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Museum Beelden aan Zee, Den Haag 2016
Als kind vergezelde Eyal Assulin zijn vader bij het installeren van sanitaire voorzieningen in gebouwen. Een leerproces waarbij hij ervaring opdeed met de constructie van ingewikkelde systemen. Eenmaal volwassen, bestuurde hij zware machines op bouwplaatsen. Het werk van Assulin geeft de spanning weer tussen mens en machine en vervaagt de grenzen tussen de controleur en het gecontroleerde. Tegelijkertijd wijst hij op de ondoelmatigheid van geavanceerde technologie die een eindeloze kooplust creëert naar ‘smart products’. Dit geldt ook voor het kunstwerk Virus, dat de komende weken te zien is in Museum Beelden aan Zee. In feite is Virus een machine ontdaan van mannelijkheid: het herhaalt nauwgezet een bepaalde beweging met steeds dezelfde kracht - maar het is een steriele actie zonder resultaat.
As a child, Eyal Assulin worked with his father assembling sanitary systems in buildings. He gained know-how and experience in constructing complex systems and, as an adult, operated heavy machinery on building-sites. Assulin’s art displays the tension in the human-machine relation, and obscures the boundaries between controller and controlled. At the same time, he points out the purposelessness of advanced technology, which encourages the never-ending purchase of smart products. Assulin's latest sculpture Virus, on display at Museum Beelden aan Zee, is a perfect rendering of his style. Virus is in fact an emasculated machine: it repeats a single action accurately, with the same power - a sterile action that has no results.
Eyal Assulin was born in Ofakim, Israel. He lives and works in Ofakim and in Tel Aviv. He is an active member and graduated of the Contemporary Art Station in Ofakim.
Penchak Silat; In modern usage, 'pencak' and 'silat' are seen as being two aspects of the same practice. Pencak is the performance aspects of the martial art, while silat is the essence of the fighting and self-defense. It is often said by practitioners that there can be no silat without pencak, on the other hand pencak without silat skills is purposeless!
#2291 - 2014 Day 99: Yesterday I felt desperately sad and purposeless having left Órgiva. Today I arrived at a favurite old haunt of mine, The Orange House. A regular bunkhouse style base for rock athletes and outdoor enthusiasts, I soon felt at home again with good company, including a few peeps interested in photography. This is James from Vancouver attending the barbecue.
Penchak Silat; In modern usage, 'pencak' and 'silat' are seen as being two aspects of the same practice. Pencak is the performance aspects of the martial art, while silat is the essence of the fighting and self-defense. It is often said by practitioners that there can be no silat without pencak, on the other hand pencak without silat skills is purposeless!
Cage--a Zen Buddhist, who explored and redefined notions of the definition of music, nonstandard use of musical instruments, and is best known for his 1952 composition 4'3", a piece whose three movements are performed without playing a single note--probably would not be upset that I'm inclined to compare the concert I witnessed as similar to the sounds my cat produces when he does his nocturnal strolls across the piano keyboard in our living room. www.flickr.com/photos/buckaroobob/259135687/
Cage described his music as "purposeless play", but "this play is an affirmation of life—not an attempt to bring order out of chaos, nor to suggest improvements in creation, but simply to wake up to the very life we are living, which is so excellent once one gets one’s mind and desires out the way and lets it act of its own accord." Hence comes his favorite saying "nichi nichi kore kōnichi" or, "every day is a good day."
Today I have a note from a great friend named Scott. I haven't really shared a lot of what God is doing in my life personally, I usually just focus on writing messages. Perhaps I'll share more in depth later but I think that Scott's words are much more important for now. Have a great weekend :D
~
- It's not about religion and obligation, it's about freedom and love.
If you asked me today if I was religious, I would tell you "no". This might seem weird if you knew that I go to church as often as I can, read and believe every word of the bible, and pray to God. The reason I would say that is because of what people think when they hear "religion". People tend to think things like laws, judgemental people, power, repitition, and as the result of some recent and unfortunate events, crazy people predicting the end of the world. Feel free to add your own words to the list. Chances are it's not what Jesus Christ and His way is all about.
You might not know but the word 'religion' is only used a few times in the bible, under 10 in the NIV. Even the word 'christian' is used very rarely. So then why are the christian churches, lifestyles, and beliefs (which are pretty much based on the bible) all described with these two words?
Being a christian isn't just about following a set of rules, and it's especially not about taking away fun and comfort with guilt. I don't see these laws and commands of Jesus as something that cramps my lifestyle or stops anything good, because I honestly don't want to do those things. It's also not about trying to tiptoe around the exact wording to still have as much fun as I can without officially "sinning". It's about being filled with God and in love with him so that I want to listen to him. It's not a religion it's a relationship.
So I'm not trapped by laws and rituals like religion is full of. I'm not just trying to avoid sins and go to church on sunday so that I can be good enough to get to heaven. I'm not just looking for the easiest ticket into heaven because hell scares me. I'm not just following my family and friends into this because they told me to. I'm not just holding on to a lifeless religion, trying to find some kind of security in it.
What I am doing is responding. A response to the unimaginable, eternal, and perfect love of God; a love that is so great that he sent his one and only Son to die for me because I messed up, not Him. He died so that I can be free from what I really deserve, and be free from a purposeless, lonely, and unsatisfied life here on earth.
Now I don't want to just half-heartedly follow some religion of this world, I want to love God because I want to, not because somebody or something told me to.
I want to love because He loved me first.
~
"I came that they may have life and have it abundantly."
-John 10:10b
Penchak Silat; In modern usage, 'pencak' and 'silat' are seen as being two aspects of the same practice. Pencak is the performance aspects of the martial art, while silat is the essence of the fighting and self-defense. It is often said by practitioners that there can be no silat without pencak, on the other hand pencak without silat skills is purposeless!
St Mary, East Walton, Norfolk
It was the long summer of 2016. I was out cycling fairly purposelessly in the backwaters of west Norfolk, following the narrowest, quietest lanes and occasionally remembering them from a decade before. I came to East Walton, which is well off the beaten track, a quiet village down a cul-de-sac off of the Gayton to Narborough road. We are miles away from West Walton here, and the names probably result from an early 19th Century attempt by the Post Office to tell the difference between them. St Mary is beautiful, a round tower with a pleasing, comfortable 14th century church attached. Beside it sits the ruin of the chapel of St Andrew, a couple of farmhouses, and the massive and lovely former rectory.
How idyllic the life of a minister of the Church of England must have been during the early years of the 20th century! Back in 2005, I met an old lady in the graveyard here who recalled the Rector when she was a child in the 1920s. He had just two churches in his care, this one and the similarly remote and lovely Gayton Thorpe. On a Sunday morning he'd cycle to his other church to celebrate an early communion, and then back to East Walton for Matins. Even in those days the villages weren't huge, but today there are barely a dozen people on the electoral roll here, and the Minister responsible for it has charge of five other churches.
The great round tower has a visible lean to the west, and has been bolstered and restored in the early years of the current century. The architect's drawings are on display inside. The windows are filled with lovely irregular panes of 18th century glass. And indeed, stepping into St Mary is to step into a different century, and not a medieval one, for here we have an interior which is almost entirely of the early 18th century, a time when the Church of England itself was a bit of a sleepy backwater. The brick floors are a setting for good quality box pews, which lead the eye to a three-decker pulpit in the south-east corner. It must have all looked very fine when it was first installed.
Perhaps less happily, the chancel arch, which must have been a beautiful one judging by the quality of the Decorated foliage in the bits that are visible, was filled in. A wooden archway was put in its place, and low, flat ceilings were installed. It may be that these ceilings were partly practical, to keep the heat in; but the open porch was also given one, and so it seems more likely that someone here didn't like medieval roofs.
As you may imagine, this all gives St Mary a character of its own, and I like it a lot. A sprinkling of medieval survivals - wild, grinning corbel heads, the quatrefoiled font, the flowered tympanum above the priest door in the chancel, a brass which asks us to pray for the souls of William Bacar and Margaret his wife - are adornments to this simple, lovely space. It was good to come back.
Best Served Large-Looking westward from the southern rim, fog gives an eerie background to the iconic canyon walls as they slope down to the Colorado River bed.
The Desert Has a Voice (James Watkins)
The desert has a voice that calls
In dry, dirt dreams-
Warm, wind-washed wonders
In wingless, soulless flight.
Cold, moonlit masquerades
Through long level years,
Crying out with countless cares on deafened ears-
Drowned in measured, motor-muffled madness,
And child-chattered, purposeless flight.
Quietly, calmly calling-
Darkened, deepening desert-
Star-filled with stumbling stalkers
And wounded warriors in fevered nights.
Dreams-peaceful, persistent, dreams-
As wheeled sky turns
Eternal turning, evening eyes-
And thoughts of morning colored light.
Millennial seas-
Doomed and dusty years-
Row upon heaping row of years-
Tears-
Caked, covered
And desolate.
The desert has a voice-
That calls and halts
And peers with perfect perspective-
Stopping us in our way.
“I have seen blood-stained battles!
I have seen despot desires!
I have seen prophets come and go,
And ages pass with shallow…glancing blows!
I have seen civilizations crumble…
Tumbling, heavy-handed
Into pagan pasts!”
The desert has a voice-
And every grain of sand has a name-
Every wind-blown grain of sand.
And someone-somewhere-knows the names.
They have perfect place and purpose-
Rocks cry out! Rocks….sing!
Some soaring angelic scribe somewhere
Records the history of rocks, and sands, and deserts.
Drab, dull, drifting desert distances and plans.
Ragged, jagged, craggy-edged
Mountain spine explosions and
Dry, desert sand.
The desert has voice and future-
With lifted hill-high green valley-
And clear bright stream winding
To cool, crystalline sea.
They wait….silently…
Almost… forever waiting-
But I know the secret of deserts-
And –
Dreams.
James Watkins-April 2006
It's been a weird month so far. I'm not sure I like July.
So much has changed lately, and I'm not entirely sure where I fit in right now.
I'm feeling a little purposeless.
It's hard.
Taken on 11/20/10 . The P.A. program at Bethel University in McKenzie Tn. put on a 5K run to help raise awareness to NBIA. A friend of ours has a son that has this.
More about NBIA-
Neurodegeneration with brain iron accumulation (NBIA) is a rare, inherited, neurological movement disorder characterized by progressive degeneration of the nervous system. Symptoms, which vary greatly among patients and usually develop during childhood, may include slow writhing, distorting muscle contractions of the limbs, face, or trunk, choreoathetosis (involuntary, purposeless jerky muscle movements), muscle rigidity (uncontrolled tightness of the muscles), spasticity (sudden, involuntary muscle spasms), ataxia (inability to coordinate movements), confusion, disorientation, seizures, stupor, and dementia. Other less common symptoms may include painful muscle spasms, dysphasia (difficulty speaking), mental retardation, facial grimacing, dysarthria (poorly articulated speech), and visual impairment.
There is no cure for NBIA, nor is there a standard course of treatment. Treatment is symptomatic and supportive, and may include physical or occupational therapy, exercise physiology, and/or speech pathology.
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A rather purposeless photo.
Was testing on 'motion' again using friend's camera :)
I'll improvise my photo composition in my next few 'motion' shot! :)
Penchak Silat; In modern usage, 'pencak' and 'silat' are seen as being two aspects of the same practice. Pencak is the performance aspects of the martial art, while silat is the essence of the fighting and self-defense. It is often said by practitioners that there can be no silat without pencak, on the other hand pencak without silat skills is purposeless!
A Sari, saree, sadi, or shari is a South Asian female garment that consists of a drape varying from 4.5 metres to 8 metres in length and 60 cm to 1.20 m in breadth that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff.
The sari is usually worn over a petticoat (called 'parkar' (परकर) in Marathi lahaṅgā or lehenga in the north; seelai in Tamil, pavada (or occasionally langa) in Malayalam, Kannada and Telugu, chaniyo, parkar, ghaghra, or ghagaro in the west; and shaya in eastern India), with a fitted upper garment commonly called a blouse (ravike in South India and choli elsewhere). The blouse has short sleeves and is usually cropped at the midriff. The sari is associated with grace and is widely regarded as a symbol of Indian, Nepalese, Bangladesh, and Sri Lankan cultures.
ETYMOLOGY
The word sari described in Sanskrit शाटी śāṭī which means 'strip of cloth' and शाडी śāḍī or साडी sāḍī in Prakrit, and which was corrupted to sāṛī in Hindi. The word 'Sattika' is mentioned as describing women's attire in ancient India in Buddhist Jain literature called Jatakas. This could be equivalent to modern day 'Sari'. The term for female bodice, the choli is derived from another ruling clan from ancient Tamil Nadu, the Cholas. Rajatarangini (meaning the 'river of kings'), a tenth-century literary work by Kalhana, states that the Choli from the Deccan was introduced under the royal order in Kashmir.
ORIGINS AND HISTORY
In the history of Indian clothing the sari is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the western part of the Indian subcontinent. Sari draping leaves back, cleavage, and side view of belly bare. The origin of such exposing attire can be attributed to humid climate of the land. The earliest known depiction of the sari in the Indian subcontinent is the statue of an Indus Valley priest wearing a drape.
Ancient Tamil poetry, such as the Silappadhikaram and the Sanskrit work, Kadambari by Banabhatta, describes women in exquisite drapery or sari. The ancient stone inscription from Gangaikonda Cholapuram in old Tamil scripts has a reference to hand weaving. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.
Sculptures from the Gandhara, Mathura and Gupta schools (1st–6th century AD) show goddesses and dancers wearing what appears to be a dhoti wrap, in the "fishtail" version which covers the legs loosely and then flows into a long, decorative drape in front of the legs. No bodices are shown.
Other sources say that everyday costume consisted of a dhoti or lungi (sarong), combined with a breast band called 'Kurpasika' or 'Stanapatta' and occasionally a wrap called 'Uttariya' that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indian clothing styles. The one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.
It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mentions 'Kurpasika' a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as 'Uttarasanga' or 'Stanapatta'.
The tightly fitted, short blouse worn under a sari is a choli. Choli evolved as a form of clothing in the 10th century AD, and the first cholis were only front covering; the back was always bare but covered with end of saris pallu. Bodices of this type are still common in the state of Rajasthan.
In South India and especially in Kerala, women from most Hindu communities wore only the sari and exposed the upper part of the body till the middle of the 20th century.Poetic references from works like Silappadikaram indicate that during the Sangam period in ancient Tamil Nadu, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded paintings by Raja Ravi Varma in Kerala. By the mid 19th century, though, bare breasted styles of the sari faced social revaluation and led to the Upper cloth controversy in the princely state of Travancore (now part of the state of Kerala) and the styles declined rapidly within the next half a century.
In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed.
Red wedding saris are the traditional garment choice for brides in Indian culture. Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colours have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Indian brides in Western countries often wear the sari at the wedding ceremony and change into traditional Indian wear afterwards (lehnga, choli, etc.).
STYLES OF DRAPING
There are more than 80 recorded ways to wear a sari. Fashion designer Aaditya sharma declared, "I can drape a sari in 54 different styles".
The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher Chantal Boulanger categorised sari drapes in the following families:
- Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.
- Bengali and Odia style.
- Gujarati/Rajasthani/Pakistani – after tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back
- Maharashtrian/Konkani/Kashta; this drape is very similar to that of the male Maharashtrian dhoti. The centre of the sari (held lengthwise) is placed at the centre back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth of nine yards is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Goa.
- Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards saree.
- Kodagu style – this drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
- Gobbe Seere – This style is worn by women in the Malnad or Sahyadri and central region of Karnataka. It is worn with 18 molas saree with three four rounds at the waist and a knot after crisscrossing over shoulders.
- Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.
- Malayali style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari, a sort of mundum neryathum.
- Tribal styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli:Goan Gauda and Kunbis,and those of them who have migrated to other states use this way of draping Sari or Kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.
NIVI STYLE
The nivi is today's most popular sari style from Andhra Pradesh. The increased interaction with the British saw most women from royal families come out of purdah in the 1900s. This necessitated a change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the traditional unadorned white. Characteristically, she transformed her "mourning" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.
The chiffon sari did what years of fashion interaction had not done in India. It homogenised fashion across this land. Its softness, lightness and beautiful, elegant, caressing drape was ideally suited to the Indian climate. Different courts adopted their own styles of draping and indigenising the sari. In most of the courts the sari was embellished with stitching hand-woven borders in goldfrom Varanasi, delicate zardozi work, gota, makaish and tilla work that embellished the plain fabric, simultaneously satisfying both traditional demands and ingrained love for ornamentation. Some images of maharanis in the Deccan show the women wearing a sleeveless, richly embellished waistcoat over their blouses. The Begum of Savanur remembers how sumptuous the chiffon sari became at their gatherings. At some courts it was worn with jaali, or net kurtas and embossed silk waist length sadris or jackets. Some of them were so rich that the entire ground was embroidered over with pearls and zardozi.
Nivi drape starts with one end of the sari tucked into the waistband of the petticoat, usually a plain skirt. The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the pallu, pallav, seragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The nivi sari was popularised through the paintings of Raja Ravi Varma. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi sari. The ornaments generally accepted by the Hindu culture that can be worn in the midriff region are the waist chains. They are considered to be a part of bridal jewellery.
PROFESSIONAL STYLE OF DRAPING
Because of the harsh extremes in temperature on the Indian Subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it is the clothing of choice of air hostesses on Air India. This led to a professional style of draping a sari which is referred to "Air-Hostess style sari". An air hostess style sari is tied in just the same way as a normal sari except that the pleats are held together quite nicely with the help of pins. A bordered sari will be just perfect for an Air-Hostess style drape where the pallu is heavily pleated and pinned on the shoulder. Even the vertical pleats that are tucked at the navel are severely pleated and pressed. Same goes for the pallu pleats that are pinned at the shoulder. To get the perfect "Air-hostess" a complimentary U-shaped blouse that covers the upper body completely is worn which gives a very elegant and formal look. Mastering the "Air-hostess" style drape helps to create the desired impact in a formal setting like an interview or a conference.
Saris are worn as uniforms by the female hotel staff of many five star luxury hotels in India as symbol of culture. Recently, in a makeover design, Taj Hotels Resorts and Palaces, decided the welcoming staff at the group's Luxury Hotels would be draped in the rich colours and designs of the Banarasi six yards. The new saris were unveiled at the Taj property in Mumbai. It will be subsequently replicated at all 10 Luxury Hotels of the group across the country for duty managers and front office staff. Taj had adopted three villages in Varanasi and employed 25 master weavers there for the project. The vision finally took shape after 14 months, once the weavers had a good work environment, understood the designs and fine-tuned the motifs.
Similarly, the female politicians of India wear the sari in a professional manner. The women of Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi wear the special blouse for the campaign trail which is longer than usually and is tucked in to prevent any midriff show while waving to the crowds.Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." BJP politician Sushma Swaraj maintains her prim housewife look with a pinned-up pallu while general secretary of AIADMK Jayalalithaa wears her saris like a suit of armour.
SARIS IN INDIAN LAW
In 2014, an Indian family court in Mumbai ruled that a husband objecting to his wife wearing a kurta and jeans and forcing her to wear a sari amounts to cruelty inflicted by the husband and can be a ground to seek divorce. The wife was thus granted a divorce on the ground of cruelty as defined under section 27(1)(d) of Special Marriage Act, 1954.
BANGLADESH
Sharee or saree (in Bengali=শাড়ি) is the national wear of Bangladeshi women. Most women who are married wear sharee as their regular dress while young-unmarried girls wear sharee as an occasional dress. The shari is worn by women throughout Bangladesh. Sari is the most popular dress for women in Bangladesh, both for casual and formal occasion. Although Dhakai Jamdani (hand made shari) is worldwide known and most famous to all women who wear shari but there are also many variety of shari in Bangladesh.There are many regional variations of them in both silk and cotton. e.g.- Tanta/Tant cotton shari, Dhakai Benaroshi shari, Rajshahi silk shari, Tangail Tanter shari, Tassar silk shari, monipuri shari and Katan shari are the most popular in Bangladesh.
PAKISTAN
In Pakistan, the sarees are still popular and worn on special occasions. The Shalwar kameez, however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Sarees can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly to weddings and other business type of functions. Sarees are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris.
SRI LANKA
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or osaria in Sinhalese). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.
The traditional Kandyan (osaria) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front as is seen in this 19th-century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Dravidian style noted earlier in the article.
The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.
During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as "an absolute travesty of a beautiful costume almost a desecration" and "a hideous and purposeless garment".
NEPAL
The sari is the most commonly worn women's clothing in Nepal. In Nepal, a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu.
AFGHANISTAN
Sari's have been worn by the Afghan royal family house and upper family classes as well by Muslim women at special functions.
SIMILARITIES AND DIFFERENCES WITH OTHER ASIAN CLOTHING
While the sari is typical to Indian traditional wear, clothing worn by South-East Asian countries like Burma, Malaysia, Philippines, and Singapore resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse, resembling a sarong, as seen in the Burmese Longyi, Filipino Malong, Tapis, Laotian Xout lao, Thai Sinh's, and Timorese Tais. Saris, worn predominantly in India, Pakistan, Sri Lanka, Bangladesh, and Nepal are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff.
SAREE ORNAMENTATION AND DECORATIVE ACCESSORIES
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.
In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.
Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.
More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhuttis (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.
Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi embroidery uses gold and silver thread, and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.
Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.
SARI OUTSIDE SOUTH ASIA
The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Saree House told that he had been selling it mainly to the Indian women in New York area but later many American business women and housewives became his customers who preferred their saris to resemble the full gown of the western world. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.
As a nod to the fashion-forward philosophy established by the designs of Emilio Pucci, the now-defunct Braniff International Airways envisioned their air hostesses wearing a more revealing version of a sari on a proposed Dallas-Bombay (conceivably via London) service in the late 1970s. However this was never realised because of Halston's resistance to working with a palette outside of his comfort zone. The former Eagan, Minnesota–based Northwest Airlines considered issuing saris to flight attendants working the Minneapolis-Amsterdam-Delhi route that began in the 1990s. This never occurred largely because of a union dispute.
The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai,[48] have worn it at international events representing the Indian culture. In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing the national costume. On her very first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a Rohit Bal sari.
Even popular Hollywood celebrities have worn this traditional attire. Pamela Anderson made a surprise guest appearance on Bigg Boss, the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. Ashley Judd donned a purple sari at the Youth AIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls – dressed in saris.
TYPES
While an international image of the modern style sari may have been popularised by airline stewardesses, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in South Asia:
CENTRAL STYLES
Chanderi Sari – Madhya Pradesh
Maheshwari – Maheshwar, Madhya Pradesh
Kosa Silk – Chhattisgarh
Dhokra Silk – Madhya Pradesh
EASTERN STYLES
Tangail Tant Saree – Bangladesh
Jamdani – Bangladesh
Muslin – Bangladesh
Rajshahi Silk (Eri Silk) – Bangladesh
Tussar Silk Saree – Rajshahi Bangladesh
Dhakai Katan – Bangladesh
Khadi Saree – Comilla Bangladesh
Jute Cotton – Bangladesh
Mooga Silk – Assam
Mekhla Cotton – Assam
Dhaniakhali Cotton – West Bengal
Shantipuri Cotton – Shantipur, West Bengal
Phulia Cotton – Phulia, West Bengal
Begumpur Cotton – Begumpur, West Bengal
Garad Saree (Korial) – Murshidabad, West Bengal
Tant Saree – Farshganj, West Bengal
Murshidabad Silk – West Bengal
Baluchari Silk – Bishnupur, Bankura West Bengal
Kantha Silk & Cotton Saree – West Bengal & Bangladesh
Batic Saree – West Bengal & Bangladesh
Sambalpuri Silk & Cotton Saree – Sambalpur, Odisha
Bomkai Silk & Cotton Saree – Bomkai, Ganjam, Odisha
Khandua Silk & Cotton Saree – Nuapatna, Cuttack, Odisha
Sonepuri Silk & Cotton Saree – Subarnapur, Odisha
Berhampuri Silk – Behrampur, Odisha
Mattha Silk Saree – Mayurbhanj, Odisha
Bapta Silk & Cotton Saree – Koraput, Odisha
Tanta Cotton Saree – Balasore, Odisha
Manipuri Tant Saree - Manipur
WESTERN STYLES
Paithani – Maharashtra
Bandhani – Gujarat, Rajasthan, Pakistan
Kota doria – Rajasthan, Pakistan
Lugade – Maharashtra
Patola – Gujarat, Pakistan
SOUTHERN STYLES
Mysore Silk – Karnataka
Ilkal Saree – Karnataka
Molakalmuru Sari – Karnataka
Venkatagiri – Andhra Pradesh
Mangalagiri Silk Sarees – Andhra Pradesh
Uppada Silk Sarees – Andhra Pradesh
Chirala Sarees – Andhra Pradesh
Bandar Sarees – Andhra Pradesh
Bandarulanka – Andhra Pradesh
Kuppadam Sarees – Andhra Pradesh
Dharmavaram Silk Saree – Andhra pradesh
Kanchipuram Sari (locally called Kanjivaram Pattu) – Tamil Nadu
Kumbakonam – Tamil Nadu
Thirubuvanam – Tamil Nadu
Coimbatore Cotton Tamil Nadu
Chinnalampattu or Sungudi Tamil Nadu
Balarampuram – Kerala
Mundum Neriyathum – Kerala
Mayilati Silk – Kerala
Kannur Cotton – Kerala
Kalpathi Silk Sarees – Kerala
Maradaka Silk – Kerala
Samudrikapuram Silk and Cotton – Kerala
Pochampally Sari or Puttapaka Sari – Telangana
Gadwal Sari – Telangana
Narayanpet – Telangana or Maharashtra
NORTHERN STYLES
Banarasi – Uttar Pradesh
Shalu – Uttar Pradesh
Tanchoi – Uttar Pradesh
Bagru – Rajasthan, Pakistan
WIKIPEDIA
Moves the intake point of the central forced air system from a floor level register in the wall to above waist level. With a curving-ish transition to entrain as much air as possible from above.
Now I need to make it pretty... Yes, I've considered a 2nd intake as high as I can make it. Block one or the other depending on season.
We enjoy the luxury of an air conditioner, even in Oakland. Of course, the duct work is all designed for heating, so the intake is low (for the cold air) and the returns are low on the walls so the hot air rises and mixes.
But when it's hot, it becomes a purposeless conveyer for a layer of cold air no more than .5m (20 inches) deep. Without sucking in the hot air up at the ceiling, and mixing the cooled air with it, the A/C really didn't earn its keep.
I did buy the little clear plastic diverters that attach with magnets to the registers, and aim the flow upward. But this intake, and a clip-on fan to blow waist level air from the bottom into the top of the staircase, were the secrets of real success.
See the view down into this duct:
IMG_0003_3
seeing the chaos
purposeless living
jesus is vexed
betrayed
over and over again
by a sucked system
jesus is perplexed
Came across the love story of Rosie and Aaron today. They found each other through flickr and their love conquered the ocean between them. Join Team ARF!
Words from their flickr:
Nothing could have gone better! I spent the last 24 hours in transit! Yesterday's shot was taken in the bathroom at JFK( really happy I didn't get arrested!) When I arrived here in England and saw my Rosie for the first time, half expecting everything to be totally weird, I walked right up to her and kissed her hard, and since that moment it has been just like we have been around each other for years! All the fear of meeting someone over the internet dissipated at first glance. It was obvious that everything is perfect.
As every Sunday passes I am reminded just how much I love this girl. I have never met someone who has understood me like she does. I have never met someone who was so easy to understand. We are the same person. All that lies between us being together is a clock, a big metal bird, and an ocean.
It feels at times like we are the same person living thousands of miles apart. When I first saw Rosie's portraits on Flickr, i sent her a message telling her I thought we had the same brain. Without seeing each others work previously we both had 3 self portraits that were almost exactly the same! From then we have been completing each others thoughts, we yell SAME BRAIN on the phone so often I am starting to believe i can't make a coherent thought without her.
Be it an ocean, be it a wall, nothing will keep me from you.
Aaron is my hero. He has given me a new lease on life - this time last year I would never have had had the courage to do half the things I can do now. He is more than I could have ever dreamed of. With him, it feels as though anything is possible.
The hardest thing I have ever had to do is watch you walk away and not be able to run after you.
Today was so hard - so so so so so freaking hard. And I'm going to completely vomit up all my feelings into this description and be a complete girl and over emotional because right now I really need to get it all out because I'm so heartbroken and I just don't know what to do with myself. I really just don't know what to do with myself. I'm just sat here, I could shower but I don't have the energy or drive to get up and stand there in the water, I don't have the motivation to walk into the town or just go downstairs and get something to eat. My love is gone. I had to stand there while he went up the escalator and watch him leave, I was crying so hard behind him. In the car home I couldn't think straight, it feels like I've lost part of my mind, like part of me is missing - all of his things are gone from my room, and I've been searching for something to remind me that it wasn't all a dream. I have no idea what to do from here. I need my Aaron back. I'm hurting so hard!!! And its not just missing being able to see him and touch him and talk to him, I miss being able to turn to him and just knowing he is at most a few meters away from me. This is so hard. I had no idea how hard this was going to be. I guess it doesn't really help that I have Damien rice on repeat. My mind is so twisted right now, i feel like all my insides have been tied up in knots and my bones have been replaced with paper, I feel so weak
I've never needed someone so much in all my life, and I'm not a needy person - I love being alone so much I purposely isolate myself a lot of the time, but now I've felt what its like to be loved and be part of something other than myself I feel so helpless. I've never been loved so unconditionally like Aaron loves me - he is the most amazing person on this earth, ever to have lived - he is my world, he is my life and he is everything to me, without him i'm not even just a mess, i'm a purposeless mess. Like now, i'm just sat here doing nothing but crying and sniffing really loudly, and it really hurts. This is so freaking hard. I need you :(
SELECTED QUOTES BY ERIC HOFFER:
Someone who thinks the world is always cheating him is right. He is missing that wonderful feeling of trust in someone or something.
Rudeness is a weak imitation of strength.
Propaganda does not deceive people; it merely helps them to deceive themselves.
An empty head is not really empty; it is stuffed with rubbish. Hence the difficulty of forcing anything into an empty head.
Creativity is the ability to introduce order into the randomness of nature.
Faith in a holy cause is to a considerable extent a substitute for lost faith in ourselves.
When we believe ourselves in possession of the only truth, we are likely to be indifferent to common everyday truths.
We have rudiments of reverence for the human body, but we consider as nothing the rape of the human mind.
To know a person's religion we need not listen to his profession of faith but must find his brand of intolerance.
Thought is a process of exaggeration. The refusal to exaggerate is not infrequently an alibi for the disinclination to think or praise.
The suspicious mind believes more than it doubts. It believes in a formidable and ineradicable evil lurking in every person.
The savior who wants to turn men into angels is as much a hater of human nature as the totalitarian despot who wants to turn them into puppets.
Sometimes we feel the loss of a prejudice as a loss of vigor.
Passionate hatred can give meaning and purpose to an empty life. Thus people haunted by the purposelessness of their lives try to find a new content not only by dedicating themselves to a holy cause but also by nursing a fanatical grievance. A mass movement offers them unlimited opportunities for both.
There is a guilty conscience behind every brazen word and act and behind every manifestation of self-righteousness.
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Playground for adults, 2004. Collaboration project with Jair Straschnow. By the use of innocence and familiar icons; playground elements, we turn the ordinary into a spectacle. Most human initiated intended actions are aiming at some sort of benefit. The ‘ground’ will serve for investigations of non-profitable behaviour and purposeless action. Immediate satisfaction is reduced to impossibilities, and stagnation is more present than any activity. _ Location; Stedelijk museum Aalst, BE. Size; width 4 x length 4 x high 2,5 m. Materials; Painted steel pipes, rubber seats.
Museum Beelden aan Zee, Den Haag 2016
Als kind vergezelde Eyal Assulin zijn vader bij het installeren van sanitaire voorzieningen in gebouwen. Een leerproces waarbij hij ervaring opdeed met de constructie van ingewikkelde systemen. Eenmaal volwassen, bestuurde hij zware machines op bouwplaatsen. Het werk van Assulin geeft de spanning weer tussen mens en machine en vervaagt de grenzen tussen de controleur en het gecontroleerde. Tegelijkertijd wijst hij op de ondoelmatigheid van geavanceerde technologie die een eindeloze kooplust creëert naar ‘smart products’. Dit geldt ook voor het kunstwerk Virus, dat de komende weken te zien is in Museum Beelden aan Zee. In feite is Virus een machine ontdaan van mannelijkheid: het herhaalt nauwgezet een bepaalde beweging met steeds dezelfde kracht - maar het is een steriele actie zonder resultaat.
As a child, Eyal Assulin worked with his father assembling sanitary systems in buildings. He gained know-how and experience in constructing complex systems and, as an adult, operated heavy machinery on building-sites. Assulin’s art displays the tension in the human-machine relation, and obscures the boundaries between controller and controlled. At the same time, he points out the purposelessness of advanced technology, which encourages the never-ending purchase of smart products. Assulin's latest sculpture Virus, on display at Museum Beelden aan Zee, is a perfect rendering of his style. Virus is in fact an emasculated machine: it repeats a single action accurately, with the same power - a sterile action that has no results.
Eyal Assulin was born in Ofakim, Israel. He lives and works in Ofakim and in Tel Aviv. He is an active member and graduated of the Contemporary Art Station in Ofakim.
Chrysler Building (William Van Alen, 1928-1930). Probably the best of New York's convoluted wedding cakes, and certainly the best of its Art Deco skyscrapers, with a fine play between horizontals and verticals and a joyously purposeless crown.
The great room on the second floor of the Muchnic house is empty of (most) furniture, seeming purposeless except for play.
About Project Toy:
On a busy holiday trip I kept a small number of toys in pocket, hoping for opportunity to improvise something in or around Atchison's old houses.
Best Seen Large-The Big Crack (Grand Canyon) has dramatic sunsets in the wintertime.
The Desert Has a Voice (James Watkins)
The desert has a voice that calls
In dry, dirt dreams-
Warm, wind-washed wonders
In wingless, soulless flight.
Cold, moonlit masquerades
Through long level years,
Crying out with countless cares on deafened ears-
Drowned in measured, motor-muffled madness,
And child-chattered, purposeless flight.
Quietly, calmly calling-
Darkened, deepening desert-
Star-filled with stumbling stalkers
And wounded warriors in fevered nights.
Dreams-peaceful, persistent, dreams-
As wheeled sky turns
Eternal turning, evening eyes-
And thoughts of morning colored light.
Millennial seas-
Doomed and dusty years-
Row upon heaping row of years-
Tears-
Caked, covered
And desolate.
The desert has a voice-
That calls and halts
And peers with perfect perspective-
Stopping us in our way.
“I have seen blood-stained battles!
I have seen despot desires!
I have seen prophets come and go,
And ages pass with shallow…glancing blows!
I have seen civilizations crumble…
Tumbling, heavy-handed
Into pagan pasts!”
The desert has a voice-
And every grain of sand has a name-
Every wind-blown grain of sand.
And someone-somewhere-knows the names.
They have perfect place and purpose-
Rocks cry out! Rocks….sing!
Some soaring angelic scribe somewhere
Records the history of rocks, and sands, and deserts.
Drab, dull, drifting desert distances and plans.
Ragged, jagged, craggy-edged
Mountain spine explosions and
Dry, desert sand.
The desert has voice and future-
With lifted hill-high green valley-
And clear bright stream winding
To cool, crystalline sea.
They wait….silently…
Almost… forever waiting-
But I know the secret of deserts-
And –
Dreams.
James Watkins-April 2006
I love these balloons. They inspired me to dust off my camera and embark upon the strangely ennobling experience of photography once more.
I hope you like this set. My eighteenth birthday is forever impressed upon my memory as one of both extreme euphoria and utter purposelessness.
This photo, taken on October 28, 2018, displays a green roof on top of Cumberland hall, one of the dormitories on the University of Maryland campus. A green roof is composed of plants grown on the roofs of buildings. Green roofs are growing in popularity because they turn once purposeless, empty spaces to productive, multipurpose green spaces. Green roofs play an important role in cities as they absorb rain water, provide a habitat for animals, and can grow food. Green roofs also help to slow climate change in two major ways. First, green roofs reduce the amount of carbon dioxide, a greenhouse gas, in the atmosphere. This is achieved by the plants via photosynthesis as the plants absorb carbon dioxide form the air and release fresh oxygen. In this way, green roofs reduce greenhouse gases in the atmosphere while also providing safer air for people to breathe. Especially in cities, such as college park, air quality is often poor due to high automobile traffic, so green roofs are a simple method to improve air quality while being space-efficient. The second way green roofs mitigate climate change is by reducing the heat island effect. The heat island effect describes how cities have a higher air temperature than surrounding rural areas due to a large percentage of paved, impermeable, dry surfaces. The heat island effect is escalated by climate change as heat islands absorb more heat than a moist, vegetated area and will exhibit a more obvious temperature change. Green roofs mitigate climate change by reducing the area of dry, paved surfaces and increasing the number of green spaces. Green roofs will reflect more of the sun’s powerful radiation than a paved surface and, as a result, act as a cooling mechanism to reduce the effect of climate change on the area’s surface temperature. For these reasons, this picture exhibits the Sustainable Development Goal (SDG) #13, climate action. This SDG focuses on decelerating the warming global temperature and overcoming climate change’s adverse impacts. As green roofs work to reduce air temperature and carbon dioxide in the air, they are one of the many ways humans are taking action and working to achieve this Sustainable Development Goal.
As mentioned before, photosynthesis in plants is one of the mechanisms that allows green roofs to reduce atmospheric carbon. To go further into depth on this concept, photosynthesis is the biological process that is the foundation of every ecosystem. In the simplest of terms, photosynthesis is performed by producers that take water through its roots and carbon dioxide from the air through its leaves and generate oxygen and glucose. Photosynthesis allows energy of the sun to be converted to chemical energy that can be used by herbivores and, indirectly, carnivores. Photosynthesis also produces oxygen which is necessary for organisms that use cellular respiration to produce energy, such as humans. For this reason, photosynthesis is the foundation of all ecosystems as all food energy and oxygen ultimately comes from photosynthetic organisms.
Photosynthesis has many components and benefits, but the simple fact that it removes carbon dioxide from the atmosphere is why plants are a major tool to mitigate climate change. Green roofs increase the number of photosynthetic organisms in a city, and thus decrease the amount of carbon dioxide in the air. The additional benefit of mitigating the heat island effect expands the impact of green roofs on climate change. All in all, green roofs are one way people are taking an innovative role in reducing global warming and moving towards the Sustainable Development Goal, climate action.
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Acadia University Wolfville - The historic festival has been cancelled and sadly there won't be a Queen Annapolisa Coronation held in Covi years 2020 and 2021 ? Although ABF has returned in 2022 the Queen crowning Coronation and Pageant are postponed until next year 2023 due to a late start ?
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Shocking news from ABF,
* There's been a stunning development at ABF. *
Apparently in a new younger generation there are those who harbor resentment towards our nations history, for English colonialism, and even for the Monarchy ? Other minority groups have voiced discontent over the diversity and inclusion issue ? And so it seems that the current ABF Board of Directors has listened to the concerns and complaints of a few small minority groups while apparently ignoring and excluding the overwhelming majority of Valley residents ? And it appears that this current Board of Directors chose to resolve such discontent by simply moving to implement and execute the nuclear option and the final solution ? And therefore after a highly successful lengthy run of 87 consecutive years in a row, the extremely anticipated, very popular, family oriented, inclusive and diverse, multi village Queen Annapolisa and Apple Blossom Princess Pageant along with the prestigious Royal Coronation crowning ceremonies held in Wolfville have all been terminated forever by this current board of Directors ?
-----------------------It's The End of an Era-----------------------------
"We are such stuff as dreams are made on, and our little life is rounded with a sleep."
Annapolis Valley Apple Blossom Festival 2023 - ABF Board of Directors has announced drastic new changes in format and even deeper cut-backs to the annual People's Festival ? Concerns over ceremony, symbolism, the monarchy and colonialism, along with some complaints over inclusion and diversity may have had an influence on the current ABF board of Directors and they have seen a need to update the long running Queen Annapolisa and Apple Blossom Princess pageant in order to bring it up to a standard they view as being more relevant to the current times ? And so the Directors must have held an extremely private 'think tank' last Winter, and without notifying, caring, considering or consulting with any of the long time participating Valley communities, they had decided that rather than trouble themselves any further with this pesky issue, why not just take the easy way out and simply get rid of it ? And so it seems they made a final decision in private last Winter and moved to execute the final and fatal solution to their problem by ordering that the iconic 87 year old Pageant competition be immediately shut down and terminated forever ? And therefore, as a result of an uninclusive and uncontested decision made in private, one of the longest running, popular, identifiable, well known, highly anticipated, most inclusive and diverse, proud all family events that has ever benefited Valley residents of every age, has just been taken away ?
This unconditional act of finality will now end the long running 88 year reign of her royal Heinous Queen Annapolisa and will terminate all participation of the 7 to 10 Apple Blossom Princess contestants and their child attendants that represent 7 to 10 local Valley communities ? It will also mean the end of the many beautiful hand crafted award winning Princess floats that always highlight Grand Street Parade, and it will also signal the end of the ultra glamorous Queen and Ladies-in-waiting Crowning ceremonies held annually and televised each year from Acadia University in Wolfville ? This also puts an end to the many popular community Princess Tea events, and also ends all Royal Party visitations to local Schools, hospitals and old folks homes that are so welcome and appreciated by Students, Seniors and shut-ins ? This also signals the end of Royal Party appearances at Kentville Children's Parade, at the Memorial Park Friday night open air concert and fireworks, and all Royal attendances at many other events held annually throughout the Valley and the Province ?
It appears now that current ABF Officials led by President Logan Morse along with Kentville town rep Lindsey Young have not only interrupted the Pageant in 2022 when they temporarily postponed it, but have now in 2023 moved to terminate this prestigious event forever explaining that their radical decision has been made to improve, include, modernize and evolve the famed beauty pageant ? This final act of termination ends almost 90 years of royal pageantry and also leaves a huge gap in the Festival itself ? It will also negatively affect so many of the nearby Valley communities who always participate and enter contestants in the Pageant ? The ending of such an important multiple community event and the taking away of the better half and Star of the Apple Blossom Festival brings forth the question of what replacement is planned, and what are local towns and villages that always play major roles in both the Queen and Princess competition suppose to do now ? And what about Valley youth and the childhood dreams of one day becoming a child attendant or an Apple Blossom Princess or even a Queen ?
You have to marvel at the level of ego and disrespect shown by this latest Board of Directors who have dared appoint themselves as the ones that will end the Pageant and then to think that Valley residents are stupid enough to believe that by cancelling and taking away a cherished and long running event, that they have in some perverted way of thinking moved the Valley forward or improved and modernized anything ? It seems far more likely that they have taken the Valley on a giant step backwards and they have robbed the people of a much beloved, long running, multi community, all inclusive, local production that has always been a highly anticipated all Valley highlight for the past almost 90 consecutive years ?
Why current ABF Management who have applied themselves to be the stewards who are in charge and responsible for the promotion and presentation of this event, appear as unable to perform their duties and do the job they are compensated to do and do what their predecessors have always done so well before them each and every year for the past 87 years often in far more trying circumstances and in far less prosperous times, is hard to understand ? And you have to wonder, Whatever happened to the # 1 rule in business that says that if you can't do the job because of inexperience, immaturity, inability, incompetency, bias, or just plain stupidity, then,, You're all FIRED ! (and a Class action recovery suit may be forthcoming ?)
Logan Morse and a bold revolutionary ABF Board of Directors terminate the Queen Annapolisa and Apple Blossom Princess Pageant forever after an 88 year run ? Directors say bold action needed to improve, evolve and modernize the historic pageant ? www.pressreader.com/canada/annapolis-valley-register/2023...
May 26, 2023 The beloved Peoples Pageant has been cancelled without any warning, consultation or consideration ? A new generation of ABF Directors with new ideas have proclaimed themselves to be the ones to end the historic multi Valley village Queen Annapolisa and Apple Blossom Princess pageant forever after an 88 year run ?
www.cbc.ca/news/canada/nova-scotia/apple-blossom-festival...
Kentville,, an identity crisis www.flickr.com/photos/74039487@N02/51811175986/in/album-7...
Facebook, Friends of Kentville - The site Administrator who is a recent arrival from PEI says she wants to see Kentville as the queerest town in all of Nova Scotia ? www.facebook.com/groups/2588266877982288
Will a drag Queen replace an apple blossom Queen in Kentville ? www.nsbuzz.ca/life/kentville-all-ages-drag-show-draws-pro...
Without warning the beloved Peoples Pageant has been cancelled without consideration, consultation or compassion ? Directors say bold action was necessary to improve, evolve and modernize the Valley's favorite and most well known yearly event ? www.saltwire.com/atlantic-
The 2017 Grand Street Parade - Has Kentville once again become a target for exploitation ? After Warden Brothers, (Greenwood ) and Liberal MP L Glavine (Kingston) had all but hijacked Waterville Airport and then relocated it to their own home riding in Kingston/Greenwood, it seems that the town of Kentville must face yet another attack from the Kingston area when Alxys Chamberlain, the Kingston ABF Princess, and the rest of the ABF Directors attempted to take yet another major source of revenue and a major attraction away from the town of Kentville ?
Et tu, Madama Chamberlain ? The unconscionable hijacking and recovery of Kentvilles's most beloved yearly event ?
www.flickr.com/photos/74039487@N02/18506181065
Exploiting a Queen in a photo op ? Politicians at the official opening of the 2023 Apple Blossom Festival pretend that there's still a Pageant while knowing full well that Queen Annapolisa has been terminated forever and will no longer be a part of the Festival ? www.flickr.com/photos/74039487@N02/53755100811/in/album-7...
A loss of inclusion and diversity in 2023 - The exclusion of so many of the participating Valley towns that normally attend and the susbsequent denial of their valued diversity have marred the 2023 Grand Street Parade ? Many nearby Valley communities are missing from this years Parade when longtime loyal participants were no longer included in the Kentville Grand Street Parade ? Where is Canning, Digby, Annapolis Royal, Hantsport Greenwood, Windsor ? Where's Queen Annapolisa ? Where's the Apple Blossom Princesses and all of the individual Town floats including Princess Kentville ? To view a complete (newcomer version) of the world famous Kentville Grand Street Parade press here www.dailymotion.com/video/x8lchie www.dailymotion.com/video/x8lchie
It's the sad ending of an Era ? The newcomer Royal-less, non diverse and uninclusive 89th Kentville Grand Street Parade May 27th 2023 - www.flickr.com/photos/74039487@N02/52934419451
2023 Kentville Grand Street Parade - A disregard for safety is shown as unrestrained Senior citizens appear to be precariously perched atop an unshaded, no sided, stop and go, large unstable jerking motion moving platform ?
www.flickr.com/photos/74039487@N02/53900780519/in/album-7...
Nov 16 2023 - Apple Blossom Princesses call for a return of Queen Annapolisa,
www.saltwire.com/atlantic-canada/communities/former-apple...
Town of Kentville terminates many long time major public entertainment events ? The citizens of Kentville are denied once again when punishing cut backs and cancellations are made to all of the multi day public community entertainment that has always been held at Memorial Park during Apple Blossom Festival week ,
www.flickr.com/photos/74039487@N02/52094784785
A medley of guest Tribute bands that have performed at Memorial Park Kentville - Always free of charge in the past at the Apple Blossom Festival : Petty Larceny, Fleetwod Mix, Keep the Faith, Stones Tribute, Green River Revival, Viscious, Eddy's Basement, Matt Minglewood,
www.dailymotion.com/video/x5hqti9
Cold hearted unfeeling capitolism is shown by the 2025 directors in this years Apple Blossom Festival ? Instead of providing a guest Tribute band at the free Memorial Park Friday night concert, it's now 50.00 pp to see the 'Queen' Tribute band performance. that's 50.00 per ticket in 2025 ? acadiau.universitytickets.com/
A Town of Kentville Apple Blossom Festival rip off ? Corporate greed and a profit only attitude is shown by the Town of Kentville and the current ABF directors in this years 2025 Apple Blossom Festival ? Citizens are punished with a charge of TWENTY DOLLARS each just to attend an outdoor dance held on the taxpayer owned public streets of downtown Kentville during the Apple Blossom Festival ? www.flickr.com/photos/74039487@N02/54546051832/in/photost...
She's Ruined It ! Our great Festival is no longer even recognizable ? How could anyone take a world class event and turn it into something that can only be described as stupid ? President Erica Gillis has got to be the worst ever ?
www.flickr.com/photos/74039487@N02/54493011308/in/dateposted
a 45 minute Kentville Grand Street Parade this year ? Guest announcer claims that, quote @ 29:17, " this parade is the largest in Canada, incl Toronto - it's the longest with the largest route and has the most entries. " wha-a-a-t ?
www.youtube.com/watch?v=rQuaIdrQi00
May 31st, 2025 Grand Street Parade - from 100,000 to 10,000 Parade attendance shrinks to an all time low,
www.flickr.com/photos/74039487@N02/54568017261/in/photost....
Royal Rider down Main Street - A new Mayor occupies the royal throne aboard the Kentville Apple Blossom Princess float in the 2025 Grand Street Parade ?
www.flickr.com/photos/74039487@N02/54557663677/in/dateposted
ABF Directors may disapprove and gotten rid of the revered Queen Annapolisa pageant and the multiple village Apple Blossom Princess competition but Valley residents will always be there to admire, support, respect and remain fond of the Monarchy. The majority of Valley citizens were delighted to hear that his Majesty King Charles III and Queen Camilla are invited and will be coming for a royal visit to Canada on May 26 and 27, 2025. This year's incomplete and now Royal-less ABF starts on the 28th, www.cbc.ca/news/politics/king-charles-canada-visit-1.7524946
The long illustrious history of all past Queen Annapolisa and Apple Blossom Princess winners has been removed from sight on the official Annapolis Valley Apple Blossom Festival website ? A special history page to honor and list previous Queen Annapolisa winners 1933 thru 2019 has been taken down and apparently replaced with jumbo size portraits of the new generation President and newcomer ABF directors that have taken over the famous Annapolis Valley Apple Blossom Festival ? www.appleblossom.com/history/past-queens
Meet the directors,
May 30th, 2025 - A high level of security is enforced for the Memorial Park Friday night rock concert ? Town of Kentville brings in outside police, closes roads, and sets up manned traffic guard posts to provide heavy security for their Friday night Memorial Park Apple Blossom outdoor concert that in the past had always brought in guest rock bands, held displays, and had a Royal visit following the coronation in Wolfville, but has now been minimized into some kind of an outdoor romper room type family show featuring food trucks, fireworks and some live local entertainment ?
www.flickr.com/photos/74039487@N02/54558198569
May 30th, 2025 - Seniors and those with disabilities are made to walk long distances in order to reach this year's vastly downsized Royal-less ABF Friday night rock Concert that didn't bring in a rock band, nor much of anything else ? www.flickr.com/photos/74039487@N02/54558198569/in/photost...
OUCH ! ( could someone please remove the daggers from our back ), Et tu, Warden Brothers and u tu Leo ? March 10th 2014 - A Date That Will Live on in Infamy - Warden Brothers, (Greenwood riding) and the Kings County Council use a calculated forced eviction to shut down the Waterville Airport aviation complex and then relocate some components to the Kingston/Greenwood area ?
www.flickr.com/photos/74039487@N02/28588465413/in/album-7...
The page showing all past Queens and Apple Blossom Princesses has been removed from the official Annapolis Valley Apple Blossom Festival site ? The popular history page honoring all past Queen Annapolisa winners 1933-2018 with photos and bios has been taken down and apparently replaced with huge portraits of the newcomer directors ?
Meet the newcomer directors,
Kentville IS the Cornwallis Inn and the Cornwallis Inn IS Kentville ! If you were to google the 2 words Cornwallis Inn you will get over 600,000 entries with almost all of them married to the word Kentville.. (what a great promotional tool) . The world famous Cornwallis Inn is the source of many fond memories for all local and Valley residents.. "It was the centre of everything’: The past and present of Kentville’s iconic Cornwallis Inn"
www.saltwire.com/nova-scotia/lifestyles/it-was-the-centre...
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On the recent 2023 edition of the Grand Street Parade :
"it looked as if some spectators along the route just joined in and began to walk along and make themselves a part of the parade ? "
May 27th, 2023 - Dismay, disillusion and some extreme disappointment prevail in Kentville over shocking changes and many missing regular entrees in this years 2023 Grand Street Parade ? Where is our famous Queen Annapolisa and where are the many Apple Blossom Princesses and their child attendants riding in their beautiful hand crafted decorated floats ? Where's the town criers ? And what about the dazzling majorette groups, the Scottish pipers and large multi instrumental marching bands that always attend ? And where are the Hantsport and Windsor floats and their large delegations ? And where are Digby, Aylesford, Annapolis Royal, Canning, Middleton, Wolfville, and more ? Why are so many of the Valley towns and villages that normally participate not included in the parade this year ? It was also a major disappointment for many when for the first time ever, Kentville Apple Blossom Princess (aka Miss Kentville) was no longer included as there are many town residents young and old who identify with the Apple Blossom Princess at this time of year ? However, the now purposeless Apple Blossom Princess float was used this year to transport a grouping of everyday town residents as they sat around together in a social scene meant to identity Kentville with diversity and inclusion ? The New Minas float also did not include an Apple Blossom Princess for this year, however her float was transformed into an advertisement for the famous New Minas UFO incident which all New Minions identify with. The Berwick float didn't include a Princess Berwick this year either. but was altered to proudly identify with the town's upcoming Centennial celebrations. And the Kingston float was also missing an Apple Blossom Princess this year but was instead promoting their long running Kingston Steer Barbecue that all Kingstonians readily identify with. It was good to see an RCMP contingent again although they sent far less officers this year than usual ? And it was notable that only 1 other large marching band appeared in the parade when usually 4 or more big bands, many with many pipers usually attend after traveling up from places like Cape Breton, Bridgewater, Dartmouth etc ? And where have all the pets and animals gone ? There's no horse teams, wooden wagons, riders or livestock this year ? Even the usual greyhound dogs weren't there ? Also noticed that some spectators must have just joined in and began walking along within the parade, and others must have come over from the Children's parade with their strollers to join in ? There was a variety of advertisers, most from out of town but some local ? There were various Political parties represented, with the largest delegation coming from the Kody Blois Liberals ? All in all, this Year's parade seemed a bare minimum and a weak effort that really missed the inclusion of royal pageantry and the 7 to 10 spectacular Princess floats, and also missed the large marching bands and majorette groups that usually enter, the usual agriculture horticulture and livestock component, the popular Scottish pipers bands that always attend, and also the many large out of town contingents that always normally participate ? This was not the famous grand street parade that patrons are accustomed to seeing, and did not represent the high standards and degree of professionalism set by all previous Grand Street Parades ? It became obvious that what was being advertised as a newer, bolder, more inclusive and more diverse parade was instead the exact opposite because this new version of our Grand Street Parade had lost the inclusion, diversity and the major contribution put forth by the absent Valley communities along with their individual Princess contestants and Child attendants that always come to Kentville to participate in the Queen Annapolisa competition, the Friday evening coronation gala at Acadia University in Wolfville, the many Princess Teas, and the Royal attendances at schools, hospitals, senior citizen homes and shut-ins, as well as appearances at the Friday night Memorial Park outdoor concert and fireworks, Royal attendances highlighting the Saturday morning Children's Parade, and a Royal trip down Main street Kentville aboard a beautiful hand crafted royal float in the famous Grand Street parade ?
And so, to quickly sum up, can a strange looking, incomplete, shortened, now Royal-less, newcomer mentality amateur version of our elite world-famous Kentville Grand Street Parade that was now missing her heinous Queen Annapolisa and also missing 7 to 10 Apple Blossom Princesses and their individual 7 to 10 beautifully handcrafted Town Princess floats, and also missing much of the unique character and diversity usually provided by the numerous Valley villages and communities who were no longer included, and that also failed to include many of the large out of town marching bands and pipers and majorettes who usually attend, and that also lacked representation from local area farming, agriculture and livestock,, now signal the end of the once glorious Grand Street Parade era ?
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Some previous parades :
2011 Grand Street Parade Kentville 79th ABF
www.youtube.com/watch?v=xVgh3Dh2xn8&t=208s
2012 Grand Street Parade Kentville www.youtube.com/watch?v=VB1VBx50b18
2014 Kentville Grand Street Parade www.youtube.com/watch?v=gEo14IZKxp8&t=11s
2015 Kentville Grand Street Parade
www.youtube.com/watch?v=PBifeG2SdPY&t=47s
2016 Kentville Grand Street Parade www.youtube.com/watch?v=_2wedvN5_Iw&t=8s
2017 Kentville Grand Street Parade www.youtube.com/watch?v=JozwyGpvfSY&t=1978s
2018 Kentville Grand Street Parade www.youtube.com/watch?v=KOK1GmiLmNk&t=986s
2019 Kentville Grand Street Parade www.youtube.com/watch?v=IMdEx8Zf-q0&t=1492s
2025 Grand Street Parade - Where's the Apple Blossom Princesses and all of the individual Town floats including Princess Kentville ? To view a complete (newcomer version) of the world famous Kentville Grand Street Parade press here www.dailymotion.com/video/x8lchie www.dailymotion.com/video/x8lchie
2025 Grand Street Parade May 31st- from 100,000 to 10,000 Parade attendance has shrunk to an all time low,
www.flickr.com/photos/74039487@N02/54568017261/in/photost...
They've ruined the Festival and the Parade too ?
A concerned Kentvillian must finally speak out, www.flickr.com/photos/74039487@N02/44424045874
Kentville is an incorporated town in Nova Scotia. It is the most populous town in the Annapolis Valley. As of 2021, the town's population was 6,630.
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Tall, brooding, purposeless magnificent ruin for years . Today's building is what is left of the Caledonia Road United Presbyterian church in Glasgow, designed by Alexander "Greek" Thomson in 1856. Thomson planted a high podium of liverish sandstone, and crowned it with an Ionic temple portico, creating a sort of acropolis. To one side he put a tall, obelisk-shaped tower with dark, blank openings near the top. These, and the windows along the sides, are trapezoid rather than rectangular, making the church seem braced to the ground in anticipation of some terrible blow. This duly came in 1965 when vandals burned the building out, destroying the roof (the lead from it had already been pinched) and leaving behind a gaunt ruin. Now a Grade "A" listed building. But, before listing, the Council were going to knock it down and replace it with a plaque.
Was there ever a greater visualisation of redundancy than this poor purposeless wiper!
This must surely be a glass door that has been masked for security, but the wiper and washer remain in place.
It's hilarious that they've been used! That said, I'm sure we've all mixed up the wiper controls at some point. I know I have.
Museum Beelden aan Zee, Den Haag 2016
Als kind vergezelde Eyal Assulin zijn vader bij het installeren van sanitaire voorzieningen in gebouwen. Een leerproces waarbij hij ervaring opdeed met de constructie van ingewikkelde systemen. Eenmaal volwassen, bestuurde hij zware machines op bouwplaatsen. Het werk van Assulin geeft de spanning weer tussen mens en machine en vervaagt de grenzen tussen de controleur en het gecontroleerde. Tegelijkertijd wijst hij op de ondoelmatigheid van geavanceerde technologie die een eindeloze kooplust creëert naar ‘smart products’. Dit geldt ook voor het kunstwerk Virus, dat de komende weken te zien is in Museum Beelden aan Zee. In feite is Virus een machine ontdaan van mannelijkheid: het herhaalt nauwgezet een bepaalde beweging met steeds dezelfde kracht - maar het is een steriele actie zonder resultaat.
As a child, Eyal Assulin worked with his father assembling sanitary systems in buildings. He gained know-how and experience in constructing complex systems and, as an adult, operated heavy machinery on building-sites. Assulin’s art displays the tension in the human-machine relation, and obscures the boundaries between controller and controlled. At the same time, he points out the purposelessness of advanced technology, which encourages the never-ending purchase of smart products. Assulin's latest sculpture Virus, on display at Museum Beelden aan Zee, is a perfect rendering of his style. Virus is in fact an emasculated machine: it repeats a single action accurately, with the same power - a sterile action that has no results.
Eyal Assulin was born in Ofakim, Israel. He lives and works in Ofakim and in Tel Aviv. He is an active member and graduated of the Contemporary Art Station in Ofakim.
Toward the end of the 1730's fewer and fewer tourists came to Venice as a result of the increasing threat of war throughout Europe. That also spelled the end of the blossoming production of topographical souvenirs, which was the mainstay of Canaletto's studio. Joseph Smith, the artist's agent and protector, tried for several more years to attract commissions for painted series of ancient Roman monuments or so-called 'vedute ideate'. A veduta ideata, or idealized view was based on an actual situation. This kind of veduta was beautified, however, or rather improved, by adding buildings from elsewhere or even entirely fictive architectural elements. Such land - and cityscapes illustrated the 'ideal' architecture practiced by the ancients and, in their footsteps, by the sixteenth-century architect Andrea Palladio.
In about 1740, besides vedute ideate, Canaletto began to invent much more fantastic variations on the buildings and landscapes he had long painted 'al reale' in the form of 'capricci'. Nor was he alone in this. Tiepolo and Piranesi also published series of fantasy prints called caprices in the 1740's. A contemporary dictionary of art defined a capriccio as 'an artificial and bizarre composition which opposes the rules and beautiful models of nature and art, but which pleases through a certain lively particularity and a free and bold execution.' Conceived in that sense, the capriccio is the opposite of a veduta ideata, and both the etched and the painted caprices that Canaletto made during the early 1740's meet that description. The present canvas is one of the most beautiful examples.
Across two islands or peninsulas, connected by an impossibly fragile arched bridge, the eye is led toward a third, distant island in the Lagoon, behind which others appear. From the bridge a path leads to the right over a second, small bridge to a gate in Renaissance forms with a curious passageway placed crosswise, with a tiled roof crowned by a stone statue standing guard. To the right are the remains of a wall and a tower, like the gate partly decorated with stone facings. To the left of the bridge a path runs to a chapel with an asymmetrical roof, a tall aisle with a balcony and a loggia on the right side. Behind the campanile rises a façade with a sign indicating that it is an inn. On the third island stands a heavy, square tower. The time is about sunset; on the left, a pale moon rises. A washerwoman, travellers and fishermen populate the scene.
On closer inspection it appears that, with his supposedly randomly selected elements, Canaletto actually ordered his composition entirely in accordance with traditional practice. The placement of the elements in space and the manner in which the eye is led into the distance along the imaginary buildings in leaps is harmonious rather than abrupt. The appealing melancholy evoked by the scene is new; it is the result of the ostensible purposelessness of these friendly structures which are arranged haphazardly in the quiet light of the setting sun and the rising moon.
In Canaletto's art, a strict distinction between veduta ideata and capriccio seems difficult to maintain. No wonder he referred to his own series of etched landscapes as 'views partly taken from life, partly imagined.'
"Obviously the 'purpose' of the trip is carefully selected to symbolize the basic fact of purposelessness. Neal is, of course, the very soul of the voyage into pure, abstract meaningless motion. He is The Mover, compulsive, dedicated, ready to sacrifice family, friends, even his very car itself to the necessity of moving from one place to another."
-William Burroughs to Allen Ginsberg on Neal and his skeptical views of the man and voyage which spurred On The Road
A Sari, saree, sadi, or shari is a South Asian female garment that consists of a drape varying from 4.5 metres to 8 metres in length and 60 cm to 1.20 m in breadth that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff.
The sari is usually worn over a petticoat (called 'parkar' (परकर) in Marathi lahaṅgā or lehenga in the north; seelai in Tamil, pavada (or occasionally langa) in Malayalam, Kannada and Telugu, chaniyo, parkar, ghaghra, or ghagaro in the west; and shaya in eastern India), with a fitted upper garment commonly called a blouse (ravike in South India and choli elsewhere). The blouse has short sleeves and is usually cropped at the midriff. The sari is associated with grace and is widely regarded as a symbol of Indian, Nepalese, Bangladesh, and Sri Lankan cultures.
ETYMOLOGY
The word sari described in Sanskrit शाटी śāṭī which means 'strip of cloth' and शाडी śāḍī or साडी sāḍī in Prakrit, and which was corrupted to sāṛī in Hindi. The word 'Sattika' is mentioned as describing women's attire in ancient India in Buddhist Jain literature called Jatakas. This could be equivalent to modern day 'Sari'. The term for female bodice, the choli is derived from another ruling clan from ancient Tamil Nadu, the Cholas. Rajatarangini (meaning the 'river of kings'), a tenth-century literary work by Kalhana, states that the Choli from the Deccan was introduced under the royal order in Kashmir.
ORIGINS AND HISTORY
In the history of Indian clothing the sari is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the western part of the Indian subcontinent. Sari draping leaves back, cleavage, and side view of belly bare. The origin of such exposing attire can be attributed to humid climate of the land. The earliest known depiction of the sari in the Indian subcontinent is the statue of an Indus Valley priest wearing a drape.
Ancient Tamil poetry, such as the Silappadhikaram and the Sanskrit work, Kadambari by Banabhatta, describes women in exquisite drapery or sari. The ancient stone inscription from Gangaikonda Cholapuram in old Tamil scripts has a reference to hand weaving. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.
Sculptures from the Gandhara, Mathura and Gupta schools (1st–6th century AD) show goddesses and dancers wearing what appears to be a dhoti wrap, in the "fishtail" version which covers the legs loosely and then flows into a long, decorative drape in front of the legs. No bodices are shown.
Other sources say that everyday costume consisted of a dhoti or lungi (sarong), combined with a breast band called 'Kurpasika' or 'Stanapatta' and occasionally a wrap called 'Uttariya' that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indian clothing styles. The one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.
It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mentions 'Kurpasika' a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as 'Uttarasanga' or 'Stanapatta'.
The tightly fitted, short blouse worn under a sari is a choli. Choli evolved as a form of clothing in the 10th century AD, and the first cholis were only front covering; the back was always bare but covered with end of saris pallu. Bodices of this type are still common in the state of Rajasthan.
In South India and especially in Kerala, women from most Hindu communities wore only the sari and exposed the upper part of the body till the middle of the 20th century.Poetic references from works like Silappadikaram indicate that during the Sangam period in ancient Tamil Nadu, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded paintings by Raja Ravi Varma in Kerala. By the mid 19th century, though, bare breasted styles of the sari faced social revaluation and led to the Upper cloth controversy in the princely state of Travancore (now part of the state of Kerala) and the styles declined rapidly within the next half a century.
In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed.
Red wedding saris are the traditional garment choice for brides in Indian culture. Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colours have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Indian brides in Western countries often wear the sari at the wedding ceremony and change into traditional Indian wear afterwards (lehnga, choli, etc.).
STYLES OF DRAPING
There are more than 80 recorded ways to wear a sari. Fashion designer Aaditya sharma declared, "I can drape a sari in 54 different styles".
The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher Chantal Boulanger categorised sari drapes in the following families:
- Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.
- Bengali and Odia style.
- Gujarati/Rajasthani/Pakistani – after tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back
- Maharashtrian/Konkani/Kashta; this drape is very similar to that of the male Maharashtrian dhoti. The centre of the sari (held lengthwise) is placed at the centre back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth of nine yards is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Goa.
- Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards saree.
- Kodagu style – this drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
- Gobbe Seere – This style is worn by women in the Malnad or Sahyadri and central region of Karnataka. It is worn with 18 molas saree with three four rounds at the waist and a knot after crisscrossing over shoulders.
- Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.
- Malayali style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari, a sort of mundum neryathum.
- Tribal styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli:Goan Gauda and Kunbis,and those of them who have migrated to other states use this way of draping Sari or Kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.
NIVI STYLE
The nivi is today's most popular sari style from Andhra Pradesh. The increased interaction with the British saw most women from royal families come out of purdah in the 1900s. This necessitated a change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the traditional unadorned white. Characteristically, she transformed her "mourning" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.
The chiffon sari did what years of fashion interaction had not done in India. It homogenised fashion across this land. Its softness, lightness and beautiful, elegant, caressing drape was ideally suited to the Indian climate. Different courts adopted their own styles of draping and indigenising the sari. In most of the courts the sari was embellished with stitching hand-woven borders in goldfrom Varanasi, delicate zardozi work, gota, makaish and tilla work that embellished the plain fabric, simultaneously satisfying both traditional demands and ingrained love for ornamentation. Some images of maharanis in the Deccan show the women wearing a sleeveless, richly embellished waistcoat over their blouses. The Begum of Savanur remembers how sumptuous the chiffon sari became at their gatherings. At some courts it was worn with jaali, or net kurtas and embossed silk waist length sadris or jackets. Some of them were so rich that the entire ground was embroidered over with pearls and zardozi.
Nivi drape starts with one end of the sari tucked into the waistband of the petticoat, usually a plain skirt. The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the pallu, pallav, seragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The nivi sari was popularised through the paintings of Raja Ravi Varma. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi sari. The ornaments generally accepted by the Hindu culture that can be worn in the midriff region are the waist chains. They are considered to be a part of bridal jewellery.
PROFESSIONAL STYLE OF DRAPING
Because of the harsh extremes in temperature on the Indian Subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it is the clothing of choice of air hostesses on Air India. This led to a professional style of draping a sari which is referred to "Air-Hostess style sari". An air hostess style sari is tied in just the same way as a normal sari except that the pleats are held together quite nicely with the help of pins. A bordered sari will be just perfect for an Air-Hostess style drape where the pallu is heavily pleated and pinned on the shoulder. Even the vertical pleats that are tucked at the navel are severely pleated and pressed. Same goes for the pallu pleats that are pinned at the shoulder. To get the perfect "Air-hostess" a complimentary U-shaped blouse that covers the upper body completely is worn which gives a very elegant and formal look. Mastering the "Air-hostess" style drape helps to create the desired impact in a formal setting like an interview or a conference.
Saris are worn as uniforms by the female hotel staff of many five star luxury hotels in India as symbol of culture. Recently, in a makeover design, Taj Hotels Resorts and Palaces, decided the welcoming staff at the group's Luxury Hotels would be draped in the rich colours and designs of the Banarasi six yards. The new saris were unveiled at the Taj property in Mumbai. It will be subsequently replicated at all 10 Luxury Hotels of the group across the country for duty managers and front office staff. Taj had adopted three villages in Varanasi and employed 25 master weavers there for the project. The vision finally took shape after 14 months, once the weavers had a good work environment, understood the designs and fine-tuned the motifs.
Similarly, the female politicians of India wear the sari in a professional manner. The women of Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi wear the special blouse for the campaign trail which is longer than usually and is tucked in to prevent any midriff show while waving to the crowds.Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." BJP politician Sushma Swaraj maintains her prim housewife look with a pinned-up pallu while general secretary of AIADMK Jayalalithaa wears her saris like a suit of armour.
SARIS IN INDIAN LAW
In 2014, an Indian family court in Mumbai ruled that a husband objecting to his wife wearing a kurta and jeans and forcing her to wear a sari amounts to cruelty inflicted by the husband and can be a ground to seek divorce. The wife was thus granted a divorce on the ground of cruelty as defined under section 27(1)(d) of Special Marriage Act, 1954.
BANGLADESH
Sharee or saree (in Bengali=শাড়ি) is the national wear of Bangladeshi women. Most women who are married wear sharee as their regular dress while young-unmarried girls wear sharee as an occasional dress. The shari is worn by women throughout Bangladesh. Sari is the most popular dress for women in Bangladesh, both for casual and formal occasion. Although Dhakai Jamdani (hand made shari) is worldwide known and most famous to all women who wear shari but there are also many variety of shari in Bangladesh.There are many regional variations of them in both silk and cotton. e.g.- Tanta/Tant cotton shari, Dhakai Benaroshi shari, Rajshahi silk shari, Tangail Tanter shari, Tassar silk shari, monipuri shari and Katan shari are the most popular in Bangladesh.
PAKISTAN
In Pakistan, the sarees are still popular and worn on special occasions. The Shalwar kameez, however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Sarees can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly to weddings and other business type of functions. Sarees are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris.
SRI LANKA
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or osaria in Sinhalese). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.
The traditional Kandyan (osaria) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front as is seen in this 19th-century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Dravidian style noted earlier in the article.
The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.
During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as "an absolute travesty of a beautiful costume almost a desecration" and "a hideous and purposeless garment".
NEPAL
The sari is the most commonly worn women's clothing in Nepal. In Nepal, a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu.
AFGHANISTAN
Sari's have been worn by the Afghan royal family house and upper family classes as well by Muslim women at special functions.
SIMILARITIES AND DIFFERENCES WITH OTHER ASIAN CLOTHING
While the sari is typical to Indian traditional wear, clothing worn by South-East Asian countries like Burma, Malaysia, Philippines, and Singapore resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse, resembling a sarong, as seen in the Burmese Longyi, Filipino Malong, Tapis, Laotian Xout lao, Thai Sinh's, and Timorese Tais. Saris, worn predominantly in India, Pakistan, Sri Lanka, Bangladesh, and Nepal are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff.
SAREE ORNAMENTATION AND DECORATIVE ACCESSORIES
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.
In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.
Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.
More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhuttis (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.
Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi embroidery uses gold and silver thread, and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.
Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.
SARI OUTSIDE SOUTH ASIA
The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Saree House told that he had been selling it mainly to the Indian women in New York area but later many American business women and housewives became his customers who preferred their saris to resemble the full gown of the western world. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.
As a nod to the fashion-forward philosophy established by the designs of Emilio Pucci, the now-defunct Braniff International Airways envisioned their air hostesses wearing a more revealing version of a sari on a proposed Dallas-Bombay (conceivably via London) service in the late 1970s. However this was never realised because of Halston's resistance to working with a palette outside of his comfort zone. The former Eagan, Minnesota–based Northwest Airlines considered issuing saris to flight attendants working the Minneapolis-Amsterdam-Delhi route that began in the 1990s. This never occurred largely because of a union dispute.
The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai,[48] have worn it at international events representing the Indian culture. In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing the national costume. On her very first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a Rohit Bal sari.
Even popular Hollywood celebrities have worn this traditional attire. Pamela Anderson made a surprise guest appearance on Bigg Boss, the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. Ashley Judd donned a purple sari at the Youth AIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls – dressed in saris.
TYPES
While an international image of the modern style sari may have been popularised by airline stewardesses, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in South Asia:
CENTRAL STYLES
Chanderi Sari – Madhya Pradesh
Maheshwari – Maheshwar, Madhya Pradesh
Kosa Silk – Chhattisgarh
Dhokra Silk – Madhya Pradesh
EASTERN STYLES
Tangail Tant Saree – Bangladesh
Jamdani – Bangladesh
Muslin – Bangladesh
Rajshahi Silk (Eri Silk) – Bangladesh
Tussar Silk Saree – Rajshahi Bangladesh
Dhakai Katan – Bangladesh
Khadi Saree – Comilla Bangladesh
Jute Cotton – Bangladesh
Mooga Silk – Assam
Mekhla Cotton – Assam
Dhaniakhali Cotton – West Bengal
Shantipuri Cotton – Shantipur, West Bengal
Phulia Cotton – Phulia, West Bengal
Begumpur Cotton – Begumpur, West Bengal
Garad Saree (Korial) – Murshidabad, West Bengal
Tant Saree – Farshganj, West Bengal
Murshidabad Silk – West Bengal
Baluchari Silk – Bishnupur, Bankura West Bengal
Kantha Silk & Cotton Saree – West Bengal & Bangladesh
Batic Saree – West Bengal & Bangladesh
Sambalpuri Silk & Cotton Saree – Sambalpur, Odisha
Bomkai Silk & Cotton Saree – Bomkai, Ganjam, Odisha
Khandua Silk & Cotton Saree – Nuapatna, Cuttack, Odisha
Sonepuri Silk & Cotton Saree – Subarnapur, Odisha
Berhampuri Silk – Behrampur, Odisha
Mattha Silk Saree – Mayurbhanj, Odisha
Bapta Silk & Cotton Saree – Koraput, Odisha
Tanta Cotton Saree – Balasore, Odisha
Manipuri Tant Saree - Manipur
WESTERN STYLES
Paithani – Maharashtra
Bandhani – Gujarat, Rajasthan, Pakistan
Kota doria – Rajasthan, Pakistan
Lugade – Maharashtra
Patola – Gujarat, Pakistan
SOUTHERN STYLES
Mysore Silk – Karnataka
Ilkal Saree – Karnataka
Molakalmuru Sari – Karnataka
Venkatagiri – Andhra Pradesh
Mangalagiri Silk Sarees – Andhra Pradesh
Uppada Silk Sarees – Andhra Pradesh
Chirala Sarees – Andhra Pradesh
Bandar Sarees – Andhra Pradesh
Bandarulanka – Andhra Pradesh
Kuppadam Sarees – Andhra Pradesh
Dharmavaram Silk Saree – Andhra pradesh
Kanchipuram Sari (locally called Kanjivaram Pattu) – Tamil Nadu
Kumbakonam – Tamil Nadu
Thirubuvanam – Tamil Nadu
Coimbatore Cotton Tamil Nadu
Chinnalampattu or Sungudi Tamil Nadu
Balarampuram – Kerala
Mundum Neriyathum – Kerala
Mayilati Silk – Kerala
Kannur Cotton – Kerala
Kalpathi Silk Sarees – Kerala
Maradaka Silk – Kerala
Samudrikapuram Silk and Cotton – Kerala
Pochampally Sari or Puttapaka Sari – Telangana
Gadwal Sari – Telangana
Narayanpet – Telangana or Maharashtra
NORTHERN STYLES
Banarasi – Uttar Pradesh
Shalu – Uttar Pradesh
Tanchoi – Uttar Pradesh
Bagru – Rajasthan, Pakistan
WIKIPEDIA
Museum Beelden aan Zee, Den Haag 2016
Als kind vergezelde Eyal Assulin zijn vader bij het installeren van sanitaire voorzieningen in gebouwen. Een leerproces waarbij hij ervaring opdeed met de constructie van ingewikkelde systemen. Eenmaal volwassen, bestuurde hij zware machines op bouwplaatsen. Het werk van Assulin geeft de spanning weer tussen mens en machine en vervaagt de grenzen tussen de controleur en het gecontroleerde. Tegelijkertijd wijst hij op de ondoelmatigheid van geavanceerde technologie die een eindeloze kooplust creëert naar ‘smart products’. Dit geldt ook voor het kunstwerk Virus, dat de komende weken te zien is in Museum Beelden aan Zee. In feite is Virus een machine ontdaan van mannelijkheid: het herhaalt nauwgezet een bepaalde beweging met steeds dezelfde kracht - maar het is een steriele actie zonder resultaat.
As a child, Eyal Assulin worked with his father assembling sanitary systems in buildings. He gained know-how and experience in constructing complex systems and, as an adult, operated heavy machinery on building-sites. Assulin’s art displays the tension in the human-machine relation, and obscures the boundaries between controller and controlled. At the same time, he points out the purposelessness of advanced technology, which encourages the never-ending purchase of smart products. Assulin's latest sculpture Virus, on display at Museum Beelden aan Zee, is a perfect rendering of his style. Virus is in fact an emasculated machine: it repeats a single action accurately, with the same power - a sterile action that has no results.
Eyal Assulin was born in Ofakim, Israel. He lives and works in Ofakim and in Tel Aviv. He is an active member and graduated of the Contemporary Art Station in Ofakim.
Another purposeless shot to show you what our eyes could see at night if our retinal sensitivity was enhanced. This was taken at 830pm. The scene you see here was almost in complete darkness
Museum Beelden aan Zee, Den Haag 2016
Als kind vergezelde Eyal Assulin zijn vader bij het installeren van sanitaire voorzieningen in gebouwen. Een leerproces waarbij hij ervaring opdeed met de constructie van ingewikkelde systemen. Eenmaal volwassen, bestuurde hij zware machines op bouwplaatsen. Het werk van Assulin geeft de spanning weer tussen mens en machine en vervaagt de grenzen tussen de controleur en het gecontroleerde. Tegelijkertijd wijst hij op de ondoelmatigheid van geavanceerde technologie die een eindeloze kooplust creëert naar ‘smart products’. Dit geldt ook voor het kunstwerk Virus, dat de komende weken te zien is in Museum Beelden aan Zee. In feite is Virus een machine ontdaan van mannelijkheid: het herhaalt nauwgezet een bepaalde beweging met steeds dezelfde kracht - maar het is een steriele actie zonder resultaat.
As a child, Eyal Assulin worked with his father assembling sanitary systems in buildings. He gained know-how and experience in constructing complex systems and, as an adult, operated heavy machinery on building-sites. Assulin’s art displays the tension in the human-machine relation, and obscures the boundaries between controller and controlled. At the same time, he points out the purposelessness of advanced technology, which encourages the never-ending purchase of smart products. Assulin's latest sculpture Virus, on display at Museum Beelden aan Zee, is a perfect rendering of his style. Virus is in fact an emasculated machine: it repeats a single action accurately, with the same power - a sterile action that has no results.
Eyal Assulin was born in Ofakim, Israel. He lives and works in Ofakim and in Tel Aviv. He is an active member and graduated of the Contemporary Art Station in Ofakim.
Go on now, hit me
Come hit me again for wearing his crucifix around my wrists
Cut everything down to nothing
My rights as an immigrant of this foreign land
Will be defeated with the cries of a many helpless Iraqi children
Set aside my hopes and dreams to Christ’s valiant prince of the north
Once stood to snap at injustice, now a false acoustic guitar without any reason or rhyme
A slave to a clampdown payable to the color of my sex
Disgraced by an heir who tears down my arts’ every propose of being
Told to lay down his head in shame for the skin of my religion
Welcome to the No-Revolution Land of Inequality
A shelter put together by the barons and monsters of my mind
A jail guarded by the people I befriend and the family that I love to death
A corridor evil and threatening for my restless body to lay deep inside
I think I’m tired, tired again
Not much to look forward to anymore
I try, and I try as I might, but I don’t think I want to continue
Everyone’s got me in a chokehold that I can’t seem to get out of anymore
It makes me tired, oh so very tired
Come on now, hit me
Stripped sick of my individuality for twelve shades of happiness that rarely get seen
Taken everything good men worked so hard for to keep
Can’t create the rebellion that was once dreamt of because I no longer have a voice
Dissected and no longer able to speak of Armstrong’s dawning
It is enough for a man of virtue to go completely insane
For good reason, the godsend of our Mexican dream, Carlos Diaz, will overthrow my brother
Forced to kneel before an already beautiful pastor of just and praise
He will take my lover and family to pewter doors and golden homes of liberal-less atmospheres
With new love to find, and new treasures to be seen
An inglorious disgrace such as me would have never given them that opportunity
Alone in my cubical of judge and jury
Every move made will be noted, filed, and used against me in the court of fraud
Can’t speak of rebellion, can’t preach against her Nazi regime and its policies
So there I go, left without my lover and my parents without trying to fight for them
You see, I think I’m tired again
Not so much to look forward to anymore
I try, and I try as I seem, but I don’t think I want to continue
Everyone’s got me in a chokehold that I might never to get out of
It makes me so tired, oh so very tired
Keep hitting me, I don’t care
Ridiculed and banished by loved ones for the cowardly act on my part
Could rain blame me? Could pain honestly blame me for my actions?
Like an abused child, being hit repeatedly by a senseless bureaucrat
Beginning to lose the will to fight for my honesty
Once had a voice to let the world crumble, but now all I have is just empty, dry, depression
Ask again and again; could pain blame me? Could the rain truthfully blame me for my actions?
Can’t begin to imagine the purposelessness I feel in all my trials
What’s one to do, in a time of desperation and turmoil?
Lost everything that made me who I am
Don’t deserve to be loved any longer, let alone cared for
Let authority of corrupt men and women blindfold what I stand for
I will regretfully begin to die in my own blood and piss
For I work for the ministry of world renowned heroes, who only care for themselves
That’s why I think I’m tired, tired again
Not much to look forward to
I try, and I try as I might, but I don’t think I want to continue anymore
Everyone’s got me in a chokehold that I can’t seem to get out of
It makes me very tired, oh so very tired
Keep going, hit me some more
Because I’m working for the Clampdown
The No-Revolution Land of the Disenfranchised
A desert cage where I have been chained to
An ode to the one I was taught to love
A nation where I no longer take a stance
No longer have an opinion
No longer stand for anything
A country where I no longer believe
No longer fight for truth and honesty
No longer have the right to an idea or work of art
An acceptance to the uninspired
This marks the conclusion of drawing my nightmares
And the start of painting everybody else’s hopes and dreams
Poem © George Gonzalez
One weekend my friend and I decided to go to the Georgia Aquarium. After hearing that the tanks of the Beluga whales were being cleaned, we walked around purposeless for awhile. In front of a random tank of your basic small fish, we saw this one little boy standing stock still with his face pressed against the glass. Shortly after I took this picture several other children pushed him out of the way to bang on the glass.
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In het tot afbraak gedoemde dorp doel hebben jonge kunstenaars een aantal eigen werken tentoongesteld. Tussen graffity van mindere kwaliteit zijn b.v. deze twee zeefdrukken te vinden, tezamen met een gedicht. De degelijke bouwwijze van de bakstenen muren zijn echt Belgisch; iedere Belg is met een baksteen in zijn maag geboren.
Gedicht :
Dit dorpje verdwijnt
druppelsgewijze
velen lopen doelloos
rond omdat de
heren politici
rationelen
beslissingen nemen.
Heren stroomt er
slechts water door jullie aderen.
In the village, deemed to distruction: Doel, young artists, that have a cheap living there, have exposed some works of there own.
Between graffity of lower quality these two stencils and a poem can be found on a garagedoor and a roll-down shutter.
The fine high quality brickwork on these walls is typical for Belgium, as every Belgian is born with a brick in his stomach>
Poem:
This little village disappears
dropwise
many people run around
purposeless,
because the
lords politicians
rationalists,
take decisions
Dear Lords does
only water run though
your veins?
Meet Shai Canaan (Israel)
I think JICNY is like the Riverside Park of Jewish organizations in NYC, a place to go to when I need a break from the same. It has a waterfront (foreign Jews & friends), great walking trails (parties and dinners), secret beautiful spots (Jewish classes), and it is 3 blocks to the left (3 blocks to the left). Being a friend of JICNY for 4 years now, I keep coming back for the all around enriching experience it provides in a most comfortable welcoming atmosphere. I was first introduced to JICNY on a date; she told me she just came back from a kabbalah class where the teacher helped her interpret her dream. I went to check it out the next Monday night class and never left (sometimes I leave, but I keep coming back).
Growing up in Israel was magnificent. I was raised in a traditional and grounded Zionistic family. I biked to school, had great friends, loved the Israeli fruits, summers at the beach, dog in the back yard, nature trips & historical hikes, and the constant reminder that we were (and are) a country of Jews under constant attack. That last one, made me live with a hand on the pulse and a clear understanding of who I was. I was a Magen David Adom EMT volunteer and it further sharpened the values I had towards fellow people and life. One sunny day, my family decided to move to the land of “In God We Trust” (specifically Miami Beach), I instantly found myself a purposeful guy in a purposeless world. It was a great experience to learn to direct my energies from nation building philosophies back in the Middle East, to becoming a Yeshiva University student in NY and coping with snow, subways, gefilte fish and Shabbat songs. After graduate school in Florida I chose to move to NY to hopefully find someone special and enjoy this wonderful colorful and real city.
I currently work as Information Technology manager of operations and networks for a logistics company. I specialize in security and I am in charge of making the world a safer place for tens of thousands of boxes filled with cosmetics, apparel, pharmaceutical, electronics, and other secret products. I love running, sports, scuba diving, photography that makes the eyes think. I will take a minute of silence now to lecture to anyone willing to listen that although the human body is a reflection of the Creator and that sports are fun, glorifying sports to the extent the Olympics do belongs to the philosophy of people I don’t want to be part of. Especially when they refuse the human element of making a point to remember the slain Israeli athletes.
Anyway in my book, JICNY gets a gold medal!