Monday, September 5

The Ascent of Money

0 comentarios Publicado por isabelgg en 11:25 AM

I read the book  The Ascent of Money:  A Financial History of the World  by Harvard historian Niall Ferguson  as part of my summer reading and I also watched the documentaries.  It’s interesting to see the rise and fall of different countries based solely on whether someone could get a loan.




From its opening sentence,
 “Bread, cash, dosh, dough, loot, lucre, moolah, readies, the wherewithal: call it what you like, money matters.To Christians, love of it is the root of all evil. To generals, it's the sinews of war. To revolutionaries, it's the chains of labor.”…
  To its final text,



 “There are those who talk about the death of capitalism or the end of free markets, as if the state were somehow an alternative to financial markets. The historical reality, as should by now be clear, is that states and financial markets have always existed  in a symbiotic relationship. Indeed, without the exigencies of public finance, much of the financial innovation that produced  central banks, the bond market and the stock market would never have ocurred. I remain more than ever convinced  that, until we fully understand the origin of financial species, we shall never understand the fundamental truth about money : that , far from being´a monster that must be put  back in it´s place (as Merkel recently said) , financial markets are like the mirror of mankind, revealing every hour of every working day the way we value ourselves and the resources of the world around us.
It´s not the fault of the mirror if it reflects our blemishes as clearly as our beauty.”.
Professor Niall Ferguson traces the evolution of money, showing  that finance is in fact the foundation of human progress  and suggests that financial history is the fundamental background to all history. “From Mesopotamia right down to day, the ascent of money has been an indispensable part of the ascent of Man,” he says, adding: “Without the invention of credit, the entire economic history of our world would have been impossible.”
Money, such a simple word, is at the very core of our relations. It must rank as oneof the great inventions of our species, alongside the division of labour and the wheel.
So we march with money through time. From the Roman denarius, still circulating in Europe in the early Middle Ages, through the development of the loan sharks in northern Italy into the first real bankers; from the rise of Amsterdam as the world's financial capital and the gradual shift of its techniques to London; from the Rothschilds, who did not, as is popularly supposed, make a great coup out of using carrier pigeons to learn the result of the battle of Waterloo before anyone else, but rather from a huge subsequent gamble on the price of government securities; to the first great age of market capitalism during the 19th century; and to the booms and busts of the modern world.
What I find especially interesting about The Ascent of Money is the way in which it ties together bits of history that are largely unrelated in my mind and Ferguson's ability to link the past with the present – particularly helpful right now. For example, he draws a parallel between international investment during the last great burst of globalisation from 1870 to 1914 and the massive international capital flows of the present global era. The difference was that during the 19th century it was mostly a case of the developed world, Britain, France and other European nations, financing infrastructure in developing countries, now it is a still-developing country, China, financing consumption in the US. The author coined the term  "Chimerica", which he describes as "the wonderful dual country ... which accounts for just over a 10th of the world's land surface, a quarter of its population, a third of its economic output and more than half of global economic growth in the past eight years".
I found this section of  “Chimerica” especially fascinating. I was surprised to see the power of saving money which is demonstrated by the recent descent in US economic power and position in relation to China. It is also surprising that China is becoming the “World Bank” in such a short period of time.
This is one  of my favorite documentaries. I've developed a greater understanding of the development of “money” and the emergence of global finance. A must watch for everybody.

Enjoy Episode 6 of The Ascent of Money documentary.

 

Tuesday, June 28

Leonardo Da Vinci's Vitruvian Man

0 comentarios Publicado por isabelgg en 10:35 PM

Leonardo Da Vinci’s Vitruvian Man


Vitruvian Man. Leonardo da Vinci. 1490

Chapter 1 “On Symmetry in Temples and in the Human Body” from Roman architect Marcus Vitruvius Pollio, describing the perfect human form in geometrical terms, was the source of inspiration for numerous Renaissance artists. The architect proposed that a properly constructed temple should reflect and relate to the parts of the human body. He noted that a human body can be symmetrically inscribed within both a circle and a square, the perfect geometric forms. But only one of these Renaissance artists, the incomparable Leonardo da Vinci, succeeded in correctly illustrating the proportions outlined in Vitruvius’ work De Architectura and the result became his most famous illustration and one of the most recognized drawings in the world, The Vitruvian Man, named in honour of the architect.
This renowned drawing was completed in 1490 and it is accompanied by hand writing notes based on the work of Vitruvius surrounding the figure. It is a pen ink drawing on paper depicting a nude male figure whose outstretched limbs touch the circumference of a circle and the edges of a square. His navel falls in the exact center of the circle, but this depends on the position of the arms and legs and when the figure is in standing position, when the figure is “squared”, the center of gravity becomes the phallus which is, concerning this drawing from the compositional point of view, more important, since it is the center of the underlying geometry that outlines the basic features of the figure.
The fundamental composition consists of a circle, a square and a triangle, a sigillum known to magicians and alchemists, although the compositional triangle on this drawing is concealed.
The drawing is stored in the Gallerie dell’ Accademia in Venice, Italy and it is only displayed occasionally like most works on paper.
Other artists and architects had attempted to depict Vitruvius’ theory  prior to Leonardo with less success. Da Vinci's drawing differs from the previous works in that the male figure adopts two different positions within the same image. He is simultaneously within the circle and the square; movement and liveliness are suggested by the figure's active arms and legs. Leonardo's figure appears as a living being with unruly hair, distinct facial features and a strong build. While the subject is lively, thin lines on his form show the significant points of the proportion scheme., showing da Vinci's concern with the architectural meaning of the work. Leonardo is representing the body as a building and illustrating Renaissance theory which linked the proportions of the human body with architectural planning.
It is apparent that da Vinci wrote the text surrounding the figure in Vitruvian Man alter creating the drawing, as the words are tailored to the contours of the circle and the square. The presence of text legitimates the image; the authority of Vitruvius explains why Leonardo created the drawing. The image is not, however, simply an illustration of the text. Words and image interact in the work and the significance of the piece lies in the connection between the two. By combing text and illustration, da Vinci evokes a meaning which could not be created through words or image alone.

 
The text accompanying leonardo’s drawing is the complete translation into Italian from the Latin of Vitruvius, De architecture , Book III of X, chapter 1, as da Vinci’s drawing was originally an illustration for a book on the works of Vitruvius. It says:  “The measurements of the human body are distributed by Nature as follows that is that 4 fingers make 1 palm, and 4 palms make 1 foot, 6 palms make 1 cubit; 4 cubits make a man's height. And 4 cubits make one pace and 24 palms make a man; and these measures he used in his buildings. If you open your legs so much as to decrease your height 1/14 and spread and raise your arms till your middle fingers touch the level of the top of your head you must know that the centre of the outspread limbs will be in the navel and the space between the legs will be an equilateral triangle.

The length of a man's outspread arms is equal to his height.

Leonardo da Vinci's self portrait

From the roots of the hair to the bottom of the chin is the tenth of a man's height; from the bottom of the chin to the top of his head is one eighth of his height; from the top of the breast to the top of his head will be one sixth of a man. From the top of the breast to the roots of the hair will be the seventh part of the whole man. From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle of the armpit will be the eighth part of the man. The whole hand will be the tenth part of the man; the beginning of the genitals marks the middle of the man. The foot is the seventh part of the man.
Vitruvian Man's importance lies in its clear reflection of the ideas of its time. It demonstrates the enthusiasm for the theories of Vitruvius among da Vinci and his contemporaries.
Many theories abound about this work, secret meanings and astrological and mystical interpretations of the sketch but I think it is a geometrical study that has stood the test of time, though I am fascinated by the product of the greatest Renaissance artist, scientist, mathematician, inventor, anatomist and engineer, LEONARDO DA VINCI. Enjoy it!

 

Sunday, May 29

Carlos Núñez live at IES Val do Tea

1 comentarios Publicado por isabelgg en 12:22 AM








Last Thursday Carlos Núñez, the worldwide famous Galician bagpipe player, visited our school IES Val do Tea. Needless to say it was a great event for everybody but mainly for students.










They were looking forward to it eagerly and they had prepared a welcome poster and some projects about him.

















He did not disappoint anybody. He offered us all his best in two sessions with our school auditorium overflowed with students.
He gave an interesting talk about the musical and linguistic links between Brazil and Galicia showing us an outstanding video recorded while he was preparing his last album “Alborada do Brasil”. He answered lots of student questions, played the flute beautifully for them and finally he signed some “Alborada do Brasil” CDs that the school had previously drawn among students.






He also gave a signed poster to IES Val do Tea.
Our students from the school choir and the bagpipe and muñeira dance group delighted us with their performances.
It was a memorable and unforgettable day for our students and I’d like to highly appreciate the great effort Carlos Núñez did to be with us.
Thanks a lot!







And now, enjoy the video recorded live at IES Val do Tea. (Pity, it is not a good quality, as he deserves)




 

Tuesday, May 17

TRAJE SALMANTINO. GRABADOS. TRAJE CHARRO

2 comentarios Publicado por isabelgg en 9:22 AM







Ésta es una entrada muy larga porque quiero reflejar la evolución del traje salmantino hasta el actual traje charro basándome en grabados existentes desde el siglo XVIII.







Los primeros grabados del traje de Salamanca aparecieron en la segunda mitad del siglo XVIII realizados por el ilustrador madrileño Juan de la Cruz Cano y Olmedilla en su obra “Colección de trajes de España tanto antiguos como modernos, que comprehende todos los de sus Dominios: Dividido en dos Volúmenes, con ocho quadernos de á doze estampas cada uno”. La primera edición apareció en Madrid el año 1777. Este tipo de estampas eran muy comunes en Francia donde el Marqués de la Ensenada había enviado a Cruz Cano para que aprendiera las técnicas del grabado. Esta obra tuvo un éxito inmediato tanto en España como en el extranjero .






























Cruz Cano presenta a la mujer salmantina como “aldeana charra del partido de Salamanca” y al hombre como “aldeano de los caseríos de Salamanca”. Estas dos láminas están publicadas con los números 23 y 24. No se trata del traje charro como lo conocemos actualmente sino uno más de “los trajes más normales de la plebe del Reino, nos dice el autor.
Otros grabados definen al traje salmantino como “de los alrededores”, “de las cercanías”, “del partido”, “del distrito” o simplemente hombre o mujer de Salamanca. Términos bastante imprecisos para localizar exactamente el lugar, por lo que se deduce que debía comprender una comarca bastante amplia alrededor de Salamanca.
De estos grabados voy a considerar brevemente algunos que nos permitan analizar el traje usado generalmente en la comarca de Salamanca y nos permita observar su evolución hacia el traje charro actual.
J. Laroque realizó los grabados ”Homme de Salamanque” y “Femme de Salamanque” en 1796 muy semejantes a los grabados de Cano y Olmedilla, al igual que otro grabado con el mismo nombre “Femme de Salamanque” de 1792 realizado por S. Sauveur que apareció en “Modes et Costume Historique” de los hermanos Pauquet. En estos grabados, el hombre aparece con pelo largo atado y viste las siguientes prendas: sombrero, capa, jubón de manga rajada con botonadura delantera, calzón hasta la rodilla ceñido con cinta o mediavaca de cuero, medias, zapatos llanos con tacón bajo y pala achatada y polainas. La mujer viste sombrero de calidad entrefina de ala mediana, casco chato y adornado, manta o pañuelo de cabeza abrochado a la sobarba, cae sobre el pecho y resguarda los hombros (esta prenda desaparece en la segunda mitad del siglo XIX), pañuelo de hombros, camisa o jubón de faldillas con mangas abullonadas que se ajusta con un ceñidor, presenta labores con motivos tradicionales de flores y animales. Sayas y manteos, el cimero abierto por detrás dejando ver los medianeros y bajeros guarnecidos de ribetes y listones en colores contrastados, mandil o picote avarillado con guarnición en las esquinas y calzado de tipo abotinado con tacón no alto. En cuanto a las joyas todavía muestran un uso moderado de alhajas, se limitan a unos collares y pendientes. Son joyas discretas, opuestas al ostentoso aderezo que se oficializó unos cien años más tarde.











Ya a principios del siglo XIX encontramos más grabados representativos del traje usado en Salamanca. “Servant girls of Salamanca” y “Paysan du district de Salamanque) de 1809 de I. Clark basado en las acuarelas del pintor y viajero inglés W. Bradford.





















En 1825 el grabador Edné Jean Pigal realiza “Villageouse des environs de Salamanque”, conserva


aún el pañuelo de cabeza atado
a la barbilla y cubriendo los hombros pero el mandil está ya más adornado que los grabados anteriores y se va acercando al mandil charro.









El ilustrador y pintor francés Louis-Marie Lanté trabajaba para la revista “Journal des dames et des modes” y realizó unas ilustraciones del vestido regional popular de Francia y otros países. En 1827 publicó los grabados “Costume de Salamanque” y dos versiones diferentes de “Servante de Salamanque”, una de ellas una copia de Bradford.





















































En la obra “L’Espagne pittoresque, artistique et monumental” de Clerman aparece en 1848 otro grabado con el título “Femme des environs de Salamanque”.















El bonito grabado “Burgos, Salamanque , Santander” de Rouargue se encuentra en su libro “Voyage pittoresque en Espagne et en Portugal” de 1852. La salmantina conversa con un burgalés y una pasiega, viste un sayuelo de dos cuerpos atado con cordones bordeado de galones y repulgo. Las mangas son estrechas con folladura en el antebrazo abrochado con una hilera de botones. Tiene un amplio escote por el que deja ver las zonas ornamentales de la camisa. Esta prenda fue sustituida posteriormente por la chambra o jubona en el traje charro. La profusión del mandil de la salmantina contrasta con la simplicidad de la pasiega, un claro adelanto del ornamental mandil charro.







En esta época se dan los últimos y definitivos pasos del traje popularizado como de charro y charra respectivamente aunque debe tenerse presente que a partir de la Guerra de la Independencia se produjo una moda uniforme llamada “a la europea” generalizada al igual que en el resto de España. Los grabadores seguían ilustrando trajes plebeyos ya obsoletos.
En el grabado de Gustavo Doré “Charro des environs de Salamanque” que aparece en la obra “Voyage en Espagne” del barón Ch. de Davillier el traje de hombre ya ha sufrido una transformación importante, semejante al actual

traje charro actual. El sombrero es de los llamados de “embudo” con ala corta y vuelta adornado con borlas. El camisón es llano con la pechera fruncida y abrochado en el cuello con un solo botón. Ha desaparecido el coleto y aparece el chaleco de hojas cuadradas con generoso escote y chaqueta con solapa y bolsillos. Calzón de los llamados de maldil y medias y zapatos cubiertos de polainas. La capa es de esclavina lisa.






Avanzando el siglo XIX y también la técnica de la fotografía empezamos a ver las primeras fotografías de charros y charras reales, así a principios del siglo XX, concretamente en el año 1903 aparece en la revista “Hojas selectas” un artículo titulado “La romería de Tejares” describiendo minuciosamente los diferentes trajes típicos de Salamanca: el de artesana, el de charra y el de serrana. Lo ilustra con varias imágenes como esta fotografía con tres tipos de muchachas salmantinas.

Entre las fotos más antiguas pueden citarse las realizadas por el fotógrafo salmantino Venancio Gombáu (1868 – 1932) por cuyo estudio pasó toda la sociedad local y provincial. En sus retratos observamos ya a los charros y charras tal como los conocemos actualmente con gran profusión de joyas que han aumentado progresivamente desde una gargantilla a collares de varias vueltas y colgantes que cubren todo el torso. “Charra. Paysanne de Salamanque” y “Charro. Paysan de Salamanque” . También nos presenta los diferentes tipos de trajes de la provincia, de serrrana, de candelaria y de charra “Trajes populares de Salamanca”.










































































El traje charro se asentó definitivamente
como el “traje regional salmantino” con la visita del rey Alfonso XIII y la reina Victoria Eugenia a Salamanca en 1922. Se les obsequió con sendos trajes charros con sus correspondientes alhajas y abanico de filigrana de plata. En 1934 los monarcas donaron sus trajes charros al Museo del Pueblo Español y actualmente forman parte de los fondos del museo del traje.

En la foto puede verse a la reina Victoria vestida de charra.





El traje de mujer charra es de gran vistosidad. En la cabeza lleva rodetes con trenzas caladas para las orejas de pelo natural y adornadas con horquillas, un moño en la parte superior de la cabeza atado con unas cintas bordadas, un velo de tul bordado sobre la cabeza y grandes pendientes.
El busto se cubre con la chambra o jubona de seda con botones de filigrana, pañuelo de hombros de tela bordado por cuadrantes con lentejuelas, dengue o crucero de paño con bordados sobrepuestos , saya encarnada bajera con vuelta y encima el manteo más rico con festón de bordados y tirana de terciopelo. Mandil bordado profusamente y rematado por un faralar de seda, faltriquera bordada colgando de la cintura y por la parte de atrás caen dos cintas bordadas y rematadas de flecos de oro; medias caladas y zapatos de terciopelo bordados con lentejuelas. Como ya se ha dicho anteriormente exhibe gran cantidad de joyas, collares de oro, aderezos, galápagos, cruces, y veneras que cubren totalmente el torso.
Podeis apreciar la riqueza del traje charro y las prendas que lo componen en la siguiente presentación de los trajes charros de la familia y en la fotografía de María Gil Guerrero vestida de charra.

 

Friday, April 8

Maori people. The real discoverers of New Zealand

5 comentarios Publicado por isabelgg en 10:08 AM



The Maori people are the indigenous people of Aotearoa (New Zealand), they first arrived here in a number of epic waka hourua (voyaging canoes) over a significant period of time from their ancestral Polynesian homeland of Hawaiki (Cook Islands, Hawaii and Haiti). These journeys established Maori as daring and resourceful adventurers, and as one of the greatest navigating people of all time. They adapted very easily to the new environment and started to cultivate the land, manufacture textiles and build wooden houses. Maori were expert hunters and fishermen, fishing was vitally important for them. They wove fishing nets from flax and carved fishhooks from bone and stone. A Maori tradition that remains today is throw back the first fish caught, as a way of thanking Tangaroa, god of the sea, for this generosity. Maori hunted native birds, including moa, the world’s largest bird, with a range of ingenious traps and snares. Maori ate native vegetables and also introduced vegetables from Polynesia, including the kumara (sweet potato). Vegetables were planted and harvested with a variety of tools including diggers, spades, and clubs. Weaved flax basket and bags were used to carry food, which was often stored in a pataka — a storehouse raised on stilts. Maori have proved to be excellent warriors. Only men fought, and one of the most highly prized weapons was the spear-like taiaha. This weapon, often beautifully carved, is still used in Maori ceremonies today, and its use has become a highly sophisticated art form. Another fearsome weapon was the mere (club), beautifully carved, with some made out of pounamu (greenstone or jade). A warrior with a full moko (tattoo) on his face, brandishing a taiaha or mere, makes a fearsome sight. New Zealand has been inhabited by Maori since approximately 1300 AD. Dutch navigator Abel Tasman was the first European to discover New Zealand during his voyage of 1642–43, although he never set foot on the land. Tasman’s first contact with Maori was at the top of the South Island in what is now called Golden Bay. Two waka (canoes) full of Maori men sighted Tasman’s boat. Tasman sent out his men in a small boat, but various misunderstandings saw it rammed by one of the waka. In the resulting skirmish, four of Tasman’s men were killed. Captain James Cook was sent to search for the great southern continent thought to exist in the southern seas by the king of England and he arrived in New Zealand in1769 and claimed it for Great Britain. Cook successfully circumnavigated and mapped the country. His botanists and other experts on board his ship, the Endeavour, gained considerable information about the country’s flora and fauna, and the native Maori inhabitants. Cook led two more expeditions to New Zealand, before being killed on a Hawaiian beach in 1779. This is the reason why James Cook is said to have discovered New Zealand but it is not true, the real discoverers were Maori people. In spite of this it wasn't until the late 1700s that the first Europeans began to settle in New Zealand. In 1835 the Declaration of Independence of New Zealand was signed by 34 Maori chiefs. The Declaration asserted the independence of New Zealand, with all sovereign power and authority residing with the hereditary chiefs and tribes. A few years later on 6 February 1840, Te Tiriti o Waitangi (the Treaty of Waitangi) between Maori and the Crown was signed. The Treaty guaranteed Maori full possession of their land in exchange for their recognition of British sovereignty. The Treaty of Waitangi is regarded as New Zealand's founding document and remains a core point of reference for Maori and the Government. Maori culture has many interesting aspects including art, legend, tattoo (moko), performances (notably kapa haka), customs, hospitality and community. Since the early 1980s Maori culture has undergone a renaissance. The regeneration of interest in Maori culture has extended to language, and Maori language programs (such as kohanga reo) are now flourishing. Today Maori people are actively involved with keeping their culture and language alive. Within any Maori community, the marae provides a focus for social, cultural and spiritual life. The term marae describes a communal 'plaza' area that includes a wharenui (meeting house) and wharekai (dining room). The marae is used for ceremonial purposes, it’s a place where the culture can be celebrated, where the Maori language can be spoken, where intertribal obligations can be met, where customs can be explored and debated, where family occasions such as birthdays can be held, and where important ceremonies, such as welcoming visitors or farewelling the dead can be performed. All formal Maori gatherings are accompanied by oratory in Maori; action songs; formal receptions of visitors, accompanied by the hongi, or pressing together of noses on greetings. Hongi is a traditional Maori welcome, which literally means “to share breath”. It is believed that when the two noses meet, people exchange their breath and the visitor becomes one of the local people (tangata whenua), ready to share in all responsibilities and duties. It seems to me a beautiful and tender greeting. I'd feel very at home and most importantly.... Welcome if I were greeted with this warm Maori traditional greeting.


The art of moko or Maori tattooing was one of the few features of external Maori culture to persist from pre -European times well into the 20th century. Ta moko was brought by Maori from their eastern Polynesian homeland. The implements and methods used are similar to those found in other parts of Polynesia. Ta moko, often referred to as Maori tattoo, is the traditional permanent marking of the body and face by Maori. But ta moko is distinct from tattoo in that the skin is carved by uhi (chisels) instead of being punctured with needles. This leaves the skin with textured grooves, rather than the smooth surface of a normal tattoo. Ta moko is a core component of Maori culture and an outward expression of commitment and respect. It denotes rank, traces one’s whakapapa (genealogy) and iwi (tribal history). Each line, each spiral, each whorl represented an important aspect of the individual who bore the markings. It is believed to have begun as a need to look fierce by streaking one’s face with charcoal and red ochre which became an intricate art form of grace and beauty while also maintaining a sense of fierceness and pride. In pre-European Maori culture, many if not most high-ranking persons received moko. Those who went without moko were seen as persons of lower social status. A person, either man or woman, who bore no markings was considered to be plain looking and this was a status in itself usually reserved for slaves. Even children as young as 8-10 years old displayed body tattoos. No child bore the markings of Mataora (facial tattoo) as could be observed by the early settlers. The reasoning for this appears to be that a child’s face had yet to grow into maturity and this growth could alter the markings. Receiving moko constituted an important milestone between childhood and adulthood, and was accompanied by many rites and rituals. Apart from signalling status and rank, another reason for the practice was to make a person more attractive to the opposite sex. Ta Moko was like a history of a person's achievements and represented their status in their tribe. It also served as a reminder to people about their responsibility in life. It was a huge honour for people to have Ta Moko. Ta Moko was worn by both men and women. It was applied to the face and buttocks of men, and to the chin, lips and shoulders of women. Depending on their ranking, they may also have Ta Moko on their face. Occasionally women would put small markings over their faces or shoulders as a sign that someone close to them had died. There were no set patterns to the Ta Moko and the meaning of the Ta Moko was dependent on its placement on the face. The left side of the face related to the father's history and the right side to the mother's history. Designing the appropriate Ta Moko for each man was a long process that could take weeks or even months as there was much to take into consideration. No two were ever the same even though the meaning of each design was based on recognisable principles. After almost dying out in the twentieth century, Maori tattooing is now experiencing a powerful revival, with many young Maori wearing the moko as a spectacular gesture of racial pride and a sign of cultural identity. Ta moko is performed by a tohunga ta moko (tattoo expert) and the practice is considered a tapu (sacred) ritual. The design of each moko is unique to the wearer and conveys information about the wearer, such as their genealogy, tribal affiliations, status, and achievements. It is important to distinguish moko from kiri tuhi, tattoos that are not regarded as having the cultural significance attributed to moko. Ta moko was traditionally performed using chisels made from materials such as Albatross bone. An assortment of chisels was used, some with a straight edge, others with a serrated edge. The pigmentations used were Carui gum and dye from other vegetation that was rendered to a soot and then mixed with oil. Each tribal area used different pigments. Today most moko are performed using modern tattoo machines (and therefore leave the skin smooth), however in keeping with the traditional practice of ta moko, there has been a resurgent increase in the use of chisels. Ta Moko designs can now be seen on many people, both Maori and non-Maori. Given the significance of each stroke, the lack of research into the designs worn by some, including celebrities have angered some Maori. There is much meaning attached to each design that it is considered ignorant for a person, Maori or non-Maori, to use a design without understanding its relevance. Ta Moko is an art form of exquisite beauty showcased on skin. The traditions of a culture can be observed in its delicate patterns and designs. Another important Maori tradition is the haka, it generally accompanies each cultural performance today. The haka is a war dance. The words are chanted loudly (shouted) in a menacing way accompanied by arm actions and foot stamping. A haka was traditionally performed before charging into battle. The haka was danced without weapons, in contrast to the war dances (tutu ngaruhu or peruperu) which were danced with spears, clubs, or other weapons in hand. The haka, which expressed a variety of emotions such as joy, anger, and sorrow, called for exceptional rhythmical skill. Many were marked by a curious, rapid vibration of the hands; other motions included a stamping in unison, facial distortion (protruding tongue and eyeballs), rhythmical out-thrusts and movements of the arms, as well as a swaying of the body. Haka performed in a sitting position were as a rule of a milder character, with swaying motions from the arms and bodies. Every haka had its expert leader who gave time to the music and the motions of the dance. The haka may also be used to tell of great feats, or danced as a special welcome before a high-ranking guest. A haka can also express grievance, or, in earlier times, could be addressing a prayer to one of the ancient Maori Gods. Strictly speaking, the term haka refers generically to all Maori dance but has now come to mean the Maori dance repertoire where the men are in front and women lending vocal support at the back. The New Zealand rugby team, the All Blacks, promote one version of the haka which starts with the chant "Ka mate, ka mate (It is death, it is death"), it is this haka, called Te Rauparaha's haka (so named after its perceived traditional origins) that most people, particularly rugby union football fans, know as the haka. This version of the haka is both war chant and challenge and is customarily performed by the All Blacks before major games against non-New Zealand teams. It is characterised by loud chanting, much aggressive flailing of arms and stomping of feet, fierce looks and, in the end, an angry sticking out tongues. “Ka mate, ka mate” are the words of Te Rauparaha's haka (1810) used by the All Blacks: Ka mate, ka mate Ka ora, ka ora Tenei te tangata puhuruhuru Nana i tiki mai whakawhiti te ra Upane, upane Upane kaupane Whiti te ra. These words are translated as: It is death, it is death It is life, it is life This is the hairy man Who caused the sun to shine again for me Up the ladder, up the ladder Up to the top The sun shines.


Enjoy this video with the All Blacks performing the haka versus Tonga. (Stop the music first)



 

Saturday, March 19

Tribute to Japan

1 comentarios Publicado por isabelgg en 2:59 AM

A beautiful antique map of Japan from 1855 by J. H. Colton to pay a moving tribute to Japanese people's courage for all the efforts they are showing to overcome the tragedy of the earthquake and tsunami on 11 March.
As Prime Minister Naoto Kan said, you will rebuild Japan from scratch. People all over the world will help you to become a powerful country again.
My great sympathy to the victims.

 

Sunday, February 27

Spanish Civil War Posters

6 comentarios Publicado por isabelgg en 11:15 AM



The Spanish Civil War was an extremely complex conflict that ravaged the country from 1936 to 1939 and devastated Spain and its inhabitants. The estimates of how many people were killed in the war run from 500,000 to 1,000,000. The war came about when the Spanish communist party came to power after defeating members of the monarch in elections. They decided that they wanted to bring about land reforms and exclude the church from the government. This was not popular among the Nationalists at the time. So the Spanish Army staged a military coup to overthrow the Second Spanish Republic. The attempt would prove successful, with the eventual installation of a dictatorship led by General Francisco Franco in 1939. The nationalists were made up of monarch supporters, religious groups, Falangists and Fascists. The communist or left wing side was made up of Socialists, Marxists, Anarchists, Communists, Basque and Catalan seperatists and a number of other extreme left wing groups and trade unions. War broke out when the right wing groups refused to accept the left wing as the government and the land reforms they were about to impose.
Before his victory, Franco’s forces met the resistance of republicans, socialists, communists and anarchists in a bitter battle for Spain.
During the war both sides accused each other of being puppet governments for other governments, The Nationalists, as the rebels were called, received aid from Fascist Italy and Nazi Germany. The Republicans received aid from the Soviet Union, as well as from International Brigades, composed of volunteers from Europe and the United States.
Politically their differences often found extreme and vehement expression in parties such as the Fascist-oriented Falange and the militant left-wing anarchists.



Among the many aspects of the war that continue to exert a particular fascination today is the wealth of astonishing propaganda posters produced by the various factions involved in the fighting. There was a high rate of illiteracy in the country, particularly among women, peasants and the working classes, so poster designers employed rousing imagery and succinct slogans to deliver their message.
Propaganda has played a vital part in the wars of the early 20th century it was used by Hitler in World War 2 by Mussolini in his control of Italy and of course by Stalin. Throughout the course of the Spanish civil war propaganda was used by all sides to communicate various messages, some of these messages were to encourage peace and to keep fighting for food and freedom whilst others were to convince people to leave the city or join the army. The messages varied, as did the posters. What it left us with in the end was catalogues of posters that are a poignant reminder of these dark times in Spanish history. However they are also pieces of art that serve to remind us of our not too distant past .
The war was much about ideas. Many political ideologies of the time were battling for power and recognition. Propaganda was a major part of convincing the Spanish civilians to side with various parties. Colourful and artistic posters were used to persuade civilians and spread messages as the majority of the population were illiterate and uneducated. These posters were designed by some of the best artists in Spain and the streets of all of Spain’s major cities were plastered with these posters. The Nationalists lead by Franco used the posters to win the support of the people after taking a city from the communists. The communists used the posters to win support from the peasants they were trying to help and to spread messages to the people whilst they were in power. The anarchists used their posters to introduce their new radical idea to the people in the hope of winning their hearts and minds.
These posters are perhaps the most prominent remains of the conflict that presented to the people of Europe and the world the tragedies of war and how the people of Spain were living through these tragedies. These posters are among the most important documents of the war remaining today and can be found in museums across Spain as well as other European countries.
Eyewitnesses accounts of the war attest that the posters were everywhere during the war. The cities walls were awash with the colour and creativity of propaganda. On almost every building there were party posters: posters against Fascism, posters about the defence of Madrid, posters appealing for recruits to the militia...and even posters for the emancipation of women and against venereal disease. Streets aflamed with posters of all parties for all causes, some of them put out by combinations of parties. In Republican territory, when a house was destroyed by the enemy bombs, propaganda agencies would fix posters on the ruins in order to denounce the enemy, hoping to turn aggression into rage. In Madrid, the capital of the Republic, shop owners were forced to fill their store fronts with posters: "Every space must be used to incite the spirit in its fight against the enemy," stated an article in the newspaper ABC on October 30, 1936. When a city was taken the streets of were plastered with posters to convince its citizens to change sides.
The Nationalist party produced a far lesser amount of posters than their rivals. This was primarily because they hadn’t as much inward struggle and because what they were promoting was familiar to the Spaniards. Their posters were primarily used after the taking of a city to encourage calm amongst its citizens. They also tried to encourage people to return to normality after the war.
The Communist or the Republican party were the most prolific producers and publishers of posters during the Spanish civil war. Their posters were used to garner the support of the people and often to spread messages to the rurally isolated peasants. These posters were important in communicating to an predominantly illiterate population and encouraging men to join the militia and support the communist movement. Some posters were co signed by the anarchists and communists during their coalition.

Over the course of the war thousands of posters were created and circulated throughout Spain. Many of these survived the war, however many didn’t survive the war and are lost forever.


This post is by no means to favour one side over another, that's why they are mixed up. It is merely the home and celebration of some important historical documents. I hope you enjoy them!

(Click on the link "propaganda posters to see some of them enlarged).

 

Wednesday, February 2

February Second. Groundhog Day. La Chandeleur

2 comentarios Publicado por isabelgg en 1:56 PM


If someone were to ask “What is the significance of today’s date? I’m quite sure that all who were asked, came up with the same answer: “Feb. 2nd is Groundhog Day!”
These responses prove the point that Feb. 2nd is deeply rooted in Canadian and American folklore.
In the folklore of these countries, the groundhog’s activities are weather related. Simply put, when this animal comes out of his burrow on Feb. 2nd, if the sun is shining and he sees his shadow, he returns underground for six more weeks of winter. If, however, the day is overcast and he cannot see his shadow, an early spring is just around the corner.
It will not be a surprise to learn that this folkloric tale has its roots in mediaeval Europe. In the Christian calendar, Feb. 2nd marks the celebration of the Purification of the Virgin Mary and the presentation of Jesus in the Temple. Candles are blessed on this day, giving rise to the name “Candlemas Day.” Since this date also marked the midpoint of winter, halfway between the winter soltice, and the spring equinox, the notion arose that the weather on Candlemas Day might foretell what would take place during the rest of the winter.
Thus a bright and sunny Candlemas Day suggested that there was more winter to come; while a cloudy overcast day meant that winter would soon be over.

The legend of Groundhog Day is based on the old Scottish couplet: "If Candlemas Day is bright and clear, there'll be two winters in the year."
Every February 2, people gather at Gobbler's Knob, a wooded knoll just outside of Punxsutawney, Pennsylvania. The first Groundhog Day, took place in this community, when the local newspaper reported: “At the time of going to press on Feb. 2nd, 1886, the groundhog has not seen its shadow.“ The groundhog was named: “Punxsutawney Phil, Seer of Seers, Sage of Sages, Prognosticator of Prognosticators and Weather Prophet Extraordinary.” For the record, Phil’s first prediction was correct. In his debut performance there was “no shadow and an early spring followed.”
The ceremony in Punxsutawney was held in secret until 1966, and only Phil's prediction was revealed to the public. Since then, Phil's fearless forecast has been a national media event. The groundhog comes out of his electrically heated burrow, looks for his shadow and utters his prediction to a Groundhog Club representative in "groundhogese." The representative then translates the prediction for the general public.
If Punxsutawney Phil sees his shadow, it means six more weeks of winter. If he does not see his shadow, it means spring is just around the corner.
Approximately 90% of the time, Phil sees his shadow and residents contend that the groundhog has never been wrong.
Phil started making predictions in 1887 and has become an American institution.

Now only one question remains. Why has a folkloric tradition of this type survived so many centuries? There is no easy answer, for such traditions not only have deep roots; they have a habit of “adjusting” to fit changing circumstances.
While it can never be proven, one possibility for the recent surge of interest in Feb. 2nd might be the popularity of the American movie “Groundhog Day” released in 1993.
The actor Bill Murray, plays a weatherman for a television station. The story begins with his trek to Puxatawney, Pennsylvania for the appearance of the groundhog. He is reluctantly sent to cover a story about a weather forecasting "rat" (as he calls it). This is his fourth year on the story, and he makes no effort to hide his frustration.
On this occasion, due to a sudden storm, cast and crew must stay on location until the weather improves. But something strange happens when the weatherman awakens in the morning . . . it is Groundhog Day all over again! He makes several drastic attempts to leave town, but on every occasion, the next day is always Groundhog Day. . First he uses this to his advantage, then comes the realisation that he is doomed to spend the rest of eternity in the same place, seeing the same people do the same thing EVERY day.

February 2, 2011 - around 7:25 am ET - Punxsutawney, PA
Phil did not see his shadow and thus spring is just around the corner!




Connected with Grounhog Day is the celebration of “La Chandeleur” in France.
La Chandeleur, celebrated on February 2, is originally a religious holiday, yet today it is known as the day of crêpes (“Fête de la Lumière, or jour des crêpes”).
La Chandeleur is the Catholic holiday of Candlemas, a feast to commemorate the purification of the Virgin Mary and the presentation of the baby Jesus forty days after his birth.
The story is that Pope Gélase gave crêpes to the pilgrims who arrived in Rome. The crêpes with their rond shape and golden color, signified the sun and helped Spring to arrive. Even though most people don't know the history on why they celebrate La Chandeleur with crêpes, any reason is a good reason to eat crêpes in France!
For many French people La Chandeleur is a chance to enjoy a lot of crêpes, as well as do some fortune telling while making them.
The tradition is to hold a coin in your writing hand and a crêpe pan in the other; then toss the crêpe in the air. If you manage to catch the crêpe in the pan, your family will enjoy prosperity for the rest of the year.

You can try making your own crêpe.
Crêpe recipe for 8 - 10 people
Preparation time 10 minutes, cooking time 3 - 4 minutes
Ingredients
250g flour
4 eggs
1/2 litre milk
pinch of salt
50g butter
1 sachet vanilla sugar
soup spoon (5 cl) rum
variant - you can replace the milk with crème fraiche
Leave mixture for about an hour
Preheat a crêpe/frying pan , when hot add a little butter to grease the pan
Put half a ladle of crêpe mixture into the pan and cook for 1-2 minutes each side
Suggested accompaniments: sugar, Nutella, jam, honey, fruit or lemon
Traditionally to drink - cider

There are all kinds of French proverbs and sayings for Chandeleur; here are just a few. Note the similarities to the Groundhog Day predictions made in the US and Canada:
“If Candlemas be fair and bright, winter has another flight. If Candlemas is cloudy and grey, winter soon will pass away.”

À la Chandeleur, l'hiver cesse ou reprend vigueur
On Candlemas, winter ends or strengthens

À la Chandeleur, le jour croît de deux heures
On Candlemas, the day grows by two hours

Chandeleur couverte, quarante jours de perte
Candlemas covered (in snow), forty days lost

Rosée à la Chandeleur, hiver à sa dernière heure
Dew on Candlemas, winter at its final hour

 

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