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(Picture taken 2011)
LIVING GODDESS is a 2008 film that documents lives of three young Kumaris (prepubescent girls believed to be living goddesses) against the backdrop of the Nepalese Civil War.
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Kumari, or Kumari Devi, is the tradition of worshiping young pre-pubescent girls as manifestations of the divine female energy or devi in Hindu religious traditions. The word Kumari, derived from Sanskrit Kaumarya meaning "virgin", means young unmarried girls in Nepali and some Indian languages and is a name of the goddess Durga as a child.
In Nepal a Kumari is a pre-pubescent girl selected from the Shakya or Bajracharya clan of the Nepalese Newari community. The Kumari is revered and worshiped by some of the country's Hindus as well as the Nepali Buddhists, though not the Tibetan Buddhists. While there are several Kumaris throughout Nepal, with some cities having several, the best known is the Royal Kumari of Kathmandu, and she lives in the Kumari Ghar, a palace in the center of the city. The selection process for her is especially rigorous. The current Royal Kumari, Matina Shakya, aged four, was installed in October 2008 by the Maoist government that replaced the monarchy. Samita Bajracharya, as the Kumari of Patan is the second most important living goddess.
In India a Kumari is generally chosen for one day and worshipped accordingly on certain festivals like Navaratri or Durga Puja. In the Indian state of Bengal this is a particularly prevalent practice.
A Kumari is believed to be the incarnation of the goddess Taleju (the Nepalese name for Durga) until she menstruates, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury are also causes for her to revert to common status.
PHILOSOPHY AND SCRIPTURES
The worship of the goddess in a young girl represents the worship of divine consciousness spread all over the creation. As the supreme goddess is thought to have manifested this entire cosmos out of her womb she exists equally in animate as well as inanimate objects. While worship of an idol represents the worship and recognition of supreme through inanimate materials, worship of a human represents veneration and recognition of the same supreme in conscious beings.
In the Shakta text Devi Mahatmyam or Chandi, the goddess is said to have declared that she resides in all female living beings in this universe. The entire ritual of Kumari is based on this verse. But while worshiping a goddess, only a young girl is chosen over a mature lady because of their inherent purity and chastity which are considered to be principal characteristics of Durga.
Hindu scriptures like the Jñanarnava Rudrayamala tantra assign different names to a Kumari depending on her age. A one year-old girl is called Sandhya, a two year-old girl is called Sarasvati, a child of three years of age is called Tridhamurti, on her fourth year she is Kalika, on fifth she is Subhaga, on sixth she is Uma, on her seventh year she is called Malini. an eight year girl is called Kubjika, on the ninth year she is Kaalasandarbha, on reaching tenth year she is Aparajita, on eleventh she is Rudrani, on twelfth year she is named Bhairavi, on thirteenth she is Mahalakshmi, on fourteenth she is Pithanayika, on fifteenth she is Kshetragya, and on sixteenth years of her age she is Ambika.
In India, Kumaris are worshiped only for a day and these names are assigned only while the ritual lasts, usually a few hours. Usually one cannot be a Kumari beyond sixteen years of age due to menarche.
The main target of a Kumari puja is to realize the potential divinity in every human being, mostly female. A Hindu spiritual aspirant sees the universal consciousness of humanity.
HISTORY IN NEPAL
Whilst the veneration of a living Kumari in Nepal is relatively recent, dating only from the 17th century, the tradition of Kumari-Puja, or virgin worship, has been around for much longer. There is evidence of virgin worship taking place in Nepal for more than 2,300 years. It appears to have taken hold in Nepal in the 6th century. There is written evidence describing the selection, ornamentation and worship of the Kumari dating from the 13th century.
There are several legends telling of how the current tradition of the Kumari began. Most of the legends, however, tell of King Jayaprakash Malla, the last Nepalese king of the Malla Dynasty (12th–17th century CE). According to the most popular legend, a red serpent approached the king's chambers late one night as he played tripasa, a dice game, with the goddess Taleju. The goddess came along every night to play the game, with the condition that the king refrain from telling anyone about their meetings.
But one night the king's wife followed him to his chamber in order to find out who the king was meeting so often. The king's wife saw Taleju and the goddess was angered. She told the king that, if he wants to see her again or have her protect his country, he'd have to search for her among the Newari (Shakya) community of ratnawali, as she would be incarnated as a little girl among them. Hoping to make amends with his patroness, King Jayaprakash Malla left the palace in search of the young girl who was possessed by Taleju's spirit.
Similarly, there is another story about the disappearance of Taleju (Durga). Some believe that the goddess visited king Trailokya Malla every night in the human form. Like other legendary stories, the king and the goddess played tripasa (dice) while discussing about the welfare of the country. However, one night king Trailokya Malla made sexual advances towards the goddess Taleju. As a result,the goddess in rage stopped visiting the palace. The king in regret worshipped and pleaded for her return. Finally, the goddess agreed to appear in the body of the virgin girl from the Shakya family.
Even today, a mother's dream of a red serpent is believed to be a portent of the elevation of her daughter to the position of Royal Kumari. And each year, the Nepalese King seeks the blessing of the Royal Kumari at the festival of Indra Jatra. This tradition has changed recently with the country becoming the youngest republic of the world. This year the president of Nepal sought Kumari's blessing instead.
A variation of this and other legends names King Gunkam Dev, a 12th-century ancestor of King Jayaprakash Malla, as the main character rather than Jayaprakash Malla.
A third variation of the legend says that during the reign of King Jayaprakash Malla, a young girl was banished from the city because it was feared that she was possessed by the goddess Durga. When the queen learned of the young girl's fate, she became enraged and insisted that the king fetch the girl and install her as the living incarnation of Durga.
SELECTION PROCESS
Once Taleju has left the sitting Kumari, there is a frenzy of activity to find her successor. Some have compared the selection process to the process used in nearby Tibet to find the reincarnations of Tulkus, such as the Dalai Lama or the Panchen Lama. The selection process is conducted by five senior Buddhist Vajracharya priests, the Panch Buddha, the Bada Guruju or Chief Royal Priest, Achajau the priest of Taleju and the royal astrologer. The King and other religious leaders that might know of eligible candidates are also informed that a search is underway.
Eligible girls are Buddhists from the Newar Shakya caste (the clan to which the Buddha belonged) of silver and goldsmiths. She must be in excellent health, never have shed blood or been afflicted by any diseases, be without blemish and must not have yet lost any teeth. Girls who pass these basic eligibility requirements are examined for the battis lakshanas, or 'thirty-two perfections' of a goddess. Some of these are poetically listed as such:
- A neck like a conch shell
- A body like a banyan tree
- Eyelashes like a cow
- Thighs like a deer
- Chest like a lion
- Voice soft and clear as a duck's
In addition to this, her hair and eyes should be very black, she should have dainty hands and feet, small and well-recessed sexual organs and a set of twenty teeth.
The girl is also observed for signs of serenity and fearlessness and her horoscope is examined to ensure that it is complementary to the King's. It is important that there not be any conflicts as she must confirm the King's legitimacy each year of her divinity. Her family is also scrutinized to ensure its piety and devotion to the King.
Once the priests have chosen a candidate, she must undergo yet more rigorous tests to ensure that she indeed possesses the qualities necessary to be the living vessel of Durga. Her greatest test comes during the Hindu festival of Dashain. On the kalratri, or 'black night', 108 buffaloes and goats are sacrificed to the goddess Kali. The young candidate is taken into the Taleju temple and released into the courtyard, where the severed heads of the animals are illuminated by candlelight and masked men are dancing about. If the candidate truly possesses the qualities of Taleju, she shows no fear during this experience. If she does, another candidate is brought in to attempt the same thing.
As a final test, the living goddess must spend a night alone in a room among the heads of ritually slaughtered goats and buffaloes without showing fear. The fearless candidate has proven that she has the serenity and the fearlessness that typifies the goddess who is to inhabit her. After passing all other tests, the final test is that she must be able to pick out the personal belongings of the previous Kumari from an assortment of things laid out before her. If she is able to do so, there is no remaining doubt that she is the chosen one.
There are claims contrary to the commonly believed ritual and screening process, however. The ex-Royal Kumari Rashmila Shakya states in her autobiography From Goddess to Mortal (2005) that this has nothing to do with the selection process, but rather is a ritual the Royal Kumari goes through each year, and that there are no men dancing around in masks trying to scare her, and that at most there are only a dozen or so decapitated animal heads in the scary room test. She also describes the requisite physical examination of each Kumari as neither intimate nor rigorous.
Once the Kumari is chosen, she must be purified so that she can be an unblemished vessel for Taleju. She is taken by the priests to undergo a number of secret Tantric rituals to cleanse her body and spirit of her past experiences. Once these rituals are completed, Taleju enters her and she is presented as the new Kumari. She is dressed and made up as a Kumari and then leaves the Taleju temple and walks across the square on a white cloth to the Kumari Ghar that will be her home for the duration of her divinity.
LIFE OF THE ROYAL KUMARI
Once the chosen girl completes the Tantric purification rites and crosses from the temple on a white cloth to the Kumari Ghar to assume her throne, her life takes on an entirely new character. She will leave her palace only on ceremonial occasions. Her family will visit her rarely, and then only in a formal capacity. Her playmates will be drawn from a narrow pool of Newari children from her caste, usually the children of her caretakers. She will always be dressed in red, wear her hair in a topknot and have the agni chakchuu or "fire eye" painted on her forehead as a symbol of her special powers of perception.
The Royal Kumari's new life is vastly different from the one to which she has been accustomed in her short life. Whilst her life is now free of material troubles, she has ceremonial duties to carry out. Although she is not ordered about, she is expected to behave as befits a goddess. She has shown the correct qualities during the selection process and her continued serenity is of paramount importance; an ill-tempered goddess is believed to portend bad tidings for those petitioning her.
The Kumari's walk across the Durbar Square is the last time her feet will touch the ground until such time as the goddess departs from her body. From now on, when she ventures outside of her palace, she will be carried or transported in her golden palanquin. Her feet, like all of her, are now sacred. Petitioners will touch them, hoping to receive respite from troubles and illnesses. The King himself will kiss them each year when he comes to seek her blessing. She will never wear shoes; if her feet are covered at all, they will be covered with red stockings.
The power of the Kumari is perceived to be so strong that even a glimpse of her is believed to bring good fortune. Crowds of people wait below the Kumari's window in the Kumari Chowk, or courtyard, of her palace, hoping that she will pass by the latticed windows on the third floor and glance down at them. Even though her irregular appearances last only a few seconds, the atmosphere in the courtyard is charged with devotion and awe when they do occur.
The more fortunate, or better connected, petitioners visit the Kumari in her chambers where she sits upon a gilded lion throne. Many of those visiting her are people suffering from blood or menstrual disorders since the Kumari is believed to have special power over such illnesses. She is also visited by bureaucrats and other government officials. Petitioners customarily bring gifts and food offerings to the Kumari, who receives them in silence. Upon arrival, she offers them her feet to touch or kiss as an act of devotion. During these audiences, the Kumari is closely watched and her actions interpreted as a prediction of the petitioners lives', for example as follows:
- Crying or loud laughter: Serious illness or death
- Weeping or rubbing eyes: Imminent death
- Trembling: Imprisonment
- Hand clapping: Reason to fear the King
- Picking at food offerings: Financial losses
If the Kumari remains silent and impassive throughout the audience, her devotees leave elated. This is the sign that their wishes have been granted.
Many people attend to the Kumari's needs. These people are known as the Kumarimi and are headed by the Chitaidar (patron). Their job is very difficult. They must attend to the Kumari's every need and desire whilst giving her instruction in her ceremonial duties. Whilst they cannot directly order her to do anything, they must guide her through her life. They are responsible for bathing her, dressing her and attending to her makeup as well as preparing her for her visitors and for ceremonial occasions.
Traditionally, the Kumari received no education as she was widely considered to be omniscient. However, modernization has made it necessary for her to have an education once she re-enters mortal life. Kumaris are now allowed to attend public schools, and have a life inside the classroom that is no different from that of other students. While many kumaris, such as the Kumari of Bhaktapur, attend school, others, such as the main kumari in Kathmandu, receive their education through private tutors.
Similarly, her limited playmates must learn to respect her. Since her every wish must be granted, they must learn to surrender to her whatever they have that she may want and to defer to her wishes in what games to play or activities to engage in.
Popular superstition says that a man who marries a Kumari is doomed to die within six months by coughing up blood. In reality, however, it seems that most Kumaris do eventually marry. All of the living former Kumaris with exception of the youngest ones have married, albeit at a significantly older age than the average marriage age for girls in Nepal.
On July 3, 2007, Sajani Shakya was removed from her position as Kumari of Bhaktapur after visiting the US to attend the release of the movie Living Goddess at Silverdocs the American Film Institute/Discovery Channel documentary festival in downtown Silver Spring, Maryland, USA. The visit, according to the elders, had tainted her purity. A couple of weeks later, temple authorities at Sajani Shakya's home town recanted their previous statement and said that she would not be stripped of her title because she was willing to undergo a "cleansing" ceremony to remove any sins she might have committed while traveling.
WIKIPEDIA
www.youtube.com/watch?v=kU1Zymqlhko&feature=related
The Magdalene Laundries - Joni Mitchell
Macro photo of a yellow flower
The art of seeing
The heart of being
Being sensitive to a people's plight
The essence of human nature
The heart of photography
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www.freemanpatterson.com/art_statement.htm
My photographic mentor is name Freeman Paterson - Thus the song for today
Please if you have a minute read his art statement
It has greatly influenced mine
Have a wonderful week
Guy
Montreal
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
www.1928.com/pages-productinfo/category-22_31_538/product...
Title: D-Day Statement to Soldiers, Sailors, and Airmen of the Allied Expeditionary Force, 06/1944
Creator(s): Eisenhower, Dwight D. (Dwight David), 1890-1969
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=186473
D-day statement to soldiers, sailor, and airmen of the Allied Expeditionary Force, 6/44, Collection DDE-EPRE: Eisenhower, Dwight D: Papers, Pre-Presidential, 1916-1952; Dwight D. Eisenhower Library; National Archives and Records Administration.
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
27-XII-2021 Lunes
______
Bueno a lo tonto
pero hoy voy a ir
para empezar a
tomar metadona
y así al menos
quitar - me
el mono malo
y dar el 1er paso
y así empezar
a moverme para
salir de esto.
Cuando acabe el
dolor voy a estar
en otras
condiciones
seguro, voy a
estar bien sin
consumir.
seguro.
voy a hacerlo
voy x ello
(Documento real, reflexión anónima encontrada en el suelo escrita en una etiqueta por alguien)
2nd Lt. Beau Benton of O’Fallon, Ill., assigned to 709th Military Police Battalion, 18th MP Brigade prepares a counseling statement during the Counseling Lane of U.S. Army Europe’s Best Junior Officer Competition at Grafenwoehr Training Area, Germany August 19, 2013. The Best Junior Officer Competition, unique to U.S. Army Europe, is a weeklong training event highlighting the best lieutenants and captains in Army units across Europe. These officers represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Competitors for the title of Best Junior Officer prove themselves in events testing physical stamina, leadership and technical knowledge. (U.S. Army photo by Sgt. Jermaine Baker)
From my nighttime expedition to the Turk St. hoard for long exposure images (for my fellow amateur photographers who like cars, I've discovered that the best images are nighttime ones with timed exposures--try it). Since my first trip here two weeks ago, I've learned that the owner is a gentleman called Nick who evidently works as a cab driver, and who owns at least 15 cars. One of these days I hope to meet him. I went out of my way to be conspicuous while shooting these, but no one came to the window.
As to what we have here, in the foreground is the beautiful 58 Buick Century, now parked on the street with its 'Deluxe Fashionaire' grill visible for all to see, and in the background, along with appropriate period architecture, a fellow 1958 GM offering: the Oldsmobile 88.
Fair enough, without the USA entering the war in 1941, we'd have been in serious trouble but a steam engine winning the war?! A combination of events would be more accurate, not the least of which was the tenacity of the Russians.
The SS 'Jeremiah O'Brien' in San Francisco is not your average tourist destination but as a survivor of the Normandy landings in WW2, it deserves more attention than it gets.
St John the Baptist, Felixstowe, Suffolk
With one consuming roar along the shingle
The long wave claws and rakes the pebbles down
To where its backwash and the next wave mingle,
A mounting arch of water weedy-brown
Against the tide the off-shore breezes blow.
Oh wind and water, this is Felixstowe.
In winter when the sea winds chill and shriller
Than those of summer, all their cold unload
Full on the gimcrack attic of the villa
Where I am lodging off the Orwell Road,
I put my final shilling in the meter
And only make my loneliness completer.
In eighteen ninety-four when we were founded,
Counting our Reverend Mother we were six,
How full of hope we were and prayer-surrounded
"The Little Sisters of the Hanging Pyx".
We built our orphanage. We built our school.
Now only I am left to keep the rule.
Here in the gardens of the Spa Pavillion
Warm in the whisper of the summer sea,
The cushioned scabious, a deep vermillion,
With white pins stuck in it, looks up at me
A sun-lit kingdom touched by butterflies
And so my memory of the winter dies.
Across the grass the poplar shades grow longer
And louder clang the waves along the coast.
The band packs up. The evening breeze is stronger
And all the world goes home to tea and toast.
I hurry past a cakeshop's tempting scones
Bound for the red brick twilight of St.John's.
"Thou knowest my down sitting and mine uprising"
Here where the white light burns with steady glow
Safe from the vain world's silly sympathising,
Safe with the love I was born to know,
Safe from the surging of the lonely sea
My heart finds rest, my heart finds rest in Thee.
John Betjeman - Felixstowe, or The Last of Her Order
Much as we go to Long Melford to find out about the 15th century, so future historians will come to St John the Baptist to chart the course of the century just ended. For this church is the definitive statement in Suffolk of the liturgy and practice of 20th century High Church Anglicanism. Neither as eclectic as Spooner's Ipswich St Bartholomew, or as provincial as Phipson's Ipswich St Mary le Tower, this mighty church, the last work of the great Sir Arthur Blomfield, is the nearest thing Suffolk has to the grand and uncompromising High Church temples of west London.
It has an unparalleled collection of 20th century stained glass; the best of this consists of a range of saints, spanning the century, from St Etheldreda in her high Victorian camp, to the modern Sts Hilda and Bede, both illustrative of the current Celtic revival in Anglican spirituality. Also worthy of note among them are the Arts and Crafts influenced James, Peter and John, the Lady Chapel glass east window of the Suffolk triumverate of Edmund, Felix and Fursey, and, as recently as 1982, St Thomas More, who exists elsewhere in a Suffolk Anglican Church at the extremis of Kettlebaston.
Father James Mather informs me that More is at last recognised in the Anglican calendar in the new Common Worship lectionary, but this was not the case in 1982. As the foundations of Anglicanism were bought at the cost of More's life, it is bold indeed that this window commemorates More's martyrdom. Much of the glass is by Powell and co., and forms a document of that studio's work as well.
But I am getting ahead of myself. Felixstowe is the nearest thing Suffolk has got to a traditional seaside town, albeit not as brash as Walton-on-the-Naze and Clacton across the river in Essex, or Yarmouth over the Norfolk border. The town separates naturally into a number of areas, each with its own main churches: Felixstowe Ferry, Old Felixstowe, Felixstowe Town, Felixstowe West End, and Felixstowe Docks. Suburbs include the medieval parishes (and medieval churches) of Walton and the two Trimleys, but only Old Felixstowe has a medieval parish church in the town itself.
As the town expanded westwards at the turn of the century, the West End grew as an area of substantial red-brick town houses, some of them hotels and guesthouses, some sanitoriums, but the whole piece grander than anything else in urban Suffolk outside of Southwold or the Christchurch Park area of Ipswich. Nestled into this very comfortable area, St John the Baptist on Orwell Road is a beacon, the town's tallest building, a landmark from land and sea alike. It was also the only Suffolk church enshrined in verse by John Betjeman, in his poem Felixstowe, or the last of her order; not surprisingly, since it would be quite at home among the London churches he loved.
Edwardian Felixstowe lost its holiday industry long ago. It is now but the favourite destination for daytrippers from Ipswich, the urban sprawl of which lies a bare six miles from the edge of Felixstowe's. But this area still has a holiday town atmosphere. There is a steep descent down the wonderfully named Convalescent Hill to the beach below, with crowds thronging the shingle and the leisure centre; but up here, it is another age, with the comfortable spring sunshine baking the red bricks of the quiet three-storey houses.
St John the Baptist's concrete-white spire emerges above its lower stages, the redness of which intensify from a distance. Blomfield had built the rest of the church in the early 1890s, but the spire and the Lady chapel followed in 1899, the year of his death. You enter nowadays through Munro Cautley's 1940 south porch; the main entrance beneath the tower is no longer used. The first impression is of a dimness, the smell of incense, rich light from the coloured glass. Betjeman wrote of St John's "red brick twilight", and the same is true today as then.
The windows previously referred to line the walls of the north and south aisles and Lady chapel. The last is in the south aisle, and is now partitioned off by glass doors to enable a prayerful silence when the rest of the building is in use, as at Ipswich St Bartholomew. The lowness of the aisles accentuates the over-arching nave roof, and draws the eyes to the 'Big Six' candlesticks on the high altar. No Vatican II altar in the nave here, for the chancel gates and Suffolk-style screen still contain clergy and choir stalls in front of the tiled and marbled sanctuary. So, as at Ipswich St Mary le Tower, High Church externals are maintained, whatever the liturgy. Either side of the high altar are gilded mosaics illustrating Christ's gift of peace.
To the west, a little screened baptistery in the north aisle. The window behind it is the oldest in the church, and illustrates St Felix baptising and preaching. It is dedicated in memory of a child called Felix, who died in the 1890s. One of Blomfield's hallmarks is the way his buildings appear to be a cluster of smaller buildings around the great nave, like a medieval city. That illusion is successfully created here by the way the rooflines contrast, particularly that of the Lady chapel with the nave. From the south east, the direction from which you would commonly approach, this is particularly striking.
The feeling of a citadel is further reinforced by the way St John the Baptist is shoe-horned into its site, with barely room to breathe except on the north side, where the former rectory lawn spreads towards the house. In the old days, it must have been pleasant to step from High Mass into a summer fete or garden party. But High Mass has gone, and the rectory is now derelict, alas.
More romantic still is the convent that sits to the west of the church, which instantly recalls Betjeman's poem. As one stands outside, with the 'crashing tide' below, the sisters come and go, and it would be romantic to imagine that they are a surviving relic of the extraordinary flourishing of Anglican religious orders at the turn of the 19th and 20th centuries. Indeed, you might almost imagine that this is the very convent that Betjeman had in mind, despite the fact that he suggested himself that these orders were withering away when he wrote this poem in the 1950s. But in fact, this is a Catholic convent, the house of the Religious of Jesus and Mary.
Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
PP22 - Policy Statements
H.E. Dr Ms Emilija Stojmenova Duh
Minister
Government Office for Digital Transformation
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
A minute of silence.
Images from today's (23 May 2017) vigil
in Manchester's Albert Square following yesterday's terrorist attack in the city.
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
With the ipad mini
Uluru Statement from the Heart in English
5m
SBS Radio - in consultation with the Uluru Dialogue, Indigenous Law Centre UNSW - is sharing the Uluru Statement from the Heart in various languages to continue the national dialogue. For the first time, this podcast collection includes more than 20 Aboriginal languages (from communities in the Northern Territory and from Northern Western Australia), which will continue to grow as more First Nations languages are translated. The collection also includes more than 60 languages for Australia’s Culturally and Linguistically Diverse communities. The Uluru Statement from the Heart is an invitation to the Australian people to walk with First Nations peoples to create a better future. In May 2017, Aboriginal and Torres Strait Islander delegates came together at the First Nations National Constitutional Convention near Uluru and presented the Uluru Statement from the Heart to the Australian people. The Statement calls for a First Nations Voice to Parliament, enshrined in the constitution, and a process for agreement making (Treaty) and truth-telling. It was the culmination of 13 deliberative Regional Dialogues across Australia with First Nations communities. The Statement seeks to establish a relationship between Australia's First Nations peoples and the Australian nation based on truth, justice and self-determination. Music by Frank Yamma. Photo by Jimmy Widders Hunt. Video collection: www.sbs.com.au/ondemand/uluru-statement-from-the-heart-in... Podcast collection: www.sbs.com.au/language/ulurustatement
A BBC video of the Exhibition from BBC World's 'Impact Asia' can be found here:
Exhibition and Charity Auction in aid of the British veterans of the Korean War.
A positive, dynamic and exciting exhibition of contemporary art by forty Korean Artists, reflecting on the Korean War and its legacy.
This exhibition thanked the men and women of Britain who came to Korea’s defence in the name of liberty in 1950.
Exhibition Dates: 16 June – 17 July 2010
The artworks were subsequently sold at a Charity Auction at the KCC with the kind support of Sotheby’s and The Royal British Legion.
The contributing artists for the exhibition PRESENT FROM THE PAST: The 60th Commemoration of the Korean War:
in alphabetical order:
Je BAAK, Seung Woo BACK, Chan-Hyo BAE, C Gene, Francesca CHO, Young-Jin CHOI, Sen CHUNG, Shan HUR, Yun Kyung JEONG, Eemyun KANG, KANG Yong Suk, Ayoung KIM, Hayoung KIM, Kira KIM, Dae Hun KWON, KWON Kyung-hwan, Changwon LEE, LEE Lee Nam, Sang Youp LEE, Sea Hyun LEE, Suejin LEE, Yongbaek LEE, NA Hyun, NANDA, Jae woo OH, Junggeun OH, Hyung Jin PARK, Jinhee PARK, PARK Jongha, PARK Jongwoo, PARK Sungsil, PARK Young Geun, SEO, Gunwoo SHIN, Meekyoung SHIN, Bada SONG, Yun-Hee TOH, Seungho YOO, YOO Hye-Sook, Jungu YOON
PRESENT FROM THE PAST: the 60th Commemoration of the Korean War
All Rights Reserved: The Korean Cultural Centre UK.
okay i had this idea sometime back....randomly.. probably during the middle of some school idea. it didn't really execute the way i wanted, but picnik helped a little bit. :/
anyways.
thoughts?
[btw, in case you didn't figure it out.. the red lines = "do not" :P ]
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