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<mask> (2 March 1855 – 5 July 1948) was the inaugural First Lady of Panama serving from February 1904 to October 1908. She was one of the creators of the original Panamanian flag and a member of the separatist movement which fought for Panamanian independence from Colombia. She is known as the "Mother of the Nation" and in the corregimiento Parque Lefevre a school was named in her honor. In 1953, for the nation's 50th anniversary, a stamp bearing the likeness of her and her husband was issued by the government of Panama. Early life
<mask> was born on 2 March 1855 in Sahagún, Chinú Province, Bolivar State, during the time it was part of the Republic of New Granada to <mask> and <mask>. <mask>'s father was the Chief Justice of the Supreme Court for the Isthmus Department of Colombia and her maternal grandfather and his brothers were signers of the Declaration of Independence of Panama from the Spanish Empire. Her <mask> siblings included: Jerónimo (1847–1907), who wrote the National anthem of Panama; Ramona (1849-prior to 1919), who married the legislator Manuel C. Cervera; Emilia (1850–1938), mother of Edwin Lefèvre, who was a women's rights advocate and later a writer; José Francisco Ramón (1851–1852); José Francisco (1856–1956), who served as Mayor of the Isthmus Department and later a Superior Court Judge; Ricardo (1860–1907), who owned a Peruvian business; and <mask> (1864–?), who married Jose Guillermo Lewis Herrera. <mask> Ossa was raised in an era of rigid custom, where upper-class women were kept separate from society and trained in the arts of music and needlework, to prepare them for marriage and the domestic sphere. She attended a convent school in Panama City and was educated by private tutors. On 6 February 1872, she married <mask> Guerrero, as his second wife. <mask> had a previous son, Manuel Encarnación <mask> Terreros, with his first wife, <mask> Jesús Terreros. The couple had two children, Raúl Arturo, who as an adult was attached to the Panamanian consulate in New York City and Elmira <mask>, who married William Ehrman, one of the owners of the Ehrman Banking Company. Independence movement

When the French company that owned the rights to build the Panama Canal went bankrupt, the United States bought the rights to build the canal in 1902.Contentious negotiations with Colombia led the United States to back the separatist movement in Panama, believing that negotiations would be more favorable to American interests from a small, weak newly developing state. To that end, <mask> traveled to New York in September 1903 to work out how the United States was willing to support their separation movement. He returned to Panama to put plans in motion and asked his son, Manuel Encarnación to design the flag for the new nation. The design was completed on 1 November and <mask> <mask> and her sister-in-law Angélica Bergamonta <mask> <mask>, Jerónimo's wife, purchased the blue, red, and white fabrics from three different warehouses in Panama City, so as not to arouse suspicion. Having secured sufficient fabric to make two flags, the women worked through the night on 2 November using a portable sewing machine to complete the flag. A third, smaller flag was made of the fabric remnants by <mask>, Angélica's daughter and the women were assisted by <mask> <mask>'s domestic helper, Águeda. The U.S. naval ship USS Nashville arrived on the coastline on 2 November.On 3 November 1903, word reached separatists in Panama City, that General Juan B. Tobar, was landing with the cruiser Cartagena and merchant ship <mask>io from Colombia to the coastline near Colón. Leading a battalion of 500 soldiers, which included the Third Sharpshooter Battalion, Tobar was on the way to the capital. Fearing that if they were caught they would be executed, <mask>, along with José Agustín Arango, <mask>, and Manuel Espinosa Batista met to discuss the situation. Many of their colleagues decided to abandon the cause. <mask> <mask> suggested that her husband make contact with a trusted ally, Herbert G. Prescott, assistant superintendent of the Panama Railway, in hopes that Prescott could convince Superintendent James Shaler to help. Prescott was at the time, the fiancé of <mask> <mask> <mask> Bergamota, daughter of <mask> <mask>'s brother Jerónimo. When <mask> went to speak with Prescott, <mask> <mask> left and met with Arango and Espinosa, husband of her cousin, to reassure them that the plans were proceeding and convince them to remain steadfast to the cause.<mask> <mask>'s plan involved having Shaler convince Tobar to come to the capital, separating him from his troops. Once there, he would be captured and his troops bribed to return home. When the plan successfully concluded, one of the flags was hung from a balcony and the other was paraded through the streets on 3 November. Upon securing Panama's independence, <mask> was elected as the first constitutional President of Panama and <mask> <mask> became the inaugural First Lady. Their term began on 20 February 1904 and ended on 1 October 1908 with <mask> <mask> serving as the official hostess of the country. Her duties included providing official entertainments for dignitaries and meeting daily during the season with official guests. Choosing not to seek re-election, <mask> died soon after leaving office in 1909.After her husband's death, <mask> <mask> traveled between visits to various family members in the United States and Europe. She was a proponent of women's education and had a strong belief in religion as providing a moral compass to guide women. She lived in Paris until 1939, when she moved to Charlotte, North Carolina. In 1935, Flag Day was first celebrated in her honor on 4 November and in 1941, Public Law 60 was passed by the National Assembly of Panama to recognize her contributions to the nation. Death and legacy
<mask> <mask> died on 5 July 1948, in Charlotte and her remains were buried in Panama. She is known as the "Mother of the Nation" and in the corregimiento known as Parque Lefevre, a school was named in her honor. Of the three flags made for the independence, one was destroyed by repeated use.The small flag made by <mask> was either hoisted on the flagpole of the first steamer to leave Panama for the United States to announce the success of the country's independence or taken by <mask> to New York, where it was exhibited in a shop and later a museum, before its whereabouts became unknown. The third flag, which was retained by <mask> <mask> was later given as a gift to President Theodore Roosevelt and is believed to have been later donated to the Library of Congress. In 1953, for the nation's 50th anniversary, a stamp bearing the likeness of her and her husband was issued by the government of Panama. Notes

References

Citations

Bibliography

1855 births
1948 deaths
Flag designers
People from Panama City
First Ladies and Gentlemen of Panama

masks: Manuela María Maximiliano de la Ossa Escobar


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<mask> (June 1, 1903 – August 24, 1994) was an American actress, who appeared in Broadway musical comedies during the 1920s and 1930s before becoming a Broadway producer. Theater
Leaving New Orleans at the age of 16, she attended the Semple School. Yale University student Jock Whitney took her to the Richman Club where vocalist Helen Morgan heard her singing and encouraged her to attend auditions being conducted by Florenz Ziegfeld. Beginning with Have a Heart (1917). Fears performed in ten Broadway productions, including the Ziegfeld Follies of 1925. In Ziegfeld's No Foolin (1926) she appeared with Edna Leedom and the Yacht Club Boys plus a chorus line with Paulette Goddard, Susan Fleming, Clare Luce and Baby Vogt. By 1932, with Child of Manhattan (written by Preston Sturges), Fears became a Broadway producer.Her only motion picture appearance is the role of Gaby Aimee in The Lottery Lover (1935). In 1971, Louise Brooks, a former lover to Fears by her own account, wrote for Sight & Sound about meeting <mask> and W.C. Fields in 1925:
The fifth floor dressing-room lost its exclusive atmosphere when <mask>, who had also transferred from Louie the 14th to the Follies, decided to become my best friend. She was a darling girl, with a sweet singing voice, from Dallas, Texas. Her smooth chestnut-coloured hair was untouched by dyes or permanent waves. Instead of the expensive gowns of a Follies girl, she wore schoolgirl sweaters and skirts. Perhaps it was her whimsical sense of fun that attracted her to me. And what could be more fun than <mask>, the most popular girl in the show, becoming friends with its most abominated member--me?One night she crashed our dressing-room carrying a Wedgwood teapot full of corn whiskey and, knowing my literary pretensions, two disgustingly vulgar magazines, Broadway Brevities and the Police Gazette. A week later we were living together in the Gladstone Hotel off Park Avenue, where swarmed <mask>'s friends until September when she went on tour with the Follies and I went into The American Venus at Paramount's Long Island studio. It was through <mask> that I came to know Bill Fields. Before the matinée, at the Rosary Florist, she would select a bouquet to be wrapped in waxed paper and presented to Bill in his dressing-room. It touched his heart. Bill adored beautiful girls, but few were invited to his dressing-room. He was morbidly sensitive about the skin disease which inflamed his nose and sometimes erupted on his hands, making it necessary for him to learn to juggle wearing gloves.After several devastating experiences with beautiful girls he had decided to restrict his choice of girl friends to those less attractive whom he would not find adrift with saxophone players. Bill entertained <mask> and me with distinction. His bar was an open wardrobe trunk fitted with shelves, planted, as if it were an objet d'art, beside his chair. While Shorty, the silent dwarf who was his valet and assistant on the stage, went about preparing our drinks, <mask> and I would dance around Bill who sat at his make-up shelf, listening to our nonsense with gracious attention. Marriages and relationships
On June 19, 1927, she married Alfred Cleveland Blumenthal. As Broadway producers during the early 1930s, they co-produced Music in the Air, written by Jerome Kern and Oscar Hammerstein II. The show had a run of 342 performances in 1932-33.Blumenthal earned $15 million during the first three years of their marriage. Fears purchased five Rolls-Royce autos and a $65,000 chinchilla coat, retaining only $300 in her bank account. The couple fought and split up. Eventually, they reunited and renewed their vows during three different marriage ceremonies. In 1950 Fears and Blumenthal separated permanently. Fears entertained in night clubs, and Blumenthal lived in Mexico. Although she had been married, Fears is described by those who knew her as having been bisexual or lesbian, primarily preferring the company of women in her private life.According to actress Louise Brooks, she and Fears were involved with one another, but Brooks never allowed herself to let the affair develop into a serious relationship. Death of mother
In 1938, her mother was found dead from gas asphyxiation. Real estate
Fears built Fire Island Pines, New York's original Yacht Club. Part of the construction was a cinderblock hotel which still stands today. She invested $10,000 and bought an inlet on Great South Bay. In 1959, she paid off the last of her debt on her property. It was then valued at $350,000.While a resident of Fire Island, she had a stormy romantic relationship with Tedi Thurman, famed in the 1950s as the sexy voice of Miss Monitor on NBC's Monitor. Thurman was interviewed about her life with Fears for Crayton Robey's documentary film, When Ocean Meets Sky (2003), which features Sara Ramirez as the voice of <mask>s. In 1966 she sold out her interest to John B. Whyte. Fears died August 24, 1994 at the age of 91 in La Crescenta-Montrose, California. See also
 List of caricatures at Sardi's restaurant

References

Sources
 Brooks, Louise. Lulu in Hollywood. New York: Alfred A. Knopf, 1982.Charleston Daily Mail, "In the Wonderful World of Jim Bishop," Friday, September 2, 1960, Page 5. External links

 Louise Brooks and <mask>s

American film actresses
American stage actresses
American female dancers
American musical theatre actresses
American theatre managers and producers
Bisexual actresses
People from Fire Island, New York
Actresses from New Orleans
1903 births
1994 deaths
20th-century American actresses
Bisexual women
LGBT dancers
LGBT musicians from the United States
LGBT businesspeople from the United States
LGBT people from Louisiana
20th-century American singers
20th-century American businesspeople
20th-century American businesswomen
People from La Crescenta-Montrose, California
20th-century American women singers
Dancers from New York (state)
20th-century American dancers
20th-century LGBT people

masks:
Peggy Fears
Peggy Fears
Peggy Fears
Peggy
Peggy
Peggy Fears
Peggy
Peggy
Peggy Fear
Peggy Fear


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<mask> (born 1959) is a Tanzanian writer, curator, critic, and artist. Merali began his artistic practice in the 1980s committing to social, political and personal narratives. As his practice evolved, he focused on functions of a curator, lecturer and critic and has now moved into the sphere of writing. Previously he was a key lecturer at Central Saint Martins School of Art (1995-2003), a visiting lecturer and researcher at the University of Westminster (1997-2003) and the Head of the Department of Exhibition, Film and New Media at the Haus der Kulturen der Welt, Berlin (2003-2008). A regular speaker on ideas of contemporary exhibition making internationally, in 2018 he was the keynote speaker at the International Art Gallery of the Aga Khan Diamond Jubilee Arts Festival, Lisbon. As an exhibition maker at the Haus der Kulturen der Welt, Merali curated several exhibitions accompanied by publications which he edited, including The Black Atlantic; Dreams and Trauma - Moving images and the Promised Lands; and Re-Imagining Asia, One Thousand Years of Separation. <mask> was the co-curator of the 6th Gwangju Biennale, Korea (2006) and the co-curator of Berlin Heist or the enduring fascination of walled cities for the 4th Mediations Biennale, Poland (2014-2015).In 1988, <mask> co-founded the Panchayat Arts Education Resource Unit in and around Spitafields Market. The Unit's main function was one of collecting ephemera, documents and publications. The collection provided research material aimed to illustrate the link between modern and contemporary art and activism through archival practices focused on the work of South Asian, Black and issue-based artists in the United Kingdom and internationally. The Panchayat archival material was donated and is now part of the Tate library's Special Collection in London. Early life and education
<mask> was born in 1959 in Tanganyika, now known as Tanzania. His family left India and arrived to Tanganyika in the early 20th century as part of the British colonial campaign to explore to explore its colonial labour policy following its indentured labour policy. The South Asian labour was sent to East Africa to assist the further urbanisation and industrialisation of the East African territories.<mask>'s mother was born in Mombasa, Kenya, and his father was born in Mwanza, Tanganyika. A decade after the independence, <mask>'s family came to the UK as British subjects. Merali, then 11 years old, and his family settled in Borough of Enfield, North London. <mask> attended Arnos School and then later Southgate college. He then completed his Foundation Course in Art and Design in Barnet College. After graduating, he attended Gwent College of Education, now known as Gwent College, Newport, where he did his undergraduate in sculpture. After graduating, <mask> continued to live in Newport for a further year during which he worked with young adults on community based projects, focusing on housing estates.Career
Merali emerged as an artist in the 1980s. In his early artistic practice his medium of choice was drawing, collage and batik. Work with batik enabled the artist to question the conventional distinction between "art" and "craft", by bringing the latter into the space of gallery exhibition dedicated to 'fine art'. Another convention that Merali battled with was one of batik's decorative functions: his artistic practice consistently revolved around personal, social and political narratives. From batik work, Merali shifted towards mixed media, video and installation art. Upon his return to London, Merali continued to work with young adults and children in formal and informal education sectors, including schools, community services and young offenders' centres. Eventually, with support of Haringey Arts Council, he organised a flexible workshop and gallery called One Spirit Batik Centre in Wood Green specialising in working with young adults with disabilities who had English as the second language.Between 1990 and 1991, Merali organised solo exhibitions of Chila Kumari Burman and Tam Joseph, as well as group exhibitions by artists from Soweto, South Africa and print makers from Havana, Cuba. He was consequently invited to exhibit his own work at the University of West Indies, where his one-person exhibition was programmed alongside a concert by Don Cherry. In early 1989, Merali met the curators and the directors of the forthcoming 3rd Havana Biennale, including Geraldo Mosquera and Liliane Llanes. They implemented Merali's proposal of participation of five Black and Asian artists, living in Britain but coming from a global diaspora, to be included in what was, until then, the dedicated Southern World biennale. Returning from Cuba in 1988, Merali organised the works of the five artists, Sonia Boyce, Allan de Souza, Pitika Ntuli and Keith Piper alongside his own work to be exhibited in the Museo Nacional de Bellas Artes in Havana, as well as at the Institute of Education, London. The experience in Havana formalised the working relationship of exhibition making and the possibility of archiving through curating. <mask>'s commitment to the community education presented itself with further opportunities: in 1988 he became involved with a group of artists, Bhajan Hunjan, Symrath Patti, Allan de Souza and Shanti Thomas, who initially met at the Slade School of Art to discuss the possibilities of an organisation in a self-funded way.<mask> and de Souza volunteered and became the responsible administrators of the Panchayat Arts Education Resource Centre. The organisation was involved with publishing, exhibitions and workshops, alongside its principal function of collecting the material as a record of those times. Panchayat focused on the growing connection of Black and Asian artists with a globalising art world, as well as documenting their expression relating to intersection between race, class, gender, policed sexualities and (dis)ability. In 2015, the Collection was donated as a gift to the Tate Library. Parallel to the research and archive activity, Merali curated Crossing Black Waters at the City Gallery, Leicester, which then toured to South London Gallery, Cartwright Hall, Bradford, Oldham Gallery and Museum, making it the first time that these spaces exhibited works by artists from India, Pakistan and its diaspora in the UK. Merali further curated Extreme Unction, HIV/AIDS, RACE/ ETHNICITY, the first exhibition of artists, including Paul Pfeiffer and Ken Chu, from the US and Canada who were exploring both activism and cultural framing of HIV/AIDS. The connection to artists from the US and Canada continued with the co-curation of unbound geographies/fused histories at A Space, Toronto and the Lethaby Gallery, London.In 2000, same year as when Panchayat won an open call for the Rich Mix Project, Merali co-curated Slow Release at Bishopsgate Goodsyard, London, which included new commissions by Edwina Fitzpatrick and installations by Dinh Q Le and Simryn Gill. Merali continued his work as an artist, participating in group shows, such as Out of India, Queens Museum, curated by Jane Farver, and Transforming the Crown, Bronx Museum of Art, curated by Mora Beauchamp-Byrd (see Artistic practice). With the development of curation as a practice and shows which were bringing him curatorial acknowledgement, the issue of artists being curators and vice versa emerged. Following publications, such as Eddie Chambers' Crowning folly in Art Monthly, Merali decided to avoid the possible collision of interests which can arise when curators are curating their own work. Unwilling to define others through one's own practice, Merali focused on the curatorial. By that time <mask> was already lecturing at Saint Martins's School of Art and University of Westminster, and in 2003 he was offered the position at Haus der Kulturen der Welt. Upon relocating to Berlin, Merali initially worked with a devolved programme of two large-scale exhibitions: DisORIENTation curated by Jack Persekian; and Body City with Geeta Kapour and Jyotinder Jain.During his five-year contract with HKW, in 2006 <mask> was granted permission to research and work with Professor Wu Hung on the 6th Gwangju Biennale. <mask> then spent considerable time between Berlin and Korea, researching and collaborating with the biennale staff, specifically looking at both Asian artists and artists working about Asia. The working relationship with Professor Wu Hung continued at the University of Chicago, where they co-curated Re-Imagining Asia – A Thousand Years Of Separation. Further, <mask>, Wu Hung and Christopher Philips worked together for the Berlin installation of the historic exhibition Between Past and Future, which had started at the ICP, New York, then toured to HWK, Berlin, and finally to the V&A, London. In 2008, after his contract with HWK ended, <mask> was asked to design and facilitate a new gallery in Berlin for the Bodhi Group, which had spaces in Mumbai, Singapore and New York. He worked with local technicians to create a larger gallery space alongside five other galleries which became known as the BodhiBerlin, which represented artists including Shilpa Gupta, Subodh Gupta and Jitish Kallat. <mask> then continued to work in Europe, Asia and America with exhibitions at the Tokyo Gallery, Budla Gallery, Kunstagenten Gallery, Berlin, Birla Academy of Art & Culture, Kolkata; Castrum Peregrini, Amsterdam; Brot Kunsthalle, Vienna; Arario Gallery, New York; Freies Museum, Berlin, etc.(see Curatorial Practice). In this period, <mask> predominantly works with artists from Iran, Palestine, India and its diasporas. In 2014-2015 he co-curated the main exhibition for the 4th Mediations Biennale, Poland. <mask> is the co-organiser, as part of the 1989 Collective, of the International conference 1989 This is Tomorrow—De-canonisation and decolonisation, at the Courtauld Institute. He has started writing his debut fictional novel in 2019, as well as co-editing for the first volume (of six) in a series contingently titled Artefacts of Solidarity— Critical Pasts, Impending Futures, for London-based MAPT (Merali and Pachkhédé Texts). Curatorial practice

1989-2003: Independent
1989

 Distinguishing Marks, Bloomsbury Gallery, Institute of Education, London. With Sonia Boyce, Keith Piper, Allan de Souza, Pitika Ntuli.Five Black British Artists, Havana Biennale, Cuba. First intervention by Black artists from Europe at the Havana Biennale. Including participation by Sonia Boyce, Keith Piper, Allan de Souza, Pitika Ntuli, a. 1991

 Siting Resistance, Embassy Cultural House, London, Ontario, Canada. Initiated by Jamelie Hassan, Ron Banner, with works by Sonia Boyce, Keith Piper, Allan de Souza, Pitika Ntuli. Group show from South Africa and Artists with (Dis)abilities, One Spirit Gallery, Haringey, London. One-person show by Chila Kumari Burman, One Spirit Gallery, Haringey, London.One-person show by Tam Joseph, One Spirit Gallery, Haringey, London. 1992

 Crossing Black Waters, City Gallery, Leicester; Cartwright Hall, Bradford; Oldham Art Gallery and Museum, Oldham; South London Art Gallery, London. Featuring UK artists: Said Adrus, Manjeet Lamba, Nina Edge, Bhajan Hunjan, Samena Rana; India artists: Anand Moy Banerji, Sushanta Guha, Arpana Caur, Sashidaran; Pakistan artists: Quddus Mirza, Anwar Saeed. Co-curated with Allan de Souza. 1993

 Forensic Fictions, ICA, London. Co-curated performance with Stuart Taylor . 1994

 Extreme Unction, HIV/AIDS, RACE/ ETHNICITY, The Garage, Hoxton, East London.Performances and installations by Asian American artists Dan Kwong, Monica Chau, Paul Pfeiffer and Ken Chu / Scottish artist Alistair Maclennan. Screenings by Asian American film-makers at the National Film Theatre including Tran T.Kim Trang. 1995

 Samena Rana, Diorama Centre, London. Posthumous exhibition on (dis)ability and photography. Insurgent Voices, Gallerie 101, Ottawa, Canada. Asian American artists working with HIV/AIDS, RACE/ETHNICITY.

masks:
Shaheen Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali
Merali


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 Installations by Ming Ma & Ken Chu and video works by Tran T. Kim Trang.1996

 Creative Futures Festival, University of Westminster. Richard Graville, Commercial Gallery, London. Clare Robins, Commercial Gallery, London. Gender and its Multiplicities, Watermans Arts Centre, London. Video screening around masculinity. Featured artists: Ming Ma, ManAct, Michael Petry, Keith Piper, Sarbjit Samra. Co-curated with Jeremy Mulvey.1997

 Videobox, University of Westminster Gallery, London. Video works by Black and Asian artists from Panchayat's archive. Foreign Vienna, University of Westminster Gallery, London. Photographic record of the changing demographic population of Vienna. 1998

 Xenographic Views, Lisl Ponger, Central Saint Martins College of Art and Design, MA Space, London. 1999

 unbound geographies/fused histories, A Space, Toronto;  The Lethaby Gallery, Central Saint Martins College of Art and Design, London . Featuring artists: Simon Tegala, Tanya Syed, Jin-Min Yoon, Enam Huque.Co-curated with Shelly Bahl and Marilyn Jung. 2000

 Slow Release, Bishopsgate Goodsyard, London. Site-specific commissions around the notion of the garden. Featuring artists: Edwina Fitzpatrick, Simryn Gill, Dinh Q. Le. Co-curated with Janice Cheddie, Sharmini Pereira and Sally Tallant. 2001

 Local Artists, AI-Saqi Bookshop, London, an exhibition of International artists living in London W2.Artists: Anna Thew, Robert Taylor, David Medalla, Caryle Reedy, Tina Keene. Co-curated with Mai Ghossoub. Martin, Spitz Gallery, London. Post graduate students, Central Saint Martins. 2002

 Ford, Oxford House, Ashley Gardens and 1&1, Three East London galleries. Post graduate students, Central Saint Martins School of Art and Design. 2006

 Aug 9th – Nov 11th.The Sixth Gwangju Biennale 2006: Fever Variations, First Chapter. Gwangju Biennale Hall, Gwangju. Chief Curator Wu Hung, with Curators <mask> <mask> and Binghui Huangfu and Collaborating Curator Jacquelynn Baas. Featuring artists: Lida Abdul, Lise Autogena & Joshua Portway, Thomas Bayrle, Dove Bradshaw, Chen Chieh-jen, Choi Jung Hwa, Choi Min Hwa, David Hammons, Hong Lei, Michael Joo, Jitish Kallat, Akio Kamisato/Satoshi Shibata/Takehisa Mashimo, Kim Jong-ku, Kim Sang Yoen, Sun K. Kwak, Dinh Q. Le, Lee Jong Sang, Lee Soo Kyung, Lee Ufan, Shu-min Lin, Armin Linke, Susan Meiselas, Rei Naito, Jun Nguyen-Hatsushiba, Vong Phaophanit, Jean-Marc Pelletier, Qiu Zhijie, Araya Rasdjarmrearnsook, Michal Rovner, Hiroshi Senju, Raqib Shaw, Chiharu Shiota, Shon Bong Chae, Song Dong, Manit Sriwanichpoon, Sissel Tolaas, Vasan Sitthiket, Suzann Victor, Chris Welsby, Whang In-kie, Miwa Yanagi, Zhang Dali, Zhang Huan, Zheng Liu, Xu Bing. 2003-2008: Haus der Kulturen der Welt

 2004 The Black Atlantic – Travelling Cultures, Counter-Histories, Networked Identities, Exhibition Curator. Featuring artists: Isaac Julien, Keith Piper, Lisl Ponger, Tim Sharp.2005 Dreams and Trauma – a film festival and moving images installations, an exhibition by twelve artists of Palestinian and Israeli origin, Exhibition and Film Curator. Featuring artists: Guy Ben-Ner, Yael Bartana, Ori Gersht, Talia Keinan, Sigalit Landau, Sharone Lifschitz, Rashid Masharawi, Rosalind Nashabishi, Nira Pereg, Karen Russo, Ruti Sela & Maayan Amir, Doron Solomons and Tanya Ury. 2007 New York States Of Mind – Art And The City, Exhibition and Film Curator. Featuring artists: Iona Rozeal Brown, Ian Burns, Laura Carton, Carolina Caycedo, CUP, Marcel Duchamp, Rainer Ganahl, Hans Haacke, David Hammons, Jonathan Horowitz, Tehching Hsieh, Kim Jones, Jon Kessler, Mark Lombardi, Mary Ellen Mark, Sarah Morris, Gordon Matta-Clark, Josephine Meckseper, Ana Mendieta, William Pope.L, Printed Matter, Inc., Elaine Reichek, Carolee Schneemann, Ward Shelley, Tavares Strachan, Kehinde Wiley, Fred Wilson, Jordan Wolfson, Terence Koh, Nikki S. Lee, Patty Chang. 2008 Re-Imagining Asia – A Thousand Years Of Separation, Film Curator and Exhibition Co-curator with Wu Hung. Featuring artists: Chiho Aoshima, Parastou Forouhar, Subodh Gupta, Andreas Gursky, Ikeda Manabu, Michael Joo, Johannes Kahrs, Bharti Kher, Kim Jongku, Kimsooja, Sun K. Kwak, Dinh Q. Lê, Miao Xiaochun, Ujino Muneteru, Gabriel Orozco, Rashid Rana, Ki-bong Rhee, Takako Saito, Shen Shaomin, Shi Jinsong, Song Dong, Rirkrit Tiravanija, Zhang Dali. Bodhi Art 2008

 Frontlines: Notations from the Contemporary India Urban, BodhiBerlin.Featuring artists: Subodh Gupta, Atul Dodiya, Zarina Hashmi, Jitish Kallat, Riyas Komu, Valsan Kolleri, Nataraj Sharma. Shilpa Gupta: Blindstars, Starsblind, BodhiBerlin. Everywhere is War (and rumours of war), BodhiMumbai. Featuring artists: Subodh Gupta, Jitish Kallat, Hema Upadhyay, Bharti Kher, Francesco Clemente, Jon Kessler, Sara Rahbar, Zarina Hashmi, Shilpa Gupta, Prasad Raghavan, Pablo Bartholomew, Rashid Rana, Sumedh Raghavan, Alicia Framis, Reena Kallat, Chitra Ganesh, Jaishri Abichandani, Anita Dube, Rina Banerjee, Atul Dodiya, Anju Dodiya, Riyas Komu, Baiju Parthan, Vibha Galhotra, Amar Kanwar, Bose Krisnamachari. The Urban Spiel – a study of sculpture and material, BodhiBerlin. Featured artists: Paul Eachus, Rob Voerman and Sumedh Rajendran. Nataraj Sharma and N.S.Harsha at abc art berlin contemporary, BodhiBerlin. Jitish Kallat: Public Notice 2, BodhiSingapore. Riyas Komu: Related List, BodhiBerlin. Meraliart
2009

 Indian Popular Culture and Beyond, Alcalá 31, Madrid. Featured artists: Jaishri Abichandani, Shezad Dawood, CK Rajan, GR Iranna, Riyas Komu, Prasad Raghavan, Sara Rahbar. The Augmented Flaws, Kunstagenten Gallery, Berlin. Featured artists: Daniele Buetti, Rajkamal Kahlon, Jon Kessler, Leila Pazooki.The Dark Science of Five Continents, Gallery BMB, Mumbai. Featuring artists: Jake and Dinos Chapman, Tunga, George Osodi, Riyas Komu, Jon Kessler, Wang Qingsong. Eerie and languid, Artisterium09, National Museum Tbilisi, Georgia. Featuring artist: Laleh Khorramian, Carlos Amorales, Jean-Gabriel Périot. The Promise of Loss: a contemporary index of Iran, Brot Kunsthalle, Vienna. Featuring artists: Samira Abbassy, Iman Afsarian, Asgar/Gabriel, Masoumeh Bakhtyari, Shahram Entekhabi, Parastou Forouhar, Shadi Ghadirian, Babak Golkar, Peyman Hooshmandzadeh, Abbas Kowsari, Mandana Moghaddam, Amin Nourani, Sara Rahbar, Neda Razavipour, Behrang Samadzadegan, Rozita Sharafjahan, Jinoos Taghizadeh. 2010

 The Promise of Loss: a contemporary index of Iran, Arario Gallery, New York.Featuring artists: Samira Abbassy, Iman Afsarian, Asgar/Gabriel, Masoumeh Bakhtyari, Shahram Entekhabi, Parastou Forouhar, Shadi Ghadirian, Babak Golkar, Peyman Hooshmandzadeh, Abbas Kowsari, Mandana Moghaddam, Amin Nourani, Sara Rahbar, Neda Razavipour, Behrang Samadzadegan, Rozita Sharafjahan, Jinoos Taghizadeh. Never Run Away, Stux Gallery, New York. Featuring artists: Reena Kallat, Sara Rahbar. East City: Kolkata Before the campaign, Birla Academy of Art & Culture, Kolkata. Artist: Leena Kejriwal. Safe to Light, Azad Gallery, Tehran. Artist: Riyas Komu.3 Voices in my head, Freies Museum, Berlin. Featuring artists: Ulrich Volz, Yvette Mattern, Gregg LeFevre. The Stalking of Absence (vis-à-vis) Iran, Tokyo Gallery + BTAP, Tokyo. Featuring artists: Reza Abedini, Matilda Aslizadeh, Bahar Behbahani, Ramesch Daha, Sarah Dolatabadi, Ghazel, Raha Rastifard, Newsha Tavakolian. The 11th Hour, An Exhibition of Contemporary Art from India/Diaspora, Tang Contemporary, Beijing. Featuring artists: Tariq Alvi, Madhu and Hazra Chitrakar, Shilpa Gupta, Tushar Joag, The Otolith Group, Baiju Parthan, TV Santosh, Tejal Shah, Sudharsan Shetty, Thukral & Tagra. Cinema Verite Redux, Sumukha Gallery, Bangalore.Featuring artists: Subba Ghosh, Ravi Kashi, Attila Richard Lucas, Parvathi Nayar, Charly Nijensohn, Prasad Raghavan, Marina Roy. Besides Paris, Birla Academy of Arts and Culture, Kolkata. Featuring artists: Narayanan Akkitham, Sujata Bajaj, Madhu Mangal Basu, Maya Burman, Sakti Burman, Utpal Chakraborty, Anju Chaudhuri, Rajendra Dhawan, Lakshmi Dutt, Debesh Goswami, Bhawani Katoch, Gadadhar Ojha, Sharmila Roy Pommot, S.H. Raza, Inderjeet Sahdev, Nitin Shroff, Jiwan Singh, Viswanadhan Velu. Twice is too much, Freies Museum, Berlin. Featuring artists: Hassan Hajjaj and Zak Ové. Tough Love: a series of promises, Plataforma Revólver, Lisbon.Featuring artists: Samira Abbassy, Arahmaiani, Marc Bijl, Cecília Costa, Agathe de Bailliencourt, Nezaket Ekici, Mathias Herrmann, Gregg LeFevre, Zak Ové, K P Reji, Isabel Ribeiro, Jinoos Taghizadeh. The Archivists’ Impatience, The LOFT, Mumbai. Featuring artists: Daniel G. Andújar, Pablo Bartholomew, Leila Pazooki, Jean-Gabriel Périot. Public Enemy Number 1, Exhibit 320, New Delhi. Featuring artists: Gordon Cheung, Radhika Khimji, Prasad Raghavan, Iona Rozeal Brown, Mithu Sen.

2011

 when the moon is lying the sea weeps and dark safaris destroy the destroyed, India Art Summit, New Delhi. Featuring Artists: Madhu Mangal Basu, Koumudi Patil, Raha Rastifard, Sandip Pisalkar, Priti Vadhakkath, Nandan Ghyia. Entropic Sites, Shrine Empire, New Delhi.Artist: Leena Kejriwal. Regarding Iran, The Guild, Mumbai. Featuring artists: Amin Nourani, Barbad Golshiri, Farideh Lashaei, Mitra Tabrizian, Mohammad Hossein Emad, Peyman Hooshmandzadeh, Shirin Neshat. I saw that which had remained unseen, Azad Gallery, Tehran. Artist: Leena Kejriwal. The (Iranian) Weltanschauung, Freies Museum, Berlin. Featuring artists: Mehraneh Atashi, Navid Azimi Sajadi, Mahmood Bakhshi, Masoumeh Bakhtiary, Majid Fathizadeh, Parastou Farouhar, Farhad Fozouni, Ghazaleh Hedayat, Taha Heydary, Melodie Hosainzadeh, Katayoun Karami, Aria Kasaei, Majid K. Behesti, Azadeh Madani, Amir Mobed, Mehran Mohajer, Masoumeh Mozafari, Homan Nobakht, Sara Roohisefat, Atefeh Samaei, Rozita Sharafjahan, Mohamad M. Tabatabaie, Farideh Lashaei.The calculus of the dead load or "How one becomes what one is" (Nietzsche), THE LOFT, Mumbai. 2012

 The International, as part of the Odyssey, 45 years with the collection, Birla Academy of Art & Culture, Kolkata. Featuring artists: Jean Arp, Maurice Golubov, Nicholas Roerich, Louise Bourgeois, Olle Beartling, Adolf Fleischmann, Andre Masson, Amrita Sher-Gil, Augustus Rodin, Gustav Klimt, Pablo Picasso, Hedde Sterne. When Violence Becomes Decadent, Freies Museum, Berlin. Featuring artists: Sarnath Banerjee, Binu Bhaskar, Rajib Chowdhury, Samit Das, Natasha de Betak, Probir Gupta, Rajkamal Kahlon, Jitish Kallat, Leena Kejriwal, Simit Raveshia. The Indian Parallax, Birla Academy of Art & Culture, Kolkata. Featuring artists: Shebba Chhacchi, Remen Chopra, Vibha Galhotra, Probir Gupta, Jitish Kallat, Reena Kallat, Chittrovanu Mazumdar, Manish Nai, Mithu Sen, Hema Uppadhyay.Refraction: Moving Images on Palestine, P21 Gallery, London. Featuring artists: Mohammad Al-Hawajri, Kamal Aljafari, Tayseer Barakat, Mike Hoolboom, Khaled Hourani, Khaled Jarrar, Josh Jones, kennardphillipps, Inzajeano Latif, Manal Mahamid, Laila Shawa, Nasser Soumi, Tarzan and Arab. 2013

 (After) Love at Last Sight, Nezaket Ekici Solo Exhibition, Pi Artworks, London. Speaking from the heart - The Polemic Sensibility from Iran, Castrum Peregrini, Amsterdam, The Netherlands. Featuring artists: Mehraneh Atashi, Navid Azimi Sajadi, Mahmood Bakhshi, Masoumeh Bakhtiary, Majid Fathizadeh, Parastou Forouhar, Farhad Fozouni, Ghazaleh Hedayat, Taha Heydary, Melodi Hosainzadeh, Katayoun Karami, Aria Kasaei, Majid Korang Beheshti, Amir Mobed, Mehran Mohajer, Masoumeh Mozafari, Homan Nobakht, Sara Roohisefat, Atefeh Samaei, Rozita Sharafjahan, Mohamad M. Tabatabaei. When Violence Becomes Decadent, ACC Gallery Weimar, Germany. Featuring artists: Sarnath Banerjee, Binu Bhaskar, Rajib Chowdhury, Samit Das, Natasha de Betak, Probir Gupta, Rajkamal Kahlon, Jitish Kallat, Leena Kejriwal, Simit Raveshia.2014

 Fragile Hands, a curatorial essay on stated subjectivities. University of Applied Arts, Heilingenkreuzer Hof, Refektorium and Sala Terrena, Vienna, Austria. Featuring artists: Mohammed Al-Hawajri,

masks: Shaheen Merali


text_chunks:
 Palestine/Masoumeh Bakhtiary, Iran/Binu Bhaskar, India/ Madhu und Hazra Chitrakar, India/ Rajib Chowdhury, India/ Ramesch Daha, Austria &Iran/ Natasha de Betak, France &India/ Majid Fathizadeh, Iran/ Debesh Goswami, India & France/ Probir Gupta, India/ Ghazaleh Hedayat, Iran/ Taha Heydary, Iran/ Khaled Jarrar, Palestine/ Rajkamal Kahlon, USA, India &Germany/ Katayoun Karami, Iran/ Leena Kejriwal, India/ Amir Mobed, Iran/ Masoumeh Mozafari, Iran/ Tarzan and Arab, Palestine/ Charley Nijensohn, Argentina & Germany/ Amin Nourani, Iran/ Lisl Ponger, Austria/ Simit Raveshia, India/ Oliver Ressler, Austria/ Atefeh Samaei, Iran/ Rozita Sharafjahan, Iran/ JJ Xi, China & UK/. Berlin Heist, the Enduring Fascination with Walled Cities, 4th Mediation Biennale, Where Somewhere Becomes Here. Featuring artists: Anonymous, Kader Attia, Marc Bijl, Nezeket Ekici, Azin Feizabadi+, Thomas Florschuetz, Carla Guagliardi, Johannes Kahrs, Jonathan Meese, Leila Pazooki, Julian Rosefeldt, Esra Rotthoff,  Enis Rotthoff, Iris Schomaker, Lars Teichmann, Ming Wong, Michael Wutz. 2015

 Make In India, Production and presentation of designer Prasad Raghavan work for the Indian Pavilion at Hannover Messe 2015. Writing

Academic Books
2001

 «Going Native: revisited» in Beyond Frontiers: Contemporary British Art by Artists of South Asian Descent.Amal Ghosh and Juginder Lamba, eds. (London: Saffron Books, Eastern Art Publishing, 2001). 2002

 «Anthology of art», Jochen Grez project on the web, What is your vision of an unknown art?. «Claiming Multiple Identities», 151M Newsletter 10/02, The Netherlands (with Mai Ghoussoub) & Abwab 31. «Panchayat», interarchive, editor Hans Ulrich Obrist, Kunstraum der Universitat Lunenburg, Verlag der buchhandlung Walther Konig, Kaln, 2002, 276–280. 2004

 «Tehrancentric & Iraninity»,Far Near Distance – Contemporary Positions of Iranian Artists, co-edited by <mask> <mask>. Berlin: House of World Cultures.Interviews to Isaac Julien, Keith Piper, Lisl Ponger and Tim Sharp (German), The Black Atlantic – Travelling Cultures, Counter-Histories, Networked Identities. Berlin: House of World Cultures. «Curatorial Statement», The Black Atlantic – Travelling Cultures, Counter-Histories, Networked Identities. Berlin: House of World Cultures. 2005

 «A Rose by any other name…»,About Beauty, ed. by <mask> <mask>. Berlin: House of World Cultures, 2005, 36 – 37.«We resist because we have nothing, Philip Cheah in conversation with <mask> <mask>», Spaces and Shadows – Contemporary Art from Southeast Asia, ed. by <mask> <mask>. Berlin: House of World Cultures, 2005, 36 – 37. «Fun is the new weapon, Gridthiya Gaweewong in conversation with <mask> <mask> and Annette Bhagwati», Spaces and Shadows – Contemporary Art from Southeast Asia, ed. by <mask> <mask>. Berlin: House of World Cultures, 2005, 34 – 35. «The statements of resistance are in the works, not in the words, Ong Keng Sen in conversation with <mask> <mask> and Annette Bhagwati», Spaces and Shadows – Contemporary Art from Southeast Asia, ed.by <mask> <mask>. Berlin: House of World Cultures, 2005, 32 – 33. «Impression Management – Travel Notes on Singapore, Indonesia and Thailand»,Spaces and Shadows – Contemporary Art from Southeast Asia, ed. by <mask> <mask>. Berlin: House of World Cultures, 2005, 28 – 31. 2007

 «I make Films of the World and for the World (Jem Cohen in conversation with <mask> <mask>)», New York States Of Mind – Art And The city, ed. by <mask> <mask>.London: Saqi Books, 2008, 198 – 206. «States of Mind», New York States Of Mind – Art And The City, ed. by <mask> <mask>. London: Saqi Books, 2008, 16 – 28. 2008

 «A great deal more but nothing much….», Re-Imagining Asia – A Thousand Years Of Separation, ed. by <mask> <mask>. London: Saqi Books, 2008, 20 – 47.2010

 «On visuality ideology and facilitating artists», Global Circuits: The geography of art and the new configurations of critical thought, Barcelona: ACCA – Associacio Catalana de Critics d'Art, 2010, 46 – 49. «Guilt Guilded in Gold», Voices of Change: 20 Indian Artists, ed. by Gayatri Sinha. Mumbai: Marg Foundation, 2010, 266 – 281. «Between the Satanic Verses and the Axis of Evil», Voices of Change: 20 Indian Artists, ed. by Gayatri Sinha. Mumbai: Marg Foundation, 2010, 198 – 211.2011

 «Spaces of Freedom», in Index on Censorship, The Art Issue, Volume 40 No 3, 118–125. «Delienating the vernacular», in Public Notice 3: Jitish Kallat at the Art Institute of Chicago, ed. by Madhuvanti Ghose. Chicago: The Art Institute of Chicago and Yale University Press, 2011, 39 – 45. ISBN 978-0-300-17158-7. 2012

 «Slower Lower Weaker», in The Unknown as you know it, ed. by Marek Wasilewski.Poznan: University of Arts Poznan, 60–69. 2013

 «The Untold (the Rise of) Schisms», InFLUX, Contemporary Art in Asia. Ed. By Parul Dave Mukherji, Naman P.Ahuja & Kavita Singh. Sage Publications India, 183–196. 2015

 «The Spectre (of Knowledge): Recording the Vernacular», Contemporary Art from the Middle East, Ed. By Hamid Keshmirshekan, IB Tauris, 89–97.«The Spectre (of Knowledge): Recording the Cosmopolitan», Dissonant Archives, Contemporary Visual Culture and Contested Narratives in the Middle East, Edited by Anthony Downey, I.B.Tauris, 432–444. 2016

 «(After) Love at Last Sight….Nezaket Ekici» The Live Art Almanac Volume 4. Edited by Harriet Curtis, Lois Keidan and Aaron Wright, Oberon Books London, 76–82. «Refractions: From Their Nemesis, the (Dis)obedience», CONFLICT AND COMPASSION A Paradox of difference in Contemporary Asian Art Edited by Bashir Makhoul and Alnoor Mitha, HOME Manchester, 143–160. Catalogues
1999

 Carte Blanche / the white papers. Lethaby Press & Panchayat. Editor and contributor.2008

 Eric Soeutre, France. Technology: Detection or Deception. Endword. Radical Postures. Panchayat Publication. ACE Funded. Spring 1998.Displaces, exhibition by Mai Ghoussoub and Souheil Sieiman. Saqi Books, London. India Crossing, Studio La Città, Verona. Essay: India Crossing…The Discursive as an image. 2009

 India Contemporary, Gem Museum voor Actuele Kunst, Den Haag.Essay 1: Exposed Tendencies. Essay 2: Guilt Guilded in Gold. Being, Spirit or Ghost, Gallery OED, Cochin, Kerala.Essay: Being, Spirit or Ghost. Anomalies, From Nature to Future, Rossi&Rossi, London. Essay: Diasporic Sciences, 9–16. 2010

 Sara Rahbar, Carbon 12, Dubai. Essay: Across Ideas, Across Continents. Blood and Spit - New Works by TV Santosh, Jack Shainman Gallery, NY. Essay: The Chimera War.2012

 Navid Azimi Sajadi, Olcay Art Gallery, Caddebostan, Istanbul. Catalogue essay. The Indian Parallax, Birla Academy of Art & Culture, Kolkata. Editor and essay: The Indian Parallax or the Doubling of Happiness: works in two-dimension and sculpture towards the third image – the abstract reality. 2013

 Refraction: Moving Images on Palestine, P21 Gallery, London. Editor and two essays: Imaging Palestine: Moving as opposed to stillness and Refractions- the light in their eyes. 2014

 Fragile Hands, A curatorial essay on stated subjectivities, University of Applied Arts, Vienna.Editor and key essay:  Fragile Hands, A curatorial essay on stated subjectivities. Berlin Heist, the enduring fascination with walled cities, Mediations Biennale, Posnan, Poland. Two Essays: Berlin Heist, the enduring fascination with walled cities (Part1&2). 2015

 Years After Zero, Tea Makipaa Monograph. 2016

 Draw Me Nearer, Paperworks, WM Gallery, Amsterdam. Fair Trade, Leila Pazooki, Kunsthistorisches Museum Wien and touring to Tokyo / Osaka. Visual geography and recording Europe, Monica de Miranda at Novo Banco Photo, Museu Berado, Lisbon.2017

 Michael Wutz 12 Baume, Forum Kunst Rottweil, Germany. Tavares Strachan, Isolated Labs, NY and Desert X. 2018

 JJ XI, Carrots Publishing, Beijing. Essays and reviews
Kilts, Lungi and Dishdash. Men wearing skirts? Abwab, Int. Arab quarterly.No. 15. Work / Illustrations: Achillies Heels, London. No. 21 & 22. (Spring & Summer / Summer & Autumn 97).? Texaco, Third Text (Issue 40, Autumn 97, edited by Patrick Chamoiseau).(1997)
 Under Different Skies, Third Text (Issue 37). (1997)
 Displaces, Third Text (Issue 39). (1997)
 Extravagant strangers, Third Text (Issue 41, edited by Caryl Phillips). (1998)
 Kay Hassan, Third Text (Issue 55, Summer 01). (2001)
 Rashid Rana Interview, Art Journal of India. (2012)
 The struggle for the Sublime, Art Tomorrow (issues 2–6). (2012)
 The Chitrakars; artisans amplifying the local contexts.Raw Vision. (2015)
 The Story Scrolls of Bengal | Raw Vision Magazine !!! On the critical decades and the role of archives. Shwetal Patel in discussion with <mask> <mask>. (2017)
 critical collective check

Artistic practice

Solo exhibitions

 Channels, Echoes & Empty Chairs, Angel Row Gallery, Nottingham and South London Gallery, London. Commissioned by Angel Row Gallery. (1993)
 Torchlights, Brick Lane Police Station, East london.Commissioned by the Whitechapel Art Gallery. (1994)
 Paradigms lost, Travelling Gallery, toured North and East Scotland as part of fotofeis 95. Commissioned by Scottish Arts Council. (1999)
 Dark Matters, Kunsthalle Exnergasse, Vienna, Austria. (2000)
 Dark Matters II, Art Exchange, Nottingham. (2001)
 U blow me away, Window Gallery, Central Saint Martins, London. (2001)

Group exhibitions

 Box Project, The Museum of Installation, London, Turnpike Gallery, Leigh and Angel Row Gallery, Nottingham.(CD Rom Catalogue). (1999)
 Alien/Nation, Sixpack Films, Vienna, Austria. (1999)
 Translocation, Photographers Gallery, London and Institute for Research on the African Diaspora and Caribbean, City College of New York. (1999)
 Transforming the Crown, Bronx Museum of Art, New York, USA. (1999)
 Out of India, Queens Museum, Flushing Meadows, New York, USA. (1999)
 Men and Masculinities, James Hockey Gallery, Surrey Institute of Education, Farnham, Surrey. (1999)
 Zero Zero Zero, Whitechapel Art Gallery, London.(1999)
 The Crown Jewels, Kampnagel, Hamburg and NGBK, Berlin. (1999)
 Empire and I, Pitshanger Museum and Gallery, London and AXIOM centre, Cheltenham. (1999)
 Machos y Muecas, La Casa Elizaide, Barcelona. (1999)
 Ubudoda, Metropolitan Gallery, Cape Town, South Africa. (2000)
 Chanting Heads CD Rom. Curated by David a Bailey & Sonia Boyce, AAVAA. (2001)
 Colored folks (performance), Toynbee Hall, London.Collaboration with Oreet Ashery. (2001)
 The Globe, Centre Beirut, Lebanon. Curated by Dave Beech. (2001)
 Whats wrong?, The Trade Apartments, London. (2001)
 Dressing, Readdressing, collaboration with Mai Ghoussoub. AI-Saqi Books, London. (2001)
 Host, Hastings Gallery and Museum.Curated by Mario Rossi. (2001)
 A Man, A Woman, A Machine, Centre of Attention, London. (2001)
 Site & Sight, Asian Civilisation Museum, Singapore. (2002)
 Hygiene, London School of Hygiene and Tropical Medicine. Curated by Pam Skelton and Tony Fletcher. (2002)

Video screenings

 I loose my voice in my dreams (45 mins). South London Gallery, London.(1993)
 I loose my voice in my dreams (45 mins). Galerie 101, Ottawa, Canada. (1994)
 Pandemonium, ICA, London; Rotterdam 97-26 Film festival, Holland; Desh Pradesh, Toronto, Canada; Whitechapel Open, Curtain Rd Gallery, London; KIZ- Kino, Granz, Austria; Scratch Projection, Paris, France; Tokyo 97-Image Forum, Festival, Tokyo, Japan; Pesaro 97-Film Festival, Roma, Italy; Hamburg 97–13. International Kurzfilm-Festival & No., Hamburg, Germany; Jerusalem 97-Film Festival, Jerusalem, Israel; São Paulo 97-Short Film Festival, São Paulo, Brazil; Austin 97. Cinematexas- Int. short film + video + new, Austin, USA. (1997)
 Exploding Cinema, Kenington, London.(1998)
 The post-colonial cities, curated by inIVA. The Lux Cinema, London. (1999)
 Colored Folks (18 mins) Colored Folks video and photographs. National Review of Live Arts. (2002)
 Paradigms Lost Pt. 1 (5 mins 10 Secs). (2002)
 2016 (as performer) revisiting genesis (11 Episodes)  (11 mins each) Written and Directed by Oreet Ashery, Stanley Picker Gallery and Online.(2002)

References

1959

masks: Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali Shaheen Merali


text_chunks:
<mask> (17 February 1937 – 28 September 2017) was an English actor. He was nominated for the BAFTA TV Award for Best Actor for his role as Mr Bennet in the 1995 BBC version of Pride and Prejudice, and voiced the role of Fowler in the 2000 animated film Chicken Run. His other film appearances include Quadrophenia (1979), Personal Services (1987) and Bomber (2009). Life and career
<mask> was born on 17 February 1937 in Oxford, Oxfordshire, the son of Mary Alexandra (Flaunders) and <mask>, a teacher at St Edward's School, Oxford. He attended the Dragon School, Tonbridge School, and the Royal Academy of Dramatic Art. He served in the King's Dragoon Guards during his national service from 1956 to 1958. He joined the Royal Shakespeare Company in 1981.He played Russell in the original radio version of After Henry by Simon Brett. A lifelong fan of the writings of the English author Denton Welch, he was instrumental in bringing the third, revised version of Welch's journals to print in 1984, having made the acquaintance of one of Welch's friends who had possessed the manuscript of the original editor's edition. In 1989, <mask> appeared in episode four of the BBC Two sketch show A Bit of Fry and Laurie (series one), playing an irate member of the audience who claimed that Stephen Fry and Hugh Laurie had stolen several of their sketches from him. Between 1990 and 1992, <mask> appeared in the sitcom The New Statesman as Paddy O'Rourke, a Labour shadow minister who feigned an Irish accent when in public to attract the working-class vote. <mask> was nominated for the BAFTA TV Award for Best Actor for his portrayal of Mr Bennet in the 1995 adaptation of Pride and Prejudice. In the 2000 animated movie Chicken Run <mask> voiced the character of Fowler, an old rooster who claims to have fought in World War II. <mask>'s last work was two plays for BBC Radio 4, in which he played the late Poet Laureate Sir John Betjeman.Mr Betjeman's Class was his last completed work; he died during the recording of Mr Betjeman Regrets, with the voice work being completed by Robert Bathurst. Both plays were broadcast on BBC Radio 4 over Christmas 2017. Personal life
<mask> was married to Catherine Cook, with whom he had two children: Hannah Mary <mask> (b. 1973) and Thomas George <mask> (b. 1976). He also had a son, Angus Imrie (b. 1994) with actress Celia Imrie.<mask> died on 28 September 2017, aged 80. Chief Supt. Braithwaite
 Hay Fever as Richard Greatham
 The Brontes of Haworth as Arthur Bell Nicholls
 Rumpole of the Bailey as The Reverend Bill Britwell
 Bergerac as B J Farrell
 Man Down Series 2 episode 2 of Man Down as Tim
 Agatha Christie's Poirot, After the Funeral (2006) as Timothy Abernathy
 Midsomer Murders as Sir Malcolm Frazer in episode 'Secrets and Spies' (2009)
 Inspector Morse as Brownlee in the episode 'The Daughters of Cain'
 New Tricks (TV series) Series 11 episode 5 'London Underground' as Edward Fraser
 [Dempsey & Makepeace] Series 2 episode 9 as Lindsay

Radio
 1980: Unman, Wittering & Zigo as the headmaster; by Giles Cooper; BBC R4 7/8/1980. 1984: Dracula in White by Peter Redgrove; BBC R4 7/3/1984. 1984: Tragedy at Law as the Judge; by Cyril Hare; BBC Radio 4 Saturday Night Theatre 7/4/1984. 1985–89: After Henry as Russell; BBC Radio 4 series by Simon Brett. 1992: A Warden for All Saints as James Montague, by H.S.Bhabra; BBC R4 29 April 1992. 1995: In The Red as the bank manager murderer; by Mark Tavener; BBC Radio 4 series 5/1/1995-16/2/1995. 1997: MR James Ghost story readings – The Late Book. 1999: Plum's War by Michael Butt, BBC R4 7/7/99. 2003: Brideshead Revisited by Evelyn Waugh, dramatised by Jeremy Front, BBC R4 8/3/2003. 2003: The Last Bark of the Bulldog by Jonathan Smith; <mask> portrays Winston Churchill; BBC R4 21 June 2003. 2011: Portrait of Winston, by Jonathan Smith; sequel to The Last Bark of the Bulldog; BBC R4 13 September 2011
 2017: Mr Betjeman's Class and Mr Betjeman Regrets both by Jonathan Smith; BBC R4 25 December 2017 and 26 December 2017

References

External links
 <mask> at bbc.co.uk Drama

1937 births
2017 deaths
20th-century English male actors
21st-century English male actors
Actors from Oxford
Alumni of the Royal Academy of Dramatic Art
English male film actors
English male stage actors
English male Shakespearean actors
English male radio actors
English male television actors
English male voice actors
Male actors from Kent
Male actors from Oxfordshire
People educated at The Dragon School
People educated at Tonbridge School
1st King's Dragoon Guards soldiers

masks:
Benjamin John Whitrow
Whitrow
Philip Whitrow
Whitrow
Whitrow
Whitrow
Whitrow
Whitrow
Whitrow
Whitrow
Whitrow
Whitrow
Benjamin Whitrow
Benjamin Whitrow


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<mask> was a rugby league player who represented New Zealand in 4 test matches (1 v England in 1932 and 3 v Australia in 1935) in the second row and at hooker. He became the 226th player to represent New Zealand. He also played club rugby league for Ngaruawahia (1930–32), and Marist Old Boys (1932-35). He also played for Waikato representative teams (1930–32), and Auckland (1933-35). Playing career

Ngaruawahia
In 1930 <mask> was selected to play for Ngaruawahia's senior A team against Hamilton on June 21. Ngaruawahia won 22-5 and it was said that <mask>, along with Joe Menzies, and Dare were “the outstanding home forwards”. On September 27 he played for Ngaruawahi in a Draffin Cup match against Huntly.Ngaruawahia won the match 12–10. Then on October 4 he played for Ngaruawahia against the same opponents for the Draffin Cup once more. Ngaruawahia won 3–0 with Laird said to be “the most outstanding player on the field”. The 1931 season saw Laird playing once again for Ngaruawahia. On May 20 he played in a match against Huntly which his side won 11–8. He was then selected for a Waikato trial side between a Probables team and a Possibles side on July 25. He was listed as a reserve for both sides.On August 15 he played in the senior final for Ngaruawahia against Taupiri. Laird scored a try after a “fine” passing movement from his side, and kicked a penalty goal from halfway. Ngaruawahia won the match and the 1931 title by 8 points to 5. Two weeks later Laird played for a Lower Waikato side against Marist Old Boys from Auckland, a side he was to join the following season. Laird was listed to play in the lock position. He had been used in several positions in the forwards including prop and the second row. Marist won the match 13–11.A week later Laird played for Ngaruawahia in a Draffin Cup match with Huntly. He played in the front row of a 14–7 defeat at the hands of Huntly. Laird's final match of the season was in a trial at Taupiri to pick the South Auckland team to play the touring Eastern Suburbs team which was touring from New South Wales. Laird played in the front row for his ‘B Team’ but was ultimately not selected to play for South Auckland. South Auckland and North Island selection
Laird began 1932 once again in the black jersey of Ngaruawahia. His first match was for them against Hamilton on April 30. It was played at Hinemoa Park in Hamilton and saw Ngaruawahia run out 14-0 winners.Laird along with Joe Menzies and Huia Mason were reported as being “the best of a hard-working set” of forwards. On May 28 he played for Ngaruawahia against Taupiri and scored 2 tries in a 21 to 8 win. Two weeks later on June 11 he was part of the Ngaruawahia side which defeated Hamilton by 9 points to 5 and his form was good enough to gain selection for the South Auckland side. He was selected in the front row to play along with Menzies, Stephenson, Scott, Timms, and Jackways. They played against Northland on June 18. The match was for the Northern Union Challenge Cup by 15 points to 13 at Hikurangi before a crowd of 1,000. The North Island selector Thomas McClymont was present at the match to assist with choosing the team to play against the South Island.He then played for South Auckland against an Auckland XIII on July 16. Laird played well but the South Auckland team lost 29 to 13 at Carlaw Park. Laird obviously impressed McClymont as he was selected for the North Island side in a forward pack which included Bob Stephenson, Lou Hutt, C. White, Tom Timms, and Trevor Hall. The match was played at Carlaw Park before a large crowd of 15,000 and saw the North Island side win 27 points to 18. It was commented after the game that “Laird was always in the picture” though overall the “North forwards were rather disappointing as a set…” The Waikato Times wrote that Laird had “justified” his inclusion with his performance. Laird missed selection for the New Zealand team to play the touring England side in the first test. He was however pulled into the training squad for the second test after New Zealand had lost the first test 24 to 9.He had also been selected to play for South Auckland against the English side on August 4. It was said in the Waikato Times that he was “a splendid type of forward who earned praise for his game at Carlaw Park last Saturday, when his play, to many, warranted even New Zealand selection”. The match was played at Taupiri and the local side was thrashed by a strong English team by 64 points to 11 before a crowd of 2,000. New Zealand selection and move to Marist Old Boys (Auckland)
Following <mask>'s appearance for South Auckland against England he moved to Auckland and joined the Marist Old Boys club who played in the Auckland Rugby League competition. He debuted for them immediately playing against Newton Rangers on August 13 at the Ellerslie Reserve. He scored their first try in a 10–6 win. Laird was then selected for the New Zealand team to play England in the third test at Carlaw Park on August 20.New Zealand had been defeated in the second test in Christchurch 25 to 14 which secured the series for them. Six changes had been made to the side for the third test. Laird was partnered in the second row with Ray Lawless, with Alan Clarke at lock. Laird had replaced Lou Hutt who had suffered a compound fracture of the thumb in a match for a New Zealand XIII against England between the second and third tests in Wellington. New Zealand pushed England hard in the third test at Carlaw Park before a crowd of 12,000 and only lost 20–18 with England scoring a late try to take the win. In the first half with the scores tied at 5-5 Laird and Lawless were involved in carrying play from deep in New Zealand's end when they were on defence up to halfway with New Zealand scoring a short time later. The Huntly Press and District Gazette made a brief comment that “the two Ngaruawahia players, <mask> and Abbot were very prominent in the play”.Following the third test he played for Marist in their Roope Rooster semi-final win over Devonport United. It was said that Laird along with teammates, Flanagan and Iveson, were “always dashy in the forwards”, and that he and Iveson “were the best Marist forwards”. He then played in the final against City Rovers which Marist won 28 points to 8. A week later Laird was in action again for Marist in the Stormont Shield final against Devonport United. Marist won the match 15 points to 8. The New Zealand Herald reported that “Laird was perhaps the best of the forwards” in the match. On October 8 Laird played for Marist in a Max Jaffe Cup charity match.The trophy was supposed to be awarded to the team which came runner up in the championship but as Marist had finished tied for second with Ponsonby United it was decided to have a playoff for the trophy. Marist won 37 to 8 but Laird was hospitalised with a leg injury. He was taken to Auckland Hospital “to undergo an X-ray examination at the conclusion” of the match. It “was believed that Laird had injured a bone in one leg”. Marist and Auckland
1933 saw Laird playing for his new Marist Old Boys side from the beginning of the season. He played 20 matches in total for them and scored 3 tries. Following a round 6 match between Marist and City Rovers where he scored a try it was reported that he was the best forward on the ground.He was selected following the match for Auckland's opening representative match of the season against Taranaki. Before a crowd of 10,000 at Carlaw Park Laird scored a first half try as Auckland jumped out to a 21 to 5 lead at the break before holding off Taranaki to win 32 to 20. The Auckland Star reported that “<mask> and Lawless were the outstanding forwards, and were ably supported by [Cliff] Satherley and [Bert] Leatherbarrow". Laird played four more matches for Marist before being selected to play in the second row for the Auckland clash with South Auckland on July 15. The match was for the Northern Union Challenge Cup and saw South Auckland hold on to the trophy with a 14–0 win at Carlaw Park. The match was played in horrible conditions underfoot with “most of the stoppages… due to mud in the eyes of the contestants”. It was reported that “the Auckland team played rather lifelessly, the outstanding forwards being <mask> and Satherley.Laird was chosen as a reserve for Auckland’s matches against North Auckland on August 12, Hawke's Bay on September 2, and South Auckland on September 9 but was not required to take the field in any of these matches. On September 30 Laird played for Marist against St. George who had finished runner up in the 1933 NSWRFL competition and were touring the upper North Island. Before 13,000 spectators Marist won by 25 points to 11. The Marist forwards played well with “White, Laird and Iveson … perhaps the best…”. In 1934 Laird played 16 matches for Marist and scored 3 more tries. After round 8 of the Fox Memorial championship Laird was left out of the first Auckland representative match

masks:
Jim Laird
Jim Laird
Laird
Laird
Laird
Laird
Laird


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 of the season. The New Zealand Herald reported that “the omission of J. <mask>, Marist, and T. Hall, Newton, is hard to understand.Laird is one of the best forwards playing the code. He is always near the ball and is equally at home on attack or defence…”. He was chosen for Auckland to play against Northland on August 11. Auckland won by 19 points to 12. Laird was instrumental in starting a passing bout among the forwards down the terrace side of the field which “enabled Hall to score from a ruck in the corner” which gave Auckland a 11–10 lead. On September 15 he played for Auckland against South Auckland and scored a try in a 35–16 win. He had initially been chosen as a reserve with Satherley and Lawless in the second row but he played in the match after the forward pack was reshuffled with Satherley moving to the reserves.Laird along with Lawless and Hall “were perhaps the best forwards”. Laird's try came after “clever play by Cooke [saw] Laird following him through to score by the posts”. He would have scored another but “Lawless lost a try for Auckland through a poor pass to Laird”. Laird finished the season playing in 2 matches for Marist. The first was against the touring Western Suburbs. They had recently won the 1934 NSW RFL competition. Marist lost a tightly contested match by 21 points to 19 on September 21 at Carlaw Park.Marist had fallen behind 13-3 before a converted try to Hec Brisbane narrowed the scores and then “Laird gathered a bouncing ball and, running fast for ten yards towards the corner, handed on to Smith, who materialised amid cheers”. Marist later took the lead however Western Suburbs scored and converted on the fulltime to win. Laird then played in a benefit match for Hec Brisbane who was retiring after a career involving 11 seasons with Marist which also featured 50 appearances for New Zealand, 5 for the North Island, and 15 for Auckland sides. Marist won by 30 points to 21 against Newton Rangers with Laird “prominent among the forwards. New Zealand selection v Australia
The 1935 season for Laird was incredibly memorable for triumphant and tragic reasons. He was to resume his New Zealand career when he played in all three test matches against the touring Australian side. However it was to be the final year of his career when a serious knee infection following the third test saw him spend months in hospital and it ended his rugby league career.He played 15 times for Marist and scored 4 tries during the season. He was in good form to start the season, scoring a try in a 17-17 round 1 draw with Devonport United. The New Zealand Herald reported that “<mask>, Woods and Keane played splendid games in the forwards”. He was “outstanding” in Marists 10–8 win over competition leaders Richmond Rovers in their round 5 match, and “has never played better”. The following weekend in their match with Newton Rangers Laird was forced from the field early in the second half with a bad eye injury which required several stitches to close the wound. He had been “conspicuous for all-round work up to the time of his retirement”. It was thought that he would be out for a week but he ultimately was available to play a week later.The match was against Devonport United and saw Laird play in the unusual position of ‘rover’ amongst the backs with Marist deciding to only play 5 players in the forwards packing a scrum with 2 in the front row and 3 in the second row. It was a controversial formation which provoked discussion by the Auckland Rugby League in the week following. Marist had adopted the tactic partly due to Laird's eye injury and also as an experiment as Australian sides had been using the tactic for a while. It was said that Laird “played fine football” in the position. Laird was once again named as the “outstanding forward”. He was described as being “outstanding” twice more following Marists match with Ponsonby United on June 22, and their match with City Rovers on July 6. Unsurprisingly Laird was chosen to play for Auckland against Taranaki on August 3.He had originally been picked in the Auckland B team to play South Auckland on the same day before being moved into the Auckland A side for the Taranaki clash. Auckland ran out easy 37 to 14 winners with it said that Laird was “prominent” for Auckland. After the match he was then selected for the North Island side to play the South Island on August 17. He was selected in the slightly unfamiliar position of hooker for the game. The North Island won an extremely tight match by 19 to 18. <mask>, along with his forward teammates Lou Hutt, Cliff Satherley, and W. Large were said to have shown “honest, hard toil from bell to bell”. Laird played in Marist's round 1 Roope Rooster 18–15 loss to Mount Albert on August 24 and scored a rare pair of tries and was involved in another.He was then named in the Auckland team for their southern tour. Before the tour began he scored a try in a Marist semi-final loss in the Phelan Shield which ended their season. There were only two matches played on the tour. The first was against Wellington on September 7. Before a crowd of 3,000 in Wellington, Auckland won 39 to 27 with Laird said to have played well. He then played in the second match which was against Canterbury on September 14 at Monica Park in Christchurch. Auckland won 26 to 13 though Laird had to leave the field injured.Laird was well enough to be selected for the Auckland team to play against the Australian side in the first game of their tour. Auckland lost 16 points to 8 at Carlaw Park in front of 15,000 spectators. Laird was said to have been “always in the fray and showed form and speed in the loose”, though he did drop the ball with the line begging at one point. He was named in the New Zealand team to play Australia in the first test at prop. It was said of his selection that he had “a right to inclusion” based on his performance for the North Island and the match for Auckland against the tourists the previous week. Laird played in the second row alongside Lou Hutt, with <mask> locking the scrum. New Zealand played brilliantly to win the match by 22 points to 14 at Carlaw Park before a crowd of 20,000.The forwards produced a fine display. Laird was mentioned as having “never been seen to better advantage and he was one of the best forwards on the field” and he was subsequently selected for the second test. New Zealand was unable to produce their first test heroics and they were soundly beaten in the second test also at Carlaw Park which was played midweek. New Zealand lost 29 points to 8. <mask>, Hutt, and Calder were said to have “worked tirelessly in both the tight and loose”. Laird also “just missed a try” early in the match with the score 0-0 after the New Zealand forwards “stormed the visitors’ goal”. He was still selected to play in the third test to be played 3 days later on October 5 once more at Carlaw Park.Australia won the series with a convincing 31–8 win. Laird was involved in a try saving tackle on Viv Thicknesse a foot from the line, and was the most prominent of the forwards along with Harold Tetley and <mask>. Following the match Laird was selected for the Auckland XIII team to play against Australia in the final match of their tour however he had suffered a leg injury which ended up becoming much worse than first thought. Injury and retirement
Laird was hospitalised with 'water on the knee' and spent several months in Auckland Hospital. At the start of the 1936 season Marist arranged for a benefit day to be held to raise money for him. The third test had been played on October 5 and he was still in hospital at the end of February. Mr. Joe Sayegh who was the Marist chairman spoke at their annual meeting of “Laird’s fine services to the game and delegates assured the board of assistance in any action taken”.On April 13 the Auckland Star reported that the injury “last season may compel his retirement”. The benefit day was held on April 18 and was a series of 4 senior matches at Carlaw Park with the proceeds from the day being spread between the 8 clubs and Laird. Marist won their match by 15 points to 5 over Newton. On May 13 Laird attended the Auckland Rugby League control board meeting to thank the board for the benefit day and also “thanked the ladies’ committee of the league for its kindness to him while in hospital”. The ARL chairman, Mr. G Grey Campbell said that “Laird would be the subject of a little function in the Marist dressing room before the team filed out to play on Saturday”. A week later the Marist club wrote to the league thanking them for their “support and assistance” through the benefit match and that “the amount raised was very creditable to the game”. In 1937 Laird was elected to be the Marist club captain.References

New Zealand rugby league players
New Zealand national rugby league team players
Auckland rugby league team players
Ngaruawahia Panthers players
Waikato rugby league team players
Marist Saints

masks:
Laird
Laird
Laird
Jim Calder
Laird
Jim Calder


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<mask> (December 2, 1928 – September 13, 2013), popularly known as Chef <mask>, was the Philippines' first culinary icon, a Filipino veteran gourmet chef, restaurateur, socio-civic leader, television host and best-selling cookbook author in the Philippines. <mask> was known as the “Julia Child of the Philippines" and the "Philippines' first culinary ambassador." Early life
<mask> was born in Batangas, to Alejandro Jose Villanueva, a civil engineer from Batangas City, and his wife Encarnacion Guanzon, daughter of Olympio Guanzon former Governor of Pampanga. Her mother Guanzon never learned how to cook, but Daza persuaded her mother to collect recipes for her at a young age. As young as 8, Daza began cooking pancakes for her family, neighbours, and parent's friends. Education
In 1952, <mask> graduated from the University of the Philippines with a Bachelor's degree in Home Economics. She learned about Filipino cooking and catering while working at the University of the Philippines cafeteria.She then went to the United States to study at Cornell University in Ithaca, New York, for a Master of Science in Restaurant and Institutional Management. At Cornell, she became a member of the Phi Kappa Phi Honor Society, and was in the top 10 of her class. <mask> later studied French cuisine in Paris, under the tutelage of Simone Beck, and Louisette Bertholle. Beck and Bertholle were co-authors of Julia Child's Mastering the Art of French Cooking, further cementing Daza being known as the "Julia Child of the Philippines." While living in Paris, <mask> would drive an Austin Mini. Career
<mask> was the first tri-media star of the sixties and seventies in the Philippines, with her best-selling cookbooks; TV cooking shows At Home with Nora, Bahala si Mommy, and Cooking It Up with Nora; radio shows At Home with Nora and At Home with the Stars; and columns for Women's Magazine, The Manila Chronicle, and The Philippine Daily Inquirer. Her cooking showcased the diverse history and ethnic makeup of the Philippines, as well as her American education and French training, by utilizing Filipino, Chinese, "Chinoy", Spanish, American, and Italian cuisines.<mask> became a judge of cooking contests held by the Manila Gas Corporation from 1957 to 1960. She hosted television cooking shows At Home with <mask> and Cooking It Up with <mask> to wide popular acclaim and viewership for several years. She was appointed Director of Manila Gas Cooking School where she selected, modified, checked, and kitchen-tested over five-hundred recipes for around three thousand students who enrolled over a period of four years. In 1965, <mask> opened Au Bon Vivant (The Good Life) in Ermita. Au Bon Vivant was reputedly the first restaurant in Manila to offer authentic French cuisine. She also opened up a Filipino Restaurant in Manila called Galing Galing, that served Filipino comfort food such as kare-kare. Galing Galing later burned down, and with it Daza's recipe book collection.In 1974, <mask> expanded her operation in the Philippines and opened an Au Bon Vivant in the NCR's business hub Makati. In 1972, she opened Aux Iles Philippines (The Philippine Islands), the first Filipino restaurant in Paris. <mask> gave her eldest son, Gabriel "Bong" <mask>, 22-years-old at the time, full responsibility of Aus Iles Philippines. Aus Iles Philippines earned three forks in the Michelin Guide, was declared an outstanding restaurant by the Gault-Millau restaurant guide, and received praise from Le Monde and the International Herald Tribune. French Actress Brigitte Bardot and French Philosopher Simone de Beauvoir were a notable regulars. In 1975, the Marcos Government asked her to open and run the Maharlika on the ground floor of the Philippine Center, in Manhattan, New York. Maharlika was the first Filipino fine-dining restaurant in New York and was named after the pre-colonial Filipino Maharlika martial class of freemen.Myra Waldo, author of the Restaurant Guide to New York City and Vicinity, and then food and travel editor of WCBS (AM) radio, claimed Maharlika to be one of the top restaurants in New York City. <mask>'s pioneering of haute Filipino cuisine in New York and Paris, and bringing Parisian cuisine to Manila led some to dub her the "Philippines' first culinary ambassador." In the sixties and seventies, <mask> would bring some of the world's top chefs to the Philippines including Paul Bocuse and Gaston LeNôtre. <mask> was elected Vice President of the Philippine Association of Nutrition, Secretary of the Hotel and Restaurant Association of the Philippines, Adviser-Admiral of the Homemakers Club, Director of Hotel and Tourist Industries of the Philippines, and President of Philippine Home Economists in Business. In 1992, <mask>'s friend from U.P. Vice-President Salvador "Doy" Laurel asked her to run for the Senate of the Philippines under the Nacionalista Party. She ran on the platform “Proper Nutrition for the Masses," but ended up losing the race.Private life
<mask>'s son, <mask>, is a chef and restaurateur specializing in Filipino and Thai cuisines. He has hosted television cooking shows and has written books and articles on cooking and baking. <mask>'s other son, Bong <mask>, is a food entrepreneur specializing in processed meats and fish. He is the estranged husband of Miss Universe 1969 winner Gloria Diaz. He ran for vice-mayor of Makati in 1998 but lost in the elections. Her granddaughter <mask> is also a TV host. Her grandson Turs is also a TV host and a VJ on MYX Channel.Personal life
She was married to Gabriel "Boy<mask>, Jr. She was survived by her children Gabriel "Bong" <mask> III, Inquirer Lifestyle food columnist Alejandro "Sandy" <mask>, Mariles <mask>-Enriquez, <mask>-Belda and <mask>-Puyat; and grandchildren Arturo "Turs" <mask>, <mask>, Joseph Puyat, Gio Puyat, Billie Puyat, Mario Puyat, Bolo Belda, <mask>, Bettina Belda, Toby Belda, <mask>, <mask>, <mask>, <mask>, Eduardo Taylor and Rodrigo Enriquez. <mask> died on September 13, 2013, in her sleep due to a heart attack. She was 84 years old. Daza's body lay in state at the Loyola Memorial Chapel on Commonwealth Avenue in Quezon City and was cremated. Publication

 Let's Cook with Nora. National Book Store, 1965. Let's Cook with Nora.Improved Edition. National Book Store, 1969. Galing Galing Philippine Cuisine: Food as Prepared in Philippine Homes. National Book Store Manila, 1974. The Best of the Maya Cookfest. Asia Book Corp of America, 1981
 <mask>. Daza A Culinary Life: Personal Recipe Collection with Michaela Fenix. Anvil Publishing, 1992.Festive Dishes: <mask><mask> with family and friends. Anvil Publishing, 2011. References

1928 births
2013 deaths
People from Batangas
Cornell University School of Hotel Administration alumni
University of the Philippines alumni
Filipino chefs
Filipino television chefs
Nacionalista Party politicians
Filipino restaurateurs
Women chefs

masks:
Nora Guanzon Villanueva Daza
Nora Daza
Daza
Daza
Daza
Daza
Daza
Daza
Daza
Nora
Nora
Daza
Daza
Daza
Daza
Daza
Daza
Daza
Daza
Daza
Sandy Daza
Daza
Daza
Isabelle Daza
" Daza
Daza
Daza
Daza
Stella Daza
Nina Daza
Daza
Ali Daza
Franco Daza
Danielle Daza
Isabelle Daza
Ava Daza
Raphael Daza
Death Daza
Nora V
Nora V
. Daza


text_chunks:
<mask> (; June 20, 1808 – December 31, 1888) was a German Orthodox rabbi best known as the intellectual founder of the Torah im Derech Eretz school of contemporary Orthodox Judaism. Occasionally termed neo-Orthodoxy, his philosophy, together with that of Azriel Hildesheimer, has had a considerable influence on the development of Orthodox Judaism. <mask> was rabbi in Oldenburg, Emden, and was subsequently appointed chief rabbi of Moravia. From 1851 until his death, <mask> led the secessionist Orthodox community in Frankfurt am Main. He wrote a number of influential books, and for a number of years published the monthly journal Jeschurun, in which he outlined his philosophy of Judaism. He was a vocal opponent of Reform Judaism, Zionism, and similarly opposed early forms of Conservative Judaism. Early years and education
<mask> was born in Hamburg, which was then a part of Napoleonic France.His father, <mask> <mask>, though a merchant, devoted much of his time to Torah studies; his grandfather, Mendel Frankfurter, was the founder of the Talmud Torah schools in Hamburg and unsalaried assistant rabbi of the neighboring congregation of Altona; and his granduncle, Löb Frankfurter, was the author of several Hebrew works, including Harechasim le-Bik'ah (הרכסים לבקעה), a Torah commentary. <mask> was a pupil of Chacham Isaac Bernays, and the Biblical and Talmudical education which he received, combined with his teacher's influence, led him to determine not to become a merchant, as his parents had desired, but to choose the rabbinical vocation. In furtherance of this plan, he studied Talmud from 1828 to 1829 in Mannheim under Rabbi Jacob Ettlinger. He received semicha (ordination) from Rabbi Bernays in 1830, at the age of 22. He then entered the University of Bonn, where he studied at the same time as his future antagonist, Abraham Geiger. Career

Oldenburg
In 1830, <mask> was elected chief rabbi (Landesrabbiner) of the Principality of Oldenburg. During this period, he wrote his Neunzehn Briefe über Judenthum, (Nineteen Letters on Judaism) which were published, under the pseudonym of "Ben Usiel" (or "Uziel"), at Altona in 1836.This work made a profound impression in German Jewish circles because it was something new — a brilliant, intellectual presentation of Orthodox Judaism in classic German, and a fearless, uncompromising defense of all its institutions and ordinances. One of the young intellectuals strongly influenced by the "Nineteen Letters" was Heinrich Graetz. Following a personal letter that Graetz wrote to <mask>, <mask> offered Graetz to host him at his own house for the continuation of his studies. Graetz then lived at <mask>'s house in Oldenburg from 1837 to 1840, as a pupil, companion, and amanuensis. Hirch's major works are discussed in further detail below. In 1838, <mask> published, as a necessary concomitant of the Letters, his Horeb, oder Versuche über Jissroel's Pflichten in der Zerstreuung, which is a text-book on Judaism for educated Jewish youth. In fact, he wrote Horeb first, but his publishers doubted that a work defending traditional Judaism would find a market in those times when reform was in vogue.In 1839, he published Erste Mittheilungen aus Naphtali's Briefwechsel, a polemical essay against the reforms in Judaism proposed by Geiger and the contributors to the latter's Wissenschaftliche Zeitschrift für jüdische Theologie (such as Michael Creizenach); and in 1844, he published Zweite Mittheilungen aus einem Briefwechsel über die Neueste Jüdische Literatur, also polemical in tendency and attacking Holdheim's Die Autonomie der Rabbinen (1843). Emden
<mask> remained in Oldenburg until 1841 when he was elected chief rabbi of the Hanoverian districts of Aurich and Osnabrück, with his residence in Emden. During this five-year post, he was taken up almost completely by communal work and had little time for writing. He did, however, found a secondary school with a curriculum featuring both Jewish studies and a secular program, for the first time employing his motto Torah im Derech Eretz ("The Torah is maximalized in partnership with worldly involvement"). In 1843, <mask> applied for the post of Chief Rabbi of the British Empire. Out of 13 candidates, mostly from Germany, he reached the shortlist of four: Nathan Marcus Adler, <mask> <mask>, <mask> Auerbach, and <mask>. Adler won the position on December 1, 1844.With 135 communities having one vote each, Adler received 121 votes, <mask> 12, and <mask> 2. Nikolsburg
In 1846, <mask> was called to the rabbinate of Nikolsburg in Moravia, and in 1847, he became chief rabbi of Moravia and Austrian Silesia. In Austria, he spent five years in the re-organization of the Jewish congregations and the instruction of numerous disciples; he was also, in his official capacity as chief rabbi, a member of the Moravian Landtag, where he campaigned for more civil rights for Jews in Moravia. In Moravia, <mask> had a difficult time, on the one side receiving criticism from the Reform-minded, and on the other side from a deeply traditional Orthodox element, which found some of his reforms too radical. <mask> placed a much stronger emphasis on a deep study of the entire Hebrew Bible, rather than just the Torah and selected Bible readings, in addition to Talmud, as had been the custom of religious Jews up until then. Frankfurt am Main
In 1851, he accepted a call as rabbi of an Orthodox separatist group in Frankfurt am Main, a part of the Jewish community of which had otherwise largely accepted classical Reform Judaism. This group, known as the "Israelite Religious Society" ("Israelitische Religions-Gesellschaft", or IRG), became, under his administration, a great congregation, numbering about 500 families.<mask> remained rabbi of this congregation for the rest of his life. <mask> organized the Realschule and the Bürgerschule, in which thorough Jewish training was provided, along with those aspects of secular training deemed true according to the Torah (Torah im Derech Eretz). He also founded and edited the monthly magazine Jeschurun (1855–1870; new series, 1882 et seq); most of the pages of the Jeschurun were filled by himself. During this period he produced his commentaries on Chumash (Pentateuch), Tehillim (Psalms) and siddur (prayer book). In 1876, Edward Lasker (a Jewish parliamentarian in the Prussian Landtag) introduced the "Secession Bill" (Austrittsgesetz), which would enable Jews to secede from a religious congregation without having to relinquish their religious status. The law was passed on July 28, 1876. Despite the new legislation, a conflict arose whether "Austritt" (secession) was required by Jewish law.<mask> held this was mandatory, even though it involved a court appearance and visible disapproval of the Reform-dominated "Main Community" (Grossgemeinde). His contemporary Isaac Dov (Seligman Baer) Bamberger, Rabbi of Würzburg, argued that as long as the Grossgemeinde made appropriate arrangements for the Orthodox element, secession was unnecessary. The schism caused a terrible rift and many hurt feelings, and its aftershocks could be felt until the ultimate destruction of the Frankfurt community by the Nazis. Final years
During the final years of his life, <mask> put his efforts in the founding of the "Freie Vereinigung für die Interessen des Orthodoxen Judentums", an association of independent Jewish communities. During the 30 years after his death, this organization would be used as a model for the formation of the international Orthodox Agudas Yisrael movement. <mask> had a great love for the Land of Israel, which is apparent from his writings, but was opposed to the proto-Zionist activities of Zvi <mask> Kalischer. ;  He opposed any movement to wrest political independence for the Land of Israel before the Messianic Era.In later works, he makes it clear that Jewish sovereignty is dependent only on Divine Providence. From reports of his family members, it seems likely that <mask> contracted malaria while in Emden, which continued to plague him during the rest of life with febrile episodes. <mask> died in 1888 in Frankfurt am Main, and is buried there. <mask>'s son Mendel <mask>  (1833–1900) was a scholar and writer; his granddaughter Rahel <mask> (1870–1953) became the first female professor of medicine in Prussia. Works

Commentary on the Torah
Hirsch’s innovative and influential commentary on the Pentateuch

(Uebersetzung und Erklärung des Pentateuchs, "Translation and explanation of the Pentateuch"; 5 volumes published 1867-78), has been "hailed as a classic" since the publication of the first volume, Bereshit. According to <mask>, the goal of the commentary was to expound the text by ascertaining the exact meaning of the words, their etymology, philology, and origin, and, this achieved, "to establish, on the basis of halakhic and aggadic interpretations, [[Hashkafa|the Jewish Weltanschauung]]". A feature of the commentary is its analysis of the meanings and symbols in the religious precepts (mitzvot), as below; this, again, as consistent with its discussion of the Hebrew.The commentary gained worldwide popularity for its scope of insight and information offered to scholar and layman alike, and is still widely referenced. provides further context; and see also  and . Nineteen Letters
<mask>'s Nineteen Letters on Judaism (Neunzehn Briefe über Judenthum), published in 1836 under the pseudonym "Ben Uziel", offered an intellectual presentation of Orthodox Judaism in classic German, and a "fearless, uncompromising defense" of all its institutions and ordinances. See under Oldenburg above. It was written in the form of a fictional correspondence between a young rabbi / philosopher and a youthful intellectual. The first letter, the intellectual's, outlines the challenges that emancipation created for modern Jews, and questions the continued relevance of Judaism. The Rabbi responds in the subsequent letters, discussing, in a structured sequence, God, Man, and Jewish History;
leading to a discussion of the Mitzvot and their classification (as employed in Horeb).This work made a profound impression in German Jewish circles, and has been republished and translated several times;
it is still influential, and often taught. Nineteen Letters was translated to English by Bernard Drachman in 1899, and in 1960 by Jacob Breuer based on Drachman's translation. The latest translation to English was prepared by Karin Paritzky and revised by Joseph Elias who states that they "benefited greatly from the two earlier editions." Elias glosses Breuer's edition as "very readable" while panning it as an achievement reached "by the omission or simplification of a good many passages, so that the reader does not obtain the full meaning that the author intended." Horeb
Horeb (subtitled Versuche über Jissroel's Pflichten in der Zerstreuung, “Essays on the Duties of the Jewish People in the Diaspora”), published 1838, is <mask>'s

masks:
Samson Raphael Hirsch
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Raphael Arye
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Benjamin Hirsch
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Rabbi Hirsch