U.S. Customs and Border Protection Commissioner R. Gil Kerlikowske testifies on the Visa Waiver Program Improvement and Terrorist Travel Prevention Act before the House Homeland Security Committee in Washington, D.C., Feb. 10, 2016. (CBP Photo by Glenn Fawcett)

Testifying in Albany on February 7, 2011.

Watch coverage of his testimony here...

video.wmht.org/video/1791782300/

Artificial Intelligence animation style 3, Nellie Pettis is one of the girls who testified at the trial of Leo Frank that his character for lasciviousness was bad.

Artificial Intelligence animation style four, Nellie Pettis is one of the girls who testified at the trial of Leo Frank that his character for lasciviousness was bad.

Washington D.C. (August 6, 2020) Acting Homeland Security Secretary Chad Wolf testifies in front of the Homeland Security and Governmental Affairs Committee.

U.S. House Committee on Oversight and Government Reform hearing The Ebola Crisis: Coordination of a Multi-Agency Response. NNU Co-President Deborah Burger, RN testifies. Washington DC. Oct. 24, 2014

© Rick Reinhard 2014

email rick@rickreinhard.com

On April 11, 2013, Congressman Jared Huffman welcomed Trinity County Supervisor Judy Morris to testify today before the House Natural Resources Subcommittee on Public Lands and Environmental Regulation. Supervisor Morris testified about collaborative forest management and the need for a balanced approach to resource management.

Anita Hill responds to a questioner during a 30-minute session that followed a screening of the documentary “Anita: Speaking Truth to Power” at Kansas City’s downtown Folly Theater. Now a professor of social policy, law, and women’s studies at Brandeis University and a highly visible advocate for gender and workplace rights, Hill became a household name in 1991 when she testified that she had been sexually harassed by U.S. Supreme Court nominee Clarence Thomas. The film chronicled those historic proceedings, and Thomas spoke further to the experience during the Kansas City Public Library event. (Photo by Andy Dandino, KCPL)

CBP Deputy Assistant Commissioner for the Office of Field Operations, John Wagner, testifies at the Homeland Security Subcomittee on Border and Maritime Security hearing on port of entry infrastructure and CBP Officer staffing held in Washington D.C. Photo by James Tourtellotte

LEICA MINILUX F2.4 40mm ILFORD PAN100

Q1: What kind of a place is Lo-Sheng Sanatorium?

In 1927, the General Governor of Taiwan started to build Losheng Sanatorium for the quarantine and treatment of leprosy patients. With the force of sanitary police and the medical officers, the general investigation, quarantine, and imprisonment of the leprosy patients were conducted thoroughly in the period from1934 till the end of colonial governance of Japan. As a result, Losheng Sanatorium became the institution of compulsory quarantine as well as life-long imprisonment for the leprosy patients. Now, we consider Losheng Sanatorium as the epitome of the hundred-year sanitary history in Taiwan. It is the only historical mark that can testify the epidemic prevention history of Taiwan, and it is also the best place for us to do the introspection of the human rights of the patients.

Q2: What is the Hansen's disease?

Leprosy, also called the Hansen's disease，is a chronic bacterial disease infecting the skin and nerves in the hands and feet and, in some cases, the respiratory system. In 1873, a Norwegian doctor, Hansen, discovered the pathogenesis of this disease, hence the name Hansen's disease. Leprosy virus is hard to cultivate even in the lab, so the contagiousness is extremely weak. Almost everyone (90% of the human beings) has the natural immunity against leprosy virus. Human is the main infection source of the Hansen's disease, and the upper respiratory tract is the major route of infection. The latent period is spans from three to five years, but could be as long as 40 years. The Hansen's disease is easier to spread in the environment with poor public sanitation facilities. Currently, the good sanitary condition in Taiwan ensures that the Hansen's disease almost has no contagiousness, and there is also effective cure for the disease.

Q3 Why was there a compulsory quarantine policy in the past?

At the beginning of the 20th century, because of the improvement in sanitary condition, the Hansen's disease was almost extinct in Europe and America. However, the Japanese government desired to imitate the militarism of German government, so when they faced the large amount of the domestic leprosy patients, they regarded those patients as "the national humiliation", and began to draw up "the prevention law of Leprosy "in 1907. They planned to isolate the leprosy patients from the society, trying to create the illusion in which the Hansen's disease was extinct.

Q4 What is the influence of the compulsory quarantine policy?

In order to justify its compulsory quarantine policy, the Japanese government exaggerated the contagiousness of the Hansen's disease, and propagandized it to the society with force. They educated people that leprosy was extremely horrible, and used the police force and the spy system to "arrest" the patients and put them in hospitalization. This discriminating experience of being arrested in front of their families, friends, neighbors as well as the ingrained infamy of this policy prevented the Hansen's patients from going back to the society even after the compulsory quarantine policy was relieved. It was a tragedy for those patients to have homes they dared not return to.

Q5 Why is Taiwanese government tearing down the Losheng Sanatorium？

In 1994, Taipei City's Mass Rapid Transit (MRT) System has planned to build a depot on the site where now the Sanatorium is. Chen Jing-Chuan, (陳京川) the ex-director of Losheng was opposed to this decision, and did three surveys among the patients to see what they thought and needed, shortly before he got demoted and reprimanded. Ever since then, the patients had no access to the MRT construction plans and its related discussions.

Q6 Why is it a mistake to build the depot on the Losheng site？

The MRT depot was originally planned to be built on the mountains behind Fu-Jen Catholic University(輔仁大學), but the plan was changed by local politicians. This is wrong for the following reasons:

1. Waste of money: 3/5 of the depot site needs to be built on flatland; therefore $90 million (USD) will be spent on flatting and improving the soil.

2. Disaster for the environment: What comes after flatting the mountains is a ten-story-tall retaining wall, which destroys the natural environment.

3. Safety concern: the future depot will be situated upon earth faults.

4. Ravaged historical site: the Losheng Sanatorium is an important cultural asset for people in East Asia. The depot construction will turn all this treasure into dust.

5. Ordeal for patients: the patients are forced to leave the place they spent their lives, suffering mentally and physically from the displacement.

6. Autocratic decision-making: the MRT Department never inquired the needs of Losheng patients--the 'residents' of the site—which is a violation of fundamental human rights.

Q7 Why should the Losheng Sanatorium be a World Heritage?

1. The Losheng Sanatorium has witnessed the inhumane treatment (such as discrimination and compulsory quarantine) the leprosy patients had undergone through 70 years of governmental oppression. It is a live showcase of Taiwan's colonial past, history of public health and suppressed human rights.

2. The Losheng Sanatorium is one among the few leprosy sanatoriums left. Its architecture has a mixture of Japanese and Gothic style, along with houses and Buddhist shrines built by the patients. The Sanatorium retains its painfully organised structure as an embodiment of its colonial past.

3. The Losheng Sanatorium has met many requirements for World Heritage. One UNESCO committee member who visited Losheng has commented that the Sanatorium is qualified at a World Heritage site. He mentioned one World Heritage site, the Robben Island, where Mandela was imprisoned for 27 years, to exemplify the value of human rights.

4. The international trend of cultural assets conservation emphasizes an 'organic' perspective of preserving, which means not only the architecture is preserved, but also its relationship established by people who lived in it. The Losheng Sanatorium is embedded with history and lifelong memory of the patients, therefore partial preservation would tarnish the integrity of its value. Moreover, the Losheng Sanatorium is a reminder of inhumane quarantine and mistaken political measures for the world to see. Forced displacement is nothing less than another persecution for human rights.

Q8 How does the Taiwanese government plan to settle the patients?

In 2002, the new housing projects was initiated, but instead of 'houses' which were earlier promised to the patients, the new director gave them two tall buildings with modern hospital facilities. It became clear that the new administration team intended to run a hospital business and make money. The patients had no choice but to be removed to another place designed for quarantine.

The skyscraper-ish hospital buildings were designed mainly for housing short-term patients; therefore it has inadequate space for residents to move around freely. Moreover, the hospital management team forbids the patients from bringing with them personal belongings, from cooking, and from coming over to the front building—a discriminative policy.

Q9 How are leprosy patients treated in other countries?

In 2001, the Japanese government formally apologised to the maltreated leprosy patients, and devised reimbursement laws to give them the justice and honor they long missed. Take the example of National Sanatorium Nagashima Aiseien (日本長島愛生園): it retains its old architecture and natural environment for educational purposes; the patients live in well-organised houses; intercom facilities were implemented in the sanatorium for patients who have lost their sight. Every patient has nearly two nurses to take good care of them.

Q10 How come we did not speak out in the initial stages of planning? Why stand out now?

In fact, the depot plan has received severe critiques through the decade, from scholars and social groups alike. In 1994, the Taiwanese Bureau of Health has decided the project would brutally disrupt the patients' lives, or even pose life threatens. In the same year, the Losheng residents started their perpetual war against the violence.

Long before the depot construction was initiated, Loshen's ex-director and history professionals have demanded a large-scale inspection of Losheng's position as a historical site. The scholars appealed to the MRT Department that they should spare the Losheng Sanatorium, while they unanimously agreed the entire site should be preserved. However, the officials were rough enough to terminate the process of inspection, and decided the Sanatorium should be torn down entirely.

It was not until 2004, when Prof. John K.C. Liu (劉可強教授) came up with a symbiosis plan, and when the Concil of Cultural Affairs (文建會) has deemed the Sanatorium a historical spot, that the MRT Department was pressured to rethink the possibilities of preservation.

We sincerely appeal to the governmental officials that they should take the problems seriously. People have eyes to see and ears to listen; we will not be fooled or threatened for life.

Q11. Will MRT Shin-Jhong line not able to function if Losheng sanatorium is not torn down?

A11: Liu, Ko-Chiang, a professor in the Graduate Institute of Building and Planning in National Taiwan University (NTU), has long proposed a "Concurrent Construction Program of Losheng Sanatorium and MRT" in December, 2004. This plan not only proposes to preserve the whole area in Losheng, but let the MRT function well. It achieves the four-win situation for the historical site, the MRT, the patients in Losheng, and the HuiLong community. Also, this plan has been evaluated by the Taipei MRT bureau as "technically applicable". However, after the resignation of the whole Cabinet, no more committees were to be hold, the government commissioner in charge of this plan denied it with an official document without any negotiation, and the concurrent construction program has been put aside ever since.

In 2006, the 90% reserve plan proposed by the Council for Cultural Affairs (CCA, 文建會) was evaluate as applicable by Mott MacDonald Group. (欣陸工程顧問公司) However, the Executive Yuan turn down this proposal from CCA without any explanation in less than one month.

If we reserve Losheng sanatorium, it will not necessarily be the obstacle which hinders the MRT service. What we are upset about is the governmental monopoly of technical resources and legal rights behind the curtain, and they blame the Losheng patients for delaying the MRT. If the government keeps ignoring its flawed policy, sweeping things under the rug, and putting off its own political duty, the government will wipe out the entire historical Losheng sanatorium. Such unwise arrogance from our government only damages the rights of patients in Losheng and every citizen.

Q12. According to the Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局), curved rail in the 90% plan will cause derailment, is it true?

A12: The altered curvature in 90% plan has no connection with the commuters. What the 90% plan affects is the allocation of the workshop; more specifically, the plan only changes the curvature of rails which vacant carriages may go in and out. Unless the DORTS intends to make carriages enter the workshop with a high speed, or they want some passengers to participate parties held in the workshop occasionally; otherwise security is not the issue in this plan. In fact, this is exactly why the government does not want to discuss the 90% plan openly. Besides, when Frank Chang-ting Hsieh (謝長廷) was the minister of Executive Yuan, the 90% was evaluated as an applicable plan.

Q13. According to the media and Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局), the 90% preservation plan will delay the construction of MRT for two to three years and result in a two to three hundred billion NTD (approx. 760 million USD) increase in budget, is that true?

A13. In the press release issued by the Council for Cultural Affairs (CCA, 文建會) in Jan. 23, 2007, it was mentioned: "according to recent news, some local representatives and organizations in Taipei City and Taipei County claimed that the 90% Losheng preservation plan proposed by CCA will severely delay the MRT construction. Hereby CCA reiterates that the 90% preservation plan, evaluated by Hsin-Lu cooperation, will lengthen the construction period for about four months, and appends a three billion budget to it. It is not true to say the MRT construction will be delayed for two to three years."

Q14. The Losheng sanatorium has its own value to be preserved, and the human rights of the patients are also important; but what about the rights of other citizens?

A14. The Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局) constantly uses phrases such as "Significant National Construction", "Asserting the Public Interests", and "One Million People's Rights of Using MRT", all of which portray the Losheng sanatorium as a troublemaker consisting of a tiny group of people, who aim at obstructing the construction of MRT. Such tactics downplay the issue of Losheng, simplifying the problem here as "the majority matters." However, we are surprised that our ruling party, who has been proud of its concern about human rights, should say such things.

If we acknowledge that the Losheng sanatorium is an important asset that not only belongs to people in Taiwan, but also to all other countries where quarantine on Hanson disease was ever imposed. The Losheng sanatorium, therefore, becomes heirloom for the entire humanity. If the Taiwanese government is willing to change its attitude and positively promote human rights, then Losheng sanatorium can not only provide another greenbelt for the citizens, but also help transform the HuiLong community into an emblem of human rights.

History repeats itself. If today we turn a deaf ear to the plights of Losheng patients, tomorrow we might ourselves experience governmental violence. In democratic countries, such as Japan, the society would usually wait till all-round plans are devised, so that the disadvantaged minority could be attended of their needs. Likewise, we urge the government in Taiwan to be responsible enough to handle the Losheng dispute with due respect to culture, history, and human rights; not only those of the patients, but also of us people.

www.coolloud.org.tw/news/database/Interface/Detailstander...

Losheng Sanatorium(Traditional Chinese: 樂生療養院; pinyin: lèshēng liáoyǎngyuàn) is a hospital for lepers, which is located in Sinjhuang, Taipei County. During 1930s, this hospital was the only public sanatorium for leprosy patients in Taiwan and also the first leprosy hospital in Taiwan.

Losheng, named Rakusei Sanatorium for Lepers of Governor-General of Taiwan (臺灣總督府癩病療養樂生院, Taiwan Sōtokufu Raibyō Rakuseiin?) originally, was built in 1929 during Japanese colonial period and served as an isolation hospital for leprosy patients at that time. The Japanese government forced leprosy patients to live in this hospital. The first 5 buildings can offer more than 100 patients.

In 2001, due to the construction of Taipei Rapid Transit System, the authorities planed of Xinzhuang (Sijhuang) Line to transform Losheng to a community hospital, thus put an end to its dedicated hospitalization and care for leprosy patients. Many students, urban planners and NGO tried to protect this sanatorium from that time.

zh.wikipedia.org/wiki/%e6%a8%82%e7%94%9f%e7%99%82%e9%a4%8...

Lt. Governor Testifies on MHIP Legislation to the Health & Government Relations Committee. by Jay Baker at Annapolis, MD.

Mayor Bill de Blasio and Chancellor Carranza testify before the NY Senate Committee on NYC Education to discuss school governance reform and mayoral accountability. Senate Hearing Room, 250 Broadway, Manhattan. Friday, March 15, 2019. Credit: Ed Reed/Mayoral Photography Office.

This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption.

Acting Assistant Commissioner, Office of Field Operations, John Wagner testifies before the Senate Commerce, Science and Technology Committee, Subcommittee on Tourism, Competitiveness and Innovation on travel facilitation and tourism. Photo by James Tourtellotte

Mayor Bill de Blasio and Chancellor Carranza testify before the NY Senate Committee on NYC Education to discuss school governance reform and mayoral accountability. Senate Hearing Room, 250 Broadway, Manhattan. Friday, March 15, 2019. Credit: Ed Reed/Mayoral Photography Office.

This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption.

Acting Assistant Commissioner, Office of Field Operations, John Wagner testifies before the Senate Commerce, Science and Technology Committee, Subcommittee on Tourism, Competitiveness and Innovation on travel facilitation and tourism. Photo by James Tourtellotte

On February 20, 2014, we traveled to Annapolis to testify before the Senate Finance Committee in support of Paid Sick Leave legislation for Maryland.

Jody Farhat, Chief of the Missouri River Basin Water Management Division of the Northwestern Division of the U.S. Army Corps of Engineers, testified in St. Joseph, MO. before the Committee on Small Business of the United States House of Representatives, chaired by Missouri Congressman Sam Graves on "Missouri River Management: Does it Meet the Needs of Small Business?"

On February 20, 2014, we traveled to Annapolis to testify before the Senate Finance Committee in support of Paid Sick Leave legislation for Maryland.

State Senator Cathy Osten testifies before the legislature's Energy & Technology Committee about the slow response of Eversource to the October storm that caused days-long power outages in eastern Connecticut, including Sprague, where Sen. Osten serves as first selectman. Another public hearing on the matter is scheduled for Tuesday, November 28, 2017. (November 15, 2017)

18th Chairman of the Joint Chiefs of Staff Gen. Martin E. Dempsey joined Secretary of Defense Chuck Hagel and Under Secretary of Defense (Comptroller)/Chief Financial Officer Robert Hale to testify before the Senate Subcommittee on Department of Defense to examine proposed budget estimates for fiscal year 2015 for the Department of Defense, Jun. 18, 2014. DoD photo by SSG Sean K. Harp, USA

LEICA MINILUX F2.4 40mm ILFORD PAN100

Q1: What kind of a place is Lo-Sheng Sanatorium?

In 1927, the General Governor of Taiwan started to build Losheng Sanatorium for the quarantine and treatment of leprosy patients. With the force of sanitary police and the medical officers, the general investigation, quarantine, and imprisonment of the leprosy patients were conducted thoroughly in the period from1934 till the end of colonial governance of Japan. As a result, Losheng Sanatorium became the institution of compulsory quarantine as well as life-long imprisonment for the leprosy patients. Now, we consider Losheng Sanatorium as the epitome of the hundred-year sanitary history in Taiwan. It is the only historical mark that can testify the epidemic prevention history of Taiwan, and it is also the best place for us to do the introspection of the human rights of the patients.

Q2: What is the Hansen's disease?

Leprosy, also called the Hansen's disease，is a chronic bacterial disease infecting the skin and nerves in the hands and feet and, in some cases, the respiratory system. In 1873, a Norwegian doctor, Hansen, discovered the pathogenesis of this disease, hence the name Hansen's disease. Leprosy virus is hard to cultivate even in the lab, so the contagiousness is extremely weak. Almost everyone (90% of the human beings) has the natural immunity against leprosy virus. Human is the main infection source of the Hansen's disease, and the upper respiratory tract is the major route of infection. The latent period is spans from three to five years, but could be as long as 40 years. The Hansen's disease is easier to spread in the environment with poor public sanitation facilities. Currently, the good sanitary condition in Taiwan ensures that the Hansen's disease almost has no contagiousness, and there is also effective cure for the disease.

Q3 Why was there a compulsory quarantine policy in the past?

At the beginning of the 20th century, because of the improvement in sanitary condition, the Hansen's disease was almost extinct in Europe and America. However, the Japanese government desired to imitate the militarism of German government, so when they faced the large amount of the domestic leprosy patients, they regarded those patients as "the national humiliation", and began to draw up "the prevention law of Leprosy "in 1907. They planned to isolate the leprosy patients from the society, trying to create the illusion in which the Hansen's disease was extinct.

Q4 What is the influence of the compulsory quarantine policy?

In order to justify its compulsory quarantine policy, the Japanese government exaggerated the contagiousness of the Hansen's disease, and propagandized it to the society with force. They educated people that leprosy was extremely horrible, and used the police force and the spy system to "arrest" the patients and put them in hospitalization. This discriminating experience of being arrested in front of their families, friends, neighbors as well as the ingrained infamy of this policy prevented the Hansen's patients from going back to the society even after the compulsory quarantine policy was relieved. It was a tragedy for those patients to have homes they dared not return to.

Q5 Why is Taiwanese government tearing down the Losheng Sanatorium？

In 1994, Taipei City's Mass Rapid Transit (MRT) System has planned to build a depot on the site where now the Sanatorium is. Chen Jing-Chuan, (陳京川) the ex-director of Losheng was opposed to this decision, and did three surveys among the patients to see what they thought and needed, shortly before he got demoted and reprimanded. Ever since then, the patients had no access to the MRT construction plans and its related discussions.

Q6 Why is it a mistake to build the depot on the Losheng site？

The MRT depot was originally planned to be built on the mountains behind Fu-Jen Catholic University(輔仁大學), but the plan was changed by local politicians. This is wrong for the following reasons:

1. Waste of money: 3/5 of the depot site needs to be built on flatland; therefore $90 million (USD) will be spent on flatting and improving the soil.

2. Disaster for the environment: What comes after flatting the mountains is a ten-story-tall retaining wall, which destroys the natural environment.

3. Safety concern: the future depot will be situated upon earth faults.

4. Ravaged historical site: the Losheng Sanatorium is an important cultural asset for people in East Asia. The depot construction will turn all this treasure into dust.

5. Ordeal for patients: the patients are forced to leave the place they spent their lives, suffering mentally and physically from the displacement.

6. Autocratic decision-making: the MRT Department never inquired the needs of Losheng patients--the 'residents' of the site—which is a violation of fundamental human rights.

Q7 Why should the Losheng Sanatorium be a World Heritage?

1. The Losheng Sanatorium has witnessed the inhumane treatment (such as discrimination and compulsory quarantine) the leprosy patients had undergone through 70 years of governmental oppression. It is a live showcase of Taiwan's colonial past, history of public health and suppressed human rights.

2. The Losheng Sanatorium is one among the few leprosy sanatoriums left. Its architecture has a mixture of Japanese and Gothic style, along with houses and Buddhist shrines built by the patients. The Sanatorium retains its painfully organised structure as an embodiment of its colonial past.

3. The Losheng Sanatorium has met many requirements for World Heritage. One UNESCO committee member who visited Losheng has commented that the Sanatorium is qualified at a World Heritage site. He mentioned one World Heritage site, the Robben Island, where Mandela was imprisoned for 27 years, to exemplify the value of human rights.

4. The international trend of cultural assets conservation emphasizes an 'organic' perspective of preserving, which means not only the architecture is preserved, but also its relationship established by people who lived in it. The Losheng Sanatorium is embedded with history and lifelong memory of the patients, therefore partial preservation would tarnish the integrity of its value. Moreover, the Losheng Sanatorium is a reminder of inhumane quarantine and mistaken political measures for the world to see. Forced displacement is nothing less than another persecution for human rights.

Q8 How does the Taiwanese government plan to settle the patients?

In 2002, the new housing projects was initiated, but instead of 'houses' which were earlier promised to the patients, the new director gave them two tall buildings with modern hospital facilities. It became clear that the new administration team intended to run a hospital business and make money. The patients had no choice but to be removed to another place designed for quarantine.

The skyscraper-ish hospital buildings were designed mainly for housing short-term patients; therefore it has inadequate space for residents to move around freely. Moreover, the hospital management team forbids the patients from bringing with them personal belongings, from cooking, and from coming over to the front building—a discriminative policy.

Q9 How are leprosy patients treated in other countries?

In 2001, the Japanese government formally apologised to the maltreated leprosy patients, and devised reimbursement laws to give them the justice and honor they long missed. Take the example of National Sanatorium Nagashima Aiseien (日本長島愛生園): it retains its old architecture and natural environment for educational purposes; the patients live in well-organised houses; intercom facilities were implemented in the sanatorium for patients who have lost their sight. Every patient has nearly two nurses to take good care of them.

Q10 How come we did not speak out in the initial stages of planning? Why stand out now?

In fact, the depot plan has received severe critiques through the decade, from scholars and social groups alike. In 1994, the Taiwanese Bureau of Health has decided the project would brutally disrupt the patients' lives, or even pose life threatens. In the same year, the Losheng residents started their perpetual war against the violence.

Long before the depot construction was initiated, Loshen's ex-director and history professionals have demanded a large-scale inspection of Losheng's position as a historical site. The scholars appealed to the MRT Department that they should spare the Losheng Sanatorium, while they unanimously agreed the entire site should be preserved. However, the officials were rough enough to terminate the process of inspection, and decided the Sanatorium should be torn down entirely.

It was not until 2004, when Prof. John K.C. Liu (劉可強教授) came up with a symbiosis plan, and when the Concil of Cultural Affairs (文建會) has deemed the Sanatorium a historical spot, that the MRT Department was pressured to rethink the possibilities of preservation.

We sincerely appeal to the governmental officials that they should take the problems seriously. People have eyes to see and ears to listen; we will not be fooled or threatened for life.

Q11. Will MRT Shin-Jhong line not able to function if Losheng sanatorium is not torn down?

A11: Liu, Ko-Chiang, a professor in the Graduate Institute of Building and Planning in National Taiwan University (NTU), has long proposed a "Concurrent Construction Program of Losheng Sanatorium and MRT" in December, 2004. This plan not only proposes to preserve the whole area in Losheng, but let the MRT function well. It achieves the four-win situation for the historical site, the MRT, the patients in Losheng, and the HuiLong community. Also, this plan has been evaluated by the Taipei MRT bureau as "technically applicable". However, after the resignation of the whole Cabinet, no more committees were to be hold, the government commissioner in charge of this plan denied it with an official document without any negotiation, and the concurrent construction program has been put aside ever since.

In 2006, the 90% reserve plan proposed by the Council for Cultural Affairs (CCA, 文建會) was evaluate as applicable by Mott MacDonald Group. (欣陸工程顧問公司) However, the Executive Yuan turn down this proposal from CCA without any explanation in less than one month.

If we reserve Losheng sanatorium, it will not necessarily be the obstacle which hinders the MRT service. What we are upset about is the governmental monopoly of technical resources and legal rights behind the curtain, and they blame the Losheng patients for delaying the MRT. If the government keeps ignoring its flawed policy, sweeping things under the rug, and putting off its own political duty, the government will wipe out the entire historical Losheng sanatorium. Such unwise arrogance from our government only damages the rights of patients in Losheng and every citizen.

Q12. According to the Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局), curved rail in the 90% plan will cause derailment, is it true?

A12: The altered curvature in 90% plan has no connection with the commuters. What the 90% plan affects is the allocation of the workshop; more specifically, the plan only changes the curvature of rails which vacant carriages may go in and out. Unless the DORTS intends to make carriages enter the workshop with a high speed, or they want some passengers to participate parties held in the workshop occasionally; otherwise security is not the issue in this plan. In fact, this is exactly why the government does not want to discuss the 90% plan openly. Besides, when Frank Chang-ting Hsieh (謝長廷) was the minister of Executive Yuan, the 90% was evaluated as an applicable plan.

Q13. According to the media and Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局), the 90% preservation plan will delay the construction of MRT for two to three years and result in a two to three hundred billion NTD (approx. 760 million USD) increase in budget, is that true?

A13. In the press release issued by the Council for Cultural Affairs (CCA, 文建會) in Jan. 23, 2007, it was mentioned: "according to recent news, some local representatives and organizations in Taipei City and Taipei County claimed that the 90% Losheng preservation plan proposed by CCA will severely delay the MRT construction. Hereby CCA reiterates that the 90% preservation plan, evaluated by Hsin-Lu cooperation, will lengthen the construction period for about four months, and appends a three billion budget to it. It is not true to say the MRT construction will be delayed for two to three years."

Q14. The Losheng sanatorium has its own value to be preserved, and the human rights of the patients are also important; but what about the rights of other citizens?

A14. The Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局) constantly uses phrases such as "Significant National Construction", "Asserting the Public Interests", and "One Million People's Rights of Using MRT", all of which portray the Losheng sanatorium as a troublemaker consisting of a tiny group of people, who aim at obstructing the construction of MRT. Such tactics downplay the issue of Losheng, simplifying the problem here as "the majority matters." However, we are surprised that our ruling party, who has been proud of its concern about human rights, should say such things.

If we acknowledge that the Losheng sanatorium is an important asset that not only belongs to people in Taiwan, but also to all other countries where quarantine on Hanson disease was ever imposed. The Losheng sanatorium, therefore, becomes heirloom for the entire humanity. If the Taiwanese government is willing to change its attitude and positively promote human rights, then Losheng sanatorium can not only provide another greenbelt for the citizens, but also help transform the HuiLong community into an emblem of human rights.

History repeats itself. If today we turn a deaf ear to the plights of Losheng patients, tomorrow we might ourselves experience governmental violence. In democratic countries, such as Japan, the society would usually wait till all-round plans are devised, so that the disadvantaged minority could be attended of their needs. Likewise, we urge the government in Taiwan to be responsible enough to handle the Losheng dispute with due respect to culture, history, and human rights; not only those of the patients, but also of us people.

www.coolloud.org.tw/news/database/Interface/Detailstander...

Losheng Sanatorium(Traditional Chinese: 樂生療養院; pinyin: lèshēng liáoyǎngyuàn) is a hospital for lepers, which is located in Sinjhuang, Taipei County. During 1930s, this hospital was the only public sanatorium for leprosy patients in Taiwan and also the first leprosy hospital in Taiwan.

Losheng, named Rakusei Sanatorium for Lepers of Governor-General of Taiwan (臺灣總督府癩病療養樂生院, Taiwan Sōtokufu Raibyō Rakuseiin?) originally, was built in 1929 during Japanese colonial period and served as an isolation hospital for leprosy patients at that time. The Japanese government forced leprosy patients to live in this hospital. The first 5 buildings can offer more than 100 patients.

In 2001, due to the construction of Taipei Rapid Transit System, the authorities planed of Xinzhuang (Sijhuang) Line to transform Losheng to a community hospital, thus put an end to its dedicated hospitalization and care for leprosy patients. Many students, urban planners and NGO tried to protect this sanatorium from that time.

zh.wikipedia.org/wiki/%e6%a8%82%e7%94%9f%e7%99%82%e9%a4%8...

Lt. Governor Miller Testifies to the Senate for the Clean Transportation & Energy Act by Patrick Siebert at 11 Bladen St, Annapolis, MD 21401

Mayor Bill de Blasio Testify during the State Budget Hearing at the Legislative Office Building in Albany, New York Tuesday, January 26, 2016. Credit: Ed Reed/Mayoral Photography Office.

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US Ambassador to Iraq Christopher Hill testifies before a House Foreign Affairs Committee hearing in Washington (10 September, 2009)

سفیر آمریکا در عراق کریستوفر هیل در جلسه بررسی کمیته روابط خارجی مجلس نمایندگان (19 شهریور 1388)

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22 Oct 1947, Washington, DC, USA --- Actor Robert Taylor on the witness stand as he testified before the House Un-American Activities Committee. --- Image by © Bettmann/CORBIS

Lt. Governor Testifies on MHIP Legislation to the Senate Finance Committee. by Jay Baker at Annapolis, MD.

Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.

Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".

ORIGIN AND HISTORY

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.

The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.

TEMPLE HISTORY

In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.

In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.

In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.

MANUSCIPT EVIDENCE

Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.

Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.

The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.

A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.

This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.

MUGHAL AND BRITISH PERIOD

During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.

TRADITION AND DANCERS

The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.

Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.

By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.

Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.

MAHARI TADITION

The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.

The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.

Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.

GOTIPUA TRADITION

In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.

DANCE VOCABULARY AND REPERTOIRE

TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:

MANGALACHARANA

An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.

BATTU NRUTYA

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.

PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).

ABHINAYA

An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.

DANCE DRAMA

Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.

MOKSHA

The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.

LANGUAGES

Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.

ODISSI MUSIC

Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

COSTUME AND JEWELRY

The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.

The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.

The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).

The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.

The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.

IN GUINNESS WORLD RECORDS

Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.

WIKIPEDIA

Governor Inslee testifying alongside Rep. Marcie Maxwell on HB 1872 in front of the House Education Committee Wednesday, Feb. 20th. The bill increases STEM learning opportunities in Washington. Watch the testimony here: tvw.org/index.php?option=com_tvwplayer&eventID=201302...

AFGE Local 1738 Shop Steward Eric Jenkins testified before the House Committee on Veterans’ Affairs’ Subcommittee on Disability Assistance and Memorial Affairs regarding the current state of the Department of Veterans Affairs’ (VA) benefit claims processing technology.

Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.

Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".

ORIGIN AND HISTORY

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.

The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.

TEMPLE HISTORY

In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.

In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.

In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.

MANUSCIPT EVIDENCE

Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.

Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.

The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.

A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.

This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.

MUGHAL AND BRITISH PERIOD

During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.

TRADITION AND DANCERS

The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.

Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.

By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.

Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.

MAHARI TADITION

The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.

The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.

Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.

GOTIPUA TRADITION

In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.

DANCE VOCABULARY AND REPERTOIRE

TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:

MANGALACHARANA

An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.

BATTU NRUTYA

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.

PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).

ABHINAYA

An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.

DANCE DRAMA

Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.

MOKSHA

The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.

LANGUAGES

Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.

ODISSI MUSIC

Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

COSTUME AND JEWELRY

The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.

The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.

The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).

The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.

The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.

IN GUINNESS WORLD RECORDS

Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.

WIKIPEDIA

Paralyzed Veterans of America leaders accompanied National President Bill Lawson to testify on Capitol Hill, March 6, 2013, regarding veterans issues. To read about our legislative priorities for disabled veterans, please visit www.pva.org/site/apps/nlnet/content2.aspx?c=ajIRK9NJLcJ2E.... Photo by Chris Crum.

LEICA MINILUX F2.4 40mm ILFORD PAN100

Q1: What kind of a place is Lo-Sheng Sanatorium?

In 1927, the General Governor of Taiwan started to build Losheng Sanatorium for the quarantine and treatment of leprosy patients. With the force of sanitary police and the medical officers, the general investigation, quarantine, and imprisonment of the leprosy patients were conducted thoroughly in the period from1934 till the end of colonial governance of Japan. As a result, Losheng Sanatorium became the institution of compulsory quarantine as well as life-long imprisonment for the leprosy patients. Now, we consider Losheng Sanatorium as the epitome of the hundred-year sanitary history in Taiwan. It is the only historical mark that can testify the epidemic prevention history of Taiwan, and it is also the best place for us to do the introspection of the human rights of the patients.

Q2: What is the Hansen's disease?

Leprosy, also called the Hansen's disease，is a chronic bacterial disease infecting the skin and nerves in the hands and feet and, in some cases, the respiratory system. In 1873, a Norwegian doctor, Hansen, discovered the pathogenesis of this disease, hence the name Hansen's disease. Leprosy virus is hard to cultivate even in the lab, so the contagiousness is extremely weak. Almost everyone (90% of the human beings) has the natural immunity against leprosy virus. Human is the main infection source of the Hansen's disease, and the upper respiratory tract is the major route of infection. The latent period is spans from three to five years, but could be as long as 40 years. The Hansen's disease is easier to spread in the environment with poor public sanitation facilities. Currently, the good sanitary condition in Taiwan ensures that the Hansen's disease almost has no contagiousness, and there is also effective cure for the disease.

Q3 Why was there a compulsory quarantine policy in the past?

At the beginning of the 20th century, because of the improvement in sanitary condition, the Hansen's disease was almost extinct in Europe and America. However, the Japanese government desired to imitate the militarism of German government, so when they faced the large amount of the domestic leprosy patients, they regarded those patients as "the national humiliation", and began to draw up "the prevention law of Leprosy "in 1907. They planned to isolate the leprosy patients from the society, trying to create the illusion in which the Hansen's disease was extinct.

Q4 What is the influence of the compulsory quarantine policy?

In order to justify its compulsory quarantine policy, the Japanese government exaggerated the contagiousness of the Hansen's disease, and propagandized it to the society with force. They educated people that leprosy was extremely horrible, and used the police force and the spy system to "arrest" the patients and put them in hospitalization. This discriminating experience of being arrested in front of their families, friends, neighbors as well as the ingrained infamy of this policy prevented the Hansen's patients from going back to the society even after the compulsory quarantine policy was relieved. It was a tragedy for those patients to have homes they dared not return to.

Q5 Why is Taiwanese government tearing down the Losheng Sanatorium？

In 1994, Taipei City's Mass Rapid Transit (MRT) System has planned to build a depot on the site where now the Sanatorium is. Chen Jing-Chuan, (陳京川) the ex-director of Losheng was opposed to this decision, and did three surveys among the patients to see what they thought and needed, shortly before he got demoted and reprimanded. Ever since then, the patients had no access to the MRT construction plans and its related discussions.

Q6 Why is it a mistake to build the depot on the Losheng site？

The MRT depot was originally planned to be built on the mountains behind Fu-Jen Catholic University(輔仁大學), but the plan was changed by local politicians. This is wrong for the following reasons:

1. Waste of money: 3/5 of the depot site needs to be built on flatland; therefore $90 million (USD) will be spent on flatting and improving the soil.

2. Disaster for the environment: What comes after flatting the mountains is a ten-story-tall retaining wall, which destroys the natural environment.

3. Safety concern: the future depot will be situated upon earth faults.

4. Ravaged historical site: the Losheng Sanatorium is an important cultural asset for people in East Asia. The depot construction will turn all this treasure into dust.

5. Ordeal for patients: the patients are forced to leave the place they spent their lives, suffering mentally and physically from the displacement.

6. Autocratic decision-making: the MRT Department never inquired the needs of Losheng patients--the 'residents' of the site—which is a violation of fundamental human rights.

Q7 Why should the Losheng Sanatorium be a World Heritage?

1. The Losheng Sanatorium has witnessed the inhumane treatment (such as discrimination and compulsory quarantine) the leprosy patients had undergone through 70 years of governmental oppression. It is a live showcase of Taiwan's colonial past, history of public health and suppressed human rights.

2. The Losheng Sanatorium is one among the few leprosy sanatoriums left. Its architecture has a mixture of Japanese and Gothic style, along with houses and Buddhist shrines built by the patients. The Sanatorium retains its painfully organised structure as an embodiment of its colonial past.

3. The Losheng Sanatorium has met many requirements for World Heritage. One UNESCO committee member who visited Losheng has commented that the Sanatorium is qualified at a World Heritage site. He mentioned one World Heritage site, the Robben Island, where Mandela was imprisoned for 27 years, to exemplify the value of human rights.

4. The international trend of cultural assets conservation emphasizes an 'organic' perspective of preserving, which means not only the architecture is preserved, but also its relationship established by people who lived in it. The Losheng Sanatorium is embedded with history and lifelong memory of the patients, therefore partial preservation would tarnish the integrity of its value. Moreover, the Losheng Sanatorium is a reminder of inhumane quarantine and mistaken political measures for the world to see. Forced displacement is nothing less than another persecution for human rights.

Q8 How does the Taiwanese government plan to settle the patients?

In 2002, the new housing projects was initiated, but instead of 'houses' which were earlier promised to the patients, the new director gave them two tall buildings with modern hospital facilities. It became clear that the new administration team intended to run a hospital business and make money. The patients had no choice but to be removed to another place designed for quarantine.

The skyscraper-ish hospital buildings were designed mainly for housing short-term patients; therefore it has inadequate space for residents to move around freely. Moreover, the hospital management team forbids the patients from bringing with them personal belongings, from cooking, and from coming over to the front building—a discriminative policy.

Q9 How are leprosy patients treated in other countries?

In 2001, the Japanese government formally apologised to the maltreated leprosy patients, and devised reimbursement laws to give them the justice and honor they long missed. Take the example of National Sanatorium Nagashima Aiseien (日本長島愛生園): it retains its old architecture and natural environment for educational purposes; the patients live in well-organised houses; intercom facilities were implemented in the sanatorium for patients who have lost their sight. Every patient has nearly two nurses to take good care of them.

Q10 How come we did not speak out in the initial stages of planning? Why stand out now?

In fact, the depot plan has received severe critiques through the decade, from scholars and social groups alike. In 1994, the Taiwanese Bureau of Health has decided the project would brutally disrupt the patients' lives, or even pose life threatens. In the same year, the Losheng residents started their perpetual war against the violence.

Long before the depot construction was initiated, Loshen's ex-director and history professionals have demanded a large-scale inspection of Losheng's position as a historical site. The scholars appealed to the MRT Department that they should spare the Losheng Sanatorium, while they unanimously agreed the entire site should be preserved. However, the officials were rough enough to terminate the process of inspection, and decided the Sanatorium should be torn down entirely.

It was not until 2004, when Prof. John K.C. Liu (劉可強教授) came up with a symbiosis plan, and when the Concil of Cultural Affairs (文建會) has deemed the Sanatorium a historical spot, that the MRT Department was pressured to rethink the possibilities of preservation.

We sincerely appeal to the governmental officials that they should take the problems seriously. People have eyes to see and ears to listen; we will not be fooled or threatened for life.

Q11. Will MRT Shin-Jhong line not able to function if Losheng sanatorium is not torn down?

A11: Liu, Ko-Chiang, a professor in the Graduate Institute of Building and Planning in National Taiwan University (NTU), has long proposed a "Concurrent Construction Program of Losheng Sanatorium and MRT" in December, 2004. This plan not only proposes to preserve the whole area in Losheng, but let the MRT function well. It achieves the four-win situation for the historical site, the MRT, the patients in Losheng, and the HuiLong community. Also, this plan has been evaluated by the Taipei MRT bureau as "technically applicable". However, after the resignation of the whole Cabinet, no more committees were to be hold, the government commissioner in charge of this plan denied it with an official document without any negotiation, and the concurrent construction program has been put aside ever since.

In 2006, the 90% reserve plan proposed by the Council for Cultural Affairs (CCA, 文建會) was evaluate as applicable by Mott MacDonald Group. (欣陸工程顧問公司) However, the Executive Yuan turn down this proposal from CCA without any explanation in less than one month.

If we reserve Losheng sanatorium, it will not necessarily be the obstacle which hinders the MRT service. What we are upset about is the governmental monopoly of technical resources and legal rights behind the curtain, and they blame the Losheng patients for delaying the MRT. If the government keeps ignoring its flawed policy, sweeping things under the rug, and putting off its own political duty, the government will wipe out the entire historical Losheng sanatorium. Such unwise arrogance from our government only damages the rights of patients in Losheng and every citizen.

Q12. According to the Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局), curved rail in the 90% plan will cause derailment, is it true?

A12: The altered curvature in 90% plan has no connection with the commuters. What the 90% plan affects is the allocation of the workshop; more specifically, the plan only changes the curvature of rails which vacant carriages may go in and out. Unless the DORTS intends to make carriages enter the workshop with a high speed, or they want some passengers to participate parties held in the workshop occasionally; otherwise security is not the issue in this plan. In fact, this is exactly why the government does not want to discuss the 90% plan openly. Besides, when Frank Chang-ting Hsieh (謝長廷) was the minister of Executive Yuan, the 90% was evaluated as an applicable plan.

Q13. According to the media and Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局), the 90% preservation plan will delay the construction of MRT for two to three years and result in a two to three hundred billion NTD (approx. 760 million USD) increase in budget, is that true?

A13. In the press release issued by the Council for Cultural Affairs (CCA, 文建會) in Jan. 23, 2007, it was mentioned: "according to recent news, some local representatives and organizations in Taipei City and Taipei County claimed that the 90% Losheng preservation plan proposed by CCA will severely delay the MRT construction. Hereby CCA reiterates that the 90% preservation plan, evaluated by Hsin-Lu cooperation, will lengthen the construction period for about four months, and appends a three billion budget to it. It is not true to say the MRT construction will be delayed for two to three years."

Q14. The Losheng sanatorium has its own value to be preserved, and the human rights of the patients are also important; but what about the rights of other citizens?

A14. The Department of Rapid Transit System, Taipei (DORTS, Taipei, 台北捷運局) constantly uses phrases such as "Significant National Construction", "Asserting the Public Interests", and "One Million People's Rights of Using MRT", all of which portray the Losheng sanatorium as a troublemaker consisting of a tiny group of people, who aim at obstructing the construction of MRT. Such tactics downplay the issue of Losheng, simplifying the problem here as "the majority matters." However, we are surprised that our ruling party, who has been proud of its concern about human rights, should say such things.

If we acknowledge that the Losheng sanatorium is an important asset that not only belongs to people in Taiwan, but also to all other countries where quarantine on Hanson disease was ever imposed. The Losheng sanatorium, therefore, becomes heirloom for the entire humanity. If the Taiwanese government is willing to change its attitude and positively promote human rights, then Losheng sanatorium can not only provide another greenbelt for the citizens, but also help transform the HuiLong community into an emblem of human rights.

History repeats itself. If today we turn a deaf ear to the plights of Losheng patients, tomorrow we might ourselves experience governmental violence. In democratic countries, such as Japan, the society would usually wait till all-round plans are devised, so that the disadvantaged minority could be attended of their needs. Likewise, we urge the government in Taiwan to be responsible enough to handle the Losheng dispute with due respect to culture, history, and human rights; not only those of the patients, but also of us people.

www.coolloud.org.tw/news/database/Interface/Detailstander...

Losheng Sanatorium(Traditional Chinese: 樂生療養院; pinyin: lèshēng liáoyǎngyuàn) is a hospital for lepers, which is located in Sinjhuang, Taipei County. During 1930s, this hospital was the only public sanatorium for leprosy patients in Taiwan and also the first leprosy hospital in Taiwan.

Losheng, named Rakusei Sanatorium for Lepers of Governor-General of Taiwan (臺灣總督府癩病療養樂生院, Taiwan Sōtokufu Raibyō Rakuseiin?) originally, was built in 1929 during Japanese colonial period and served as an isolation hospital for leprosy patients at that time. The Japanese government forced leprosy patients to live in this hospital. The first 5 buildings can offer more than 100 patients.

In 2001, due to the construction of Taipei Rapid Transit System, the authorities planed of Xinzhuang (Sijhuang) Line to transform Losheng to a community hospital, thus put an end to its dedicated hospitalization and care for leprosy patients. Many students, urban planners and NGO tried to protect this sanatorium from that time.

zh.wikipedia.org/wiki/%e6%a8%82%e7%94%9f%e7%99%82%e9%a4%8...

Lt. Governor Testifies on MHIP Legislation to the Senate Finance Committee. by Jay Baker at Annapolis, MD.

Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.

Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".

ORIGIN AND HISTORY

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.

The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.

TEMPLE HISTORY

In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.

In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.

In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.

MANUSCIPT EVIDENCE

Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.

Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.

The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.

A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.

This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.

MUGHAL AND BRITISH PERIOD

During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.

TRADITION AND DANCERS

The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.

Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.

By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.

Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.

MAHARI TADITION

The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.

The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.

Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.

GOTIPUA TRADITION

In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.

DANCE VOCABULARY AND REPERTOIRE

TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:

MANGALACHARANA

An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.

BATTU NRUTYA

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.

PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).

ABHINAYA

An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.

DANCE DRAMA

Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.

MOKSHA

The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.

LANGUAGES

Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.

ODISSI MUSIC

Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

COSTUME AND JEWELRY

The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.

The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.

The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).

The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.

The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.

IN GUINNESS WORLD RECORDS

Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.

WIKIPEDIA

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18th Chairman of the Joint Chiefs of Staff Gen. Martin E. Dempsey joined Secretary of Defense Chuck Hagel and Under Secretary of Defense (Comptroller)/Chief Financial Officer Robert Hale to testify before the Senate Subcommittee on Department of Defense to examine proposed budget estimates for fiscal year 2015 for the Department of Defense, Jun. 18, 2014. DoD photo by SSG Sean K. Harp, USA

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Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.

Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".

ORIGIN AND HISTORY

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.

The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.

TEMPLE HISTORY

In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.

In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.

In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.

MANUSCIPT EVIDENCE

Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.

Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.

The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.

A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.

This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.

MUGHAL AND BRITISH PERIOD

During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.

TRADITION AND DANCERS

The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.

Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.

By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.

Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.

MAHARI TADITION

The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.

The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.

Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.

GOTIPUA TRADITION

In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.

DANCE VOCABULARY AND REPERTOIRE

TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:

MANGALACHARANA

An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.

BATTU NRUTYA

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.

PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).

ABHINAYA

An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.

DANCE DRAMA

Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.

MOKSHA

The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.

LANGUAGES

Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.

ODISSI MUSIC

Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

COSTUME AND JEWELRY

The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.

The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.

The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).

The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.

The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.

IN GUINNESS WORLD RECORDS

Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.

WIKIPEDIA

On February 20, 2014, we traveled to Annapolis to testify before the Senate Finance Committee in support of Paid Sick Leave legislation for Maryland.

Remember last year, when I testified before Congress? I did it again.

This hearing, "Risk-based Security in Federal Buildings: Targeting Funds to Real Risks and Eliminating Unnecessary Security Obstacles," featured me talking about the harassment of photographers at the Department of Transportation headquarters, then moved into DC Del. Eleanor Holmes Norton's general displeasure at the haphazard way federal buildings are secured. She, like most of us in DC, I think, would like buildings to be more open to the general public.

Alicia Calzada, an attorney representing the National Press Photographers Association, testifies against Texas HB 912 AT 2:10 AM on 27 March 2013. Alicia is 8.5 months pregnant and waited from 10 AM on the 26th of March until just past 2 AM the following day to testify in opposition to this bill. She was barely able to deliver oral arguments against the proposed bill due to her physical condition. The hearing adjourned around 4 AM. HB 912 would make photography and videography from an unmanned aerial vehicle a criminal act as well as create civil penalties of unimagined proportions.

Dallas Morning News photo editor Guy Reynolds testified against Texas HB 912. Mr. Reynolds reported to the committee that the Dallas Morning News has already published a UAV photograph and has purchased one to use at a variety of venues.

Several filmmakers complained about the bill's infringement on their first amendment rights, as well as the impractical requirements of getting signed releases from every individual and property owner in each frame. One filmmaker testified he would take his production business out of Texas.

Austin attorney Michael Hull calculated potential damages for a single aerial photograph at around $100,000,000 if the bill is passed. He was speaking in opposition to the bill on behalf of Texans for Lawsuit Reform (TLR).

Write these members immediately and voice your opposition to this bill:

www.capitol.state.tx.us/Committees/MembershipCmte.aspx?Le...

MORE NEWS TO FOLLOW SOON. PROTECT YOUR FIRST AMENDMENT RIGHTS IN TEXAS. PERSONAL NOTE FROM MARK: PLEASE FORWARD THIS PHOTO LINK TO EVERY JOURNALIST YOU KNOW. I WILL WAIVE ALL COPYRIGHTS FOR PHOTO CREDIT.

On February 20, 2014, we traveled to Annapolis to testify before the Senate Finance Committee in support of Paid Sick Leave legislation for Maryland.

NASA Administrator Bill Nelson testifies during a House Science, Space, and Technology Committee hearing regarding the NASA Fiscal Year 2025 budget, Tuesday, April 30, 2024, at the Rayburn House Office Building in Washington. Photo Credit: (NASA/Bill Ingalls)

Supreme Court Associate Justice Antonin Scalia testifies before the House Judiciary Committee's Commercial and Administrative Law Subcommittee on Capitol Hill May 20, 2010 in Washington, DC. Scalia and fellow Associate Justice Stephen Breyer testified to the subcommittee about the Administrative Conference of the United States. (Photo/Stephen Masker)

Remember last year, when I testified before Congress? I did it again.

This hearing, "Risk-based Security in Federal Buildings: Targeting Funds to Real Risks and Eliminating Unnecessary Security Obstacles," featured me talking about the harassment of photographers at the Department of Transportation headquarters, then moved into DC Del. Eleanor Holmes Norton's general displeasure at the haphazard way federal buildings are secured. She, like most of us in DC, I think, would like buildings to be more open to the general public.

Deputy Chief of the Border Patrol, CBP, Ronald D. Vitiello testifies on Border Security; examining the implications of S. 1691, the Border Patrol Agent Pay Reform act of 2013 before the U.S. Senate Committee on Homeland Security and Governmental Affairs in Washington D.C. Photo by James Tourtellotte

Bain News Service,, publisher.

Sam'l [i.e., Samuel] Gompers

[1915 Jan. 22]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:

Title from data provided by the Bain News Service on the negative.

Photograph shows labor leader Samuel Gompers (1850-1924) testifying at the 1915 hearings of the federal Commission on Industrial Relations at New York City Hall, New York City. (Source: Flickr Commons project, 2012)

Forms part of: George Grantham Bain Collection (Library of Congress).

Format: Glass negatives.

Rights Info: No known restrictions on publication.

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.18241

Call Number: LC-B2- 3361-1