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jaafarshaikh2573 · 1 year ago

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Embracing Diversity: The Vibrant Cultural Mosaic of Dubai

Dubai, often hailed as a global city, is not only renowned for its towering skyscrapers and luxurious lifestyle but also its vibrant cultural scene. At the heart of Dubai's appeal lies its remarkable diversity, where people from all corners of the globe come together to create a rich tapestry of cultures, traditions, and experiences. In this article, we delve into the vibrant cultural mosaic of Dubai, exploring how the city embraces diversity to foster a sense of unity and inclusivity.

A Melting Pot of Cultures

Dubai's status as a melting pot of cultures is evident in its diverse population, which comprises expatriates from over 200 nationalities. From South Asia to Europe, from Africa to the Americas, Dubai is home to people from every corner of the world, each bringing with them their customs, languages, and traditions. This multiculturalism is not only celebrated but embraced, with the city's residents living side by side in harmony, united by their shared experiences and aspirations.

Cultural Festivals and Events

One of the most vibrant expressions of Dubai's cultural diversity is its calendar of festivals and events. Throughout the year, the city plays host to a plethora of cultural celebrations, from Diwali to Eid, from Christmas to Chinese New Year. These festivals provide an opportunity for residents to come together and celebrate their cultural heritage, while also offering visitors a chance to experience the richness and diversity of Dubai's cultural landscape.

Culinary Delights from Around the World

Dubai's culinary scene is a reflection of its multicultural makeup, with restaurants serving up a smorgasbord of dishes from around the world. From fragrant Indian curries to savoury Lebanese mezze, from hearty Italian pasta to spicy Thai stir-fries, Dubai offers a culinary adventure like no other. Food lovers can indulge their taste buds in a gastronomic journey that spans continents, sampling flavours from far-flung corners of the globe without ever leaving the city.

Traditional Arts and Crafts

Despite its modern facade, Dubai has not forgotten its roots, and traditional arts and crafts continue to thrive in the city. From intricate Arabic calligraphy to colourful textiles and pottery, Dubai's artisans preserve and promote their cultural heritage through their craftsmanship. Visitors can explore traditional markets like the Gold Souk and the Spice Souk, where they can purchase handmade treasures and souvenirs that tell the story of Dubai's rich cultural history.

Cultural Districts and Institutions

Dubai is not only known for its modern marvels but also for its dedication to preserving and promoting its cultural heritage through various districts and institutions. One such notable district is the Alserkal Avenue Arts District, which stands as a beacon for contemporary art and design in the heart of the city. Boasting a vibrant community of galleries, studios, and creative spaces, Alserkal Avenue showcases the diverse talents of both local and international artists. Visitors can immerse themselves in thought-provoking exhibitions, attend interactive workshops, and engage with cutting-edge installations that push the boundaries of artistic expression.

In addition to Alserkal Avenue, Dubai is proud to be home to renowned cultural institutions such as the Dubai Opera and the Dubai Museum. The Dubai Opera, with its striking architecture and world-class facilities, serves as a premier venue for cultural performances and events, ranging from opera and ballet to concerts and theatrical productions. Likewise, the Dubai Museum offers a captivating journey through the city's past, with exhibits that chronicle its transformation from a humble fishing village to a global metropolis. These institutions provide a platform for cultural expression and exchange, fostering a deeper understanding and appreciation of Dubai's rich heritage.

Moreover, the Al Fahidi Historical Neighbourhood serves as a cherished cultural gem within Dubai, offering a glimpse into the city's storied past. With its labyrinthine alleyways and traditional architecture, Al Fahidi is a living testament to Dubai's heritage and resilience. Visitors can wander through its historic streets, visit museums and galleries, and partake in cultural activities that celebrate the city's Bedouin roots and maritime history. Al Fahidi's enduring charm and authenticity make it a must-visit destination for anyone seeking to explore Dubai's cultural heritage.

Furthermore, the Al Fahidi Historical Neighbourhood is not only a place of historical significance but also a thriving cultural hub that hosts events and activities throughout the year. From traditional music performances to art exhibitions, from heritage walks to cultural festivals, Al Fahidi offers a dynamic and immersive experience for visitors of all ages. By preserving and revitalizing this historic district, Dubai pays homage to its past while embracing the future, ensuring that its cultural heritage remains alive and vibrant for generations to come.

Cultural Districts and Institutions

Dubai's commitment to fostering a thriving cultural scene is exemplified by the presence of several vibrant cultural districts and institutions that serve as epicentres for artistic expression and appreciation. Among these, the Alserkal Avenue Arts District stands out as a beacon for contemporary art and design. This dynamic hub is a testament to Dubai's dedication to providing a space for both local and international artists to showcase their talents. With a myriad of galleries, studios, and creative spaces, Alserkal Avenue offers a platform for artistic innovation, encouraging a dialogue between diverse perspectives.

Al Fahidi Historical Neighbourhood, a gem embedded in Dubai's cultural heritage, is another captivating district that provides a unique glimpse into the city's past. Mentioned multiple times for its historical significance, Al Fahidi encapsulates the essence of old Dubai. Its narrow lanes, traditional wind towers, and mud-brick houses transport visitors back in time, offering an immersive experience in the heart of the city's heritage. Exploring the Al Fahidi Historical Neighbourhood becomes a journey through the roots of Dubai, a living museum that echoes the simplicity and charm of bygone eras.

The synergy between tradition and modernity is further reflected in institutions like the Dubai Opera, an architectural marvel that transcends its role as a performing arts venue. This iconic structure hosts a diverse range of performances, including operas, concerts, and theatrical productions, contributing to the city's cosmopolitan cultural landscape. Similarly, the Dubai Museum, located in the Al Fahidi Fort, preserves and presents the history of Dubai. Through engaging exhibitions and immersive displays, the museum offers visitors an opportunity to delve into the city's evolution from a trading post to a global metropolis.

Conclusion

In conclusion, Dubai's vibrant cultural mosaic is a testament to the city's spirit of inclusivity and acceptance. By embracing diversity and celebrating the myriad cultures that call Dubai home, the city has created a sense of unity that transcends borders and boundaries. From its multicultural population to its diverse culinary scene, from its traditional arts and crafts to its contemporary cultural institutions, Dubai offers a kaleidoscope of experiences that reflect the richness and diversity of the human experience. As we explore the vibrant cultural mosaic of Dubai, we discover a city that is not defined by its differences but enriched by them, a city where unity is found in diversity, and diversity is celebrated as the very essence of what makes Dubai truly extraordinary.

#al fahidi historical neighbourhood

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anotherworldnowblog · 4 years ago

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Art, Ordinances, and Ideology

(March 23rd, 2021)

Let me begin by offering a quick summary of recent events here in Chicago as of March 23rd, 2021. One or two weeks ago, a very foolish city council woman put forward an ordinance that would have made it extremely challenging for small galleries and museums to operate out of residential spaces. Many excellent points were made about how this would scuttle an already-hurting cultural scene and how this ordinance would disproportionately keep the working class/people of color out of the art system. A guerilla social media campaign was spontaneously orchestrated and today I am pleased to report that the ordinance has been withdrawn. So why do we feel so strange? What’s wrong?

You know as well as I, this was too easy. The working class is never acquiesced to in such a manner. Just last summer, months of collective action and righteous rebellion on the part of a cross-class (but largely proletarian), interracial movement for black lives amounted to nothing more than millions of dollars in property damage and millions more in police overtime. This is not an indictment of the movement. The state could not concede what the movement was demanding, for it would entail the capitalist state’s dissolution, as is sometimes the case when the working people fight back in a particularly revolutionary configuration. The interests of those who hold state power and those of the people in the streets are opposed. So when you and I both feel strange, when we both recognize that this was too easy, we must pay attention! Because something is being glimpsed. I call the city council woman foolish not only because her ordinance was unpopular but because as a result of the fight she provoked, many of the convenient (for everyone, really) stories we tell ourselves about the role of the artist were revealed to be lies. The central one of these goes something like this: “the artist is a worker.” A lie. I will prove it.

The artist (which we will hereby define as an individual producer, or individuated grouping of producers i.e. collective, pair, etc.) performs labor, but largely under their own direction (with respect to the social nature of commodity production; the work must have a buyer to become a commodity). The artist acquires raw materials on the market or from nature directly and transforms them into commodity art, which they then take to market and sell for a profit. In contrast, a worker has no commodity to sell other than their labor power. This is what makes them a worker. They use the capitalist’s property to produce commodities for the capitalist to sell and are only paid for the value of their labor power in the form of a wage. Class in this sense is not about income or success, but about one’s relationship to the means of production (to property). With this in mind, it becomes clear that the artist is perhaps what we can call petit bourgeois (if not an outright, albeit temporarily embarrassed, capitalist). The artist is not a worker.

In a nominally democratic political system, the ruling class can only govern by the formation of dynamic class alliances. If the artist is indeed petit bourgeois, as I am arguing, then they are much more closely aligned to the managers and bureaucrats of the capitalist system than they are to the workers. Even though the artist (and the managers and some bureaucrats even) are subject to some forms of “exploitation,” their position within the class system imbues them with a more conservative politics, seeking the preservation of the status quo they are entirely dependent on. Of course, class is not the absolute predetermination of action or choice. But one’s class position absolutely entails a certain weight attached to the options one chooses between, not to mention what options are available. We can surely say that before all of us, a path of least resistance is formed and that path has a class character.

But our somewhat inconvenient glimpse beyond the usual mystification surrounding the artist does not end there. Nor do the problems for well-intentioned, “progressive” artists. In fact, the artist is not only part of a class alliance that tends to act in defense of the ruling order, the artist is actually integrated into the State itself as part of the Cultural Ideological State Apparatus. State power flows from the ruling classes, who control the State, and through the state apparatuses, including the so-called Cultural Ideological State Apparatus. Under capitalism, art tends to be an expression of State Power. To prove this, I will briefly sketch for you the architecture of the State, and rely heavily on the work of Louis Althusser in the process.

The state is divided into two collections of apparatuses. As previously stated, State Power can be thought of as flowing through these apparatuses under the direction of the ruling class (the capitalists). There is, on the one side, the generally “public” part which we typically think of as the State, which can be called the Repressive State Apparatus. The Repressive State Apparatus is comprised of the army, the police, the prisons, etc. This apparatus tends to maintain the conditions for capitalist production and circulation, which in part, also works to ensure the reproduction of capitalist society downwards through time into the future. But the Repressive State Apparatus is not solely (nor predominantly) responsible for the reproduction of the existing relations of production. This responsibility falls largely on what we can call the Ideological State Apparatuses.

These ideological state apparatuses constitute the other side of the State and in contrast to the Repressive State Apparatus, are often “private” institutions which we do not commonly associate with the State (though not always; example: education). This vast collection of institutions or apparatuses, at times in conflict with one another, ensure the ruling ideology remains the ruling ideology, preparing each member of capitalist society for their specialized role, and ultimately integrating them to the highest possible degree into an impersonal mode of production. Examples of ideological state apparatuses include the political system, the family, the schools, the press/media, and yes, the cultural system (there are many more I will leave unnamed). The Ideological State Apparatuses are almost always controlled by the ruling classes and the result of this hegemonic control is that the ruling classes’ ideas about society appear as common sense. Sometimes, the ruled classes can gain footholds within these institutions or even develop parallel or warring ideological apparatuses. This does not seem to be the case in the arts today, however.

In the wake of this analysis, we can recognize this ordinance fight in Chicago as a contradiction or conflict between ideological state apparatuses, not between warring classes, which now casts this conflict’s speedy and nonetheless joyous resolution in a new, stark light. The unity of the ruling ideology was put ahead of the regulative whims of those within the Political Ideological State Apparatus. The civil war between ideological state apparatuses was averted and the relative unity of the ruling ideology has been promptly restored. In summary: a minor conflict is quickly resolved in the name of the ongoing and primary struggle of the bourgeoisie against the proletariat.

Fellow artists, which side are you on? Are you sure?

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iremembernumbersonly · 4 years ago

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Kutch Trip Report 2021

2800 km in 9 days that is Kutch trip 2021 for us. Started as only 4 persons while planning, it took off with 8 persons in two cars one Renault Duster and the other Honda Jazz. It was to be Noel, Commander, me and Meera Madam from the Spiti Team. But overhearing our conversation, my younger son said I will also come. Navin from Delhi opted to join, then my son said let’s go in our car. That gave us some leverage. Anandhi my wife said I will also come. Biren and Madhavi joined from Vadodara. Unfortunately, Navin could not join due to Covid. Hence, it was 8 persons in two cars. I insisted on RT-PCR due to Covid so that there should not be any hiccups when we cross the state border either way, which was agreed upon.

Everything started rolling in, a group was formed to share the ideas, places to see, etc. Few meetings took place in virtually. It was loosely decided to have a 9 day trip. Of which first 5 days were planned and booked. Rest of the bookings, it was agreed to go as it comes. The plan which was agreed upon went like this.

Kevadia, Ahmedabad, Patan, Dasada, Dhordo, Bhuj/Nakhatrana, Lakhpat, Narayan Sarovar, Mandvi, Vadodara and Dandi. Biren insisted on staying with him on last day at Vadodara.

A week before D-day, it was finalised with a halt at Kevadia, stay in outskirts of Vadodara, pass Ahmedabad to Patan, and 2 night halts at Dasada, 2 night homestay at Chobari. That was upto 1st morning. At Chobari, Ramji Meriya, the owner of Nature Zone referred us to Jugal Tiwari the owner of Centre for Desert and Ocean at Nakhatrana.

Off went we 3 from Kalyan west on 24.2.2021, picked up Meera Madam from Kalyan east in the early morning and proceeded to meet the other group at Khaman junction on the highway. Noel and Commander started from Powai and reached there.

Day-1

Kevadia

After breakfast at Hotel Ahura, went to Kevadiya via Navsari-Rajpipla and reached Statue of Unity. We reached via Kevadiya railway station road and Noel reached the other way. Parked our cars at Valley of Flowers car parking. You can walk to the nearest gate also. Plenty of buses run for visitors to reach the gate, of course free of cost at frequent interval. As we have booked the tickets online, we showed the booking in our mobile and went inside. There are two types of tickets one for the gallery and the other to go in lift upto a certain level inside the statue to see the view from above. You may require atleast 3-4 hours to see around. Evening sunset near the dam and light show on the statue after sunset are additional attractions. Then we went to Vadodara outskirts and stayed in Hotel Apple Grand. (a nice hotel on the highway)

The 182-metre (600 feet aprox.) statue is dedicated to Sardar Vallabhbhai Patel, the architect of independent India. The colossal monument towers over River Narmada and overlooks the vast surrounds and the river basin and the sprawling Sardar Sarovar dam. The Sardar Sarovar Dam is the third highest concrete dam (163 metres) in India after Bhakra (226 metres) in Himachal Pradesh and Lakhwar (192 metres) in Uttar Pradesh. A Light and Sound show using laser technology projected on the Statue of Unity takes place every evening except Monday. For further details about the Statue of Unity click here

Day-2

Biren and Madhavi joined us in the morning. At breakfast, we decided to skip Sabarmati as going in Ahmedabad would delay our journey. Instead we went to Adalaj Stepwell.

Adalaj Stepwell

The flamboyant 15th-century stepwell, with intricate carvings on the pillars that support the five storeys are mostly intact; the beams work as pit stops for pigeons flying in and out and the structure still leaves jaws dropped for swarms of people. The step-well represents the Indo-Islamic fusion architecture that percolated through the many stepwells of the period. The opening in the ceilings above the landing allows light and air to enter the octagonal well, but direct sunlight never touches the steps except at noon. It is said that the temperature inside the well is six degrees cooler than outside. The stepwell has three entrances. The stairs lead to an underground storey, which has an octagonal opening on top. The walls are covered in ornamental carvings with mythological and village scenes. You can read about it more here

Rani-ki-vav, Patan

Next stop was Patan, the world heritage site of Rani-ki-Vav. This is one of the oldest and finest stepwells in Gujarat and is remarkably preserved. Steps lead down through multiple levels with lines of carved pillars and more than 800 sculptures, mostly on Vishnu-avatar themes, as well as striking geometric patterns. The stepwell is made in the form of an inverted temple. It showcases superior craftsmanship of the era, and the unique Maru-Gurjara architectural style. The stepwell was built in 1063 by Rani Udayamati of the Chaulukya Dynasty to commemorate her husband, Bhimdev I. The stepwell was commissioned in 1063 and was completed after 20 years. Archeologists Henry Cousens and James Burgess visited it in 1890s when it was completely buried under silt and only the shaft and few pillars were visible. The stepwell was rediscovered in 1940s, and the Archeological Survey of India restored it in 1980s. The stepwell has been listed as one of UNESCO's World Heritage Sites since 2014. Read more here

Sun Temple, Modhera

The guide we hired here told us to go to Modhera also. So we went to Modhera before the close of the site for the day. Modhera is an ideal destination for being away from the hustle-bustle of city life for a day. The unruffled peaceful landscape and the majestically welcoming temple complex will ensure to take you away from the mundane routines of daily. As you enter the historical complex, you first come across the magnificent kund known as the Ramakund, built in rectangular shape containing 108 shrines to various gods and demi-gods. There are three main shrines positioned on the three sides of the kund, dedicated to Ganesh and Vishnu and an image of Lord Shiva dancing the ‘tandav’ facing the temple of the sun which covers the fourth side. The twelve representations carved on the pillars represent the sun according to the twelve months. The statue of the sun god no longer exists. More about here

Reached Rann Riders, Dasada, Little Rann of Kutch in the night. During the night you can miss the sign board, while reaching advised to go slow so that you can take a proper turn to reach the resort. We met Cyclist Brajesh Sharma who was going live on YouTube from the Nature Zone. He is on All India Tour on cycle to create awareness about dangers of using plastic in general and single use plastic in particular. He regularly interacts with the schools, colleges on his tour which he started a year back. Follow him here

Day-3

Little Rann of Kutch

Morning after breakfast, went for the dry land safari in the Wild Ass Sanctuary and wet land safari in the evening. Being the world’s only natural habitat for wild ass, the sanctuary of course draws people to watch these magnificent creatures. However, the sanctuary harbours a large variety of bird population. The Rann was a shallow part of the Gulf of Kutch earlier. It is formed through the process of siltation of marine estuary. During monsoon, the Rann becomes a vast shallow sheet of water which dries up by October, November. Flamingos, Pelicans, Spoonbills, Glossy Ibis and Painted Storks etc were seen by us. We saw Brahminy Duck, Sandgrouse, etc. also.

Day-4

Left for Dholavira for Harappan Excavation another UNESCO World Heritage site. This was the highlight of the trip. As all you know, every such trip has a highlight and a place worth visiting, a lifetime achievement. Dholavira was one such place. You are reminded of the advance techniques used by people more than 4500 years ago. You will not believe until you see such place. Personally, I feel what you are taught in schools about history is nothing when you visit such places and hear from government guides.

Dholavira

Dholavira is the most remarkable excavations of the Indus Valley Civilization or Harappan culture, dating back to 4500 years ago. What Dholavira offers you, in the intense environment that comes with being surrounded by the Great Rann of Kutch, is a unique insight into the pioneering Harappan mind, with one of the world’s earliest and best planned water conservation systems and what might be the world’s first signboards, written in ancient Indus script.

The excavation also tells the story of the 7 stages of the civilization, from development to maturity to decay, the last of which hints at a strange piece of history, with more questions than answers. After the peak of the civilization Dholavira was temporarily abandoned, after which it seems that the settlers returned with a markedly de-urbanized culture. There are hints that they willingly chose to simplify their lives, rather than try to ride the collapse of their once glorified civilization. Here, on the ruins, you will have a chance to contemplate what progress and civilization mean and what, if anything, is truly permanent.

Dholavira, known locally as Kotada (large fort), sprawls over 100 hectares of semi-arid land at the north-west corner of the island of Khadir. It is one of the islands in the Great Rann of Kutch that remain above the flood-plains in months when the rest of the desert is submerged by the monsoon. Dholavira has two seasonal nallahs, or streams: Mansar in the north, and Manhar in the south. The journey to Dholavira itself is beautiful, taking you through the saline desert plains of the Great Rann, where you can spot wildlife such as chinkara, nilgai, flamingos and other bird life.

The site was unearthed by the Archeological Survey of India (ASI) in 1967, but has been systematically excavated only since 1990. It has a museum where all the artefacts are on display. Visit this website for more information.

Chobari

We started for Chobari, Nature Zone, our final stop of the day. The google map shows the wrong route at the last leg. But follow your instincts and go, as the people nearby are helpful. Ashwath drove through a village and people guided properly. When in the map it was showing the homestay is just across, I told him just take a turn instead of going ahead. Just then, I noticed a board showing the way. So, we went first, as the other car followed the google map and was helped by Ramji by sending a person to show the way. It is very difficult in the night and if you are new in these areas.

Meriya Nature Zone is a homestay and bookings can be made through personal contacts. It is yet to be on internet. The homestay is very good with basic amenities. As mobile network is available, no worries about internet connection. Ekal Rann is nearby and the full moon with Rann in background is something to be experienced. For bird lovers, the homestay itself is a heaven as Maharashtra’s state bird Yellow footed Green Pigeon, peacock, red vented bulbul, kingfisher, Domicile’s crane, etc are plenty. Just outside the homestay, there is a water body, where lot of coots, cormorants, ducks, shag, etc can be seen.

Day-5

Ekal Rann

Noel and others went for nearby bird watching where hordes of peacock, common cranes, calves feeding takes place and came back. The other group enjoyed the bird watching and village experience chitchatting under the tree in the homestay. As we have not decided about our further stay at Nakhatrana/Bhuj, Ramji Meriya suggested us Jugal Tiwari at Nakhatrana. We finalised the stay at Nakhatrana, Centre for Desert and Ocean (CEDO) for two nights. In the evening we went to Ekal Rann for sunset and full moon. We saw flamingos and cranes in thousands. The slushy road in between leads to Dholavira but only when it dries. Ramji was telling that due to excessive rains this year, it has not dried up. He also remembered his pioneering effort of bike rally from Ekal to Dholavira and back.

Day-6

Bhuj

After breakfast, we started off to Bhuj, and straight went to Aina Mahal but unfortunately, we reached around 12.30 pm. It is closed between 11.45 am and 3.00 pm. Then, Noel suggested to go to his friend’s hotel (Hotel Annapurna, near Bhid Gate). We thought of getting our RT-PCR done and enquired with Gor and Jugal Tiwari and agreed to do it in Bhuj before proceeding further to Mandvi and then to Nakhatrana. Bhagat lab, Bhuj does the RT-PCR in Bhuj.

Mandvi Beach

We then went to Mandvi beach and spent time. There must be some other point where seagull, spoon bill etc, are plenty. The beach point is very crowded with camel ride, boat ride, joy ride etc. and bustling with lot of people. We were wondering where this corona went?

Reached Moti-Virani village, where CEDO is situated and here came to know about Jugal Tiwari is ex. BNHS person. He was also pleasantly surprised to know about us being BNHS members. The booking at CEDO is through internet only and some times through contacts known to him. In our case Ramji Meriya. No bookings on go and knock.

Day-7

Lakhpat, Narayan Sarovar

Mata-no-Madh, Ashapura Temple

After breakfast, we started for Lakhpat the fort town. On our way we stopped at the Mata-No-Madh Ashapura Temple. This shrine is steeped in antiquity as far as its origin is concerned. Today there is no trace of any ancient records or writings which give any indications of the beginning of worship at this shrine. One fact firmly stands out that this deity was very much there in 9th century AD when the Samma clan of Rajputs from Sindh first entered western, or more correctly, north-western Kutch. They were followed in the later centuries by more families or this clan which eventually established them in the region and one of their line got control of the whole state of Kutch in the beginning of the 16th century. Then we went to Siyot Caves. It is a small Buddhist cave as the name suggests. From Siyot to Lakhpat, the road after passing a village was only bushes and mud road. Though the google map shows it as Siyot-Lakhpat Road, it is a challenge to drive on this road which joins the Gaduli-Lakhpat Road at the end.

Lakhpat

Lakhpat Fort with a walled fort, was an important coastal trade node in the 18th century. At the mouth of the Kori creek, the large fort walls still offer testimony to a short but glorious past. One can climb the fort rampart, the only remaining structure of the fort, and look over at the placid sea. This spot is particularly stunning at sunset. Within the fort walls, also lies a 16th century gurdwara. It is believed that Guru Nanak stopped here twice during his second (1506–1513) and fourth (1519–1521) missionary journey called Udasis. The gurdwara is a soothing spot for travellers. The soft hymns play constantly in the background, as travellers visit the ancient Sikh place of worship to see relics like wooden footwear, palkhi (palanquin), manuscripts and markings of two important heads of Udasi sect. We had prasad at the Gurudwara Langar.

More than 200 years old, the fort is named after Rao Lakha, who ruled in Sindh about the middle of the thirteenth century. It fell to ruins through the century, as trade depleted, and the people in the town migrated to fairer pastures.

Narayan Sarovar

Narayan Sarovar Temple has great spiritual significance. This is one of the 5 holy lakes of Hinduism, along with Mansarovar in Tibet, Pampa in Karnataka, Bhuvaneshwar in Orissa and Pushkar in Rajasthan, and is considered a coveted place for a holy dip. The origin of Narayan Sarovar dates back to the Puranas. It is said that there was a drought in the region, and Lord Vishnu appeared in response to ardent prayers by sages. When he touched the land with his toe, a lake was immediately created, alleviating the locals from their misery. An adjoining temple built by the wife of Maharao Desalji features shrines of Shri Trikamraiji, Laxminarayan, Govardhannathji, Dwarkanath, Adinarayan, Ranchodraiji and Laxmiji. Madhavi was excited to know about Vallabhacharya, who had baithak at this place. She interacted with the pujari of the temple to know more about it.

A short drive from here, the Koteshwar Mahadev Temple is a grand sandstone structure that overlooks a marshy sea. Shrines dedicated to Shiva and Ganesha are the highlights here. Koteshwar Temple, at a place where the immensity of dry land meets the incomprehensible vastness of the sea. It is the last outpost of human construction and the temple at the westernmost limit of India. The story of Koteshwar begins with Ravana, who won a boon from Lord Shiva for an outstanding display of piety. This boon was the gift of a Shiva linga of great spiritual power, but which Ravana, in his arrogant haste, accidentally dropped and it fell to earth at Koteshwar. To punish Ravana for his carelessness, the linga turned into a thousand identical copies (some versions of the story say ten thousand, some a million; suffice to say it was quite a lot.) Unable to distinguish the original, Ravana grabbed one and departed, leaving the original one here, around which Koteshwar Temple was built. Visitors can see the temple, walk along the beach and on a clear night, even see the glow of light from Karachi, Pakistan, on the north-western horizon. One more observation was that the flag is so long that it touches almost the sides. Never seen temple flag so long.

On our way back, we were looking for the tropic of cancer line which we could not find while going. To our delight, we found the board but the markings on the road is not at all visible may be due to asphalting of roads and ignorance of the contractor who laid the road.

We skipped going to Nirona village for award winning rogan artistes, bell makers, Lacquer works due to paucity of time.

Day-8

We started after our breakfast for Vadodara. Wait. Jugal Tiwari wanted to show us his fossil collections which was spellbound. He explained patiently and offered his help those students for their academic purpose. He also showed us the bell works and rogan art which he sells to guests as promotion of cultural appreciation. After exchanging pleasantries, we left for Biren’s house. The drive was a long one. We took a different route in which the road was not at all good as compared to arterial roads. Hence, we reached Vadodara at least 30-40 minutes after they reached. Noel went to his daughter in law’s place. We had a on the go Vadodara darshan in Biren’s vehicle. Meera Madam revisited her student days. We purchased some sweets and savouries for our contacts and colleagues in Mumbai. Else you will be stuck for response for it will be like Returned and had dinner at Biren’s house.

Day-9

Left early around 7 am. Biren dropped Commander and Meera at the designated spot to meet Noel. Transferred the luggages accordingly. Off we went to Dandi.

Dandi

The 'National Salt Satyagraha Memorial', Dandi, is conceived as an experiential journey recreating the spirit and the energy of the 1930 Dandi March led by Mahatma Gandhi and 80 of his fellow Satyagrahis, taking the visitors to the Monument step-by-step in order to visualize and understand the history of the historic Salt March and the methodology of Satyagraha, which finally led to India’s Independence. As Noel asked us to visit his factory at Vasai, off we went from Dandi to Vasai. We reached first and was waiting who joined after half an hour. Noel showed us his factory and his award-winning instruments. We said good-bye with lot of memories of the fascinating trip. Dropped Meera Madam at her place and returned to Kalyan west at sunset.

Note:

In view of Corona, we followed the safe procedure like wearing mask always when stepping out, in car, etc.

Did RT-PCR for each person for crossing the state border even though there was no check.

Thanks to Noel and Ashwath our excellent drivers. Commander for a brief change drove a portion of the trip.

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nsgtaxi · 5 years ago

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· HUMAYUN'S TOMB As the name implies Humayun's tomb is the last known address of the Mughal Emperor Humayun. Situated in the East area of Delhi, this was the first garden-tomb in the Hindustan. This grand construction was constructed for Humayun's queen Bega Begum in the year 1569-70 and is one of the rare constructions that used red sandstone on large scale in those days. The pattern of Humayun's tomb is a normal Mughal construction with Persian effects and was developed by Persian architect Mirak Mirza Ghiyath.

· HAUZ KHAS VILLAGE Hauz Khas Village preserves the age-old charm of the place with the leftover of Islamic construction. Hauz Khas Village is recognized for its magnetic nightlife with infinite cafeteria, bars, and pubs along with art exhibitions, and retail outlets. Hauz Khas Fort is found in the center of Hauz Khas Village with a properly maintained park with footbridges. This place has great energy, and you may get a chance to watch a lot of live broadcasts introduced by various cafeterias at the time of weekends such as stand-up comedy, live jazz, and much more. The current status of the village preserves the old charisma of the place together with a raise of aesthetic effect. Regardless of whether you are from Delhi or not, you ultimately feel that you are at the most fascinating place in the city.

· NATIONAL ZOOLOGICAL PARK Launch in 1959, National Zoological Park also called as “Chidiya Ghar” is located close to The Old Fort in Delhi and is a preferred end of the week spot amongst adults, families, and children. National Zoological Park is properly maintained and is mostly explored by visitors. It includes canteens inside for the people who visit National Zoological Park and vehicles at very affordable costs which you might use need to use only if you feel extremely tired. The zoo has a lot of different animals and birds. In the past, it was called Delhi Zoo but it was renamed as The National Zoological Park a few years back with the notion of creating it the model zoo of India.

· LOTUS TEMPLE Situated in New Delhi. The outstanding architecture of this building spreads in the shape of a beautiful white petal lotus and Lotus Temple is the most visited place in the world. The structure of this holy place was conceptualized by Canadian artist Fariborz Sahba. This temple encourages spreading unity of the lord .Its gate are open for all despite their origin, creed, family, or gender. The Lotus temple is amongst the seven Baha’i House of reverence exists around the world. When you enter the temple you get a chance to see an alluring entrance gate, fascinating floral gardens, and brilliant ponds. And there is much more to see. If you are a traveler you must visit this fascinating place .And the best way to reach there is to hire NSG TAXI. These are just five places we mentioned but there is much more to see in Delhi which you must visit such as Qutub Minar, the India Gate, Waste to Wonder Park, the Jantar Mantar, Rashtrapati Bhawan, Agrasen ki Baoli, Jama Masjid, The Mehrauli Archaeological Park, Connaught Place, Chandni Chowk, the Teen Murti Bhavan, Lodhi Garden, Khan Market, Dilli Haat, National Gallery of Modern Art, Nizamuddin Chisti., Gurudwara Bangla Sahib,Purana Qila, Rajghat, Pragati Maidan, Rajpath, Tughlaqabad Fort, Safdarjung tomb, Lajpat Nagar, the Garden of Five Senses, Rail Museum, Kuchesar, Paharganj, the National Museum of India, the Mughal Gardens, Sarojini Nagar, Sulabh International Museum and much more to see.

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#nsgtai #cab from Haridwar to New Delhi #car rental service #cab service provider

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withinthescripts · 8 years ago

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Season 2, Cassette 3: El Museo de Arte Contemporaneo (1974)

[tape recorder turns on]

Welcome to El Museo de Arte Contemporaneo in Lima. My name is Caty Velasquez, and I am the curator of our current exhibition, “Cityscapes in Modern Art”. We have collected work from a range from all over the world, with help from several of our partner galleries. Included in the collection are three pieces by Claudia Atieno, including one on loan from the private collection of Atieno’s close personal friend and artistic contemporary, Roimata Mangakāhia. We are grateful for Roimata’s contribution to this collection, which she makes in addition to giving us insight into Atieno’s featured works on this audio guide. We are honored to have Mangakāhia’s insight into the once famous, now mysterious Atieno, who has been missing for over two years. The controversy over her disappearance has generated speculation, ranging from the plausible to the conspiratorial. The opinions expressed in this audio guide are those of the narrator alone.

You can find the works discussed here on the east wall of Room 2. For tapes discussing the other work included in this exhibition, please see the front desk.

[bell chimes]

It is impossible to discuss Claudia Atieno’s cityscapes without discussing her politics. Which is difficult, as she herself never discusses them with anyone. There is little ground for speculation about what her politics are, or what they were perhaps. The most we have to go on is her art. And she contradicts herself there frequently.

It’s possible to argue that her near constant rudeness to any government officials demonstrates feelings of antagonism, or even opposition to the society. But I’m not sure. It is true she was often rude. But this could as much be because of frustrations with bureaucracy as secret thoughts of rebellion.

Atieno sketches cities frequently. It’s possible that the ideas expressed in these three paintings were often on her mind. But she rarely committed them to canvas. The cities Atieno chose to explore fully always seemed to be those in a state of transition. It’s possible she’s less interested in cities themselves as she is in change, in adaptation and movement, whether for good or ill.

Of course there have been plenty of alterations and transitions during her lifetime, many more than these three included here. She must have had reasons to depict the three scenes she did. But as she is currently absent from the known world, hopefully not for sinister reasons although some seem to take a strange delight in spreading rumors, it’s up to teach of us to try and decide for what her reasons might have been.

[bell chimes]

One. “A Palace Removed”.

With the removal of nations in 1952, came the removal of the semblance of nations in the years that followed. Flags were destroyed, anthems forgotten, and vast buildings meant as much to give status to governing powers as to serve a practical purpose were demolished. There was preservation, of course, when the buildings in question were seen as having cultural significance outside of their nationalist roles, but often this included the careful moving of the building in question to a more remote area, where its presence would no longer inhibit the development of a more practical, necessary building.

Buckingham Palace, by this time more a symbol than a useful building and taking up valuable mid-city space, was carefully taken apart to be reassembled in Somerset as a museum to the history of former England. This process began in 1959 and took 18 months to complete, and in that time the once grand and revered palace became a shell and was taken away, brick by brick, until it was an empty space. And then a new complex of affordable housing, shops and office spaces was constructed in its place.

Atieno’s painting depicts the palace almost halfway through being dismantled. It is not particularly true to life. Indeed, it is close to full fantasy. Look at the demolition crew, each carrying with graceful ease upwards of half a dozen blocks on their backs. These stone blocks are almost 50 centimeters wide, and nearly as thick. Examine the crew member on the lower left. Their unnaturally wide smile. The sharp angle of their back.

How much can you carry on your back? How much do you smile when you do it?

In addition, the interior of the palace was stripped in the beginning of the process, in order to prevent looting and damage to invaluable artifacts. Atiano, however, recreated the rich décor in the half-undone building. Lash red carpets, stretched across the exposed floors, and lavishly upholstered furniture stands in its place. There are even ornate vases on rare marble pedestals, next to broken walls and wrecking balls.

Notice the shadows across each room. They appear at first to be simply cast by the cranes that surround the building, or by the clouds that scutter along the sky above. But if you look closely, these shadows appear almost humanlike, ghostly figures left behind.

Do you see the ballroom on the right side of the painting? Which monarch’s shadow do you think is represented here? One of the Henrys? [whispering] Victoria herself? Or perhaps it is of the, at the time, still living George the sixth, the last monarch of the Commonwealth, not a ghost at all, but an incorporeal symbol of a new powerless vigor.

It’s possible to interpret this is Atieno’s sympathy for the displaced monarchs, or regret over the loss of national borders and national identity. Many historians mistake Atieno’s criticism of the new society for cultural conservatism. Alphra Bond of the times called “The Palace Removed” [mocking voice] “facetious slander. Atieno wants to preserve history and culture, but not a the cost of progress and peace,” Bond wrote. I have trouble picturing this is as being the case. Claudia had little respect for personal ownership of anything, whether a palace or a paintbrush. Indeed, I often found her to have considered my paint brushes as her won, even when they were propped beside –my- easle, still wet with paint. She saw no sense in anything, if that thing was not going to be shared.

So regretting the loss of a lavish palace inhabited by one family seems to me unlikely for her. Claudia told me a story of inviting Bond to a gathering at her home in Cornwall. When Bond arrived, the entire party was wearing masks and silently staring at her. She tried to start several conversations, but upon realizing the futility of the endeavor, Bond drank a glass of champagne, ate a cucumber sandwich, and left calmly.

I believe that the shadows in this painting represent the future, not the past at all. The people who would find use and life and joy in the space left by the building. The ghostly figures belong to the people who right now [whispering] are living and breathing within the new walls that arose to replace those taken down.

Or of course, it could mean both those things, or neither. It’s possible Claudia simply saw it as an image she liked and adapted it to suit her fancy. Perhaps I shall ask her about it, when she – resurfaces.

[bell chimes] [tape recorder turns off] [ads] [tape recorder turns on]

Two. “The Parade in Paris”.

The wistfulness of a palace removed moves to strange melancholy in “Parade in Paris”. Paris did not look much like a city at all after the Great Reckoning, obviously, as so much of it has been destroyed or repurposed for military use. I am not sure whether the scene depicted in this work ever took place. Or if it did, whether Atieno was actually there or simply heard about it later. I don’t know how soon after the wars it’s meant to be or how far into the implementation of the new society, but perhaps it does not matter.

The scece shows a city broken. It is being rebuilt. There are cranes everywhere, and even one or two completed new buildings. But there is still, at this stage, more loss than renewal. Paris in the midst of the impossible task of civic resurrection. And along the streets, we can see a ramshackle, unofficial parade. Notice that the parade doesn’t have floats or balloons or a marching band, it is simply made up of people walking. Ostensibly, this is about citizens who own nothing, celebrating at the end of the Reckoning. They cannot afford music nor décor, but a parade is simply a momentous movement of people through a town. It is easy to look at the gathering and see the optimistic determination of humankind.

Look at the faces of those in the parade. Are they optimistic? Are you?

But the triumph of humanity is not Atieno’s story here. Look again at the parade. It is made of people, yes, but more specifically what kind of people? Do you see each man and each woman? Do you see their uniforms, their vests? They’re stopping work to march, perhaps it’s a strike. But there’s still plenty of workers doing their jobs. Look closer. Do you see their children? It’s a parade of families. There is no reason for them to be there. They’re not protesting anything, they’re not celebrating anything. Unless they’re simply celebrating their own existence. Unless they’re protesting the hardships contained within it.

Atieno released this painting in 1968, but I believe she painted it much earlier. The painting is full of families, and the families are full of joy. And though they don’t appear to realize it themselves, they’re walking towards a future with no families in them at all.

There are a lot of things Claudia could be saying here, of course. She could be deriding the implementation of a society that ignored the concept of family in the favor of universal peace. She could be acknowledging that there is a joy and unity in the midst of destruction. As it happens, I have a fairly strong opinion about this painting, although it’s not one that I can support particularly well with evidence. I think the painting is a farewell.

Claudia was not made to forget her parents and her siblings, as those of us born a few years later than her were. She has to leave them and relearn what they had taught her. She had to divest herself of that family loyalty and become part of a bigger world. But it turns out loyalty can linger in ways we don’t expect.

I like this painting. This is a painting [whispering] I like.

[bell chimes]

Three. “The Arising”.

Both the London cityscape and the Paris one deal in destruction. Although the view of Paris includes aspects of rebuilding and therefore renewal, they serve more to highlight the remaining destruction and loss that surrounds them.

“The Arising” looks at what was newly created in the changing landscape of society. It shows a street in Kota Tua, Jakarta, probably in the early 1960’s. Atieno visited the former Dutch East Indies with a mutual friends of ours, the artist Cassandra Resa. They traveled extensively together for a time.

The painting is simple at first glance. See how the street, while mostly empty, has been rebuilt from scratch with a specific purpose in mind. Low buildings line the street with an open grassy square about a third of the way down. The buildings are new. The square is carefully planned and cultivated.

Look at the children in it, playing together with hoops and balls. Some of them are reading. Some are sitting on the ground talking. What books are they reading? What are the children talking about? You know, but you have been made to forget.

The complex depicted in Atieno’s painting set up on the abandoned street in Kota Tua was one of the first collective homes set up. You can see the caretakers dotted around. The children, of course, are all under ten. Once they’re ten, they’ll be set on the path towards adulthood, leaving behind every memory they made in this place.

It is a picture of innocence, but there is a darkness to it. look at the adults around the edge of the park, their backs stiff, arms straight, faces almost without features. Do you feel a sense of tightly wound control?

I only met Cassandra Resa once or twice when Claudia was there. I don’t know if Claudia knew that I’d kept in touch with Cassandra. That I’d even stayed with her once, at her home in Nicosia.

Cassandra has a large studio full of work that the public has never seen. Some of it was unfinished, some of it was barely started. I looked through it once. I don’t know if Cassandra knew that I saw that painting, the one of the street in Kota Tua, Jakarta, with the new buildings, with the square, with the children and caretakers and innocence stained by control. It was her painting. It was different than the one you are looking at now. Notice the children in the public park and the adults standing like prison bars around its perimeter. Cassandra’s painting had none of this ominous political subtext, it was a celebration of rebirth, of a ne world. It was beautiful and inspiring, and I hoped the world would see it some day. But I doubt Cassandra could prove at this point that she painted hers first. I can’t prove that either, but I know. All of us in Claudia’s life knew. In retrospect, I wasn’t surprised to find that painting. Honestly I would have been more surprised not to. I didn’t tell Claudia, I never told Claudia. I didn’t tell Cassandra, either. I don’t know what I thought Claudia would do if I told her what I had seen. Maybe she would have demanded that I acknowledge her painting to be the better of the two, anyway. Maybe she would have pretended not to understand. Maybe she would have – thrown something.

Maybe she’ll object to this if I ever see her again. I suppose I should say –when- I see her again. I’m sure we will have words if I see her again, but Claudia didn’t hold grudges. Doesn’t hold grudges. I’m trying to remember to use present tense. Didn’t hold grudges, doesn’t hold grudges. Uh uh, Claudia is, not was.

Claudia doesn’t hold grudges, but others do. [whispers] Present tense, Roimata. Present tense.

OK yeah, we’re done.

[tape recorder turns off]

Within the Wires is written by Jeffrey Cranor and Janina Matthewson and performed by Rima Te Wiata, with original music by Mary Epworth. Find more of Mary’s music at maryepworth.com. the voice of Caty Velasques was Anairis Quinones.

And if you haven’t already, go to withinthewires.com and fill out our audience survey. It’s a brief thing and it only helps us with advertisers, it’s a great way for free to support our show.

Within the Wires is a production of Night Vale presents. Check out our other podcasts, like Welcome to Night Vale and Conversations with People who Hate Me, and our newest podcasts starting this month, It Makes a Sound and I Only Listen to the Mountain Goats.

OK, our time is done. It’s your time now. Time to stop by the museum giftshop, grab yourself a souvenir book of paintings about paintings about paintings. Pick up a poster featuring your Mom and buy a commemorative vase made out of weird Twitter jokes.

-- Hey, thanks for listening to episode 3 of Within the Wires. Stay tuned right now of the pilot episode of Night Vale Presents’ newest fiction podcasts, It Makes a Sound, by Jacquelyn Landgraf. You can subscribe at Apple podcast, or wherever it is you get your podcasts.

You can read the transcript at https://itmakesasoundtranscripts.tumblr.com/post/165879604217/episode-1-are-you-listening

#within the wires #night vale presents #season 2 #season 2 cassette 3 #El Museo de Arte Contemporaneo (1974)

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narmadatentcity · 5 years ago

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Book Vadodara to Statue of Unity Bus – Know All Details

What is the Statue of Unity?

The dedication of Sardar Patel hails on the little island of Sadhu Bet near Narmada city of lively Gujarat. It got introduced on 31 Oct 2018, that happened to be the 143rd birth commemoration of Sardar Patel. A task that was proclaimed as "Gujarat's Tribute to the Nation" in 2013, is the prime fascination of our nation these days. It has picked up its overall fame in a matter of moments – Vadodara to Statue of Unity Bus

Not just it draws the attention of thousands of sightseers consistently however has additionally opened incalculable openings for work for the individuals of India. The sources state the undertaking gave business chances to about 3000 laborers. Also, around 250 architects were engaged with this task for 42 months.

As a guest, you'll have significantly more to do than being transfixed by the world's tallest statue. The Statue of Unity additionally has a dedication display, a show floor and a 153 m high survey exhibition that guarantees stupendous perspectives on the Satpura and Vindhyachal Mountains. The Shreshta Bharat Bhavan complex at the base of the Statue is home to a historical center, a shopping mind boggling and a lodging.

What's in Store

The site is likewise home to Tent City, a lavish nature resort worked in the shadow of the Statue of Unity. The ideal spot to encounter the amazing excellence of the Narmada Valley, the Tent City can house more than 500 vacationers in its lavish offices.

Ticket and Timings

The Statue of Unity is open Monday to Sunday from 9 am to 6 pm. You can book your tickets on the web or on the spot with section evaluated at Rs. 350 for grown-ups and kids matured more than 3. Your ticket will incorporate section to the Statue of Unity perception deck, Sardar Patel Memorial, Museum, and various media exhibition. You will likewise approach the Valley of Flowers and the Sardar Sarovar Dam.

What's uncommon?

Tent City – A sumptuous nature retreat named as the Tent City Narmada, has been as of late introduced only 10 km away from the statue. Encompassed by cascades, knolls, bottomless untamed life and thick woods the retreat lies along the ideal Panchmuli Lake.

Three-star lodging – An inn named 'Ek Bharat Shrestha Bharat' is practically finished and will be initiated by December this year.

Survey Gallery – The focal point of fascination that baits scores of visitors is a review exhibition which is roosted at a tallness of 153 m. The display offers all encompassing perspectives on the Sardar Sarovar Dam, the Vindhya and Satpura mountain extends, etc. 200 guests can be suited in the exhibition immediately.

Fast lifts – Two rapid lifts and a nursery add to the appeal of the statue. The lifts convey 5000 guests to the review display every day. A historical center and light and show tossing light at the life of Sardar Vallabh Bhai Patel are an additional in addition to.

Selfie point – A selfie point which is situated in nearness empowers guests to take picture-immaculate selfies with the statue out of sight. Moreover, a strip mall close by takes into account the need of the guests.

Valley of Flowers – Furthermore, slopes abutting the statue display another appear to be like the 'Valley of Flower'. This is accomplished by planting various flowers.

Source: https://narmadatentcity.info/statue-of-unity-from-vadodara/

This tallest and gigantic Vallabhbhai Patel statue was planned by Indian artist – Ram Vanji Sutar, who is Padma Shri and Padma Bhushan awardee for his tremendous commitment in the field of expressions. This famous stone carver has made in excess of 50 fantastic models. The statue was made inside five years. The structure for the statue was submitted subsequent to considering various statues of Patel the whole way across the nation.

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travelworldnetwork · 6 years ago

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Thirty years after the wall fell, Berlin has become one of the world's greatest destinations. Photo: Alamy

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The first barbed-wire coils of what would become the Berlin Wall were rolled out in August 1961. Soon, this barrier would become infamous for creating the cut-off enclave of free West Berlin inside socialist dictatorship East Germany, and slicing Berlin's city centre in two.

The Berlin Wall stood, in several different forms, for 28 years until the evening of November 9, 1989, when Berlin's citizens rose up and, with hammers, pickaxes and their bare hands, consigned to history their contentious, reinforced-concrete border. It was a peaceful revolution and scenes of Berliners dancing atop the Wall provided one of the great media moments of the late 20th century.

The Berlin Wall was more than just a wall. By the 1980s it was two walls, a string of watchtowers and fences, a series of anti-vehicle trenches and a barren "death strip" where escapees could be – and were – shot on sight. There is no official figure on how many lost their lives – perhaps 200. More than 5000 people managed to escape, some in ingenious ways, including the use of zip-lines, tunnels and even a stolen army tank.

The Berlin Wall didn't just separate friend and families. It was also an ideological barrier, the physical incarnation of the Iron Curtain that divided western capitalism from eastern communism. It was the Cold War in concrete, and a symbol beloved of spy movies and novels.

Today little remains of this monument to the Cold War in Berlin, since most of it was either destroyed or souvenired. Cobblestones and metal strips mark its former location in the city centre, and small (yet still sinister) sections remain. The city recalls its Cold War past, however, in various museums, memorials and sites around the city.

Throughout this year, which marks the 30th anniversary of the fall of the Berlin Wall, there will be added levels of interest as key sites host special exhibitions, events and commemorations that provide an even more compelling look at this paranoid, politically charged and – from the perspective of passing time – utterly bizarre period in European history.

To Germany's credit, Berlin today has a gracefully restored and reunited city centre and is one of Europe's most multi-ethnic, youthful, tolerant and energetic cities. Yet it doesn't whitewash its past, and continues to grapple with legacies of its Nazi and Cold War eras. It preserves these memories at informative, interesting and often unflinching historical sites. Few cities are as pleasant and vibrant to visit, and yet as insightful and sometimes confronting too, making this one of the world's great destinations for the thoughtful traveller.

THE MONUMENT BRANDENBURG GATE

Photo: German National Tourist Board

WHY SEE IT

This neoclassical triumphal arch is Berlin's symbol. The square around it sees festivals, celebrations, marathons, rallies and New Year's Eve fireworks.

THE HISTORY

Brandenburg Gate was completed in 1791 as a monumental entrance to Unter den Linden Boulevard leading to the Prussian royal palace. The Berlin Wall ran close to the Gate, which became the symbol of a divided Europe. Reopened after extensive renovations in 2002, it now stands for freedom and German unity.

WHAT TO SEE

The Gate itself, the Quadriga statue at its summit depicting a horse-drawn chariot, and surrounding Pariser Platz, an elegant square of embassies, town houses and the famous Adlon Hotel.

DON'T MISS

The Room of Silence in a flanking guardhouse, with its wall-hanging depicting light penetrating the darkness of a forest.

ESSENTIALS

Always open, free admission. See visitberlin.de

THE MEMORIAL BERLIN WALL MEMORIAL

Photo: Alamy

WHY SEE IT

This surviving 60-metre section of Wall (and watchtower) was the scene of several significant Cold War events. Escapee Ida Siekmann became the first known casualty of the Berlin Wall here just nine days after its construction.

THE HISTORY

The memorial was created in 1998 on Bernauer Strasse, a Berlin street made famous in August 1961 when images of East Germans leaping from apartment windows into the French sector were beamed around the world. This was the first part of the Wall to come down in November 1989.

WHAT TO SEE

An open-air exhibition details the Berlin Wall's appearance in the 1980s and how the border was organised. A visitor centre outlines its construction.

DON'T MISS

The Chapel of Reconciliation, a striking, contemporary commemoration of the 130 people who lost their lives crossing the Berlin Wall.

ESSENTIALS

Exhibition and grounds open 8am to 10pm daily, admission free. See berliner-mauer-gedenkstaette.de

THE TOURIST SITE CHECKPOINT CHARLIE

Photo: Alamy

WHY SEE IT

This infamous checkpoint between Berlin's American and Soviet sectors is a kitschy reconstruction, but does provide a sense of deja vu for aficionados of spy movies and espionage novels.

THE HISTORY

This was one of few Berlin Wall crossing points and the only one permitted to westerners. American and Soviet tanks famously faced off here in 1961. The original checkpoint and guardhouse was entirely removed in 1990.

WHAT TO SEE

This is a place to capture some Zeitgeist rather than sight see, though information boards outline the checkpoint's history. A pseudo-guardhouse fronted by sandbags is a tourist magnet, but bears scant resemblance to the original.

DON'T MISS

Private museum Haus am Checkpoint Charlie (mauermuseum.de) documents the inventive, dramatic and sometimes fatal escapes across the Berlin Wall by East Germans.

ESSENTIALS

Always open, admission free. See visitberlin.de

THE FESTIVAL 30TH ANNIVERSARY YEAR

WHY SEE IT

If you hanker to see Berlin or investigate the Cold War years, do it this year, as special events highlight this peculiar period in the city's history.

THE HISTORY

Thirty years since the fall of the Berlin Wall, the city is commemorating by taking a new look at the Wall's history, East Berlin's struggle for freedom and the German reunification process.

WHAT TO SEE

There are events all year, so check what's on during your visit. Among them are exhibitions on the Berlin airlift, Stasi (secret police) operations and East Germany's once boarded-up "ghost station" metro stops.

DON'T MISS

The million-strong German Unification Day street party on October 3, an annual family event of live music, food and carnival rides that promises to be bigger than ever this year – although unification's 30th anniversary isn't until 2020.

ESSENTIALS

See visitberlin.de

THE MUSEUM GERMAN SPY MUSEUM

CCTV at the Spy Museum. Photo: Alamy

WHY SEE IT

Put the Berlin Wall and Cold War into context in this excellent interactive museum, which details many of the era's political dramas and the dealings of its shadowy agents.

THE HISTORY

The museum was opened in 2015. It focuses on the Cold War period and some of its most notorious spies and assassins. As a reminder that history repeats itself, though, the museum also traces several millennia of spycraft, from ancient Babylon and Tudor times to World War II.

WHAT TO SEE

The collection of Cold War weapons, transmitters and recorders concealed within everyday items such as umbrellas and telephones is particularly fascinating.

DON'T MISS

If you have kids, they'll love the laser room. The aim is to wiggle through it, like Catherine Zeta-Jones in Entrapment, in record time.

ESSENTIALS

Open daily 10am to 8pm, admission €12. See deutsches-spionagemuseum.de

THE ART EAST SIDE GALLERY

Fraternal Kiss, a recreation of an actual 1979 embrace between Soviet leader Leonid Brezhnev and East German leader Erich Honecker. Photo: SHUTTERSTOCK

WHY SEE IT

This chunk of concrete along the Spree River is the longest surviving section of original Berlin Wall (1.3 kilometres). Now covered in some 100 artworks, it's billed as the world's longest open-air art gallery.

THE HISTORY

Artists started daubing the Wall almost immediately following the border's opening in November 1989. Soon, graffiti was ruining the originals. The site was declared a protected memorial in 1991 and its artworks restored or repainted.

WHAT TO SEE

The best artworks comment on the Wall's fall and subsequent social changes in East Germany. Take an informative guided tour at 10am on Saturdays with the Berlin Wall Foundation, if you can.

DON'T MISS

The most famous mural is Fraternal Kiss, a recreation of an actual 1979 embrace between Soviet leader Leonid Brezhnev and East German leader Erich Honecker.

ESSENTIALS

Always open, admission free, tours €3.50. See eastsidegalleryberlin.de

THE DISPLAY BLACKBOX COLD WAR

WHY SEE IT

This flat, black building near Checkpoint Charlie is dedicated to Cold War artefacts, but also links to Cold War politics and events beyond Berlin, such as the Korean War and Cuban missile crisis.

THE HISTORY

Dark walls on this building are emblazoned with grey multilingual terms such as "Espionage" and "Democracy". It was opened in 2012 as a temporary exhibition space before the construction of a permanent Museum of the Cold War.

WHAT TO SEE

Large-format photos of Cold War events and the no-man's-land that ran along the Berlin Wall are particularly striking. Watch historical film excerpts in the cinema and listen to Berliners recalling Cold War memories at 16 media stations.

DON'T MISS

A Soviet radiation dosimeter used to measure radioactivity levels, which is a reminder of how close the world came to nuclear war.

ESSENTIALS

Open daily 10am to 6pm, admission €5. See bfgg.de

THE DISTRICT POTSDAMER PLATZ

Photo: Alamy

WHY SEE IT

No part of Berlin better symbolises its fall and rise. Corporate headquarters designed by famous architects rise from a former wasteland. Its few remnants of Wall seem surreal and inconsequential.

THE HISTORY

This square had its origins in the 17th century and its heyday in the early 20th before it was flattened in World War II. A location at the intersection of American, British and Soviet sectors saw it abandoned. In the 1990s an entirely new district arose.

WHAT TO SEE

Metal strips mark where the Berlin Wall once ran. Scan the QR code at Deutsche Bahn Tower for a look at the square's changing face through time. An old GDR watchtower lingers on Erna-Berger-Strasse.

DON'T MISS

Six re-erected segments of much-graffitied Wall stand outside the entrance to the train station, alongside information boards.

ESSENTIALS

Always open, admission free. See potsdamerplatz.de

THE ACTIVITY BERLIN WALL TRAIL

WHY SEE IT

Take to the flat, paved cycleway (divided into 14 sections) that follows the 160-kilometre former location of the Wall. Signs 3.6 metres high – the height of the Berlin Wall – point the way.

THE HISTORY

The trail follows the old East German patrol path and West German customs route along the Wall. It was completed in 2006.

WHAT TO SEE

There are various Wall segments, plus informal memorials to escapees, such as plaques and crosses. At times, you cycle through fields and woodland, along canal banks and through villages such as Lubars and royal summer retreat, Potsdam.

DON'T MISS

The Church of the Redeemer in Sacrow, infamous because the Berlin Wall ran straight through it. It now presents a pretty Italianate picture on a lakeshore.

ESSENTIALS

Bicycle rentals from €10 s day. Guided tour of a 15-kilometre segment €24 including bike hire. See berlinonbike.de

THE CELEBRATION FALL OF THE WALL

WHY SEE IT

The 30th anniversary of the Berlin Wall's demise will see seven city sites, all key during the events of 1989-90, feature special celebrations and open-air exhibitions.

THE HISTORY

The Fountain of International Friendship, Alexanderplatz. Photo: Alamy

Among the venues for the celebrations will be Brandenburg Gate, East Side Gallery, the 1960s East German creation Alexanderplatz, and Gethsemane Church in Prenzlauer Berg district, whose congregation played a central role in 1989 protests against the GDR.

WHAT TO SEE

A "Route of Revolution'" will connect Cold War venues, which will host concerts, film screenings, artworks and sound-and-light installations such as protestors' demands to abolish the GDR's secret police, beamed onto the facade of the former Stasi headquarters.

DON'T MISS

The culminating, city-wide music festival on the evening of November 9, featuring singers and musicians with connections to the Berlin Wall's fall.

ESSENTIALS

The festival runs from November 4-10, 2019. See visitberlin.de

A SHORT HISTORY OF THE BERLIN WALL

1945 World War II ends. Berlin is divided into American, British, French and Soviet sectors.

October 7, 1949 The Soviet-controlled German Democratic Republic (or East Germany) is declared.

1952 The border between the two Germanys is closed, but Berlin remains relatively porous. By 1961, 20 per cent of East Germany's population has departed.

August 13,1961 East Berlin's border is closed on Barbed Wire Sunday. Fencing and concrete blocks are erected.

1975 Following several incarnations, construction begins on a reinforced-concrete Berlin Wall – the one most people remember – and is completed over several years.

1987 American president Ronald Reagan challenges the Soviet president at Brandenburg Gate: "Mr Gorbachev, tear down this Wall!"

1989 Chris Gueffroy is the last person shot and killed at the Wall. Winfried Freudenberg is the last person killed in an escape attempt when his hot-air balloon crashes. The Soviet Bloc disintegrates. There are mass demonstrations in East Germany.

November 9, 1989 East German radio announces its border are open. People stream towards the Berlin Wall, which is breached in places.

June 13, 1990 East Germany begins to officially dismantle the Wall, an 18-month task.

October 3,1990 Germany is reunified.

EAST GERMAN THROWBACKS

Nostalgia for some aspects of life in East Germany has given rise to the term "ostalgie". Look out for these classic GDR products.

AMPELMANN

The distinctive walking man on green traffic lights at pedestrian crossings was introduced to East Berlin in 1961 and brought back by popular demand after reunification. The cult figure now has its own shops and memorabilia. See ampelmann.de

TRABANT

The rattling, poorly designed East German car affectionately known as the Trabi ceased production in 1991, but some companies offer Trabi tours or rentals. Inspect the iconic car's many incarnations at the Trabi Museum. See trabi-museum.com

EINKAUFSNETZ

This classic waxed-string shopping bag with leather handles was a necessity in an East Germany short of plastic. The once-derided bag's nostalgic comeback has been helped along by newfound environmental concerns about single-use plastics.

VITA COLA

Vita Cola, less sweet, thicker, fruitier and more lemony than rival colas, was introduced to the GDR in 1957 but succumbed to western brands when the Wall fell. It's now back and outsells Pepsi in the former East Germany.

KETWURST

The name of East Berlin's answer to the hotdog is a portmanteau of ketchup and wurst, or sausage. It emerged in the late 1970s and is now only available in limited places such as Alain Snack Bar in Prenzlauer Berg. See ketwurst.com

BERLIN BEYOND THE WALL

Berlin isn't just a Cold War remnant but one of Europe's most vibrant, cosmopolitan and enjoyable cities.

CULTURE

What bombed-out Berlin lacks in palaces and monuments it makes up for with museums. Museum Island alone presents a world-class congregation of museums whose collections range from Greek and Roman sculpture to Near Eastern antiquities, Islamic art and European painting. See smb.museum

SHOPPING

The city's main shopping district around Kurfurstendamm, commonly called Ku'Damm, sees department stores, chic boutiques and side-street speciality stores mix. Europa Centre is Berlin's biggest shopping mall and one of Europe's largest entertainment complexes. See europa-center-berlin.de

BEACHES

Landlocked Berlin has a great array of artificial urban beaches, especially along the Spree River. Why would an Aussie bother? Because they feature cocktail bars, nightclubs, samba dance evenings and other fun – or if nothing else, provide passing spots for a relaxing beer or two. See visitberlin.de

SIGHTSEEING

The madly ornate, baroque-era Charlottenburg Palace, sprawling Tiergarten park and the Reichstag or parliament building are three key sights. You should also visit World War II memorials such as the confronting Memorial to the Murdered Jews of Europe. See stiftung-denkmal.de

NIGHTLIFE

Plentiful pubs, clubs and dance halls, cabaret and avant-garde theatres, year-round festivals and even fetish houses make Berlin a top city for evening shenanigans. Hit Prenzlauer Berg, Kreuzberg or Friedrichshain districts and you won't be crawling home until the wee hours. See visitberlin.de

TRIP NOTES

traveller.com.au/germany

visitberlin.de

FLY

Etihad flies from Sydney and Melbourne to Abu Dhabi with connections to Berlin via Dusseldorf. See etihad.com

STAY

Lux Eleven Berlin-Mitte has big rooms with kitchenettes and sitting areas, and is well located in Berlin's trendy Mitte district. See lux-eleven.com

Brian Johnston was a guest of the German National Tourist Office and Visit Berlin.

from traveller.com.au

#Travel Guide

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samsimilar · 5 years ago

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Highlights of Scandinavia: 10 Days Itinerary in Denmark, Sweden and Norway

Throughout the entirety of history, the chilling winters and northern geographical location have protected Sweden, Denmark and Norway from the worst of the historical periods. The lack of foreign intervention has thus allowed these countries to evolve distinctively into the Scandinavia we know and love today. With their unique melding of capitalistic economy and socialist values, the countries demonstrate their unity and long preserved tribal attitudes through every facet of society. Although these countries belong to the same region, they are still distinctly unique in their own ways. This itinerary takes you from Copenhagen to Oslo, with Stockholm in between. Known as the Wild West of Scandinavia, the neighbourhood Christiana in Copenhagen render Denmark slightly more edgy than the other two, while Sweden is trying to make their mark as an up and coming cosmopolitan country. Lastly, Norway holds the title of having the most fjords and valleys amongst all of the Nordic countries as well as a large petroleum sector. Going up north will be an experience like no other, so prepare yourself for some culture shock in the best way possible when you cross the borders of the mythical region of Scandinavia.

HIGHLIGHTS:

Witness the famous swirling Church of the Saviour

Experience the magic of Tivoli Gardens

Hunt for 6 Forgotten Giants in the suburban area of Copenhagen

Visit the MoMA of Sweden, Morderna Museet

Live out your Disney fantasies at Tantolunden

Feast your eyes on the masterpieces at the Vigeland Park

Feel the adrenaline pump through your body with an experience in Oslo Summer Park

BRIEF ITINERARY:

Day 1 to 3: Copenhagen, Denmark, the city that keeps on giving

Day 4 to 7: Balancing innovation and culture, it’s time to explore Stockholm

Day 8 to 9: Your last destination, Oslo, the capital of Norway

Day 10: Saying goodbye to Scandinavia

DETAILED ITINERARY:

DAY 1: THE CITY CENTER OF COPENHAGEN

Welcome to Copenhagen, Denmark!

The landscape of Copenhagen’s City Center is characterised by its many magnificent buildings, touched by time with its copper oxidised roofs, now green, and humble adornment of gold around the edges. The city’s architectural portfolio ranges from medieval times to renaissance to baroque. Pretty impressive we must admit. Of course Danish modernist architecture isn’t overshadowed, with plenty of innovative buildings such as Royal Danish Library, very aptly nicknamed The Black Diamond, and The Royal Danish Playhouse gracing its coastlines.

Whether you decide to aimlessly wander around the heart of the city, or tour a few museums, you’ll be sure to be met with beautiful buildings and interesting establishments enticing you to walk through their doors wherever you go. As the city center is saturated with countless museums, historical architectures and more, we wish we could just explore Copenhagen forever. But if this is your first trip to the city, these are just some of the highlights you need to visit in the city centre.

First on the list is the Christiansborg Palace, holding more than 800 years of history as the state’s centre of power, today it includes several institutions of central importance. There are daily tours, lasting approximately 50 mins that will bring you through the various rooms in the palace, extensively explaining the history of Denmark. Live vicariously as a royal through the lavish interior architecture of the palace and visit the room of The Queen’s Tapestries inside the palace, where wall wide colourful tapestries recount the history of Denmark and the world in a quirky art style. The series includes the Viking Age, the Middle Ages, the Absolute Monarchy, the Reformation. World War II, the present and even predicting the future. These intricate works of art took about 10 years to be fully produced and are truly a sight to behold up close.

Next up, catch the sunset from one of the most famous churches, the Church of Our Saviour. This church distinguishes itself from the cityscape with its renowned helix spire with an external winding staircase that can be climbed to the top, giving you a bird’s eye view over central Copenhagen. With the strong winds Copenhagen can bring, and the narrow steps leading up to the top, this ascent is an adventure not for the faint-hearted or the vertiginously challenged.

End the day off with a stroll through the romantic grand royal park, Frederiksberg Gardens and explore the calm and chic neighbourhood of Frederiksberg at night, peering into the lives of the everyday Joe.

DAY 2: COPENHAGEN, THE CITY THAT KEEPS ON GIVING

Start your day trip off with some exercise in the Round Tower. As the name suggests, the exterior of this tower is round but it might surprise you that the interior mimics the exterior as well! Replacing traditional stairs with spiral ramps, making your way to the top of the oldest functioning observatory in Europe will work off some of the exquisite Scandinavian cuisine you had last night. Be rewarded at the top with an unparalleled view of the city as well as a glass floor where you will be privy to the tower’s core, hovering 25m above ground.

After much sightseeing around Copenhagen’s city centre, we hope you’ve gained an appreciation for this city’s astounding architecture as you will be making your way to the Danish Architecture Centre this morning. As a progressive center focusing on city development, there are constantly exhibitions that’ll leave you educated and enlightened on the current affairs through creative, innovative works of art. Making full use of the space to showcase unique interactive and creative art pieces, the center always manages to communicate the message of their exhibitions to their audience effectively. A definite must-visit.

Continuing in the city center, lose yourself in the Royal Library Garden. Hidden between the Royal Library and the Tojhus Museum, this quaint little garden is touted as the most tranquil place in the city. So if you’re overwhelmed by the multitude of attractions in the city center, sojourn in the comforting green arms of the Royal Library Garden and allow mother nature to recharge you. If you’re a fan of philosophy, then you’re in luck. Within the premise of the garden stands the statue of one of the first existential philosophers you can pay your respects to, Soren Kierkgaard.

In the afternoon, stroll through Vesterbro, one of Copenhagen’s hippest neighbourhoods and sample the myriad of eclectic shops this up and coming district has to offer, ranging from vintage clothing boutiques, designer stores and independent galleries. Here you will find diverse restaurants and funky bars you can indulge yourself in.

Perhaps one of the most anticipated attractions every tourist looks forward to when visiting Copenhagen is the Tivoli Gardens. Well, come nightfall, get ready to experience its unique atmosphere, filled with thousands of coloured lights that create a fairy tale like ambience. Considered a national treasure to the Danish, Tivoli Gardens is an iconic amusement park established in 1843. Part of Tivoli Gardens' charm is that there is something for everyone. The rides are all designed to match Tivoli's architecture and gardens. Some rides are wonderfully nostalgic while others will match the expectations of the keenest thrill seekers. If you are not fond of rides, the scenery in Tivoli Gardens will leave you awestruck with its exotic architecture, historic buildings and lush gardens. This world class amusement park also has the stamp of approval from the one and only dreammaker, Walt Disney who actually found the inspiration to the internationally beloved Disney World here. If that doesn’t speak volumes of why Tivoli Gardens deserves all the hype it gets, nothing else will.

Head back to your accommodation for the night for a well deserved rest after tiring yourselves out at Tivoli Garden.

DAY 3: THE WILD CARD OF COPENHAGEN

We hope you are up for an adventure as scattered around in the lush forests of suburbia Copenhagen lurk 6 Forgotten Giants waiting to be found. These impressive, quirky looking wooden sculptures are unlike your usual tourist attractions and pretty far from the city center, so it’s best to go on this treasure or shall we say, troll hunt in an automobile. These giant sculptures are built by Thomas Dambo with recycled wood with the intention of getting both locals and tourists alike to discover more of nature while bringing art out of the museum and provide an exciting and different experience for all. Enjoy your morning hunting for these giant photo opportunities amongst the overlooked scenic nature of Copenhagen with the sun seeping through the foliage and onto your face.

Let the wave of accomplishment overcome before you move on to your next adventure, the famous freetown of Copenhagen, Christiania. Without a doubt, this neighbourhood in Copenhagen is one of the most popular tourist attractions in Denmark and a point of contention for many. Possessing a clear 70s vibe, a majority of Christiania’s residents built their own homes which gives the neighbourhood an eccentric architectural feel. You will also find lots of eco-restaurants, workshops, galleries and music venues offering authentic cultural experiences of this alternative community. However, when visiting, be aware that it is not like any other neighborhood in Copenhagen. Safety is sometimes an issue so at the main entrance you will find a sign listing a set of rules which you are strongly advised to abide by.

Before you bid goodbye to Copenhagen, it’s time to ask the important question, “To be, or not to be,”. Your last destination will therefore be none other than the Kronborg Castle, famed from Shakespeare’s Hamlet. Not only was this UNESCO World Heritage Site immortalized as Elsinore in the play, it was also a strategic fortress that is of immense symbolic value to the Danish, playing a key role in the history of northern Europe in the 16th to 18th century. You can tour the castle as well as the surrounding town of Helsingor from which you will be able to see your next destination, Sweden.

Make your way back into the main city and admire the cityscape for one last time. Have some authentic Danish food as your last meal in the city.

DAY 4: SLOW IT DOWN IN STOCKHOLM

Welcome to the capital of Sweden, Stockholm! Encompassing 14 islands and over 50 bridges connecting them together, Stockholm might just challenge your notion of a capital. Deemed as the second most prolific tech and start up hub, after Silicon Valley, it is the home of Spotify, the ubiquitous music streaming service almost everyone uses. However, Stockholm is more than just an innovative city, it is evident that the Swedes value their music and culture as this is also where the international pop supergroup ABBA found their claim to fame.

After a long night of travelling, soak up the views of Lake Malaren, City Hall and Riddarholmen when you through Monteliusvagen and allow the beauty of Stockholm rejuvenate you. This 500m long walking path is lined with charming houses on one side and looks out on the cityscape on the other and is especially beautiful during sunrise or sunset.

If you just can’t get enough of Stockholm’s vibrant skyline, visit Stockholm’s Fotografiska. As the world’s largest meeting place for contemporary photography, 4 large exhibitions and 20 other smaller ones are presented annually. Here you will find the work of world renowned photographers and try your hand at your own photography on the top floor cafe, boasting one of Stockholm’s very best viewpoints. The minimalist design of the cafe with its low hanging lights and simple wooden seating allows you fully focus your attention on the real pieces of work in this museum, the relaxing view of the sea and the city that surrounds this cafe framed perfectly by the floor to ceiling windows. While nothing might beat the view, the food on this top floor cafe comes a close second. It won the Gold Dragon Award and is currently run by the well-known chef Paul Svesson.

Up next, take a tour around Stockholm’s old town, Gamla Stan. With narrow winding cobblestone streets and buildings in every shade of gold, Gamla Stan is somewhat of a relic of Stockholm’s founding in 1252. Even now, you can catch a glimpse of cellar vaults from the Middle Ages behind the visible facades giving Gamla Stan such a unique character. Stroll around the area and you will find the beauty of Stockholm parading itself in front of your eyes through some of the most magnificent churches and museums such as the national cathedral, Stockholm Cathedral and the Nobel Prize Museum.

Last but certainly not least, end your day with a bang by visiting the MoMA of Sweden, Moderna Museet. Moderna Museet is one of Europe’s leading museums of modern and contemporary art, located in an equally stunning location of Skeppsholmen island, a 20min walk from Gamla Stan. Featuring an exquisitely curated permanent collection with the works of artists ranging from Picasso, Dali to Derkert and Matisse, art and culture lovers will find themselves glued to the premise of this museum. We won’t spoil the fun by revealing too much about the museum or artworks but rather let your excitement bubble and your artistic soul be fulfilled when you’re there.

DAY 5: GARDENS AND MUSEUMS

A favourite amongst both Stockholmers as well as visitors, Skansen Open-Air Museum is where you will be heading to this morning. All the time in the world wouldn’t be enough for us to explore the intriguing country of Sweden, which is why the Skansen Museum has created a miniature of Sweden you can tour in an hour! In addition to 150 farms and dwellings from different parts of the country, the museum also serves as the Stockholm zoo where animals native to Scandinavia, such as the Arctic Fox, Lynx and European Elk are showcased. Perhaps the most exciting thing about the museum are the seasonal traditions celebrated at Skansen. Popularised by the thriller film of the same name, Midsommar, this quintessential summer tradition as well as Walpurgis Night and Lucia are celebrated here.

A short 3 mins walk from the museum will lead you to the famed ABBA The Museum. We’re sure everyone has heard ABBA’s music but if you are unfamiliar with exactly who this Swedish pop supergroup is, or what they’ve done to deserve an entire museum dedicated to them, you must at least be familiar with the film series Mama Mia! Ring a bell? The soundtrack from this romantic musical was based off the songs of this Swedish group. ABBA The Museum is more than just a museum. While the permanent exhibitions might be chock full of ABBA memorabilia ranging from stage outfits, instruments to gold record, awards and much more, the museum offers an interactive experience that invites you to channel your inner popstar with sing-alongs and dances.

Explore the other side of Sweden. While it has been museums and culture for the first day and a half, slow down the tempo with a visit to the Rosendals Tradgard. An oasis in the heart of Stockholm, this garden provides a temporary retreat from the bustling city life. As you relax, ignite your curiosity and learn about sustainable living which Sweden as a whole are passionate about. With more than 30 years under their belt, the Rosendals’ Garden Foundation have been veterans in cultivating and spreading bio dynamic farming practices and a driver of the farm to fork concept. Explore the orchard that holds over 50 different kinds of apples, the rose garden, vineyards, greenhouses and more in Rosendals Tradgard. It also holds a cafe, not only making it the perfect lunch break destination but also highlights the beauty and variety of flavours locally produced organic ingredients can bring to a dish. Give it a shot and we’re sure it’ll change your mind about buying everything from the grocery store. You may even return home and grow some seeds of your own!

Straight out of a Disney film, your next destination itinerary will leave you in an ethereal and dreamy state. Make your way to Tantolunden, where your dreams will come true. During spring and summer, people of all ages gather in this large park in the island of Sodermalm to go for a swim and picnic. In the Tantolunden hillside, quaint brightly painted cottages nestle comfortably in the surrounding lush greenery, bringing a welcomed pop of colour to the entire scenery. As you hike up this little hill, you’ll find perfectly-manicured flower beds and terracotta-red miniature homes resembling Snow White’s little cottage in the woods. Now that just sounds like the perfect getaway.

Continuing in Sodermalm, do as the Swedes do and enjoy some Fika in the trendy neighbourhood of Sodermalm where you will be spoilt for choice with the amount of cafes catering to everyone from meat lovers, to vegans, to those on a paleo diet. It would also be a great opportunity to step out of your comfort zone and try something new when Sodermalm has everything to offer. So what’s Fika? Fika is a concept, a state of mind and attitude important in Swedish culture. It also simply means having some coffee and or cake, but it is the mindset of taking time out of the day to relax, socialise with friends over a cup of coffee (or tea) that matters. Essentially, Fika is an important aspect of the Swedish work-life balance culture. Take a page out of the Swedish book and spend some time sitting at a cafe and exploring Sodermalm at your own pace.

Up in the north where the winters are long and the summers short, people tend to make the most of it when the sun does shine. During the summer, Stockholm is flooded with outdoor clubs and patios where you can dance beneath the stars till the sun comes up again. It is also popular for day parties, where dance floors are already packed in the afternoon. So we would recommend you take on the new experience of outdoor clubbing and make a night of it!

DAY 6: TRIP TO UPPSALA & SIGTUNA

Both Uppsala and Sigtuna lie north of Stockholm, making it a perfect day trip, one you’ll be taking today. Kickstart your visit to the university town of Uppsala engaging with some history and culture when you visit the part medieval, part gothic Uppsala Cathedral. Inaugurated in the 14th century and re-styled in the 19th century, this cathedral, therefore, blends the style of both medieval and gothic architecture, making it a unique sight to behold, especially for any architecture buffs out there.

Continue this enriching experience just north of the city in Gamla Uppsala, Old Uppsala in English. Boasting impressive burial mounds from the 6th century and Riksantikvarieämbetet Gamla Uppsala Museum, where you can learn about the legend of the Svea kings and the gory human sacrifices in the Viking Ages.

Hugging the northern shores is Sigtuna, Sweden’s first town. With an almost 1,000 year main street, the cobblestone pathways of Sigtuna are the arteries of this charming town you have to experience. Here you will find clusters of shops selling uniquely Swedish fashion, design and handicraft, making them a perfect souvenir.

Visit the Sigtuna Museum with its brilliant exhibitions and displays to find out more about the history of Sigtuna. Afterwards, head to Rosersberg Palace where time stands still. As one of Sweden’s best kept secrets, the rooms in Rosersberg Palace remain virtually untouched since it became a royal palace in the 17th century. Here you will find some of Europe’s best preserved Empire interiors. The endless park of Rosersberg only adds to its charm and you can bring your own picnic or grab a Semblor (Swedish Cream Buns) from the cafe on the terrace and enjoy the sun.

While we’d like to call Stockholm our home as well, don’t get too comfortable when you’re back in Stockholm as you’ll have to pack your bags tonight and set off for a very interesting adventure the next day.

DAY 7: DAY TRIP TO DROTTNINGHOLM PALACE

Today, embark on a trip to Drottningholm Palace. This palace was constructed back in the 17th Century, and is one of Stockholm’s three World Heritage Sites. The palace has been the permanent residence of the present royal family since 1981.

Influenced by French prototype, the palace was built by architect Nicodemus Tessin the Elder by commission of Queen Hedvig Eleonora. A number of royal personages have since then left their mark on the palace.

When you’re done, head back to the city center and wander the streets of Stockholm for one last time as tomorrow you’ll be moving on to your next destination.

DAY 8: ARRIVING IN OSLO

As the capital of Norway, Oslo juggles nature, culture and sporting activities perfectly. Whether it be Spring, Summer or Autumn, Oslo is always packed with festivities.

Upon your arrival in Oslo Norway, the first attraction you’ll definitely have to visit is the famous, Vigeland Park. The top attraction for tourists in Oslo and rightly so, the Vigeland Park is the world’s largest sculpture park made by a single artist, Gustav Vigeland. Stroll through the park to experience over 200 sculptures of Vigeland’s lifework made from bronze, granite and wrought iron up close and personal. Be impressed by the sculptor's mastery in moulding solids to his will and creating bizarrely beautiful artworks expressing humanity’s innermost emotions with pieces like “Man Attacked By Babies” or “Angry Baby”.

If the Vigeland Park is not your cup of tea, you can choose to visit The Viking Ship Museum which is a stone thrown away (4km) from the Oslo Train Central Station. The museum houses three Viking era burial ships, you should definitely add it into your day itinerary if you're interested in immerse yourself into the Viking era!

Spend the rest of the day exploring Oslo at the cultural destination of Ramme. Channel your inner artist and step into the footsteps of the famous painter Edvard Munch, who used to own one of the properties in Ramme and painted loads of his artworks here. As Europe’s Green Capital in 2019, Oslo is big on sustainability. If you’d like to immerse yourself in the authentic Norwegian culture, pay a visit to Ramme’s working eco-farm which has been involved in organic farming since 1986. The farm offers tours of the farms to educate visitors on organic farming. The farm focuses on traditional farming values while balancing sustainable production and most importantly holding animal welfare to high standards. At the farm, you’d be able to get close to the rare breeds of domestic animals the farm specialises in protecting for Norway’s cultural history and genetic diversity.

On the flip side, experience the lively art and cultural activities Ramme has to offer. Consisting of both permanent and temporary art exhibitions, horse-drawn carriages and old automobiles, Edvard Munch’s former house and property, theatrical performances and concerts, we could spend the entire day in Ramme.

Alternatively, slow it down with a stroll in Ramme’s park, Havlystparken, a unique park that offers views of the fjord. Stare off into the deep and narrow sea that stretches out to the horizon and the steep lands along the sides that protect the fjord, resembling something straight out of a picture book. Offering you the perfect scenery for some quiet contemplation, the fjord can be considered the paragon of Norway’s attractions.

When tummy rumbles, satiate your appetite with at the restaurant in Ramme’s fjordhotell, which offers only the best of seasonal organic foods. This marks the end of you first day in Oslo. Head back to your accommodation and rest up as you'll need the energy to continue exploring Oslo tomorrow.

DAY 9: EXPLORING OSLO

If you’re visiting Oslo when the sun shines, the Oslo Summer Park is a definite must try. Divided into 12 trails of varying difficulties, you will find yourself met with over 200 elements in the park waiting to be scaled! Including more than 1000 metres of ziplines and a 13 metre free fall at the Tigerspranget “The Tiger Leap”, adrenaline junkies will be in heaven. If you’re travelling with an adrenaline junkie but aren’t one yourself, the park also offers barbeque and picnic areas where you can watch your friends or family scream their lungs out on one of the many thrills the park has to offer.

As the Green Capital of Europe in 2019, The Climate House at the Botanical Gardens is the perfect place if you’re environmentally conscious. Focusing on communicating the knowledge of climate change through interactive experiences with both advanced and simple technology, innovative and local materials, The Climate House presents possible solutions for the future of our environment. This exhibition provides an insight to the importance of the environment to a country like Norway that focuses on both progression and globalisation while respecting the planet we live on. Hopefully when you leave the Botanical Gardens, you’ll gain some new knowledge and be inspired to do your part for the environment as well.

Turn back time as you step into the Norsk Folkemuseum, an open-air museum showcasing the lifestyles of ancient Norwegians from the 15th century all the way up to the present through its collections of relics from all around the country. Amongst the highlights are the Stave Church form Gol and buildings showcasing models of houses of Norway in the 20th century. The indoor exhibitions also show folk art, folk costumes, Sami culture, weapons, toys, pharmacy history as well as dental equipment. In the summer, the museum offers programs that’ll allow you to bake while enjoying the wondrous view of the lakeside, horse and carriage rides, feeding the animals amongst more.

DAY 10: FARVEL, HEJDÅ, HA DET!

With your last day here in Oslo, take the time to visit the last bits of this beautiful city. Visit the Old Town to end your trip in Scandinavia.

While many of us would love to call anyone of these countries our home, it is unfortunate that it is time to bid them goodbye after a short 10 day trip around the highlights of Scandinavia. Make your way to the Oslo Airport from your accommodation and we hope this little peer into the region of Scandinavia will have you coming back for more!

Based on previous work at: https://www.anywhr.co/destinations/sweden/10-days-scandinavia-itinerary-denmark-sweden-norway

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ptpc2-blog · 6 years ago

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Unity

This is the Rizal Park also known as Luneta Park. Rizal Park is 58 hectares in size located at Roxas Blvd, Malate, Manila, 1000 Metro Manila. Many people want to go here because of the story of Jose Rizal. We all know how Jose Rizal how passionate he is to fight for our nation. I found out this place when the time I go here in Manila to pursue my career as a seafarer. The first time I go here I was amaze and feel goose bumps because I just only hear this place on the television and become my dream place but my dreams comes to reality. When you go here, you will be fall in love to this place because of the people and beautiful attractions. There's a lot of beautiful attraction to this place. In western section you will see the Quirino Grandstand, Parade Ground, Carabao Statue, Tamaraw Stature, Kilometer Zero, Memorial Clock, Manila Ocean Park. Central Section Rizal Monument, Martyrdom of Rizal Diorama, Noli Me Tangere Garden (with the Heidelberg Fountain), Bust of Ferdinand Blumentritt, Philippine Flagpole, Gomburza Marker, La Madre Filipina, Binhi ng Kalayaan Garden, Chinese Garden, Japanese Garden, Open Air Auditorium, Chess Plaza, Central Lagoon, Gallery of Heroes, Manila Planetarium, Orchidarium and Butterfly Pavilion, Open Air Auditorium, National Library of the Philippines. Eastern Section Relief Map of the Philippine Islands, Outdoor Roller Skating Rink, Children’s Playground, Botanical Garden, Rizal Park, Museum of the Filipino People, National Museum of the Philippines. Miscellaneous Andres Bonifacio Monument, Flower Clock, Luzviminda Boardwalk. Rizal Park is one of the largest urban parks in Asia. With its grassy land, green trees, gardens for picnics and meditations, as well as a musical dancing fountain, the park is also regarded as Manila’s green lung where people can escape the stressful noise and pollution of the city. There are also hotels & restaurants outside the park. You will see here many family having a picnic and people just strolling. If you want to feel relax, this place will give you freedom to express your melancholy side. If you are also a music lover, there is also a beautiful background music that can give you chill. You will be motivate by seeing a lot of big smiles from different faces of people. You will be also inspire to fight and to love your nation by seeing the flag of the Philippines. That flag symbolizes our unity, hope and living as one as a nation. Read the full article

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lvaartebella · 7 years ago

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Feature: Elmer Lucille Allen

On March 1, 2018, Louisville Art will present Elmer Lucille Allen with the Legacy Award, in memory of Julius Friedman. This is a reprint of an Artebella Feature from February 2017.

"I love the academic environment. I am a perpetual student." — Elmer Lucille Allen

When Kentucky Center for African American Heritage Center Director Aukram Burton describes Elmer Lucille Allen as, “one of our Elders,” he is not just acknowledging that the ceramic and fiber artist is an Octogenarian. The term carries weight in various cultures, but in parts of Africa it specifically denotes a connection to ancestors, the dead who remain vested with mystical power in the kin-group, and the elder’s authority stems from the idea that they are representatives of the ancestors to the contemporary community.

Elmer Lucille Allen is as approachable and convivial as anyone you would ever meet, but she is a “senior” (the far less satisfying American appellation) who has never truly retired. She earned the gold watch, so to speak, after 31 years as a chemist at Brown-Forman, where she was the first African American chemist to be hired (in 1966). In the twenty years since she retired, she has established herself as one of the most important artists in Louisville and an important influence on succeeding generations.

In person, Ms. Allen is an archetypal matriarch, speaking in the unadorned but nurturing language you would expect from any great-grandmother. She exhibits little outward evidence of the depth of her academic background, the years spent as a community activist, and the position she occupies in local history; she never wears her ‘status’ on her sleeve. She puts it this way: “I take it as an honor because what I do is part of who I am.”

“I became involved in the art scene in the early 1980s when Ken Clay, then head of Renaissance Development, held the first African American (AA) Arts Conference at the Galt House. After this conference, the Kentucky Coalition for Afro-American Arts, Inc. (KCAAA) was formed. I was the first and only president of this organization that lasted 10 years. When I decided that I did not want to continue as President, the treasury was donated to the Arts Council of Louisville. I was a charter member of the ACOL and a treasurer for four years.”

Ms. Allen states she has never felt a bias in the arts, but her history before she was an artist is another matter, and reflects the time. “Remember, I came up through a segregated system and did not have classes with a white person until I was a junior in college. I experienced racial difference when Nazareth College (now Spalding University) graduates in 1953 were looking for a place to host a graduation event. The event was eventually held at the Knights of Columbus Hall.”

“When I graduated I could not get a job as a chemist in Louisville. The only jobs available were teaching. My first job was as a clerk typist in Indianapolis, Indiana, at Fort Benjamin Harrison. There was bias on that job - one person from a city in Indiana had never been around a "colored" person, but you have to be who you are and stand up for what you believe. ‘Speak to a person even if the person does not acknowledge you.’”

Allen took her first pottery class at Seneca High School in the late 1970’s after her children were all grown and out of the house. She never gave empty nest syndrome a chance, following up with mold ceramics or pottery classes through JCPS and New Albany adult education. But this was still just the beginning: “Then I enrolled in a ceramics class at Metro Arts Center where I studied with Melvin Rowe. Also, while I was a student there I had the pleasure to meet Laura Ross, a national ceramic artist who encouraged me to take classes at the University of Louisville with internationally recognized ceramicist Tom Marsh.”

But studying ad hoc wasn’t enough, and, after retiring she decided to seek a masters in ceramics at U of L. It was while studying for her master’s that she was introduced to a second art media - fiber/textiles. “My thesis exhibition consisted of stenciled wall hangings and over 200 reduction fired porcelain sculptural boxes that were placed on boards on the floor, which meant you had to view the pieces while standing.”

Whatever racial or gender restrictions she encountered in her earlier life, Allen’s first years in the art world were mostly lacking in such difficulties. “I have not experienced any discrimination as a woman artist or as an artist of color. My work does not depict any culture - it speaks for itself. I create work that I enjoy making. I do not do commissions. I have been fortunate because I did not have to depend on selling art for a living. I retired in 1997 and have been volunteering in some capacity ever since.”

Yet she is not blind that many artists of color find it a challenge to reach wider audiences and secure their place at the larger community table, particularly in the visual arts world. “I think that one organization needs to take control. At the present every organization's president has their own agenda and is not looking out for other persons or organizations, and small organizations normally do not have a specific place, computer equipment, or expertise for such large undertaking.”

One of the values of being an Elder is that you have been a witness to the changes in the arts and cultural landscape that surrounds you. Allen can recount a time when there was much effort in the name of unity and inclusion. “Years ago, Louisville Visual Art had a large (non-digital) database of artists and arts organizations. The Kentucky Arts Council funded two directories of African American artists in the Commonwealth of Kentucky. Two conferences were held, one in Lexington, and one in Louisville. They conducted free workshops for the community at the Chestnut Street YMCA, West End branch of the YWCA, as well as other venues. Bale McKnight, who conducted drum making at the YMCA, created a drum that was in Chickasaw Park, which was the first public art project in the West End. KCAAA was the fiscal agent for Educations Arts and the dance group founded by Harlina Churn.” You see, Elders know the history.

So how does Louisville recapture that level of motivation again? What actions need to be taken today to build a functional community network? Allen feels, “Everyone is waiting for someone else to do the hard work,” but individuals who want to be leaders need to focus on developing their game in crucial ways; Elders also get to give advice:

Organizational and leadership skills are a must.

You have to show up and be willing to assume responsibilities.

You must not be afraid to fail. You learn from your mistakes.

You, as a leader, must be presentable and responsible for your actions at all times. Remember the golden rule - Do unto others as you want others to do to you.

You must be punctual.

Respect the time of others. Meetings should have an agenda and should not exceed two hours.

So how does this near-iconic status affect Elmer Lucille Allen’s work as an artist? Or does it? “My work is not impacted by my place in history,” states Allen. ”The work that I have done since 1981 speaks for itself. I have been the volunteer curator/director of Wayside Christian Mission's Wayside Expressions Gallery since 2005. My goal is to showcase artists, some of which have never exhibited. My second goal has been to have an African American artist or artists for February. I have done the scheduling, press releases, fliers, finding new artists, etc., from my home. I think my presence in the art world has afforded me the opportunity to be asked to serve as judge for the 2016 Fund for Arts, as a panelist for Metro arts grants, etc.”

“I think that over the years, the community sees who is where and what you are doing. Action speaks louder then words.”

Recognitions/Awards: Louisville Defender – Lifetime Community Service Recognition Award (2016) Outstanding Community Leader by Metro Council (2016) Kentucky Museum of Art and Craft’s First Art and Advocacy Award – Bourbon Bash (2015) Parkland Rising Up Project (2015) Community Spirit Award given by the University of Louisville College of Arts and Science and the Yearlings Club (2015) Spalding University Caritas Medal (2011) - the highest honor awarded to an alumnus

Written by Keith Waits. In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

Are you interested in being on Artebella? Click here to learn more.

#Elmer Lucille Allen #Stars Among Us #Black Kentucky Artists #Nazareth College #hite institute #KMAC #elder #Aukram Burton #shibori #Melvin Rowe #Aron Conaway #Brown-Forman #spalding university #Knights of Columbus Hall #racial #gender

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nofomoartworld · 8 years ago

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Hyperallergic: Ambitions and Limitations of Civic Engagement in the Museum

Installation view of “Philadelphia Assembled” (courtesy Philadelphia Museum of Art)

PHILADELPHIA — Unless you were born without a heart, Philadelphia Assembled, an exhibition on civic engagement initiated by artist Jeanne van Heeswijk and currently on view at the Philadelphia Museum of Art, will very likely provoke tears. The first time I felt a swell of emotion was when I heard the distinct sound of Nina Simone’s voice emanating from one of the rooms in the exhibit. She was singing the phrase, “between the garbage and the flowers,” from her cover of Leonard Cohen’s “Suzanne.”

By this point, I’d spent about forty-five minutes in a room devoted to Jeffrey Stockbridge’s Kensington Blues, a series of photographs taken in the area around Kensington Avenue, in North Philadelphia, which was once a strong working class community and national leader of the textile industry. For many residents of the city, Kensington Avenue is now synonymous with vice, a place where heroin, crack, and Xanax are sold in the open. Rather than simply mirroring the stereotypes of drug addiction and prostitution, Stockbridge urges the viewer to see into the lives of people who are suffering.

On one gallery wall, three long rows of portrait photos are interspersed with photos of abandoned lots and the shadowy world under the Market-Frankford line, also known as the El. In one portrait, a shirtless man in his thirties has the tanned outline of a tank top, accentuating the paleness of his skin. Tattooed around his neck and down his chest is an elaborate cross necklace. A hypodermic needle sits tucked into his elastic waistband, and track marks line his forearms. He seems to be posturing, but there’s nothing romantic in his gaze.

Interviews conducted by Stockbridge with his subjects play from headphones at both ends of the rows of photos. Many of Stockbridge’s participants are startlingly candid about their lives. One woman said she had returned to prostitution after raising her three children and the death of her most recent long-term partner, because she didn’t want shift work. She wanted control over her schedule, even at the risk of pain. These recordings also pick up the routine sounds of the street: the rumble of the El, cars honking, stray riffs of music, and the din of passing voices.

Installation view of a grid of images by Jeffrey Stockbridge (courtesy Philadelphia Museum of Art)

Across the room from Stockbridge’s work are two geodesic domes built by Traction Company, an artist collective based in West Philadelphia, modeled on wats, the style of Buddhist temple found in Thailand, Laos, and Cambodia. Philadelphia, since the 1970s, has been a destination for Southeast Asian refugees, and to this day defends its status as a Sanctuary City.

As a response to increased pressure from the Trump administration to undermine sanctuary cities, Traction built “Toward Sanctuary” (2017), which measures 30 feet in diameter. The collective’s intention was to create “a forum to discuss, ideate, dream, and collectively imagine sanctuary in Philadelphia.” (Just recently, ICE agents came to the city and removed 107 immigrants, the largest number in a ten city sweep.) The juxtaposition of Stockbridge’s photographs and interviews with Traction’s geodesic domes drives home the idea that without humane intervention, refugees are almost guaranteed a painful life and demise.

Within the smaller of the domes is a table and stool, along with slips of paper and an invitation to Lao visitors to write about which state they moved to first, what they remember about their first day of school, as well as whether or not they’d ever been sent to prison camp. Although the responses are ensconced in a box on the table, the questions should give visitors pause to reflect on their own life experiences.

The movement of people and taking of land are perhaps the most consistent themes in Philadelphia Assembled, which is predicated on five principles: Reconstructions; Sovereignty; Sanctuary; Futures; and Movement. A detailed, three-section timeline near the visitor’s desk chronicles the history of migration and colonialism, as well as progressive movements devoted to the advancement of people of color. Admirably, this timeline isn’t soft on who did what to whom. It plainly states, for instance, that colonists took land from the Lenni Lenape, the Native American tribe then inhabiting the area of present-day Philadelphia.

The timeline is filled with many useful pieces of information, such as the fact that around the year 1300 there was a population of 80,000 people living in the Mississippian city of Cahokia, located in present day southern Illinois. There are so many details on the chronology that it’s easy to miss this one. But its inclusion renders null and void the notion that North America was a blank slate waiting to be filled with Europeans.

Like most large museum shows, Philadelphia Assembled aims to educate, enrich, and inspire, but it is also designed to agitate its viewers in order to organize them towards improved communal ends.

Martin Luther King, Jr., in his “Letter from Birmingham Jail,” lays out the principles of non-violent campaigns, when he writes, “In any nonviolent campaign there are four basic steps: collection of the facts to determine whether injustices exist; negotiation; self purification; and direct action.” Philadelphia Assembled offers a collection of the facts. These facts are meant to create a sense of tension within the minds of the exhibition’s visitors— people who most likely have the luxury to visit the institution in the first place. This exhibition differentiates itself by not putting pleasure as its end goal, risking the discomfort of the PMA’s guests.

Later, King writes, “…Socrates felt that it was necessary to create a tension in the mind so that individuals could rise from the bondage of myths and half truths to the unfettered realm of creative analysis and objective appraisal[.]” Philadelphia Assembled strives towards this goal, but ultimately its location in the Perelman Building limits its scope and power.

The middle room of the exhibition challenges the visitor to consider the legacy of excessive incarceration rates, as well as notions of home and financial security. A map of Pennsylvania fills one large wall; its only landmarks are prisons, with the number of inmates from Philadelphia and distance in miles to these facilities from the city listed below each prison’s name. An accompanying series of Polaroid portraits of inmates provides information on how long they’ve been imprisoned — an overwhelming number of middle-aged adults in these images have been incarcerated since their late teens. These portraits are part of a project sponsored by Reconstruction Inc.’s Fight for Lifers program, which aims to abolish life sentences without the possibility of parole.

Close up of “Fight for Lifers Portraits” (photo by the author for Hyperallergic)

Abutting the map of Pennsylvania are dozens of signs typical of rapidly gentrifying neighborhoods: “We Buy Houses $CASH$,” “Sell Your House In 9 Days,” as well as some with a more personal touch, for example, “ANNA BUYS HOUSES.” The wall of signs makes a surprisingly powerful statement about the nature of capitalism and inequality. The offers prey upon those who are financially disadvantaged and are looking for a way out, while buyers with financial means can flip the homes for double, triple, or even quadruple the price.

The exhibition’s third room focuses on self-determination and unity. One of the most powerful expressions of these ideas occurs with the exhibits on black-owned businesses, such as Freedom Paper Company LLC, which manufactures personal paper products, as well as the company African Black Soap. As Freedom Paper points out on their website, toilet paper is “something we all need and we all use.” Their business model hinges on empowering the black community.

There is also a small exhibit on the Mariposa Food Co-op, which started as a buying club in 1971. Cooperatively owned grocery stores help to build and generate wealth within the community, as well as stave off the threat of a “food desert,” a condition the USDA defines as any area lacking in fresh fruits, vegetables, and other whole foods, as a result of chain grocery stores abandoning those communities.

The ambition of Philadelphia Assembled — “to collectively imagine our futures” — is truly astounding. For the PMA to support a show that encourages visitors “to rise from the bondage of myths and half truths” and to initiate collective action reminded me that this crucial work is never done. Collective action has always been necessary; the current administration has only accentuated the need for it.

Close up of “Kensington Blues” (photo by the author for Hyperallergic)

As much as I want to praise the PMA for Philadelphia Assembled, it also occurs to me that locating this exhibition in the Perelman building, which is separated by two large roads from the main building, relegates the show to the margins. What type of visitor will go to the Perelman for Philadelphia Assembled? I’ll put my money on those who are already inclined towards socially engaged art. For Philadelphia Assembled to have greater resonance, to challenge spectators in productive ways, it should be located in the PMA’s main building. The PMA should have reached beyond its own perceived limitations as a cultural institution and provided the organizers with a larger public platform on which to promote collective action.

Philadelphia Assembled continues at the Philadelphia Museum of Art (Perelman Building, 2525 Pennsylvania Ave, Philadelphia, Pennsylvania) through December 10.

The post Ambitions and Limitations of Civic Engagement in the Museum appeared first on Hyperallergic.

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nyklifsondiviiportfolio-blog · 8 years ago

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A Cross-Cultural look at Stūpas

Sue Darlington

Buddhism and Society in Asia

May 20, 2015

Final Essay

A stūpa is another manifestation of the body of the Buddha; Choten is the Tibetan word for stūpa, meaning a receptacle for offerings. Circumambulating one is a way for the laity to be closer to enlightenment through a connection to the Buddha (Dallapiccola 143). Many of these mounds are similar to the image of a bubble, which in Buddhism is symbolic of impermanence, but there are some that are much more elaborate like the Borobudur in Java, an island close to Malaysia and Sumatra. Another stūpa, which was built later than the one in Java, is the Dhamekh Stupa of Sarnath. It was originally constructed by King Asoka and the design and history has been a continuous story from then to the modern age. These shrines in different areas serve a similar purpose: to reinforce the teachings of Buddha. A comparison of these compositions shows the vast difference in Buddhism originating in India, created by distance and local religious influence changing the form and function of each stūpa.

Stūpas are usually simple structures erected as Buddhist shrines. They often have a relic of the Buddha underneath the solid mass of the edifice. The original Stupas can be traced back to prehistory. They were dirt mounds and stones called tumulus, which were meant for burial grounds for important kings and the wealthy. Siddhartha Gautama’s, the Buddha of our kalpa, death created a change from burial tradition to a religious practice when he requested his bones and mound be placed at a crossroads to remind the laity of an awakened state of mind (Dallapiccola 144).

This style of mound building is realized in the Dhamekh Stūpa. This is located in Sarnath, in northeastern India and is believed to represent the Deer Park, or Rishipattana (Singh 45). It is believed that Buddha gave his first sermon revealing the eightfold path there. This edifice was created around 500 CE over the original shrine built in 249 BCE by King Aśoka. This was made as an attempt to balance the negative karma he created after conquering most of the ancient mid-Eastern section of India, called Kalinga at the time(Singh 47). The size of this mound is still widely considered unfinished, even though it is 91 meters (Ray 169).

In comparison, the stūpa at Borobudur is located in the archipelago of Indonesia, in what used to be called Java. This was originally conceived to be a Hindu temple. Construction started sometime around 775 CE and ended close to 835 BCE (Miksic 28). Over such a long period of time the intentions and ruling parties changed. Thus the Javanese structure you see today is an amalgamation of many styles representing a collection of different religious influences. Until 1815 the site in the Kedu Plains sustained damage under volcanic ash and jungle growth then to be cleared by the colonial leader Lieutenant Governor Raffles. This monument is massive, 200 meters in size, and stands as the largest Buddhist stupa in existence (Miksic 29). The locals had completely forgotten that a huge structure lay beneath the upper ruins before it was excavated, not even referring to it as a candi, or a ruin from the pre-Islamic era (Miksic 30). Meaning that this beautiful structure had no significance in their minds and was a lost treasure, but that changed. Now Borobudur has become a huge pilgrimage site–literally.

The monuments discussed in this paper are unique, just like all stūpas, and are not representative of a dominant style of general stūpa architecture; because stupas have, like Buddhism, changed with the stylistic choices of each culture and time period. For example, most stūpas in Japan are highly architectural and incredibly complex. They are a reminder that everyone possesses the seed of enlightenment.

In contrast to stūpa practices discussed previously, there is another–possibly more unique– version, which can be seen in Peace Pagoda. These pagodas are a special type of stūpa, which the venerated Nichidatsu Fujii created after World War II. Fujii sought to bring peace to the world through chanting Na Mu Myo Ho Ren Ge Kyo– or, compassion. He is also known for beating a hand-drum and walking through every continent. This pagoda was meant for all people, to unite everyone all in the search for world peace. Fujii based the meaning of these works upon practices found in the lotus sutra. These shrines started out in Japan after the bombings of Hiroshima and Nagasaki and have now spread all over the world. Over 80 exist today, however Nichidatsu Fujii did not create all of them, meaning that his influence has spread.

This style of Peace Pagoda by Fujii has been carried to our New England Peace Pagoda, which was created by the Nippozan Myohoji Buddhist Order. This order was founded by the venerated Nichidatsu Fujii. I visited this beautiful stūpa in the middle of the woods of Massachusetts to get a comparison of Buddhism's early adaptations to contemporary American culture. Unlike the other two works of India and Indonesia, the one in New England is a new stupa in a country where Buddhism is still figuring out how it will manifest with local beliefs in the United States. The New England Peace Pagoda was the first Nipponzan-Myōhōji Peace Pagoda to be built in the United States. The community came together to create a symbol of peace and unity in the community, where people helped paint to students from the Franklin County Technical School assisting in construction to lending their carpentry shops (Goldscheider).

On top of the massive New England Peace Pagoda are the yasti gleams, which are illuminated in the sun's rays. It looks as if its ornate design could touch the sky with its many different bells clanking in the wind. Staring into the whole scene brings feelings of serenity. This is another world to meditate and think upon the world outside. Turning around and looking out over the hill into the surrounding forest, the view takes your breath away. The short upwards hike was worth it. To the right prayer flags sway in the wind all tangled up in trees. Looking down over the valley and seeing the treetop line, the sky seems to be infinite and you are reminded of form and the many lives being lived all around the globe. Two stones to meditate on are the only protrusions in the line of vision. Over on the right there are different gardens, one with an elevated zen garden and stairs leading up to an arched entrance. This is next to a freshly flowing pond. There are prayer flags tangled in the trees and flapping in the wind while the trees shiver. The frayed ends of the flags overhead and fading colors bring my thoughts to impermanence.

The Mauryan brickwork at the base of the Dhamekh Stūpa at Sarnath is the core, the original structure is believed to be one of Aśoka’s original ten stupas he opened. After that he proceeded to separate the Buddha’s remains to build 84,000 other stupas across his kingdom during the Mauryan Dynasty that spanned most of the Indian subcontinent (Asher 242). The reasoning behind this belief is because one of Asoka’s most famous pillars was found on site. The cylindrical structure is adorned with the well-known Asokan Lion Capital adorning it and his edicts inscribed. Another fact speculated on over the Dhamekh Stūpa is whether Siddhartha gave his first sermon there as the Buddha. One clue historians have found is on an inscription on a burnt-clay votive tablet dated 1026 CE labeling it as the Dharmachakra Stūpa, but this has been speculated over (Asher 243). The site is associated with turning the dharmachakra, or the wheel of the law and where the Buddha “set the wheel of Dhamma in motion’”, thus the name relates to the general location. Due to so much attention given to the works at Sarnath, the area is one of the most visited Buddhist pilgrimage spots by non-practitioners in India (Asher 245). In fact all visitors are now required to pay a fee to enter the museum and circumambulate the origins of the eightfold path.

The largest Buddhist sanctuary ever built, Borobudur, is a mix of ancient Javanese sculptural tradition with Indian religious influence. The six different types of Buddha statues follow early characteristics of the the four categories of tantras by their positioning facing the different Sigālovāda Suttanta directions and the levels they are placed on (Owens 267). The six Sigālovāda Suttanta directions are the compass, then added on are the Earth (down) and the Sky (up). Tantras have specific instruction on how to achieve harmony between opposing forces, they mainly focus on the body. The first two levels of tantras are for the laity who need icons and deity images for visualization, the second two levels are for those who have higher levels of thought and require no aid. Borobudur follows this principle by having less imagery the higher up a follower gets (Miksic 32).

Many of the lower images at the base gallery of Borobudur display scenes from the Jataka tales, or the different lives of Buddha and Bodhisattvas, as well as demons and gods. The elevation seems to allude to three different spheres: the base is the sphere of desire (kâmadhâtu), the galleries are the sphere of form (rupadhâtu), and the circular terraces are the sphere of formlessness (arüpadhátu) (Jing 64); which reflects beliefs surrounding Mount Meru and Buddhist cosmology. As Jing said, “Thus the pilgrim's progress from the bottom to the top is also a metaphor of spiritual progress to the final realization of the fundamental Buddhist truth at the central stüpa that is devoid of any view of Buddha image…”(Jing 52). The pilgrim is reminded of impermanence and non-existence and non-self–once the truth is achieved, the form is no longer significant.

There are eight projections decorating the Dhamekh Stūpa that are arch-like in form for four-inch Buddhas. The border design is used to encompass the whole structure but parts have been removed and covered. The lower part has relief floral and geometric carvings and stone casings dating back to Kusdna–the Gupta period that is thought to be an imitation of the kāsi cloth used as devadfiya, decorative motives woven into cloth for rituals (Agrawala 70). This monument has been enlarged six times over. While visiting Sarnath in 640 CE, Xuanzang recorded that the main stupa was nearly 300 feet (91 m) high. The structure has inscriptions of ye dharmā hetu pabhavā which dates back to the 6th century. Brāhmī script is chiseled onto the surface (Ray 162). The verses are from a vinaya and are the words spoken by the Arahant Assaji on the causation of dharmas.

During my second visit to the New England Peace Pagoda, I met Sister Clarence Carter. She belongs to order that worships and lives on the premicise. She discussed with me the meaning of each Buddha image placed in the four directions around the stupa. Oddly enough this is one of the only Peace Pagoda sites that the venerable Nichidatsu Fujii gave specific building instructions. This was the last one he build and it aligns and he didn’t get to see it fully realized. This pagoda aligns with another odd occurrence Sister Clarence informed of us in his life; the fact he was born on August sixth, which 60 later was the date that Hiroshima happened. In the Japanese culture the age 60 is believed to be a time of change and rebirth. So he walked and prayed everywhere for change and for peace, with a drum, chanting.

To the left of the Pagoda is the new temple, oddly shaped and beautiful. Half of the facade is taken up by a waning-circular window letting large amounts of natural light inside. The building is symmetrical with two lions guarding the stairs leading to the wide doorway. The building itself is an off-white, a humble piece of architecture overshadowed by the large, bright Pagoda to its right. Upon the altar inside the temple sits a picture of the venerable Nichidatsu Fujii. His framed image is underneath the seven gilded buddhas shrine. Above are bells and a ceiling with height towards the heavens. The side walls have floor to ceiling windows filling the space with light that reflects off the golden Buddhas. Incense surrounds and welcomes our senses. Sister Clare bows and we bow back. She spreadsthe informed message of anti-nuclear warheads while recovering from illness. The group has been participating The 14th Annual Walk for a New Spring, since March 13.

The Monks and walkers start their pilgrimage mid-winter to raise awareness to end nuclear weapons in the world and bring communities together. In 2014-2015 they walked from Leverett, Massachusetts through nine states and through Washington, DC. Members will then end up in New York City on April 26, when the United Nations gathers to protest nuclear warheads and encourage members of the U.N. to ban these destructive creations of mankind. What is incredibly interesting is how politically active this order of monks are. As promoters of anti-violence and compassion, the stupa and its sect have a strongly positive influence on the area and have helped inspire and collaborate with other walks for peace (Miyazaki).

I climb the seven steps to access the first level, I start slowly walking clockwise, circumambulating the first level of the Peace stupa taking in the bottom stone blocks that are a mosaic of white shells and rocks. The path is covered in footmarks from other visitors whose shoes have taken them here, to walk where I stand now. The world is so huge, but also so small when you think about how big the universe is and how many other worlds there are in Buddhism. Fifteen steps up and the next level greets me with a young Buddha waving. Sister Clare said

that each statue was made by two artists from Sri Lanka. This is the birth Buddha referring to Buddha’s birth and rebirths. The layer of gold leaf shines in the sun. The figure is placed on a purple platform shaped like a lotus. The urna, or eye of wisdom, in the middle of the forehead is represented with a small spiral. An enlightenment cranial bump sits atop the Buddha’s head. There is an unassuming altar where incense can be burned, the memory of past offerings fills the concrete bowl. I again walk clockwise thinking about how the monks start their mornings walking this same path.

The next buddha I find is the one who subdues maras. He is in the traditional lotus position attaining nirvana. There is a circle behind him symbolizing him breaking from the eternal cycle of rebirth. The third is pari nirvana, the buddha asleep reaching infinite sublimity and peace. He is compassionate and sleeps with his students asking questions below. I pass paying respects in my mind, the path is not completely clear in the back and I fall through the ice, this is definitely New England. In the next Buddha there are with two Buddhas and two stupas. The depiction refers to the belief that the seed of enlightenment in everyone. Much like what Sister Clare believes, that “within everyone is the seed of higher consciousness and heart consciousness.” I personally connect with this belief in that I think that there is good to be found in every being.

In the first millennium BCE Mahayana Buddhism’s influence spread to Java. Ancient Buddhism’s form in Java was similar to shignon, one of the main Vajrayana lineages in Japan. During the short time period of Buddhism’s popularity, Java had many temples and shrines constructed all within the century 750-850 BCE; this is when many of the Buddhist aspects of this temple would have been constructed (Miksic 18). These were erected under the Mataram government, most likely during the Sailendra dynasty. Many different narrative reliefs are carved on the lower galleries depicting Birth Stories and other life tales of Bodhisattvas (Miksic 22).

The layout of Borobudur represents the “Lotus Sutra” and one possibility is that it is meant to symbolize Buddha sitting atop a lotus flower. There is a natural lake to the northeast, one of the reasons for the fertility of this area, and this supports the image of Buddha sitting upon a lotus (Murwanto 460). With over 500 life-sized Buddha images and over 1,460 intricately carved beautiful panels, along with 72 stūpas on the upper terrace this monument raises many questions for scholars. Speculation on what spiritual influence was the main factor in creating the layout, ideas today range from the Daoist Dipper Walk to the possibility a Chinese cosmological diagram called shi (Jing 52).

The stūpa is one of the most revered Buddhist religious structures today. The beautiful adornments and differing designs each have a differing importance for the laity, saṅgha, and even those just wanting to pay respects. Stūpas are the main holy objects that allow sentient beings to accumulate merit through circumambulation, ritual, and meditative practice site.

The stūpa is representative of the three jewels, Buddha’s Dharmakaya. The three jewels are the Sangha, the Dharma, and the Buddha. The Sangha is composed of practitioners, and the Dharma stands for the teachings of Buddha. Due to the span of years and reach of Buddhism across the globe, stūpas take on many different forms. Two examples are the colossal shrine of Borobudur and the Dhamekh Stūpa of Sarnath, with completely different styles and differing local religious influence. Much can be learned from the growth of a faith through the evolution of its’ religious edifices, especially Buddhism. These are just some out of tens tens of thousands of stūpas all over the world.

There is much to be learned about a culture through the way spirituality is expressed in their art. Looking at how Buddhism evolves in each new place it reaches and how the original dirt mound of a stūpa has changed in both meaning and image so much over time and with each new country it reaches. The combination of local beliefs and original enlightened words of the Buddha have touched many lives, and still people circumambulate around stūpas weather they are Buddhist or not. The aura of serenity around these mounds can be felt by everyone, no matter what you believe. Buddhism is extremely inclusive in both ways of thinking and artistic interpretations. The insight gained from looking at the more ancient relics and comparing to a stūpa built within the last century shows how this architectural phenomena is still constantly evolving.

Work Cited

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Miksic, John. Borobudur: Golden Tales of the Buddhas . 4. Periplus Editions ltd., 1996. 17-32. Print.

Miyazaki, Yumiko. "New England Peace Pagoda History ." The New England Peace Pagoda. Nippozan Myohoji Buddhist Order. Web. 08 Apr 2015. <http://newenglandpeacepagoda.org/>.

Murwanto, H., et al. "Borobudur Monument (Java, Indonesia) Stood By A Natural Lake: Chronostratigraphic Evidence And Historical Implications." Holocene 14.3 (2004): 459-463. Academic Search Complete. Web. 17 Feb. 2015.

Owens, Bruce MacCoy. “Monumentality, Identity, and the State: Local Practice, World Heritage, and Heterotopia at Swayambhu, Nepal”. Anthropological Quarterly. 2nd ed. Vol. 75. Washington DC: George Washington U Institute for Ethnographic Research, 2002. 269-316. Print.

Ray, Himanshu Prabha. The Return of the Buddha: Ancient Symbols for a New Nation. New Dehli, India: Routledge, 2014: 158-236. eBook.

Singh, Dr Anuradha. "Buddhism in Sarnath: An Account of Two Chinese Travellers." Space and Culture, India 2.2 (2014): 43-47. ACCB Publishing. Web. 14 Feb. 2015.

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