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The precise location of this one is a dead-end lane off Station Road that serves a few cottages. Whether they were happy to see us rock up at dusk on an October evening I have no idea, but nobody came out and spoke to us!
The southbound shot here (with the evening sun shining) was superb: the northbound was pretty much a no-no. However, once the sun had dropped (or clouded over) the sky elevated a pretty poor shot into one worthy of a second look.
Here, 56095 plods northward with yet another train of coal/empties. Back then, the ECML around York was extremely busy, and sights such as this were very common. Not quite so much today!
56095 carried on plodding around for another 11 years before withdrawal came in October 2006. She met her final end at TJ Thomson's yard in Stockton during October 2011. RIP.
A precise arrangement of copper-toned industrial fasteners, showcasing the geometric beauty of hexagonal nuts and threaded bolts with a shallow depth of field. Captured in Montreal, Quebec.
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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This small vase, remarkable especially for the precise drawing and the attention to ornamental detail, is the earliest Attic black-figured alabastron, and one of the Amasis Painter's very early works.
The figured decoration continues round the vase. In the middle of one side, a winged goddess runs to right, looking around, flanked on the right and left by a youth wearing a long chiton with a himation over it and holding a spear. The goddess wears a peplos and has two pairs of wings. She may be Artemis. The lack of an attribute makes the identification difficult. Near the goddess is a group of five youths, two standing to right, three to left; some wear cloaks; some long himatia. Above the figured zone is a row of vertical zigzags, and above that on the shoulder at the junction with the neck is a tongue pattern. On the bottom, rays; round this, a narrow black band with lines above and below.
Amasis signs as potter only, whence the painter takes his name. The Amasis Painter's career spans at least four decades, beginning in the second quarter of the 6th century and lasting until ca. 520 B.C. or slightly later. Well over 130 of his vases have survived, and three vases from the Agora are attributed to him, and two others may be by him
Source: Moore B. M., “The Athenian Agora, Vol XXXIII, Attic Black-Figured Pottery”
Black-figured alabastron
Dimensions: height 9,2 cm, diam. 4,7 cm
Attributed to the Amasis Painter
Ca. 560 BC
From Athenian Agorà
Athens, Ancient Agora Museum
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
Western National 638 : ECW bodied Bristol SUL4A. The Devon General fleet was absorbed into Western National in 1971 but the fleet name and the red livery continued with many WNOC buses running under the 'Devon General' name. The Bristol SU was a narrow bodied lightweight model built in the early 1960s in fairly small numbers (181 to be precise) and mainly bought by the Western/Southern National companies in both bus and semi-coach versions. It was replaced by the Bristol LH in 1966. This one was withdrawn in 1976 but would see further service as a non-psv staff bus with the NCB in Yorkshire
Another JPT on the 169, this time in the JPT yellow livery. This is not the evening service but the Sunday run, Easter Sunday to be precise where the early morning snow has quickly turned to slush. Interesting to note it still on its way to Southern Cemetary.
KX57OVR JPT (Walsh Middleton)
MAN 12.240
Plaxton Centro B38F
Built 2007
Photo March 2008
Dive bombing requires precise maneuverability and accuracy to fly at steep trajectory and hit a moving target. The Douglas SBD Dauntless was sturdy enough for pilots to dive at a near-vertical 80 degrees. To help maintain control during such steep dives, the Dauntless incorporated perforated split flaps or "dive-brakes" on the trailing edge of the wing, which are extended on this plane.
The US Navy’s primary dive-bomber at the war’s start, the bomber earned its reputation — and helped earn victory — at the 1942 Battle of Midway, sinking four Japanese carriers. By some accounts, the Dauntless sank more Japanese ships than any other plane.
SBD-3, Bureau Number (BuNo) 06508 was built by Douglas Aircraft Company at El Segundo, California and is a combat veteran of the Guadalcanal Campaign operating from Henderson Field by Marine Scout Bombing Squadrons (VMSB) 141 and 132. In the spring of 1943, BuNo 06508 was assigned to Navy Bombing Squadron 10 aboard the aircraft carrier Enterprise for a short time before being returned to the States to serve as a trainer at Naval Air Station Glenview, Illinois. In November 1944, this aircraft was lost on a training flight in Lake Michigan where it remained until 1990 when it was recovered by the US Navy and restored to its present condition.
Seen at the National World War II Museum in New Orleans, Louisiana.
At that precise time, I was happy. That was my first photo session of fireworks. I was ideally positioned upstream of the Mirabeau Bridge. In front of me, the Grenelle bridge, and Statue of Liberty*.
I was surrounded by friendly people.
I can testify that nobody knew that blood had flown at Nice. The first report came on my smartphone about ten minutes after the fireworks.
I felt devastated.
These four pictures are dedicated to Nice victims.
A cette heure précise, j'étais heureux. C'était ma première session photo d'un feux d'artifice. J'étais idéalement positionné en amont du pont Mirabeau. En face de moi, le pont de Grenelle, et la statue de la liberté.
J'étais entouré de gens sympathiques.
Je peux témoigner qu'autour de moi, personne ne savait que le sang avait coulé à Nice. La première notification (le Figaro) est tombée sur mon smartphone environ 5 minutes après la fin du feux d'artifice.
J'ai été dévasté.
Ces quatre photos sont dédiées aux victimes de Nice.
* en.wikipedia.org/wiki/Replicas_of_the_Statue_of_Liberty#P...
Sony Alpha A7
RF Jupiter-9 2/85mm for Zorki camera (KMZ 1954) M/L39 adapter
A lone woman stands before a wall of police. She holds high a large Palestine flag and waves it gently. It is a moment of quiet resolute defiance but she commits no crime.
The flag is the national symbol of a people suffering an ongoing genocide, an armed assault by Israel on Gaza that has already killed over 63,000. Her action is a simple act of solidarity.
However, the law is engineered to make her, and others like her, feel uneasy. Britain’s anti-terror legislation is not written for clarity; it is written to intimidate. The law is deliberately vague about what constitutes 'support' for a banned group. A citizen is thus left to guess whether a simple, thoughtful act of solidarity might also be a crime.
In this specific case, a prosecution would be untenable. The flag is a universal symbol, and to argue it supports one specific group, rather than the Palestinian people as a whole, would be an absurdity. But the true purpose of such laws is not primarily to secure convictions. It is to silence dissent.
When the precise boundaries of a crime are made unclear, people begin to censor themselves. The state achieves this chilling effect not by filling the prisons, but by intimidating its citizens into keeping silent.
+++++++++++++++++++++++
Protest and the Price of Dissent: Palestine Action and the Criminalisation of Conscience
Parliament Square on Saturday, 6 September 2025 was a scene of quiet, almost solemn defiance. The air, usually thick with the noise of London traffic and crowds of tourists, was instead filled with a palpable tension, a shared gravity that emanated from the quiet determination of hundreds of protesters, many of them over 60 years old, some sitting on steps or stools and others lying on the grass.
They held not professionally printed banners, but handwritten cardboard signs, their messages stark against the historic grandeur of their surroundings. This was not a march of chants and slogans, but a silent vigil of civil disobedience, a deliberate and calculated act of defiance against the state.
On that day, my task was to photograph the protest against the proscription of the direct-action group Palestine Action. While not always agreeing entirely with the group’s methods, I could not help but be struck by the profound dedication etched on the faces of the individual protesters.
As they sat in silence, contemplating both the horrific gravity of the situation in Gaza and the enormity of the personal risk they were taking — courting arrest under terror laws for holding a simple placard — their expressions took on a quality not dissimilar to what war photographers once called the “thousand-yard stare.” It was a look of weary but deep and determined resolve, a silent testament to their readiness to face life-changing prosecution in the name of a principle.
This scene poses a profound and unsettling question for modern Britain. How did the United Kingdom, a nation that prides itself on its democratic traditions and the right to protest, arrive at a point where hundreds of its citizens — clergy, doctors, veterans, and the elderly — could be arrested under counter-terrorism legislation for an act of silent, peaceful protest?
The events of that September afternoon were the culmination of a complex and contentious series of developments, but their significance extends far beyond a single organisation or demonstration. The proscription of Palestine Action has become a critical juncture in the nation’s relationship with dissent, a test of the elasticity of free expression, and a stark examination of its obligations under international law in the face of Israel deliberately engineering a catastrophic humanitarian crisis in Gaza.
To understand what is at stake, one must unravel the threads that led to that moment: the identity of the movement, the state’s legal machinery of proscription, the confrontation in Parliament Square, and the political context that compelled so many to risk their liberty.
Direct Action and the State’s Response
Palestine Action, established in 2020, has never hidden its approach. Unlike traditional lobbying groups, it rejected appeals to political elites in favour of disrupting the physical infrastructure of complicity: factories producing parts for Israeli weapons systems, offices of arms manufacturers, and — eventually — military installations themselves.
Its tactics, while non-violent, were disruptive and confrontational. Red paint sprayed across buildings to symbolise blood, occupations that halted production, chains and locks on factory gates. For supporters, these were acts of conscience against a system enabling atrocities in Gaza. For the state, they were criminal disruptions of commerce.
That clash escalated steadily. In Oldham, a persistent campaign against Elbit Systems, a key manufacturer in the Israeli arms supply chain, culminated in the company abandoning its Ferranti site. Later actions targeted suppliers for F-35 fighter jets and other arms manufacturers. These were no random acts of mindless vandalism but part of a deliberate strategy: to impose costs high enough that complicity in Israel’s war effort would become unsustainable.
The decisive rupture came in June 2025, when activists infiltrated RAF Brize Norton, Britain’s largest airbase, and sprayed red paint into the engines of refuelling aircraft linked to operations over Gaza. For the activists, it was a desperate attempt to interrupt a supply chain of surveillance and logistical support to a state commiting genocide. For the government, it crossed a line: military assets had been attacked. Within days, the Home Secretary announced Palestine Action would be proscribed as a terrorist organisation.
Proscription and the Expansion of “Terrorism”
Here lies the heart of the controversy. The Terrorism Act 2000 defines terrorism with unusual breadth, encompassing not only threats to life but also “serious damage to property” carried out for political or ideological aims. In this capacious definition, breaking a factory window or disabling a machine can be legally assimilated to mass murder.
By invoking this law, the government placed Palestine Action on the same legal footing as al-Qaeda or ISIS. Supporting it — even symbolically — became a serious offence.
Since July 2025, merely expressing support for the organization can carry a maximum prison sentence of 14 years.
This is based on Section 12 of the Terrorism Act 2000. The specific offense is "recklessly expressing support for a proscribed organisation". However, according to Section 13 of the Act, a lower-level offence for actions like displaying hand held placards in support of a proscribed group carries a maximum sentence of six months imprisonment or a fine of five thousand pounds or both.
Civil liberties groups and human rights bodies have denounced the proscription move as disproportionate. Their concern was not primarily whether Palestine Action’s tactics might violate existing criminal law. One might reasonably argue that they did unless they might sometimes be justified in the name of preventing a greater crime.
But reframing those actions as “terrorism” represented a dangerous category error. As many pointed out, terrorism has historically referred to violence against civilians. Expanding it to cover property damage risks draining the term of meaning. Worse, it arms the state with a stigma so powerful that it can delegitimise entire political positions without debate.
The implications go further. Proscription does not simply criminalise acts. It criminalises expressions of allegiance, conscience and even speech. To say “I support Palestine Action” is no longer an opinion but technically a serious crime. The state has moved from punishing deeds to punishing expressions of solidarity — a move with chilling consequences for democratic life.
Parliament Square: Civil Disobedience on Trial
It was this transformation that brought nearly 1,500 people into Parliament Square on 6 September. They knew what awaited them. Organisers announced in advance that protesters would hold signs reading: “I oppose genocide. I support Palestine Action.” In doing so, they openly declared their intent to break the law.
The crowd was strikingly diverse. Retired doctors, clergy, war veterans, even an 83-year-old Anglican priest. Disabled activists came in wheelchairs; descendants of Holocaust survivors stood beside young students. This was not a hardened cadre of militants but a cross-section of society, many of whom had never before faced arrest.
At precisely 1 pm, the protesters all sat or lay down silently, cardboard signs raised. There was no chanting, no aggression — only a quiet insistence that they would not accept the criminalisation of conscience.
The police response was equally predictable. Hundreds of officers moved systematically through the crowd, arresting anyone displaying a sign. By the end of the day, nearly 900 people were detained under counter-terrorism law. It was one of the largest mass arrests in modern British history.
Official statements later alleged police were met with violence — officers punched, spat on, objects thrown. Yet independent observers, including Amnesty International, contradicted this. They reported a peaceful assembly disrupted by aggressive policing: batons drawn, protesters shoved, some bloodied.
www.amnesty.org/zh-hans/documents/eur45/0273/2025/en/
Video footage supported at least some of Amnesty's report.
www.youtube.com/watch?v=mZQGFrqCf5U&t=1283s
The two narratives were irreconcilable, but only one carried the weight and authority of the state.
The entire event unfolded as political theatre. The government proscribed a group, thereby creating a new crime. Protesters, convinced the law was unjust, announced their intent to commit that crime peacefully. The police, forewarned, staged a vast operation. Each side acted out its script. The spectacle allowed the state to present itself as defending order against extremism — while in reality silencing dissent.
The Humanitarian Context: Why Protesters Risked All
To see the Parliament Square protest as a parochial dispute over free speech is to miss its driving force. The demonstrators were not there merely to defend abstract principles. They were responding to what they, and a growing body of international experts, describe as a genocide in Gaza.
By September 2025, Gaza had descended into almost total collapse. Over 63,000 Palestinians had been killed, the majority of them women and children. More than 150,000 had been injured, many maimed for life. Entire neighbourhoods had been flattened. Famine was confirmed in August, with Israel continuing to impose and even tighten deliberate restrictions on food, water, and fuel, a strategy condemned by human rights groups as a major war crime. Hospitals lay in ruins. Ninety percent of the population had been displaced.
It is in this context that the term genocide has been applied. Legal scholars point not only to mass killings but also to the deliberate infliction of life-destroying conditions, accompanied by rhetoric from Israeli officials dehumanising Palestinians as “human animals.” In September 2025, the International Association of Genocide Scholars declared that Israel’s actions met the legal definition of genocide.
www.bbc.co.uk/news/articles/cde3eyzdr63o
Major NGOs, UN experts, and even Israeli human rights groups such as B’Tselem echoed that conclusion.
For the protesters, then, the question was not abstract but immediate: faced with what they saw as a genocide, could they in good conscience remain silent while their own government criminalised resistance to it? Their answer was to risk arrest, their placards making the moral connection explicit: opposing genocide meant supporting those who sought to stop it.
The Price of Dissent
The mass arrests in Parliament Square were not an isolated incident of law enforcement. They were the product of a broader trajectory: escalating tactics by a direct-action movement, a humanitarian catastrophe abroad, and a government determined to suppress dissent at home through the bluntest of instruments.
The official line insists that Palestine Action’s campaign constituted terrorism and thus warranted proscription. On this view, the arrests were simple enforcement of the law. Yet this account obscures the deeper reality: a precedent in which the state redefined non-lethal protest as terrorism, shifting from punishing actions to criminalising expressions of solidarity.
The cost is profound. Once speech and conscience themselves become suspect, dissent is no longer tolerated but pathologised. The chilling effect is already evident: individuals weigh not just whether to join a protest, but whether uttering support might expose them to years in prison. Terror laws, originally justified as a shield against mass violence, are recast as tools of political management.
The protesters understood this. That “thousand-yard stare” captured in their faces was not only the weight of potential arrest, but the knowledge of Gaza’s devastation, the famine and rubble, the deaths mounting daily. It was also the recognition that their own government had chosen to silence them rather than address its complicity.
In a functioning democracy, the question is not why citizens risk arrest for holding a handwritten cardboard sign. It is why a state finds it necessary to treat that act as a terror offence. The answer reveals a narrowing of democratic space, where conscience itself is deemed subversive. And that narrowing, history teaches, carries consequences not just for those arrested, but for the society that allows it.
The precise moment of the Winter Solstice for 2013 was at 17.11pm on the 21.12.13. This was a little bit before the actual time, but you could tell it was a short day, Damian and I took Reuben on a walk in an attempt to avoid the manic of last minute Christmas shoppers, and it worked! We chilled right out wandering around Delamere Forest, however when we realised that the light was fading fast and we still had to get back around the lake to get back to the car we did pick up the pace a bit. Big thanks to Damian for being an excellent location scout and guardian of the camera.
I got dreadlocks for Christmas, massive thanks to Hanni Yasities for making and installing them for me!
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.
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.
"Parkhouse Hill is a small but distinctive hill in the Peak District National Park in the English county of Derbyshire. It lies on the north side of the River Dove, close to the border with Staffordshire.
Geologically, the hill is the remains of an atoll (a 'reef knoll') which is believed to have existed during the Carboniferous period when what is now the Peak District was covered by a tropical sea. Together with its higher but less distinctive neighbour, Chrome Hill, it forms the Chrome and Parkhouse Hills SSSI, cited for their geology and limestone flora.
For many years access to Parkhouse Hill was difficult, as there was no right of way to the summit. Access is now possible under the Countryside and Rights of Way Act 2000, as the hill is a designated access area.
In 1997, the writer Jeff Kent discovered that a double sunset could be seen against Parkhouse Hill from nearby Glutton Grange and, two years later, the phenomenon was first captured on film by the photographer Chris Doherty. The occurrence is visible in good weather in late March, early April and September, when the sun sets just to the south of the summit of the hill, begins to re-emerge almost immediately afterwards from its steep northern slope before fully reappearing and later sets for a second and final time at the foot of the hill. The precise event and its location are described in Kent's book The Mysterious Double Sunset.
The Peak District is an upland area in England at the southern end of the Pennines. It is mostly in northern Derbyshire, but also includes parts of Cheshire, Greater Manchester, Staffordshire, West Yorkshire, and South Yorkshire. An area of great diversity, it is mostly split into the Dark Peak, where most of the moorland is found and the geology is gritstone, and the limestone area of the White Peak.
The Peak District National Park became the first national park in the United Kingdom in 1951. With its proximity to the cities of Manchester, Stoke-on-Trent, Derby and Sheffield, and access by road and rail, it attracts millions of visitors every year. It is estimated that 20 million people live within one hour's journey of the Peak District.
Inhabited from the Mesolithic era, evidence exists from the Neolithic, Bronze and Iron Ages. Settled by the Romans and Anglo-Saxons, the area remained largely agricultural and mining grew in importance in the medieval era. Richard Arkwright built his cotton mills at the start of the Industrial Revolution. Quarrying became important as mining declined. Tourism grew after the advent of the railways, visitors attracted by the landscape, spa towns at Buxton and Matlock Bath, Castleton's show caves, and Bakewell, the national park's only town.
Tourism remains important for its towns and villages and their varied attractions, country houses and heritage sites. Outside the towns, walking on the extensive network of public footpaths, cycle trails, rock climbing and caving are popular pursuits. The Friends of the Peak District's 190-mile (310 km) Boundary Walk is a new long-distance trail addition." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Each year January through about mid-March the Blue Angels call El Centro California home. One of the highlights is to be able to watch and capture their routines. So much fun.
Despite Leica's best effots, the best 35mm rangefinder of the prewar years was the Zeiss Ikon Contax II. Its super-precise wide base rangefinder shared a single eyepiece with the viewfinder, and it could not go out of vertical alignment. The shutter could not fade and was impervious to burning damage from sunlight coming through the lens. Shutter speeds ran from 1/2 to 1/1250, plus the self timer provided a 1 second speed and a latching shutter release button added a T setting. This one dates from 1936.
There’s more Contax stuff in my free Tech Notes download; see the Camera Repair album for the download link.
In order to become a Geisha, a young woman must work as an apprentice ("Maiko" - 舞妓) for several years. These two Maiko were demonstrating traditional costumes and dances at the Kyoto Museum of Traditional Crafts.
I thought the dances were amazingly fluid and graceful, but also clearly incredibly precise.
Based on Kyouka's comments and some subsequent Googling, it appears that these are Maiko Umeyae (梅やえ) and Maiko Umehisa (梅比沙) from the Kamishichiken region of Kyoto. According to WIkipedia, Kamishichiken "is the oldest hanamachi (geisha district) in northwest Kyoto, just east of the Kitano Tenman-gū Shrine."
Here's another one from the beautiful and rugged Oregon coast, Cape Kiwanda to be precise. Miles and I hit this spot up in desperate search for clouds and some good color. Earlier in the day he came flown into PDX and mentioned some high whispies along the coast. There we are, driving down the winding roads, constantly checking the sky for clouds - you can't really see the sky in the lush and moss-covered forest of Oregon, so it was sort of a hit or miss situation. We come out of this super thick forest... high CLOUDS! Holy snap, this is going to be good. Next turn, wait a second, they are in WRONG direction. In the fawkin wrong direction. I am not sure if they will light up and be in place was mumbled. Ugh, another 10 minutes and we will know for sure.
There are more building, LOOK! A "if it's really good I am going to kiss you" was eventually spread in the car and in a weird anticipation of sunset and true man love, we struggled through the deep blowing sand to the amazing rock formations of the Cape, after being skunked at the Keyhole earlier with a super low tide.
Crawling up the steep side of the sandstone rock, more high clouds are building up, now spanning across the whole sky with more to come. Checking out the different views and comps at this spot, we both settle for a different perspective, me setting up north, Miles south-west towards the haystack. Shooting time! The high winds seem to pick up quite a notch, the cool clouds are now flying across the sky, leaving mostly light streaks. It might not be all that good, after all.
Boom. Snap! Boom!
The good light hits and some clouds are still around. Not that bad. I need a different comp, I struggle to set up to the left of my original spot as the waves are now pounding against the rocky shelves at Kiwanda. Finally, I found this spot, which nobody ever shot from before, I am sure. I am happy; both, for spending some quality time and the light being not OVERLY EXCITING.
David
P.S. Long absence you say? I am buried under snow, driving is a PITA, so is pretty much any other activity outdoors with shitty light, plus it's cold and if it's not, it is wet and windy. To top it off, private life is crazy and a website redesign is in the making. Check back for more details around Christmas.
Daily (if precise enough) ANPMI races down the Cal-P between Davis and Dixon. 2 gasket cab SD70's lead the way as they rumble and shake down the mainline.. Only shot this cause my homie got called for it. Too bad he had his nose dug deep in the timetable, getting prepared to call out the (good for 70 down to) 60mph slow order 20 miles away, or else he would have had his head hanging out the window like a happy pup.
BALOURS :
Les Balours sont de minuscules ursitacés.
Le terme balours vient du latin ballaenŭrsus,. Il est très important de préciser que ce mot latin est à rapprocher du grec ancien [phalainŭrsus] signifiant « phallus », quelque chose qui « se gonfle.
Malgré leur faible corpulence et une nage maladroite, ils peuvent se déplacer rapidement (jusqu'à 150 km/h
Les balours sont des semi hibernants. L'hivernation, contrairement à l'hibernation, n’entraîne pas une interruption de toutes les activités physiologiques. La température de leur corps montent relativement haut, ainsi ils se gonflent tel des montgolfières et Pendant cette période, ils flottent … ils flottent tous …. [Réf. : ça]
Mais ils peuvent se réveiller facilement pour réagir en cas de danger et à ce moment précis la température de leur corps revenant à la normale, ils se dégonflent tel des ballons de baudruches que l’on lâche soudainement dans l’air, entraînant une réaction en chaîne entre tous les balours surpris dans leur hivernation.
Pendant cette période d’hivernation ils sont donc en suspension dans le ciel de Zorg, donnant lieu à des rencontres Zorgaunautiennes afin de l’ y chasser au filet. De là est né l’expression :
« Ils ne faut pas vendre la peau du balours avant de l’avoir dégonflé ! «
WHALEAR :
The whalear are tiny ursitacés.
The term whalear comes from the Latin ballaenŭrsus,. It is very important to note that the Latin word similarities to the ancient Greek [phalainŭrsus] meaning "phallus", something that "swells.
Despite their small body size and an awkward swim, they can move quickly up to 150 km / h
The whalear are semi hibernating. Overwintering, unlike hibernation, does not cause an interruption of all physiological activities. The body temperature rise relatively high, and they swell like balloons and during this period they float ... they all float .... [Ref. : It]
But they can easily wake up to respond in an emergency and at this point the body temperature returned to normal, they deflate like balloons we suddenly loose in the air, causing a reaction chain between all whalear surprised in their overwintering.
During this period of hibernation so they are suspended in the Zorg sky, resulting in Zorgaunauts meetings to the hunt with nets. From this came the expression:
" do not sell the skin before whalear deflated! "
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.
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.
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
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• 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.
Its precise name is Panzerkampfwagen Tiger Aus B, but can also be found referred to as SdKfz 182, VK45.03 Panzerkampfwagen VI Aus B, Tiger II, Konigstiger. Tiger II was the second German heavy tank to see production. Like the Tiger I, it had its roots in a development programme that started in 1937. The Henschel company was contracted to design what became the Tiger I. It entered service in the late summer of 1942 and in November Henschel was instructed to design an upgraded tank as quickly as possible. This was frustrated by technical changes (still the bane of those building for the military). The new tank was officially named the Tiger II in March 1943. Later in the war it was unofficially called the Konigstiger (King Tiger); the British and Americans sometimes translated this as ‘Royal Tiger’. The first prototype was tested in November 1943 and the first tanks were issued to operational units in June 1944, soon seeing action on both the Eastern Front and in France.
The armour was well sloped to resist shot and was welded. The hull front armour was 150mm thick and impervious to all contemporary Allied tank and anti-tank guns; on the later version of the turret it was 180mm thick. The hull side armour was 80mm thick. The hull was carried by nine pairs of wheels on each side, joined by torsion bars. The wheels ran on wide tracks to spread the weight. The tank used the same rear-mounted Maybach petrol engine as the Tiger I. Both were originally designed to power a 40-ton tank, were over-stretched by the 70-ton weight of the Tiger II and proved to be unreliable. With a power:weight ratio of about 11hp/ton the tank had relatively poor agility and mobility and a cross-country speed of no more than 20kph.
The formidable 71-calibre 88mm KwK43 fired a 10.2 kg projectile at a muzzle velocity of 1,000m/s. It was very accurate and could penetrate 165mm of steel armour sloped at 30° at 1,000m range. Every Allied tank was vulnerable to this gun. The first 50 Tiger II tanks were fitted with the Krupp turret designed for the Porsche VK45.02 (P) and are sometimes (inaccurately) called ‘Porsche’ turrets. A total of 1,500 Tiger II tanks were ordered but Henschel only managed to produce 489 gun tanks by March 1945. Some 600-700 tanks were not produced because of the effects of heavy air raids on the Henschel plant in Kassel. Two variants, a command tank and the Jagdtiger tank destroyer were produced.
The Tank Museum’s Tiger II is the second of the three trial vehicles that were produced late in 1943. It is fitted with the original design of turret and was used only for tests at the Sennelager proving ground. It was captured at the end of the War and extensively evaluated at the School of Tank Technology. The Tiger II was issued to the independent heavy tank battalions (schwerepanzerabteilung) of the Army and Waffen SS and in small numbers to the Panzer Lehr trials unit and the Feldherrnhalle division. The design emphasised firepower and protection at the expense of mobility. It was well suited to the defensive fighting in which the Wehrmacht was engaged in during the last months of WWII; despite its relatively poor reliability it was an effective weapon and much feared by Allied tank crews.
“A Little Tale”…
He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.
He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.
So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.
He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.
One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.
Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.
For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.
When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.
But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.
When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.
He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.
Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.
But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”
~ Marsha J West, Author*
* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.
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
ICESat's precise elevation change measurements, combined with information from other technologies, are producing a comprehensive look at the behavior of Earth’s ice sheets -- critical for quantifying forecasts of sea level rise. Scientists used ICESat data to show changes in elevation over the Greenland ice sheet between 2003 and 2006. White regions indicate a slight thickening, while the blue shades indicate a thinning of the ice sheet. Gray indicates areas where no change in elevation was measured.
Credit: NASA Goddard's Scientific Visualization Studio
[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
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.
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
Raptors and other species like gannets, which need precise depth vision to hunt, have binolcular vision, meaning that the field of view of each eye overlaps. Passerines, wildfowl, waders and the like lack binocular vision, which begs the question of how they manage to land on a branch (try grasping a twig, arm outstretched, with thumb and forefinger with one eye shut)...gannets can also percieve polarised light and ultraviolet and can even detect magnetic fields visually. Gannets are also one of the few species that can move its pupil within iris.
Nerium oleander is a shrub or small tree in the dogbane family Apocynaceae, toxic in all its parts. It is the only species currently classified in the genus Nerium. It is most commonly known as nerium or oleander, from its superficial resemblance to the unrelated olive Olea. It is so widely cultivated that no precise region of origin has been identified, though southwest Asia has been suggested. The ancient city of Volubilis in Morocco may have taken its name from the Berber name oualilt for the flower. Oleander is one of the most poisonous commonly grown garden plants. Baalbek, Lebanon
Another shot from that rather spectacular day at Castlerock. I've shot Mussenden Temple so many times; it's one of my favourite landmarks on the north coast. But the day I was up taking this shot, this beautiful piece of architecture had a bit of competition. It was one of those days where the sky herself seemed to be alive, a seething cauldron of cumulus and cumulonimbus clouds, dwarfing anything us mere humans could put up in comparison. And although these particular clouds may look quite benign, they had a few mates who were shaping up to bring a little bit more trouble our way not long after I took this shot - hail stone sized trouble, to be precise. There are few places that better help me to find perspective than the exquisite north coast of wee Ulster.
Taken 06/12/20 in Westover Road:
Precising from the Wikipedia entry the Volvo B7TL is a low-floor double-decker bus which was launched in 1999 and replaced the 2-axle version of the Volvo Olympian. It was initially built in Irvine, North Ayrshire, Scotland. In 2000, production was gradually transferred to Sweden. In mid-2004, production of the MkII version of the B7TL was started. Like the Olympian, the B7TL features a transversely-mounted rear engine and a shorter rear overhang, but the radiator was mounted on the right side of the engine compartment. It was equipped with Volvo D7C engine and ZF or Voith gearbox. The B7TL was initially available with Alexander ALX400 and Plaxton President bodywork, later followed by East Lancs Vyking (as seen here), Myllennium Vyking bodies and Wright Eclipse Gemini.
Note; More is a brand name used for services around Poole and Bournemouth by Wilts & Dorset who are part of Go South Coast, a subsidiary of the Go-Ahead Group
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.
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.
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
If you’re looking for a snuggle buddy, one of the best small dog breeds up for the task is the Bolognese, or Bolo. These lovebugs are happiest if they’re spending time with you, whether it’s going for a stroll, playing a game, or lounging in your lap.
Prompt: realistic black and white pencil sketch of a Bolognese dog, head profile portrait, looking into the distance, clean white background, precise linework, intricate fur detail, varied hatching and cross-hatching for depth and texture, detailed eyes and nose, anatomical and structural accuracy, classic sketchbook style, hand-drawn timeless aesthetic, high contrast to emphasize form and shadow, clean negative space, square aspect ratio --ar 1:1 --profile lgax8xd --hd --v 8.1
This digital fine art was created using Midjourney AI and Photoshop
To be more precise, a tale about …Yellow tail (Shiraz)
A most respected and dear-to-the-heart friend on the other side of the world, referred to this as ‘Sunshine in a bottle’ and although I love this label, I have never ever thought of it, that way. It is simply an honest red, that would leave many French pretenders, in it’s wake. An honest and extremely affordable drop that surpasses most others. No ‘over the top’ price for crap that the French think they have and ask in cost, accordingly. I know this, for I have sampled their wares and I found them wanting.
So! Here we are and I have an empty glass awaiting. A glass to be filled with Sunshine, for now thinking about it, my gorgeous friend is so correct. Sunshine mixed with smooth subtlety.
P.S. I do not want nor solicit any comment that says 'drink in moderation' or 'a glass of wine now and again is okay' I have yet to see any other girl, with a glass in her hand or a bottle close by, in the confines of her home. Obviously no one, apart from myself and two others, partake of such. So perhaps, I will be left with a full bottle to share, with just one or two and therefore, that will require another bottle. One is not enough to go three ways. I tell it like it is and in so doing, I am becoming an 'open book' which is so bloody scares here. All I ever see, or read, is about the photo I can see with my own eyes and absolutely nothing .... beyond. Obviously too many shallow lives that thrive and multiply on flickr.
You will also obviously notice that I do not give myself a 'cyber makeover' nor Photoshop myself. I show me .... exactly as I am and I don't care.