Submycenaean pottery is a style of ancient Greek pottery. It is transitional between the preceding Mycenaean pottery and the subsequent styles of Greek vase painting, especially the Protogeometric style. The vases date to between 1030 and 1000 BC.

Submycenaean pottery is not very well researched, as only few sites from the period have been discovered so far. The style was first recognised in 1939 by Wilhelm Kraiker and Karl Kübler, based on finds from the Kerameikos and Pompeion cemeteries in Athens and on Salamis. The existence of the style remained disputed among archaeologists until later discoveries in Mycenae clearly showed the existence of separate Late Mycenaean and Submycenaean strata.

Submycenaean pottery occurs primarily in contexts such as inhumations and stone-built cist graves. Find locations are widely distributed, suggesting a settlement pattern of hamlets and villages. Apart from the sites mentioned above, Submycenaean pottery is known from locations such as Corinth, Asine, Kalapodi, Lefkandi and Tiryns.

The quality of the vases varies widely. Only few shapes were produced, especially stirrup jars with a pierced shoulder, belly amphorae and neck amphorae, lekythoi as well as jars, some with trefoil-shaped mouths. By the end of the Submycenaean period, the stirrup jar was replaced by the lekythos. Submycenaean decoration is rather simple, the hand-painted motifs are limited to horizontal or vertical wavy lines, single or double hatched and overlapping triangles, as well as single or multiple concentric semicircles. The shoulders of lekythoi, amphorae and stirrup jars bore ornamental decoration. Amphorae, amphoriskoi and jugs were usually painted with one or several thick wavy lines. In general, the style was much shorter and less carefully made than the previous types of pottery, leading one art historian to describe it as "rather unloveable".

Notes

References
 Thomas Mannack: Griechische Vasenmalerei. Eine Einführung. Theiss, Stuttgart 2002, p. 66f. .

Further reading
Betancourt, Philip P. 2007. Introduction to Aegean Art. Philadelphia: INSTAP Academic Press.
Preziosi, Donald, and Louise A. Hitchcock. 1999. Aegean Art and Architecture. Oxford: Oxford University Press.

11th century BC in Greece
11th-century BC works
1939 archaeological discoveries
Ancient Greek pottery
Funerary art
Mycenaean art

Sub-Mycenaean pottery


In genetics, a mosaic (or mosaicism) means the presence of two different genotypes in an individual which developed from a single fertilized egg. As a result, the individual has two or more genetically different cell lines derived from a single zygote.

Mosaicism may result from:
Crossing-over during mitosis
A gene mutation during development
A chromosomal mutation during development
X-inactivation: one X chromosome is randomly switched off in cells of a female mammal

The phenomenon was discovered by Curt Stern. In 1936, he demonstrated that recombination, normal in meiosis, can also take place in mitosis. When it does, it results in somatic (body) mosaics. These are organisms which contain two or more genetically distinct types of tissue.

Chimeras
People who have mosaicism are often called chimeras but this is a mistake. A mosaic is originally from a single fertilised egg, whereas a chimaera comes from two fertilised eggs.

Other causes of two-tone appearances
This is easiest to see with eye colours. When eye colours vary between the two eyes, or within one or both eyes, the condition is called heterochromia iridis (= 'different coloured iris'). It can have many different causes, both genetic and accidental. For example, David Bowie has the appearance of different eye colours due to an injury that caused one pupil to be permanently dilated.

On this page, only genetic mosaicism is discussed.

X-inactivation
This is a controlled and natural developmental phenomenon in mammalian females. Females have two X chromosomes (and males have only one). The two X chromosomes in a female are rarely identical. They have the same genes, but at some loci (positions) they may have different alleles (versions of the same gene).

In the early embryo, each cell independently and randomly inactivates one copy of the X chromosome. This inactivation lasts the lifetime of the cell, and all the descendants of the cell inactivate that same chromosome. X-inactivation is reversed in the female germline, so that all egg cells contain an active X chromosome.

This phenomenon shows in the colouration of calico cats and tortoiseshell cats. These females are heterozygous for the X-linked colour genes: the genes for their coat colours are carried on the X chromosome. X-inactivation causes groups of cells to carry either one or the other X-chromosome in an active state.

X-inactivation is an epigenetic change, a switching off of genes on one chromosome. It is not a change in the genotype. Descendent cells of the embryo carry the same X-inactivation as the original cells. This may give rise to mild symptoms in female 'carriers' of X-linked genetic disorders.

Mutations
Mutations in body cells (somatic mutations) cause groups of cells to differ in their genetics.
Somatic mutation leading to mosaicism is common in the beginning and end stages of human life. Cancer research has shown that somatic mutations are responsible for most leukemia, lymphomas, and solid tumors.

Related pages
Chimaera (genetics)

References

Classical genetics

Mosaic (genetics)


Keith Barr McCutcheon (August 10, 1915 – July 13, 1971) was a highly decorated Marine Corps four-star general and aviator seeing combat in World War II, the Korean War, and the Vietnam War. He earned the Distinguished Flying Cross and  ten Air Medals.

Early years
Keith McCutcheon  was born on August 10, 1915, in East Liverpool, Ohio. He graduated from East Liverpool High School and received his B.S. degree from Carnegie Institute of Technology in 1937. An honor graduate of the schools' ROTC unit, he resigned a U.S. Army Reserve commission to accept appointment as a Marine Corps second lieutenant on July 1, 1937.

Marine Corps career
McCutcheon's first assignment upon completion of Basic School was with the Marine detachment aboard the . In 1940, he completed flight training, was designated a Naval aviator, and subsequently served with a Marine Observation Squadron aboard the aircraft carriers , , and USS Yorktown. He later completed aeronautical engineering courses at the U.S. Naval Postgraduate School and the Massachusetts Institute of Technology, earning his master's degree in 1944.

World War II
In September 1944, as a lieutenant colonel, he departed for the Pacific area. He served as operations officer of Marine Aircraft Group 24 at Bougainville, and at Luzon and Mindanao in the Philippine Islands. Additionally, he saw duty as operations officer of Marine Aircraft Groups, Dagupan on Luzon and, later, Zamboanga, on Mindanao. During the period  from November 1, 1944, to May 26, 1945, he earned the Silver Star, the Legion of Merit with Combat "V", the Distinguished Flying Cross, and six Air Medals in the Solomons, New Guinea, and Philippine Islands area.

In November 1945, he returned to the United States to serve as an instructor in the Aviation Section, Marine Corps Schools, Quantico. From October 1946 until December 1949, he was assigned to the Bureau of Aeronautics, Navy Department, in Washington, D.C. He served in the Guided Missiles (then Pilotless Aircraft) Division of the Design and Engineering Group, and was branch chief at various times of the Liaison, Experimental Projects, and Target Drone branches. He also performed additional duty in 1947 as senior Marine Corps aide to the White House.

1950s

Marine Helicopter Squadron One
McCutcheon was transferred to Norfolk in January 1950 and completed the course at the Armed Forces Staff College in June 1950. He was then ordered to Quantico for duty as commanding officer of Marine Helicopter Squadron One (HMX-One), the Corps' only helicopter squadron at that time. During the next 18 months, HMX-One served as a focal point for the expansion of the Marine Corps Helicopter program. He was promoted to colonel in June 1951.

Korean War
In December 1951, McCutcheon took command of Marine Helicopter Transport Squadron 161 in Korea. He earned his second Legion of Merit with Combat "V" and his seventh through tenth Air Medals in this capacity. In October 1952, he reported to Headquarters, United States European Command, in Frankfurt, West Germany, where he served successively as operations officer, assistant chief, and later chief, Operations Branch, J-3 Division until May 1954.

McCutcheon assumed duties in June 1954 as chief, Air Section, Marine Corps Equipment Board, Quantico. In August 1957, he reported as commanding officer, MAG-26, at New River, North Carolina. He commanded the helicopter group until June 1959, when he was detached to enter the National War College in Washington.

1960s

Following graduation, he was assigned to Headquarters Marine Corps in July 1960 as assistant director of aviation, becoming Director of Aviation in September 1961. In March 1962, he was promoted to brigadier general and assumed command of the Hawaii-based 1st Marine Brigade. Remaining in Hawaii, he joined the staff of the commander in chief, Pacific, in January 1963 as assistant chief of staff for operations. For exceptionally meritorious service in this capacity from 1963 to 1965, he was awarded his third Legion of Merit.

Vietnam War
Ordered to South Vietnam in June 1965, McCutcheon earned his first Distinguished Service Medal for service as commanding general, 1st Marine Aircraft Wing and as deputy commander, III Marine Amphibious Force. He was also awarded the Vietnamese Gallantry Cross with Palm and the Honor Medal (First Class). In January 1966, he was promoted to major general while serving in South Vietnam.

Upon his return to the United States in June 1966, McCutcheon served almost four years as deputy chief of staff (air), at Headquarters Marine Corps, and earned a Gold Star in lieu of a second Distinguished Service Medal.

1970s
Nominated for promotion to lieutenant general, his nomination was approved by President Nixon on February 5, 1970, and confirmed by the Senate on February 24, 1970. After his promotion to that rank on February 26, 1970, he returned to South Vietnam for duty as commanding general, III Marine Amphibious Force. For exceptionally meritorious service in this assignment through January 1971, he was awarded his third Distinguished Service Medal. At the time of his retirement, he was special assistant to the commandant of the Marine Corps.

Promotion to general and retirement
McCutcheon was nominated for promotion to general and appointed assistant commandant of the Marine Corps in 1970 by President Nixon, although he was unable to assume the post because of ill health. However, because of his distinguished career as a Marine, Congress passed special legislation which provided he be placed on the retired list with the rank of general.

On July 1, 1971, McCutcheon received his promotion and was placed on the retired list.  He died of cancer on July 13, 1971, at the National Naval Medical Center, Bethesda, Maryland. He is buried in Arlington National Cemetery.

Decorations
A complete list of his decorations and medals include:

See also

 List of 1st Marine Aircraft Wing commanders

References

General Keith B. McCutcheon, USMC, Who's Who in Marine Corps History, History Division, United States Marine Corps.
Keith B. McCutcheon, General, United States Marine Corps, Arlington National Cemetery profile.
History of Marine Corps Aviation, AcePilots.com.

1915 births
1971 deaths
United States Marine Corps personnel of World War II
United States Marine Corps personnel of the Korean War
United States Marine Corps personnel of the Vietnam War
United States Naval Aviators
United States Marine Corps generals
Assistant Commandants of the United States Marine Corps
Recipients of the Gallantry Cross (Vietnam)
Recipients of the Distinguished Flying Cross (United States)
Recipients of the Legion of Merit
Recipients of the Silver Star
Recipients of the Navy Distinguished Service Medal
Recipients of the Air Medal
Carnegie Mellon University alumni
Massachusetts Institute of Technology alumni
Burials at Arlington National Cemetery

Keith B. McCutcheon


Marie Jessie Kleemann née Jensine Marie Kristensen (born 1959) is a Greenlandic artist and writer. Educated both as an actor and a graphic artist, from 1984 to 1991 she headed Greenland's College of Art in Nuuk. Now recognized principally as a performance artist expressing Inuit themes in music and dance, her innovative poetry has featured in international festivals. Kleemann now lives and works in Copenhagen where she strives to revive Greenland's cultural heritage.

Early life and education
Born in Upernavik on the north-west coast of Greenland on 6 November 1959, Jensine Marie Kristensen is the daughter of the fisherman Arkaluk Kleemann and Vilhelmina Kristensen, a seamstress. In December 1978, she changed her name to Marie Jessie Kleemann. In September 1994 in Nuuk, she married the Danish lawyer Claus Roland Andresassen. She first studied drama at the Greenlandic Tukak Theatre in Fjaltring, Jutland (1978–79), before attending the Graphics Workshop in Nuuk (1979–80). In the early 1980s, she continued her studies in Canada and Finland's Sápmi.

Career
From 1984 to 1991, Kleemann headed Greenland's College of Art in Nuuk although she regretted the school's lack of interest in Greenland's traditional culture. As a poet, she has not published many books but she is nevertheless regarded as one of Greenland's most experimental writers. While she has attended many international poetry festivals and her poems have been used as a basis for films such as Ivalo Frank's Killer Bird (2015), it was not until 1997 that she published her first collection of poetry in Danish and English as Taallat – Digte – Poems. Her latest collection Arkhticós Dolorôs exhibits symbols and figures from traditional Greenlandic culture in her attempt to inspire a new look at the effects of climate change on the melting Arctic. She adopts, for example, the legendary Mother of the Sea as a symbol representing pollution and catastrophe.

Inspired by Barry Lopez's Arctic Dreams, Kleemann had already used the title Arkhticós Doloros for her 2019 video performance recorded on the Sermeq Kujalleq glacier in the west of Greenland. Kleemann's installation ORSOQ (2012) incorporating bottles of seal oil has recently been acquired by the National Gallery of Denmark.

References

External links
Jessie Kleemann's website

1959 births
Living people
Greenlandic actresses
Danish actresses
Greenlandic writers
Greenlandic women writers
Danish poets
Danish women poets
Greenlandic poets
Danish printmakers
Greenlandic painters
Danish performance artists
Women performance artists
People from Upernavik

Jessie Kleemann


Enrico Baj (31 October 1924 – 15 June 2003) was an Italian artist and writer on art. Many of his works show an obsession with nuclear war. He created prints, and sculptures but especially collage. He was close to the surrealist and dada movements, and was later associated with CoBrA. As an author, he has been described as a leading promoter of the avant-garde. He worked with Umberto Eco among other collaborators. He had a long interest in the pseudo-philosophy 'pataphysics.

Biography
He was born in Milan into a wealthy family, but left Italy in 1944 having upset the authorities and to avoid conscription. He studied at the Milan University law faculty and the Brera Academy of Art.

In 1951 he founded the arte nucleare movement with Sergio Dangelo, which unlike abstract art was overtly political. Baj himself was aligned with the anarchist movement. His most well-known pieces are probably the series of "Generals": absurd characters made from found objects such as belts or medals.

He made numerous works using motifs from other artists, from Leonardo da Vinci to Picasso. Sometimes he recreated entire works of other painters.

In 1972 public display of a major work, Funeral Of The Anarchist Pinelli (a reference to Carlo Carrà's painting The Funeral of the Anarchist Galli of 1911), was banned after the murder of the police officer believed to be responsible for Giuseppe Pinelli's death in custody. However, his work continued to be political. In 1989 he designed thirty marionettes for Le Bleu-blanc-rouge et le noir, an opera by Italian composer Lorenzo Ferrero to a libretto by Anthony Burgess, written for the bicentenary of the French Revolution. In his last years, he created a series of paintings in protest at the election of Silvio Berlusconi. He died in Vergiate, Italy.

References

External links
 Obituary
 Biography of Enrico Baj - looking in detail at his anarchist politics
 Enrico Baj, June 15, 2003 Daily Bleed Calendar
Selected works by Enrico Baj  NO!art groupe
:it:Pittura Nucleare The Italian page for the arte nucleare
 Discussion of Fire! Fire! by Janina Ramirez and Ricky Martin of Art Ninja: Art Detective Podcast, 15 Mar 2017

1924 births
2003 deaths
Artists from Milan
20th-century Italian painters
Italian male painters
21st-century Italian painters
Italian anarchists
Italian contemporary artists
Brera Academy alumni
Italian surrealist artists
Puppet designers
Puppetry in Italy

Enrico Baj


A kachina (; also katchina, katcina, or katsina; Hopi:  katsina , plural katsinim ) is a spirit being in the religious beliefs of the Pueblo people, Native American cultures located in the south-western part of the United States. In the Pueblo cultures, kachina rites are practiced by the Hopi, Hopi-Tewa and Zuni peoples and certain Keresan tribes, as well as in most Pueblo tribes in New Mexico.

The kachina concept has three different aspects: the supernatural being, the kachina dancers, and kachina dolls (small dolls carved in the likeness of the kachina, that are given only to those who are, or will be responsible for the respectful care and well-being of the doll, such as a mother, wife, or sister).

Overview
Kachinas are spirits or personifications of things in the real world. These spirits are believed to visit the Hopi villages during the first half of the year. The local pantheon of kachinas varies from pueblo community to community. A kachina can represent anything in the natural world or cosmos, from a revered ancestor to an element, a location, a quality, a natural phenomenon, or a concept; there may be kachinas for the sun, stars, thunderstorms, wind, corn, insects, as well as many other concepts.

Kachinas are understood as having human-like relationships: families such as parents and siblings, as well as marrying and having children. Although not worshipped, each is viewed as a powerful being who, if given veneration and respect, can use his particular power for human good, bringing rainfall, healing, fertility, or protection, for example. The central theme of kachina beliefs and practices as explained by   is "the presence of life in all objects that fill the universe. Everything has an essence or a life force, and humans must interact with these or fail to survive."

Commercialization
Beginning around 1900, there was a great deal of interest in the Kachina figurines, especially among tourists, and the dolls became sought-after collectibles. For this reason, many Hopi began making the figurines commercially to make a living.

Hopi kachinas
In many ways the Kachina rites are the most important ceremonial observances in the Hopi religious calendar. Within Hopi religion, the kachinas are said to live on the San Francisco Peaks near Flagstaff, Arizona. To the Hopis, kachinas are supernatural beings who visit the villages to help the Hopis with everyday activities and act as a link between gods and mortals.

According to Susanne and Jake Page, the katsinam are "the spirits of all things in the universe, of rocks, stars, animals, plants, and ancestors who have lived good lives."

The first ceremony of the year, the Powamu, occurs in February and is associated with the bean planting, the growing season, and coming of age. The last katsina ceremony, Niman, occurs in July and is associated with the harvest, after which the katsinam return to their home in the San Francisco Peaks.

Hopi kachina dolls, tihü, are ceremonial objects with religious meaning. Hopi carvers alter these, removing their religious meaning, to meet the demand for decorative commercial objects sought by non-Hopi.

Wuya
The most important Hopi kachinas are known as wuya. In Hopi, the term wuya often refers to the spiritual beings themselves (said to be connected with the Fifth World, Taalawsohu), the dolls, or the people who dress as kachinas for ceremonial dances. These are all understood to embody all aspects of the same belief system. Some of the wuyas include:

 Ahöla
 Ahöl Maana
 Aholi
 Ahul
 Ahulani
 Akush
 Alosaka
 Angak
 Angwushahai-i
 Angwusnasomtaka
 Eototo
 Hahay-i Wuhti
 He-e-e
 Horo or Yohozro Wuhti
 Hu
 Huruing Wuhti
 Kalavi
 Kaletaka
 Ketowa Visena
 Kötsav
 Kököle
 Kokopelli
 Kokosori
 Kokyang Wuhti
 Koshari or Koyaala
 Kwasai Taka
 Lemowa
 Masau'u
 Mastop
 Maswik
 Mong
 Muyingwa
 Nakiatsop
 Nataska
 Ongtsomo
 Pahlikmana or Polik-mana
 Patsava Hú
 Patung
 Pöqangwhoya
 Pohaha or Pahana
 Saviki
 Shalako Taka
 Shalako Mana
 Söhönasomtaka
 Soyal
 Tanik'tsina
 Tawa
 Tiwenu
 Toho
 Tokoch
 Tsaveyo
 Tsa'kwayna
 Tsimon Maana
 Tsitot
 Tsiwap
 Tsowilawu
 Tukwinong
 Tukwinong Mana
 Tumas
 Tumuala
 Tungwup
 Ursisimu
 We-u-u
 Wiharu
 Wukoqala
 Wupa-ala
 Wupamo
 Wuyak-kuyta

Zuni kachinas
Religious ceremonies are central to the Zuni agrarian society.  They revolve around the winter and summer solstices, incorporate the importance of weather, especially rain, and ensure successful crops.  According to Tanner, "Father Sky and Mother Earth are venerated, as are the welcome kachinas who bring many blessings."

The Zuni believe that the kachinas live in the Lake of the Dead, a mythical lake which is reached through Listening Spring Lake.  This is located at the junction of the Zuni River and the Little Colorado River. Although some archaeological investigations have taken place, they have not been able to clarify which tribe, Zuni or Hopi, developed the Kachina Cult first. Both Zuni and Hopi kachinas are different from each other but have certain similarities and features. In addition, both Zuni and Hopi kachinas are highly featured and detailed, while the kachinas of the Rio Grande Pueblos look primitive in feature. The Hopis have built their cult into a more elaborate rite, and seem to have a greater sense of drama and artistry than the Zunis. On the other hand, the latter have developed a more sizable folklore concerning their kachinas.

According to Clara Lee Tanner, "...kachina involves three basic concepts: first, a supernatural being; second, the masked dancer (and the Zuni is a kachina when he wears the mask), and third the carved, painted, and dressed doll."  The list of Zuni kachinas includes:

A'Hute
Ainawua
Ainshekoko
Anahoho
A'thlanna
Atoshle Otshi
Awan Pekwin
Awan Pithlashiwanni
Awan Tatchu
Awek Suwa Hanona
Bitsitsi
Chakwaina
Chakwaina Okya
Chathlashi
Chilili
Eshotsi
Hainawi
Hehea
Hehe'a
Hemokatsiki
Hemushikiwe
Hetsululu
Hilili Kohana
Hututu
Ishan Atsan Atshi
Itetsona
Itsepasha
Kakali
Kalutsi
Kanatshu
Kanilona
Kiaklo
Kianakwe
Kianakwe Mosona
Kokokshi
Kokothlanna
Kokwele
Komokatsiki
Kothlamana
Koyemshi
Kwamumu
Kwamumu Okya
Kwelele
Lapilawe
Mahedinasha
Mitotasha
Mitsinapa
Mókwala
Mukikwe
Mukikw' Okya
Muluktaka
Muyapona
Nahalisho
Nahalish Awan Mosona
Nahalish Okya
Nalashi
Na'le
Na'le Okya
Na'le Otshi
Natashku
Natshimomo
Nawisho
Neneka
Nepaiyatemu
Ohapa
Oky'enawe (Girls)
Ololowishkia
Owiwi
Paiyatamu
Pakoko
Pakok'Okya
Pasikiapa
Pautiwa
Posuki
Potsikish
Saiyapa
Saiyatasha
Saiyathlia
Salimopia Itapanahnan'ona
Salimopia Kohan'ona
Salimopia Shelow'ona
Salimopia Shikan'ona
Salimopia Thlian'ona
Salimopia Thluptsin'ono
Sate'tshi E'lashokti
Shalako (6)
Shalako Anuthlona
Shi-tsukia
Shulawitsi
Shulawitsi An Tatchu
Shulawitsi Kohanna
Shumaikoli
Siwolo
Suyuki
Temtemshi
Thlelashoktipona
Thlewekwe
Thlewekwe Okya
Tomtsinapa
Tsathlashi
Upikaiapona
Upo'yona
Wahaha
Wakashi
Wamuwe
Wilatsukwe
Wilatsukw' Okya
Wo'latana
Yamuhakto
Yeibichai

Ceremonial dancers
Many Pueblo Indians, particularly the Hopi and Zuni, have ceremonies in which masked men, called kachinas, play an important role. Masked members of the tribe dress up as kachinas for religious ceremonies that take place many times throughout the year. These ceremonies are social occasions for the village, where friends and relatives are able to come from neighboring towns to see the dance and partake in the feasts that are always prepared. When a Hopi man places a mask upon his head and wears the appropriate costume and body paint, his personal identity is lost and the spirit of the kachina he is supposed to represent takes its place. Besides the male kachinas are many female kachinas called kachin-manas, but women never take the part of male or female kachinas.

The most widely publicised of Hopi kachina rites is the "Snake Dance", an annual event during which the performers danced while handling live snakes.

Clowns

Clown personages play dual roles. Their prominent role is to amuse the audience during the extended periods of the outdoor celebrations and Kachina Dances where they perform as jesters or circus clowns. Barry Pritzker stated, regarding the role of clowns in Hopi dances,

The clown's more subtle and sacred role is in the Hopis' ritual performances. The sacred functions of the clowns are relatively private, if not held secret by the Hopi, and as a result have received less public exposure.  When observing the preparations taking place in a Kiva of a number of Pai'yakyamu clowns getting ready for their ceremonial performance, Alexander Stephen was told, "We Koyala [Koshari] are the fathers of all Kachina."

The Hopi have four groups of clowns, some of which are sacred.  Adding to the difficulty in identifying and classifying these groups, there are a number of kachinas whose actions are identified as clown antics. Barton Wright's Clowns of the Hopi identifies, classifies, and illustrates the extensive array of clown personages.

Kachina dolls

Kachina dolls are small brightly painted wooden "dolls" which are miniature representations of the masked impersonators. These figurines are given to children not as toys, but as objects to be treasured and studied so that the young Hopis may become familiar with the appearance of the kachinas as part of their religious training. During Kachina ceremonies, each child receives their own doll. The dolls are then taken home and hung up on the walls or from the rafters of the house, so that they can be constantly seen by the children. The purpose of this is to help the children learn to know what the different kachinas look like. It is said that the Hopi recognize over 200 kachinas and many more were invented in the last half of the nineteenth century. Among the Hopi, kachina dolls are traditionally carved by the maternal uncles and given to uninitiated girls at the Bean Dance (Spring Bean Planting Ceremony) and Home Dance Ceremony in the summer. These dolls are very difficult to classify not only because the Hopis have a vague idea about their appearance and function, but also because these ideas differ from mesa to mesa and pueblo to pueblo.

Origins
There are two different accounts in Hopi beliefs for the origins of kachinas. According to one version, the kachinas were good-natured spirit-beings who came with the Hopis from the underworld. The kachinas wandered with the Hopis over the world until they arrived at Casa Grande, where both the Hopis and the kachinas settled. With their powerful ceremonies, the kachinas were of much help and comfort, for example bringing rain for the crops. However, all of the kachinas were killed when the Hopis were attacked and the kachinas' souls returned to the underworld. Since the sacred paraphernalia of the kachinas were left behind, the Hopis began impersonating the kachinas, wearing their masks and costumes, and imitating their ceremonies in order to bring rain, good crops, and life's happiness.

Another account says that the Hopis came to take the kachinas for granted, losing all respect and reverence for them, so the kachinas returned to the underworld. However, before they left, the kachinas taught some of their ceremonies to a few faithful young men and showed them how to make the masks and costumes. When the other Hopi realized their mistake, they remorsefully turned to the kachinas' human substitutes, and the ceremonies have continued since then.

See also
 Awelo
 Heard Museum
 Hopi Kachina dolls
 Kachina Natural Bridge

Notes

References

 Anderson, Frank G. (1955). The Pueblo Kachina Cult: A Historical Reconstruction. Southwestern Journal of Anthropology, 11, 404–419.
 Anderson, Frank G. (1956). Early documentary material on the Pueblo kachina cult. Anthropological Quarterly, 29, 31–44.
 Anderson, Frank G. (1960). Inter-tribal relations in the Pueblo kachina cult. In Fifth International Congress of Anthropological and Ethnological Sciences, selected papers (pp. 377–383).
 Dockstader, Frederick J. The Kachina & The White Man: A Study of The Influence of White Culture on The Hopi Kachina Cult, Bloomfield Hills, Michigan: Cranbook Institute of Science, 1954.
 Dozier, Edward P. (1970). The Pueblo Indians of North America. Holt, Rinehart, and Winston.
 Glenn, Edna "Kachinas," in Hopi Nation: Essays on Indigenous Art, Culture, History, and Law, 2008.
 Kennard, Edward A. & Edwin Earle. "Hopi Kachinas." New York: Museum of The American Indian, Hye Foundation, 1971.
 Schaafsma, Polly. (1972). Rock Art in New Mexico. Santa Fe: State Planning Office..
 Pecina, Ron and Pecina, Bob. Hopi Kachinas: History, Legends, and Art. Schiffer Publishing Ltd., 2013. ;  pp. 124–138
 Schaafsma, Polly (Ed.). (1994). Kachinas in the pueblo world. Albuquerque, NM: University of New Mexico Press.
 Schaafsma, Polly; & Schaafsma, Curtis F. (1974). Evidence for the origins of the Pueblo katchina cult as suggested by Southwestern rock art. American Antiquity, 39 (4), 535-545.
 Schlegel, Alice, "Hopi Social Structure as Related to Tihu Symbolism," in Hopi Nation: Essays on Indigenous Art, Culture, History, and Law, 2008.
 Sekaquaptewa, Helen. "Me & Mine: The Life Story of Helen Sekaquaptewa." Tucson, Arizona: University of Arizona Press, 1969.
 Stephen, Alexander M. "Hopi Journal." New York: Columbia University Press, 1936.
 Stephen, Alexander. Hopi Journal of Alexander  M. Stephen.  Edited by E. C. Parsons. Columbia University Contributions to Anthropology, 23, 2 volumes; 1936.
 Stewart, Tyrone. Dockstader, Frederick. Wright, Barton. "The Year of The Hopi: Paintings & Photographs by Joseph Mora, 1904-06." New York, Rizzoli International Publications, 1979.
 Talayesua, Don C. "Sun Chief: The Autobiography of a Hopi Indian." New Haven, Connecticut: Institute of Human Relations/Yale University Press, 1942.
 Titiev, Mischa. "Old Oraibi: A Study of The Hopi Indians of the Third Mesa." Cambridge, Massachusetts: Peabody Museum, 1944.
 Wright, Barton. Clowns of the Hopi. Northland Publishing; . 1994

 Wright, Barton. "Hopi Kachinas: The Complete Guide to Collecting Kachina Dolls." Flagstaff, Arizona: Northland Press, 1977.
 Wright, Barton, "Hopi Kachinas: A Life Force," in Hopi Nation: Essays on Indigenous Art, Culture, History, and Law, 2008.

External links

 Peabody Museum of Archaeology and Ethnology: Rainmakers From the Gods
 Native paths: American Indian art from the collection of Charles and Valerie Diker, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on kachinas

Hopi culture
Pueblo culture
Native American religion
Indigenous woodcarving of the Americas
Arizona culture
New Mexico culture
Nature spirits
Tutelary deities

Kachina


Independence Street (, vulytsia Nezalezhnosti) is considered the central street of Ivano-Frankivsk. It runs from west to east and passes the original city's center 250–300 meters south from it. Starting at the west side of the Viche Maidan what is known as the Halych Street Independence Street makes its way along the old Tysmenytsia road east to Bystrytsia river, passing which it changes its name to Tysmenytsia Street running through the city's suburbs towards the city of Tysmenytsia.

Brief history

The street is not the oldest in the city and was formed after the demolition of the city's fortifications at the end of the 18th century. The street began to gain its importance with establishment of railroad through the city around the 1860s, which was passing the old Stanislawow on the north-eastern side running from the north to the south-east. Until 1869 the street, unknown whether officially or not, was simply referred to as Tysmenytsia Road. On July 1, 1869 at the 300 Anniversary of the Union of Lublin the street was officially renamed into Leon Sapieha Street (Ulica Sapiezinskogo) after Leon Sapieha, a Polish parliamentarian. That name the street carried almost until the Soviet invasion in 1939. It was during that time that Independence Street was becoming the central street of the city. With the establishment of the West Ukrainian People's Republic in the region (1918-1922), the name of the street changed to Shevchenko Street (1919-1922) after Taras Shevchenko. With the establishment of the Soviet regime and until 1993 with the displacing the city's Lenin monument the street was called Soviet.

Architectural monuments
 monument of Ivan Franko
 Regional Music-Drama Theater
 architectural ensemble of stometrivka
 Gartenberg's Passage (shopping mall "Malva")
 Hausvald Building
 others

Cultural sights
 The city's youth library
 Cinema theater "Kosmos" (former historical Jewish cemetery)
 The city's children puppet theater
 others

List of intersecting streets
 Halych Street
 Levko Bachynsky Street
 Dmytro Vitovsky Street
 Markian Shashkevych Street
 Ivan Vahylevych Street
 Sich Riflemen Street
 Ivan Franko Street
 Bohdan Lepky Street
 Stepan Bandera Street
 Mariyka Pidhiryanka Street
 Dashevych Street
 Roman Shukhevych Street
 Shota Rustaveli Street
 Railway Street
 Anton Chekhov Street
 Khryplyn Street
 Truskavets Street
 Crimea Street
 Traktor Street
 Uhornyky Street
 Mykytyntsi Street
 Mykytyntsi Lane
 Volodymyr Ivasyuk Street
 others

References

External links
  Virtual tour around the city of Ivano-Frankivsk
  List of Ivano-Frankivsk city streets

Streets in Ivano-Frankivsk

Independence Street (Ivano-Frankivsk)


The Ethiopian movement is a religious movement that began in southern Africa towards the end of the 19th and early 20th century, when two groups broke away from the Anglican and Methodist churches. One of the main reasons for breaking away was the growing idea that Africa had little to no history before the European colonisation of the continent, leaving many Africans upset at the prospect of their heritage and culture being erased through colonialism.

Later in the 19th century, many Africans who found themselves in America due to slavery found solace in a passage of the bible speaking of Ethiopia which connected them to their lands and gave them hope of blacks being able to one day self govern. Their interpretations of the Biblical passage (Psalm 68:31): "Ethiopia shall soon stretch forth its hands unto God" (in the original Hebrew, actually כּוש Cush) united them to one another and also to their homes and cultures.

The term was later given a much wider interpretation by Bengt Sundkler, whose book Bantu Prophets in South Africa was the first comprehensive study of African Independent Churches (AICs).

History
In 1888, an evangelist, Joseph Mathunye Kanyane Napo, seceded from the Anglican Church to form the Africa Church or African Church, which was composed  of Anglicans who were dissatisfied with race-based control of the Anglican Church. Kanyane Napo's Church was established in Marabastad, Pretoria and was the first intertribal church formed and led by Africans in South Africa. Napo created the African Church to prove that there could be an entirely African church built without the help of the missionary, and kept the liturgical style of worship and doctrines found in Anglican churches.

In 1892, former first head of African ministers in Pretoria , Mangena Maake Mokone, decided to form a new branch and formed the Ethiopian Church, in South Africa, mainly because of dissatisfaction with racial segregation in the church and the lack of fellowship between black and white ministers. His preachings included the theme of "Africa for the Africans", which was later a pillar of the UNIA-ACL.

A group of former Anglican and Methodist leaders gathered around Mokone, including Kanyane Napo, Samuel James Brander, James Mata Dwane and several others. Two relatives of Mokone, Kate and Charlotte Maneye were studying at Wilberforce College in America, and Kate wrote to Mokone to tell him about the African Methodist Episcopal Church, which her sister Charlotte had joined. This led the Ethiopian Church to decide to join the African Methodist Episcopal Church (AME Church) in 1896, and Rev. Mokone, James Mata Dwane, and J G Xaba went to the US to negotiate the union. They ended up signing the negotiation and successfully merged the two churches, this allowed South Africans of the parish to go to America to study.

Over time Dwane, who had previously worked to build the Ethiopian Church, found issues with the relations between the church and their new partners, the African Methodist Episcopal Church. He disliked the paternal presence of the AME Church and began to found his own following known as the Order of Ethiopia. He led followers of the Ethiopian Church away into the new denomination with his teachings which would ally with the Anglican Church of the Province. Dwane is said to have done this due to his desire to become a bishop within this church, however he never did, and many of his original followers left when they realized they would be allying with the Anglican Church of the Province, a "white church". The Order of Ethiopia soon became composed predominantly of Xhosan people, and had little variety of followers unlike the Ethiopian Church from which they separated.

Charlotte Maneye married the Revd Marshall Maxeke, and they did missionary work for the AME Church in South Africa, and in 1908 they founded the Wilberforce Institute in the Transvaal, modelled on her American alma mater.

Many of the original Ethiopianist leaders, however, became dissatisfied with the AME Church, and found Black American domination of the church leadership as irksome as White British domination.1.They felt that there was little difference between the black American domination and that of missionary churches where African churchgoers had little to no say in the congregation, which was the entire reason for forming new branches of churches in the first place. In 1904 Samuel James Brander formed the Ethiopian Catholic Church in Zion, which combined the Anglican and Methodist strands of the Ethiopian tradition. It initially included Kanyane Napo and Daniel William Alexander among its leaders, but both of them appear to have later broken away to revive Napo's African Church. During the period 1900–1920 many different Ethiopian denominations were formed, which were heirs of the Ethiopian tradition.

Ethiopianism
Ethiopianism was not really an ideology, a theological school, or a political program. It was rather a cluster of ideas and traditions about being Christian in Africa that were shared by a group of Christian leaders in the period from 1890–1920. These ideas and traditions focused on the history of Africa before European colonization and taught Afro-Atlantic teachings, meaning they brought together the religious ideas of both the Europeans and the Africans. There was no sharp boundary to the movement, but it shaded off into other groups.

Features of the Ethiopian movement included:

 the use of the name Ethiopia, Ethiopian, Cush or Cushite in the names of churches
 the aim of a united African Christianity, based on the idea that "Ethiopia shall stretch out its hands to God"
 Anglican-Methodist ecclesiastical polity and theology
 In spite of many schisms, the Ethiopianist leaders formed a network, and interacted with each other more than they did with leaders of other traditions

Wider meaning of Ethiopian

The description above is of the Ethiopian movement itself, but writers like Bengt Sundkler used Ethiopian in a wider sense to include all African independent church denominations that had broken away from Western-initiated Protestant groups like the Presbyterians, Congregationalists and Baptists, as well as the Anglicans and Methodists.

Sundkler therefore classified bodies like the African Congregational Church and Zulu Congregational Church as "Ethiopian", though they did not really participate in the Ethiopian movement itself. The independent churches of the Congregational tradition formed a separate network from the Ethiopian one, with less contact between the networks.

See also
Marcus Garvey
UNIA-ACL
Order of Ethiopia
African Initiated Churches
Ethiopia
South Africa
Alexander Bedward
 Ethiopian Renaissance

Notes
 Ethiopianist refers to those who adhered to the ideas of Ethiopianism, to distinguish them from those who live in Ethiopia, or who belong to the Ethiopian Orthodox Tewahedo Church.

 Ethiopianism is considered by scholars to be the origin of the Rastafari movement, and William David Spencer (author of Dread Jesus) suggests that its theological goal, popularized by Marcus Garvey, was that God is black.

Bibliography

Further reading
 Morrison, Doreen. Slavery's Heroes: George Liele and the Ethiopian Baptists of Jamaica 1783–1865. CreateSpace.

External links
 African Initiated Churches–

Anglicanism in South Africa
History of Christianity in Africa
African initiated churches
Wilberforce University

Ethiopian movement


Ifan Williams (November 1889, Carmarthen, Wales - September 1957, London) was a Canadian violinist, conductor, and music educator of Welsh birth. He should not be confused with his son, the cellist Ifan Williams (b. 1945, Halifax, Nova Scotia).

Education and career
Ifan Williams was trained as a musician at the Royal Academy of Music in London where he was the first violinist of the RAM's string quartet and concertmaster of the school's orchestra. He was the winner of numerous violin competitions and music scholarships, and following graduation worked as a concert violinist in London and the surrounding provinces. He also worked as an ensemble musician in the London Symphony Orchestra (LSO) and the orchestra of the Royal Opera House, Covent Garden, and as a member of the Blagrove String Quartette. His brother, the cellist Geraint Williams, was also a member of the LSO.

In 1920 Williams immigrated to Canada; settling in Halifax, Nova Scotia where he ultimately became a naturalized Canadian. He was the head of the string program at the Maritime Conservatory of Performing Arts (then known as the Halifax Conservatory) from 1920 to 1934; and then was promoted to director of the conservatory; a post he held from 1934 until his death in 1957. He was also the conductor of conservatory's orchestra during his tenure at the school.

In 1922 Williams founded the Halifax Choral Society and was that group's first conductor. In 1935 he founded the Halifax Music Festival.

References

1889 births
1957 deaths
Alumni of the Royal Academy of Music
Canadian violinists
Canadian conductors (music)
People from Carmarthen
Welsh violinists

Ifan Williams, Sr.


A national day of protest was held in Australia on 15 November 2005, to protest against the industrial relations legislation being introduced by the government of Prime Minister John Howard. The day was organised by the Australian Council of Trade Unions (ACTU) and its state, territory and local affiliates, with the support of the Australian Labor Party, the Australian Greens, the Australian Democrats, and various other political and community organisations.

Estimates of the number of people taking part varied widely, with organisers claiming more than 500,000. Police and media estimates suggested that about 250,000 people took part in capital city rallies. Tens of Thousands of people also attended hundreds of meetings in rural and regional towns across Australia.

Government ministers such as John Howard and Industrial Relations Minister Kevin Andrews said they would ignore the protests. Howard said that in a year's time the legislation would be accepted. Andrews described the ACTU campaign as "irresponsible and hysterical." The Australian Chamber of Commerce and Industry said that "more than 95 per cent of workers ignored the call-out to join the protest."

Commonwealth Public Servants were prohibited from attending with one report saying "The Department of Employment and Workplace Relations has just advised agencies that [the national day of community protest] is a form of industrial action and as such access to leave and flex leave should not be given to employees wishing to attend."

In Melbourne, the rally, at Federation Square, was addressed by the Premier of Victoria, Steve Bracks, the ACTU President, Sharan Burrow, and the ACTU Secretary, Greg Combet. In Brisbane, the Premier of Queensland Peter Beattie and federal Labor Party Leader Kim Beazley addressed the rally, with Beazley promising to repeal the legislation if Labor wins the election expected in 2007.

Combet, who was the main organiser of the union movement's resistance to the government's legislation, told the Melbourne rally that "working people will not be denied a central place in Australia's future. Working families built this country. They fought and died for it. They do not deserve to have their rights at work taken away."

Combet said the expected passage of the industrial relations bills through the Australian Senate in the next few weeks would not mark the defeat of the unions' campaign. "Rather, it will signal the start of a determined, relentless effort to overturn these laws and put in their place decent rights for the working people of this country," he said.

Combet said that he and other union officials would "not be intimidated" by the prospect of the fines and imprisonment threatened in the legislation if officials break the new laws. "Unions must continue to stand up for people," he said. "As a union leader let me make this clear. I will not pay a $33,000 fine for asking for people to be treated fairly." This line drew an enormous cheer from the crowd.

"We must be disciplined and responsible," Combet said. "There is no place for foolhardy or reckless behaviour. But we must also be firm in our resolve to stand up for people. It is true that it will take time for some people to be affected by the laws. But the rights of every person will be diminished. And for many the change will come quickly – particularly the most vulnerable."

Organisers estimated the Melbourne crowd at 245,000 protesters. Police estimated the crowd at 150,000. Organisers claimed that 45,000 people marched in Sydney, while the Sydney Morning Herald put the number at 30,000. Although Sydney is bigger than Melbourne, protest crowds are usually bigger in the southern city. Up to 120,000 people across New South Wales took part in 227 separate stopwork meetings, linked by a statewide video hook-up.

Organisers claimed 40,000 marchers in Adelaide, 30,000 in Perth, 25,000 in Brisbane, 6,000 in Hobart, 5,000 in Canberra and 3,000 in Darwin. Rallies were held in about 300 cities and towns.

The day of protest was largely peaceful, but in Sydney more than 3,000 transport workers voted to block the M4, a major arterial route into the city, disrupting traffic. More than 15 freight trucks blocked traffic in both directions on the M4, while seven trucks stopped traffic at the entrance to the M4 from the Homebush Bay overpass. Thousands of protesters sat on the road, chanting and waving placards. The blockage lasted about half an hour. In most places there was effective co-operation between the organisers and police.

Unions warned that the day of protest was only the start of a campaign which would continue until the next election. Bill Shorten, national secretary of the Australian Workers' Union, said: "The strategy is to fight, to fight in the workplace, to fight in the community, to fight in the media and to get rid of the Howard government."

Comparisons
Organisers and some media described the 15 November rallies as the largest ever held in Australia. This claim is frequently made. It was also made about the Vietnam Moratorium demonstrations in 1970, the rallies against uranium mining in the late 1970s, rallies against the 2003 Iraq War and, in Melbourne, about the 1992 rally against the Kennett government's industrial relations legislation. In each case organisers estimated the crowd numbers at 100,000 or more, while police estimates were considerably lower. It is unlikely that any of these rallies were as large as the 15 November rally in Melbourne, which even the police estimated at 150,000 and early reports from Skynews based on aerial shots showing packed Melbourne city streets estimated as 175,000.

References

2005 in Australia
Protests in Australia
Labour history of Australia

Australian industrial relations legislation national day of protest, 2005


(The Secret Marriage) is a dramma giocoso in two acts, music by Domenico Cimarosa, on a libretto by Giovanni Bertati, based on the 1766 play The Clandestine Marriage by George Colman the Elder and David Garrick. It was first performed on 7 February 1792 at the Imperial Hofburg Theatre in Vienna in the presence of Emperor Leopold II.

Performance history
Cimarosa's only work still to be regularly performed, it is arguably one of the greatest 18th century opera buffa apart from those by Mozart. Its premiere was the occasion of the longest encore in operatic history; Leopold II was so delighted that he ordered supper served to the company and the entire opera repeated immediately after without the orchestra, with the composer accompanying on the harpsichord.

The Italian premiere of the opera was given at La Scala in Milan on 17 February 1793 with Maria Gazzotti as Carolina and Vincenzo Del Moro as Paolino. On 23 May, the same year, it arrived at the Teatre de la Santa Creu in Barcelona. England saw the work for the first time on 11 January 1794 at The King's Theatre in London and the following 6 August it was performed for the first time in Portugal at the Teatro Nacional de São Carlos in Lisbon with Domenico Caporalini as Carolina and Luigi Bruschi as Paolino. The French premiere was given by the Théâtre-Italien in Paris on 10 May 1801 with Teresa Strinasacchi Avogadro as Carolina and Gustavo Lazzarini as Paolino.

 was first performed in the United States at the Italian Opera House in New York City on 8 January 1834. The Metropolitan Opera presented the work for the first time on 25 February 1937 with Muriel Dickson as Carolina, George Rasely as Paolino, Natalie Bodanya as Elisetta, Julius Huehn as Robinson, and Ettore Panizza conducting.

Roles

Synopsis

We are in the household of Geronimo, a wealthy citizen of Bologna; he has two daughters, Elisetta and Carolina, and a sister Fidalma, who runs the household. He also has a young secretary, Paolino, who is secretly married to the younger daughter, Carolina. The time is the early eighteenth century.

Act 1

Paolino is working to arrange a marriage contract between Elisetta and his patron, Count Robinson, hoping that as soon as Geronimo's older daughter is well married, his marriage to the younger one will be acceptable. Count Robinson has written a letter expressing interest – tempted by Elisetta's substantial dowry – and Geronimo is thrilled to think that his daughter will be a Countess ("Udite, tutti udite"). Fidalma confesses to her niece that she is in love, too, but only reveals in an aside to the audience that she has her eye on Paolino ("È vero che in casa").

When the Count arrives he is disappointed to find that it is not Carolina who has been offered to him ("Senza tante cerimonie"). He tells Paolino that he will be content with a smaller dowry and sends him off to arrange the match. Carolina does not dare tell the count that she is married, so when she admits she has no lover it excites him further; she tries to convince him she has no desire or qualification to be a countess ("Perdonate, signor mio"), but he continues to pursue her. Elisetta accuses them both of betraying her, and the commotion attracts Fidalma who joins Carolina in trying to calm Elisetta ("Lasciatemi, signore"); everyone tries at once to explain his or her feelings to the confused and exasperated Geronimo ("Orsù, saper conviene").

Act 2

Geronimo insists that the Count must honor his contract and marry Elisetta, but the Count refuses. When he offers to accept a smaller dowry with Carolina's hand instead, Geronimo is delighted to save face and money – as long as Elisetta agrees.

Paolino is distraught, and throws himself on Fidalma's mercy, but is stunned to find that she hopes to marry him; he faints, giving her the idea that she returns his emotion and making Carolina think she has been betrayed, but he promises that they will leave the house at dawn and take refuge in the house of a relative.

The Count tells Elisetta all his bad habits and physical defects, hoping she would reject him, but she stands firm – and he finally confesses that he cannot abide her. Geronimo can not persuade her either. Fidalma suggests sending Carolina to a convent, and Geronimo agrees. Carolina is broken-hearted and tries to confess her predicament to the Count, but they are interrupted by her sister, her aunt and her father who are gleeful at having caught them together, and Geronimo sends Paolino off with a letter to the Mother Superior.

After a brilliant and farcical finale Paolino and Carolina finally confess they have been married for two months; Geronimo and Fidalma are furious, but the Count and Elisetta advise them to forgive the newlyweds, adding that they themselves will marry after all.

Recordings
 1951: Alda Noni, Ornella Rovere, Giulietta Simionato, Cesare Valletti, Sesto Bruscantini, Antonio Cassinelli – Orchestra del Maggio Musicale Fiorentino, Manno Wolf-Ferrari – (Warner Fonit)
 1956: Graziella Sciutti, Eugenia Ratti, Ebe Stignani, Luigi Alva, Franco Calabrese – Orchestra del Teatro alla Scala, Nino Sanzogno – (EMI)
 1978: Arleen Auger, Júlia Várady, Julia Hamari, Ryland Davies, Dietrich Fischer-Dieskau, Alberto Rinaldi – English Chamber Orchestra, Daniel Barenboim – (Deutsche Grammophon)
 1991: Susan Patterson, Janet Williams, Gloria Banditelli, William Matteuzzi, Petteri Salomaa, Alfonso Antoniozzi, Orchestra of the Eastern Netherlands, Gabrielle Bellini – (Arts Music)
 1992: Elżbieta Szmytka, Jeannette Fischer, Anne-Marie Owens, Tracey Welborn, François Le Roux, Angelo Romero, Orchestre de Chambre de Lausanne, Jesús López-Cobos – (Cascavelle)
 2008: Cinzia Forte, Priscille Laplace, Damiana Pinti, Alberto Rinaldi, Aldo Caputo – Orchestra & Chorus of the Opéra Royal de Wallonie, Giovanni Antonini – (Dynamic)

References

Further reading
Anderson, James, The Complete Dictionary of Opera & Operetta, Wings Books, 1993

External links

Libretto

1792 operas
Italian-language operas
Opera buffa
Operas
Operas by Domenico Cimarosa
Opera world premieres at the Burgtheater
Operas based on plays
Leopold II, Holy Roman Emperor

Il matrimonio segreto


Kincardineshire, also known as the Mearns (from the Scottish Gaelic  meaning "the Stewartry"), is a historic county, registration county and lieutenancy area on the coast of northeast Scotland. It is bounded by Aberdeenshire on the north and west, and by Angus on the south.

The name "Kincardine" is also used in Kincardine and Mearns, a committee area of the Aberdeenshire Council, although this covers a smaller area than the county.

History

Anciently, the area was the Province of Mearns, bordered on the north by Marr, and on the west by Angus. The name of the province simply refers to its status; the more important provinces were governed by a great steward (Mormaer), while the less important ones were governed by a mere steward (Maer).

It included the burghs of Stonehaven, Banchory, Inverbervie and Laurencekirk, and other settlements included Drumoak, Muchalls, Newtonhill and Portlethen. Mearns extended to Hill of Fare north of the River Dee, but in 1891 the Royal Burgh of Torry (on the south bank of the Dee) was incorporated into Aberdeenshire.

The introduction of sheriffs in the 11th century created a parallel authority over the area, based at the town of Kincardine. The town of Kincardine was not, as many believe, the village of Kincardine O'Neil (which was actually in Marr), nor was it the Kincardine in Fife. The Kincardine in question is in fact a place that ceased to exist during the Middle Ages, its only visible remnant being the ruin of Kincardine Castle, 2 miles northeast of Fettercairn, near the hamlet of Phesdo.

In 1296, King John Balliol wrote a letter of surrender from the castle to Edward I of England after a short war that marked the beginning of the Wars of Scottish Independence. In 1600, the Estates of Parliament ordered the shrieval governance of Kincardineshire to be conducted at the Stonehaven Tolbooth.

In the mid-19th century, local government reforms replaced the ancient provinces by new Counties (shires), aligned to sheriffdom boundaries; hence, Mearns became Kincardineshire. The Local Government (Scotland) Act 1889 established a uniform system of county councils in Scotland and realigned the boundaries of many of Scotland's counties. Subsequently, Kincardineshire County Council was created in 1890. Kincardine County Council held its meetings at County Buildings in Stonehaven. There were additional offices at 33 Evan Street in Stonehaven from around 1920.

The county lost its administrative status in 1975. The area of Nigg in the north of the county became part of the City of Aberdeen, and the remainder of the county became part of the Kincardine and Deeside district of the Grampian region. When the Grampian region was divided into unitary council areas in 1996, the district was absorbed into the Aberdeenshire council area.

Geography

Roughly triangular in shape, Kincardineshire consists of the largely flat Strathmore area running parallel with the coast, with hillier, forested country in the interior, the latter forming part of the Grampian Mountains. The highest point is Mount Battock at 778 m (2,552 ft), lying on the border with Angus.

Rivers
Among the rivers are Cowie Water, Carron Water, Luther Water, Burn of Muchalls, Burn of Pheppie, Burn of Elsick, Burn of Monboys, Bervie Water and the lower reaches of the River Dee.

Structures and sites
Allardice Castle
Cowie Castle (ruins)
Catterline
Dunnottar Castle
Fetteresso Castle
Fowlsheugh Nature Reserve
Lewis Grassic Gibbon Centre, Arbuthnott
Muchalls Castle
Portlethen Moss
Stonehaven Tolbooth
Ury House

Coat of arms
The county's coat of arms displayed and reflected the history of the Honours of Scotland, which were kept at Dunnottar Castle and later at Kinneff, both within the historical boundaries of the county, during the Wars of the Three Kingdoms. It was: Gules, the Sceptre and Sword of Scotland crosswise in saltire, with the Crown of Scotland in chief and a ruined castle on a mound in base, all or. The motto was , Latin for "Praise God". It was originally the motto of the Viscounts of Arbuthnott, whose seat is in the county, and the 14th Viscount was Lord Lieutenant of Kincardine at the time of the arms' matriculation by the Lord Lyon in 1927.

Constituency

There was a Kincardineshire constituency of the House of Commons of the Parliament of Great Britain from 1708 to 1801 and of the Parliament of the United Kingdom from 1801 to 1918, representing the county of Kincardineshire, minus the parliamentary burgh of Inverbervie. Inverbervie was a component of the Aberdeen District of Burghs from 1708 to 1832 and of the Montrose District of Burghs from 1832 to 1950.

In 1918 the Kincardineshire constituency was merged with part of the Western Aberdeenshire constituency to form the Kincardine and Western Aberdeenshire constituency.

In 1950 Kincardine and Western Aberdeenshire was divided between the West Aberdeenshire constituency and the North Angus and Mearns constituency. North Angus and Mearns then covered the whole of the county of Kincardineshire, including the former parliamentary burgh of Inverbervie, and part of the county of Angus, the latter being previously within the Forfarshire constituency.

In 1983, eight years after the abolition of the local government county of Kincardineshire, North Angus and Mearns was replaced by new constituencies.

The county currently makes up part of the West Aberdeenshire and Kincardine constituency of the House of Commons.

Transport

Rail

The Edinburgh-Aberdeen railway line runs parallel to the coast and through the towns of Laurencekirk, Stonehaven and Portlethen.

Historic transport routes
The ancient Causey Mounth road was built on high ground to make passable this only available medieval route from coastal points south to Aberdeen. This ancient passage specifically connected the Bridge of Dee to Muchalls Castle, Cowie Castle (and effectively Dunnottar Castle). The route was that taken by the Earl Marischal and Marquess of Montrose when they led a Covenanter army of 9,000 men in the first battle of the Bishops' Wars in 1639.

Elsick Mounth is a prehistoric trackway used by the Caledonian tribes as well as the Roman army in their northern invasion of the Scottish Highlands.

Settlements

Altens
Arbuthnott
Auchenblae
Balnagask
Banchory
Bridge of Muchalls
Cammachmore
Catterline
Chapelton of Elsick
Cookney
Cove Bay
Crawton
Downies
Drumlithie
Edzell Woods
Fettercairn
Findon
Fordoun
Glenbervie
Gourdon
Inverbervie
Johnshaven
Kincorth
Kinneff
Kirkton of Durris
Laurencekirk
Luthermuir
Maryculter
Marykirk
Muchalls
Netherley
Newtonhill
Nigg
Old Portlethen
Portlethen
St Cyrus
Stonehaven
Tewel
Torry
Tullos

Notable people
The author Lewis Grassic Gibbon, born James Leslie Mitchell, was a Scottish writer. His Sunset Song is one of the best-known Scottish novels of the 20th century. It was voted Scotland's favourite book in a poll announced at the 2005 Edinburgh International Book Festival. Set in a fictional village in the Mearns, the book draws heavily from Mitchell's upbringing in Arbuthnott. One of the key features of the book, and some of his other writing, is the balanced and immersive use of the local Doric Scots dialect mixed with standard English, in a manner easily and enjoyably accessible to someone unfamiliar with the North East of Scotland.
 See also :Category:People from Kincardine and Mearns

Notable residents
Richard Henry Brunton, born in Kincardine
Cosmo Innes born in Durris Castle
Hercules Linton (1837–1900), born in Inverbervie, designer of the Cutty Sark
James Murdoch, born in Stonehaven
James Taylor (tea planter) born on the Monboddo estate, Laurencekirk
Robert William Thomson born in Stonehaven

See also
List of counties of Scotland 1890–1975
Kincardine (disambiguation)

References

External links

Historic map showing the Mearns by H. Moll (d. 1732)
Interactive map of modern Kincardineshire

Former counties of Scotland
Lieutenancy areas of Scotland
Counties of the United Kingdom (1801–1922)

Kincardineshire


Marta Andrino (born June 14, 1987) is a Portuguese actress. She has starred in several telenovelas.

Biography
She was born in Lisbon, capital city of Portugal. Her mother, Carla Andrino, is also an actress. Andrino studied theater in Brazil while her mother was part of the cast of Rede Globo's telenovela Negócio da China. She has a degree in marketing.

Career
Marta Andrino started her career in 2006, when she played Paula Costa in SIC's television series Aqui não Há Quem Viva. Andrino guest starred in 2008, as Tatiana in the second-season episode Vida Dupla, of TVI's miniseries Casos da Vida. Marta Andrino and her mother played daughter and mother in 2008's TVI's telenovela A Outra. She played a rebel teenager named Catarina in TVI's telenovela Deixa que Te Leve from 2009 to 2010. Marta Andrino from 2010 to 2011 again starred in a telenovela with her mother, in TVI's telenovela Espírito Indomável, when she played Elisabete Ramos, while her mother played Josefa Ramos. The actress played the young Júlia in 2011, TVI's miniseries Redenção, and in the same year, she joined the cast of Morangos com Açúcar as the lead antagonist Verónica Lima. After her role as Eduarda in Doida Por Ti, she plays the antagonist Iolanda in the 2013, telenovela I Love It.

Filmography

Television

References

External links

1987 births
Living people
Actresses from Lisbon
Portuguese television actresses

Marta Andrino


RiffWorks is a guitar recording and online song collaboration program for Mac OS and Windows. RiffWorks is designed and developed by Sonoma Wire Works. The program includes guitar effects, drum tracks, an online music collaboration system, and the ability to post songs to its online community, RiffWorld.com.

History
In 2004, RiffWorks was released to be compatible with Line 6 GuitarPort, PODxt and TonePort ASIO devices. In 2006, RiffWorks was updated to work with all ASIO and CoreAudio devices. In 2008, RiffWorks T4, a free edition, was released as a download from Sonomawireworks.com and is bundled in several Line 6 and IK Multimedia products.

This product was discontinued by Sonomawireworks in 2022, with support dropped on October 31 that year.

Features
RiffWorks recording software includes loop recording, automatic track creation (24 tracks), 7 guitar-oriented effects and support for amp modeling software.

RiffWorks Standard includes four drum options, InstantDrummer, created from studio drum kit recordings (with more content available from Sonoma Wire Work's website.) RiffWork's Metronome, a user-adjustable metronome. RiffWorks' REX Player, an audio loop player (which is not available in the free version.) RiffWorks also supports ReWire.

References

Propellerheads' ReWire Definition and List of Compatible Applications, Retrieved 2011-02-01
RiffWorks Makes You a Better Guitar Player by GuitarVibe.com
Music Player Live Reviewed; RiffWorks Software Perfect for Writing Songs by Create Digital Music
Music Tech Magazine Issue 45 review of RiffWorks Standard 2 by Mike Miller
Sonoma Wire Works RiffWorks Standard v2, Computer Music Magazine, October 2006
RiffWorks: Real-Time Loop-Based Online Music Collaboration by Wired.com
Make your own kind of music on these Web sites by Eric Gwinn of The Chicago Tribune

External links
Sonoma Wire Works
RiffWorks T4 Free Guitar Recording & Online Collaboration Software

Guitar-related software

RiffWorks


Tara Fela-Durotoye (born 6 March 1977) is a Nigerian beauty entrepreneur and lawyer. A pioneer in the bridal makeup profession in Nigeria, she launched the first bridal directory in 1999, set up international standard makeup studios and established the first makeup school in Nigeria.

She is the founder and CEO of House of Tara International and creator of the Tara Orekelewa Beauty range, Inspired Perfume and the H.I.P Beauty range.

As at 2019, her brand House of Tara, had 270 products, 23 stores, 14 beauty schools and 10,000 representatives all around Africa.

In 2007, Tara Fela-Durotoye was awarded the Africa SMME Award and the Entrepreneur award in South Africa and in 2013, Forbes listed her as one 20 Young Power Women In Africa. In 2020, the magazine Forbes listed her among "Africa's 50 Most Powerful Women".

She is an alumnus of the Lagos Business School Chief Executive Programme, INSEAD Abu Dhabi, Yale University, The Stanford SEED Transformation Programme, and the Harvard Kennedy School having completed the Global Leadership and Public Policy in the 21st century, She is a member of the France/Nigeria Investment club which was incorporated in 2018 by the French President Emmanuel Macron.

Early life

Tara Fela-Durotoye was born at St. Nicholas Hospital, Lagos to John Ejegi Sagay, a commissioner at the Federal Civil Service, Nigeria and Felicia Omaghomi. The couple separated when she was eight months old; and being a polygamous home, she was brought up by her stepmother, Modupe Agnes Sagay. She started her education at Command Children School, Victoria Island and proceeded to Nigeria Navy Secondary School, Ojo, where she was a boarder. In form 5, she was made the Sanitary and Welfare Prefect.  She graduated from the Lagos State University, with a degree in Law and proceeded to establish the House of Tara International.

Personal life
Tara is married to Fela Durotoye, a business strategist and corporate activator, chief executive officer of Visible Impact. He made his intention to run for presidency on February 22, 2018, under the political party Alliance for new Nigeria. They have three sons, Mobolurin, Demilade & Morolaoluwa.

See also
 Chinelo Anohu-Amazu

References

External links

1977 births
Living people
Businesspeople from Lagos
Nigerian cosmetics businesspeople
Lagos State University alumni
21st-century Nigerian businesswomen
21st-century Nigerian businesspeople
Nigerian women lawyers
Nigerian women company founders
Nigerian make-up artists

Tara Fela-Durotoye


KOCE-TV (channel 50) is a PBS member television station licensed to Huntington Beach, California, United States, serving the Los Angeles area. It is owned by the Public Media Group of Southern California alongside the market's secondary PBS member, KCET (channel 28). The two stations share studios at The Pointe (on West Alameda Avenue and Bob Hope Drive, between The Burbank Studios and Walt Disney Studios complexes) in Burbank; KOCE-TV maintains a secondary studio at the South Coast Corporate Center (in the South Coast Metro area) in Costa Mesa and transmitter facilities atop Mount Harvard (adjacent to Mount Wilson). Since 2011, the station has been branded as PBS SoCal.

KOCE-TV and KCET are two of four PBS member stations serving Greater Los Angeles (the others being San Bernardino–based KVCR-DT [channel 24], which mainly serves the Inland Empire, and the Los Angeles Unified School District–run KLCS [channel 58]).

History

The station first signed on the air on November 20, 1972, as the first television station licensed to Orange County, initially airing four hours of programming per day. It broadcast its first telecourse in 1973. It was originally owned by the Coast Community College District. The station was originally based from studios at Golden West College in Huntington Beach. For most of its history, KOCE-TV was a "beta" or secondary PBS station, airing only 25 percent of the national PBS schedule.

KOCE-TV Foundation vs. Daystar
In 2002, the Coast Community College District offered KOCE for sale to raise revenue for other programs. A bidding war ensued between the religious broadcaster Daystar Television Network and members of the community who wanted to continue membership with PBS. In 2004, the station was sold to the KOCE-TV Foundation, an organization made up of civic and business leaders who wanted to keep KOCE-TV as an educational station, for $25.5 million, reduced from an initial bid of $32 million (with $8 million paid up front and the rest paid in 25 equal installments without interest beginning in 2009). The foundation outbid Daystar by $500,000; the religious broadcaster placed a bid of $25 million, which it intended to compensate in an all-cash payment.

Daystar sued in state court, stating that under the terms of the auction, its all-cash bid should have been accepted. A lower court ruled in favor of the college district and the foundation; but on June 23, 2005, the California Court of Appeals ruled that the sale of KOCE-TV was illegal, since the offer was modified after the end of bidding and because the value of the bid was not expressed in net present value terms. Both sides appealed this decision. On November 22, 2005, a state appeals panel reheard arguments in the case following a petition from KOCE, the KOCE Foundation, the Coast Community College District, and Daystar. On May 25, 2006, the appeals court reaffirmed its decision, again ruling the sale illegal.

At the same time, Daystar also filed a federal lawsuit, alleging religious discrimination, civil rights violations, and racketeering. On May 1, 2006, the District Court dismissed the racketeering claim, but not the civil rights portion of the lawsuit.

In June 2006, a state assembly bill that had previously been approved was changed to allow the Coast Community College District to sell KOCE below fair market value in order to keep it a PBS station. The new bill was passed by the assembly, but Governor Arnold Schwarzenegger vetoed it, citing concerns about serving the public interest in the sale of public property and the unresolved legal challenges to the type of sale that the bill would have authorized.

In June 2007, an agreement was reached in which the KOCE-TV Foundation would keep the station, provided that Daystar would be allowed to broadcast over one of KOCE's digital subchannels. As a result, KOCE-DT3 is reserved to broadcast Daystar's national schedule without any local deviation.

OC Channel
In 2007, KOCE and Chapman University launched OC Channel, an Orange County-focused news channel.

Becoming Los Angeles' primary PBS station
KOCE became the Los Angeles market's primary PBS station on January 1, 2011, when the area's longtime original primary member station of the network, KCET (channel 28), ended its association with PBS after 40 years due to an increase in costs to carry PBS programming—leading to its switch to an independent public television station.

After KCET left PBS, KOCE entered into a broadcast agreement with KLCS and KVCR to form "PBS SoCal" effective January 1, 2011. The PBS programming originally carried on KCET is now shared between the three stations. As a consequence, on December 31, 2010, KOCE expanded its cable coverage into Santa Barbara, and later expanded to Palm Springs. Both San Luis Obispo and Santa Maria (who were previously served by KCET), however, were not included in the cable coverage, as those communities are now served by San Francisco PBS member KQED via cable (Palm Springs is also served by KVCR-DT, while Bakersfield, which was also served by KCET, is now served via cable and over-the-air through Fresno PBS member KVPT).

In the spring of 2011, KOCE moved its administrative offices to a modern facility in Costa Mesa.

KOCE was available in the Palm Springs area and the Coachella Valley on cable and over the air since the late 1990s, formerly on K55FI and later K35LA, now a KCET translator since 2011, when KOCE became the major PBS station for Southern California.

Public Media Group of Southern California
On April 25, 2018, KCETLink Media Group and the KOCE-TV Foundation announced that they would merge, effective by the end of the first half of 2018. KOCE remains Los Angeles' primary PBS station but relocated its operations to KCET's facility in Burbank (maintaining its Costa Mesa location as a secondary facility). The two stations continue to carry their existing programming, but KCET returned to PBS. The merger was completed on October 1, 2018, with the combined company branded as Public Media Group of Southern California.

Programming
In addition to PBS programs, KOCE also features programming focused on the communities of Orange County, such as the nightly newscast, Real Orange. It also broadcasts several college telecourses by the Coast Community College District, which was the station's original owner. Programming produced by KOCE include Variety Studio: Actors on Actors.

News operation
KOCE produced and broadcast the only Orange County-focused nightly newscast in the Los Angeles market, Real Orange, with a concentration on human interest and public service stories. The program was co-anchored by former longtime KTLA (channel 5) news/sports anchor Ed Arnold, and Ann Pulice. KOCE partnered with the Orange County Register for newsgathering resources for the station's newscasts, the newspaper also served as a sponsor for the program. The program aired five nights a week until 2009, when only two episodes a week were produced (with rebroadcasts the other three weeknights). The program ended in 2013 due to funding constraints.

KOCE also operated a Weather Center stationed in La Habra Heights, located about  north of the Huntington Beach studios. This weather station, which only consists of a weather camera, was shown live during the weather segments of Real Orange on Monday, Wednesday and Friday evenings. Weather radar imagery and other forecast data are gathered from other weather sources (such as the National Weather Service), as KOCE does not employ its own weather radar.

Technical information

Subchannels
The station's digital signal is multiplexed:

On January 1, 2011, World moved from KCET-DT4 to KOCE-DT4.

Analog-to-digital conversion
KOCE-TV shut down its analog signal, over UHF channel 50, at 11:30 p.m. on June 12, 2009, as part of the federally mandated transition from analog to digital television. The station's digital signal remained on its pre-transition UHF channel 48, using PSIP to display KOCE-TV's virtual channel as 50 on digital television receivers.

Spectrum reallocation
On April 13, 2017, KOCE-TV announced it had sold its over-the-air spectrum in the FCC's spectrum reallocation auction, reaping $49 million, which the station said it would use to invest in programming and other services. As a result of its spectrum sale, KOCE-TV entered into a channel sharing arrangement with multicultural independent station KSCI (channel 18). KOCE completed the move to UHF 18 on the morning of June 19, 2018, with all five programming streams appearing in the virtual channel table with the same numbering.

Translator

See also
Maria Hall-Brown

References

External links
PBS SoCal

PBS member stations
OCE-TV
Television channels and stations established in 1972
1972 establishments in California
Mass media in Orange County, California
Daystar Television Network affiliates

KOCE-TV


A contronym is a word with more than one meaning (sense), as one meaning is the reverse (opposite) of the other. For example, the word cleave can mean "to cut apart" or "to bind together". In a sentence its meaning can be clear, otherwise the word itself is ambiguous. Contronyms are also known as auto-antonyms.

Many other words are polysemic, because they have more than one meaning. However, most polysemic words are not contronyms.

Other examples:
to sanction may mean to approve or to punish;
To overlook can mean to miss seeing something, or to see it but act as if nothing had happened.
Fast: to move quickly, or be stuck in one place.

Linguistics
Words

Contronym


South Semitic is a putative branch of the Semitic languages, which form a branch of the larger Afro-Asiatic language family, found in (North and East) Africa and Western Asia.

History
The "homeland" of the South Semitic languages is widely debated, with sources such as A. Murtonen (1967) and Lionel Bender (1997) suggesting an origin in Ethiopia and others suggesting the southern portion of the Arabian Peninsula. A 2009 study based on a Bayesian model to estimate language change concluded that the latter viewpoint is more probable. This statistical analysis could not estimate when or where the ancestor of all Semitic languages diverged from Afroasiatic but it suggested that the divergence of the East, Central, and South Semitic branches occurred in the Levant.  According to a theory believed by many now, Semitic originated from an offshoot of a still earlier language in North Africa and desertification made some of its speakers migrate in the fourth millennium BC into what is now Ethiopia, others northwest into West Asia

Classification
South Semitic is divided into two uncontroversial branches:

 Western
 Old South Arabian – possibly extinct, formerly believed to be the linguistic ancestors of modern South Arabian Semitic languages, modern South Arabian now being classified as Eastern South Semitic. The Razihi language and Faifi language are probably descendants.
 Ethiopian Semitic (Ethio-Semitic, Ethiosemitic, Ethiopic) on the southern coast of the Arabian Peninsula and found across the Red Sea in the Horn of Africa, mainly in modern Ethiopia and Eritrea.
 Eastern
 Modern South Arabian. These languages are spoken mainly by small minority populations on the Arabian Peninsula in Yemen (Mahra and Soqotra) and Oman (Dhofar).

Demographics
The Ethiopian Semitic languages collectively have by far the greatest numbers of modern native speakers of any Semitic language other than Arabic. Eritrea's main languages are mainly Tigrinya and Tigre, which are North Ethiopic languages, and Amharic (South Ethiopic) is the main language spoken in Ethiopia (along with Tigrinya in the northern province of Tigray). Ge'ez continues to be used in Eritrea and Ethiopia as a liturgical language for the Orthodox Tewahedo churches.

Southern Arabian languages have been increasingly eclipsed by the more dominant Arabic (also a Semitic language) for more than a millennium. Ethnologue lists six modern members of the South Arabian branch and 15 members of the Ethiopian branch.

See also
 Afroasiatic languages

References

Semitic languages

South Semitic languages