title: Music of Latin America

text: It is a form of urban contemporary music, often combining other Latin musical styles, Caribbean and West Indies music, (such as reggae, "soca", Spanish reggae, salsa, merengue and "bachata". It originates from Panamanian Spanish reggae and Jamaican dancehall, however received its rise to popularity through Puerto Rico."Tropikeo" is the fusion of R&B, Rap, Hip Hop, Funk and Techno Music within a Tropical musical frame of salsa, in which the conga drums and/or timbales drums are the main source of rhythm of the tune, in conjunction with a heavy salsa "montuno" of the piano. The lyrics of the song can be rapped or sung, or used combining both styles, as well as danced in both styles. "Aguinaldo" from Puerto Rico is similar to Christmas carols, except that they are usually sung in a parranda, which is rather like a lively parade that moves from house to house in a neighborhood, looking for holiday food and drink. The melodies were subsequently used for the improvisational décima and seis. There are aguinaldos that are usually sung in churches or religious services, while there are aguinaldos that are more popular and are sung in the parrandas. Danza is a very sophisticated form of music that can be extremely varied in its expression; they can be either romantic or festive. Romantic danzas have four sections, beginning with an eight measure paseo followed by three themes of sixteen measures each. The third theme typically includes a solo by the bombardino and, often, a return to the first theme or a coda at the end. Festive danzas are free-form, with the only rules being an introduction and a swift rhythm. Plena is a narrative song from the coastal regions of Puerto Rico, especially around Ponce, Puerto Rico. Its origins have been various claimed as far back as 1875 and as late as 1920. As rural farmers moved to San Juan, Puerto Rico and other cities, they brought plena with them and eventually added horns and improvised call and response vocals. Lyrics generally deal with stories or current events, though some are light-hearted or humorous.


title: Music of Latin America

text: "The Joropo" is Venezuelan popular music originating in the "llanos" plains, although a more upbeat and festive "gaita" version is heard western Venezuela (particularly in Zulia State). There are also African-influenced styles which emphasize drumming including multiple rhythms, such as sangueo, fulia, parranda, tamborera and calypso from the Guayana region (influenced by neighboring English-speaking countries). The Aguinaldo, conforms the national representation of the Venezuelan Christmas. In the east, the malagueña, punto and galerón accompanies the velorios de cruz de mayo, (religious tradition, that is celebrated on 3 May in honor to the Christian cross). In the Venezuelan Andes, the Venezuelan bambuco is a local variation of the bambuco. Other forms include the polo and the Venezuelan waltz. El merengue venezolano es una música bailable del siglo XX de Venezuela, con un característico ritmo atractivo. Es un género completamente diferente del merengue de la República Dominicana en cuanto a su ritmo, instrumentos, cultura e historia.


title: Music of Latin America

text: Venezuelan Merengue is also known by two other names: merengue caraqueño, relating its origin to the capital Caracas, and merengue rucaneao, in which reference to Rúcano, a mixture for a popular jelly dessert, is used as a simile for the sensual pelvic movements of its dance. Merengue came into vogue in Venezuela during the period from the 1920s to the 1940s. At first, merengue music was associated with the mabiles, popular drinking and dancing spots in Caracas, and with the capital's carnival celebrations in street parades and plazas. Later in the 1940s, it was absorbed into the dance halls of the upper classes, and also formed part of the repertoire of smaller groups such as the Cantores del Trópico, led by guitarist Antonio Lauro (who composed 'Merengue para guitarra') and composers such as Eduardo Serrano. The hybrid traditional ensembles of then and now that dedicate their program to folkloric program to arrangements of Venezuelan folk music - ensembles such as estudiantinas, Venezuelan Merengue. Nowadays it is always discussed whether merengue is written in 2/4, 6/8 or 5/8.


title: Music of Latin America

text: Uruguayan music has similar roots to that of Argentina. Uruguayan tango and "milonga" are both popular styles, and folk music from along the River Plate is indistinguishable from its Argentine counterpart. Uruguay rock and "cancion popular" (Uruguayan versions of rock and pop music) are popular local forms. "Candombe", a style of drumming descended from African slaves in the area, is quintessentially Uruguayan (although it is played to a lesser extent in Argentina). It is most popular in Montevideo, but may also be heard in a number of other cities.


title: Music of Latin America

text: Based on Cuban music in rhythm, tempo, bass line, riffs and instrumentation, Salsa represents an amalgamation of musical styles including rock, jazz, and other Latin American musical traditions. Modern salsa (as it became known worldwide) was forged in the pan-Latin melting pot of New York City in the late 1960s and early 1970s.


title: Music of Latin America

text: Reggaeton (also known as reggaetón and reguetón[1]) is a musical genre which originated in Puerto Rico during the late 1990s. It is influenced by hip hop and Latin American and Caribbean music. Vocals include rapping and singing, typically in Spanish.


title: Music of Latin America

text: The Latin (or romantic) ballad is a Latin musical genre which originated in the 1960s. This ballad is very popular in Hispanic America and Spain, and is characterized by a sensitive rhythm. A descendant of the "bolero", it has several variants (such as balls and "cumbia"). Since the mid-20th century a number of artists have popularized the genre, such as Julio Iglesias, Luis Miguel, Enrique Iglesias, Alejandra Ávalos, Cristian Castro, Franco de Vita and José José.


Street Fighter 30th Anniversary Collection is a compilation of fighting games from the "Street Fighter" series developed by Digital Eclipse and published by Capcom in celebration of the series' 30th anniversary. The collection was released for Nintendo Switch, PlayStation 4, Microsoft Windows and Xbox One in May 2018.


"Street Fighter 30th Anniversary Collection" is a compilation that collects the arcade versions of twelve (thirteen for the Switch version) fighting games from the "Street Fighter" series:


title: Street Fighter 30th Anniversary Collection

text: While playing a single-player mode in any of the twelve (or thirteen) games, the player can use save states to save and resume at any time. Four of the games ("Turbo: Hyper Fighting", "Super Turbo", "Alpha 3", and "3rd Strike") support online multiplayer, including ranked matchmaking. Online lobbies can support up to four players and a player can fight against a CPU opponent while waiting for online battles to be ready. The Nintendo Switch version of the game includes an exclusive eight-player tournament mode for "Super Street Fighter II" that can be played locally with four consoles.


text: The collection includes bonus features such as a museum to view concept art, pitch documents and facts about each release; a music player to listen to tracks across the series; an interactive timeline that chronicles the series' history; and biographies that provide background information, stories, sprite art and animations for characters in the series.


text: "Street Fighter 30th Anniversary Collection" was developed by Digital Eclipse and published by Capcom. To provide minimal latency in online play, the development team implemented "rewind" technology and allowed players to adjust their own input latency via an in-game menu.


text: Capcom announced the collection in December 2017 at the finals of the Capcom Cup "Street Fighter" tournament. The collection was released for Nintendo Switch, PlayStation 4, Microsoft Windows, and Xbox One on 29 May 2018, although it was delayed in Japan to address fan feedback. A digital copy of "Ultra Street Fighter IV" is included with pre-orders of the PlayStation 4, Windows, and Xbox One versions of the collection. The collection does not include enhanced home releases of the games, such as "Street Fighter II HD Remix", "Street Fighter Alpha 3 Max" or "".


text: In Japan, the compilation is known as Street Fighter 30th Anniversary Collection International. In addition to the international version of each game, it also features the Japanese versions.


text: It reached number 6 in the UK sales charts, and number 10 in Australia. In Japan, the game reached #4 on the PS4 and #6 on the Switch, selling 21,000 copies between them.


text: By November 2019, the collection had sold 1 million copies worldwide. As of June 30, 2022, sales reached 2.40 million.


title: Gospel of Nicodemus

text: The Gospel of Nicodemus, also known as the Acts of Pilate (; ), is an apocryphal gospel claimed to have been derived from an original Hebrew work written by Nicodemus, who appears in the Gospel of John as an associate of Jesus. The title "Gospel of Nicodemus" is medieval in origin. The dates of its accreted sections are uncertain, but the work in its existing form is thought to date to around the 4th or 5th century AD.


title: Gospel of Nicodemus

text: The oldest sections of the book appear first in Greek. The text contains multiple parts, which are uneven in style and would seem to be by different hands. A prologue found in some versions asserts that the text is a translation into Greek of eyewitness accounts found in the praetorium at Jerusalem. The question of the original language is debated. Beyond Greek, the versions in Latin, Syriac, Coptic, Georgian, Slavonic, and other languages have survived.


title: Gospel of Nicodemus

text: The prevailing view is that the Christian Acts of Pilate were first devised and published as a confutation to the pagan Acts. It can be shown that the work behind the Christian Acts of Pilate must have originated very early, but the complete work in its existing form dates to no earlier than the 4th or 5th century. Although "the Acts of Pontius Pilate" are mentioned by Justin Martyr in his "First Apology" ("c." 155), this simply refers to unspecified records which Justin assumed must exist. Church historian Eusebius of Caesarea (writing "c." 325) shows no acquaintance with this Gospel, despite being aware of related texts (such as the "Letters of Pilate" referred to by Justin and Tertullian as well as a pagan version of the Acts of Pilate). Epiphanius refers to an "Acta Pilati" ("c." 376), but the extant Greek texts show evidence of later editing.


title: Gospel of Nicodemus

text: The main body of the Gospel of Nicodemus is in two parts. The first part contains the trial of Jesus (chapters i–xi) and an account of the Resurrection (ch. xii–xvi). The narrative of the trial is based upon Luke 23. In addition to the Greek and Latin witnesses of the first part, there are three other notable ancient versions in Syriac, Armenian, and Coptic. The second part (ch. xvii–xxvii) contains the story of the Harrowing of Hell. In it, Leucius and Charinus, two souls raised from the dead after the crucifixion, relate to the Sanhedrin the circumstances of the descent of Christ into Hell, and the deliverance of the righteous Old Testament patriarchs. It also describes the salvation of Saint Dismas, the penitent thief. This section is a later addition to the Acts, but is probably based upon an older document. It appears most often in the Latin manuscripts, and only rarely in Greek.


title: Gospel of Nicodemus

text: Some Latin manuscripts contain an appended text, the Letter of Pilate to Claudius. This purports to be an official report made by Pontius Pilate to Claudius containing a description of the crucifixion, as well as an account of the resurrection of Jesus. This text is also found in the Greek Acts of Peter and Paul. One series of Latin manuscripts also includes the episode "Cura Sanitatis Tiberii" ("The Cure of Tiberius"), the oldest form of the legend of Saint Veronica.


title: Gospel of Nicodemus

text: The Gospel of Nicodemus has had a long history inspiring devotional works. A "Meditatione sopra la Passione del nostro signore Iesu Christo", drawing in part on this gospel for its expanded anecdotal elements in the Passion, was printed twenty-eight times in Italy between about 1476 and 1500, and inspired the depiction of Christ before Pilate by Pontormo.


title: Gospel of Nicodemus

text: The Gospel of Nicodemus names several minor New Testament figures who were not named in the canonical texts; for example, the soldier who speared Jesus on the cross is named as Longinus and the two criminals crucified beside Jesus are named as Dismas and Gestas.


title: Binibining Pilipinas

text: Binibining Pilipinas (abbreviated as Bb. Pilipinas; ) is a national beauty pageant in the Philippines that selects Filipina representatives to compete in one of the Big Four international beauty pageants: Miss International and selects two other titleholders to participate in minor international pageants such as Miss Intercontinental, The Miss Globe and Miss Charm International.


title: Binibining Pilipinas

text: Binibining Pilipinas is owned by the Araneta Group of Companies headed by Filipino business magnate Jorge León Araneta, the group's President and CEO, the BPCI Organization is spearheaded by Jorge's wife, national director Stella Marquez-Araneta, with Cochitina Sevilla-Bernardo, artist and entrepreneur, as co-chairperson.


title: Binibining Pilipinas

text: Former Miss Colombia Stella M. Araneta, who became a Miss Universe semi-finalist and the winner of the first Miss International beauty pageant in 1960, is the chairperson of Binibining Pilipinas Charities Incorporated (BPCI), which had been the official national franchise holder of the Miss Universe Organization since 1964 after it was passed on by its predecessor, Miss Philippines, which had been the franchise holder from 1952 to 1963.


title: Binibining Pilipinas

text: The following are the Binibining Pilipinas titleholders throughout the years, including the highlights of their performance in major and minor international pageants.


title: Binibining Pilipinas

text: Gemma Cruz, Miss International 1964, is not part of Binibining Pilipinas when she won the Miss International 1964 title. The first Miss International crown for the Philippines, won by Gemma Cruz in 1964, is a product of the Miss Philippines pageant, the predecessor of the Binibining Pilipinas pageant. Cruz helped BPCI in crowning her successor, Isabel Barnett Santos, to represent the country in the 1965 editional of the pageant.


title: Binibining Pilipinas

text: Although BPCI had acquired the local franchise of the Miss World pageant in 1992, the first crown was won by Megan Young in 2013, which is a product of its successor, Miss World Philippines.


title: Binibining Pilipinas

text: Note that the year designates the time Binibining Pilipinas has acquired that particular pageant franchise.


title: The Neptunes production discography

text: The following is a discography of production by the Neptunes, a production duo consisting of Pharrell Williams and Chad Hugo.


title: Lockheed Martin Aeronautics

text: Lockheed Martin Aeronautics Company is a major unit of Lockheed Martin with headquarters at Air Force Plant 4 in Fort Worth, Texas.


title: Lockheed Martin Aeronautics

text: Lockheed Martin Aeronautics is based in Marietta, Georgia and Palmdale, California. Palmdale is home to the Advanced Development Programs (ADP), informally known as the "Skunk Works". Various subassemblies are produced at locations in Florida, Mississippi, Pennsylvania, and West Virginia.


title: Lockheed Martin Aeronautics

text: The company draws upon the history of the former Lockheed and Martin Marietta corporations. While the formation of Lockheed Martin in 1995 was a merger of equals, by far the greatest contribution to Lockheed Martin Aeronautics was the product portfolio of Lockheed. This included the C-5, C-130, and C-141 transports as well as the F-2, F-16 (purchased from General Dynamics), F-117, F-22, and F-35 Lightning II.


title: Lockheed Martin Aeronautics

text: The most important project by far to Lockheed Martin Aeronautics is the F-35 Lightning II (JSF). Worth a potential $200bn the initial order book is approximately 3,000 excluding almost guaranteed export orders. Lockheed also supports its F-22 air dominance fighter in USAF service.


title: Henry Somerset, 12th Duke of Beaufort

text: Henry John FitzRoy Somerset, 12th Duke of Beaufort (born 22 May 1952), styled Marquess of Worcester between 1984 and 2017, also known as Harry Beaufort or Bunter Beaufort, previously as Bunter Worcester, is an English peer and landowner, with estates in Gloucestershire and Wiltshire based on Badminton House.


title: Henry Somerset, 12th Duke of Beaufort

text: Beaufort is the son of the 11th Duke of Beaufort and his wife, Lady Caroline Jane Thynne (1928–1995), a daughter of the 6th Marquess of Bath. He and his family are descended in the male line from the House of Plantagenet, through an illegitimate line.


title: Henry Somerset, 12th Duke of Beaufort

text: He is a singer and songwriter with the rock group The Listening Device. This was a support act at the Highclere Rocks concert in 2006, which also featured Bryan Ferry, Eric Clapton, and Roger Waters.


title: Henry Somerset, 12th Duke of Beaufort

text: His first wife was the environmentalist and former actress Tracy Louise Ward (a sister of Rachel Ward and a granddaughter of William Ward, 3rd Earl of Dudley). They were married on 13 June 1987 at Cornwell, in Oxfordshire, but later separated, and were divorced in 2018. The marriage produced three children:


title: Henry Somerset, 12th Duke of Beaufort

text: On 30 April 2018, Beaufort married secondly Georgia Powell (born 18 February 1969), a granddaughter of the novelist Anthony Powell.


title: Energy industry

text: The energy industry is the totality of all of the industries involved in the production and sale of energy, including fuel extraction, manufacturing, refining and distribution. Modern society consumes large amounts of fuel, and the energy industry is a crucial part of the infrastructure and maintenance of society in almost all countries.


title: Energy industry

text: The increased dependence during the 20th century on carbon-emitting sources of energy such as fossil fuels, and carbon-emitting renewables such as biomass, means that the energy industry has frequently been an important contributor to pollution and environmental impacts of the economy. Until recently, fossil fuels were the main source of energy generation in most parts of the world, and are a major contributor to global warming and pollution. As part of human adaptation to global warming, many economies are investing in renewable and sustainable energy.


title: Energy industry

text: The use of energy has been a key in the development of the human society by helping it to control and adapt to the environment. Managing the use of energy is inevitable in any functional society. In the industrialized world the development of energy resources has become essential for agriculture, transportation, waste collection, information technology, communications that have become prerequisites of a developed society. The increasing use of energy since the Industrial Revolution has also brought with it a number of serious problems, some of which, such as global warming, present potentially grave risks to the world.


title: Energy industry

text: In some industries, the word "energy" is used as a synonym of energy resources, which refer to substances like fuels, petroleum products and electricity in general, because a significant portion of the energy contained in these resources can easily be extracted to serve a useful purpose. After a useful process has taken place, the total energy is conserved, but the resource itself is not conserved, since a process usually transforms the energy into unusable forms (such unnecessary or excess heat).


title: Energy industry

text: Ever since humanity discovered various energy resources available in nature, it has been inventing devices, known as machines, that make life more comfortable by using energy resources. Thus, although the primitive man knew the utility of fire to cook food, the invention of devices like gas burners and microwave ovens has increased the usage of energy for this purpose alone manyfold. The trend is the same in any other field of social activity, be it construction of social infrastructure, manufacturing of fabrics for covering; porting; printing; decorating, for example textiles, air conditioning; communication of information or for moving people and goods (automobiles).


title: Energy industry

text: Production and consumption of energy resources is very important to the global economy. All economic activity requires energy resources, whether to manufacture goods, provide transportation, run computers and other machines.


title: Energy industry

text: Widespread demand for energy may encourage competing energy utilities and the formation of retail energy markets. Note the presence of the "Energy Marketing and Customer Service" (EMACS) sub-sector.


title: Energy industry

text: The energy sector accounts for 4.6% of outstanding leveraged loans, compared with 3.1% a decade ago, while energy bonds make up 15.7% of the $1.3trillion junk bond market, up from 4.3% over the same period.


title: Energy industry

text: Since the cost of energy has become a significant factor in the performance of economy of societies, management of energy resources has become very crucial. Energy management involves utilizing the available energy resources more effectively; that is, with minimum incremental costs. Many times it is possible to save expenditure on energy without incorporating fresh technology by simple management techniques. Most often energy management is the practice of using energy more efficiently by eliminating energy wastage or to balance justifiable energy demand with appropriate energy supply. The process couples energy awareness with energy conservation.


title: Energy industry

text: The United Nations developed the International Standard Industrial Classification, which is a list of economic and social classifications. There is no distinct classification for an energy industry, because the classification system is based on "activities", "products", and "expenditures according to purpose".


title: Energy industry

text: Countries in North America use the North American Industry Classification System (NAICS). The NAICS sectors #21 and #22 (mining and utilities) might roughly define the energy industry in North America. This classification is used by the U.S. Securities and Exchange Commission.


title: Energy industry

text: The Global Industry Classification Standard used by Morgan Stanley define the energy industry as comprising companies primarily working with oil, gas, coal and consumable fuels, excluding companies working with certain industrial gases.


title: Energy industry

text: Government encouragement in the form of subsidies and tax incentives for energy-conservation efforts has increasingly fostered the view of conservation as a major function of the energy industry: saving an amount of energy provides economic benefits almost identical to generating that same amount of energy. This is compounded by the fact that the economics of delivering energy tend to be priced for capacity as opposed to average usage. One of the purposes of a smart grid infrastructure is to smooth out demand so that capacity and demand curves align more closely.


title: Energy industry

text: Some parts of the energy industry generate considerable pollution, including toxic and greenhouse gases from fuel combustion, nuclear waste from the generation of nuclear power, and oil spillages as a result of petroleum extraction. Government regulations to internalize these externalities form an increasing part of doing business, and the trading of carbon credits and pollution credits on the free market may also result in energy-saving and pollution-control measures becoming even more important to energy providers.


title: Energy industry

text: Consumption of energy resources, (e.g. turning on a light) requires resources and has an effect on the environment. Many electric power plants burn coal, oil or natural gas in order to generate electricity for energy needs. While burning these fossil fuels produces a readily available and instantaneous supply of electricity, it also generates air pollutants including carbon dioxide (CO), sulfur dioxide and trioxide (SOx) and nitrogen oxides (NOx). Carbon dioxide is an important greenhouse gas which is thought to be responsible for some fraction of the rapid increase in climate change seen especially in the temperature records in the 20th century, as compared with tens of thousands of years worth of temperature records which can be read from ice cores taken in Arctic regions. Burning fossil fuels for electricity generation also releases trace metals such as beryllium, cadmium, chromium, copper, manganese, mercury, nickel, and silver into the environment, which also act as pollutants.


title: Energy industry

text: The large-scale use of renewable energy technologies would "greatly mitigate or eliminate a wide range of environmental and human health impacts of energy use". Renewable energy technologies include biofuels, solar heating and cooling, hydroelectric power, solar power, and wind power. Energy conservation and the efficient use of energy would also help.


title: Energy industry

text: In addition, it is argued that there is also the potential to develop a more efficient energy sector. This can be done by:


title: Energy industry

text: Best available technology (BAT) offers supply-side efficiency levels far higher than global averages. The relative benefits of gas compared to coal are influenced by the development of increasingly efficient energy production methods. According to an impact assessment carried out for the European Commission, the levels of energy efficiency of coal-fired plants built have now increased to 46-49% efficiency rates, as compared to coals plants built before the 1990s (32-40%). However, at the same time gas can reach 58-59% efficiency levels with the best available technology. Meanwhile, combined heat and power can offer efficiency rates of 80-90%.


title: Energy industry

text: Since now energy plays an essential role in industrial societies, the ownership and control of energy resources plays an increasing role in politics. At the national level, governments seek to influence the sharing (distribution) of energy resources among various sections of the society through pricing mechanisms; or even who owns resources within their borders. They may also seek to influence the use of energy by individuals and business in an attempt to tackle environmental issues.


title: Energy industry

text: The most recent international political controversy regarding energy resources is in the context of the Iraq Wars. Some political analysts maintain that the hidden reason for both 1991 and 2003 wars can be traced to strategic control of international energy resources. Others counter this analysis with the numbers related to its economics. According to the latter group of analysts, U.S. has spent about $336 billion in Iraq as compared with a background current value of $25 billion per year budget for the entire U.S. oil import dependence


title: Energy industry

text: Energy policy is the manner in which a given entity (often governmental) has decided to address issues of energy development including energy production, distribution and consumption. The attributes of energy policy may include legislation, international treaties, incentives to investment, guidelines for energy conservation, taxation and other public policy techniques.


title: Energy industry

text: Energy security is the intersection of national security and the availability of natural resources for energy consumption. Access to cheap energy has become essential to the functioning of modern economies. However, the uneven distribution of energy supplies among countries has led to significant vulnerabilities. Threats to energy security include the political instability of several energy producing countries, the manipulation of energy supplies, the competition over energy sources, attacks on supply infrastructure, as well as accidents, natural disasters, the funding to foreign dictators, rising terrorism, and dominant countries reliance to the foreign oil supply. The limited supplies, uneven distribution, and rising costs of fossil fuels, such as oil and gas, create a need to change to more sustainable energy sources in the foreseeable future. With as much dependence that the U.S. currently has for oil and with the peaking limits of oil production; economies and societies will begin to feel the decline in the resource that we have become dependent upon. Energy security has become one of the leading issues in the world today as oil and other resources have become as vital to the world's people. However, with oil production rates decreasing and oil production peak nearing the world has come to protect what resources we have left in the world. With new advancements in renewable resources less pressure has been put on companies that produce the world's oil, these resources are, geothermal, solar power, wind power and hydro-electric. Although these are not all the current and possible future options for the world to turn to as the oil depletes the most important issue is protecting these vital resources from future threats. These new resources will become more useful as the price of exporting and importing oil will increase due to increase of demand.


title: Energy industry

text: Producing energy to sustain human needs is an essential social activity, and a great deal of effort goes into the activity. While most of such effort is limited towards increasing the production of electricity and oil, newer ways of producing usable energy resources from the available energy resources are being explored. One such effort is to explore means of producing hydrogen fuel from water. Though hydrogen use is environmentally friendly, its production requires energy and existing technologies to make it, are not very efficient. Research is underway to explore enzymatic decomposition of biomass.


title: Energy industry

text: Other forms of conventional energy resources are also being used in new ways. Coal gasification and liquefaction are recent technologies that are becoming attractive after the realization that oil reserves, at present consumption rates, may be rather short lived. See alternative fuels.


title: Energy industry

text: Energy is the subject of significant research activities globally. For example, the UK Energy Research Centre is the focal point for UK energy research while the European Union has many technology programmes as well as a platform for engaging social science and humanities within energy research.


title: Energy industry

text: All societies require materials and food to be transported over "distances", generally against some "force" of friction. Since application of force over distance requires the presence of a source of usable energy, such sources are of great worth in society.


title: Energy industry

text: While energy resources are an essential ingredient for all modes of transportation in society, the transportation of energy resources is becoming equally important. Energy resources are frequently located far from the place where they are consumed. Therefore, their transportation is always in question. Some energy resources like liquid or gaseous fuels are transported using tankers or pipelines, while electricity transportation invariably requires a network of grid cables. The transportation of energy, whether by tanker, pipeline, or transmission line, poses challenges for scientists and engineers, policy makers, and economists to make it more risk-free and efficient.


title: Energy industry

text: Economic and political instability can lead to an energy crisis. Notable oil crises are the 1973 oil crisis and the 1979 oil crisis. The advent of peak oil, the point in time when the maximum rate of global petroleum extraction is reached, will likely precipitate another energy crisis.


title: Energy industry

text: Between 1985 and 2018, there have been around 69,932 deals in the energy sector. This cumulates to an overall value of 9,578 bil USD. The most active year was 2010 with about 3.761 deals. In terms of value 2007 was the strongest year (684 bil. USD), which was followed by a steep decline until 2009 (-55,8%).


title: Riccardo Tisci

text: Riccardo Tisci (; born 1974) is an Italian fashion designer. He studied in Italy at the Design Istituto d’Arte Applicata in Cantù until the age of 17, and then graduated from London's Central Saint Martins College of Art and Design in 1999. In 2005, Tisci was given the title of creative director for Givenchy Women's haute couture and ready-to-wear lines. In May 2008 he was additionally named as menswear and accessories designer of the Givenchy men's division. In March 2018, it was announced he had been appointed chief creative officer of Burberry, succeeding Christopher Bailey.


title: Riccardo Tisci

text: Tisci's apparent fascination with Gothic touches (dark, languid dresses for fall couture) and space-age minimalism (one ready-to-wear show featured white-clad models drifting around a sterile-white sphere) has drawn new attention to the Givenchy brand. Reviews and output so far have been mixed and inconsistent, but many, including influential fashion critics (such as Cathy Horyn of "The New York Times" and Suzy Menkes of the "International Herald Tribune") have honed in on Tisci's conceptual leanings, as well as his future potential for revitalizing the Givenchy brand and infusing it with his precision and imagination.


title: Riccardo Tisci

text: Tisci was born in Taranto and raised in Como. He graduated from London's Central Saint Martins College of Art and Design in 1999.


title: Riccardo Tisci

text: Upon graduation, Tisci worked for companies such as Puma, Antonio Berardi and Coccapani before signing a three-year contract with Ruffo Research, a company that has helped launch the careers of several fashion designers, such as Sophia Kokosalaki. Tisci has mentioned in an interview that he would like to work with an Iranian brand, although it is not known how realistic his wish is.


title: Riccardo Tisci

text: Upon the expiration of his contract in July 2004, Tisci spent time living in India, where he began to work on his own collection. In September 2004, during the Milan Fashion Week, Tisci debuted his first Riccardo Tisci Collection for Fall 2005/2006 in an off-calendar show.


title: Riccardo Tisci

text: In February 2005, Tisci was appointed as the creative director of the haute couture, ready-to-wear and accessories lines for Givenchy. Brought to Givenchy by LVMH COO Antonio Belloni and Givenchy CEO Marco Gobbetti, Gobbetti called Tisci a "perfect fit for us... He [Tisci] has an elegance that is very modern, very contemporary and romantic at the same time".


title: Riccardo Tisci

text: Tisci presented his first Givenchy haute couture collection in July 2005 during the Fashion Week in Paris.


title: Riccardo Tisci

text: Tisci, under Givenchy, designed the costumes for Madonna's "Sticky & Sweet Tour" in 2008, following Jean Paul Gaultier and Dolce & Gabbana. In 2009, for the encore of the tour he designed another costume for the tour's opening song "Candy Shop".


title: Riccardo Tisci

text: In February 2017 Tisci stepped down as creative director of Givenchy, "I now wish to focus on my personal interests and passions."


title: Riccardo Tisci

text: In 2018, Tisci was named by Burberry to replace Christopher Bailey as the brand's chief creative officer. His tenure lasted through to September 2022 when it was announced that Tisci would be replaced at the helm of Burberry's creative efforts by English designer Daniel Lee.


title: Riccardo Tisci

text: Unlike the designers before him who succeeded Mr. Givenchy himself, Tisci has had particular success in haute couture, where he asserts "When I arrived we had five customers. Now we have 29".


title: Riccardo Tisci

text: Riccardo Tisci's runway presentations are highly stylized in terms of architecture and space. Tisci says of this: "My way of showing is very melancholic... I love romanticism and sensuality".


title: Riccardo Tisci

text: For the Givenchy Fall-Winter 2010 collection, he included a new model, Lea T, a transgender woman from Brazil, his longtime personal assistant.


title: Riccardo Tisci

text: Throughout his career, Tisci's numerous connections and relationships have enabled him to collaborate with well-known artists on various projects:


title: Riccardo Tisci

text: In addition to his position at Givenchy, Tisci has collaborated with the choreographers Sidi Larbi Cherkaoui and Damien Jalet on the costume design of the orchestral ballet Boléro by Maurice Ravel at the Opéra Garnier.


title: Riccardo Tisci

text: Italian model Mariacarla Boscono often appears in his runway shows and ad campaigns, owing possibly to the fact that Tisci has had a friendship with her since before his days at Givenchy.


title: Riccardo Tisci

text: Tisci also collaborated with American rappers Jay-Z and Kanye West to create the cover for "Watch the Throne", as well as the covers for singles H•A•M and Otis. He has now recently collaborated again with Kanye West for his label GOOD Music on their album "Cruel Summer".


title: Kanak people

text: The Kanak (French spelling until 1984: Canaque) are the indigenous Melanesian inhabitants of New Caledonia, an overseas collectivity of France in the southwest Pacific. According to the 2019 census, the Kanak make up 41.2% of New Caledonia's total population — corresponding to around 112,000 people.


title: Kanak people

text: The Kanak population is traditionally contrasted with two other groups of European descent: (1) the Caldoche, who were born in New Caledonia; and (2) the Zoreille, who live in the territory yet were born in metropolitan France.


title: Kanak people

text: The earliest traces of human settlement in New Caledonia go back to Lapita culture, about 3000 BP, i.e. 1000 BCE. In addition, Polynesian seafarers have intermarried with the Kanaks over the last centuries.


title: Kanak people

text: New Caledonia was annexed to France in 1853, and became an overseas territory of France in 1956. An independence movement, which led to a failed revolt in 1967, was restarted in 1984, pursuing total independence from French rule. When the 1988 Matignon agreements were signed between the representatives of France and New Caledonia to decide on holding the referendum for independence, Jean-Marie Tjibaou, the Kanak leader of the independence movement, had mooted a proposal to set up an Agency for the Development of Kanak Culture (ADCK). After Tjibaou's assassination in 1989, the French President François Mitterrand ordered that a cultural centre on the lines suggested by Tjibaou be set up in Nouméa, the capital of New Caledonia; it was to be the last of Mitterrand's "Grands Projets". The Jean-Marie Tjibaou Cultural Centre was formally established in May 1998.


title: Kanak people

text: Although ancient Lapita potteries date back to 1000 BC, and the people of the island have long been involved in the arts, since the establishment of the ADCK, Kanak arts and crafts have become more popular in New Caledonia. Wooden carvings in the shape of hawks, ancient gods, serpents and turtles are popular as is "flèche faîtière", a carving which resembles a small totem pole with symbolic shapes. Music, dance and singing are part of many a Kanak ceremonial function and dances are performed during the traditional Kanak gatherings with the objective of cementing relationships within the clan and with ancestors.


title: Kanak people

text: The word "Kanak" (originally spelled "Canaque" in French) is derived from "kanaka maoli", a Hawaiian phrase meaning 'ordinary person' which was at one time applied indiscriminately by European colonisers, traders and missionaries in Oceania to any non-European Pacific islander. Prior to European contact, there were no unified states in New Caledonia, and no single self-appellation used to refer to its inhabitants.


title: Kanak people

text: In 1984, Melanesian leaders adopted the modern spelling "Kanak" as a preferred alternative to the old spelling "Canaque", which was associated with the colonial period. The new form "kanak" does not inflect grammatically in French: e.g. the plural is “les Kanak” (*"les Kanaks" is incorrect); “les traditions kanak”, etc.


title: Kanak people

text: In the German language, the racial epithet "Kanake" — which is now applied to all non-whites, even Southern Europeans in some cases, and especially to Turkish immigrants – also derives from the same source. It was originally applied to people from German colonial possessions in Oceania.


title: Kanak people

text: Melanesian settlement on Grande Terre dates back at least as far as the Lapita culture. However, the origin of Kanak people is unclear. Obsidian transported from New Guinea was found with the earliest New Caledonian Lapita pottery. In addition, some researchers have claimed there is evidence of New Caledonian human habitation dating from 3000 BC (predating Lapita culture by 1500 years), while others claim to have found pre-Lapita pottery. At the Fourth Lapita Conference, held in June 2000, in Canberra, Australia, the question was posed: "Is Lapita Kanak, or is Lapita the oldest and first ancestor of a later culture that is labelled Kanak?" Still another problem in determining the origin and early history of Kanak people is that the archaeological interpretation is in conflict with the views of Kanak people which have become politicized subsequent to colonial rule.


title: Kanak people

text: The earliest history of Europeans arriving on these islands is when Captain James Cook of the Kingdom of Great Britain landed in these islands in 1775 at a time when there were reportedly 70,000 Kanaks living in the archipelago. Cook gave the name "New Caledonia" to these islands, after Caledonia, a traditional name for his Scottish Highlands.


title: Kanak people

text: Fifty years later, the Protestants of London Missionary Society came to New Caledonia, which was followed by entry of the French Catholics to the island, in 1843. This resulted in a conflict between the two religious factions and eventually the French Catholics' control of the islands prevailed. The island nation was thereafter annexed by France, in 1853.


title: Kanak people

text: During the colonial period, in the 19th century, Kanaks were enslaved, to perform slave labour in places such as Australia, California, Canada, Chile and Fiji (with the inter-Asian slave trade to India, Japan, South Africa, and what is now Malaysia). During the 3,000 years that Kanaks lived in the remote islands, they were unprepared for the arrival of European viruses and bacteria. The Kanaks were uprooted from the land and were employed as forced labour on French plantations, ranches and public works.


title: Kanak people

text: When Kanaks were forced to move to reserve areas of the island, closer to the mountains, they occupied only 10 per cent of the area of their ancestral territories given that their population had declined so dramatically due to disease, and their living conditions became very hard. This situation arose consequent to induction of 20,000 convicts by the French government between 1864 and 1897, most of whom settled permanently in the country, and who were employed to extract nickel (beginning with 1864) and copper from 1875 onwards. This caused serious resentment among the Kanaks who revolted in 1878 against the French colonial rule, which was suppressed by the French who were better armed. The Kanak leader was decapitated, and his head was put on display in the Museum of Natural History.


title: Kanak people

text: After World War II, the Kanak independence movement again picked up momentum when the United Nations placed New Caledonia on its Decolonisation List of Non-Self-Governing Territories in 1946. A major progression occurred when Kanaks and French settlers in the country obtained voting rights in 1951, shortly before it became an overseas territory of France in 1956. The Kanaks were then also allowed to move out of their reserve areas. This was followed by the establishment of the Territorial Assembly in 1957, but this was short-lived; Charles de Gaulle abolished it after he became the President of France, in 1958.


title: Kanak people

text: In 1981 the movement for Independence began, following the murder of Pierre Declercq, the secretary general of the Caledonian Union (French: "Union calédonienne", UC) on 19 September 1981. A national forum titled "Front de Liberation Nationale Kanak Socialiste" (FLNKS) was established in 1984. This forum refused to participate in elections to the Territorial Assembly and even declared its own Provincial Government; it met with opposition by the French. FLNKS "organized a boycott of the territorial elections in New Caledonia, smashing ballot boxes and setting up roadblocks to prevent people from voting." The FLNKS persisted with their agitation and unilaterally announced on 7 January 1985 that a referendum on independence would be conducted in July 1985. After the death of Kanak leader Eloi Machoro in 1985, Kanak activists took 27 gendarmes hostage on the island of Ouvéa, igniting a French response (see Ouvéa cave hostage taking).


title: Kanak people

text: The Kanak movement proposed a self-government in January 1986. An interim arrangement was announced by Mitterrand who moved to give greater autonomy in the colony. However, the French prime minister Jacques Chirac stationed troops in the islands and the autonomy issue was shelved. The FLNKS, backed in their campaign for a referendum by regional organizations such as the "Groupe du fer de lance mélanesien" (the Melanesian Spearhead Group), the Pacific Forum, and the Nonaligned Countries Movement, were successful in getting the UN Resolution 41-41 A of 2 December 1986 passed; it re-inscribed New Caledonia on the Decolonisation List of Non-Self-Governing Territories. But this resolution did not mitigate the violence as what ensued was more confrontations with the authorities: the "Ouvéa cave hostage taking" resulted in 21 deaths including 19 Kanaks. Following the battle, there was an international outcry that resulted in initiation of talks for settlement between the French government, the Kanaks and the French settlers.


title: Kanak people

text: An agreement called the Matignon Accord followed on 6 November 1988 between the French and the Kanaks, which had the majority support of 80% of the French people. According to the Matignon Accord (or Matignon Agreement) a referendum on independence was proposed to be held by 1998. However, two of the Kanak leaders who had signed the agreement, Jean-Marie Tjibaou and Yeiwene Yeiwene, were assassinated on 4 May 1989 by a Kanak activist. The Kanak independence activists were unhappy with the situation as they felt that France would never allow them independence.


title: Kanak people

text: A subsequent agreement, the "Nouméa Accord", was signed between the FLNKS President and the French Government on 5 May 1998, allowing for a degree of autonomy to New Caledonia over a transition period of up to 20 years. A referendum for independence from France was held in 2018. Progressive changes that were expected of this agreement were in the local political control and structure; the Kanaks would have greater say over internal and regional affairs while France would retain sovereign rights including control over military and foreign affairs. In a speech made before the Fourth Commission of the United Nations on 10 October 2005, the FLNKS Vice President, Léopold Jorédié, urged the UN "to establish a monitoring and follow-up system for the previous contracts signed between multinationals and municipalities, by drawing on the initiatives of Global Witness and asking the UN to put in place an ad hoc commission in order to protect the wealth of New Caledonia, following the example of what was done for Congo."


title: Kanak people

text: The Caledonian Union, one of the political parties within the pro-independence FLNKS group had, in 2010, appealed for a national committee to evaluate progress and prepare New Caledonia for the change in leadership before the planned referendum in 2014. In this appeal, the UC also argued that, according to the Nouméa Accord, it was obligatory for the French government to train and build the capacity of Kanaks to be able to take over the government in 2014 and urged them to respond swiftly. In reality the referendum was delayed until 2018 and its result was to remain with France, by a 56% majority. Two repeat referendums were held in 2020, and 2021, in which voters rejected independence, despite protests by Kanaks.


title: Kanak people

text: New Caledonia or "Territoire des Nouvelle-Caledonie et Dependances", is approximately 1,200 kilometres (750 mi) off the northeast coast of Australia. Of its 500 islands, the five main ones are inhabited, are spread across an area wide and over in length. As of 2009, the Melanesian Kanak people constituted 40.3% (99,078) of the population of 245,580 in New Caledonia, a minority in their ancestral land. The other groups consist of Europeans (mostly French) at 29%, Wallisian 9%, people of mixed ancestry (8%), and other groups including Polynesians, Indonesians, Vietnamese and those (believed to be chiefly of European ancestry) who identified simply as "Caledonian." In 1774, Cook landed in Balade and estimated a population of around 50,000 for the whole island. A minimum of 100,000 is more likely, considering the amount of land that can be shown to have been cultivated pre-colonially. This declined to 27,000 during early colonial rule as a result of disease. Kanaks were historically associated with tribes, including the Bwaarhat, Tiendanite, Goa, and Goosana, as well as clans, such as the Poowe.


title: Kanak people

text: Kanak languages are extremely diverse, but French serves as the official language of New Caledonia. There are 28 distinct Kanak languages, as well as many dialects, out of the 1,200 Melanesian languages spoken throughout the Pacific. They are mutually incomprehensible. All are a part of the Oceanic branch of the Austronesian family. They all belong to the New Caledonian subgroup – except for Fagauvea, spoken at the Loyalty Island of Ouvéa, which is a Polynesian language.


title: Kanak people

text: New Caledonia languages are divided into several groups. The Northern language group is tonal and includes 12 languages: Caac, Cemuhî, Fwâi, Jawe, Kumak, Nemi, Paicî, Pije, Pwaamei, Pwapwa, Yalayu, and Yuaga. Approximately 60,000 residents of New Caledonia speak at least one of the Kanak languages. Most of these languages are only in spoken form. There is no one unified language among the Kanaks; however, the largest group of Kanaks speak Drehu.


title: Kanak people

text: Coming from an oral tradition, the written word was nonexistent until the missionary arrival. Kanak knowledge was passed orally in the form of poems, legends, and stories. Children's oral history is provided by parents and other relatives who also use tickling and onomatopoeic noise to hold the child's attention. Of the Kanak authors, some of the notable ones are Jean-Marie Tjibaou who wrote "La Présence Kanak"; Susanna Ounei-Small, a Kanak author from Ouvéa who wrote about the Matignon Accords; and Kaloombat Tein, author of "Hwanfalik – Sayings from the Hienghene Valley" which provides insight into Hienghène legends and is written in Hienghène, with English language translation.


title: Kanak people

text: Tjibaou was involved in the establishment of the "Écoles populaires kanak", which was taught in a local Kanak language and educated children in spiritual and practical knowledge, while including French and English language instruction. Since 2006, pre-school children have been given the opportunity to learn indigenous Kanak languages. While the Kanak languages have been taught in high schools across the Loyalty Islands and North Province, the language education has not been as common in the more European South Province. The establishment of the Kanak Language Academy (KLA) was a provision of the Nouméa Accord.


title: Kanak people

text: The Kanaks were known to worship their ancestors. This worship was embodied in the sepulchre, sacred stones, and devotional hearths where they offered sacrifices. Today, most Kanaks are Christians. Religion is an important aspect of Kanak culture. The Roman Catholic church in Nouméa is attended by Kanaks, who form nearly 50% of the population of Catholics in New Caledonia (next only to the Europeans). Also, the majority of Protestants are Kanaks. Some Kanaks follow traditional beliefs.


title: Kanak people

text: According to the traditional beliefs of the Kanak people, the sea is sacred as it provides them with "fish for food", so they treat it with great reverence. The folk stories created by the Kanak people attest to this fact and are also strictly followed as unwritten laws. Some of the important aspects of the oral laws relate to environmental protection and conservation, such as the closure of fishing operations when the fish stocks are on the decline, and fishing rights in certain areas are strictly observed with respect to locals.


title: Kanak people

text: Following these beliefs and traditions, Kanak people and Conservation International (CI) have been jointly involved in conserving the ancestral waters and natural resources. According to a rapid assessment survey conducted with help from the Kanaks, 42 coral reefs have been identified for protection near Nord's Mont Pani Province. Its rich biodiversity reserves also include sea cucumbers, molluscs, crustaceans, herrings, groupers, and snappers. Supporting Kanak traditions, the Coral Reef Initiative for the South Pacific's (CRISP) partnership with CI provided recommendations and underwater species guides to the Kanak people. In 2004, a proposal was put forward to promote the entire coastal region as a World Heritage Site. Further work on this initiative has been pursued by CI's Center for Applied Biodiversity Science, the Coral Reef Initiative for the South Pacific (CRISP), and the French Government, in collaboration with WWF to assess marine resources used by both Kanak tribes and people of European descent across three coastlines of the Nord Province.


title: Kanak people

text: Bougna is a traditional Kanak casserole, considered a national food by many Kanaks. It is made of sliced root vegetables which might include taro, manioc, yams and coconut milk. Pork, chicken or seafood may be used in the filling which is then wrapped in poingo banana leaves before being cooked over hot stones in an earthen oven. Other local ingredients used in Kanak cuisine include "Rousettus" (flying foxes) and local deer; marine staples such as lagoon and coral reef fish (including dawa), as well as crabs and lobsters. Paita beans are locally grown haricots, while custard-apple, lime and saffron are other local ingredients.


title: Kanak people

text: The Kanak arts of sculpture, dance, music and theatre have become more popular since the 1990s with the efforts of the Agency for Development of Kanak Culture ADCK Art forms in Kanak culture comprise:


title: Kanak people

text: The ancient Lapita potteries date to 1000 BC. Essentially a women's craft, the pottery is generally decorated with geometric patterns and stylised human faces, although there is variation between northern and southern New Caledonian pottery. The various handles and glazes have pinhole-incised designs made from tooth combs. The pottery was made from clay deposits found in the islands.


title: Kanak people

text: Painting is a recent art form common among women artists. Famous artists include Yvette Bouquet from Koumac who has produced paintings with Pacific and Oceania themes, Paula Boi, whose paintings are of more abstract scenes, and Denise Tuvouane and Maryline Thydjepache who use mixed art forms. Bus stop shelters are common places where their paintings are illustrated.


title: Kanak people

text: Wood sculpture represents the spirit of Kanak culture of which the Flèche faîtière, which resembles a small totem pole with symbolic shapes, is the most common. A mini Stonehenge-looking religious memorial near the village in L'Île-des-Pins has a display of religious carvings. Other wooden objects include war clubs carved from the strongest wood, made in the form of a phallic head ("casse-tete"), a lethal bird's beak club ("bec d'oiseau"), and spears made from niaouli trees used to burn enemy houses.


title: Kanak people

text: Wooden carvings in the shape of hawks, ancient gods, serpents and turtles are also popular. The Grand Huts, also known as grande case (chef's hut), are decorated with the filial of "fleche faitiere" representing the ancestral spirits, symbolic of transition between the world of the dead and the world of the living. The wood carving is shaped like the spear-like carving that adorns the top of the "grande case". It comprises three parts; the flat crowned face representing the ancestor with a long, the rounded pole run through by conch shells mounted on it that represents the ancestor's voice, and a base with the pole fixed to it to symbolise the link between the clan and the chief. The central piece is also flanked by wooden pieces with sharp points (facing downwards) that are intended to prevent bad spirits enveloping the ancestor in the central part. As it represented the power of the chiefs over their subjects, it was adopted as flag of the Kanaks by the organization leading the independent movement in New Caledonia. The arrow or the spear normally has a needle at the end to insert threaded shells from bottom to top. After the death of a Kanak chief, the "fleche faitière" is removed and his family takes it to their home. Though it was allowed to be used again as a sign of respect it is normally kept at burial grounds of noted citizens or at the mounds of abandoned grand houses.


title: Kanak people

text: Stone carvings made of jade or serpentinite are in the form of ceremonial axe representing clan's strength and power. These were used to behead enemies during war and during ancestor celebrations known as Pilou. The bottom of the handle represents the particular clan and is embellished with stones and shells. The axe is polished smooth like a disc. Carvings made of soapstone are also popular.


title: Kanak people

text: A meter in length canes, dated between 1850 and 1920, are used to make an entry into a village or in dance ceremonies. The canes were fired to give black patina over the engraved parts; the engraving designs consist of geometrical real images from the pilou dance, agricultural motifs and village scenes of fishing or building a Grand Hut or case. These were also stuffed with magic herbs to ward off evil spirits.


title: Kanak people

text: Tapa is a bark cloth made into small pieces, often from banyan trees used to wrap up Kanak ancient bead money.


title: Kanak people

text: Kanaks living on the islands made canoes out of hollowed–out trunks and large double–hulled outriggers with triangular sails, known as "pirogues", traditionally used for fishing.


title: Kanak people

text: Dances are performed during the traditional Kanak gatherings with the objective of cementing relationships within the clan and with ancestors. Dance is performed in the form of a message or a legend, often related to their daily activities or important events such as birth, marriage, circumcision, the death of a chief and so forth. Dancers paint themselves colourfully to please the ancestors watching over them. Wooden masks made of local materials such as bark, feathers and leaves adorn them representing a physical link with the invisible world.


title: Kanak people

text: The Festival des Arts du Pacifique, the Festival of Pacific Arts, is organized every four years. Dancers are trained in traditional dances in special workshops. Welcome dances performed by groups are very popular. Of the various dance forms, the "pilou-pilou" dance is a unique dance form of the Kanaks, which recounts many stories of the clans. The "pilou-pilou" dance form of the Kanaks, now almost extinct, was so named by the early French missionaries of New Caledonia and involved stomping with bamboo tubes and beating of bark-clappers accompanied by singing in duets with shrieks and whistles of hundreds of dancers. However, in view of very strong nature of this form of dance, with a trance-like status attained by the dancers, these have been banned; the last such dance reported was in 1951.


title: Kanak people

text: Music, dance and singing are part of many a Kanak ceremonial function such as initiation, courting and mourning. Conch shells are blown by an appointed person to represent a clan chief's arrival or the voice of an ancestor. Rhythm instruments used include Bwanjep, used during ceremonies by a group of men; Jew's harp, ("wadohnu" in the Nengone language where it originated) made of dried piece of coconut palm leaf held between the teeth and an attached segment of soft nerve leaf; coconut-leaf whizzer, a piece of coconut leaf attached to a string and twirled that produces a noise like a humming bee; oboe, made of hollow grass stems or bamboo; end-blown flute, made of 50 cm long hollowed pawpaw leaf stem; bamboo stamping tubes that are struck vertically against the ground and played at major events; percussion instruments (hitting sticks, palm sheaths); rattles that are worn on the legs made of coconut leaves, shells and certain fruits. Kanak groups such as Bethela first made the recordings on cassette around 1975 or 1976.


title: Kanak people

text: In 1971 the women's association, Smiling Melanesian Village Women's Groups was formed and advocated the idea of a cultural festival to promote Kanak arts. As a result of this movement the first festival of Melanesian arts, "Melanesia 2000", was held in Nouméa in September 1975, supported by Jean-Marie Tjibaou.


title: Kanak people

text: Kanak arts festivals became popular with two international events held early in the 1990s that created the awareness of Kanak arts. The first exhibition of modern-day wood sculptors and painters was held at Ko i Neva, which was also published as contemporary Kanak arts. This was followed by a large exhibition of Kanak arts in Paris known as "De Jade et de Nacre – Patrimoine Artistique Kanak (Jade and Mother of Pearl – Kanak Artistic Heritage".


title: Kanak people

text: The Centre Cultural Tjibaou also stages occasional art exhibitions. A popular quadrennial event is the Festival of Pacific Arts where the indigenous people of all Pacific nations and people gather to display the Pacific's cultural heritage.


title: Cycle of abuse

text: The cycle of abuse is a social cycle theory developed in 1979 by Lenore E. Walker to explain patterns of behavior in an abusive relationship. The phrase is also used more generally to describe any set of conditions which perpetuate abusive and dysfunctional relationships, such as abusive child rearing practices which tend to get passed down. Walker used the term more narrowly, to describe the cycling patterns of calm, violence, and reconciliation within an abusive relationship. Critics suggest the theory was based on inadequate research criteria, and cannot therefore be generalized upon.


title: Cycle of abuse

text: Lenore E. Walker interviewed 1,500 women who had been subject to domestic violence and found that there was a similar pattern of abuse, called the "cycle of abuse". Initially, Walker proposed that the cycle of abuse described the controlling patriarchal behavior of men who felt entitled to abuse their wives to maintain control over them. She used the terms "the battering cycle" and "battered woman syndrome". Terms like "cycle of abuse" have been used instead for different reasons: to maintain objectivity; because the cycle of abuse doesn't always lead to physical abuse; because symptoms of the syndrome have been observed in men and women, and are not confined to marriage and dating. Similarly, Dutton (1994) writes, "The prevalence of violence in homosexual relationships, which also appear to go through abuse cycles is hard to explain in terms of men dominating women."


title: Cycle of abuse

text: The cycle of abuse concept is widely used in domestic violence programs, particularly in the United States. Critics have argued the theory is flawed as it does not apply as universally as Walker suggested, does not accurately or completely describe all abusive relationships, and may emphasize ideological presumptions rather than empirical data.


title: Cycle of abuse

text: The cycle usually goes in the following order, and will repeat until the conflict is stopped, usually by the survivor entirely abandoning the relationship or some form of intervention. The cycle can occur hundreds of times in an abusive relationship, the total cycle taking anywhere from a few hours to a year or more to complete. However, the length of the cycle usually diminishes over time so that the "reconciliation" and "calm" stages may disappear, violence becomes more intense and the cycles become more frequent.


title: Cycle of abuse

text: Stress builds from the pressures of daily life, like conflict over children, marital issues, misunderstandings, or other family conflicts. It also builds as the result of illness, legal or financial problems, unemployment, or catastrophic events, like floods, rape or war. During this period, the abuser feels ignored, threatened, annoyed or wronged. The feeling lasts on average several minutes to hours, although it may last as long as several months.


title: Cycle of abuse

text: To prevent violence, the victim may try to reduce the tension by becoming compliant and nurturing. Alternatively, the victim may provoke the abuser to get the abuse over with, prepare for the violence or lessen the degree of injury. However, the abuser is never justified in engaging in violent or abusive behavior.


title: Cycle of abuse

text: During this stage, the abuser attempts to dominate their victim. Outbursts of violence and abuse occur which may include verbal abuse and psychological abuse.


title: Cycle of abuse

text: In intimate partner violence, children are negatively affected by having witnessed the violence, and the partner's relationship degrades as well. The release of energy reduces the tension, and the abuser may feel or express that the victim "had it coming" to them.


title: Cycle of abuse

text: The perpetrator may begin to feel remorse, guilty feelings, or fear that their partner will leave or call the police. The victim feels pain, fear, humiliation, disrespect, confusion, and may mistakenly feel responsible.


title: Cycle of abuse

text: Characterized by affection, apology, or, alternatively, ignoring the incident, this phase marks an apparent end of violence, with assurances that it will never happen again, or that the abuser will do their best to change. During this stage the abuser may feel or claim to feel overwhelming remorse and sadness. Some abusers walk away from the situation with little comment, but most will eventually shower the survivor with love and affection. The abuser may use self-harm or threats of suicide to gain sympathy and/or prevent the survivor from leaving the relationship. Abusers are frequently so convincing, and survivors so eager for the relationship to improve, that survivors (who are often worn down and confused by longstanding abuse) stay in the relationship.


title: Cycle of abuse

text: During this phase (which is often considered an element of the honeymoon/reconciliation phase), the relationship is relatively calm and peaceful. During this period the abuser may agree to engage in counselling, ask for forgiveness, and create a normal atmosphere. In intimate partner relationships, the perpetrator may buy presents or the couple may engage in passionate sex. Over time, the abuser's apologies and requests for forgiveness become less sincere and are generally stated to prevent separation or intervention. However, interpersonal difficulties will inevitably arise, leading again to the tension building phase. The effect of the continual cycle may include loss of love, contempt, distress, and/or physical disability. Intimate partners may separate, divorce or, at the extreme, someone may be killed.


title: Cycle of abuse

text: Walker's cycle of abuse theory was regarded as a revolutionary and important concept in the study of abuse and interpersonal violence, which is a useful model, but may be simplistic. For instance, Scott Allen Johnson developed a 14-stage cycle that broke down the tension-building, acting-out and calm stages further. For instance, there are six stages in the "escalation" or tension building stage. These lead up to the assault by acting out the revenge plan, self-destructive behavior, victim grooming and the actual physical and/or sexual assault. This is followed by a sense of relief, fear of consequences, distraction, and rationalization of abuse.


title: Cycle of abuse

text: Donald Dutton and Susan Golant agree that Walker's cycle of abuse accurately describes all cyclically abusive relationships they studied. Nonetheless, they also note that her initial research was based almost entirely on anecdotal data from a rather small set of women who were in violent relationships. Walker herself wrote, "These women were not randomly selected and they cannot be considered a legitimate data base from which to make specific generalizations."


title: Badami cave temples

text: The Badami cave temples are a complex of Hindu and Jain cave temples located in Badami, a town in the Bagalkot district in northern part of Karnataka, India. The caves are important examples of Indian rock-cut architecture, especially Badami Chalukya architecture, and the earliest date from the 6th century. Badami is a modern name and was previously known as Vataapinagara, the capital of the early Chalukya dynasty, which ruled much of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of a man-made lake ringed by an earthen wall with stone steps; it is surrounded on the north and south by forts built in later times. These caves were discovered by Stella Kramrisch in 1924.


title: Badami cave temples

text: The Badami cave temples represent some of the earliest known examples of Hindu temples in the Deccan region. They along with the temples in Aihole transformed the Mallaprabha River valley into a cradle of temple architecture that influenced the components of later Hindu temples elsewhere in India.


title: Badami cave temples

text: Caves 1 to 4 are in the escarpment of the hill in soft Badami sandstone formation, to the south-east of the town. In Cave 1, among various sculptures of Hindu divinities and themes, a prominent carving is of the Tandava-dancing Shiva as Nataraja. Cave 2 is mostly similar to Cave 1 in terms of its layout and dimensions, featuring Hindu subjects of which the relief of Vishnu as Trivikrama is the largest. The largest cave is Cave 3, featuring Vishnu-relate, and it is also the most intricately carved cave in the complex. Cave 4 is dedicated to revered figures of Jainism. Around the lake, Badami has additional caves of which one may be a Buddhist cave. Another cave was discovered in 2015, about from the four main caves, with 27 Hindu carvings.


title: Badami cave temples

text: The Badami cave temples are located in the town of Badami in the north-central part of Karnataka, India. The temples are about east of Belagavi (IATA Code: IXT), and northwest of Hampi. The Malaprabha River is away. The cave temples are from the UNESCO world heritage site Pattadakal and from Aihole – another site with over a hundred ancient and early medieval era Hindu, Jain and Buddhist monuments.


title: Badami cave temples

text: Badami, also referred to as "Vatapi", "Vatapipura", "Vatapinagari" and "Agastya Tirtha" in historical texts, the capital of Chalukya dynasty in the 6th century, is at the exit point of a ravine between two steep mountain cliffs. Four cave temples in the escarpment of the hill to the south-east of the town were carved into the cliff's monolithic stone face. The escarpment is above a man-made lake called Agastya Teertha, created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple. The largest and highest cave is Cave 3, which is further to the east on the northern face of the hill. The fourth cave, Cave 4, is a few steps down further east.


title: Badami cave temples

text: The cave temples, numbered 1 to 4 in the order of their creation, in the town of Badamithe capital city of the Chalukya kingdom (also known as Early Chalukyas)are dated from the late 6th century onwards. The exact dating is known only for Cave 3, which is a temple dedicated to Vishnu. An inscription found here records the dedication of the shrine by Mangalesha in "Saka 500" (solar calendar, 578/579CE). The inscription, written in the old Kannada language, has enabled the dating of these rock cave temples to the 6th century. This makes the cave the oldest firmly-dated Hindu cave temple in India.


title: Badami cave temples

text: The Badami Caves complex is part of a UNESCO-designated World Heritage Site candidate under the title "Evolution of Temple ArchitectureAihole-Badami-Pattadakal" in the Malaprabha river valley, considered a cradle of temple architecture that formed the model for later Hindu temples in the region. The artwork in Caves 1 and 2 exhibit the northern Deccan style of the 6th and 7th centuries, while those in Cave 3 simultaneously represent two ancient Indian artistic traditions; the northern Nagara and the southern Dravida styles. Cave 3 also shows icons and reliefs in the so-called "Vesara" style, a fusion of ideas from the two styles, as well as some of the earliest surviving historical examples in Karnataka of yantra-chakra motifs (geometric symbolism) and colored fresco paintings. The first three caves feature sculptures of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.


title: Badami cave temples

text: The Badami cave temples are carved out of soft Badami sandstone on a hill cliff. The plan of each of the four caves (1 to 4) includes an entrance with a verandah ("mukha mantapa") supported by stone columns and brackets, a distinctive feature of these caves, leading to a columned mantapa, or main hall (also "maha mantapa"), and then to the small, square shrine (sanctum sanctorum, "garbha ghriya") cut deep inside the cave. The cave temples are linked by a stepped path with intermediate terraces overlooking the town and lake. The cave temples are labelled 1–4 in their ascending series; this numbering does not reflect the sequence of excavation.


title: Badami cave temples

text: The architecture includes structures built in the Nagara and Dravidian styles, which is the first and most persistent architectural idiom to be adopted by the early chalukyas.


title: Badami cave temples

text: Cave 1 is about above ground level on the north-west part of the hill. Access is through a series of steps that depict carvings of dwarfish ganas in different postures as if they hold the cave floor. The verandah, with an inner measurement of by , has five columns sculpted with reliefs of flower garlands, foliage and jewelry.


title: Badami cave temples

text: The cave portrays the Tandava-dancing Shiva as Nataraja on the rock face to the right of entrance and also part of Gandharveda. The image, tall, has 18 arms (9 in left and 9 on right) in a form that expresses the dance position (about 9x9=81 combinations in total) arranged in a geometric pattern, which Alice Bonera Swiss art historian and Indologist, states is a time division symbolizing the cosmic wheel. The eighteen arms express Natya mudras (symbolic hand gestures), with some holding objects such as drums, a flame torch, a serpent, a trident and an axe. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining the Nataraja, the wall depicts the goddess Durga of Shaktism tradition slaying the buffalo-demon Mahishasura. The sculptors had excellent knowledge of the natya mudras of Bharatanatya (a very popular classical dance in southern part of India), because there is no chance to correct any errors and it has to be perfectly carved at the first place otherwise the entire cave has to be abandoned.


title: Badami cave temples

text: Shiva's dance is Ugra tandava natya (angry mode) dancing on a Rakshasa (daemon), but here the dance is particularly called Lalitha Natya Chatur tandava (which is a happy mode) and you could see that the dance performed on a lotus flower and the sons of Shiva are also participating in the dance, Ganesha is dancing and Karthikeya is playing a musical instrument Mruthungam along with Nandi on the other side.


title: Badami cave temples

text: On the right side of the Nataraja carving is an amazing carving of Mahishaasura mardini with Chaturbhuja (Chatur means 4, Bhuja means hands). The sculpture depicts the killing of the Assura (daemon) Mahishaasura by Goddess Durga. Mahishasura was the son of Mahisi and great grandson of Bhahmarishi Kashyapa.


title: Badami cave temples

text: On the left of the entrance is a two-handed Shaiva dvarapala who holds a trident, and below him is a bull-elephant fused image where they share a head; seen from left it is an elephant and from right a bull.


title: Badami cave temples

text: Once inside the veranda, the cave presents a carved sculpture of Harihara, a high sculpture of a fused image that is half-Shiva and half-Vishnu. He is flanked on respective sides with the goddesses Parvati and Lakshmi.


title: Badami cave temples

text: To the right, toward the end of the wall, is a relief sculpture of Ardhanarishvara, a fused image of Shiva and his consort Parvati. One half of the image has Shiva with a moon on his mukuta (head), snakes in his hands, earings and next to the half that represents Parvati is an attendant carrying a tray of jewels. Next to the Ardhanarishvara half that represents Shiva is Nandi the bull, and skeletal Bhringi, a devotee of Shiva. The Bhringi sadhu carvings shows the advance knowledge of anatomy for the whole body which includes the Skulls, Ribs, bones on hands and legs.


title: Badami cave temples

text: The carvings of Ardhanareshwara and Harihara were carefully built with a vision by the Chalukya kings delivering message to the Chalukya citizens about the equal rights for men and women in the society and need to mutually respect each other. There is no great male and no great female.


title: Badami cave temples

text: Inside this cave, the sons of Shiva, Ganesha and Kartikeya, the god of war and family deity of the Chalukya dynasty, are seen in one of the carved sculptures on the walls of the cave, with Kartikeya riding a peacock. The roof of the cave has five carved panels with the central panel depicting the Nagaraja, with flying couples on both sides. The head and bust are well formed and project from the centre of the coil. In another compartment a bas-relief in diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures and the panel at the end is carved with lotuses.


title: Badami cave temples

text: All the figures are adorned with carved ornaments and surrounded by borders with reliefs of animals and birds. The lotus design is a common theme. On the ceiling are images of the Vidyadhara couples as well as couples in courtship and erotic Mithuna scenes. Through a cleft in the back wall of the cave is a square sanctuary with more carved images. In the mantapa is a seated Nandi facing the "garbha ghruha" (sacrum sanctum) containing a Shiva linga.


title: Badami cave temples

text: Cave 2 is above and to the east of Cave1 and faces north. It was created in late 6th or early 7th century. It is smaller than Cave 1, somewhat similar in terms of its floor plan, but it is dedicated primarily to Vishnu. Cave2 is reached by climbing 64 steps from the first cave. The cave entrance is a verandah divided by four square pillars with ends as half pillars, all carved out of the monolithic stone face. The pillars have decorative carvings with frieze of "ganas" (mythical dwarfs) with various facial expressions. On the two sides of the entrance are standing "dvarapalas" (guardians) holding flowers, not weapons. Like Cave1, Cave 2 art reflects Hindu theology and arts.


title: Badami cave temples

text: The largest relief in Cave 2 depicts the legend of Vishnu in his Trivikrama form, taking one of the . Below the raised step is a frieze showing the legend of Vamana dwarf avatar of Vishnu, before he morphs into the Trivikrama form. Another major relief shows the legend of Vishnu in his Varaha (a boar) avatar rescuing goddess earth (Bhudevi) from the depths of cosmic ocean, with a penitent multi-headed snake ("Nāga") below. Like other major "murti" (statue) in this and other Badami caves, the Varaha artwork is set in a circle and symmetrically laid out; according to Alice Boner, the panel is an upright rectangle whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The walls and ceiling have traces of colored paint, suggesting the cave used to have fresco paintings.


title: Badami cave temples

text: Inside the temple are friezes showing stories from Hindu texts such as the "Bhagavata Purana". These show the legend of cosmic ocean churning ("Samudra Manthan") and Krishna's birth and flute playing indicating the theological and cultural significance of these in 7th century India. The ceiling and door head carvings show Gajalakshmi, the swastika symbols, flying couples, Brahma, Vishnu asleep on Shesha and others.


title: Badami cave temples

text: The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame. The end bays have a flying couple and Vishnu on Garuda. The main hall in the cave is wide, deep, and high and is supported by eight square pillars in two rows. The roof of this hall has panels filled with bas-relief carvings. The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of the 6th and 7th century similar to that found in Ellora Caves.


title: Badami cave temples

text: Cave 3 is earliest dated Hindu temple in the Deccan region. It is dedicated to Vishnu; it is the largest cave in the complex. It has intricately carved friezes and giant figures of Trivikrama, Anantasayana, Vasudeva, Varaha, Harihara and Narasimha. Cave3's primary theme is Vaishnavite, though it also shows Harihara on its southern wall half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies.


title: Badami cave temples

text: Facing north, Cave 3 is 60 steps from Cave2 at a higher level. Cave3's verandah is in length with an interior width of ; it has been sculpted deep into the mountain; an added square shrine at the end extends the cave further inside. The verandah itself is wide and has four free-standing, carved pillars separating it from the hall. The cave is high; it is supported by six pillars, each measuring . Each column and pilaster is carved with wide, deep bases crowned with capitals that are partly hidden by brackets on three sides. Each bracket, except for one, has carvings of human figures standing under foliage in different postures, of male and female mythological characters, and an attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally long), has about thirty compartments carved with two dwarves called "ganas".


title: Badami cave temples

text: Cave 3 also shows fresco paintings on the ceiling, some of which are faded and broken. These are among the earliest known surviving evidence of fresco painting in Indian art. The Hindu god Brahma is seen on Hamsa vahana in one of the murals. The wedding of Shiva and Parvati, attended by various Hindu deities is the theme of another.


title: Badami cave temples

text: There is a lotus medallion on the floor underneath the ceiling mural of Brahma. The ceiling has reliefs of many Vedic gods and goddesses such as Agni, Indra and Varuna. The cave artworks, in some cases, show the artists signatures, as well as a major inscription. This and other epigraphical evidence suggests that the cave temple was inaugurated on the "full moon day, 1 November 578". The roof of the verandah has seven panels created by cross beams; each is painted in circular compartments with images of deities including Shiva, Vishnu, Indra, Brahma and Kama, with smaller images of Dikpalas (cardinal guardians) at the corners.


title: Badami cave temples

text: The roof of the front aisle has panels with murals in the centre of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof of the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ramconjectured to be Agni. Images of Brahma and Varuna are also painted on the central panels; the floating figures are seen in the remaining panels.


title: Badami cave temples

text: The sculpture in Cave 3 is well preserved. Vishnu is presented in various avatars and forms, such as a standing Vishnu with eight arms; Vishnu seated on the hooded serpent Shesha on the eastern side of the veranda; Vishnu as standing Narasimha (man-lion avatar); Vishnu as Varaha (man-boar avatar) rescuing earth; Harihara (half Shiva, half Vishnu and their equivalence); and Trivikrama-Vamana avatars. The back wall has carvings of Vidhyadharas. The cave shows many "Kama" scenes in pillar brackets, where a woman and a man are in courtship or "mithuna" (erotic) embrace.


title: Badami cave temples

text: Aspects of the culture, cosmetics and clothing in the 6th century is visible in the art sculpted in this cave, showing a sophisticated tradition.


title: Badami cave temples

text: Located immediately next to and east of Cave3, Cave4 floor is situated about 10 feet lower and is the smallest of the four. It is dedicated to Tirthankaras, the revered figures of Jainism. It was constructed after the first three, sponsored by Hindu kings in later part of the 7th-century. Some scholars state this cave may have been created in the 8thcentury. Some embellishments were likely added in later centuries until about the 11th or 12th century.


title: Badami cave temples

text: Like the other caves, Cave 4 features detailed carvings and a diverse range of motifs. The cave has a five-bayed entrance with four square columnseach with brackets and capitals. To the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah long by wide, extending to deep. From the hall, steps lead to the sanctum sanctorum, which is wide extends to a depth of .


title: Badami cave temples

text: Inside the cave are major carvings of Bahubali, Parshvanatha and Mahavira with symbolic display of other Tirthankaras. Bahubali is standing in Kayotsarga meditating posture with vines wrapped around his leg, his classic iconography. Parshvanatha is shown with the five-headed cobra hood. Mahavira is represented sitting on a lion throne, whose identifying markers are not visibly and is identified by some scholars simply as a "seated Jina". This figure is flanked by bas-reliefs of attendants with "chauri" (fans), "sardulas" and makara's heads. Other carvings include Indrabhuti Gautama covered by four snakes, Brahmi and Sundari. In the sanctum is an image of Mahavira resting on a pedestal containing a 12th-century Kannada inscription marking the death of one Jakkave. Twenty-four small Jaina Tirthankara images are engraved on the inner pillars and walls. In addition there are idols of Yakshas, Yakshis and Padmavati.


title: Badami cave temples

text: The artistic work, the icons to represents ideas and the motifs in Badami Cave 4, states Lisa Owens, resembles those of nearby Aihole Jain caves and much farther north Ellora Caves Jain caves in northern Maharashtra.


title: Badami cave temples

text: Other than the numbered caves, Badami is home to many other cave monuments and medieval era temples. On the other side of the lake, near the Bhutanatha temple, is a 7th-8th century Chalukya period cave of small dimensions. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding "chauris" (fans), a Pipal tree, elephants, and lions in an attacking pose. On one side of the statue is a chakra, on the other a conch shell. The statue wears abundant jewelry and a thread over its chest. The face of this statue is damaged and missing its face.


title: Badami cave temples

text: There are several theories as to who the statue represents. One theory holds that it is a relief of the Buddha in a sitting posture. This is supported by two "chauri" bearers who may be Bodhisattvas flanking the Buddha. According to George Michell, the halo, the Pipal tree, and cloak-like dress suggests that this was originally a Buddha statue. According to B.V. Shettiarchaeologist and curator of Prince of Wales Museum of Western India, the cave was not converted but from the start represented a tribute to "Mayamoha" of the Hindu Puranas, or "Buddhavatara Vishnu" (ninth avatar of Vishnu). This theory is supported by the chakra, conch and jewelry included in its iconography. The style suggests it was likely carved in or before the 8thcentury.


title: Badami cave temples

text: Another theory found in colonial-era texts such as one by John Murraya missionary in British India and Jainism scholar, states the main image carved in Cave5 is that of a Jaina figure. According to a third theory, by Henry Cousens and A.Sundaraarchaeologists, and supported by local legends, the statue is of an ancient king; in a photograph of the statue taken before its face was damaged, the figure lacked the Ushnisha lump that typically goes with Buddha's image. The statue has several unusual, non-Buddha ornaments such as rings for fingers, a necklace, and a chest-band; it wears a Hindu Yajnopavita thread and its head is stylistically closer to a Jina head than a Buddha's head. These features suggest the statue may be of a king represented with features of various traditions. According to Carol Radcliffe BolonAssistant Curator at the Smithsonian Freer Gallery of Art, the date and identity of the main statue in Cave5 remains enigmatic.


title: Badami cave temples

text: Close to the controversial cave are other monuments. One of them is a small shrine consisting of a 7th-century rock carving of Anantashayana Vishnu, or reclining Vishnu with Lakshmi and Garuda in namaste posture. Vishnu is shown restarting the cosmic cycle by giving birth to all of existence. Above the reclining carved relief are the ten avatars of Vishnu – Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki. Between the Narasimha and Vamana is shown relief of Brahma cord connected to Vishnu's navel. To the left of the relief is depicted the Trinity – Vishnu, Shiva, and Brahma, while to the right is a human couple and a mother cow with a calf feeding.


title: Badami cave temples

text: In 2013, Manjunath SullolliAssistant Director of Bagalkot district working for the state government of Karnataka, reported the discovery of another cave with 27 rock carvings, about from the four main caves. Water gushes from this newly discovered cave year round. It depicts Vishnu and other Hindu deities, and features an inscription in the Devanagari script. The dating of these carvings is unknown.


title: Breaking (film)

text: Breaking is a 2022 American thriller drama film starring John Boyega as a Marine Corps veteran, Brian Brown-Easley, who is in financial trouble and robs a bank. It is written and directed by Abi Damaris Corbin and co-written by Kwame Kwei-Armah, based on the 2018 "Task & Purpose" article "They Didn't Have to Kill Him" by Aaron Gell. The film also stars Nicole Beharie, Selenis Leyva, Connie Britton, Jeffrey Donovan, and Michael Kenneth Williams.


title: Breaking (film)

text: The film premiered at the 2022 Sundance Film Festival under its original title 892 on January 21, 2022, and was released in the United States by Bleecker Street on August 26, 2022. It received generally positive reviews from critics.


title: Breaking (film)

text: Based on the 2017 real-life story of the late Brian Brown-Easley, a decorated Marine Corps veteran in dire financial straits resulting from systemic failure. Easley is concerned over the effects of this on his daughter alongside the prospects of homelessness to the point of threatening to blow up a Wells Fargo bank unless he receives payment he is owed from the Department of Veterans Affairs.


title: Breaking (film)

text: On March 2, 2021, it was announced that Jonathan Majors would star in the film, then titled "892", as a Marine war veteran who suffers from mental scars, and his hard transition back to civilian life. On July 8, 2021, it was reported that John Boyega replaced Majors due to a scheduling conflict with "". On August 30, 2021, it was confirmed that Connie Britton joined the cast.


title: Breaking (film)

text: Principal photography began on July 6, 2021, and was scheduled to conclude on August 16, 2021, in Los Angeles.


title: Breaking (film)

text: The film premiered at the 2022 Sundance Film Festival on January 21, 2022, where the cast won the Special Jury Award for Ensemble Cast in the U.S. Dramatic Competition. On February 1, 2022, Bleecker Street acquired the film's US distribution rights. The film's title was later changed from "892" to "Breaking", and it was set to be released on August 26, 2022.


title: Breaking (film)

text: In the United States and Canada, "Breaking" was released alongside "The Invitation" and "Three Thousand Years of Longing". The film debuted to $985,921 from 902 theaters in its opening weekend.


title: Breaking (film)

text: Pete Hammond of "Deadline Hollywood" said, "Corbin is firmly in control behind the camera and with particular expert help with her editor Chris Witt. The British actor Boyega is superb in every aspect of the role, as is the commanding presence of the late Williams in what sadly is his final film role."


title: Breaking (film)

text: Writing for "Variety", Peter Debruge said, "This is not an act of documentary reenactment so much as a tense, speculative drama, imagining what this man must have gone through during those hours, and how his actions rippled out to affect others' lives."


title: The Lost Fleet

text: The Lost Fleet is a military science fiction series written by John G. Hemry under the pen name Jack Campbell. The series is set one-hundred-plus years into an interstellar war between two different human cultures, the Alliance and the Syndics. The protagonist of the story is discovered floating in a suspended animation escape pod one hundred years after he made an "heroic last stand" against an enemy fleet. In his absence, he has been made into a renowned hero in the Alliance, but his legend and actions are used to justify poor tactics and decisions. Awakened after being discovered during a secret mission that turns out to be an enemy trap, he is suddenly dropped into the role of fleet commander and expected to live up to the legend that has grown around him.


title: The Lost Fleet

text: The series ended with "Victorious" (2010). The author, however, has continued the "Lost Fleet" series with three spin-offs: "Beyond the Frontier", focusing on the main characters from the Lost Fleet; "The Lost Stars", focusing on the Syndicate Worlds; "Outlands", picking up where "Leviathan" leaves off; as well as a prequel series, "The Genesis Fleet".


title: The Lost Fleet

text: The Alliance has been fighting the Syndicate Worlds (a union of planets under a tyrannical, corporate-like government) for a century. After obtaining a "hypernet key" from a Syndic traitor, they send a large fleet through a hypernet gate to directly attack the Syndic home-world, but are ambushed by overwhelming Syndic forces.


title: The Lost Fleet

text: During the approach to the Syndic home-world, the fleet discovers the escape pod of Captain John Geary in an abandoned star system. Known as "Black Jack" in the present, his legendary exploits are taught to every schoolchild and he is revered for his heroic last stand in the early days of the war. The Black Jack Geary legend includes the expectation that one day he will return from the dead to lead the Alliance fleet to victory. Left as "de facto" fleet commander and with great reluctance takes it upon himself to lead the fleet to the safety of Alliance space.


title: The Lost Fleet

text: Geary is also forced to retrain the fleet to fight in formation instead of the "modern" free-for-all tactics of charging straight at the enemy, supposedly inspired by Geary's example at his famous last stand, caused by decades of attrition and loss of experience. Geary's attempt to change the fleet's culture causes tension with other senior officers, including one egomaniacal senior captain freed from a Syndic labor camp with a reputation almost as famous as Geary's, who proceeds to split off a portion of the fleet on a disastrous mission.


title: The Lost Fleet

text: To complicate the situation, a third faction wishes to stage a military coup upon the return of the fleet to Alliance space with Geary as dictator. Geary resists the temptation offered by this faction with great effort, though they continue to apply pressure to him throughout the series.