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Performances Live à la soirée de lancement de la ligne de sneakers 'My Eurocks
917"...le résultat d'une collaboration étroite ente Puma et les Eurockéennes
de Belfort.
Singer Anahi performs at Teatro Metropolitan on March 25, 2010 in Mexico City, Mexico..Anahi Mi Delirio World Tour In Mexico City.Teatro Metropolitan.Mexico City, Mexico.March 25, 2010.Photo by Victor Chavez/WireImage.com..To license this image (60011862), contact WireImage.com
The Flaming Lips performed at The Boulevard Pool at The Cosmopolitan of Las Vegas in Las Vegas, NV on June 17, 2011.
The Flaming Lips formed in 1983 in Oklahoma City, but their first brush with fame didn’t come till 11 years later, when the quirky tune “She Don’t Use Jelly” somehow broke into the mainstream a year after the album containing it, Transmissions from the Satellite Heart, was released. Bizarre sonic experiments with equally bizarre song titles made the Flaming Lips hard to fathom, and strange behavior and unfortunate, freakish accidents made them a continual curiosity. All Music Guide's description of the group as “acid bubblegum” is as good a label as any to try to explain the dancing-about-architecture nature of Wayne Coyne and bandmates, currently co-founding bassist/keyboardist Michael Ivins, multi-instrumentalist Steven Drozd, who joined in 1993, and drummer/percussionist Kliph Scurlock, a member since 1999.
Showman Coyne handles reedy vocals, guitar, keyboards, assorted other instruments and weird theatrics, like floating in a bubble over crowds, filling the stage with animal- or Teletubbie-costumed characters and various forms of provocative behavior. His bent for weirdness extends to bizarre song and album titles like “Psychiatric Explorations of the Fetus with Needles” and “Free Radicals (A Hallucination of the Christmas Skeleton Pleading with a Suicide Bomber).” Their bent for brilliance extends to albums like The Soft Bulletin and Yoshimi Battles the Pink Robots, and turning a lyric like “Do you realize that everyone you know someday will die?” into a song that sounds like a joyous affirmation of life (“Do You Realize?”). With the Flaming Lips, you never can tell what they’ll think of next.
The Boulevard Pool sets the stage for Las Vegas' most unique live concerts. Perched high above The Las Vegas Strip, The Boulevard Pool is a multilevel pool experience by day and an intimate outdoor concert venue with unobstructed sightlines of both the stage and The Strip by night.
For upcoming shows and events at The Cosmopolitan see the Events Calendar.
Find The Cosmopolitan on...
Twitter: @Cosmopolitan_LV
Facebook: www.facebook.com/TheCosmopolitan
YouTube: www.youtube.com/user/TheCosmopolitanLV
Website: www.cosmopolitanlasvegas.com
Photo Credit: © RD/ Kabik/ Retna Digital/ erikkabik.com
Performing at the O2 Academy Bournemouth 05.11.15
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Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.
In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.
Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.
Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.
ETYMOLOGY
Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".
ORIGNS
According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.
As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.
SIGNIFICANCE OF PUJA
In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:
Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;
O Indra, bring treaures with your right hand;
O Agni grant the enjoyments of a good household;
Give (us) vigor, wealth in cattle, and possession of good horses.
- ÄsvSü
In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.
Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.
Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.
TEMPLE PUJA
Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.
ELABORATE PUJA
A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:
1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.
2. Asana. The deity is offered a seat.
3. Padya. The deity’s feet are symbolically washed.
4. Water is offered for washing the head and body
5. Arghya. Water is offered so the deity may wash its mouth.
6. Snana or abhisekha. Water is offered for symbolic bathing.
7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.
8. Upaveeda or Mangalsutra. Putting on the sacred thread.
9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.
10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.
11. Dhupa. Incense is burned before the image.
12. Dipa or Aarti. A burning lamp is waved in front of the image.
13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.
14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.
15. Parikrama or Pradakshina. Circumambulation around the deity.
16. Taking leave.
Sometimes additional steps are included:
1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.
2. Acamanıya. Water is offered for sipping.
3. Aabaran. The deity is decorated with ornaments.
4. Chatram. Offering of umbrella.
5. Chamaram Offering of fan or fly-whisk (Chamara).
6. Visarjana or Udvasana. The deity is moved from the place.
There are variations in this puja method such as:
1. Pancha upachara pooja (puja with 5 steps).
2. Chatushasti upachara puja (puja with 64 steps).
The structure of elaborate puja also varies significantly between temples, regions and occasions.
QUICK PUJA
A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.
PUJA IN BALINESE HINDUISM
In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.
Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.
GURU PUJA
In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.
PUJA AS A SOCIAL, HUMAN RIGHTS EVENT
As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.
CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL
Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.
REGIONAL NAMES
Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.
WIKIPEDIA
Israeli singer מאיה סימנטוב Maya Simantov performs in USA with DJ Yinon Yahel at Splash in New York City 2010
Dance-R&B singer-songwriter Maya Simantov (מאיה סימנטוב), also known as Maya, was born and raised in Israel to a Jewish family. Maya's debut dance album First Time received praise as one of Israel's all-time best dance albums and was released internationally by Star69 Records.
In 2005 Maya recorded numerous top ratings on major charts around the world, "Searching" entering the billboard top 25 and "First Time" hitting top 10 on billboard dance/club play.
In 2006 a second album entitled Second Time and the single "Be My Boyfriend" started around the world the "Offermanía" with Maya as one of the main protagonists. For 2007, DJ Offer Nissim released a double album with their best remixes and some his own, in collaboration with Maya; the same happened in 2008 with double album Happy People which includes, among other issues, "I'm In Love", "Wish You Where Here", "Love Me", "Why" and "Happy People".
Israeli born producer, Yinon Yahel began his musical career as the keyboardist for the well known Israeli rock band Eman
Splash Bar
50 West 17th Street
New York, NY 10011 - 5727
management@splashbar.com
(212) 691-0073
Maya Simantov
info.houseofm@gmail.com
972-54-6239308
DJ Yinon Yahel
info@ay-music.com
Video
New York City USA
05-29-2010
Clutch performing on their Psychic Warfare World Tour at The Fillmore in Detroit, MI on October 28th 2016 photo by Marc Nader
October 29th, 2016 - Clutch performs live at The Fillmore in Detroit, Michigan. Credit: Marc Nader. www.schwegweb.com
Korpop performs at Cosmopolite in Oslo on 14.2.2016. Korpop is a selection of songs, written by young Norwegian artisits and published between 2010 and 2015.
Lineup:
Åse Tessem (solist)
Siri Nilsen (vocal)
Sverre Tollefsen Laupstad (keyboard)
Matias K. Nielsen (gitar)
Magnus Tveten (bass)
Arild Brøter (trommer)
Oslo [Norway]
© 2016 Tore Sætre
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3) Send an email to tore@setre.net and let me know which image you will use and how it will be used.
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Performed a faceup on Lawrence.
Eyes are GLiB Life-like acrylic eyes in slate blue that Iplehouse packed him with.
|--------------------------------------------------------------
|--25-nov-2017#2-dec-2017 ECQ Présentations des élèves|Students' show
|--18 mars 2017 Épreuves synthèse - Finissants 2017
|--26 nov, 30 nov , 3 déc 2016 ECQ Présentations des élèves|Students' show
|--28-nov-2015 ECQ Présentations des élèves|Students' show
|--29-nov-2014 ECQ Présentations des élèves|Students' show
|--27-nov-2013 ECQ Présentations des élèves|Students' show
|--------------------------------------------------------------
2017 - "Scrap"-"Mats et Cordages"
2016 - "Les déferlantes" - "Cabaret de Noël"
2015 - "Les pierres vivantes" - "Cabaret de Noël"
2014 - "Le bal des mariés" et "HOP"
|--------------------------------------------------------------
| Plus d'images de Cirque... | More images on Circus...
_DSC3006_4_6_1280
The John F. Kennedy Center for the Performing Arts, or Kennedy Center, located on the Potomac River, adjacent to the Watergate Hotel, opened in 1971 as both the nation's living memorial to President John F. Kennedy and the national center for the performing arts. The center's origins date to 1958, when President Dwight D. Eisenhower signed into law the National Cultural Center Act, the first time in history that the US government backed and helped finance a structure dedicated to the performing arts. Designed by architect Edward Durrell Stone, it was built by Philadelphia contractor John McShain and is administered by a bureau of the Smithsonian Institution. It receives federal funding each year to pay for maintenance and operation.
The John F. Kennedy Memorial Center for the Performing Arts is 100 feet high, 630 feet long, and 300 feet wide. It features a 630-foot long, 63-foot high grand foyer, with 16 hand-blown Orrefors crystal chandeliers (a gift from Sweden), red carpeting, and Robert Berks' bust of Kennedy. The Hall of States and the Hall of Nations are both 250-foot long, 63-foot high corridors. The Kennedy Center also offers one of the only downtown open air rooftop terraces.
The Center has three main theaters: The Concert Hall, opened in 1971 and renovated in 1997 on the south side, seats 2,442; The Opera House, in the middle, seats 2,300; and The Eisenhower Theater, on the north side, seats 1,100 and is named for President Dwight Eisenhower. Cyril M. Harris designed the Kennedy Center's auditoriums and their acoustics.
The first performance was on September 5, 1971, with 2,200 members of the general public in attendance to see a premiere of Leonard Bernstein's Mass in the Opera House. The Center's official opening took place on September 8, 1971, with a formal gala and premiere performance of the Bernstein Mass. The Concert Hall was inaugurated on September 9, 1971, in a performance by the National Symphony Orchestra conducted by Antal Doráti. On Friday, September 10, 1971, Alberto Ginastera's opera, Beatrix Cenci premiered at the Kennedy Center's Opera House.
Facebook: on.fb.me/1m5EPJH
Twitter: twitter.com/USFCAPASJ
Vimeo: vimeo.com/usfpasj
USFPASJ Website: www.usfca.edu/artsci/pa/
McCarthy Center: www.usfca.edu/centers/mccarthy/
Venice Performing Arts Center on the Venice High School Campus
My Storefronts: 500 px | Fine Art America | Zazzle | Redbubble | ViewBug
A Hot Party also pleased with Light up dance floor in Florida in wedding time for dancing excitingly and enjoys the dance time with the lightning floor. ahotparty.com/varietyacts-light-up-led-violin/
The Flaming Lips performed at The Boulevard Pool at The Cosmopolitan of Las Vegas in Las Vegas, NV on June 17, 2011.
The Flaming Lips formed in 1983 in Oklahoma City, but their first brush with fame didn’t come till 11 years later, when the quirky tune “She Don’t Use Jelly” somehow broke into the mainstream a year after the album containing it, Transmissions from the Satellite Heart, was released. Bizarre sonic experiments with equally bizarre song titles made the Flaming Lips hard to fathom, and strange behavior and unfortunate, freakish accidents made them a continual curiosity. All Music Guide's description of the group as “acid bubblegum” is as good a label as any to try to explain the dancing-about-architecture nature of Wayne Coyne and bandmates, currently co-founding bassist/keyboardist Michael Ivins, multi-instrumentalist Steven Drozd, who joined in 1993, and drummer/percussionist Kliph Scurlock, a member since 1999.
Showman Coyne handles reedy vocals, guitar, keyboards, assorted other instruments and weird theatrics, like floating in a bubble over crowds, filling the stage with animal- or Teletubbie-costumed characters and various forms of provocative behavior. His bent for weirdness extends to bizarre song and album titles like “Psychiatric Explorations of the Fetus with Needles” and “Free Radicals (A Hallucination of the Christmas Skeleton Pleading with a Suicide Bomber).” Their bent for brilliance extends to albums like The Soft Bulletin and Yoshimi Battles the Pink Robots, and turning a lyric like “Do you realize that everyone you know someday will die?” into a song that sounds like a joyous affirmation of life (“Do You Realize?”). With the Flaming Lips, you never can tell what they’ll think of next.
The Boulevard Pool sets the stage for Las Vegas' most unique live concerts. Perched high above The Las Vegas Strip, The Boulevard Pool is a multilevel pool experience by day and an intimate outdoor concert venue with unobstructed sightlines of both the stage and The Strip by night.
For upcoming shows and events at The Cosmopolitan see the Events Calendar.
Find The Cosmopolitan on...
Twitter: @Cosmopolitan_LV
Facebook: www.facebook.com/TheCosmopolitan
YouTube: www.youtube.com/user/TheCosmopolitanLV
Website: www.cosmopolitanlasvegas.com
Photo Credit: © RD/ Kabik/ Retna Digital/ erikkabik.com
This is our cycling trip performed on the 9th of January 2013 where we cycled from Grand Baie, located in the north of Mauritius to the eastern village Trou d'Eau Douce. On our way to Trou d'Eau Douce we cycled more through inland villages such as Sottise, Forbach, Cottage, L'esperance Trebuchet, Riviere du Rempart, Centre de Flacq, Schoenfeld, Quatre Cocos, Palmar and Trou d'Eau Douce. On our way back we cycled along the coast going through villages such as Belle Mare, Bradeau, Roches Noires and then back inland using the Goodlands bypass road to get back to Grand Baie. I was amazed to see the inland beauty of many villages. One of my favorites is Palmar reminding me of Rodrigues island setting and also that stretch of road through Constance La Gaiete which then ends in Trou d'Eau Douce. When I saw those places i was saying to myself, living in such places of such beauty is one of many reasons why many actually never leave their villages to go and stay elsewhere! Also I wish to express that I found it the best way to see various places on a bicycle instead than in using a car - if you want to take your time, stop anywhere, take a shot, thats way more practical. No need to look for a parking! We had a great time exploring these places, we were for 12 hours on the road and did 87 Kilometres. The Mine Frire lunch and sea view at Trou d'Eau Douce at Chez Tino restaurant was awesome and gave us the energy required to cycle back home. Houses at Trou d'Eau Douce have such a magnificent view over the lagoon looking on Ile aux Cerfs! A stop at Belle Mare was relaxing. Enjoy our photo story where we take you through our journey of discovering the paradise tropical island Mauritius! -on a side note you'll also see that right in the beginning of our trip one of our friends had a flat tire which we got fixed in the cottage suburb - helpful people everywhere to give you indications. If you want to do such a cycling trip i recommend that you bring along suncream, lots of water! You will also find lots of La Boutique (small shops) where you can buy drinks. An Energade as spare power drink can do some good.
Suthukazi South African Cultural Singer in Lime Green Outfit with Zulu Beads Performing at Judith Brooke's Hackney Council Sponsored Southern Africa Live Cultural Evening De Beauvoir Town London
The Heinkel He 115 was a three-seat World War II Luftwaffe seaplane. It was used as a torpedo bomber and performed general seaplane duties, such as reconnaissance and minelaying. The aircraft was powered by two 960 PS (947 hp, 720 kW) BMW 132K nine-cylinder air-cooled radial engines. Some later models could seat four, had different engines or used different weapon arrangements.
In 1935, the German Reich Air Ministry (RLM, Reichsluftfahrt-ministerium) produced a requirement for a twin engined general purpose floatplane, suitable for patrol and for anti-shipping strikes with bombs and torpedoes. Proposals were received from Heinkel Flugzeugwerke and from the Blohm & Voss aircraft subsidiary Hamburger Flugzeugbau. On 1 November 1935, orders were placed with Heinkel and Hamburger Flugzeugbau for three prototypes each of their prospective designs, the He 115 and the Ha 140.
The first prototype Heinkel flew in August 1937, testing was successful and the He 115 design was selected over the Ha 140 early in 1938, leading to an order for another prototype and 10 pre-production aircraft. The first prototype was used to set a series of international records for floatplanes over 1,000 km (620 mi) and 2,000 km (1,200 mi) closed circuits at a speed of 328 km/h (204 mph).
Armament initially consisted of two 7.92 mm (.312 in) MG 15 machine guns, one in the nose and one in the dorsal position.[1] Later He 115s were fitted with a fixed forward-firing 15 mm or 20 mm MG 151 cannon and two rearward-firing 7.92 mm (.312 in) MG 17 machine guns in the engine nacelles. He 115 variants carrieded LTF 5 or LTF 6b torpedoes and SD 500 500 kg (1,100 lb) or SC 250 250 kg (550 lb) bombs. Some also carried LMB III or LMA mines.
At the beginning of the war, the He 115 was used for dropping parachute mines in British waters, normally aiming for narrow passages close to busy ports on the English south coast; the River Thames was also a prime target. The aircraft had its finest moment on anti-shipping operations against Arctic convoys from bases in northern Norway. Because the first convoys lacked air cover, the slow and lightly armed He 115 was less vulnerable than near the English coast. With the appearance of carriers and escort carriers, coupled with new Soviet heavy fighters like the Petlyakov Pe-3bis, Luftwaffe air superiority over the convoys was challenged and losses increased.
Apart from its use as a minelayer and torpedo bomber, the He 115 was used for coastal reconnaissance and by KG 200 to drop agents behind enemy lines.
In response to the rising tensions in Europe, the Norwegian Ministry of Defence had ordered six He 115Ns for the Royal Norwegian Navy Air Service (RNoNAS) on 28 August 1939 and the aircraft were delivered from 14 July – 13 November 1939.[7] The He 115N order was intended to replace the RNoNAS fleet of 1920s vintage Douglas DT torpedo bombers and the obsolescent Marinens Flyvebaatfabrikk M.F.11, which was the mainstay of the RNoNAS in 1940.[8] The Norwegians signed another order of six He 115Ns in December 1939, with delivery expected in March/April 1940 but this was forestalled by Operation Weserübung, the German invasion of Norway of 9 April 1940. At the outbreak of hostilities, the RNoNAS had six He 115Ns in service (F.50, F.52, F.54, F.56, F.58 and F.60) spread along the coast from the naval air stations at Sola and Flatøy in the south to the one at Skattøra Naval Air Station outside Tromsø in the north. At the beginning of the German invasion, the aircraft at the seaplane base at Hafrsfjord near Stavanger (F.60) was captured by the Germans, but two Luftwaffe He 115s (given the codes F.62 and F.64 in Norwegian service) were seized by an improvised militia unit of Norwegian riflemen at Ørnes in Glomfjord, Nordland and by police officers at Brønnøysund, Nordland. The two aircraft were seized after they ran out of fuel and had to make emergency landings on 10 April. Manned by Norwegian aircrews, they served against their former owners for the duration of the campaign.
Seven Norwegian He-115s, five of them He-115Ns, were employed against German and German-controlled ships (see: HNoMS Uller), as well as providing ground support to the Norwegian Army offensive on the Narvik Front. On 14 April 1940, three Norwegian He 115s made a successful attack on German Ju-52s at Gullesfjordbotn. Four of the Norwegian aircraft (F.52, F.56, F.58 and F.64) made the journey to the United Kingdom shortly before the 10 June 1940 surrender, a fifth (F.50) escaping to Finland, landing on Lake Salmijärvi in Petsamo. A sixth He 115 (F.54) also tried to make the journey to Britain but was lost over the North Sea. The last of the Norwegian He 115s, F.62 (one of the two captured German aircraft), was unserviceable at the time of the evacuation and was abandoned at Skattøra, later being repaired and flown by the Germans.
The four escaped aircraft were reformed into the Norwegian Helensburgh Group under Commander Bugge. The exiled Norwegian Cabinet Nygaardsvold made plans soon after arriving in Britain to use the four He 115 aircraft to perform leaflet dropping missions over Norway. The leaflet mission was to deliver a declaration to the Norwegian people, stating the Norwegian authorities were re-established in the UK and rejected any Nazi German overtures for a German–Norwegian peace deal. All four Norwegian He 115s were ordered from Helensburgh to Scapa Flow on 3 July 1940 to carry out the mission, although one had to return to Helensburgh due to engine problems. The three He 115s assembled at Scapa Flow were ordered to fly to Norway and drop the declaration over the cities of Oslo, Bergen and Trondheim. Shortly before the mission was to get under way the British Air Ministry intervened and stopped the expedition, insisting that such an undertaking would be suicidal to attempt with the slow flying He 115s. Three days later, the aircraft returned to Helensburgh.
Three of the Norwegian He 115s (F.56, F.58 and F.64) were subsequently used in covert operations off Norway and in the Mediterranean Sea with Norwegian crews. In British service, the three received new serial numbers, BV184, BV185 and BV187. BV184 was attacked and damaged by two Polish Spitfire fighters over the Bay of Biscay in the spring of 1942, while co-operating with French fishing boats and later lost in a refuelling fire in the UK. BV185 was destroyed in an Italian air raid on Kalafrana, Malta after flying just one clandestine operation to North Africa. BV187 flew several missions on the North African coast from its base in Malta before being destroyed by two German Bf 109s. (Wikipedia).
The Huracán Performante has reworked the concept of super sports cars and taken the notion of performance to levels never seen before. The vehicle has been re-engineered in its entirety, as regards its weight, engine power, chassis and above all by introducing an innovative system of active aerodynamics: ALA. The use of the awarded Forged Composites®, a shapable forged carbon fiber material patented by Automobili Lamborghini, is a real nice touch and it contributes to make the vehicle even lighter in weight. Besides its extraordinary technological properties, it also conveys a new idea of beauty.
The double wishbone architecture of the Huracán Performante's suspension systems guarantees perfect balance between usability of the vehicle and sports performance. The standard suspension is also teamed up with an optional system of magnetorheological shock absorbers that instantaneously respond to driving style and adapt to the road conditions and driving dynamics, improving control over the vehicle, especially on the circuit.
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Performed by ASK Dance Company (Malaysia) at the Esplanade Concourse during RASAS, the Traditional Dances from Asia.
" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
isted 11/27/2018
Madison, Tennessee
Reference number: 100003154
Rainbow Ranch (Hank Show House, Office, and Studio), located in Davidson County, Tennessee, is listed on the National Register of Historic Places. Rainbow Ranch is closely associated with the rise of the Nashville music business and recording industry in the post-World War II period from 1950-1979. As well, Rainbow Ranch is closely associated with musician Hank Snow, as his former home, office, and studio.
National Register of Historic Places Homepage
" YOKO ONO CUT PIECE
performed by john noga
Akron-Summit County Public Main Library Auditorium
Wednesday 29 August 2007 7pm "
" YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
(The Akron-Summit County Public Library is the site of the performance, and is not a sponsor.)
Cut Piece
Yoko Ono's performance, Cut Piece (1964), first performed by the artist herself in
Kyoto, Japan, in 1964, will be performed this evening by graduate student and assistant
curator of the IMAGINE PEACE exhibition, John Noga. The exhibition Yoko Ono
IMAGINE PEACE, Featuring John & Yoko's Year of Peace, curated by Kevin
Concannon (with John Noga), is on display through September 7th at the Mary Schiller
Myers School of Art's Emily Davis Gallery in Folk Hall (150 E. Exchange St, Akron)
on the campus of The University of Akron.
While Cut Piece is now widely understood as a feminist performance piece, Ono's early
performances of the work were commonly understood quite differently. Ono performed
the piece a number of times between 1964 and 1966. At the time, she spoke of it as a test
of her commitment as an artist. She frequently told interviewers a story about the
Buddha in which he comes across a hungry lioness and her cubs. taking pity on her
plight, he hurls his body off a cliff above the lioness, scattering the pieces of his body to
offer nourishment to the animals. At the moment of his leap, he achieves enlightenment.
Ono also often discussed the piece as an attempt to move beyond the artist's ego. The
artist, she explained, often gave his audience what he thought they should have. She
wished instead for the audience to take what it wanted from the work. With Cut Piece,
she expressed this quite literally.
The performance score (instructions) calls for the performer to sit on the stage wearing
his or her best suit of clothing with a pair of scissors placed in front of him or her. it is
then announced that members of the audience may approach the stage one at a time to cut
a piece of clothing that they may take with them. The performance ends at the
performer's discretion. Witnessing the performance, it becomes clear that the cutters are
performers as well. The audience observes that each voluntary participation has their own
unique and distinct approach to the work.
in 2003, Ono performed the work personally for the last time. She did it, she says, for
peace, and against ageism, racism, and sexism.
Thank you for being a part of tonight's special performance of Yoko Ono's Cut Piece
The Mary Schiller Myers School of Art
The University of Akron "
YOKO ONO'S CUT PIECE (1964)
Performed by John Noga, graduate assistant, The University of Akron
College of Fine and Applied Arts, Master of Arts Administration program
Introduction by Kevin Concannon, associate professor of art, UA
Wednesday, August 29, 2007 7 pm
Akron-Summit County Public Library
A free show at the Chenla Theater, Phnom Penh
This was quite spectacular! Dancers from france, Cambodia and Laos put on perhaps one of the best dance performances i have seen. Im not a theater goer and certainly don't know much about classical dance but I will try and explain. The first performance looked kind of classical khmer combined with intense drumming, the dancers were truly amazing at what they did. Then the second performance, try to imagine synchronized break dancing to classical music, truly exceptional stuff. To finish, some street kids came on stage and continued with some quite acrobatic breaking, all this for free!
This was the first show of it's kind, there are further shows planned, the next being in June. For a taster of the action there will be 8 acts on diamond island this evening.
The photograph shows full view of Moondress performers from Stretch MK1 during the Family Funfest, which formed part of the activities organized for the Singapore Arts Festival 2007.
Title devised by Library staff.
All Rights Reserved. National Library Board Singapore 2007.
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Rap UK Group Macados Performing at The Limpopo Club The Africa Centre Covent Garden London September 1999
The Three Barons is such a cool event - it's not that big, especially when compared to major Ren Fairs, but it is home and there is a certain spirit that is hard to explain. I've come to know a lot of the performers, especially the belly dancers and members of the Crooked Toad Tavern, and they seem to tolerate me just fine. I can't believe how lucky I am to shoot with such fine people - wow!
The Three Barons take place in Anchorage, Alaska, on the first two weekends in June. These photos are from June 2012.
Zimbabwe African Girl Singer Performing at the Brenda Fassie Show the Stratford Rex London Dec 21 2001 Red Leather Mini Skirt Décolleté Low Neckline Beautiful Breasts Cleavage
Created by Philadelphia Performing Arts Charter School, 4th Grade, Philadelphia, PA
Artists: Zayne, Makenzie, Miranda, Lily
Teacher: Mrs. Dengler
Title: Optical Illusions and My Nighttime Memories
Theme: Your Night Sky, Astronomy
Materials and techniques: Students used a few different materials and technical skills for this project...Materials included pencil, colored pencils, and construction paper. Students learned how to create Op Art, and express a vision in their mind on paper.
Did you enjoy this project? This project took many twists and turns, when initial concepts didn't pan out, and no one was sure how it was going to turn out. However, with a little problem solving and perseverance, we were all very excited about how they turned out!
About: For this project, students learned about Op Art – or optical art, which is abstract, and often gives the impression of movement, hidden images, flashing and vibration, patterns, or of swelling or warping. Students learned about the innovative Op Art artist Edna Andrade and studied her painting 'Night Sea', that told the story of her memory of nighttime as a little girl. Students then created their own traditional and Op Art composition by drawing and coloring a favorite memory they had that took place at night, and adding a zigzag shaped piece of colored construction paper to their compositions. When four of these individual pieces are placed together in a square, they give the illusion of one cohesive artwork telling a story and also creating an optical illusion of a starburst in the center of the composition.
Learn more about the Dream Rocket Project and how to participate at www.thedreamrocket.com