Hervey Bay Homes

Time flies from 1932 to 2018.

 

“Time flies like an arrow.

Fruit flies like a banana.”

 

On the left side:

Masculine elegance and superior functionality characterise the Montblanc 4810 collection timepieces for the modern traveller. Combining performance and artisanal prowess, this wristwatch encloses its precise, self-winding Calibre MB 25.07 with a bi-pusher chronograph in a large, bold case featuring a dial of functional composition and harmonious proportions. Adorned with an exploding Montblanc star pattern guilloché, the black dial bears applied, rhodium-plated Roman numerals and indexes. A red triangle at 6 o’clock indicates the date. For better readability at night, the central hour and minute regate hands feature a Super-LumiNova coating for full visibility in the dark. To facilitate accurate chronometry, the precise minuterie along the dial’s edge features red markings at 30 and 60 seconds. Featuring straight horns and a thin bezel with a satin-finished border, the 43 mm stainless steel case complements a black alligator-skin strap.

 

Ident Number: 115123

Calibre: MB 25.07

Movement Type: Automatic chronograph

Material: Stainless steel

Diameter: 43 mm. CDN$4,100.00 plus 13% tax in 2017/8.

 

youtu.be/cxR6_ugl3wg

 

On the right side:

In 2018 my jeweller brought it back into good working condition.

1932 mass produced clock designed by Isama Noguchi.

 

Average run tine 28 hours. It is in working condition but it ticks loudly and the alarm would wake even the deepest sleepers.

 

youtu.be/V6Lh5YoLGkU

 

After purchasing this clock I took it in for a service estimate. I’m still waiting for their response.

 

1932 mass produced clock designed by Isama Noguchi.

Average run tine 28 hours.

 

youtu.be/V6Lh5YoLGkU

 

Isamu Noguchi (Japanese/American, 1904-1988) who spent a good portion of his life living in Japan.

Measured Time (Clock and Kitchen Timer), circa 1932, Hawkeye by the Stevenson, Mfg. Co.

Bakelite, glass, printed paper.

6-1/8 x 5-3/8 x 3-1/2 inches (15.6 x 13.7 x 8.9 cm)

Printed manufacturer's mark to face and applied plaque to reverse.

 

Measured Time has been recently noted as Nogochi's first mass produced design.

 

Measured Time "Hawkeye" Timer/Clock

 

SEE ebay Listing at link below started on 9/21/2015

www.ebay.com/itm/HAWKEYE-MEASU...

 

The Hawkeye timer/clock has a two-hour timer above, set with the large knob at center, and a clock below. While Measured Time, Inc., La Porte, Indiana is inscribed on the dial, the ID tag on the back identifies it as Model L, made by the Stevenson Mfg. Co. of La Porte. It was available in black or white Bakelite, and with either a wind-up or electric movement. Patents for both movements were held by Chester R. Gains and date to 1931 and 1934.

The Hawkeye's curvaceous and very Modern looking case design has only recently been identified as the work of acclaimed artist, landscape architect, and industrial designer, Isamu Noguchi. According to the Noguchi Foundation, this timer was Noguchi's first mass-produced design, completed ca. 1932. It predates his design for the "Radio Nurse" baby monitor by about five years. More info available here: www.phillips.com/detail/ISAMU-...

The “Measured Time” clocks have appeared previously on the market without attribution, identified only by the clockface “Hawkeye” label or the Stevenson Manufacturing Company label on the reverse. In his autobiography, Isamu Noguchi mentions that his first industrial design was a series of cake molds (which are believed to never have been put into production), followed by the case covering for a clock/kitchen timer called “Measured Time,” and then the baby monitor “Radio Nurse” and accompanying “Guardian Ear.” Because an image of “Measured Time” was never published, “Radio Nurse” had been noted as Noguchi’s first documented mass-produced design. Based on similarities in style, as well as correspondence and relationships in Indiana connecting Noguchi with the Stevenson Manufacturing Company, The Noguchi Foundation has recently confirmed the “Measured Time” case design to be the work of Isamu Noguchi. A discovery over eighty years in the making, Phillips considers it a privilege to introduce this model to the auction market with its rightful attribution.

 

The present model clock/kitchen timer is included in the current exhibition Isamu Noguchi, Patent Holder: Designing the World of Tomorrow, June 4, 2014–January 4, 2015 at The Noguchi Museum, and will be on view January 15, 2015–March 19, 2015 at the Dr. M.T. Geoffrey Yeh Art Gallery at St. John’s University in Queens, New York.

Past Auction results

________________________________________

• 231

ISAMU NOGUCHI

“Measured Time” clock and kitchen timer , circa 1932

Bakelite, metal, enameled metal, printed paper.

6 1/8 x 5 1/4 x 3 1/2 in. (15.6 x 13.3 x 8.9 cm)

Manufactured by Stevenson Manufacturing Company, La Porte, Indiana. Clock face printed with HAWKEYE/MEASURED TIME and MEASURED TIME INC. LA PORTE, INDIANA, reverse with metal label printed with STEVENSON MFG. CO/MODEL L PATENTS 1371781/1424092 1620455 1821628/1821629 OTHER PATENTS PENDING.

Estimate $3,500 - 4,500

SOLD FOR $11,250

 

Measured Time clock and kitchen timer

Stevenson Mfg. Co.

USA, c. 1932

Bakelite, glass, printed paper

5.5 w x 3.5 d x 6.25 h inches

result: $7,500

________________________________________

estimate: $3,500–4,500

This early work marks Noguchi's first design to go into mass production.

Signed with printed manufacturer's mark to face: [Hawkeye Measured Time]. Signed with metal manufacturer's label to reverse: [Measured Time La Porte, Ind. Model-L].

Isamu Noguchi

________________________________________

Measured Time clock and kitchen timer

Stevenson Mfg. Co.

USA, c. 1932

Bakelite, glass, printed paper

5.5 w x 3.5 d x 6.25 h inches

result: $7,500

________________________________________

estimate: $3,500–4,500

This early work marks Noguchi's first design to go into mass production.

Signed with printed manufacturer's mark to face: [Hawkeye Measured Time]. Signed with metal manufacturer's label to reverse: [Measured Time La Porte, Ind. Model-L].

 

Link to Radio Nurse by the same famous designer:

www.slate.com/blogs/the_vault/2013/02/07/zenith_s_radio_n...

 

His playground design:

kvadratinterwoven.com/isamu-noguchis-playgrounds

 

Google his image to see the incredible variety of his work.

 

There are many YouTube videos of his life and various designs if you search his name.

youtu.be/CTdPoSfSc7I

Np precise date sadly on the Negs in the Black Book folder

The Ambassadors

Hans Holbein

German painter, draftsman, and designer renowned for the precise rendering of his drawings and the compelling realism of his portraits, particularly those recording the court of King Henry VIII of England.

 

Holbein was a member of a family of important artists. His father, Hans Holbein the Elder, and his uncle Sigmund were renowned for their somewhat conservative examples of late Gothic painting in Germany. One of Holbein's brothers, Ambrosius, became a painter as well, but he apparently died about 1519 before reaching maturity as an artist. The Holbein brothers no doubt first studied with their father in Augsburg; they both also began independent work about 1515 in Basle, Switz. It should be noted that this chronology places Holbein firmly in the second generation of 16th-century German artists. Albrecht Dürer, Matthias Grünewald, and Lucas Cranach the Elder all were born between 1470 and 1480 and were producing their mature masterpieces by the time Holbein was just beginning his career. Holbein is, in fact, the only truly outstanding German artist of his generation.

 

Holbein's work in Basle during the decade of 1515-25 was extremely varied, if also sometimes derivative. Trips to northern Italy (c. 1517) and France (1524) certainly affected the development of his religious subjects and portraiture, respectively. Holbein entered the painters' corporation in 1519, married a tanner's widow, and became a burgher of Basle in 1520. By 1521 he was executing important mural decorations in the Great Council Chamber of Basle's town hall. Unfortunately, none of Holbein's many great frescoes executed here and in England and Germany have survived intact. Their beauty must be judged, instead, from his sketches and copies of the frescoes made by later artists.

 

Holbein was associated early on with the Basle publishers and their humanist circle of acquaintances. There he found portrait commissions such as that of the humanist scholar Bonifacius Amerbach (1519; Kunstmuseum, Basle). In this and other early portraits Holbein showed himself a master of the current German portrait idiom, using robust characterization and accessories, strong gaze, and dramatic silhouette. In Basle, Holbein was also active in designing woodcuts for title pages and book illustrations. He increased his reputation as a book illustrator by a series of woodcuts for the German translation of the Bible by Martin Luther. The artist's most famous work in this area, a series of 41 scenes illustrating the medieval allegorical concept of the Dance of Death, was designed by him and cut by another artist as early as about 1523 to 1526 but was not published until 1538. Its scenes display an immaculate sense of order, packing much information about the lifestyles and habits of Death's victims into a very small format. He completed also a series of pen-and-ink sketches for The Praise of Folie by the Dutch scholar Desiderius Erasmus. In portraiture, too, Holbein's minute sense of observation was soon evident. His first major portrait of Desiderius Erasmus (1523; Louvre, Paris) portrays the Dutch humanist scholar as physically withdrawn from the world, sitting at his desk engaged in his voluminous European correspondence; his hands are as sensitively rendered as his carefully controlled profile.

 

Protestantism, which had been introduced into Basle as early as 1522, grew considerably in strength and importance there during the ensuing four years. By 1526 severe iconoclastic riots and strict censorship of the press swept over the city. In the face of what, for the moment at least, amounted to a freezing of the arts, Holbein left Basle late in 1526, with a letter of introduction from Erasmus, to travel by way of the Netherlands to England. Though only about 28 years old, he would achieve remarkable success in England. His most impressive works of this time were executed for the statesman and author Sir Thomas More and included a magnificent single portrait of the humanist (1527; Frick Collection, New York City). In this image, the painter's close observation extends to the tiny stubble of More's beard, the iridescent glow of his velvet sleeves, and the abstract decorative effects of the gold chain that he wears. Holbein also completed a life-size group portrait of More's family; this work is now lost, though its appearance is preserved in copies and in preparatory drawing in the Kunstmuseum, Basle. This painting was the first example in northern European art of a large group portrait in which the figures are not shown kneeling - the effect of which is to suggest the individuality of the sitters rather than impiety.

 

Before Holbein journeyed to England in 1526, he had apparently designed works that were both pro- and anti-Lutheran in character. On returning to Basle in 1528, he was admitted, after some hesitation, to the new - and now official - faith. It would be difficult to interpret this as a very decisive change, for Holbein's most impressive religious works, like his portraits, are brilliant observations of physical reality but seem never to have been inspired by Christian spirituality. This is evident in both the claustrophobic, rotting body of the Dead Christ in the Tomb (1521; Kunstmuseum, Basle) and in the beautifully composed Family of Burgomaster Meyer Adoring the Virgin (1526; Schlossmuseum, Darmstadt). In this latter painting Holbein skillfully combined a late medieval German compositional format with precise Flemish realism and a monumental Italian treatment of form. Holbein apparently quite voluntarily gave up almost all religious painting after about 1530.

 

In Basle, from 1528 to 1532, Holbein continued his important work for the town council. He also painted what is perhaps his only psychologically penetrating portrait, that of his wife and two children (c. 1528; Kunstmuseum, Basle). This picture no doubt conveys some of the unhappiness of that abandoned family. In spite of generous offers from Basle, Holbein left his wife and children in that city for a second time, to spend the last 11 years of his life primarily in England.

 

By 1533 Holbein was already painting court personalities. His portrait of the statesman Thomas Cromwell brought the artist recognition at court, and by 1536 he was established as court painter to Henry VIII of England. It is estimated that during the last 10 years of his life Holbein executed approximately 150 portraits, life-size and miniature, of royalty and nobility alike. These portraits ranged from a magnificent series depicting German merchants who were working in London to a double portrait of the French ambassadors to Henry VIII's court (1533; National Gallery, London) to portraits of the king himself (1536; Thyssen-Bornemisza Collection, Madrid) and his different wives, Jane Seymour (1536; Kunsthistorisches Museum, Vienna) and Anne of Cleves (Louvre, Paris). In these and other examples, the artist revealed his fascination with plant, animal, and decorative accessories. Holbein's preliminary drawings of his sitters contain detailed notations concerning jewelry and other costume decorations as well. Sometimes such objects point to specific events or concerns in the sitter's life, or act as attributes referring to a sitter's occupation or character. The relation between accessories and face is a charged and stimulating one, avoiding simple correspondence.

 

In an analogous fashion, Holbein's mature portraits present an intriguing play between surface and depth. The sitter's outlines and position within the frame are carefully calculated, while inscriptions applied on the surface in gold leaf lock the sitter's head into place. Juxtaposed with this finely tuned two-dimensional design are illusionistic miracles of velvet, fur, feathers, needleworks, and leather. Holbein acted not only as a portraitist but also as a fashion designer for the court. The artist made designs for all the state robes of the king; he left, in addition, more than 250 delicate drawings for everything from buttons and buckles to pageant weapons, horse outfittings, and bookbindings for the royal household. This choice of work indicates Holbein's Mannerist concentration on surface texture and detail of design, a concern that in some ways precluded the incorporation of great psychological depth in his portraits. Holbein died in a London plague epidemic in 1543.

 

Holbein was one of the greatest portraitists and most exquisite draftsmen of all time. It is the artist's record of the court of King Henry VIII of England, as well as the taste that he virtually imposed upon that court, that was his most remarkable achievement.

 

The fact that Holbein's portraits do not reveal the character or spiritual inclinations of his sitters is perfectly paralleled by knowledge of the artist's life. His biography is basically a recounting of disparate facts; about his personality practically nothing is known. Not one note or letter from his own hand survives. Other men's opinions of him are often equally inscrutable. Erasmus, one of Holbein's most renowned sitters, praised and recommended him on one occasion but scorned the artist as opportunistic at another time. Indeed, Henry VIII, who sent Holbein to the European continent to help select a bride by providing a dependable portrait for his scrutiny, was perhaps the only person who had absolute confidence in Holbein.

 

The artist's detachment and his refusal to submit to an authority that might inhibit his own creative (but very worldly) powers enabled him to produce paintings whose beauty and brilliance have never been questioned. Had he been a more devout Christian or more subject to the turmoil of his times, his artistic achievement might have been quite different. In recent times, the lack of spiritual involvement in his work has been consistently noted, especially inasmuch as the 16th century was a time when few artists managed to remain above the religious conflict sweeping Europe. Thus, the effect of Holbein's art has often been felt to be more artistic and external than expressionistic or emotional. Only in that sense, however, is his achievement finally limited.

   

outside the Nacional Gallery

visible sur CPA date non précisée, gens aux fenêtres "Hôtel Métropole"

autre CPA www.vosgescpa.fr/Plombieres-les-Bains/slides/Plombi%C3%A8...

 

Voir toute la série d'une quinzaine de photos, avec les villas voisines, du même architecte lorrain, Charles Hindenayer (quelquefois écrit Hindermeyer), inspiré par l'Art Nouveau allemand

Modern torqueing

 

Audi and the quattro all-wheel drive system are synonymous with power and precise control

 

By Tushal Bhadang

 

Do you recall how your spine tingles when you’re about to lay your hands onto that new 3000 Watt home theatre system blaring out music that could wake up neighbours two blocks away? The Q7 SUV Audi comes with the same spine tingling Vorsprung durch Technik – as standard. It’s no small goat though, at 5086mm from bumper to bumper the Q7 is long by a stretch, consolidating 2177mm of width and you don’t want to get into a tight spot. But she is beautiful like no other. Smooth flowing lines with nothing added as an after-thought give her a robust appearance.

Audi’s radiator grille is the most distinctive, the four rings logo dominate the vents and large goatee-shaped chin is sure to scare motorists up front. It’s stance is muscular and aggressive and though appearing bulky, she scampers like a scalded cat if given some stick. We received two variants of the Q7 the full blown 4.2 litre V8, 350hp monster in goat’s disguise and the tame but equally brilliant cheetah all of 3.6 litre V6 pawing out 280 ponies which snarl with fierce intent.

 

Despite varying power outputs the basic character of both cars is similar. They both growl from anything above 2500 RPM but the V8 thumps out a humongous 440 Nm of torque @3500 RPM pushing you back in your seat. While the V6 does the same a little less aggressively at 360 Nm of torque ranging from 2500 to 5000 RPM giving it immense mid-range thrust. The V8 provided a phenomenal driving experience, mostly due to the quattro all-wheel-drive system which is a remarkable piece of engineering in itself but also in part due to the adaptive air suspension package. It electronically controls the adaptive damping system on all four wheels, i.e. raising the vehicle height up to 60mm (lift mode) for off road action and lowers height by 28mm for high speed highway cruising (dynamic mode). All vehicle dynamics are managed by the Audi MMI (multi media interface) system mounted on the dash. Also included is an ‘automatic’ setting where the vehicle analyses the road dynamics and adjust the suspension damping and level accordingly. The V6 powered Q7 comes without these and other bells and whistles.

 

Both variants come with a standard 6-speed automatic tiptronic transmission with near perfect gear ratios and an “S” mode that more than judicially keeps her revving close to the red line in every cog. The Q7 in both variants is equally comfortable and does exactly what Audi claim, be a big, comfortable and very very fast SUV. Off the black, the Q7 is not the most capable of vehicles, partly due to the tyres (low profile Bridgestone 275/45R20 designed for wet performance and road comfort). It can handle some mini sand dunes but that’s about it. It takes corners with aplomb and feels like its on rails. It is the nature of large SUV’s to understeer heavily, but the Quattro system prevents this to a large extent by controlling power to all four wheels. The V6 though provided a better driving experience as it was noticeably lighter and took tighter turns with ease.

 

There is so much to talk about the interiors. Audi bathe you with luxury from the best cows a.k.a leather seats. The big daddy V8 also gets additional safety features as standard, with blind-spot alerts in the wing mirrors and active glare protection from auto dimming rear view mirror. The baby Q7 gets the Audi open sky system which lets in the sun when retracted and also has a tint and fine mesh sun protection cover that rolls in/out at the flick of a switch. The MMI system comes with a host of goodies which include mobile phone bluetooth, in-dash 6-disc Bose audio CD changer, active GPS navigation system, vehicle settings and also self system check amongst many others. You can go to the extent of specifying how long you want the headlights to be on after you leave the car and even set the speed limit warning to beep at a speed you choose! Boot space (min. 775 lit., max. 2035 lit.), rear legroom and overall storage space is exemplary. Road noise too is extremely low.

 

Like other models in its product range, the Q7 comes with a host of airbags and active safety measures and enjoys a 4-star EuroNcap safety rating. Large-diameter (ventilated 350mm front, solid 330mm rear) provide the most reassuring stopping power under any condition. Dual-circuit brake system with diagonal split ABS with EBD, electronic differential lock, traction control system (ASR – what’s that?) and ESP are standard on all variants.

 

Last word

The Q7 is a phenomenon but it is in a way over-engineered to perfection. All the technology is a little distracting and the silky smooth ride is missed as you keep playing with all the toys. But you do reach your destination very quickly. She is capable of carrying five or seven passengers in cool comfort (multi-zone climatronic air con). Nudging 2.3 tons of kerb weight she feels solid and planted. For practical reasons, we would vouch for the 3.6 litre V6 Q7, it is nimble, relatively simple and has most of the gadgets with many options and moreover more efficient than the V8. Though if you are looking for more power, the V8 is the one for you.

 

Rating 4 stars

 

Car supplied by Behbehani Brothers, Kingdom of Bahrain.

 

PIC TUSHAL BHADANG

 

Riverside Cemetery, Kalamazoo, Michigan

 

Argus Anastigmat 50mm f/4.5 on Sony A7RM2.

 

Argus-Ilex-Precise I.R.C. f/4.5 Anastigmat (from the early Argus A camera series) on Sony A7RM2.

 

Converted to black-and-white in Lightroom CC; distortion, vignette and edge softness come with the lens.

[UPDATE: Precise location identified by beachcomberaustralia. See comments.]

 

Cabinet card.

 

Bought from an eBay seller in Bath, United Kingdom.

 

Location: Google Maps Street View [with thanks to beachcomber!]

 

en.wikipedia.org/wiki/Hastings

 

On the back of the card, in pencil, is written:

 

April 11th

1910

W. Smith

Earl Bdgs

Earl St

Hastings

Nerium oleander most commonly known as oleander or nerium, is a shrub or small tree cultivated worldwide in temperate and subtropical areas as an ornamental and landscaping plant. It is the only species currently classified in the genus Nerium, belonging to subfamily Apocynoideae of the dogbane family Apocynaceae. It is so widely cultivated that no precise region of origin has been identified, though it is usually associated with the Mediterranean Basin.

 

Nerium grows to 2–6 metres (7–20 feet) tall. It is most commonly grown in its natural shrub form, but can be trained into a small tree with a single trunk. It is tolerant to both drought and inundation, but not to prolonged frost. White, pink or red five-lobed flowers grow in clusters year-round, peaking during the summer. The fruit is a long narrow pair of follicles, which splits open at maturity to release numerous downy seeds.

 

Nerium contains several toxic compounds, and it has historically been considered a poisonous plant. However, its bitterness renders it unpalatable to humans and most animals, so poisoning cases are rare and the general risk for human mortality is low. Ingestion of larger amounts may cause nausea, vomiting, excess salivation, abdominal pain, bloody diarrhea and irregular heart rhythm. Prolonged contact with sap may cause skin irritation, eye inflammation and dermatitis.

 

Description

Oleander grows to 2–6 metres (7–20 feet) tall, with erect stems that splay outward as they mature; first-year stems have a glaucous bloom, while mature stems have a grayish bark. The leaves are in pairs or whorls of three, thick and leathery, dark-green, narrow lanceolate, 5–21 centimetres (2–8 inches) long and 1–3.5 cm (3⁄8–1+3⁄8 in) broad, and with an entire margin filled with minute reticulate venation web typical of eudicots. The leaves are light green and very glossy when young, maturing to a dull dark green.

 

The flowers grow in clusters at the end of each branch; they are white, pink to red, 2.5–5 cm (1–2 in) diameter, with a deeply 5-lobed fringed corolla round the central corolla tube. They are often, but not always, sweet-scented. The fruit is a long narrow pair of follicles 5–23 cm (2–9 in) long, which splits open at maturity to release numerous downy seeds.

 

Taxonomy

Nerium oleander is the only species currently classified in the genus Nerium. It belongs to (and gives its name to) the small tribe Nerieae of subfamily Apocynoideae of the dogbane family Apocynaceae. The genera most closely related thus include the equally ornamental (and equally toxic) Adenium G.Don and Strophanthus DC. - both of which contain (like oleander) potent cardiac glycosides that have led to their use as arrow poisons in Africa. The three remaining genera Alafia Thouars, Farquharia Stapf and Isonema R.Br. are less well-known in cultivation.

 

Synonymy

The plant has been described under a wide variety of names that are today considered its synonyms:

 

Oleander Medik.

Nerion Tourn. ex St.-Lag.

Nerion oleandrum St.-Lag.

Nerium carneum Dum.Cours.

Nerium flavescens Spin

Nerium floridum Salisb.

Nerium grandiflorum Desf.

Nerium indicum Mill.

Nerium japonicum Gentil

Nerium kotschyi Boiss.

Nerium latifolium Mill.

Nerium lauriforme Lam.

Nerium luteum Nois. ex Steud.

Nerium madonii M.Vincent

Nerium mascatense A.DC.

Nerium odoratissimum Wender.

Nerium odoratum Lam.

Nerium odorum Aiton

Nerium splendens Paxton

Nerium thyrsiflorum Paxton

Nerium verecundum Salisb.

Oleander indica (Mill.) Medik.

Oleander vulgaris Medik.

 

Etymology

The taxonomic name Nerium oleander was first assigned by Linnaeus in 1753. The genus name Nerium is the Latinized form of the Ancient Greek name for the plant nẽrion (νήριον), which is in turn derived from the Greek for water, nẽros (νηρός), because of the natural habitat of the oleander along rivers and streams.

 

The origins of the species name are disputed. The word oleander appears as far back as the first century AD, when the Greek physician Pedanius Dioscorides cited it as one of the terms used by the Romans for the plant. Merriam-Webster believes the word is a Medieval Latin corruption of Late Latin names for the plant: arodandrum or lorandrum, or more plausibly rhododendron (another Ancient Greek name for the plant), with the addition of olea because of the superficial resemblance to the olive tree (Olea europea) Another theory posited is that oleander is the Latinized form of a Greek compound noun: οllyo (ὀλλύω) 'I kill', and the Greek noun for man, aner, genitive andros (ἀνήρ, ἀνδρός). ascribed to oleander's toxicity to humans.

 

The etymological association of oleander with the bay laurel has continued into the modern day: in France the plant is known as "laurier rose", while the Spanish term, "Adelfa", is the descendant of the original Ancient Greek name for both the bay laurel and the oleander, daphne, which subsequently passed into Arabic usage and thence to Spain.

 

The ancient city of Volubilis in Morocco may have taken its name from the Berber name alili or oualilt for the flower.

 

Distribution and habitat

Nerium oleander is either native or naturalized to a broad area spanning from Northwest Africa and Iberian and Italian Peninsula eastward through the Mediterranean region and warmer areas of the Black Sea region, Arabian Peninsula, southern Asia, and as far east as Yunnan in southern parts of China. It typically occurs around stream beds in river valleys, where it can alternatively tolerate long seasons of drought and inundation from winter rains. N. oleander is planted in many subtropical and tropical areas of the world.

 

On the East Coast of the US, it grows as far north as Virginia Beach, while in California and Texas miles of oleander shrubs are planted on median strips. There are estimated to be 25 million oleanders planted along highways and roadsides throughout the state of California. Because of its durability, oleander was planted prolifically on Galveston Island in Texas after the disastrous Hurricane of 1900. They are so prolific that Galveston is known as the 'Oleander City'; an annual oleander festival is hosted every spring. Moody Gardens in Galveston hosts the propagation program for the International Oleander Society, which promotes the cultivation of oleanders. New varieties are hybridized and grown on the Moody Gardens grounds, encompassing every named variety.

 

Beyond the traditional Mediterranean and subtropical range of oleander, the plant can also be cultivated in mild oceanic climates with the appropriate precautions. It is grown without protection in warmer areas in Switzerland, southern and western Germany and southern England and can reach great sizes in London and to a lesser extent in Paris due to the urban heat island effect. This is also the case with North American cities in the Pacific Northwest like Portland, Seattle, and Vancouver. Plants may suffer damage or die back in such marginal climates during severe winter cold but will rebound from the roots.

 

Ecology

Some invertebrates are known to be unaffected by oleander toxins, and feed on the plants. Caterpillars of the polka-dot wasp moth (Syntomeida epilais) feed specifically on oleanders and survive by eating only the pulp surrounding the leaf-veins, avoiding the fibers. Larvae of the common crow butterfly (Euploea core) and oleander hawk-moth (Daphnis nerii) also feed on oleanders, and they retain or modify toxins, making them unpalatable to potential predators such as birds, but not to other invertebrates such as spiders and wasps.

 

The flowers require insect visits to set seed, and seem to be pollinated through a deception mechanism. The showy corolla acts as a potent advertisement to attract pollinators from a distance, but the flowers are nectarless and offer no reward to their visitors. They therefore receive very few visits, as typical of many rewardless flower species. Fears of honey contamination with toxic oleander nectar are therefore unsubstantiated.

 

Leaf scorch

A bacterial disease known as oleander leaf scorch (Xylella fastidiosa subspecies sandyi) has become a serious threat to the shrub since it was first noticed in Palm Springs, California, in 1992. The disease has since devastated hundreds of thousands of shrubs mainly in Southern California, but also on a smaller scale in Arizona, Nevada and Texas. The culprit is a bacterium which is spread via insects (the glassy-winged sharpshooter primarily) which feed on the tissue of oleanders and spread the bacteria. This inhibits the circulation of water in the tissue of the plant, causing individual branches to die until the entire plant is consumed.

 

Symptoms of leaf scorch infection may be slow to manifest themselves, but it becomes evident when parts of otherwise healthy oleanders begin to yellow and wither, as if scorched by heat or fire. Die-back may cease during winter dormancy, but the disease flares up in summer heat while the shrub is actively growing, which allows the bacteria to spread through the xylem of the plant. As such it can be difficult to identify at first because gardeners may mistake the symptoms for those of drought stress or nutrient deficiency.

 

Pruning out affected parts can slow the progression of the disease but not eliminate it. This malaise can continue for several years until the plant completely dies—there is no known cure. The best method for preventing further spread of the disease is to prune infected oleanders to the ground immediately after the infection is noticed.

 

The responsible pathogen was identified as the subspecies sandyi by Purcell et al., 1999.

 

Cultivation

Nerium oleander has a history of cultivation going back millennia, especially amongst the great ancient civilizations of the Mediterranean Basin. Some scholars believe it to be the rhodon (rose), also called the 'Rose of Jericho', mentioned in apocryphal writings (Ecclesiasticus XXIV, 13) dating back to between 450 and 180 BC.

 

The ancient Greeks had several names for the plant, including rhododaphne, nerion, rhododendron and rhodon. Pliny confirmed that the Romans had no Latin word for the plant, but used the Greek terms instead. Pedanius Dioscorides states in his 1st century AD pharmacopeia De Materia Medica that the Romans used the Greek rhododendron but also the Latin Oleander and Laurorosa. The Egyptians apparently called it scinphe, the North Africans rhodedaphane, and the Lucanians (a southern Italic people) icmane.

 

Both Pliny and Dioscorides stated that oleander was an effective antidote to venomous snake bites if mixed with rue and drunk. However, both rue and oleander are poisonous themselves, and consuming them after a venomous snake bite can accelerate the rate of mortality and increase fatalities.

 

A 2014 article in the medical journal Perspectives in Biology and Medicine posited that oleander was the substance used to induce hallucinations in the Pythia, the female priestess of Apollo, also known as the Oracle of Delphi in Ancient Greece. According to this theory, the symptoms of the Pythia's trances (enthusiasmos) correspond to either inhaling the smoke of or chewing small amounts of oleander leaves, often called by the generic term laurel in Ancient Greece, which led to confusion with the bay laurel that ancient authors cite.

 

In his book Enquiries into Plants of circa 300 BC, Theophrastus described (among plants that affect the mind) a shrub he called onotheras, which modern editors render oleander: "the root of onotheras [oleander] administered in wine", he alleges, "makes the temper gentler and more cheerful".

 

The root of onotheras [oleander] administered in wine makes the temper gentler and more cheerful. The plant has a leaf like that of the almond, but smaller, and the flower is red like a rose. The plant itself (which loves hilly country) forms a large bush; the root is red and large, and, if this is dried, it gives off a fragrance like wine.

 

In another mention, of "wild bay" (Daphne agria), Theophrastus appears to intend the same shrub.

 

Oleander was a very popular ornamental shrub in Roman peristyle gardens; it is one of the flora most frequently depicted on murals in Pompeii and elsewhere in Italy. These murals include the famous garden scene from the House of Livia at Prima Porta outside Rome, and those from the House of the Wedding of Alexander and the Marine Venus in Pompeii.

 

Carbonized fragments of oleander wood have been identified at the Villa Poppaea in Oplontis, likewise buried by the eruption of Mount Vesuvius in 79 AD. They were found to have been planted in a decorative arrangement with citron trees (Citrus medica) alongside the villa's swimming pool.

 

Herbaria of oleander varieties are compiled and held at the Smithsonian Institution in Washington, D.C., and at Moody Gardens in Galveston, Texas.

 

Ornamental gardening

Oleander is a vigorous grower in warm subtropical regions, where it is extensively used as an ornamental plant in parks, along roadsides and in private gardens. It is most commonly grown in its natural shrub form, but can be trained into a small tree with a single trunk. Hardy versions like white, red and pink oleander will tolerate occasional light frost down to −10 °C (14 °F), though the leaves may be damaged. The toxicity of oleander renders it deer-resistant and its large size makes for a good windbreak – as such it is frequently planted as a hedge along property lines and in agricultural settings.

 

The plant is tolerant of poor soils, intense heat, salt spray, and sustained drought – although it will flower and grow more vigorously with regular water. Although it does not require pruning to thrive and bloom, oleander can become unruly with age and older branches tend to become gangly, with new growth emerging from the base. For this reason gardeners are advised to prune mature shrubs in the autumn to shape and induce lush new growth and flowering for the following spring. Unless they wish to harvest the seeds, many gardeners choose to prune away the seedpods that form on spent flower clusters, which are a drain on energy. Propagation can be made from cuttings, where they can readily root after being placed in water or in rich organic potting material, like compost.

 

In Mediterranean climates oleanders can be expected to bloom from April through October, with the heaviest bloom usually occurring between May and June. Free-flowering varieties like 'Petite Salmon' or 'Mont Blanc' require no period of rest and can flower continuously throughout the year if the weather remains warm.

 

In cold winter climates, oleander is a popular summer potted plant readily available at most nurseries. They require frequent heavy watering and fertilizing as compared to being planted in the ground, but oleander is nonetheless an ideal flowering shrub for patios and other spaces with hot sunshine. During the winter they should be moved indoors, ideally into an unheated greenhouse or basement where they can be allowed to go dormant. Once they are dormant they require little light and only occasional watering. Placing them in a space with central heating and poor air flow can make them susceptible to a variety of pests – aphids, mealybugs, oleander scale, whitefly and spider mites.

 

Colors and varieties

Oleander flowers are showy, profuse, and often fragrant, which makes them very attractive in many contexts. Over 400 cultivars have been named, with several additional flower colors not found in wild plants having been selected, including yellow, peach and salmon. Many cultivars, like 'Hawaii' or 'Turner's Carnival', are multi-colored, with brilliant striped corollas. The solid whites, reds and a variety of pinks are the most common. Double flowered cultivars like 'Mrs. Isadore Dyer' (deep pink), 'Mathilde Ferrier' (yellow) or 'Mont Blanc' (white) are enjoyed for their large, rose-like blooms and strong fragrance. There is also a variegated form, 'Variegata', featuring leaves striped in yellow and white. Several dwarf cultivars have also been developed, offering a more compact form and size for small spaces. These include 'Little Red', 'Petite White', 'Petite Pink' and 'Petite Salmon', which grow to about 8 feet (2.4 m) at maturity.

 

Toxicity

Oleander has historically been considered a poisonous plant because of toxic compounds it contains, especially when consumed in large amounts. Among these compounds are oleandrin and oleandrigenin, known as cardiac glycosides, which are known to have a narrow therapeutic index and are toxic when ingested.

 

Toxicity studies of animals concluded that birds and rodents were observed to be relatively insensitive to the administered oleander cardiac glycosides. Other mammals, however, such as dogs and humans, are relatively sensitive to the effects of cardiac glycosides and the clinical manifestations of "glycoside intoxication".

 

In reviewing oleander toxicity cases seen in-hospital, Lanford and Boor concluded that, except for children who might be at greater risk, "the human mortality associated with oleander ingestion is generally very low, even in cases of moderate intentional consumption (suicide attempts)." In 2000, a rare instance of death from oleander poisoning occurred when two toddlers adopted from an orphanage ate the leaves from a neighbor's shrub in El Segundo, California. Because oleander is extremely bitter, officials speculated that the toddlers had developed a condition caused by malnutrition, pica, which causes people to eat otherwise inedible material.

 

Effects of poisoning

Ingestion of this plant can affect the gastrointestinal system, the heart, and the central nervous system. The main effect of cardiotoxic glycosides is positive inotropy. Glycosides bind to the sarcolemma transmembrane ATPase of cardiac muscle cells and compete with K+ ions, inactivating the enzyme. This results in an accumulation of Na+ and Ca2+ ions into the cardiac muscle cells, leading to stronger and faster heart contractions. Moreover, the increased amount of extracellular K+ ions may lead to lethal hyperkalemia. Therefore, clinical features of oleander poisoning are similar to digoxin toxicity and include nausea, diarrhea, and vomiting due to stimulation of the area postrema of the medulla oblongata, neuropsychic disorders, and pathological motor manifestations. Cardiotoxic glycosides are also responsible for stimulating the vagus nerve (leading to sinus bradycardia) and the phrenic nerve (leading to hyperventilation), and lethal brady- and tachyarrhythmias, including asystole and ventricular fibrillation. Oleander poisoning can also result in blurred vision, and vision disturbances, including halos appearing around objects. Oleander sap can cause skin irritations, severe eye inflammation and irritation, and allergic reactions characterized by dermatitis.

 

The severity of the intoxication can vary based on the quantity ingested and an individual's physiological response, as well as the time of symptom onset after oleander ingestion: they can rapidly occur after drinking teas prepared with oleander leaves or roots or develop more slowly due to the ingestion of unprepared plant parts.

 

Treatment

Poisoning and reactions to oleander plants are evident quickly, requiring immediate medical care in suspected or known poisonings of both humans and animals. Induced vomiting and gastric lavage are protective measures to reduce absorption of the toxic compounds. Activated carbon may also be administered to help absorb any remaining toxins. Further medical attention may be required depending on the severity of the poisoning and symptoms. Temporary cardiac pacing will be required in many cases (usually for a few days) until the toxin is excreted.

 

Digoxin immune fab is the best way to cure an oleander poisoning if inducing vomiting has no or minimal success, although it is usually used only for life-threatening conditions due to side effects.

 

Drying of plant materials does not eliminate the toxins. It is also hazardous for animals such as sheep, horses, cattle, and other grazing animals, with as little as 100 g being enough to kill an adult horse. Plant clippings are especially dangerous to horses, as they are sweet. In July 2009, several horses were poisoned in this manner from the leaves of the plant. Symptoms of a poisoned horse include severe diarrhea and abnormal heartbeat. Aśvamāra (अश्वमार) in Sanskrit refers to this plant, meaning Aśva ‘horse’ and Māra ‘killing’. There is a wide range of toxins and secondary compounds within oleander, and care should be taken around this plant due to its toxic nature. Different names for oleander are used around the world in different locations, so, when encountering a plant with this appearance, regardless of the name used for it, one should exercise great care and caution to avoid ingestion of any part of the plant, including its sap and dried leaves or twigs. The dried or fresh branches should not be used for spearing food, for preparing a cooking fire, or as a food skewer. Many of the oleander relatives, such as the desert rose (Adenium obesum) found in East Africa, have similar leaves and flowers and are equally toxic.

 

Research

Drugs derived from N. oleander have been investigated as a treatment for cancer, but have failed to demonstrate clinical utility. According to the American Cancer Society, the trials conducted so far have produced no evidence of benefit, while they did cause adverse side effects.

 

Culture

In a research study done by Haralampos V. Harissis, he claims that the laurel the Pythia is commonly depicted with is actually an oleander plant, and the poisonous plant and its subsequent hallucinations are the source of the oracle's mystical power and subsequent prophecies. Many of the symptoms that primary sources such as Plutarch and Democritus report align with results of oleander poisoning. Harissis also provides evidence claiming that the word laurel may have been used to describe an oleander leaf.

 

Folklore

The toxicity of the plant makes it the center of an urban legend documented on several continents and over more than a century. Often told as a true and local event, typically an entire family, or in other tellings a group of scouts, succumbs after consuming hot dogs or other food roasted over a campfire using oleander sticks. Some variants tell of this happening to Napoleon's or Alexander the Great's soldiers.

 

There is an ancient account mentioned by Pliny the Elder in his Natural History, who described a region in Pontus in Turkey where the honey was poisoned from bees having pollinated poisonous flowers, with the honey left as a poisonous trap for an invading army. The flowers have sometimes been mis-translated as oleander, but oleander flowers are nectarless and therefore cannot transmit any toxins via nectar. The actual flower referenced by Pliny was either Azalea or Rhododendron, which is still used in Turkey to produce a hallucinogenic honey.

 

Oleander is the official flower of the city of Hiroshima, having been the first to bloom following the atomic bombing of the city in 1945.

 

In painting

 

Oleander was part of subject matter of paintings by famous artists including:

 

Gustav Klimt, who painted "Two Girls with an Oleander" between 1890 and 1892.

Vincent van Gogh painted his famous "Oleanders" in Arles in 1888. Van Gogh found the flowers "joyous" and "life-affirming" because of their inexhaustible blooms and vigour.

Anglo-Dutch artist Sir Lawrence Alma-Tadema incorporated oleanders into his classically inspired paintings, including "An Oleander" (1882), "Courtship", "Under the Roof of Blue Ionian Weather" and "A Roman Flower Market" (1868).

"The Terrace at Méric (Oleanders)", an 1867 Impressionist painting by Frédéric Bazille.

In literature, film and music

Janet Fitch's 1999 novel White Oleander is centered around a young Southern California girl's experiences growing up in foster care after her mother is imprisoned for poisoning an ex-boyfriend with the plant. The book was adapted into a 2002 film of the same name starring Michelle Pfeiffer and Alison Lohman.

In the 17th century AD Farsi-language book the Jahangirnama, the Mughal emperor Jahangir passes a stream overgrowing with oleanders along its banks. He orders the nobles in his train to adorn their turbans with oleander blossoms, creating a "field of flowers" on their heads.

Steely Dan's 1973 song "My Old School" contains the line "Oleanders growing outside her door, soon they're gonna be in bloom up in Annandale" in the second verse. It has been theorized that this reference is either a metaphor for a harmful relationship, or marijuana, which is the subcontext of the song.

The Yeasayer song "I Am Chemistry" contains the refrain "My momma told me not to fool with oleander, and never handle the deadly quaker buttons again".

Indie rock band Mother Mother has a song called "Oleander" on their 2011 album Eureka.

In video games

Red Dead Redemption 2 features a deadly plant, oleander sage, which may be used to craft poisonous weapons, and is based on nerium oleander.

The precise moment when the universe becomes aware of itself through a human form. The central feminine figure appears suspended between the density of the real — evoked by the dark clouds at her feet — and the blinding lightness of abstraction unraveling around her.

 

The central light source in her chest acts as a vital core, a fusion-heart, an encrypted beacon. It seems to both receive and emit an unknown energy, as if she were the vessel of universal information or a priestess of luminous code. The white, smoke-like curves that coil around her body are streams, vectors, invitations — fluid architectures defying gravity.

 

Her gaze is lowered, not in submission, but in meditative absorption. She contemplates her own internal mutation — an organic ascension toward a form of knowledge that requires no language. Her body, partly transparent, is a sanctuary traversed by technopoetic structures: stellar circuitry, network filaments, veins of light.

 

She is an apparition. A messenger.

A body turned into a network. A consciousness opened to the vertigo of cosmos.

A bridge stretched between the memory of the living and total abstraction.

Making, almost defies precise definition

The composition and/or manipulation of materials that bring into being new or revised objects

 

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

 

Tim Ingold 2010

 

A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside

NYC

 

In The MMS Gallery - Exhibition Two: Architecture

February 10th, 2011

 

Gallery Poster: www.themmsgallery.com/downloads/MMS-Poster-Arch-020711.pdf

Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.

Palazzo del Provveditore, commonly known as the Venetian Palace, was a royal palace in Famagusta, originally built by the Lusignan Kings of Cyprus. It was later modified and used as the governor's official residence during the Venetian rule. The central sections of the palace have been completely destroyed, with only its grand facade and back courtyard walls being left.

 

Lusignan kings used Famagusta as their second place of residence, in addition to Nicosia. The exact year when the palace was first built remains uncertain, however, most resources have adopted the years 1300-1302, reported by Genoese official Lamberto di Sambuceto, who used the term "palace of the King of Cyprus" (Latin: domini regis Cipri) to refer to the building. The king responsible for its construction is also uncertain. Camille Enlart has proposed Henry II.

 

The Venetians greatly renovated the palace, along with the city's walls and other public spaces. The front facade and the back of the palace was completely changed. Architecturally, the Gothic features were replaced with Italian Renaissance architecture. This occurred in the 16th century, and the precise dates given by Selton and Hazard are 1552-1554.

 

Most sources hold that the central sections were destroyed during the Siege of Famagusta in 1571, despite Ottoman descriptions of the palace in 1571 making no mention of any destruction. Structures of the palace were used as military barracks, a prison and a site for military drills during the Ottoman rule, leading to the building losing its importance in the urban fabric. There is no indication of any restoration during this time. During the British rule, the building was used as a prison and police headquarters for some time. In mid-20th century, the remaining structures were evacuated, parts converted into the Namık Kemal Dungeon Museum and the courtyard used for display of military equipment. Some modern cannons, cannonballs and "pieces of a large granite column" are currently displayed in the courtyard.

 

The palace is a rare example of Renaissance architecture in Cyprus. The surviving parts are the front facade, with its three arches and a coat of arms on the middle arch, an "arm" attached to this to the southeast, a chapel and an L-shaped wall at the very back of the courtyard. The arch at the front was made from material from Salamis: both the columns and the stones originate from there.

 

Behind the facade are a number of arches that run parallel to it and are very plain in comparison. It has been proposed that these are remnants of the original Lusignan palace. In the "arm" attached are small rooms facing the courtyard that have been used as prisons or arsenals and shops accessible from the street in the ground floor, an Ottoman-era structure used by the Department of Antiquities and some structures built in mid-20th century. Cross vaults and walls thicker than a metre in some of the shops indicate elements that predate the Venetian rule in these structures.

 

There is evidence that the chapel has been modified over time. The chapel had been used as a museum up to 1974 and had been restored between 1930 and 1950. The L-shaped walls date to the Venetian era. Enlart has proposed that parts of this may have surrounded a great hall.

 

Not much is known about the destroyed parts of the palace. Work by the Department of Antiquities has shown the presence of cisterns. Engravings and the account of a 15th-century traveler indicate that the palace had two floors, even though the current entrance only has one floor. In an engraving dated to 1571, a balcony was shown in the front of the palace.

 

Famagusta is a city on the east coast of the de facto state Northern Cyprus. It is located east of Nicosia and possesses the deepest harbour of the island. During the Middle Ages (especially under the maritime republics of Genoa and Venice), Famagusta was the island's most important port city and a gateway to trade with the ports of the Levant, from where the Silk Road merchants carried their goods to Western Europe. The old walled city and parts of the modern city are de facto part of Northern Cyprus as the capital of the Gazimağusa District.

 

The city was known as Arsinoe or Arsinoë (Greek: Ἀρσινόη, Arsinóē) in antiquity, after Ptolemy II of Egypt's sister and wife Arsinoe II.

 

By the 3rd century, the city appears as Ammochostos (Greek: Ἀμμόχωστος or Αμμόχωστος, Ammókhōstos, "Hidden in Sand") in the Stadiasmus Maris Magni.[5] This name is still used in modern Greek with the pronunciation [aˈmːoxostos], while it developed into Latin Fama Augusta, French Famagouste, Italian Famagosta, and English Famagusta during the medieval period. Its informal modern Turkish name Mağusa (Turkish pronunciation: [maˈusa]) came from the same source. Since 1974, it has formally been known to Turkey and Northern Cyprus as Gazimağusa ([ɡaːzimaˈusa]), from the addition of the title gazi, meaning "veteran" or "one who has faught in a holy war".

 

In the early medieval period, the city was also known as New Justiniana (Greek: Νέα Ἰουστινιανία, Néa Ioustinianía) in appreciation for the patronage of the Byzantine emperor Justinian, whose wife Theodora was born there.

 

The old town of Famagusta has also been nicknamed "the City of 365 Churches" from the legend that, at its peak, it boasted a church for every day of the year.

 

The city was founded around 274 BC, after the serious damage to Salamis by an earthquake, by Ptolemy II Philadelphus and named "Arsinoe" after his sister.[6] Arsinoe was described as a "fishing town" by Strabo in his Geographica in the first century BC. In essence, Famagusta was the successor of the most famous and most important ancient city of Cyprus, Salamis. According to Greek mythology, Salamis was founded after the end of the Trojan War by Teucros, the son of Telamon and brother of Aedes, from the Greek island of Salamis.

 

The city experienced great prosperity much later, during the time of the Byzantine emperor Justinian. To honor the city, from which his wife Theodora came, Justinian enriched it with many buildings, while the inhabitants named it New Justiniania to express their gratitude. In AD 647, when the neighboring cities were destroyed by Arab raiding, the inhabitants of these cities moved to Famagusta, as a result of which the city's population increased significantly and the city experienced another boom.

 

Later, when Jerusalem was occupied by the Arabs, the Christian population fled to Famagusta, as a result of which the city became an important Christian center, but also one of the most important commercial centers in the eastern Mediterranean.

 

The turning point for Famagusta was 1192 with the onset of Lusignan rule. It was during this period that Famagusta developed as a fully-fledged town. It increased in importance to the Eastern Mediterranean due to its natural harbour and the walls that protected its inner town. Its population began to increase. This development accelerated in the 13th century as the town became a centre of commerce for both the East and West. An influx of Christian refugees fleeing the downfall of Acre (1291) in Palestine transformed it from a tiny village into one of the richest cities in Christendom.

 

In 1372 the port was seized by Genoa and in 1489 by Venice. This commercial activity turned Famagusta into a place where merchants and ship owners led lives of luxury. By the mid-14th century, Famagusta was said to have the richest citizens in the world. The belief that people's wealth could be measured by the churches they built inspired these merchants to have churches built in varying styles. These churches, which still exist, were the reason Famagusta came to be known as "the district of churches". The development of the town focused on the social lives of the wealthy people and was centred upon the Lusignan palace, the cathedral, the Square and the harbour.

 

In 1570–1571, Famagusta was the last stronghold in Venetian Cyprus to hold out against the Turks under Mustafa Pasha. It resisted a siege of thirteen months and a terrible bombardment, until at last the garrison surrendered. The Ottoman forces had lost 50,000 men, including Mustafa Pasha's son. Although the surrender terms had stipulated that the Venetian forces be allowed to return home, the Venetian commander, Marco Antonio Bragadin, was flayed alive, his lieutenant Tiepolo was hanged, and many other Christians were killed.

 

With the advent of the Ottoman rule, Latins lost their privileged status in Famagusta and were expelled from the city. Greek Cypriots natives were at first allowed to own and buy property in the city, but were banished from the walled city in 1573–74 and had to settle outside in the area that later developed into Varosha. Turkish families from Anatolia were resettled in the walled city but could not fill the buildings that previously hosted a population of 10,000. This caused a drastic decrease in the population of Famagusta. Merchants from Famagusta, who mostly consisted of Latins that had been expelled, resettled in Larnaca and as Larnaca flourished, Famagusta lost its importance as a trade centre. Over time, Varosha developed into a prosperous agricultural town thanks to its location away from the marshes, whilst the walled city remained dilapidated.

 

In the walled city, some buildings were repurposed to serve the interests of the Muslim population: the Cathedral of St. Nicholas was converted to a mosque (now known as Lala Mustafa Pasha Mosque), a bazaar was developed, public baths, fountains and a theological school were built to accommodate the inhabitants' needs. Dead end streets, an Ottoman urban characteristic, was imported to the city and a communal spirit developed in which a small number of two-storey houses inhabited by the small upper class co-existed with the widespread one-storey houses.

 

With the British takeover, Famagusta regained its significance as a port and an economic centre and its development was specifically targeted in British plans. As soon as the British took over the island, a Famagusta Development Act was passed that aimed at the reconstruction and redevelopment of the city's streets and dilapidated buildings as well as better hygiene. The port was developed and expanded between 1903 and 1906 and Cyprus Government Railway, with its terminus in Famagusta, started construction in 1904. Whilst Larnaca continued to be used as the main port of the island for some time, after Famagusta's use as a military base in World War I trade significantly shifted to Famagusta. The city outside the walls grew at an accelerated rate, with development being centred around Varosha. Varosha became the administrative centre as the British moved their headquarters and residences there and tourism grew significantly in the last years of the British rule. Pottery and production of citrus and potatoes also significantly grew in the city outside the walls, whilst agriculture within the walled city declined to non-existence.

 

New residential areas were built to accommodate the increasing population towards the end of the British rule,[11] and by 1960, Famagusta was a modern port city extending far beyond Varosha and the walled city.

 

The British period saw a significant demographic shift in the city. In 1881, Christians constituted 60% of the city's population while Muslims were at 40%. By 1960, the Turkish Cypriot population had dropped to 17.5% of the overall population, while the Greek Cypriot population had risen to 70%. The city was also the site for one of the British internment camps for nearly 50,000 Jewish survivors of the Holocaust trying to emigrate to Palestine.

 

From independence in 1960 to the Turkish invasion of Cyprus of 1974, Famagusta developed toward the south west of Varosha as a well-known entertainment and tourist centre. The contribution of Famagusta to the country's economic activity by 1974 far exceeded its proportional dimensions within the country. Whilst its population was only about 7% of the total of the country, Famagusta by 1974 accounted for over 10% of the total industrial employment and production of Cyprus, concentrating mainly on light industry compatible with its activity as a tourist resort and turning out high-quality products ranging from food, beverages and tobacco to clothing, footwear, plastics, light machinery and transport equipment. It contributed 19.3% of the business units and employed 21.3% of the total number of persons engaged in commerce on the island. It acted as the main tourist destination of Cyprus, hosting 31.5% of the hotels and 45% of Cyprus' total bed capacity. Varosha acted as the main touristic and business quarters.

 

In this period, the urbanisation of Famagusta slowed down and the development of the rural areas accelerated. Therefore, economic growth was shared between the city of Famagusta and the district, which had a balanced agricultural economy, with citrus, potatoes, tobacco and wheat as main products. Famagusta maintained good communications with this hinterland. The city's port remained the island's main seaport and in 1961, it was expanded to double its capacity in order to accommodate the growing volume of exports and imports. The port handled 42.7% of Cypriot exports, 48.6% of imports and 49% of passenger traffic.

 

There has not been an official census since 1960 but the population of the town in 1974 was estimated to be around 39,000 not counting about 12,000–15,000 persons commuting daily from the surrounding villages and suburbs to work in Famagusta. The number of people staying in the city would swell to about 90,000–100,000 during the peak summer tourist period, with the influx of tourists from numerous European countries, mainly Britain, France, Germany and the Scandinavian countries. The majority of the city population were Greek Cypriots (26,500), with 8,500 Turkish Cypriots and 4,000 people from other ethnic groups.

 

During the second phase of the Turkish invasion of Cyprus on 14 August 1974 the Mesaoria plain was overrun by Turkish tanks and Famagusta was bombed by Turkish aircraft. It took two days for the Turkish Army to occupy the city, prior to which Famagusta's entire Greek Cypriot population had fled into surrounding fields. As a result of Turkish airstrikes dozens of civilians died, including tourists.

 

Unlike other parts of the Turkish-controlled areas of Cyprus, the Varosha suburb of Famagusta was fenced off by the Turkish army immediately after being captured and remained fenced off until October 2020, when the TRNC reopened some streets to visitors. Some Greek Cypriots who had fled Varosha have been allowed to view the town and journalists have been allowed in.

 

UN Security Council resolution 550 (1984) considers any attempts to settle any part of Famagusta by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the UN. The UN's Security Council resolution 789 (1992) also urges that with a view to the implementation of resolution 550 (1984), the area at present under the control of the United Nations Peace-keeping Force in Cyprus be extended to include Varosha.

 

Famagusta's historic city centre is surrounded by the fortifications of Famagusta, which have a roughly rectangular shape, built mainly by the Venetians in the 15th and 16th centuries, though some sections of the walls have been dated earlier times, as far as 1211.

 

Some important landmarks and visitor attractions in the old city are:

The Lala Mustafa Pasha Mosque

The Othello Castle

Palazzo del Provveditore - the Venetian palace of the governor, built on the site of the former Lusignan royal palace

St. Francis' Church

Sinan Pasha Mosque

Church of St. George of the Greeks

Church of St. George of the Latins

Twin Churches

Nestorian Church (of St George the Exiler)

Namık Kemal Dungeon

Agios Ioannis Church

Venetian House

Akkule Masjid

Mustafa Pasha Mosque

Ganchvor monastery

 

In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund listed Famagusta, a "maritime ancient city of crusader kings", among the 12 sites most "On the Verge" of irreparable loss and destruction, citing insufficient management and development pressures.

 

Famagusta is an important commercial hub of Northern Cyprus. The main economic activities in the city are tourism, education, construction and industrial production. It has a 115-acre free port, which is the most important seaport of Northern Cyprus for travel and commerce. The port is an important source of income and employment for the city, though its volume of trade is restricted by the embargo against Northern Cyprus. Its historical sites, including the walled city, Salamis, the Othello Castle and the St Barnabas Church, as well as the sandy beaches surrounding it make it a tourist attraction; efforts are also underway to make the city more attractive for international congresses. The Eastern Mediterranean University is also an important employer and supplies significant income and activity, as well as opportunities for the construction sector. The university also raises a qualified workforce that stimulates the city's industry and makes communications industry viable. The city has two industrial zones: the Large Industrial Zone and the Little Industrial Zone. The city is also home to a fishing port, but inadequate infrastructure of the port restricts the growth of this sector. The industry in the city has traditionally been concentrated on processing agricultural products.

 

Historically, the port was the primary source of income and employment for the city, especially right after 1974. However, it gradually lost some of its importance to the economy as the share of its employees in the population of Famagusta diminished due to various reasons. However, it still is the primary port for commerce in Northern Cyprus, with more than half of ships that came to Northern Cyprus in 2013 coming to Famagusta. It is the second most popular seaport for passengers, after Kyrenia, with around 20,000 passengers using the port in 2013.

 

The mayor-in-exile of Famagusta is Simos Ioannou. Süleyman Uluçay heads the Turkish Cypriot municipal administration of Famagusta, which remains legal as a communal-based body under the constitutional system of the Republic of Cyprus.

 

Since 1974, Greek Cypriots submitted a number of proposals within the context of bicommunal discussions for the return of Varosha to UN administration, allowing the return of its previous inhabitants, requesting also the opening of Famagusta harbour for use by both communities. Varosha would have been returned to Greek Cypriot control as part of the 2004 Annan Plan but the plan had been rejected by a majority(3/4) of Greek Cypriot voters.

 

The walled city of Famagusta contains many unique buildings. Famagusta has a walled city popular with tourists.

 

Every year, the International Famagusta Art and Culture Festival is organized in Famagusta. Concerts, dance shows and theater plays take place during the festival.

 

A growth in tourism and the city's university have fueled the development of Famagusta's vibrant nightlife. Nightlife in the city is especially active on Wednesday, Friday and Saturday nights and in the hotter months of the year, starting from April. Larger hotels in the city have casinos that cater to their customers. Salamis Road is an area of Famagusta with a heavy concentration of bars frequented by students and locals.

 

Famagusta's Othello Castle is the setting for Shakespeare's play Othello. The city was also the setting for Victoria Hislop's 2015 novel The Sunrise, and Michael Paraskos's 2016 novel In Search of Sixpence. The city is the birthplace of the eponymous hero of the Renaissance proto-novel Fortunatus.

 

Famagusta was home to many Greek Cypriot sport teams that left the city because of the Turkish invasion and still bear their original names. Most notable football clubs originally from the city are Anorthosis Famagusta FC and Nea Salamis Famagusta FC, both of the Cypriot First Division, which are now based in Larnaca. Usually Anorthosis Famagusta fans are politically right wing where Nea Salamis fans are left wing.

 

Famagusta is represented by Mağusa Türk Gücü in the Turkish Cypriot First Division. Dr. Fazıl Küçük Stadium is the largest football stadium in Famagusta. Many Turkish Cypriot sport teams that left Southern Cyprus because of the Cypriot intercommunal violence are based in Famagusta.

 

Famagusta is represented by DAÜ Sports Club and Magem Sports Club in North Cyprus First Volleyball Division. Gazimağusa Türk Maarif Koleji represents Famagusta in the North Cyprus High School Volleyball League.

 

Famagusta has a modern volleyball stadium called the Mağusa Arena.

 

The Eastern Mediterranean University was founded in the city in 1979. The Istanbul Technical University founded a campus in the city in 2010.

 

The Cyprus College of Art was founded in Famagusta by the Cypriot artist Stass Paraskos in 1969, before moving to Paphos in 1972 after protests from local hoteliers that the presence of art students in the city was putting off holidaymakers.

 

Famagusta has three general hospitals. Gazimağusa Devlet Hastahanesi, a state hospital, is the biggest hospital in city. Gazimağusa Tıp Merkezi and Gazimağusa Yaşam Hastahanesi are private hospitals.

 

Personalities

Saint Barnabas, born and died in Salamis, Famagusta

Chris Achilleos, illustrator of the book versions on the BBC children's series Doctor Who

Beran Bertuğ, former Governor of Famagusta, first Cypriot woman to hold this position

Marios Constantinou, former international Cypriot football midfielder and current manager.

Eleftheria Eleftheriou, Cypriot singer.

Derviş Eroğlu, former President of Northern Cyprus

Alexis Galanos, 7th President of the House of Representatives and Famagusta mayor-in-exile (2006-2019) (Republic of Cyprus)

Xanthos Hadjisoteriou, Cypriot painter

Oz Karahan, political activist, President of the Union of Cypriots

Oktay Kayalp, former Turkish Cypriot Famagusta mayor (Northern Cyprus)

Harry Luke British diplomat

Angelos Misos, former international footballer

Costas Montis was an influential and prolific Greek Cypriot poet, novelist, and playwright born in Famagusta.

Hal Ozsan, actor (Dawson's Creek, Kyle XY)

Dimitris Papadakis, a Greek Cypriot politician, who served as a Member of the European Parliament.

Ṣubḥ-i-Azal, Persian religious leader, lived and died in exile in Famagusta

Touker Suleyman (born Türker Süleyman), British Turkish Cypriot fashion retail entrepreneur, investor and reality television personality.

Alexia Vassiliou, singer, left here as a refugee when the town was invaded.

George Vasiliou, former President of Cyprus

Vamik Volkan, Emeritus Professor of Psychiatry

Derviş Zaim, film director

 

Famagusta is twinned with:

İzmir, Turkey (since 1974)

Corfu, Greece (since 1994)

Patras, Greece (since 1994)

Antalya, Turkey (since 1997)

Salamina (city), Greece (since 1998)

Struga, North Macedonia

Athens, Greece (since 2005)

Mersin, Turkey

 

Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.

 

Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.

 

A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.

 

Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.

 

Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.

 

Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.

 

Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.

 

The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.

 

Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.

 

Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.

 

By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.

 

EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.

 

However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.

 

On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.

 

In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.

 

By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.

 

In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.

 

The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.

 

After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".

 

As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.

 

Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.

 

On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.

 

The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.

 

Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.

 

The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.

 

Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.

 

Main articles: Bloody Christmas (1963) and Battle of Tillyria

An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."

 

In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.

 

Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.

 

In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.

 

Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.

 

Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.

 

Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.

 

The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:

 

UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.

 

The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.

 

By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."

 

After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.

 

On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.

 

The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.

 

During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.

 

In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.

 

Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.

 

A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.

Undoubtedly the Super Ikonta B at left stands among Zeiss-Ikon’s masterpieces. Solidly built, precise as a watch, with some of the most advanced optics and mechanical features of its day.

 

But all this came at a cost (in addition to the camera’s high price), compared to the standard Ikonta B of the same date at right. Where the red window in the back of the Ikonta B counted out 12 exposures on a roll of film, the automatic mechanical frame counter of the Super Ikonta stopped at 11. For those who could judge distance well enough, the Ikonta’s lens scale focused down to one meter, while the state-of-the-art coupled rangefinder in the Super Ikonta stopped just short of six feet. And the magnificent f/2.8 Tessar lens on the Super Ikonta was not quite as sharp as the f/3.5 Tessar of the standard model, and the larger shutter required by the f/2.8 lens topped out at 1/400 second rather than 1/500.

 

Perhaps most notable of all, though, is the weight: the Super Ikonta weighs a full pound more than the standard Ikonta of the same format.

 

Between the two, one holds pride of place on the shelf, while the other feels more at home in your pocket.

Precise bricks texture

Lockheed Hercules C130K/C.3 XV202 Accession Number X005-5969 to be precise!

A few hours here on this Pano which was 8 images, then 7, and I still found stitching issues :( could have gone to 6 which may have resolved it but went to Photoshop instead. Oh I forgot to say I wanted to do it entirely in Lightroom, as I wanted to be quick (ish).

Anyway if you want to know its full history you can find it here, www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&amp... be warned its quite comprehensive!

I've uploaded as quite high res so you can look close (not too close!) :)

Unusual to find such a precise date on one of these little publicity or advertising recipe booklets but this has a date of 1929 and also has a gummed in slip showing the full range of Bird's 'Household Specialities' and a retail price list for 1930. Such booklets were commonplace marketing material for companies such as Bird's who were amongst the pioneers of 'ready made' or branded food products that were sold on the national market and that advertised heavily - a product of Victorian food technology, transport and newspapers.

 

Alfred Bird's origins were in invention of their still famous 'custard' powder that replaced the real thing with a dissolvable powder based on cornflour starch, colourings and vanilla flavours. They also made a wide range of similar baking and pudding 'specialities' as can be seen from the list. An old established Birmingham company now simply a brand of an international concern, their home city heritage is still to be found thanks to a re-use of the 'Custard Factory' and the survival of the railings that use the famous trilling bird motif seen here. This was first introduced in the 1920s by the company.

The precise age of the Hambleton drove road is not known but it was certainly in use during the Bronze age and the Roman occupation. It also played a key role in the transportation of sheep and cattle with 18th and 19th century drovers on thier way from Scotland to the sheep fairs at York and cattle markets further south.

Precise bricks texture

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.

 

So there.

 

And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored

 

So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?

 

It was, and inside it was a box, nay a treasure chest of delights.

 

--------------------------------------------------------------

 

St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]

St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]

St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]

Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).

 

he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]

The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]

In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.

 

Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.

 

Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.

The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.

 

In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".

An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.

 

In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]

Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]

Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.

 

n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]

St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]

In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]

Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.

 

Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.

 

Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]

The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]

The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]

On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.

 

St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.

 

Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]

Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]

During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"

 

Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]

The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.

 

The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]

The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.

Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).

 

Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]

The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]

The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.

 

Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]

A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.

 

As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"

 

Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]

By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]

The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]

In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.

 

In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.

Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.

 

Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.

 

By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]

The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.

 

A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]

St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.

 

During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]

In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]

The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]

In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.

 

Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".

 

A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]

The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.

 

The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]

Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."

 

In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]

Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.

At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.

 

St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]

In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"

 

A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.

 

Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.

Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]

Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.

 

In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.

The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]

David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]

In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]

The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.

 

Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.

The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]

On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.

The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]

The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]

The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.

In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.

 

Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]

A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.

The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.

A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.

 

The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.

The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.

The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.

 

Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]

St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.

 

en.wikipedia.org/wiki/St_Magnus-the-Martyr

 

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The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April 1118. He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival. Magnus had a reputation for piety and gentleness and was canonised in 1135.

 

The identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926. Following this decision a patronal festival service was held on 16 April 1926. In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century). However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades." For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea. The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age', and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus". A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century, but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921.

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan. However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation. A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery, and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication. Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders. A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower. St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area and was certainly in existence by 1128-33.

 

The small ancient parish extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street. The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located im

More precise, this is the southern end of Rua da Graça where the tram enters Largo da Graça.

Provincial Yelets was once considered one of the most beautiful towns in Russia. It was adorned with two monasteries, three dozen Orthodox churches, a Polish Catholic church, a German church, and a Jewish synagogue. The precise rhythm of its domes and bell towers still defines the skyline of the old town.

 

The great Russian writer Ivan Bunin, in exile in a distant land, recalled "...the ringing, the roar of the bells from the bell tower of St. Michael the Archangel, towering above everything in such grandeur, such splendor, such as the Roman Church of St. Peter never dreamed of, and such enormity that the Pyramid of Cheops could never again impress me." The Church of St. Michael the Archangel stands next to the administration building in the center of Yelets, the city where the future Nobel laureate spent his high school years. He often spoke warmly of the city of his youth.

 

On Red Square stands the colossal Ascension Cathedral. It claims to be the second largest Orthodox church in Russia after St. Isaac's Cathedral in St. Petersburg. The cathedral was designed by the renowned architect Konstantin Andreevich Ton (1794-1881), the architect of the Cathedral of Christ the Savior and the Grand Kremlin Palace. Approving the design, Tsar Nicholas I ordered the architect to be granted royal favor for the cathedral's beauty. The interior decoration was worked on by the Itinerant artists and academicians of painting, Alexei Ivanovich Korzukhin (1835-1894) and Klavdy Vasilyevich Lebedev (1852-1916).

 

Above the cathedral's left iconostasis is a painting of the "Mother of God of Yelets." The Virgin Mary and her heavenly host block the path of Tamerlane's invasion in 1395.

 

To commemorate the 500th anniversary of Rus''s miraculous deliverance from the invasion, the Church of Our Lady of Yelets was founded in Yelets. Its tented roof still dominates the modern architecture of the southern part of the city. People call it "the red church," either for the color of its brick or for the beauty of its unusual shapes.

 

Yelets has seen so many people within its walls over its thousand-year history. Presumably founded in 986 as the center of an appanage principality, the city was first mentioned in the Nikon Chronicle for 1146:

 

“Prince Svyatoslav Olgovich went to Rezan and visited Mchensk, and Tula, and Dubok on the Don, and Yelets, and Pronsk, and came to Rezan on the Oka...”

 

Its location on the southeastern outskirts of the Russian lands, bordering the "wild field," determined the city's fate for several centuries: "it was... the protector of the Russian lands." Polovtsian raids, Tatar-Mongol invasions, and attacks by Crimean and Golden Horde hordes repeatedly brought the city to desolation, but it was rebuilt and rose again.

 

"The city itself also boasted of its antiquity, and had every right to do so: it truly was one of the most ancient cities lying among the great black earth fields of the Substeppe, on that fateful line beyond which once stretched "wild, unknown lands," and in the times of the principalities of Suzdal and Ryazan, it belonged to those most important strongholds of Rus' that, according to the chroniclers, were the first to breathe in the storm, dust, and cold from under the menacing Asian clouds that continually passed over it, the first to see the glow of the terrible night and day fires ignited by them, the first to let Moscow know of the impending disaster and the first to lay down their lives for it..." (I. A. Bunin).

 

From the mid-17th century, Yelets developed as a city of artisans and traders. Livestock trading, tanneries, trade in grain, flour, and semolina, and the famous Yelets lace made the city prosperous and brought it fame.

 

Yelets's historical heritage includes approximately two hundred architectural monuments. The city itself is a monument to Russian urban planning. Narrow, straight streets running north to south and east to west, combined with low, two- and three-story buildings that are spacious enough to accommodate a person, create a uniquely cozy atmosphere. In Yelets, you don't feel lost, as you might in a larger city. Perhaps this is why the constant flow of tourists eager to see the green Russian city...

 

A small town, wandering its cozy streets, and visiting the church. Perhaps it's also because the Yelets region is the birthplace of writers Ivan Bunin and Mikhail Prishvin, philosopher Vasily Rozanov, composer Tikhon Khrennikov, and artists Vasily Meshkov, Nikolai Ulyanov, and Nikolai Zhukov. Yelets attracts visitors with its lacemaking industry, museums, art gallery, picturesque landscapes, and fascinating natural sites. It also draws visitors with its centuries-long, dramatic history, closely linked to the fate of Russia.

 

Many of Yelets' churches have suffered a tragic fate. Not all survived the destruction and hard times. Birch trees grow on the exposed domes of the Church of the Archangel Michael, which so captivated Ivan Bunin's youthful imagination. The traces of abandonment and neglect on many of the remaining churches speak to the hearts of the people. With Russia's rebirth comes a renaissance of its small and medium-sized towns, and Yelets is at the top of that list.

 

Will we restore its former beauty?

 

V. Gorlov.

This precise location is Hart Common between Crow Nest Junction and Daisy Hill on the former L&Y mainline between Wigan and Manchester Victoria or as we call it locally the 'Walkden Route'.

I had been here the day before to 'sus' it out in glorious sunshine with views of scenic Winter Hill and Rivington Pike as a backdrop.

Come the day and cometh the fog and it could well have been anywhere ... are real pea Souper! I vowed to come back and record this location which is being lost to the vegetation and a year later I finally got round to it, albeit a humble DMU ... steam on this route is rare to say the least.

Precise bricks texture

Language has opened its arms to the word 'prehistoric', ignoring its precise definition whilst stealing it's aura of 'authentically old', or just 'very, very old'. At no point do we imagine that this 'prehistoric table football' has anything to do with the neolithic or paleolithic, or that prehistory had teams that wore shorts and long socks. Language is a living dance and we manage to keep up with its moves and contexts.

 

The table football is in a cafe in Espolla, a small town in the north east of Spain. Espolla is surrounded by real prehistory with myriad megaliths and inscriptions from the neolithic and calcolithic peppering it's coy fields of monolithic formation, crop and scrub.

 

The pictures were taken just after the end of the football World Cup. Although one team is painted as the team of Real Madrid and the other as Barcelona, there is nothing to stop users from assigning their own team or country to a strip of colour : nothing to stop an imaginary world cup final between, let's say, France and England. The ability to detour into fantasy before returning to reality (England did well, but failed to make the real final) is a human facility, and people that stay only within either 'fantasy' or 'reality' are often judged as having missing qualities. It seems that humans are both serious and playful, they analyse and they laugh. We use play to simulate and see, to imagine and flirt. Sports training often verges towards play before tipping back to sports science and accurate repetition. When looking at the vestiges of prehistory and squinting at its missing pages it is important to remember this range of qualities.

 

Table football was invented in England in 1927 and patented 10 years later in Barcelona during the Spanish civil war. Throughout the world, it is common culture to simply know that 'table football' is an indoor way of playing football in a cafe between two to six players, even if real footballers do not attach themselves to a metal bar and are free to move on more than one plane and cannot touch the ball with a repeating tumbling motion of head, hand and foot. Everyone knows that the coin activated game is a 'simplification' and an 'abstraction' even if they will not see the need to use those defining terms. The cups and canals, menhirs and orthostats, dolmens and cromlechs of late prehistory have become detached from their meanings, and with no books to hold account, they are signs in the wind. What must be assumed is that at the time, their representations were understood with the immediate assurance of two kids clacking heads and feet whilst sliding rings to keep track of the score.

 

Taken with a Pentax WG which has a ring of LED lights and a 1cm macro setting so can get into spaces that are too tight for a 50mm macro on a K3.

 

AJM 20.7.18

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Unusual to find such a precise date on one of these little publicity or advertising recipe booklets but this has a date of 1929 and also has a gummed in slip showing the full range of Bird's 'Household Specialities' and a retail price list for 1930. Such booklets were commonplace marketing material for companies such as Bird's who were amongst the pioneers of 'ready made' or branded food products that were sold on the national market and that advertised heavily - a product of Victorian food technology, transport and newspapers.

 

Alfred Bird's origins were in invention of their still famous 'custard' powder that replaced the real thing with a dissolvable powder based on cornflour starch, colourings and vanilla flavours. They also made a wide range of similar baking and pudding 'specialities' as can be seen from the list. An old established Birmingham company now simply a brand of an international concern, their home city heritage is still to be found thanks to a re-use of the 'Custard Factory' and the survival of the railings that use the famous trilling bird motif seen here. This was first introduced in the 1920s by the company.

Ilustración digital para Ubuntu 12.04 :)

We went to Norway, Stavanger to more precise for almost three weeks and I only took family snapshots the whole time, it was brilliant. Since it was the first proper vacation I have taken since 2005 so I was really in the mindset to just relax and take it easy so I didn´t shoot a lot but I liked this shot.

 

I don´t have the name of this cat, it was being "babysitted" by people we visited. I am not really much of an cat person but I was playing with it with a piece of string and I noticed it had some interest in the neck strap of the camera so I removed the lenscap, did some quick exposure adjustments and took this shot blind (that is, not looking through the viewfinder), holding the camera against the floor. It´s taken at 16mm so you can imagine how close the cat was.

 

It´s one of my first times ever photographing a pet. I do like the focus, distortion and lighting in it and the expression of the cat.

This gorgeous butterfly is so enthralling....Nature is so precise...

It has 5 white spots in the forewing tips and the hindwings carry

4 small submarginal eyespots. It zips around at super speed...

had to wait patiently to capture it when it was drunk on nectar.

 

see comment box for shot with open wings

. . . No, this is not a photo. Like all the other pictures in this style, it`s an artwork of my original photos

_______________________________________________

 

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

To The Glory of God

Following the end of World War One, communities erected war memorials all over Britain – in virtually every city, town and village – to commemorate those who had served and fallen in the conflict.

 

And since, on every Armistice Day - 11th November - these statues and sculptures are the scene of poignant memorials.

 

Newcastle United’s own War Memorial was first discussed at a meeting in 1917 when it was noted that "a list of those killed in the war should be placed in the offices of the club".

 

Following the Armistice, a memorial was on the agenda at Board meetings and by 1920, it was confirmed that a design for a 'Roll of Honour' was to proceed, erected at the club’s Strawberry Place office soon afterwards.

 

It took the form of a large decorated plaque, entitled 'To The Glory of God'.

 

When the stadium was later redeveloped, it was put into storage for many years until it was restored when the club opened a museum in 1991.

 

It now has a place in a covered walkway beneath the Milburn Stand at St. James’ Park for thousands to see as supporters enter the ground every matchday.

 

The plaque notes the names of 52 players and officials on the club’s staff during the period 1914 to 1919 and who served in the armed forces. Included are five footballers to lose their lives.

 

Due to difficulties in precise army service of some of the club’s players at the time, the memorial shows reserve winger Owen McManus having survived. He had sadly died in November 1918, just before war ended.

 

Colleague Thomas Suart, on the club’s books as a young reserve, was overlooked. He lost his life in June 1917.

 

More than 100 ex-players or future players and officials of Newcastle United also served in World War One.

 

Roll of Honour - Newcastle United players who died in the Great War

 

Pvt SJ Allan (NU 1908-11): RAMC, 4 May 1919, Home

 

Sec-Lt DS Bell VC (NU 1911-12): Yorkshire Reg, 10 July 1916, France

 

Corp T Cairns (NU 1914-17): RFA, 13 Oct 1917, France

 

Corp D Dunglinson (NU 1912-16): Northumberland Fusiliers, 1 July 1916, France

 

Pvt J Findlay (NU 1905-06): Scots Guards, 18 Sept 1916, France

 

L-Corp JBM Fleming (NU 1911-13): Cameron Highlanders, 21 March 1916, Home

 

Pvt J Forster (NU 1897-98): Yorkshire Reg, 7 Oct 1916, France

 

Pvt J Froud (NU 1901): Royal West Kent Reg, 28 July 1917, Belgium

 

Pvt T Goodwill (NU 1913-16): Northumberland Fusiliers, 1 July 1916, France

 

L-Corp R Harker (NU 1904-05): Northumberland Fusiliers, 9 April 1917, France

 

Pvt T Hughes (NU 1912-14): Northumberland Fusiliers, 1 July 1916, France

 

L-Corp JM Maxwell (NU 1904): Seaforth Highlanders, 21 April 1917, Mesopotamia

 

Bomb R McGough (NU 1914-17): RGA, 18 April 1917, France

 

Corp O McManus (NU 1914-18): RFA, 6 Nov 1918, France

 

Pvt CE Randall (NU 1908-11): Coldstream Guards, 27 Sept 1916, France

 

Pvt GS Rivers (NU 1914-16): Durham Light Infantry, 13 Aug 1916, France

 

Capt TS Rowlandson MC (NU 1905-06): Yorkshire Reg, 15 Sept 1916, France

 

Pvt J Stevenson (NU 1898-1900): Highland Light Infantry, 3 July 1916, France

 

Pvt T Suart (NU 1914-17): Border Reg, 16 June 1917, Belgium

 

Corp C Winter (NU 1904-05): Cam Scot Rifles, 27 Oct 1918, France

 

Sgt WA Witherington DCM (NU 1901-02): British Colombia Reg, 15 Aug 1917, France

 

RW Benson (NU 1902-04): Munitions, 19 Feb 1916, Home

 

A Douglas (NU 1913-18): Munitions, 14 Dec 1918, Home

 

Newcastle United Football Club is a professional association football club based in Newcastle upon Tyne, Tyne and Wear, England. The team compete in the Premier League, the first level of the English football league system, as of the 2023–24 season. Since the formation of the club in 1892, when Newcastle East End absorbed the assets of Newcastle West End to become Newcastle United, the club has played its home matches at St James' Park. Located in the centre of Newcastle, it currently has a capacity of 52,305.

 

The club has been a member of the Premier League for all but three years of the competition's history, spending 91 seasons in the top flight as of May 2023, and has never dropped below English football's second tier since joining the Football League in 1893. Newcastle have won four League titles, six FA Cups and an FA Charity Shield, as well as the 1968–69 Inter-Cities Fairs Cup, the ninth-highest total of trophies won by an English club. The club's most successful period was between 1904 and 1910, when they won an FA Cup and three of their League titles. Their last major domestic trophy was in 1955. More recently the club have been League or FA Cup runners-up on four occasions in the 1990s. Newcastle were relegated in 2009, and again in 2016. The club won promotion at the first time of asking each time, returning to the Premier League, as Championship winners, in 2010 and 2017. In October 2021, a consortium led by the Public Investment Fund, the sovereign wealth fund of Saudi Arabia, became majority owners of Newcastle United.

 

The team's traditional kit colours are black-and-white striped shirts, black shorts and black or white socks. Their crest has elements of the city coat of arms, which features two grey hippocamps. Before each home game, the team enters the field to "Going Home", with "Blaydon Races" also being sung during games. The 2005 film Goal! featured Newcastle United, and many signings mentioned the influence the film had on them.

 

The history of Newcastle United Football Club, an English professional association football club based in Newcastle upon Tyne, North East England, covers the club's entire history from its formation to the present day. Formed by a merger between Newcastle East End and Newcastle West End to become 'United' in 1892, the club was elected to the Football League, which they entered in 1893.

 

Newcastle are England's 9th most successful club of all time. They have been English champions four times (in 1905, 1907, 1909, 1927) and FA Cup winners six times (in 1910, 1924, 1932, 1951, 1952, 1955). The club have also won the 1909 Charity Shield, the 1968–69 Inter-Cities Fairs Cup, and the 2006 Intertoto Cup. Newcastle have reached the League Cup final twice, finishing runners-up in both years ( 1976 and 2023). They have played in England's top league from 1898–1934, 1948–61, 1965–78, 1984–89, 1993–2009, 2010–2016, and 2017–present, playing in the second tier at all other times.

 

The first record of football being played on Tyneside dates from 3 March 1877 at Elswick Rugby Club. Later that year, Newcastle's first association football club, Tyne Association, was formed. The origins of Newcastle United Football Club itself can be traced back to the formation of a football club by the Stanley Cricket Club of Byker in November 1881. They won their first match 5–0 against Elswick Leather Works 2nd XI. The team was renamed Newcastle East End F.C. in October 1882, to avoid confusion with the cricket club in Stanley, County Durham.

 

Shortly after this, another Byker side, Rosewood FC, merged with East End to form an even stronger side. Meanwhile, across the city, West End Cricket Club began to take an interest in football and in August 1882, they formed Newcastle West End F.C. West End played their early football on their cricket pitch, but in May 1886, the club moved into St James' Park. The two clubs became rivals in the Northern League. In 1889, Newcastle East End became a professional team, before becoming a limited company the following March.

 

West End soon became the city's premier club. East End were anxious not to be left behind and lured Tom Watson into becoming the club secretary/manager in the close season of 1888 and from that point, never looked back; Watson made several good signings, especially from Scotland, and the Heaton club went from strength to strength, while West End's fortunes slipped dramatically.

 

The region's first league competition was formed in 1889 and the FA Cup began to cause interest. Ambitious East End turned professional in 1889, a huge step for a local club, and in March 1890, they made an even more adventurous move by becoming a limited company with capital of 1,000 pounds in ten shilling notes. During the spring of 1892, in a season during which their results were at an all-time low, and in which they had lost to their bitter rivals, East End, five times, West End found themselves in serious trouble. They approached East End with a view to a take over, the directors having decided that the club could no longer continue.

 

What actually happened was that West End wound up, while some of its players and most of its backroom staff joined East End. East End also took over the lease on St. James' Park in May 1892.

 

With only one senior club in the city for fans to support, development of the club was much more rapid. Despite being refused entry to the Football League's First Division at the start of the 1892–93 season, they were invited to play in their new Second Division. However, with no big names playing in the Second Division, they turned down the offer and remained in the Northern League, stating "gates would not meet the heavy expenses incurred for travelling". In a bid to start drawing larger crowds, Newcastle East End decided to adopt a new name in recognition of the merger. Suggested names included Newcastle F.C., Newcastle Rangers, Newcastle City and City of Newcastle, but Newcastle United was decided upon on 9 December 1892, to signify the unification of the two teams. The name change was accepted by the Football Association on 22 December, but the club was not legally constituted as Newcastle United Football Club Co. Ltd. until 6 September 1895. At the start of the 1893–94 season, Newcastle United were once again refused entry to the First Division and so joined the Second Division, along with Liverpool and Woolwich Arsenal. They played their first competitive match in the division that September against Woolwich Arsenal, with a score of 2–2.

 

Turnstile numbers were still low, and the incensed club published a statement claiming "The Newcastle public do not deserve to be catered for as far as professional football is concerned". However, eventually figures picked up by 1895–96, when 14,000 fans watched the team play Bury. That season Frank Watt became secretary of the club, and he was instrumental in promotion to the First Division for the 1898–99 season. However, they lost their first game 4–2 at home to Wolves and finished their first season in thirteenth place.

 

In 1903–04, the club built up a promising squad of players, and went on to dominate English football for almost a decade, the team known for their "artistic play, combining team-work and quick, short passing". Newcastle started to purchase talented players, especially from Scotland, and soon had a squad to rival all of England. With players like Colin Veitch, Jackie Rutherford, Jimmy Lawrence and Albert Shepherd, Newcastle had a team of international talent. Bill McCracken, Jimmy Howie, Peter McWilliam and Andy Aitken were also household names in their day. Long after his retirement, defender Peter McWilliam said "The Newcastle team of the 1900s would give any modern side a two goal start and beat them, and further more, beat them at a trot".

 

Newcastle United went on to win the League on three occasions during the 1900s: in 1904–05, 1906–07 and 1908–09. Newcastle reached five FA Cup finals in the years leading up to World War I. In 1904–05, they nearly did the double, losing to Aston Villa in the 1905 FA Cup Final. They were beaten again the following year by Everton in the 1906 FA Cup Final. They reached the final again in 1908 where they lost to Wolves. In 1908 the team suffered a record 9–1 home defeat to local rivals Sunderland in the league but still won that season's league title. They finally won the FA Cup in 1910 when they beat Barnsley in the final. They lost again the following year in the final against Bradford City.

 

The team returned to the FA Cup final in 1924, in the second final held at the then new Wembley Stadium. They defeated Aston Villa, winning the club's second FA Cup.Three years later they won the First Division championship a fourth time in 1926–27. Record signing & Scottish international centre-forward Hughie Gallacher, one of the most prolific goal scorers in the club's history, captained the championship-winning team. Other key players in this period were Neil Harris, Stan Seymour and Frank Hudspeth. Seymour was to become an influential figure for the next 40 years as player, manager and director.

 

In 1930, Newcastle United came close to relegation, and at the end of the season Gallacher left the club for Chelsea, and at the same time Andy Cunningham became the club's first team manager. In 1931–32, the club won the FA Cup a third time in the infamous 'Over the Line' final. United won the game 2–1 after scoring a goal following a cross from Jimmy Richardson which appeared to be hit from out of play - over the line. There were no action replays then and the referee allowed the goal, a controversial talking point in FA Cup history.

 

Newcastle boasted master players like Sam Weaver and Jack Allen, as well as the first player-manager in the top division in Scottish international Andy Cunningham. But at the end of the 1933–34 season, the team were relegated to the Second Division after 32 seasons in the First. Cunningham left as manager and Tom Mather took over. Amazingly in the same season as they fell into the Second Division, United defeated Liverpool 9–2 and Everton 7–3 within the space of a week.

 

The club found it difficult to adjust to the Second Division and were nearly further relegated in the 1937–38 season, when they were spared on goal averages.

 

When World War II broke in 1939, Newcastle had a chance to regroup, and in the War period, they brought in Jackie Milburn, Tommy Walker and Bobby Cowell.

 

Newcastle United won no Wartime League trophies, but Jackie Milburn made his debut in 1943 in a "Stripes vs Blues" match. Milburn's side was losing at half-time 3–0, but following a switch from midfielder to centre forward, he scored 6 goals to help them win the match 9–3. Jackie went on to score 38 goals in the next 3 years of the league's life.

 

By the time peace was restored in 1945, Seymour was at the forefront of Newcastle's affairs, manager in all but name. He ensured that the Magpies possessed an entertaining eleven full of stars, a mix of home-grown talent like Jackie Milburn, Bobby Cowell and Ernie Taylor, as well as big signings in the shape of George Robledo, Bobby Mitchell, Joe Harvey, Len Shackleton and Frank Brennan.

 

Newcastle spent the first couple of years post-war in the Second Division. Crowds were extremely high after the return to football, and in 1946 Newcastle recorded the joint-highest victory in English League Football history, defeating Newport County 13–0. Len Shackleton, playing his debut in that match, scored 6 goals in the match, another record for Newcastle United.

 

Newcastle returned to the First Division in double of the time. Promotion was achieved in 1948 in front of vast crowds. An average of almost 57,000 at every home game saw United's fixtures that year, a national record for years to come. That was just the start of another period of success.

 

During the Fifties decade United lifted the FA Cup trophy on three occasions within a five-year period. In 1951 they defeated Blackpool 2–0, a year later Arsenal were beaten 1–0 and in 1955 United crushed Manchester City 3–1. The Magpies were known in every corner of the country, and so were their players; 'Wor Jackie' Milburn and Bobby 'Dazzler' Mitchell the pick of a side that was renowned the nation over. Other players of this time were Frank Brennan (like Mitchell a Scot), Ivor Broadis, Len White and Welshman Ivor Allchurch.

 

Despite having quality players throughout the era, stars like Allchurch, White and George Eastham during the latter years of the decade, United slipped from the First Division in 1961 under the controversial management of ex-Manchester United star, Charlie Mitten. It was a huge blow to the club.

 

An old war-horse returned to revitalise the Magpies in the shape of Joe Harvey, who had skippered the club to much of their post-war success. He teamed up with Stan Seymour to rebuild United and the Black'n'Whites returned to the elite as Second Division Champions in 1965. United then became very much an unpredictable side, always capable of defeating the best, but never quite realising their huge potential until very recently.

 

Joe Harvey's side qualified for Europe for the first time in 1968 and stunned everyone the following year by lifting the Inter Cities Fairs Cup; the forerunner of the UEFA Cup. United possessed a solid eleven and Newcastle's tradition of fielding a famous Number 9 at centre-forward since earliest years continued as big Welshman Wyn Davies was prominent along with the likes of Pop Robson, Bobby Moncur and Frank Clark.

 

In the years that followed European success, manager Harvey brought in a string of talented entertainers who thrilled the Gallowgate crowd. Pleasers like Jimmy Smith, Tony Green and Terry Hibbitt. And especially a new centre-forward by the name of Malcolm Macdonald.

 

Nicknamed 'Supermac', Macdonald was one of United's greatest hero figures. Brash, arrogant and devastating in front of goal, he led United's attack to Wembley in 1974, against Liverpool in the FA Cup. But the Magpies failed to bring the trophy back to Tyneside, and a complete lack of success in any of the competitions the next season resulted in Joe Harvey being sacked in mid-1975.

 

Blackburn manager Gordon Lee was appointed to replace Harvey, and despite a mediocre league campaign in 1975–76, led the club to its first League Cup final, which ended in defeat by Manchester City. Despite Macdonald controversially being sold to Arsenal for a cut price deal, the following season saw United's best League campaign for years, and by Christmas the club looked to have an outside chance of winning the title. However, Lee walked out on the club to take over at Everton at the start of 1977, and inexperienced coach Richard Dinnis was put in charge of the team after the players demanded that he be given the job. United's form initially remained quite consistent under Dinnis, and they secured 5th place and a UEFA Cup spot at the end of the season. However, the team totally fell apart the following season, and Dinnis was sacked after a run of ten straight League defeats and a thumping UEFA Cup exit at the hands of French team SC Bastia. Bill McGarry took over as manager, but was powerless to prevent United from being relegated in statistically their worst season ever. The only mercy they had was Leicester City's terrible goal difference preventing United from finishing bottom of the table.

 

McGarry remained in charge of the club, but only managed two midtable finishes before being sacked in the wake of an uninspiring start to the 1980–81 season, and it was his successor Arthur Cox who steered United back again to the First Division with ex England captain Kevin Keegan leading the attack, having joined the Magpies in a sensational deal in 1982.

 

The football inspired by Keegan captivated Tyneside and United stormed into the top division in a style only bettered by Kevin's own brand of football when he returned to the club as manager a decade later. Cox had also signed young winger Chris Waddle out of non-league football, as well as young striker Peter Beardsley, Liverpool midfielder Terry McDermott and former Manchester United midfielder David McCreery. The club was rocked however when Cox resigned after the board refused to offer him an improved contract in the aftermath of promotion, and, surprisingly, accepted an offer to take charge of Derby County - who had been relegated from the Second Division.

 

One of English footballs greatest talents, Paul Gascoigne or 'Gazza', emerged as an exciting 18-year-old midfielder in 1985-86, under Newcastle's next manager Jack Charlton, who left after only one season despite Newcastle achieving a secure mid-table finish on their return to the First Division. His successor was former player Willie McFaul. Newcastle consolidated their place in Division One but then a period of selling their best players (Beardsley to Liverpool, and Waddle and eventually Gascoigne both to Tottenham), rocked the club and led to supporter unrest, as did a share-war for control of the boardroom. The effect of this on the pitch soon proved evident, as McFaul was sacked after a dismal start to the 1988–89 season, and new boss Jim Smith was unable to turn Newcastle around, resulting in them finishing at the foot of the First Division in 1989 and dropping back into the Second Division.

 

Smith then signed Portsmouth striker Mick Quinn and Newcastle began the 1989–90 season on a high note, beating promotion favourites Leeds United 5–2 on the opening day with Quinn scoring four goals, and Newcastle appeared to be on the path to a revival. However, they missed out on automatic promotion by one place, before enduring a humiliating play-off exit at the hands of local rivals Sunderland. The intensifying boardroom battle soon took its toll on the club, and Smith resigned early in the following season with the side stuck in mid-table. Ossie Ardiles became the club's new manager, and despite being initially being the club's most popular manager since Joe Harvey, Newcastle dropped to the bottom of the Second Division in October 1991. Results failed to improve, despite the acquisition of a new striker in David Kelly and the efforts of promising young players including Steve Howey, Steve Watson and Gavin Peacock, and in February 1992 Ardiles was sacked. Despite being the best-supported side in the division and frequently still managing to pull in crowds of more than 20,000, Newcastle were also millions of pounds in debt and faced with the real prospect of third-tier football for the first time ever. A saviour was needed, and in came new chairman John Hall, who offered the manager's job to Kevin Keegan. Despite having vowed never to enter management following his retirement as a player, Keegan accepted the offer to manage Newcastle. His first task was to deliver Second Division survival.

 

Kevin Keegan returned as manager in the 1991–92 season, and survived relegation from the Second Division. The club's finances were transformed, with Hall aiming to put Newcastle among Europe's biggest clubs, and signings like Rob Lee and Andy Cole helped Newcastle to promotion the following season, 1992–93, as champions of the new First Division. The finish also secured qualification for the 1993–94 UEFA Cup upon return to the top flight in the 1993–94 Premier League season.

 

St James' Park was redeveloped during this time into an all-seated stadium with a capacity of 36,000. This increased to 52,000 in the late 1990s, after the rejection of Hall's proposal to build a larger stadium at Castle Leazes.

 

Keegan stunned fans and critics alike in 1995 when prolific striker Andy Cole was sold to Manchester United in exchange for £6 million and midfielder Keith Gillespie, leaving many to blame the sale to have affected Newcastle's title chances for the 1994–95 season, in which they finished sixth. The club, however, continued to build up a reputation for playing attacking football under Keegan. In the 1995–96 season, high-profile foreign stars David Ginola and Faustino Asprilla, in addition to British players Peter Beardsley and striker Les Ferdinand, guided the team to a second-place finish. During the 1996–97 season, Keegan made one signing, securing the services of England striker Alan Shearer for a then-world record transfer fee of £15 million to produce a shrewd partnership with Les Ferdinand, and claim a 5–0 victory over title rivals Manchester United. whilst remaining in contention to win the league.

 

With the team having failed to win any trophies under his reign, Keegan resigned as manager on 8 January 1997, saying, "I feel that I have taken the club as far as I can."

 

Kenny Dalglish replaced Keegan as manager, and maintained the club's good form through to the end of the season, finishing second. In the 1997–98 season, Les Ferdinand and David Ginola both left the club, whilst Alan Shearer broke his ankle in a pre-season friendly, keeping him out for the first half of the season. Dalglish signed Ian Rush, John Barnes, Duncan Ferguson and Stuart Pearce to bolster the squad, and achieved a 3–2 victory over Barcelona in the UEFA Champions League through a Faustino Asprilla hat-trick, but Dalglish's cautious brand of football, as opposed to the attacking style played under Keegan, did not prove successful—the club failed to progress beyond the Champions League group stage, finished 13th in the Premier League, and lost the FA Cup final to Arsenal. Dalglish began the 1998–99 season signing Nolberto Solano and Dietmar Hamann, but was soon dismissed following the club's declining form.

 

Ruud Gullit replaced him, however the club again finished the league in 13th place and again lost in the FA Cup final, this time to Manchester United F.C. Gullit resigned early in the 1999–2000 season, having fallen out with several senior players, including Alan Shearer and captain Rob Lee. Keith Gillespie later blamed Gullit's arrogance for his failure as manager of the club.

 

Ex-England manager Bobby Robson was brought in to replace Gullit in September 1999. He ensured Newcastle's survival in the Premiership, but the club remained in the bottom half of the table, finishing 11th in 1999–2000 and 2000–01. Robson, however, built up an exciting young squad, and an unlikely top four challenge emerged in 2001–02 season—Newcastle finished in fourth place.

 

Playing in the Champions League in 2002–03, Newcastle progressed to the second group stage in unlikely circumstances, beating Italian squad Juventus 1–0 along the way. United finished the 2002–03 season third in the Premier League, but lost their Champions League qualifier and played in the 2003–04 UEFA Cup instead, reaching the semi-final. In 2003–04, Newcastle finished fifth in the Premiership, lower than in previous seasons, and outside of Champions League contention.

 

Robson was then sacked following a poor start to the 2004–05 season and alleged discontent in the dressing room. In his autobiography, Robson was critical of Shepherd, claiming that while manager he was denied information regarding the players' contracts and transfer negotiations. He had previously publicly criticised the club's highly financed offer for Wayne Rooney, which the club later claimed they could not afford, stating young players were making excessive demands without first proving themselves on the pitch. He also criticised Shepherd and the club's deputy chairman Douglas Hall for their focus on the first team and St James' Park, causing them to neglect less glamorous issues, such as the training ground, youth development and talent scouts.

 

Graeme Souness replaced Robson and finished the season 14th in the league. Souness' arrival, however, was met with mixed reactions, with many expecting Robson being a hard task to improve upon, despite insisting he was aware of Sir Bobby's admiration and was ready for the role. In the January transfer window, Souness caused controversy in securing an £8 million bid for France international Jean-Alain Boumsong, who had joined Rangers for free just months before, prior to which Sir Bobby had travelled to France to review Boumsong but declined to sign him. The Stevens inquiry in 2007 documented that in this purchase Souness was accused of lack of consistency and was reviewed over the large media speculation the transfer received, but was eventually exonerated from any illegal participations. Going into 2005–06 season, despite signing several new players, including the return of Nolberto Solano from Aston Villa as well as Albert Luque from Deportivo de La Coruña for £10 million, Souness struggled with the opening games. He later blamed the state of the club's training ground for injuries suffered to players. The signing of Michael Owen (for a club record £17 million from Real Madrid) and his strike partnership with Alan Shearer produced goals at the end of 2005, but an injury caused Owen to miss the rest of the season and following a poor start to the new year, Souness was sacked in February 2006. Robbie Elliiot and Shay Given announced regret over his exit in the club's Season Review DVD but acknowledged his seeming favouritism of players and the amounting pressure on him damaged morale, whilst Alan Shearer blamed the injury crisis to first-team players.

 

Caretaker manager Glenn Roeder was issued the role of temporary first-team manager, seeing his first game against Portsmouth secure Alan Shearer's 201st goal for Newcastle United, becoming the club's all-time highest-scoring player. Roeder guided Newcastle from 15th to seventh place securing 32 league points from a possible 45 by the end of 2005–06, as well as securing a place in the UEFA Intertoto Cup and was given a two-year contract by chairman Freddy Shepherd. His appointment caused controversy, as at the time he did not hold the necessary UEFA Pro Licence to manage in the UEFA leagues and cup tournaments His role, however, was approved by UEFA who acknowledged that Roeder's diagnosis with a brain tumour in 2003 prevented him from developing his career, whilst Chairman Freddy Shepherd also fulfilled UEFA's request that he gain backing from all 19 other Premier League clubs to appoint him as manager. Alan Shearer retired at the end of the 2005–06 season scoring a record 206 goals.

 

Roeder encountered a difficult 2006–07 season, losing many players to injury, in particular Michael Owen, who had severely damaged his ligaments during the 2006 FIFA World Cup seeing him only play the final two games of the season. Newcastle won the 2006 Intertoto Cup, but a 5–1 exit to Birmingham City in the FA Cup, a round of 16 exit in the UEFA Cup and poor league results seeing a 13th-place finish led Roeder to resign in May 2007.

 

As the 2007 season drew to a close, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, was reported to be in the process of buying the club. Ashley successfully acquired Sir John Hall's majority stake in the club in May 2007, leaving many to believe chairman Freddie Shepherd was set to depart after stepping down as chairman, should Ashley acquire more than 50 percent, which would see Shepherd no longer in control of the club and Ashley able to replace the board. Shepherd dismissed all speculation and proceeded to appoint ex-Bolton Wanderers boss Sam Allardyce as Newcastle manager, but eventually met with Mike Ashley and the board on 29 May. On 7 June 2007, Shepherd ended his 11 years with the club after Mike Ashley accepted his bid to buy his shares and in his role as chairman of the board, also having Shepherd advise the remaining shareholders to sell to Ashley. Ashley then announced he would be delisting the club from the London Stock Exchange upon completion of the takeover. The club officially ceased trading on the Stock Exchange as of 8 am on 18 July 2007 at 5p a share. Ashley brought in lawyer Chris Mort as the new club "deputy chairman".

 

Despite signing and building a seemingly strong squad, Sam Allardyce soon became widely unpopular with fans and players alike, and was surprisingly sacked by Ashley halfway through his first season after underwhelming results and pressure from the fans. Ashley, however, defended his decision to sack Allardyce, stating he made a mistake in not appointing his own choice of manager before the season started.

 

Kevin Keegan then made a sensational surprise return as manager. His return had an instant impact on club ticket sales as he sat with the fans, Mike Ashley and Chris Mort for the FA Cup replay 4–1 win against Stoke City. Following his return, Keegan had a disappointing first ten games back, with the club not winning a single game until his decision to include strikers Obafemi Martins, Michael Owen and Mark Viduka into a 4–3–3 formation, which saw the club back on goal-scoring and winning form and eventually finishing 12th in 2007–08. In May Keegan met with Mike Ashley and Director of Football Dennis Wise after he had suggested Champions League qualification was out of Newcastle United's reach and expressed dissatisfaction with the board's financial backing. Ashley was battling reports that he had lost hundreds of millions of pounds in a disastrous attempt to rescue bank HBOS. The morning following, after the club's 3–0 defeat to Arsenal, rumours were circulating that Keegan had either been sacked or resigned as Newcastle boss, citing board interference and his lack of control over transfers. Keegan confirmed the reports the same week, and reportedly held unsuccessful resolution talks with Mike Ashley the following week, leading to fan fury and protests around St James' Park, and marring the club's home defeat to Hull City, with fans accusing Ashley and club executives Dennis Wise, Tony Jimenez and Derek Llambias of forcing Keegan out.

 

Following mass media coverage of Keegan's departure, the club struggled to find a replacement, with the majority of managers showing no interest in the role. Ashley released a statement to the club's fans that in fear of his and his families reputation and safety, he was placing the club for sale. It was then announced that former Nottingham Forest manager Joe Kinnear was appointed temporary manager His appointment, however, saw a backlash from fans, prompting a verbal tirade from Kinnear at the media, who questioned his decision to take the job at such a time. By the end of the year, Ashley took the club off the market claiming he was unable to find a suitable buyer.

 

In the remainder of 2008–09, Kinnear won four out of 18 matches before stepping down due to reported heart problems. Chris Hughton then took temporary charge before Alan Shearer returned to Newcastle United as manager in April with Iain Dowie as his assistant. After winning only one out of eight games, the club was relegated to the Championship for the first time since 1992. Mike Ashley then re-issued his desire to sell the club once again and issued a £100 million sale price tag.

 

Prior to the start of the 2009–10 season, Keegan's dispute with the club was resolved after a Premier League Arbitration Panel ruled that he had been misled to believe he had the final word on the club's transfer policy when in fact Director of Football Dennis Wise had been handed such control. The signings of Xisco and Nacho González were ruled to have been made without the manager's approval; with González, Dennis Wise signed him only after viewing him off of YouTube. Wise and Derek Llambias were ruled to have deliberately misled the media to believe Keegan had the final say, which amounted to constructive dismissal. Keegan was awarded £2 million in compensation and re-offered his job as Newcastle United manager under fresh new terms, though in response to the offer, he stated the fans had "had enough" for the time being and declined. He stated in 2013 he would consider a return should Mike Ashley leave the club.

 

Chris Hughton was appointed full-time manager early in the 2009–10 season. The club dominated the Championship, winning 30 games, drawing 12 and losing only four, scoring a total of 90 goals and finishing top of the league with 102 points, thus re-gaining Premier League status at the first attempt.

 

Beginning 2010–11, Hughton remained on course to secure survival from relegation with the club's first win at the Emirates over Arsenal, and a memorable 5–1 defeat over Sunderland. However, fury once again was caused by the board, as the club controversially sacked Chris Hughton after a 3–1 defeat to West Bromwich Albion on 6 December 2010. Critics players and fans alike were shocked by Hughton's dismissal, leading to protests prior to the club's game against Liverpool in a bid to thank him for his work and support. Alan Pardew was then announced as being appointed manager on a five-and-a-half-year contract, with the club announcing they wanted a manager with more experience. Pardew stated he had nothing but respect for Chris Hughton and acknowledged the fact that other managers questioned his appointment. He secured his first win on his debut as manager with a 3–1 win over Liverpool On 31 January 2011, Newcastle sold striker Andy Carroll to Liverpool for a club record of £35 million. The sale of a young player at a high value proved controversial for Liverpool, with Alan Shearer ridiculing the price Liverpool paid as well as expressing sorrow at Newcastle for losing Carroll. Carroll himself stated that he did not want to leave the club but was forced out by the club's directors after Liverpool's final offer of £35 million; the board responded that Carroll had previously handed in a transfer request. Pardew said he was disappointed to lose Carroll, but pledged to invest in the club's summer transfer window. The remainder of the season saw Leon Best score a hat-trick on his debut in a 5–0 defeat of West Ham United, a memorable 4–4 comeback against Arsenal, and a 4–1 defeat of Wolverhampton Wanderers, eventually finishing 12th in the league.

 

Entering 2011–12, Pardew was reportedly denied the £35 million from the sale of Andy Carroll for transfers and told to sell players to raise funds, having claimed he had been assured the finances upon Carroll's departure. Kevin Keegan had previously stated Alan Pardew should not have expected the money following his issues with the board in 2008. The club signed many French-speaking players in the transfer window, including Yohan Cabaye, Mathieu Debuchy, Sylvain Marveaux and Demba Ba. and with impressive results throughout the season, Newcastle finished fifth.

 

In the 2012–13 UEFA Europa League, Newcastle reached the quarter-finals, and in the January transfer window, the French revolution continued into the new year, with Moussa Sissoko and Yoan Gouffran joining the squad. The team, however, had a poor 2012–13 Premier League and finished 16th in the Premier League.

 

Beginning the 2013–14 season, in a surprise move Joe Kinnear returned to the club as Director of Football, instantly causing fan fury following his outburst that he was "more intelligent" than the fans and critics, as well as mispronouncing various players names during a radio interview. However, he resigned after just eight months on the job following further critique for managing to sign only two players on loan—Loïc Rémy and Luuk de Jong—throughout the season's summer and January transfer windows, as well selling Yohan Cabaye to Paris Saint-Germain for £20 million, considered to be one of the most influential players at the time. Following the lack of transfer activity, Mike Ashley once again faced a fan revolt, with protests being launched at him to sell the club, and entered a dispute with several media titles whom the club banned from Newcastle United media facilities, press conferences and player interviews, declaring stories reported were intensely exaggerated and aimed only to damage Ashley's image further. Throughout the season, the club remained on course to ensure a top half finish, notably defeating Manchester United at Old Trafford for the first time since 1972. Nonetheless, the team struggled for goals following the sale of Cabaye. Further dismay upon the season was caused when Pardew was banned for seven matches and fined £100,000 for an assault on Hull City midfielder David Meyler. The club then encountered a poor run of form, losing eight out of ten games and finishing the season tenth in the league, though the club confirmed Alan Pardew would stay on.

 

The opening eight games of the 2014–15 season proved disappointing, with the club failing to secure a win. After the dip in form, however, the club had an emphatic resurgence, seeing a five-game unbeaten run whilst also surprising League Cup holders Manchester City with a 2–0 win and progressing to the quarter-finals of the tournament. Pardew, however, resigned from the club on 30 December 2014 following immense pressure from fans calling for his departure, with many posters at games designed with the Sports Direct logo advertising a website demanding his resignation. Pardew admitted in the months leading up to his departure that protests from the fans were affecting his family and was subsequently feeling unhappy at the club. He was replaced by his assistant manager John Carver, though the team subsequently earned just 13 points out of a possible 50, surviving relegation on the final day of the season with a victory over West Ham, Carver was dismissed before the club's pre-season for 2016 began. The club paid tribute to player Jonás Gutiérrez following his successful recovery from testicular cancer to resume his playing career.

 

Beginning the 2015–16 season, former England F.C. Manager Steve McClaren was appointed manager, signing Georginio Wijnaldum, Aleksandar Mitrovic, Chancel Mbemba, Florian Thauvin, Henri Saivet, Jonjo Shelvey, Andros Townsend and Ivan Toney. McClaren however struggled to produce results winning 6 and drawing 6 out of 28 games, whilst exiting both the FA Cup and League Cup in the Third Round. McClaren was subsequently sacked on 11 March 2016 with critics and former players voicing their favour of the decision. Rafael Benítez was announced as McClaren's successor the same day, signing a three-year deal. Benítez recorded his first victory in 3–0 defeat of Swansea City in the Premier League on 17 April 2016 after 5 games in charge, and maintained an emphatic 5-game unbeaten streak to the end of the season. Newcastle were however relegated from the Premier League along with Aston Villa and Norwich finishing 18th place, 2 points below safety. Betting websites confirmed after the final game that the club's 5–1 defeat of Tottenham Hotspur matched the initial odds of Leicester City's 5000/1 win of the 2015–16 Premier League season.

 

Starting the 2016-17 season, Rafa Benítez signed 12 new players full-time and also acquired 5 players on loan, whilst 8 players left the club and another 12 on loan. New signings Dwight Gayle and Matt Ritchie proved popular scoring a combined total of 39 goals, finishing among the top goalscorers that season. Despite failing to improve on their dominant success in the 2009/10 championship season, the club remained in contention for the trophy throughout; threatened only by Brighton & Hove Albion Newcastle enjoyed a 3-game winning streak to the final day of the season and lifted the Football League Championship trophy on 8 May 2017 following a 3–0 win over Barnsley. Rafa Benítez denied speculation that he would leave the club following promotion to the Premier League and confirmed his commitment to the club for the foreseeable future. Shortly prior to the season's finish, the club was subject to raids by HMRC following suspicions of tax evasion. Managing Director Lee Charnley was arrested during the raid, but was later released without charge.

 

Ending the 2017-18 season, the club finished 10th in the Premier League defeating the current champions Chelsea on the final day of the season, the highest finish achieved within 4 years. Beginning the 2018–19 season, Mike Ashley again came under scrutiny following lack of major signings in the summer transfer window, with many fans accusing him of lacking interest in the club following his purchase of troubled retail chain House of Fraser for £90m. Despite the January signing of Miguel Almirón from Atlanta United FC for £21 million surpassing the club's transfer record fee of £16.8 million for Michael Owen in 2005, the club struggled throughout the season with 12 wins, 9 draws and 17 losses seeing a 13th place league table finish, whilst exiting the League Cup at the 2nd round in a 3–1 defeat of Nottingham Forest F.C and a 4th round exit of the FA Cup in a 2–0 defeat to Watford F.C. The season also saw heavy speculation regarding Rafa Benítez remaining at the club following reports he was still in negotiations following the end of the season.

 

Following fresh reports of Ashley's intention to sell the club, Sheikh Khaled Bin Zayed Al Nahyan, Founder and Chairman of The Bin Zayed Group of Companies, a member of the Al Nahyan royal family of Abu Dhabi, confirmed he had agreed terms to purchase the club for £350 million. On 5 June 2019 a company named Monochrome Acquisitions Limited was registered in Nahyan's name, whilst managing director Lee Charnley applied to have four companies linked to Ashley's company St James Holdings Ltd struck off, leaving many to believe the club was on course to be sold. Talks of a takeover however stalled throughout the summer transfer window, whilst Ashley confirmed he had not received an official bid from any prospective buyer.

 

Benítez rejected a new contract offer and departed the club on 30 June 2019, accepting a move to Chinese Super League side Dalian Yifang in a £12 million deal. Ashley criticised Benítez stating unfair demands were made making it impossible for him to remain as manager. Notable player departures saw Salomón Rondón join Benitez at Dalian Yifang after returning to West Bromwich Albion F.C. from loan, whilst Ayoze Perez joined Leicester City for £30 million and Mohamed Diamé was released by Newcastle upon the expiry of his contract at the end of the 2018–19 season.

 

BBC Sport reported in July 2019 that Steve Bruce had resigned from his managerial position at Sheffield Wednesday after he earlier admitted that he had held talks with Newcastle United over their managerial vacancy. His appointment was confirmed on 17 July. Sheffield Wednesday however stated there were still outstanding legal issues with Bruce having resigned just 48 hours before, leading a report being filed to the Premier League alleging misconduct in his appointment. Newcastle United denied any wrongdoing and stated they were confident no case could be escalated. Reaction from the fans was mixed, with some feeling Bruce would not achieve the standard set by Benítez, whilst his recent lack of Premier League football and management of rival club Sunderland proved controversial. Bruce later acknowledged Benítez's popularity and stated he hoped the fans would not rush to judgement and give him time to prove himself and manager of Newcastle. Due to visa problems in China, Bruce watched his first match as manager from the stands which saw Newcastle achieve a third-place finish in the pre-season 2019 Premier League Asia Trophy following a 1–0 victory over West Ham United F.C. Bruce quickly made his first transfer, signing Joelinton from TSG 1899 Hoffenheim for £40 million, breaking the club's transfer fee record previously held by Miguel Almirón at £21 million just 6 months before, before signing French international winger Allan Saint-Maximin from OGC Nice on a permanent deal for £16.5 million, Sweden international defender Emil Krafth for £5 million, central midfielder Kyle Scott on a free signing following his departure from Chelsea, and Netherlands international defender Jetro Willems on loan from Frankfurt F.C until the end of the 2019–20 season. Bruce made his final transfer of the pre-season on deadline day by re-signing striker Andy Carroll, who had left the club over 7 years earlier. On 4 February 2020, Steve Bruce's side ended a 14-year drought by reaching the 5th round of the FA Cup they beat League One side Oxford United 2–3 in a replay thanks to a late winner from Allan Saint-Maximin in extra time.

 

From March 2020, the season was affected by the COVID-19 pandemic. On 13 March, following an emergency meeting between the Premier League, The Football Association (FA), the English Football League and the FA Women's Super League, it was unanimously decided to suspend professional football in England. On 19 March, the suspension was extended indefinitely, with a restart date of 17 June announced in late May with all remaining games to be played without crowd attendance.

 

Newcastle finished the season in 13th place. Defender Danny Rose was an outspoken critic of the decision to continue the season, citing the virus was still in major circulation and accused the FA of having no concern for footballers' health. Karl Darlow has since urged players at the club to get vaccinated following his hospitalisation from complications of Covid, whilst manager Steve Bruce admitted some players had voluntarily declined the vaccination.

 

The 2020-21 season saw all matches played without crowd attendance until May 2021, in light of the COVID-19 pandemic. Newcastle failed to improve on the previous season, finishing 12th in the premier league and were knocked out of the FA Cup in the third round added time to Arsenal and exited the EFL Cup in the quarter-finals losing 1–0 to Brentford.

 

In April 2020, it was widely reported that a consortium consisting of Public Investment Fund, PCP Capital Partners and the Reuben Brothers, was finalising an offer to acquire Newcastle United. The proposed sale prompted concerns and criticism, such as arguments considering it sportwashing of the country's human rights record, as well as ongoing large-scale piracy of sports broadcasts in the region. However the consortium announced its withdrawal from the Newcastle deal on July 30, 2020, after multiple media reports highlighted realm as the staunch violator of human rights, and the WTO ruled that it was behind the piracy campaign using pirate-pay-service beoutQ. "With a deep appreciation for the Newcastle community and the significance of its football club, we have come to the decision to withdraw our interest in acquiring Newcastle United Football Club," the group said in its statement upon withdrawal. The group also stated that the "prolonged process" was a major factor in them pulling out. The collapse of the takeover was met with widespread criticism from Newcastle fans, with Newcastle MP Chi Onwurah accusing the Premier League of treating fans of the club with "contempt" and subsequently wrote to Masters for an explanation. Despite the consortium's withdrawal, disputes over the takeover continued. On 9 September 2020, Newcastle United released a statement claiming that the Premier League had officially rejected the takeover by the consortium and accused Masters and the Premier League board of " acting appropriately in relation to [the takeover]", while stating that the club would be considering any relevant legal action. The Premier League strongly denied this in a statement released the next day, expressing "surprise" and "disappointment" at Newcastle's statement.

 

On October 7, 2021, the Public Investment Fund, PCP Capital Partners and RB Sports & Media confirmed that they had officially completed the acquisition of Newcastle United. Governor of the investment fund Yasir bin Othman Al-Rumayyan was appointed non-executive chairman, whilst Amanda Staveley and Jamie Reuben were both appointed as directors and each held a 10% shareholding in the club.

 

The takeover led to widespread speculation that manager Steve Bruce was expected to leave the club. Although not denying the speculation that the club was keen to appoint a new manager, Staveley stated Bruce was to remain for the new owners first game against Tottenham Hotspur; his 1000th match as a football manager. However following Newcastle losing the game 3-2 and alleged discontent among the players, Bruce left the club by mutual consent. Bruce stated his sadness at leaving the club and felt Newcastle fans launched unnecessary verbal abuse at him during his time there. Interim manager Graeme Jones as well as Arsenal manager Mikel Arteta supported Bruce's claims stating the abuse he received was off putting for other managers to take the role.

 

Eddie Howe was appointed as manager on 8 November 2021. The announcement was made following reports that the club had discussed the role with him the previous week and confirmed following his attendance at the away draw to Brighton & Hove Albion. On 19 November 2021, Newcastle announced that Howe had tested positive for COVID-19 and would miss his first game in charge, which instead forced him to watch his first game as manager from a hotel room as Newcastle drew 3–3 with Brentford on 20 November.

 

Lee Charnley, who acted as Managing Director under Ashley's ownership, left the club on 19 November 2021 following a six-week handover period. His departure was the final of Mike Ashley's hierarchy, with Staveley stating the club was undergoing a "formal process" to appoint a new figure to replace the role.

 

Eddie Howe had to wait until 4 December 2021 for his first win as Newcastle manager in a 1–0 win against Burnley, which was also the first win since the takeover happened. Howe then made five signings in the first January transfer window under the new ownership which included a marquee singing in Brazilian midfielder Bruno Guimarães from Olympique Lyonnais. The transfer window and the players that were already there that Howe improved helped Newcastle to go on a 9-game unbeaten run in the Premier League to get them 10 points clear from the relegation zone and increasing the chance of guaranteeing survival. After Newcastle's 1–0 win against Crystal Palace, this was the first time the club had managed to win 6 home games in a row since 2004 when Sir Bobby Robson was in charge. Newcastle finished in 11th place after a run of 12 wins in their final 18 games, and became the first team in Premier League history to avoid relegation after not winning any of the first 14 games they played.

 

On 30 May 2022, the club announced they had reached an agreement of a compensation fee with Brighton & Hove Albion to appoint Dan Ashworth as the new Sporting Director, the appointment was confirmed on 6 June 2022. On 15 July 2022, the club brought in Darren Eales, from MLS side Atlanta United, as the club's new Chief Executive Officer - acting as a "key member of the club's leadership structure".

 

Newcastle United was set up as a private company limited by shares on 6 September 1895. However, by the 1930s, ownership of the company was dominated by a small number of individuals: Alderman William McKeag, George and Robert Rutherford, and William Westwood, 1st Baron Westwood. George Stanley Seymour was allocated some shares when he joined the board in 1938.

 

By the second half of the 20th century, these shareholdings had passed to the next generation: Gordon McKeag, Robert James Rutherford, Stan Seymour Jr. and William Westwood, 2nd Baron Westwood. The Magpie Group led by Sir John Hall built up a large shareholding in the club and then took control in 1992. In 2007, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, secured control of the club and in 2021, the Public Investment Fund of Saudi Arabia, PCP Capital Partners and RB Sports & Media confirmed that they had acquired ownership of the club.

Florida Museum of Natural History Fossil Hall at the University of Florida.

 

Barbourofelis was not a saber-toothed 'cat'. It was a saber-toothed barbourofelid, belonging to a distinct carnivoran family than the modern felid cats. Initially, barourofelids were thought to be closely allied with the nimravids, an early group of saber-toothed carnivores that were themselves thought to be 'saber toothed cats' until further analysis demonstrated their strange and primitive features put them at the base of the carnivoran clade (the group that contains virtually all mammalian carnivores: dogs, cats, bears, hyenas, raccoons, seals, etc.). Recently, barbourofelids have been shown to be most closely related to Felidae, and not the nimravids, although the peculiar basicranial morphology of barbourfelids precludes their inclusion within Felidae itself.

 

Thus, like the well known true saber-toothed cats (including famous faces such as Smilodon), barbourofelids were an independent radiation that convergently evolved the saber-tooth morphology, and thus likely practiced similar predatory habits. However, the diversity of saber-tooth forms should not be neglected, and different saber-toothed species coexisted in the same environments at the same times, indictating the potential for niche partitioning, or in other words, that despite their superficial similarities, not all of the different saber-toothed cats hunted and ate the same sorts of creatures and instead divided the ecosystem's resources among themselves, one could say (this is a recurring trend seen across the evolution of predator guilds everywhere, but it's being described VERY simplistically here).

 

Barbourofelis occured in the Miocene of North America 13.6 - 5.3 mya, although barbourofelids initially evolved in Africa during that continents isolation and expanded out into Eurasia about ~20 mya, eventually crossing over into North America over a likely landbridge. You can see that the lower jaw harbors some flanges that surround the medial sides of the saber-like canines, and these sorts of structures have been hypothesized to serve as 'guides' for the precise biting mechanism employed by this species, but they also likely served to protect against breakage, which is thought to be an incredibly important constraint for all saber-toothed species. Thylacosmilus is another well known saber-toothed carnivore to poses such mandibular flanges, but it's by no means closely related. As the name implies, Thylcaosmilus is a marsupial, and belonged to a diverse group of borhyaenoid carnivores of the isolated South American continent prior to the Great American Interchange (after which Smilodon would seemingly replace Thylacosmilus as the saber-toothed carnivore of SA).

 

The saber-toothed ecomorphotype has evolved repeatedly, as you can see. Notably, you can also find saber-toothed predators among non-mammalian synapsid carnivores such as gorgonopsids and therocephalians, and even among early mammalian herbivores such a Uintatherium.

 

For a felid saber-tooth, see Xenosmilus - www.flickr.com/photos/31867959@N04/3825136922/in/photostr...

VAN NUYS - Precise helicopter water drops that tapered the advance of flames, allowed 48 Los Angeles Fire Department responders on the ground to quickly contain and extinguish a non-injury grass fire in the Sepulveda Basin Recreation Area on the afternoon of June 18, 2021. The fire, near a homeless encampment northwest of Lake Balboa, was considered accidental, and attributed to careless cooking.

 

© Photo by Greg Doyle

 

LAFD Incident: 061821-0867

 

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Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

5am morning walk towards the ganges -- all eyes on the precise balancing of the weighing scale. — in Varanasi, India, May 2014.

"Cut down worlds of imperfection."

---

A dangerous redesign of the Reaper rifle, the K22R is an example of precise perfection. The sheer power of the original has been contained and multiplied tenfold thanks to the XERA protocol.

 

What was once pure arcane energy is now enhanced via nanotechnology stemming from the Ntryksis XERA units. The Reaper faced a major redesign in its inclusion as the K22R. Operation wise, the K22R is seen as an improvement. Weapons learn much faster and adaptation allows for modes that no one could ever imagine of.

 

The K22R has a mind of its own, operated by the nanites that formed the weapon. It manifests as an arcane AI that can learn much quicker and provide devastating options. The concept of "adapt and conquer" becomes re-written as "adapt and eradicate." This became the new perfect command and thus the perfect tool was made. The stages of the rifle which the Ntryksis call the steps to perfection has been revised and improved. The following stages are as follows:

 

- Stage one remains as the default stage. The weapon fires tachyonic particles laced with nanites for widespread corruption; these particles are fired in bursts of three at a rapid pace. The rate of fire is clocked in at 900 RPM. Combat service is not required and the AI can evolve quicker at the shooter's will. The K22R studies enemies and their arsenals at a much faster pace.

 

- Stage two is still the same. The weapon adapts but still retains the trait of the corruptive nanites fused with the projectile chosen to counter the enemy with. Optical sights and weapon operation still retain adaptation whenever necessary.

 

- Stage three is no longer the final stage but the stage is relatively the same. The nanites converge and unleash annihilation on the enemy by adapting beyond the enemies' arsenal. Destruction then leads to perfection.

 

- Stage four is a new stage and is known as the perfection stage. Once an enemy succumbs to the power of the K22R, the nanites linger and begin to infect those fallen in battle. Serving as a virulent parasite of sorts, it will also spread to nearby enemies and damage them temporarily due to their task being offense and not adaptation. The infected enemies will become overwritten and 'perfected' to reach the XERA protocol standard.

 

ISR logs exist but only for the original Kyxenregan design. It suggested that the sheer power of the Kyxenregan and the arcane auras belonging to them, which serves as a protective layer, cannot be countered. In short, the Reaper was considered to be unmatched and therefore perfect. However, this was a hypothesis that eventually was proved to be wrong as the K22R was developed regardless of any resistance.

 

Despite being in one of the first subsets, which in this case would be 002, the weapon was added to the subsets recently. 002 became the home subset of the K22R as a reference to the original: the forever ancient and arcane design of the Kyxenregan. K22R itself is a reference to the Reaper; K standing for Kyxenregan and R for Reaper. The 22 is a randomized data value designed to throw off anyone attempting to break into the 002 subset via interfacing with a XERA unit.

 

The threat has now become even more serious. In an effort to seek perfection in order to ensure destruction, our own tools are being turned against us. To stop the virus that is the Ntryksis requires sheer power, intellect, and willpower. Without either of the 3 or all 3 at once, defeat is assured.

Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí de Púbol[a][b] (11 May 1904 – 23 January 1989), known as Salvador Dalí,[c] was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work.

 

Born in Figueres in Catalonia, Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age, he became increasingly attracted to Cubism and avant-garde movements.[3] He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments.[4]

 

Dalí's artistic repertoire included painting, sculpture, film, graphic arts, animation, fashion, and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays, and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork.[5][6] His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial.[7] His life and work were an important influence on other Surrealists, pop art, popular culture, and contemporary artists such as Jeff Koons and Damien Hirst.[8][9]

 

There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida, U.S.

 

Biography

Early life

 

The Dalí family in 1910: from the upper left, aunt Maria Teresa, mother, father, Salvador Dalí, aunt Caterina (later became the second wife of father), sister Anna Maria, and grandmother Anna

Salvador Dalí was born on 11 May 1904, at 8:45 am,[10] on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.[11] Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950)[12] was a middle-class lawyer and notary,[13] an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921),[14] who encouraged her son's artistic endeavors.[15] In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10).[16][17] Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[18] to an "Arab lineage", claiming that his ancestors were descendants of the Moors.[6][19]

 

Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí said of him, "[we] resembled each other like two drops of water, but we had different reflections."[20] He "was probably the first version of myself but conceived too much in the absolute".[20] Images of his brother would reappear in his later works, including Portrait of My Dead Brother (1963).[21]

 

Dalí also had a sister, Anna Maria, who was three years younger,[13] and whom Dalí painted 12 times between 1923 and 1926.[22]

 

His childhood friends included future FC Barcelona footballers Emili Sagi-Barba and Josep Samitier. During holidays at the Catalan resort town of Cadaqués, the trio played football together.[23]

 

Dalí attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.[13] The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1918,[24] a site he would return to decades later. In early 1921 the Pichot family introduced Dalí to Futurism. That same year, Dalí's uncle Anselm Domènech, who owned a bookshop in Barcelona, supplied him with books and magazines on Cubism and contemporary art.[25]

 

On 6 February 1921, Dalí's mother died of uterine cancer.[26] Dalí was 16 years old and later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her ... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."[6][27] After the death of Dalí's mother, Dalí's father married her sister. Dalí did not resent this marriage, because he had great love and respect for his aunt.

Wikipedia

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Took this shot on the way back home from work tonight. I looked a right fool stood in the middle of this field with my best work clothes on, like I was dressed for a business meeting with a scarecrow.

 

Really liked the light, the sun disappeared for the night about 5 minutes after I took this.

 

Take your pick from B&W/Portrait or Colour/Landscape!

Toute aide pour une identification précise serait appréciée.

Any help for identification will be much appreciated.

 

Éclairé avec mon diffuseur artisanal. Vignetage ajouté.

Illuminated with my homemade flash diffuser. Added vignetting.

 

▌    Fond d'écran gratuit disponible sur Tazintosh.com en 12 tailles !

▌    Free wallpaper available on Tazintosh.com in 12 size!

 

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▌    Vous pouvez me suivre sur Twitter • You can follow-me on Twitter • @Tazintosh

Just thought about checking out Blaker's Mill Road as I was coming home and saw this. In short order the view had changed.

A mixture of 4 acrylic paints- neon blue, neon green, red and yellow. I tried to use just enough yellow to add some highlights to the colder blues and greens. Also, testing out a new portfolio site if you're interested! : seanthibert.smugmug.com

The precise origin of the infinity symbol ∞ is unclear. One possibility is suggested by the name it is sometimes called—the lemniscate, from the Latin lemniscus, meaning "ribbon." Another theory implies that its origin derives from the respective paganistic symbol, which is supposed to symbolise the total of numbers; its shape is said to represent the repetition.

 

A popular explanation is that the infinity symbol is derived from the shape of a Möbius strip. Again, one can imagine walking along its surface forever. However, this explanation is not plausible, since the symbol had been in use to represent infinity for over two hundred years before August Ferdinand Möbius and Johann Benedict Listing discovered the Möbius strip in 1858.

 

A Möbius strip is a surface with only one side and only one boundary component.

 

The Möbius strip has several curious properties. A model of a Möbius strip can be constructed by joining the ends of a strip of paper with a single half-twist. A line drawn starting from the seam down the middle will meet back at the seam but at the "other side". If continued the line will meet the starting point and will be double the length of the original strip of paper. This single continuous curve demonstrates that the Möbius strip has only one boundary.

 

Taken for Active Assignment Weekly - ∞Infinity∞

 

Highest position: 319 on Sunday, April 5, 2009