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Happy National Cleavage Day 2020! Some cultures shame women for their bodies. Some people treat them as a goal amd objectify them. Today is the day we celebrate women being able to appreciate their own body and show it (or not show it!) as they feel comfortable. Last year I posted to never let anyone tell you that you are the wrong size to be beautiful. Today, while doing the prep for this year I realized that I have failed to celebrate diversity and to really emphasize that statement. I will endeavor to be more inclusive. Cleavage day is not just for the busty and the well endowed. Its for every person who appreciates what they have and is comfortable with it!
Canon 5D Mark II Photos Tan Blond Swimsuit Bikini Model Goddess! 24-105mm F/4 USM L Lens !
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=5Y5lQiNQncA
www.youtube.com/watch?v=6OfcQ9KCy1Y
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
I don't know how many times I have been into Norwich in my lifetime. It is certainly hundreds if only for the football at Carrow Road.
On top of that there were the shopping trips of the 70s and 80s which included visits to Brentford Nylons, C&A and then chips on the market, in the shadow of St Peter.
And in all those times, along with the visits to the beer festival, vinyl hunts at the Record and Tape Exchange, I have never set foot into St Peter. Until last month.
And so thanks to my good friend mira66 for showing me around the city and into several of the city's fine churches and the 'other' cathedral.
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The great urban churches of northern Europe sit on their market places, especially in Cathedral cities. It is as if they were intended as late Medieval statements of civic pride. They are a reminder of the way that the cities rose to prominence in the decades after the Black Death, as if the old order had been broken and a new one was beginning. They were a great affirmation of Catholic orthodoxy and social communion, in the years before the merchants that paid for them embraced Protestantism and capitalism. They are European culture caught on the cusp of the Renaissance, the beacons that lead us into early modern Europe.
These things are more easily sensed in the great late medieval cities of Flanders and the Netherlands, for example at Bruges. The bridges, the medieval triumph, the tourist tat shops and the foreign voices can create an illusion of being in Cambridge or Oxford, but the great Market Church and Belfry on the main square recall Norwich, where St Peter Mancroft and the medieval Guildhall have a similar juxtaposition. The Industrial Revolution would bring a new wave of cities to prominence, but in the provincial cities that were prominent in the 15th century, Norwich, and Bristol, and York, you still sense the power of those times.
Looking at St Peter, the sophistication of its Perpendicular architecture feels a geological age away from the coarse, brutal Norman castle on the far side of the Main Croft ('Mancroft'), which is understandable. Four hundred years had passed since the Norman invasion, and St Peter Mancroft is as close in time to the Industrial Revolution as it is to the Normans. That is true of all late medieval churches, of course, but seeing the architecture in a city you get a sense that it looked to the future more than to the past. St Peter Mancroft feels entirely at home with the clean, Scandinavian lines of the adjacent 1930s City Hall, and perhaps even more so with the retro-Modernism of the new Forum, whch reflects it back to the city. The Forum was built to replace the Norwich City library, tragically destroyed by fire in 1994, but in style it echoes the confidence of a great 19th century railway station, the roof a triumph of engineering. You are reminded of Cologne, where to leave the railway station and step into the shadow of the west front of the great Cathedral is to merely move from one statement of civic pride to another.
The influence of Flanders and the Netherlands is familiar in East Anglia, of course, but it is only at Norwich you sense this sense of civic bullishness. Utilitarian, practical Ipswich demolished St Mildred on the Cornhill in the 19th century - the French Baroque town hall now stands on the site. In Cambridge, the market place has been skewed so that today St Mary the Great sits with its east window facing the stalls, as if keeping them at a distance. Worse, it now styles itself the 'University Church'. The great north side of St Peter Mancroft, its massive tower and clerestory like eternal truths rising above the deckchair jollity of the stall canopies, is a constant presence. You can never ignore it.
We know that the present church was begun by 1430, and was consecrated on St Peter's Day, 1455. That is, it is all of a piece. In the nave and chancel there are echoes of near-contemporary Holy Trinity, Long Melford, in Suffolk. The tower is something else again; idiosyncratic, a symbol of power and wealth. There's nothing else quite like it. Pevsner thought it more rich than aesthetically successful, and this is not helped by Street's spirelet of 1881, a flighty thing. There was a massive Victorian restoration here. Before the Streets, pere et fils, came along, diocesan architect Richard Phipson had given it a going over, and there is a sense of the grand 19th century civic dignity of his St Mary le Tower in Ipswich. Of course, hardly anything of these restorations is visible from the outside, apart from a mid-20th century meeting room down in the south-east corner, a jaunty Festival of Britain affair, now a parish tea room.
A processional way runs beneath the tower, and there is another beneath the chancel, the land sloping steeply away towards the east. You enter from either the north or south sides, through surprisingly small porches which lead into the aisles. Again, a sense of civic confidence pervades as the interior unfolds before you.
There is no chancel arch. The arcades run the full length of the church, the great east window is echoed by that to the west, and if you stand in the middle of the church and look to either end, only the west end organ tells you easily which direction you are facing. The furnishings are pretty much all Phipson's, uneasily heavy under the delicate fluting of the columns. How good modern wooden chairs would look in here! There are civic memorials the lengths of the aisle walls, but because the windows are full of clear glass they are not oppressive here as they are, say, at St Stephen.
At the west end of the north aisle sits the font on its pedestal. You can see at a glance that it was one of the seven sacraments series, and that all of its reliefs have been completely erased, as in the great churches of Southwold and Blythburgh in Suffolk. At Wenhaston, we know that this happened in the 19th century - could the same thing be true here? Above the font is the famous font canopy. Now, font canopies are so rare - there are only four of them, and they are all so different - that it is not particularly useful to compare them. Certainly, that here reflects the rather grander example at Trunch, some twenty miles away. Since the other two are either post-Reformation (Durham) or made of stone (Luton), it might make sense to think of the Norfolk two as a unique pair. Here at St Peter Mancroft, much of the upper part is a 19th century restoration, and there seems to have been some attempt to copy Trunch. The lower part is more interesting, with its niches and canopies. It must have been spectacular when the font was intact.
Pevsner tells us that the gilded reredos in the sanctuary is by JP Seddon, but that Ninian Comper restored and enlarged it in the early 1930s. It is not exciting, but that is probably as well, for above it is one of the greatest medieval treasures of East Anglia. This is the medieval glass that survives from the first few decades of the existence of the church. Some of it was probably in place that first Petertide. It has been moved around a bit since then; the whole east side was blown out by an explosion in 1648, and the glass has been removed on several occasions since, most recently during the Second World War. After East Harling, it is the finest expanse of Norwich School glass of the 15th century.
Books have been written about the glass at St Peter Mancroft, and there is neither time nor space to go into too much detail here. Suffice to say that this is the work of several Norwich workshops, probably working in the Conesford area of the city along what is today King Street. It is obvious that some other glass in East Anglia is from the same workshops using the same or similar cartoons, notably North Tuddenham in Norfolk and Combs in Suffolk, and of course most obviously, East Harling. Indeed, by comparison with East Harling in the 1920s, the historian Christopher Woodforde was able to deduce some of what was missing here, and what there.
There are several sequences, most notably the Story of Christ from the Annunciation to the day of Pentecost. This extends into a Marian sequence depicting the story of the Assumption. There are also scenes from the stories of St Peter and St John, and other individual Saints panels, including St Faith, a significant cult in late medieval Norwich. The panel of St Francis suggests that it was also once part of a sequence. The lower range depicts the donors, some of whom are identified. The central spine is largely modern glass by Clayton and Bell for the Streets in the 1880s. Some of the missing glass is now at Felbrigg Hall.
In any other church, the 1921 glass by Herbert Hendrie in the south chapel aisle chapel would be considered outstanding. It is in the style of Eric Gill, but feels rather heavy handed next to the extraordinary delicacy of its medieval neighbours.
While I was here, I stopped taking photographs for the one o'clock prayers. One of the custodians stood at the lectern and read very eloquently from the Acts of the Apostles, and said prayers for the city and its people. Apart from me, there were only two other listeners in the vast space. It was tenderly and thoughtfully done, but I couldn't help thinking that it is the exterior of this wonderful structure which is the Church's true act of witness in central Norwich now.
Simon Knott, May 2007
www.norfolkchurches.co.uk/norwichstpetermancroft/norwichs...
ARTIST STATEMENT:
These pieces are about beauty and society’s value on beauty and how it affects the mental states of individuals. Andrea Deszo’s “My Mother Claimed” inspired me. In this series the artist embroiders serious sayings her mother had said to her as a child into fabric. I realized by doing so it made the harsh words seem less harsh. I followed her method and decided to use colorful embroidery thread to lighten stern subjects. In the beginning I wanted to reunite society with those whom it had shunned due to their visible differences. I wanted to embroider limbs onto amputees, sew aligned spines onto the elderly, and hair onto chemotherapy patients. The finished product is a more concentrated version. The pieces play with the topic of both internal and external health and beauty. I kept in mind how the individuals felt, how they were treated, and their physical inhibitions. For materials I used cotton and embroidery thread. I decided to use the frail handkerchiefs because they were easy to sew into and also added to the theme.
ARTIST BIO:
Brigette Larmena has been an active student at New Urban Arts for the past four years. She graduated from Classical High School last year and is now taking classes at the Community College of Rhode Island and an anatomy class at Brown University. She works within multiple media, including sculpting, watercolor painting, drawing, sewing, fashion design and writing. She spent her summers making art at New Urban Arts as part of the 2009 Zine Team, the 2010 Art Inquiry on archives, the 2011 Untitlement Project, and, most recently, she was awarded a scholarship for her work in the Senior Studio Immersion that explored health, arts and healing. Her individual project explored chemotherapy and hair loss. Brigette has been a member of the Studio Team Advisory Board at New Urban Arts for the past three years. As a STAB member, she dreamed up and organized the 2010 How To Fair, a sharing of the things we love to do through a series of demonstration booths. She is excited for the opportunity to be the 2012-13 STAB chair.
Canon 5D Mark II Photos Tan Blond Swimsuit Bikini Model Goddess! 24-105mm F/4 USM L Lens !
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=5Y5lQiNQncA
www.youtube.com/watch?v=6OfcQ9KCy1Y
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
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)
Kumari, or Kumari Devi, or Living Goddess - Nepal 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.
In Nepal a Kumari is a pre-pubescent girl selected from the Shakya caste 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. Unika Bajracharya, selected April 2014, as the Kumari of Patan is the second most important living goddess.
In Nepal a Kumari is generally chosen for one day and worshipped accordingly on certain festivals like Navaratri or Durga Puja. In Kathmandu Valley this is a particularly prevalent practice.
In Nepal, a Kumari is believed to be the incarnation of Taleju, 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 loss of deity.
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 woman because of their inherent purity and chastity.
Hindu scriptures like the Jñanarnava Rudrayamala tantra assign 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-old 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 sixteen years of her age she is Ambika.
In Nepal, Kumaris are worshiped only for a day; these names are assigned only while the ritual lasts, often 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 CE.
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. 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 (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.
FORMER KUMARIS
Popular superstition says that a man who marries a Kumari is doomed to die within six months by coughing up blood.[citation needed] 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.
CONTROVERY
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.[5] 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
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.
214 West 42nd Street, Midtown Manhattan, New York City, New York, United States
The New Amsterdam Theater, built in 1902-03 for the theatrical producers Klaw & Erlanger, was for many years one of the most prestigious Time Square theaters and home of the famous Ziegfeld Follies. Designed by the noted theater architects, Herts & Tallant, the New Amsterdam Theater achieved distinction both for its functions and for its artistic program.
More than just a theater, the structure was planned, at the request of Klaw & Erlanger, to incorporate two performing spaces with an office tower to house their varied theatrical interests. Even more importantly, however, the New Amsterdam is a rare example of Art Nouveau architecture in New York City, and, as such, is a major artistic statement by Herts & Tallant.
Working in conjunction with sculptors, painters, and other craftsmen, they used the Art Nouveau style to carry out a dual theme—the representation of the spirit of drama and the theater and the representation of New Amsterdam in its historical sense as the city of New York. The form of the building vividly expresses the dual functions of office tower and theater, while the Art Nouveau-inspired ornamental detail expresses the spirit of drama.
The Clients
By the beginning of the 20th century, New York's theater district had moved uptown to the Time Square area, continuing a northward shift which had prevailed throughout the 19th century, and many theatrical producers commissioned new theaters to meet an expanding need. Among them were the producing partnership of Klaw & Erlanger.
Marc Klaw and Abraham L. Erlanger , both of whom had served as advance agents and managers of touring companies, joined forces in 1886 to buy the Taylor Theatrical Exchange, a New York booking agency. By 1895 the Klaw & Erlanger agency was the second largest in the nation, controlling nearly 200 theaters. In 1896 they joined with Charles Frohman, Al Hayman, Samuel F. Nixon, and J. Frederick Zimmerman to organize the Theatrical Syndicate.
The Syndicate avowed its intention of bringing about needed reforms in the booking of shows, but in the process created a monopoly with exclusive control of bookings for more than 500 theaters throughout the country.
The firm of Klaw & Erlanger was made responsible for all attractions presented in theaters controlled by the Syndicate. Beginning about 1910 the Syndicate was challenged by the growth of the organization of the Shubert brothers, and it was formally dissolved in 1916. Klaw & Erlanger retained its dominant position as a booking agency, and the partners continued their roles as managers and producers.
It was in the role of producer that Klaw & Erlanger purchased, in 1902, a parcel of property west of Seventh Avenue and extending through the block between 41st and 42nd Streets and commissioned the noted firm of theater architects, Herts & Tallant, to design a multi-use theater structure, incorporating two theaters and a ten-story office tower to house their booking and producing enterprises.
The Architects
By 1902 Henry Beaumont Herts and Hugh Tallant had begun to achieve a reputation as theater architects. Herts, the son of Henry B. Herts who had established the decorating firm of Herts Brothers, had studied at the Columbia University School of Mines, while Tallant received two degrees from Harvard College.
They became friends while students at the Ecole des Beaux-Arts in Paris and worked together on student projects. Also a talented painter, Herts exhibited at the Paris Salon of 1898.
Returning to New York, the two formed the firm of Herts & Tallant in 1900 which quickly began to achieve a reputation in theater architecture. In addition to the New Amsterdam, other theaters which the two designed were: the Lyceum , the Liberty , the Gaiety , the Folies-Bergere , the Booth , the Longacre , the Shubert , all in Times Square; and the Brooklyn Academy of Music .
In the New Amsterdam, they pioneered the use of cantilever construction to create theater balconies without supporting pillars that would obstruct the vision of those in the lower seating area. This innovation is generally credited to Herts.
The partners were also talented acousticians, and Tallant wrote extensively on the subject. Careful attention to fireproof construction and extensive stage facilities were other hallmarks of Herts & Tallant theaters. Tallant also wrote a series of articles on "The American Theater: Its Antecedents and Characteristics." As an architect Tallant was especially anxious to understand the precedents offered by Greek, Roman, and Renaissance theaters and to incorporate these precedents into the firm's designs. The firm dissolved in 1911, and each partner went on to other architectural associations.
The New Amsterdam as a Playhouse
Construction of the New Amsterdam Theater began in the summer of 1902, but political difficulties arose in 1903. The ornamental portions of the building were designed to project beyond the building line, and the Manhattan Borough President ordered work stopped.
Klaw and Erlanger asserted that the owner of the adjacent property, former Parks Commissioner Samuel McMillan, was exerting his influence because they had refused to buy McMillan's property. The partners noted that a number of new buildings, including several theaters, projected beyond the building line and that the New Amsterdam should not be discriminated against. In response to the controversy, the Board of Aldermen passed an ordinance allowing ornamental projections four feet beyond the building line. Thus the exterior of the New Amsterdam Theater was able to be completed as planned.
The New Amsterdam Theater officially opened on October 26, 1903, with a production of Shakespeare's A Midsummer Night's Dream accompanied by Mendelssohn's incidental music, additional music by Victor Herbert, and starring Nathaniel C. Goodwin as Bottom.
While home to serious drama in its early years, the New Amsterdam quickly became very highly regarded as a musical comedy house. Among early productions there were: George M. Cohan's Forty-five Minutes from Broadway with Fay Templeton and Victor Moore; Her Own Way with Maxine Elliott and Charles Cherry; Richard III and Peer Gynt, both starring Richard Mansfield; the American premiere of Franz Lehar's The Merry Widow in 1907; Sardou's The Sorceress with Mrs. Patrick Campbell; Kitty Gray with Julie Sanderson; The Pink Lady of 1911 and The Little Cafe, both starring Hazel Dawn; Margaret Schiller with Elsie Ferguson; and Irving Berlin's first musical, Watch Your Step, in 1914, starring the dance team of Vernon and Irene Castle.
In 1913 Florenz Ziegfeld , the world-famous theatrical producer, began an association with the New Amsterdam Theater which lasted until his death. Ziegfeld had entered the entertainment business in 1893 at the Chicago World's Columbian Exhibition. In 18 9 6 he introduced Anna Held to the American stage in A Parlor Match; this was quickly followed by a series of lavishly mounted musical comedies.
Their success led him to produce a 'revue' which he called The Follies of 1907. The show proved so popular that he produced a new Follies each season for over 20 years. The stage facilities of the New Amsterdam were ideal for these productions, and Ziegfeld presented the Follies there between 1913 and 1920, from 1922 to 1925, and in 1927.
Among the notable performers Ziegfeld featured in the Follies were Ann Pennington, originator of the Black Bottom dance, comediennes Fanny Brice and Ina Claire, Ed Wynn, W.C. Fields, Will Rogers, Eddie Cantor, and Marilyn Miller. Beginning in 1915 Ziegfeld used the rooftop theater of the New Amsterdam to produce his Midnight Frolic. Ziegfeld also produced ether shows at the New Amsterdam, even after he opened his Joseph Urban-designed Ziegfeld Theater in 1927 on Sixth Avenue.
Other productions added to the luster of the New Amsterdam: Sunny and Rosalie , starring Ziegfeld's discovery, Marilyn Miller; Whoopee , a Ziegfeld production starring Eddie Cantor; Trelawney of the Wells with John Drew, Pauline Lord, Helen Gahagan, Estelle Winwood, and Peggy Wood; The Bandwagon with Fred and Adele Astaire; Irving Berlin's Face the Music with Mary Boland; also in 1931, Eva Le Gallienne's Civic Repertory productions of The Cherry Orchard and Alice in Wonderland;' Jerome Kern's Roberta with Fay Templeton and Bob Hope; and George White's Scandals of 1936 with Bert Lahr, Eugene and Willie Howard, and Rudy Vallee. Othello with Walter Huston was the last legitimate theater production at the New Amsterdam.
With the onset of the Depression, many Broadway theaters fell onto hard times and were converted for use as movie houses. The New Amsterdam proved no exception. The mortgage on the property was foreclosed in 1936. The building was sold in 1937, and the new owner began showing motion pictures in the theater. Ironically the first presentation was a film version of A Midsummer Night's Dream, echoing that opening night of 1903.
The Building and its Design
The New Amsterdam had opened to widespread praise for its facilities, innovative features, and beautiful design. Stylistically the theater is a rare example of Art Nouveau architecture in the United States. Critic Theodore Waters headlined the New Amsterdam as "A Triumph for the New Art."
While the Art Nouveau style had been popularized in France and Belgium in the last years of the 19th century where Herts and Tallant surely must have discovered it firsthand, the style was little used in the United States. Most French-trained American architects preferred to use the classical forms they had learned at the Ecole des Beaux-Arts. Herts and Tallant, too, were adept at using Beaux-Arts forms, but the design for the New Amsterdam Theater offered them an unparalleled opportunity to create a total unified statement—one of the fundamental principles of Art Nouveau— expressing the excitement and artistry of the theater.
The form of the building resulted partially from the constraints of the site and partially from the requirements of Klaw & Erlanger. The major portion of the building, located on 41st Street on a site approximately 150 by 100 feet, houses the two theaters. However, Klaw & Erlanger wished to have the theater entrance on the more important 42nd Street, so they purchased a narrow piece of property 25 by 100 feet facing on 42nd Street.
This enabled the architects to create a major entrance, and to build above the entrance the tall office tower which was desired by Klaw & Erlanger to house their booking and producing activities. Because the side walls of the tower were built to the lot line they were faced with plain brick in anticipation that other towers would soon rise along side of them. To meet the dual requirements of the building—theaters and offices— the architects made extensive use of structural steel in the framing—
2000 tons. The roof theater is supported by a 70-ton girder, 90 feet in length and 14 feet high. Even though the stage doors were located on the 41st Street side, it was anticipated that the general public would not normally see that facade, so it, too, was faced with plain brick. The main focus of attention was the 42nd Street facade, and on it the architects lavished their artistic efforts.
Ten stories high and three bays wide, the facade is of gray limestone and is topped by a sloping red tile roof. Projecting from the roof is a central dormer with stylized pediment incorporating a garlanded, carved mask at the peak; this is flanked by two smaller dormers. Originally freestanding figures representing Music and Drama surmounted the center dormer.
The roof level is separated from the floors below by a projecting carved cornice with carved heads and floral ornament. An elaborate carved frieze with the date "1903" surmounts the ninth story windows which are flanked by stylized pilasters. At the seventh floor the windows, which are taller than those on the other office floors, are set off above a frieze incorporating winged heads, and the center window is flanked by stylized pilasters with floral capitals.
Arches above the windows are filled with terra-cotta panels executed by the architectural sculptors Grendellis and Ricci. The panels with their trios of cupids represent Dance, Declamation, and Song. This ornamental detail and sculpture on the upper stories is inspired by Art Nouveau principles, especially the abstraction of classical motifs and the lush and realistic depiction of floral and foliate forms. The various carved heads and figures personify aspects of the theater.
However, the architects lavished the most ornament and sculpture on the lower three floors, which encompassed the theater entrance and were visually handled as a unit. The segmental-arched entrance was flanked by rusticated piers which supported paired columns of Monreale Sicilian marble at the second floor. Bronze capitals, designed by sculptor Enid Yandell. , displayed heads representing the four ages of drama.
These columns in turn supported a massive arch encompassing the third floor windows: The arch was outlined by a modillioned cornice with a keystone displaying the escutcheon of the New Amsterdam Theater executed by Grendellis and Ricci. Resting on the cornice were a group of freestanding sculptured figures by the noted sculptor George Gray Barnard .
The central figure was a woman personifying Drama, holding a mirror in one hand and a mask in the other. The draped baldachino above her head represented the stage. Four other figures represented various aspects of drama and theater. All were linked by garlands of fruit and flowers. Although not specifically credited in any of the sources examined, Barnard probably also designed the figures at the roof level. Stylistically they appeared very similar to those which surmounted the arch. The second and third story windows were framed in bronze modelled in curvilinear flower and vine forms. This type of motif is one of the hallmarks of the Art Nouveau style.
Various changes had been made to the marquee and signs of the theater through the years, but when Anco Enterprises, Inc., acquired the New Amsterdam in 1937, the entrance was drastically altered to accommodate the theater to its new purpose of showing movies.
Virtually all sculptured detail at the first three stories was removed to be replaced by a new marquee and vertical electric sign. Both displayed the streamlined motifs associated with Art Deco architecture of the 1920s and '30s. The marquee and vertical were again modified in 1955.Fortunately the basic form of the arch encompassing the second and third story windows survives as does the intricate bronzework framing those windows.
Also in 1937 the original entrance doors were removed, and the original enclosed vestibule is now open to the sidewalk. The walls have been faced with polished marble, and an inlaid terrazzo floor with Art Deco motifs was installed. A "streamlined" box office is at one side.
Despite changes to the building through the years, significant Art Nouveau elements survive to remind us of the major artistic statement made by Herts & Tallant.
The form of the building still embodies the dual function of office tower and theater. Most importantly, the illustrious history of the New Amsterdam, which was facilitated and enhanced by its design, cannot be erased. Its survival evokes the spirit and the history of the theater.
- From the 1979 NYCLPC Landmark Designation Report
The F40 was conceived as the successor to the 288 GTO and designed to compete with vehicles such as the Porsche 959 and Lamborghini Countach; for Ferrari management, the vehicle was a major statement piece. Power comes from a turbocharged V8 developing 470 hp. The vehicle tremendous performance potential with a 0-60 in the mid 3 second range and a top speed of 226 mph during Bonneville Speed Week.
Premier David Eby; Adrian Dix, Minister of Health; and Jennifer Whiteside, Minister of Mental Health and Addictions, issued a statement about the bilateral agreement in principle with the Government of Canada.
Learn more: news.gov.bc.ca/28298
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)
Thousand Oaks High School graduation ceremony, 1968. Donated by Dawn Burns Bloom. Conejo Through the Lens, Thousand Oaks Library Special Collections . Photo ID # CTLblo05.
There are no known U.S. copyright restrictions on this image. The Thousand Oaks Library requests that, when possible, the credit statement should read: "Image courtesy of Conejo Through the Lens, Thousand Oaks Library."
Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
redesign of a drawing i did a few years ago
www.flickr.com/photos/vanessarivera/3439980897/in/set-721...
PP22 - Policy Statements
H.E. Dr Ms Emilija Stojmenova Duh
Minister
Government Office for Digital Transformation
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
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
Unknown date.
Part of the Bon Echo Provincial Park Album
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