Niall Murray) in his Van Diemen BD21 with a Best Lap Time of 50.397 and a Top Speed of 86.28mph. Fantastic Work Niall Very Fast and Quick Driving.

 

In Third Place was (Colin Queen) in his Ray GR18 with a Best Lap Time of 50.399 and a Top Speed of 86.28mph. Another Incredible Driver in Colin Pushing Hard and Almost Taking Second Place from Niall. I think we are in for some Really Intense Racing but who will be Fast Enough to on Track to Take Victory?

 

Champion Of Brands (Race 1 Results)

 

After a Thrilling Battle that saw Tom Mills take Pole Position its time to find out who Won the Race and out of The Top Three Could Anyone else on the Grid Challenge them for a Spot on the Podium. Lets Find Out.

 

In First Place and taking the Win was (Niall Murray) in his Van Diemen BD21 with a Lap Time of 50.518 and an Average Speed of 77.40mph. Incredible work there Niall Beating back Tom to take Victory in the First Race and a Well Determined Drive to Secure it.

 

In Second Place was (Tom Mills) in his Spectrum KMR with a Lap Time of 50.706 and an Average Speed of 77.38mph. Amazing Drive there Tom Keeping up with Niall and a Fantastic Battle thought the entire Race too.

 

In Third Place was (Colin Queen) in his RAY GR18 with a Lap Time of 50.820 and an Average Speed of 77.32mph. A Great Victory for Third Place on the Podium Colin showing a Determined Drive and a lot of Bravery thought the Race.

 

What an Incredible First Race to Start out the Days Events and with Another Coming up Soon after is it possible for Another Competitor to take Victory and the Spotlight? Lets Take A Look.

 

Champion Of Brands (Race 2 Results)

 

Race 2 Up Next and The Final Time for Anyone Racing in Champion of Brands to Score Points and Take Victory in either First Second or Third Place. After a Thrilling End to Race 1 which Saw Tom Mills getting Beaten by Niall Murray it was time to see who could Once Again bring the Roar and Thunder Home for a Final Time.

 

In First Place was (Niall Murray) in his Van Diemen BD21 with a Lap Time of 50.584 and an Average Speed of 84.84mph. Another Incredible Drive from Niall to once again take The Final Pole Position for Champion of Brands. Brilliant Drive there Niall.

 

In Second Place was (Tom Mills) in his Spectrum KMR with a Lap Time of 50.606 and an Average Speed of 84.47mph. Another Well Deserved Second Place for Tom Showing Incredible Car Control and Bravery Pushing the Limits on Every Corner to Keep up with Niall. Fantastic Drive Tom.

 

In Third Place was (Lucan Romenek) in his Van Diemen JL13 with a Lap Time of 50.927 and an Average Speed of 83.92mph. Very Well Done there Lucan Fantastic to see a New Driver take a Step onto the Podium and Celebrate the Victory.

 

What an Exciting Opening Day here at Brands Hatch for Ford Power Live with Champion of Brands Providing some Well Deserved Winners in Niall Tom Lucan and Colin. Well Done to all other Drivers taking Part and Continuing to Improve and do what it is that you Love. Keep Up the Momentum and Never Give Up Hope of One Day Making it to the Top Step of the Podium.

 

Lets See what Track Action is Next Up onto the Circuit as the Action Continues to Hot Up.

 

Clubman Sports Prototype Championship (Qualifying)

 

Clubman Sports Prototypes were up next and thease Mad Looking Machines are known for their Supreme Aerodynamics as well as Insane Straight Line Speed. each Driver will have to be on the ball and Keeping their Machine under Constant Control as they will be Powering round this 1,2 mile Indy Circuit at Speeds of at Least 90mph.

 

Lets Look to the Track to see who Qualified where and see who will be starting the Race on Pole.

 

In First Place and taking Pole Position was (Steve Dickens) in his Mallock MK29 with a Best Lap Time of 47.146 and a Top Speed of 92.23mph. Amazing Drive there Steve Very Fast and Committed for Pole Position.

 

In Second Place was (Clive Wood) in his Mallock MK23 with a Best Lap Time of 47.784 and a Top Speed of 91.00mph. Well Deserved there Clive Pushing that Mallock for all its worth and taking Second Place.

 

In Third Place was (Alex Champkin) Mallock MK27 Synergy with a Best Lap Time of 48.129 and a Top Speed of 90.35mph. Very Well Done there Alex Taking Third Place and a Spirited Drive with it.

 

A Very Fast and Fierce set of Drivers Ready to take on the Indy Circuit. Lets Get Right Down to the Action for Race 1.

 

Clubman Sports Prototype Championship (Race 1 Results)

 

After A Thrilling Battle in Qualifying Between Steve Clive and Alex which of them will be Poised and Ready to Attack on the Race Track to either Defend maintain or even potentially Loose their Positions to the other Drivers. Lets Find Out.

 

In First Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 48.076 and an Average Speed of 76.87mph. Incredible Driving there Steve Taking the Victory and the Spoils that come with it Amazing Work from you and The Entire Team.

 

In Second Place was (Alex Champkin) in his Mallock MK27 Synergy with a Lap Time of 47.515 and an Average Speed of 76.84mph. Another Super Drive by Alex to move him up into Second Place on the Podium. Fantastic Work and Driving Ability.

 

In Third Place was (Clive Wood) in his Mallock MK23 with a Lap Time of 47.802 and an Average Speed of 76.81mph. Very Well Done there Clive Super Driving and an All Round Great Victory for Third Place.

 

An Exciting Opening Race for Clubman's with Steve Dickens taking Both Qualifying and the First Race Win. Can he Do it again For Race 2 or will the likes of Alex and Clive Hunt Him down and take that Victory away Stay Tuned to find out as We Go Racing Once Again.

 

Clubman Sports Prototype Championship (Race 2 Results)

 

In First Place was (Clive Wood) in his Mallock MK23 with a Lap Time of 47.475 and an Average Speed of 87.35mph.

 

In Second Place was (Pete Richings) in his Mallock MK30 PR with a Lap Time of 48.784 and an Average Speed of 86.84mph.

 

In Third Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 48.448 and an Average Speed of 86.63mph.

 

What an Exciting End to Race 2 with a New Winner in P2 being Pete Richings Well Done Pete Amazing work and a well deserved Podium Spot. Will Pete be able to Retain that Second Place or even Improve though as we head into the Final Round in Race 3.

 

Clubman Sports Prototype Championship (Race 3 Results)

 

In First Place was (Pete Richings) in his Mallock MK30PR with a Lap Time of 48.218 and a Top Speed of 88.27mph. Incredible Driving Pete taking the Top Step of the Podium and the Race Win. A Truly Excellent Drive.

 

In Second Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 47.986 and an Average Speed of 88.17mph. Very Well Done again Steve Putting in a lot of Hard work to Reach Second Place.

 

In Third Place was (Clive Wood) in his Mallock MK23 With a Lap Time of 47.883 and an Average Speed of 88.08mph. Another Amazing P3 for Clive with a lot of Strong Determination Behind the Wheel.

 

What a Race Weekend for the Clubman's with Many Different Victories and Winners in Clive Steve Pete and Alex all Looking to Fight it it on Track and take Home those Valuable Championship Winning Points. Well Done to all other Competitors as well Keep Pushing Hard and Making Memories that will Last Forever.

 

Creative Funding Solutions Sports 2000 Championship (Qualifying)

 

Now it was time for the Creative Solutions Sports 2000's to hit the Track and After a Thunderous Performance by the Classic Clubman's Lets see what thease Mean Machines Have to Offer. With Speeds once again Reaching Nearly 92mph thease cars are Monsters and Driving and Controlling One is going to be Very Challenging with all that Break Horse Power.

 

Lets take a Look at Qualifying and see which Drivers made it to the Front end of the Grid for Race 1.

 

In First Place Taking Pole Position and the Fastest Lap was ( Neil Burroughs) in his Gunn TS12 with a Best Lap Time of 47.202 and a Top Speed of 92.12mph. Fantastic work there Neil Once Again showing the Skill and Commitment Needed for a Championship Winning Drive.

 

In Second Place was (Tom Stoten) in his Gunn TS11 with a Best Lap Time of 47.400 and A Top Speed of 91.74mph. Great Work there Tom a Well Controlled and Well Balanced Car on the Race Track to Take P2 on the Grid.

 

In Third Place was (Joshua Law) in his MCR S2 with a Best Lap Time of 47.474 and a Top Speed of 91.59mph. Well Done Josh Really Amazing work to take P3 on the Grid for The Race.

 

What a Fantastic Qualifying Session with Battles Happening all over the Field but Neil Tom and Josh have made it into the Top Three and so Lets Find out in Race 1 which of them will be Taking Home Victory.

 

Creative Funding Solutions Sports 2000 Championship (Race 1)

 

In First Place and Taking Victory was (Tom Stoten) in his Gunn TS11 with a Lap Time of 48.471 and an Average Speed of 62.75mph. Amazing Work Tom taking yourself from P2 in Qualifying to P1 and The First Race Win, Incredible Drive.

 

In Second Place was (Michel Gibbins) in his MCR S2 with a Lap Time of 48.457 and an average Speed of 62.69mph. Fantastic Work Michel and a Really Strong Drive to take P2 in the Race. A Fantastic Drive.

 

In Third Place was (Giles Billingsley) in his MCR S2 with a Lap Time of 49.321 and an Average Speed of 62.31mph. Awesome Work there Giles a Brilliant Drive to Get P3 and the Last Spot on the Podium.

 

What an Exciting First Race with Tom Stoden being the First Race Winner in Sports 2000. A Big Congratulations to Michel and Giles too for some Heroic Driving and their Further P2 and P3 Finishes. Lets Find out what Race 2 Brings us Next.

  

Creative Funding Solutions Sports 2000 Championship (Race 2)

 

After a Really Hectic First Race which saw Tom Stoden Take P1 followed by Michel Gibbins and Giles Billingsley it was Time for Race 2. Lets see if Anyone Else can Challenge these Almighty Three Drivers at the Front of the Field.

 

In First Place was (Joshua Law) in his MCR S2 with a Lap Time of 47.878 and an Average Speed of 70.46mph. Incredible Drive for Joshua Taking P1 from Tom Stoden and Claiming his First Race Win of the Weekend. Amazing work Josh.

 

In Second Place was (Tom Stoden) in his Gunn TS11 with a Lap Time of 48.409 and an Average Speed of 70.35mph. Another Very Confident and Fast Drive by Tom to Achieve Second Place showing Just How Talented and Brave of a Driver Tom is Fantastic Performance Tom.

 

In Third Place was (Michel Gibbins) in his MCR S2 with a Lap Time of 48.395 and an Average Speed of 70.32mph. Really Good Drive there Michel Fantastic Car Control and a lot of Fast Race Pace. Well Done.

 

What Another Epic Race to Witness with a New Winner on the Top Step of the Podium being Joshua Law a Well Deserved Win from a Very Talented Driver. Amazing work to both Tom and Michel for their Respective P2 and P3 Finishes. With Race 3 Up Next who will be Taking Home that Final Pole Position of the Weekend for Sports 2000.

  

Creative Funding Solutions Sports 2000 Championship (Race 3)

 

The Final Round of the Day for the Sports 2000's and with Joshua Law Defending his People Position at the Front Will anyone be able to dethrone our New Race Winner. Lets Find Out.

 

In First Place and Taking the Victory was (Michel Gibbins) in his MCR S2 with a Lap Time of 47.479 and an Average Speed of 89.11mph. What a Drive Michel Taking P1 and the Final Race Win. Incredible Work.

 

In Second Place was (Tom Stoden) in his Gunn TS11 with a Lap Time of 47.680 and an Average Speed of 88.95mph. Amazing work Once Again Tom Proving Just How Competitive This Racing Series for Drivers is.

 

In Third Place was (Joshua Law) in his MCR S2 with a Lap Time of 47.938 and an Average Speed of 88.92mph. Great Work there Josh Really Good Drive in Taking P3.

 

What an Amazing Set of Races for the Sports 2000's with Many Different Victories for the likes of Joshua Tom Michel and Giles Drivers who Really Put the Pedal to the Metal when it really matters. Fantastic Work to all other Drivers on Track as well and Good Luck as the Season Continues.

 

Focus Cup Championship (Qualifying)

 

Next Up we take a Look to the Focus Cup Championship a Racing Series which Features the use of Ford Focus Road Cars Built to Racing Specifications. Thease Cars all Use The ZTEC 2.0 TDCI Engines and Have Proven to be Very Quick and also Very Twitchy when out Racing.

 

Lets Take a Look at Qualifying to see what Drivers Have made it to the Front of the Gird to start out the Days Racing.

 

In First Place taking Pole Position and The Fastest Lap was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 58.625 and a Top Speed of 74.17mph. Great Work there Simon Very Fast Driving while Keeping the Car on the Race Track to clock in a Perfect Lap of the Indy Circuit for P1.

 

In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 58.880 and a Top Speed of 73.85mph. Very Well Done there Scott with a Blisteringly Quick Lap To take P2 on the Grid for the First Race.

 

In Third Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 59.025 and a Top Speed of 73.67mph. Very Well Done Gary Pushing Hard and Making every Millie Second Count to take P3 on the grid.

 

Three Very Quick Drivers in Simon Scott and Gary all Looking to take that First Race Win. Which One of them Can Do it. Lets Find Out as Race 1 Begins.

 

Focus Cup Championship (Race 1)

 

In First Place and Taking Victory was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.725 and an Average Speed of 72.88mph. Congratulations Simon what an Epic Drive to Victory and a First Win of the Day for you. Very Well Done.

 

In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.776 and an Average Speed of 72.49mph. Amazing Work there Scott Well Driven and Controlled Thought the entire Race.

 

In Third Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.909 and an Average Speed of 72.39mph. Great Drive there Gary and A Brilliant Finish on the Podium in P3.

 

What an Exciting First Race for the Focus Cup showing Just How Fast thease Cars are and How Brave each Driver has to be to take Moves and Dive Bombs to work there way to the Front of the Grid. Lets See what Race 2 Brings and Can Simon Keep His Defence of P1.

 

Focus Cup Championship (Race 2)

 

In First Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.914 and an Average Speed of 68.78mph. Incredible Work there Gary taking P1 and The Race Win what a Fantastic start to the Weekend for Him.

 

In Second Place was (Richard Avis) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.506 and an Average Speed of 68.70mph. what a Drive there From Richard Fantastic to see a New Face in P2 on the Podium and a Well Deserved Victory in Second Place.

 

In Third Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.283 and an Average Speed of 68.61mph. Very Well Done there Scott Pushing Hard and Making sure to Stay in the Top Three. Fantastic Drive.

 

Another Incredible Race with a Different Driver in Richard Avis taking Second Place with an Incredible Drive and Sheer Speed and Talent. Congratulations to both Gary and Scott as well for their Fantastic Finishes Too.

 

Now for Race 3 and its the Final Time to see who will be taking Home that Last P1 Victory for the Focus Cup Championship.

  

Focus Cup Championship (Race 3)

 

In First Place was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.228 and an Average Speed of 71.60mph. Amazing Work as Usual Scott putting in One Final Flying Run to Gain Another Race Victory. Great Drive.

 

In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.972 and an Average Speed of 70.23mph. Another Really Impressive Drive by Scott to take P2 in the Final Race for The Focus Cup.

 

In Third Place was (Rob Gaffney) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.238 and an Average Speed of 70.19mph. Very Well Done Indeed Rob Finishing P3 and taking his First Podium of the Weekend. Phenomenal Drive.

 

What an Amazing End to the Focus Cup Championship at Brands Hatch with Many Different Victories for Simon Scott Rob and Gary who all Drove out of their Skin and showed Phenomenal Car Control and Ability to Drive. Fantastic Work to all the other Drivers too Keep Working Hard and Most Important of All Enjoy what you Love Doing.

 

MSVR Elise Trophy (Qualifying)

 

Next Up is the MSR Elise Trophy

with the Focus of this Race being on the Lotus Elise S1 S2 and S3 with Just One Qualifying Session and Just 1 Race This will be A Test of Will Power and Determination on the Track to see who can Take Victory.

 

First Lets look to Qualifying and See who will be Starting on the Front Row.

 

In First Place taking the Pole and Fastest Lap was (Maurizio Sciglio) in his Lotus Elise S2 with a Best Lap Time of 53.544 and a Top Speed of 81.21mph. Fantastic work there Maurizio to take P1 and start o the Front Row of the Grid.

 

In Second Place was (Jason Mcinulty) in his Lotus Elise S3 with a Best Lap Time of 53.914 and a Top Speed of 80.65mph. Very Well Done there Jason Putting in one Hell of a Quick Time to Gain P2 on the Grid.

 

In Third Place was (Simon Walsh) in his Lotus Elise S2 111R with a Best Lap Time of 54.076 and a Top Speed of 80.41mph. Incredible Drive from Simon to put Himself in P3.

 

With Three Very Quick Drivers in Maurizio Jason and Simon it was Time to see if Anyone Could challenge them and Win the Only Race of the Day for the Lotus Elise Trophy.

 

MSVR Elise Trophy (Race 1)

 

In First Place taking The Victory was (Jason Mcinulty) in his Lotus Elise S3 with a Lap Time of 54.638 and an Average Speed of 66.83mph. Fantastic Victory for Jason taking P1 and The Race Win for the Elise Trophy. Phenomenal Driving too.

 

In Second Place was (John Lamaster) in his Lotus Elise S2 135R with a Lap Time of 54.781 and an Average Speed of 66.75mph. Fantastic work John and So Great to see a New Face on the Podium Taking P2 what an Incredible Driver.

 

In Third Place was (David Alexander) in his Lotus Elise S1 with a Lap Time of 55.589 and an Average Speed of 66.62mph. Very Well Driven Dave Keeping an Eye out all over the Place and Bringing Home a Superb P3 Finish.

 

A Brilliant Race for the Elise Trophy and Victories for Jason John and David as well as Maurizio and Simon for their Heroic Efforts in Qualifying. Congratulations to Jason on the Race Win and Good Luck to all other Drivers in this Series.

 

Modified Ford Series (Qualifying Group A)

 

Now it was Time to head Back to the Blue Badged Ford Machines Once again as the Modified Ford Series Rolled out onto the Race Track with each car being Heavily Modified from their Road Counterparts. With Escort Cosworth's and RS200's Roaring and Ready to go it was Time to see what the First Group A set of Drivers could do in Qualifying.

 

Due to how large the Grids were and the Fact that both Group A and Group B Have Different Races I will only be putting up results from both Qualifying Sessions from Group A and Group B. I will Leave a Link Below each Qualifying Session so you can Get All the Race Result's and Action from the 4 Different Races.

  

Modified Ford Series (Qualifying Group A)

 

In First Place Taking Pole Position and the Fastest Lap was (David Cockell) in his Ford Escort Cosworth with a Best Lap Time of 49.872 and a Top Speed of 87.19mph. Very Well Done David Keeping that Escort on the Track Must Have Taken some Practice no Doubt Amazing work on Getting Pole.

 

In Second Place was (Wayne Crabtree) in his Ford RS200 with a Best Lap Time of 51.121 and a Top Speed of 85.06mph. Very Fast Drive from Wayne to take P2 and a Very Solid Drive Thought.

 

In Third Place was (Michael Saunders) in his Ford Escort MK1 Mexico with a Best Lap Time of 51.129 and an Average Speed of 85.05mph. Very Well Driven by Michael Being Able to Keep up with Both Wayne and David Must Have Ben a Real Pain but what a Fantastic Achievement.

 

What a Fantastic Set of Legendary Drivers all Battle Hardened and Ready to take on the Might of the Indy Circuit. But there can Only be One Winner who do you Think will Win the First Race? Click the Link Below to get all of the Race Results from this Racing Series.

 

(Link to Group A Race Results)

 

www.tsl-timing.com/Event/213751

 

Modified Ford Series Group B (Qualifying)

 

Now it was Time for Group B to make a stance and see what their Modified Ford Racing Machines could do. with How Fast and Action Packed Group A Had Been During both The Races and Qualifying Group B was looking to be much the Same.

 

Lets Waste No Time in Finding out who Has Taken Pole Position for the First of 4 Races.

 

In First Place Taking Pole Position and The Fastest Lap was (Neil Jessop) in his Ford Escort MK2 with a Best Lap Time of 52.030 and a Top Speed of 83.57mph. Fantastic Work there Neil and a Really Quick Escort to match too. Very Well Done.

 

In Second Place was (James Harris) in his Ford Escort MK2 with a Best Lap Time of 53.928 and a Top Speed of 80.63mph. Amazing work there James Pushing Hard and Giving the Old Girl everything she has to offer.

 

In Third Place was (Malcom Harding) in his Ford Escort MK1 with a Best Lap Time of 54.892 and a Top Speed of 79.22mph. Awesome Drive there from Malcom Overcoming a lot of Pressure to put in an Incredible Lap for P3.

 

What an Amazing Line up for Group B with Plenty of Experienced Drivers who know their cars inside out. But who will be Brave Enough to challenge the Top Three Drivers for Victory. Find out for Yourself at the Link Below.

 

(Link to Group B Race Results)

 

www.tsl-timing.com/Event/213751

 

Enduro KA (Qualifying)

 

The Final Qualifying Session of the Day Had Come and its the Enduro KA'S. with all of the Cars on the Grid being Models of the Popular Ford KA made Between 1998-2009 thease Cars were Fun City cars that could get you from A to B with Ease. They were Also Build on a tight budget meaning that Handling Performance and Comfort were a Big Selling point of thease Brilliant little cars.

 

The Racing Versions seen here in the pictures however are built for Racing. they use different tyres but still the same Legendary 1.3 Dura Tec Engine found in their Road Going Counterparts.

 

Lets Take a look at Qualifying and see which KA and Driver made it to the top step of the podium.

 

Enduro KA (Qualifying)

 

In First Place taking the Pole and Fastest Lap was (Octane Junkies Adam Smith and Martyn Smith) with a Best Lap Time of 1:03.495 and a Top Speed of 68.48mph. Fantastic Work Adam and Martyn Really Pushing the Car for all its worth.

 

In Second Place was (Alex Reade Motorsport Luke Reade and Chris Reade) with a Best Lap Time of 1:03.713 and a Top Speed of 68.25mph. Fantastic Drive there from Both Alex and Chris Claiming P2.

 

In Third Place was (Fat Boys Racing Matt Pinny) with a Best Lap Time of 1:03.921 and a Top Speed of 68.03mph. Very Well Done there Matt Great Drive and Awesome Car Control.

 

Three Very Quick and Determined Teams and with 4 Races to Race in this will be a Very Close and Tight Battles Between all Teams and Drivers. Skill and Talent will be crucial to survival and Who will be able to take the First Victory of Race 1. Lets Find Out.

 

Enduro KA (Race 1 Results)

 

In First Place Taking the Victory was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.688 and an Average Speed of 67.95mph. Congratulations Both Alex and Luke on a Superb Race Victory and Well Done to hold off the Pressure from the other Competitors.

 

In Second Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.416 and an Average Speed of 67.92mph. Very Well Done to both Adam and Martyn for that Amazing P2 Finish.

 

In Third Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:03.664 and an Average Speed of 67.79mph. Incredible Work there Matt Amazing Drive and a Really Super Looking Car.

 

An Exciting Opening Race for the Enduro KA Series with Three Different Teams on the Podium in Alex Reade Motorsport Octane Junkies and Fat Boys Racing. Amazing work to all of you Now Lets see what Action Race 2 Brings and whether or not Alex Reade Motorsport can Hold onto that 1st Place.

 

Enduro KA (Race 2 Results)

 

In First Place was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.557 and an Average Speed of 67.94mph. Another Incredible Drive from both the likes of Alex and Luke to Keep their P1 Finish From the First Race. Amazing Work.

 

In Second Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.621 and an Average Speed of 67.90mph. Fantastic Work Once Again to the likes of Adam and Martyn Another Set of Drivers Keeping their Second Place Finish.

 

In Third Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:04.005 and an Average Speed of 67.39mph. Well Done once again Matt Perfect Driving and a Well Balanced Car out there.

 

Looks like the Top Three Remain the Same even After Two Races but will Race 3 Bring a New Twist to the Current Driver and Team Standings. Lets Find Out.

 

Enduro KA (Race 3 Results)

 

In First Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.849 and an Average Speed of 67.57mph. Amazing Work there Adam and Martyn managing to topple the likes of Alex and Luke to Earn P1.

 

In Second Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:03.584 and an Average Speed of 67.51mph. Well Done there Matt Improving up to P2 and Taking Home a Well Deserved Finish in the Standings for Race 3.

 

In Third Place was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.606 and an Average Speed of 67.44mph. Very Good Come Back Drive for Both Luke and Ale to Finish Third Great Driving.

 

Many Twists and Turns Have Benn brought into Race 3 with the Top Three Drivers now being Shuffled Around the Gird into different Positions. With One More Race to Go who will be The Last Driver of the Day on the Top Step of the Podium.

 

Enduro KA (Race 4 Results)

 

In First Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.442 and an Average Speed of 67.82mph. An Amazing Final Win for the Day to Octane Junkies Adam and Martyn Smith Congratulations and Very Well Driven.

 

In Second Place was (Piston Heads Peter Dignan) with a Lap Time of 1:03.781 and an Average Speed of 67.54mph. Incredible work there Peter Getting P2 and Standing on the Podium and Incredible Achievement.

 

In Third Place was (IP Racing Oliver Wilmot and Scott Parkin) with a Lap Time of 1:03.710 and an Average Speed of 67.47mph. Very Well Done to both Scott and Oliver on that Fantastic P3 Achievement. Something Very Special to Remember for both of you.

 

And With that The Days Racing at Brands Hatches Ford Power Live comes to an End and what an Incredible Array of Both Cars Teams and Drivers on Display Today. A Big Congratulations to the likes of Adam Martyn Luke Chris Peter Matt Oliver and Scott for their Incredible Achievements and All Other Drivers Keeping the World Of Motorsport Alive and Well.

 

Keep Working Hard everyone Else. Your Time Will Come.

 

See You All Again Next Year!!!!

SL Frees & Offers in Second Life

 

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Feeb's Rascals Sales Room

.: Spring Wishes Market :.

Megastuff Hunt - Womenstuff Hunt

 

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A photo or a print of a painting by Kenneth Wyatt showing John Wesley with Thomas Coke, Richard Whatcoat, and Thomas Vasey as they prepare to sail to America.

Kool-Aid: Wacky Warehouse Offer - Comic Book Advertisement (1993)

 

*Appeared in: X-Men Adventures: Comic Book No. 5, Mar 1993 (Marvel Comics)

 

:: JillyBean's Comic Collection ::

Aqualand Excursion in Mallorca offered by Nofrills Excursions

Tickets: www.nofrills-excursions.com/excursions-tours-thingstodo/p...

DMZ tours offer insights into tensions then, now

 

By Sgt. 1st Class Jeff Troth

jefferey.l.troth.mil@mail.mil

 

CAMP BONIFAS, SOUTH KOREA – It’s been six decades since the Korean War of 1950 – 53 left the peninsula charred and devastated. But the Demilitarized Zone that has ever since divided the two Koreas, and the troops – North Korean on one side, South Korean and U.S. on the other – that stand guard there, remain an abiding and visible reminder of the hair-trigger tensions that persist.

The Army’s Family and Morale, Welfare and Recreation in Korea offers regularly scheduled trips to the DMZ, and a group of 41 Soldiers, civilians and family members from Warrior Country boarded a bus Aug. 4 and went to see the famous place for themselves.

The Joint Security Area at the DMZ draws more than 100,000 tourists from around the world each year, according to U.S. military officials there.

“Why would you come to South Korea and not go to visit the line between North Korea and South Korea?” said Rachel Barlow, wife of 1st Sgt. Frank Barlow, first sergeant for the 2nd Infantry Division Band. “I was curious as to what was there.”

One of the tour’s stops was the Joint Security Area, or JSA, where American and South Korean Soldiers work across a courtyard from those of the Democratic People’s Republic of Korea. In this courtyard, straddling the Military Demarcation Line, are buildings that are used for direct talks between the two Koreas.

Tourists are taken into one of the buildings, and can step beyond the point that takes them across the dividing line and thus into North Korea. But they have to leave the same way they came in – on the South Korean side.

One of the stops within the JSA was Checkpoint 3, a building on a hill that is faced on three sides by North Korea.

It was an “interesting” feature of the tour for Sgt. Mario Smith, of Headquarters and Headquarters Company, U.S. Army Garrison Red Cloud. “You look to your left, you see North Korea. You look to your right, you see North Korea. You look in front of you and you see North Korea. And if you look down you can see the concertina wire and the fence going around you.”

From Checkpoint 3, visitors can see Gijong-dong Village, also known as Propaganda Village, in the North’s part of the DMZ. The village was built in the 1950s to encourage South Koreans to defect. Despite massive loud speakers that once broadcast the virtues of North Korea, the village consists of buildings that are mere concrete shells, no windows or doors.

Next stop on the tour was the Bridge of No Return, which was used for repatriation of refugees and prisoners of war. A U.S. Soldier who briefed the tour explained that prisoners of both sides were given the option of being returned to their side or remaining with their captors. But the prisoners were also told that once they crossed over they’d be forbidden to come back.

The Barlow’s favorite part of the trip was the vantage from Dora Observatory, which affords a view of Mount Songhaksan and other North Korean mountains. It reminded them of the mountains in their home state of West Virginia, they said.

At Dora visitors can, for a small price, use binoculars to get a closer look into North Korea and can see as far as the city of Kaesong.

The tour included a stop at one of the infiltration tunnels leading into South Korea that authorities have discovered over the years.

Smith went inside the tunnel for a look and found it “awesome.”

“I have heard people talk about it, but until you walk through it yourself you will never believe the work that they put into it to construct it,” he said.

The next tours to the DMZ are Sept. 8 and 22. For more information on the tour or to sign up, visit your Area I Community Activity Center.

Must Credit to: 'https://homethods.com/' not Flickr.

Copy Link Address: homethods.com/

We are the largest wholesale to the public Trees and Shrub Farm in Bucks County. We offer steep reductions in prices due to the credit crunch. We are having a fire sale due to the credit crunch... We grow special Plants. All our plants are special to us. We have great trees and shrubs that are well suited to NJ and Pa landscapes. This video shows many of our trees and shrubs that we grow. We have many trees including Magnolias. We also grow barriers and buffering trees and shrubs.... We deliver and Plant our trees and shrubs to the Eastern States. Yes consider planting trees and shrubs... Or use the stone and wallstone that we stock. Screens and buffers grow each year. Rocks weather all financial storms with little wear!!! Small Cypresses and Arborvitae for cheap screening. We sell trees wholesale and will also deliver and plant for you. We grow many trees and shrubs commonly found in NJ and Pa. We grow and sell many Evergreens including Arborvitae, Boxwood, Viburnums Dragon Lady Hollies and Skip Laurels as well as many other types of trees and shrubs. Our farm is called Highland Hill Farm. We are open 7days a week from 7am to 6pm. We are located in Bucks County Pa near the NJ boarder north of Phila. Our street address is 5275 West Swamp Rd. Fountainville Pa 18923. We are centrally located to service the NY to Washington DC landscape market. We have 4 trucks on the road and make deliveries of our nursery stock as well as have 2 crews that can install trees and shrubs that we raise.

 

To keep our costs low we pool orders for delivery. If you order less than a truck load of materials. This way we can have a minimum delivery of just 1 tree to most locations!!!!

  

Our sons James and Michael both graduates of Delaware Valley College with degrees in Horticulture run the planting crews.

 

We grow hundreds of varieties of trees and shrubs. We have many that are deer resistant for use in screens and buffers. We also can install drip water lines for our stock.

 

We would be pleased to help you achieve your landscaping goals. If you email pictures of your site we would be glad to review them for free. Also if have nursery stock questions we are always available to answer for free your questions about the health and care of your plants as well as answering questions you may have.

 

You can see our farms web sit or call us at 215 651 8329.

 

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French postcard by Editions P.I., Paris, no. 785, offered by Les carbones Korès "Carboplane". Photo: Paramount Pictures Inc., 1957.

 

Exotic American actress Debra Paget (1933) is perhaps best known for Cecil B. DeMille's epic The Ten Commandments (1956) and Elvis Presley’s film debut Love Me Tender (1956). Later, she had a career in Europe, too. In Germany, she starred in Fritz Lang's two-film adventure saga Der Tiger von Eschnapur/The Tiger of Eschnapur (1959) and Das Indische Grabmal/The Indian Tomb (1960) and in Italy, she also made a pair of films.

 

Debra Paget was born as Debralee Griffin in Denver, Colorado, in 1933. She was one of the five children born to former actress Margaret Allen (née Gibson) and painter Frank Henry Griffin. Hal Erickson at AllMovie: “She may have hailed from Denver, but actress Debra Paget had the sensual, exotic demeanour of an Arabian Nights princess.” And yes, the family moved from Denver to Los Angeles, California, in the 1930s to be close to the developing film industry. Debra was enrolled in the Hollywood Professional School when she was 11. Stage mother Margaret was determined that Debra and her siblings would also make their careers in show business. And indeed, three of her siblings, Marcia (Teala Loring), Leslie (Lisa Gaye), and Frank (Ruell Shayne), entered show business. Paget had her first professional job at age 8, and acquired some stage experience at 13 when she acted with Charles Coburn in a 1946 production of Shakespeare's The Merry Wives of Windsor. Her first notable film role was as Teena Riconti, the girlfriend of the character played by Richard Conte, in the Film Noir Cry of the City (Robert Siodmak, 1948). Fresh out of high school in 1949, she acted in three other films before being signed by 20th Century-Fox. Her first vehicle for Fox was the successful Western Broken Arrow (Delmer Daves, 1950) with James Stewart. Paget played a Native American maiden, Sonseeahray (Morningstar), who gives up her life to save Stewart's character. She co-starred with Louis Jourdan in Bird of Paradise (Delmer Daves, 1951), a remake of the 1932 film starring Joel McCrea and Dolores del Rio. Roles followed it in successful films like the Film Noir Fourteen Hours (Henry Hathaway, 1951), the adventure film Anne of the Indies (Jacques Tourneur, 1951) with Jean Peters and Louis Jourdan, and Prince Valiant (Henry Hathaway, 1954) starring Robert Wagner. Hal Erickson: “Most of her subsequent roles were merely decorative, though she was a more than adequate Cosette in the 1952 version of Les Misérables.”

 

After the campy costume drama Princess of the Nile (Harmon Jones, 1954) was released, the fan mail Debra Paget received at 20th Century-Fox was topped only by that for Marilyn Monroe and Betty Grable. The Hollywood studio system dominated American feature film production in the first half of the 20th century. Under it, an actor would sign an exclusive contract to make films for a major studio, such as Fox. The system worked well at first for Paget as her early Fox films did well, so the studio bolstered her film career. In 1955, she broke the exclusivity clause of her contract. For Fox, she played another Native American girl, Princess Appearing Day, in the Western White Feather (Robert D. Webb, 1955), along with Robert Wagner and Jeffrey Hunter and later at MGM, replaced Bancroft as an Indian girl in another Western, The Last Hunt (Richard Brooks, 1956), starring Robert Taylor and Stewart GrangAnneer. Then Fox lent her to Paramount for the part of Lilia, the water girl, in Cecil B. DeMille's biblical epic The Ten Commandments (1956). She had to wear brown contact lenses to hide her blue eyes. At the time of its release, it was the most expensive film made. The Ten Commandments (1956) became her most successful film, grossing approximately $122.7 million at the box office during its initial release. It was the most successful film of 1956 and the second-highest-grossing film of the decade. In 1957, the film was nominated for seven Academy Awards, including Best Picture, and won the Academy Award for Best Visual Effects. Paget followed it up with Love Me Tender (Robert D. Webb, 1956), the film debut of Elvis Presley. According to Elizabeth Ann at IMDb, Elvis called Debra ‘the most beautiful girl in the world,’ but her mother would not allow them to date. The River's Edge (Allan Dwan, 1957), with Anthony Quinn and Ray Milland, was the last film she made for Fox. After that, her career began to decline.

 

Debra Paget was typically cast in exotic roles such as South Sea Island maidens or Middle Eastern harem girls. In 1958, she travelled to Germany and India to star opposite Paul Hubschmid and Walther Reyer in Fritz Lang's sumptuous international production Der Tiger von Eschnapur/The Tiger of Eschnapur (1959) and its sequel Das Indische Grabmal/The Indian Tomb (1959). She gained extensive publicity coverage for her blood pressure-raising belly dance in the film. In 1960, American International Pictures obtained the rights to both films for the USA and combined them into one film called Journey to the Lost City. Tom Wiener at AllMovie: “Contemporary audiences might find Hubschmid and Paget's acting stiff, but psychological nuance is not what Lang was looking for here, and the two do generate genuine sexual chemistry, especially in their flight across the desert, which ends this instalment.” In Italy, Paget then appeared in the historical drama Il sepolcro dei re/Cleopatra's Daughter (Fernando Cerchio, 1960) set in Egypt during the reign of the pharaoh Khufu (r. 2589-2566 BC). Wikipedia: “For some reason, the English version was translated very differently from the original Italian script, setting the film in the 1st century BC, rather than the early Bronze Age.” In the US, Paget appeared on TV in episodes of the Western series, Riverboat (1959) starring Darren McGavin, Rawhide (1960 and 1962) with Clint Eastwood, and Johnny Ringo (1960). In Italy, she starred in another historical film, I Masnadieri/Rome, 1585 (Mario Bonnard, 1961) with Antonio Cifariello. Her final feature film was the horror film The Haunted Palace (Roger Corman, 1963) with Vincent Price and Lon Chaney Jr. Her last television performance was in an episode of Burke's Law (1965), starring Gene Barry. She retired in 1965 and later became a born-again Christian. She hosted her own show, An Interlude with Debra Paget, on the Trinity Broadcasting Network (TBN), a Christian network, in the early 1990s. Paget was married three times. First, she wed actor and singer David Street in 1958. Their marriage was annulled after four months. In 1960, she married prominent director Budd Boetticher in a Mexican café in Tijuana. He's 44; she's 27. She had acted for him in Seven Men From Now (1955). They separated after just 22 days, and their divorce became official in 1961. In 1962, she married Ling Chieh (Louis) Kung, a Chinese-American oil industry executive and nephew of Madame Chiang Kai-Shek. This third marriage produced a son, Gregory, but ended in divorce in 1980. Gregory would graduate from Texas A&M University and become a lawyer. Today, Debra G. Kung lives a quiet life in Houston, Texas.

 

Sources: Hal Erickson (AllMovie), Brian G. Walker (Brian's Drive-In Theater), Glamour Girls of the Silver Screen, Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

Temple of Philae - Aswan - Egypt

baldumanu.wordpress.com/2014/08/15/templos-de-philae/

Amsterdam display window

Netherland

Both the Cruze Eco and Sonic deliver fuel economy of 40 mpg or more on the highway and offer consumers the comfort, safety and advanced technology they expect at a value.

 

"With every new Chevrolet, we are able to deliver the technology and powertrain solutions that offer consumers the best fuel economy, performance and safety, making vehicles like the Sonic and Cruze Eco ideal choices for families," said Chris Perry, vice president, Chevrolet Global Marketing.

 

"The Cruze Eco and Sonic are the best small Chevys ever built," said Scott Oldham, Edmunds.com editor-in-chief. "They are fun to drive, attractive, well-built and extremely fuel efficient, making them excellent choices for anyone shopping for a compact of subcompact car."

 

Said Dana Points Parents editor-in-chief: "At Parents, we know that buying a new car is a big family decision, so we want our guide to make the process easier. The Cruze Eco and the Sonic scored high safety marks, and parents using the vehicles were impressed with the responsiveness and the family friendly features."

 

The Cruze - Chevrolet's best-selling car around the world - provides the amenities, quietness, safety features, infotainment and roominess expected of a larger, more expensive sedan, but with the efficiency of a compact car. The first car in its class with 10 standard air bags, the Cruze received an overall five-star safety rating from the National Highway Traffic Safety Administration, the highest score possible. The Cruze is available in LS, LT and LTZ trim levels, as well as the Eco model that achieves an EPA-estimated 42 mpg highway.

 

Cruze Eco achieves its hybrid-like highway fuel economy using a 1.4L Ecotec turbocharged engine, six-speed manual transmission and features that improve its aerodynamics, minimize weight and reduce rolling resistance.

 

Sonic is proving to be a popular choice among consumers with sales steadily rising to place it among the leaders in the subcompact segment. It delivers an EPA-estimated 40 mpg highway with class-leading acceleration when paired with the 1.4L Turbo and six-speed manual transmission. The Sonic is offered in two body styles: a four-door sedan and a five-door hatchback. Each is designed to deliver outstanding rear-seat roominess and cargo space.

 

www.JeffGordonChevy.com has over 80 Chevrolet Cruze available for immediate delivery and for a limited time you can take advantage of a $159 lease offer on the 2012 Chevy Cruze.

 

Call the INTERNET SALES HOTLINE 888-817-5744 to talk about Current Incentives & available inventory

 

Don't live near Jeff Gordon Chevrolet?

No problem, our GM Certified Internet Sales Managers can arrange hassle free delivery right to your front door with our Exclusive Door-To-Door Delivery Program.

 

And because we're a Hendrick Automotive Group Dealership, you can be assured we'll be here for you long after the sale.

 

Get on the Internet Speedway at Jeff Gordon Chevrolet - www.youtube.com/watch?v=zEOTRqufydQ&list=FLrBj9MEuSdQ...

  

2012 CHEVROLET CRUZE w/2LS/MH8 - Low-Mileage Lease for Qualified Lessees $159/month 24 month lease. $1,879 due at signing (after all offers). Includes security deposit. Tax, title, license, dealer fees and optional equipment extra. Mileage charge of $0.20 /mile over 24,000 miles. Take delivery by July 2, 2012

  

English:

When I was offered this commission immediately I regretted that would be an opportunity just to make money, show some carving skills and assembling designs. Fortunately I was wrong. I hate making replicas, specially of my own stuff from my past life, but that sculpture work was not the case.

 

The "carnavalesco" (director of art for the parade) asked me to do something clearly inspired on the Pietá on Saint Peter's Basilica, to evoke that art work, but with differences. That was the nicest work situation for me: I was being asked to repeat my own work of the past with the freedom to propose new proportion relation between the mother and her son's dead body and to recreate lots of details. The only annoying limitation would be the cutting of the sculpture in parts for the assembling technique needed for the float.

 

The Pietá theme, which origin was from northern europe (german), has the well known knotty esthetic problem: "the awkward contrast between the ungainly male body and the smaller woman holding it". The solution that everyone can notice on the Saint Peter's Pietá is that the Virgin is bigger than his dead son's body surrounded by drapery cascading. This is known as pyramidal composition (I can't remember from where I took it but I assure you that I was used of that solution for Virgin's images). This Pietá for a carnival work was the opportunity to check out if the Virgin could follow at least the same proportion of Christ's dead body (or even be a little smaller).

 

Beyond the classic art challenge, this Pietá would be almost three times bigger than the original. That should be enough to defy anyone's sculpting capacity when you would be working in a so crowded and unhealthy place: thermal sensation about 60ºC (stated by experts), breathing resin and surrounded by woven fiberglass. Worst: with less than a month to do it, I was always being remembered by jealous people that my work would be compared with one of the most famous work of art on the planet. Well,… here is my response to them.

 

Português:

Quando me ofereceram essa Pietá para fazer, imediatamente lamentei porque seria apenas para ganhar dinheiro e mostrar algumas habilidades de escultura. Felizmente, eu estava errado. Odeio fazer réplicas, especialmente do que realizei na minha vida passada, mas este trabalho não era o caso.

 

O carnavalesco me pediu para fazer algo claramente inspirado na Pietá da Basílica de São Pedro, para evocar aquela obra de arte, mas com diferenças. Essa situação de trabalho era bem agradável: eu estava sendo convidado a repetir o meu próprio trabalho do passado mas com a liberdade de propor uma nova relação de proporção entre a Virgem e o corpo morto do Cristo, e poder recriar muitos detalhes. A única limitação irritante seria ter que cortar a escultura em partes para a montagem necessária no carro alegórico.

 

O tema Pietá, com origem do Norte da Europa (alemão), tem um problema estético complicado: "o estranho contraste de tamanho entre o corpo masculino e o da mulher, menor, a segurá-lo". A solução na Pietá da Basílica de São Pedro é que a Virgem é maior do que o corpo de seu filho morto, emoldurado pelo tecido em cascata. Isto é conhecido como composição piramidal (não me lembro de onde eu tirei isso, mas garanto que estava acostumado a esta solução para as imagens da Virgem ). Esta Pietá em um trabalho de carnaval era a minha oportunidade para verificar se a Virgem poderia ter pelo menos a mesma proporção do corpo de Cristo (ou até ser um pouco menor).

 

Além do desafio de arte clássica, esta Pietá seria quase três vezes maior do que a original. Isso seria o suficiente para desafiar a capacidade de escultura de qualquer um quando você está trabalhando em um lugar cheio de gente e insalubre: sensação térmica de cerca de 60ºC (afirmado por especialista), respirando resina e cercado por tecido de fibra de vidro. Pior: com menos de um mês para fazer a obra, eu ainda sempre era lembrado por pessoas invejosas que o meu trabalho seria comparado com uma famosa obra de arte. Bem,... eis a minha resposta

Quintana Park offers day use facilities perfect for your family outing.

Beginning with a half mile of pedestrian beach for your safety. Shade

palapas are available on the beach and restrooms and outdoor showers

are in close proximity to the beach. New for 2013 are hiking trails and

a shaded jetty overlook. The east end of the beach ends with the Quintana

jetty; the west jetty for the Freeport ship channel. The jetty is popular for fishing,

bird watching or just strolling and watching the ships come in or the dolphins play.

See: www.brazoria-county.com/parks/quintana/ammenities.html

 

LEGO ART

The LEGO® Art sets offer adults a new creative experience to help them relax and recharge as they transform a blank canvas (or in this case, small interlinking base plates) using LEGO tiles. Each set can be reimagined in a number of different ways to express the personality of each different builder, and to make it easy and simple for pop culture lovers to refresh the LEGO Art piece on display in their house. All four new sets come with a signature tile unique to the set that is worthy of any true work of art, and a new hanging element to make them easy to hang up and switch around.

 

The LEGO® Marvel Studios Iron Man set will be available exclusively from LEGO Retail Stores and LEGO.com while the other three sets will be available from retailers from 1st August 2020.

Each set is AUD199.99

LEGO® ART’S ANDY WARHOL’S MARILYN MONROE (31197)

3,332 pieces

4-in-1 Collectible Wall Art Building Kit for Adults

Accompanying soundtrack includes interviews with Jessica Beck, Curator at The Andy Warhol Museum and stories from Blake Gopnik, Art Critic and the author of “Warhol”, a comprehensive biography.

LEGO® Andy Warhol’s Marilyn Monroe – Pop art admirers can now recreate Andy Warhol’s famous bright pink screenprint of Marilyn Monroe from 1967, or reimagine it in three different colours using LEGO tiles. As art and design lovers tailor the tone of their piece to suit their artistic temperament, they can tune in to new insights and details about Warhol from those that know him best.

www.lego.com/…/p…/andy-warhol-s-marilyn-monroe-31197

LEGO® ART’S THE BEATLES (31198)

2,933 pieces

4-in-1 Collectible Wall Art Building Kit for Adults

Accompanying soundtrack includes interviews with Broadcaster and Beatles Expert, Geoff Lloyd, British journalist and Beatles fan Samira Ahmed and stories from Nish Kumar, Comedian, TV Presenter and Beatles fan.

LEGO® The Beatles – Music lovers can bring Beatle-fandom into the home with a LEGO portrait of their favorite band member, whether it’s John Lennon, Sir Paul McCartney, George Harrison or Sir Ringo Starr. Each set can be used to create four unique portraits or collect four and display the full band side-by-side. Fans can get by with a little help from friends of the Beatles as they switch their headphones over to accompanying soundtrack to listen to music and stories about the band as they build.

www.lego.com/en-au/product/the-beatles-31198

LEGO® ART’S MARVEL STUDIOS IRON MAN (31199)

3,156 pieces

3-in-1 Collectible Wall Art Building Kit for Adults

Three separate sets can be combined to make an ultimate Iron Man portrait piece

Accompanying soundtrack includes interviews with Roy Thomas, former Marvel Editor in Chief and stories from Alex Grand, Marvel expert and host of “Comic Book Historians podcast”.

LEGO® Marvel Studios Iron Man – Super Hero fans can decide between powering their hero up with the MARK III, the HULKBUSTER MARK I or the MARK LXXXV with this 3-in-1 set. After the tough decision is made, builders can recharge by listening to cool details about the set and stories from Marvel Experts as part of the accompanying soundtrack. Fans who want to channel Tony Stark and ‘run before you walk’ can combine three of the same sets into one to create the ultimate Iron Man artwork.

www.lego.com/…/product/marvel-studios-iron-man-31199

LEGO® ART’S STAR WARS™ THE SITH™ (31200)

3,395 pieces

3-in-1 Collectible Wall Art Building Kit for Adults

Three separate sets can be combined to make an ultimate Darth Vader™ portrait piece

Accompanying soundtrack includes interviews with Doug Chiang, VP & Executive Creative Director, Lucasfilm and stories from Glyn Dillon, creator of the design for Kylo Ren™, as seen in the Star Wars film saga.

LEGO® Star Wars™ The Sith™ - Celebrate iconic villains from a galaxy far, far away with this 3-in-1 portrait set. Choose between portraits that pay tribute to the Sith, with Darth Vader™, Darth Maul™ or Kylo Ren™, or take the artwork to the next level by combining three sets into an ultimate Darth Vader™ wall piece. The soundtrack means the Force will be with fans as they create their very own piece of wall art while listing to music from the films and fun stories from Star Wars™ creators.

The LEGO Group is launching a new canvas for creative expression alongside a series of much-loved partners. Designed for adults who pride themselves on their love of pop culture, four new LEGO® Art sets give creative adults a different way to transform their passion into art.

www.lego.com/en-au/product/star-wars-the-sith-31200

I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database of more than 1400 images, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info@elkevogelsang.com

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www.elkevogelsang.com

info@elkevogelsang.com

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All pictures: © Elke Vogelsang

  

20200209_Scout_Stormcover

LEGO ART

The LEGO® Art sets offer adults a new creative experience to help them relax and recharge as they transform a blank canvas (or in this case, small interlinking base plates) using LEGO tiles. Each set can be reimagined in a number of different ways to express the personality of each different builder, and to make it easy and simple for pop culture lovers to refresh the LEGO Art piece on display in their house. All four new sets come with a signature tile unique to the set that is worthy of any true work of art, and a new hanging element to make them easy to hang up and switch around.

 

The LEGO® Marvel Studios Iron Man set will be available exclusively from LEGO Retail Stores and LEGO.com while the other three sets will be available from retailers from 1st August 2020.

Each set is AUD199.99

LEGO® ART’S ANDY WARHOL’S MARILYN MONROE (31197)

3,332 pieces

4-in-1 Collectible Wall Art Building Kit for Adults

Accompanying soundtrack includes interviews with Jessica Beck, Curator at The Andy Warhol Museum and stories from Blake Gopnik, Art Critic and the author of “Warhol”, a comprehensive biography.

LEGO® Andy Warhol’s Marilyn Monroe – Pop art admirers can now recreate Andy Warhol’s famous bright pink screenprint of Marilyn Monroe from 1967, or reimagine it in three different colours using LEGO tiles. As art and design lovers tailor the tone of their piece to suit their artistic temperament, they can tune in to new insights and details about Warhol from those that know him best.

www.lego.com/…/p…/andy-warhol-s-marilyn-monroe-31197

LEGO® ART’S THE BEATLES (31198)

2,933 pieces

4-in-1 Collectible Wall Art Building Kit for Adults

Accompanying soundtrack includes interviews with Broadcaster and Beatles Expert, Geoff Lloyd, British journalist and Beatles fan Samira Ahmed and stories from Nish Kumar, Comedian, TV Presenter and Beatles fan.

LEGO® The Beatles – Music lovers can bring Beatle-fandom into the home with a LEGO portrait of their favorite band member, whether it’s John Lennon, Sir Paul McCartney, George Harrison or Sir Ringo Starr. Each set can be used to create four unique portraits or collect four and display the full band side-by-side. Fans can get by with a little help from friends of the Beatles as they switch their headphones over to accompanying soundtrack to listen to music and stories about the band as they build.

www.lego.com/en-au/product/the-beatles-31198

LEGO® ART’S MARVEL STUDIOS IRON MAN (31199)

3,156 pieces

3-in-1 Collectible Wall Art Building Kit for Adults

Three separate sets can be combined to make an ultimate Iron Man portrait piece

Accompanying soundtrack includes interviews with Roy Thomas, former Marvel Editor in Chief and stories from Alex Grand, Marvel expert and host of “Comic Book Historians podcast”.

LEGO® Marvel Studios Iron Man – Super Hero fans can decide between powering their hero up with the MARK III, the HULKBUSTER MARK I or the MARK LXXXV with this 3-in-1 set. After the tough decision is made, builders can recharge by listening to cool details about the set and stories from Marvel Experts as part of the accompanying soundtrack. Fans who want to channel Tony Stark and ‘run before you walk’ can combine three of the same sets into one to create the ultimate Iron Man artwork.

www.lego.com/…/product/marvel-studios-iron-man-31199

LEGO® ART’S STAR WARS™ THE SITH™ (31200)

3,395 pieces

3-in-1 Collectible Wall Art Building Kit for Adults

Three separate sets can be combined to make an ultimate Darth Vader™ portrait piece

Accompanying soundtrack includes interviews with Doug Chiang, VP & Executive Creative Director, Lucasfilm and stories from Glyn Dillon, creator of the design for Kylo Ren™, as seen in the Star Wars film saga.

LEGO® Star Wars™ The Sith™ - Celebrate iconic villains from a galaxy far, far away with this 3-in-1 portrait set. Choose between portraits that pay tribute to the Sith, with Darth Vader™, Darth Maul™ or Kylo Ren™, or take the artwork to the next level by combining three sets into an ultimate Darth Vader™ wall piece. The soundtrack means the Force will be with fans as they create their very own piece of wall art while listing to music from the films and fun stories from Star Wars™ creators.

The LEGO Group is launching a new canvas for creative expression alongside a series of much-loved partners. Designed for adults who pride themselves on their love of pop culture, four new LEGO® Art sets give creative adults a different way to transform their passion into art.

www.lego.com/en-au/product/star-wars-the-sith-31200

LEGO ART

The LEGO® Art sets offer adults a new creative experience to help them relax and recharge as they transform a blank canvas (or in this case, small interlinking base plates) using LEGO tiles. Each set can be reimagined in a number of different ways to express the personality of each different builder, and to make it easy and simple for pop culture lovers to refresh the LEGO Art piece on display in their house. All four new sets come with a signature tile unique to the set that is worthy of any true work of art, and a new hanging element to make them easy to hang up and switch around.

 

The LEGO® Marvel Studios Iron Man set will be available exclusively from LEGO Retail Stores and LEGO.com while the other three sets will be available from retailers from 1st August 2020.

Each set is AUD199.99

LEGO® ART’S ANDY WARHOL’S MARILYN MONROE (31197)

3,332 pieces

4-in-1 Collectible Wall Art Building Kit for Adults

Accompanying soundtrack includes interviews with Jessica Beck, Curator at The Andy Warhol Museum and stories from Blake Gopnik, Art Critic and the author of “Warhol”, a comprehensive biography.

LEGO® Andy Warhol’s Marilyn Monroe – Pop art admirers can now recreate Andy Warhol’s famous bright pink screenprint of Marilyn Monroe from 1967, or reimagine it in three different colours using LEGO tiles. As art and design lovers tailor the tone of their piece to suit their artistic temperament, they can tune in to new insights and details about Warhol from those that know him best.

www.lego.com/…/p…/andy-warhol-s-marilyn-monroe-31197

LEGO® ART’S THE BEATLES (31198)

2,933 pieces

4-in-1 Collectible Wall Art Building Kit for Adults

Accompanying soundtrack includes interviews with Broadcaster and Beatles Expert, Geoff Lloyd, British journalist and Beatles fan Samira Ahmed and stories from Nish Kumar, Comedian, TV Presenter and Beatles fan.

LEGO® The Beatles – Music lovers can bring Beatle-fandom into the home with a LEGO portrait of their favorite band member, whether it’s John Lennon, Sir Paul McCartney, George Harrison or Sir Ringo Starr. Each set can be used to create four unique portraits or collect four and display the full band side-by-side. Fans can get by with a little help from friends of the Beatles as they switch their headphones over to accompanying soundtrack to listen to music and stories about the band as they build.

www.lego.com/en-au/product/the-beatles-31198

LEGO® ART’S MARVEL STUDIOS IRON MAN (31199)

3,156 pieces

3-in-1 Collectible Wall Art Building Kit for Adults

Three separate sets can be combined to make an ultimate Iron Man portrait piece

Accompanying soundtrack includes interviews with Roy Thomas, former Marvel Editor in Chief and stories from Alex Grand, Marvel expert and host of “Comic Book Historians podcast”.

LEGO® Marvel Studios Iron Man – Super Hero fans can decide between powering their hero up with the MARK III, the HULKBUSTER MARK I or the MARK LXXXV with this 3-in-1 set. After the tough decision is made, builders can recharge by listening to cool details about the set and stories from Marvel Experts as part of the accompanying soundtrack. Fans who want to channel Tony Stark and ‘run before you walk’ can combine three of the same sets into one to create the ultimate Iron Man artwork.

www.lego.com/…/product/marvel-studios-iron-man-31199

LEGO® ART’S STAR WARS™ THE SITH™ (31200)

3,395 pieces

3-in-1 Collectible Wall Art Building Kit for Adults

Three separate sets can be combined to make an ultimate Darth Vader™ portrait piece

Accompanying soundtrack includes interviews with Doug Chiang, VP & Executive Creative Director, Lucasfilm and stories from Glyn Dillon, creator of the design for Kylo Ren™, as seen in the Star Wars film saga.

LEGO® Star Wars™ The Sith™ - Celebrate iconic villains from a galaxy far, far away with this 3-in-1 portrait set. Choose between portraits that pay tribute to the Sith, with Darth Vader™, Darth Maul™ or Kylo Ren™, or take the artwork to the next level by combining three sets into an ultimate Darth Vader™ wall piece. The soundtrack means the Force will be with fans as they create their very own piece of wall art while listing to music from the films and fun stories from Star Wars™ creators.

The LEGO Group is launching a new canvas for creative expression alongside a series of much-loved partners. Designed for adults who pride themselves on their love of pop culture, four new LEGO® Art sets give creative adults a different way to transform their passion into art.

www.lego.com/en-au/product/star-wars-the-sith-31200

Kersh Wellness offers hassle free corporate wellness programs that reduce health care costs, increase participation, and improve employee health.

 

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Keywords: wellness programs, corporate wellness programs, wellness

 

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