Apply It! - Find Me Filipino Artists:

In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was institutionalized through Republic Act No. 7355.  Tasked with the administration and implementation of the Award is the National Commission for Culture and the Arts, the highest policy-making and coordinating body for culture and the arts of the State.  The NCCA, through the Gawad sa Manlilikha ng Bayan Executive Council, conducts the search for the finest traditional artists of the land, adopts a program that will ensure the transfer of their skills to others, and undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.

The Gawad sa Manlilikha ng Bayan logo is a stylized representation of the human form used in traditional cloth.  Below the motif is ‘Manlilikha ng Bayan’ written in ancient Filipino script extensively used throughout the Philippines at the time of Western contact in the sixteenth century.

Masino Intaray Musician and Storyteller

Pala’wan

Brookes Point, Palawan 1993

Living in the highlands of southern Palawan are the Palawan people, who, together with the Batak and Tagbanwa, are the major indigenous cultural communities of Palawan. The Palawan possess a rich, intense yet highly refined culture encompassing both the visible and invisible worlds. They may not exhibit the ornate splendor of the Maranaw nor the striking elegance of the Yakan, but their elaborate conemology, extensive poetic and literary traditions, multi-level architecture, musical concepts, social ethic and rituals reveal a deeply spiritual sensibility and subtle inner life of a people attuned to the myriad energies and forms of luxurious mountain universe that is their abode, a forest environment of great trees, countless species of plants and animals, and a magnificent firmament. Sources and credits to: https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/ https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national-living-treasures-masino-intaray/

Giant Bayan Ancient Tree. Pohon Kayu Putih Raksasa Terbesar Usia Ratusan Tahun Di Marga Tabanan Bali

Giant Bayan Ancient Tree. Pohon Kayu Putih Raksasa Terbesar Usia Ratusan Tahun Di Marga Tabanan Bali

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     [...] Among our ancient heroes and gods, only Pilandok has kept his head above the water through all the centuries of foreign plunder. Our diwatas, more trustworthy and admirable for their rigid integrity, died one by one as the Spanish muertos, duendes, encantos, and cafres took over our caves and earth mounds and forests and trees. Only the androgynous diwata (emphasis mine) of Makiling survived, because it transformed itself into a seductive nymph, her long brown hair waving in the wind, her Andalusian nose cutting an angular silhouette in the twilight as she sat stock still on a rock and dipped her lovely pointy toes into the Laguna. And then, for a coup de grace, she appended “Maria” into her place of origin--and thus became the fairy godmother Mariang Makiling. That was perhaps the first sex change operation in the history of the Philippines.

Rosario Cruz-Lucero, from “Singer on the Mango Tree” in Ang Bayan sa Labas ng Maynila = The Nation Beyond Manila (Ateneo de Manila University Press, 2007)

15 Places You Shouldn't Visit Because You're Ruining Them

With aviation projected to double the subsequent 20 years, a number of the world's most beloved and well-traveled places are poised to become ruined by tourists. And while we're all for traversing the world and crossing bucket-list destinations off your list, we frequent fliers must believe the impact we've on fragile environments and native communities. So, in an attempt to be more conscientious travelers, we've rounded up the world's most at-risk destinations and all the stunning under-the-radar places you ought to go instead.

1 Cozumel, Mexico

The delicate reefs surrounding Cozumel, an idyllic island off the coast of the Yucutan Peninsula and a frequent stop on Caribbean cruises, are more fragile than ever, thanks to excess cruise liner activity and therefore the four million-plus tourists that arrive annually. In an attempt to guard Cozumel's fragile aquatic habitat, Mexico's National Commission of Natural Protected Areas implemented a short-lived ban on tourism to many areas of the Cozumel Reef park. As an alternative to Cozumel, bring your dive gear to Isla Mujeres, a sliver-size island off the coast of Cancun, where the water is crystal-clear and where you would possibly spot whale sharks and other aquatic creatures.

2 Everest, Nepal

The mighty Everest has never been more popular—and mountaineers and guides are saying that the results might be fatal. More and more inexperienced climbers are making the trip, resulting in overcrowded pathways even at 29,029 feet. Then there are environmental issues caused by such strong visitation, including the piles of garbage left behind on the paths and therefore the accelerated melting of glaciers. As an alternate adrenaline fix, climb a less trodden but no less challenging peak like Cho Oyu in Tibet.

3 Dubrovnik, Croatia

If Game of Thrones helped put the Croatian city on the map, it also contributed to the city's grave overtourism problem. within the city's old town, for instance, there are approximately 100 souvenir shops, 100 restaurants, and additional cash machines than Las Vegas. As a result of the congestion, the town is considering implementing a variety of bans, including a short-lived one that might prohibit new restaurants from having outdoor seating within the city's Old Town. We'd recommend supporting other Croatian towns like Cavtat and Zadar instead.

4 Raja Ampat Islands, Indonesia

Home to a number of the richest biodiversity on earth, the Indonesian archipelago of Raja Ampat comprises quite 1,500 islands. In 2017, one among Raja Ampat's major coral reefs was irrevocably damaged when a cruise liner crashed into it, imperiling an already-sickly aquatic ecosystem. Scientists are now predicting it'll take quite a decade to heal the damaged reef. In the meantime, quell your insomnia on the Togean Islands, a constellation of 56 under-the-radar Indonesian islands where you'll swim, sunbathe, dive, and snorkel to your heart's content.

5 Iceland

With its otherworldly landscapes and road trip-friendly sights, Iceland is high on many travelers' lists. In 2018 alone, quite 2.3 million people made the trip; compare that to the 350,000 full-time residents on the island, and it's clear why the travel industry has voiced concerns over sustainability and environmental preservation. In 2017, the Environmental Agency of Iceland closed one among the country's biggest tourist attractions, the canyon of Fjaðrárgljúfur, after a huge influx of tourists. In an interview with CNN, Hannes Sasi Palsson, the owner of an Iceland tourism company said, "That a part of the country simply can't deal with all those stomping feet." to urge your fix of surreal landscapes, consider visiting a U.S. park-like Bryce Canyon instead.

6 Pig Beach, the Bahamas

The novelty of swimming with pigs draws thousands of tourists per annum to Big Major Cay, an uninhabited island in Exuma, the Bahamas. Sadly, the population of the feral pigs has significantly dwindled thanks to tourist misbehavior. In 2017, seven of the creatures died after being fed alcohol by tourists. Now, the amount of animals on the island hovers around 15. As an alternate itinerary, head to Nassau and check the Grand Hyatt Baha Mar, an oceanfront resort with an on-site flamingo sanctuary.

7 Angkor Wat, Cambodia

In 1992, UNESCO officials put Angkor Archaeological Park in Siem Reap on an inventory of endangered sites, citing destruction caused by illegal excavation and pillaging. After deeming the location "reasonably secure" in 2004, Angkor Wat was far away from the danger list— but archeological experts and tour operators claim the traditional temple complex remains in danger . on the brink of 2.6 million visitors visited the delicate site and temples like Phnom Bakheng are compromised due to heavy pedestrian traffic. rather than Angkor Wat, we recommend visiting the Banteay Chhmar ruins, a set of eight temples hidden within the Cambodian countryside that go back to the 12th century.

8 The Maldives

With each passing day, it looks like another new resort opens within the Maldives. The torrent of tourists, including rising sea levels and increased construction, is causing irreparable harm to the tropical paradise, including the loss of habitats of species, the disappearance of beaches, and therefore the destruction of coral reefs. In response, some hotels like Bayan Tree Vabbinfaru are raising awareness through coral rehabilitation programs—but responsible travelers trying to find beach bliss should consider Seychelles or Sri Lanka as alternative options.

9 Machu Picchu, Peru

Getting to the Lost City of the Incas, one among the new Seven Wonders of the planet, requires a four-day hike or taking a 3.5-hour train from Cusco to Aguas Calientes. Despite the problem of reaching the Citadel, Machu Picchu has been suffering from overtourism, drawing quite a million tourists annually. As a result, a number of the sacred temples have even been damaged, forcing the govt to introduce measures like timed entry as to how to regulate the tourist flow. For travelers eager to discover ancient ruins within the Sacred Valley, other options are abundant, from Kuélap and Llactapacta to Choquequirao.

10 Venice, Italy

Rising water levels, unprecedented tourist numbers, and an influx of cruise ships are among the factors threatening the infrastructure of Venice, causing historic buildings to crumble and famous attractions, like St. Mark's Square, to flood. As to how to mitigate the damage, the govt has implemented short-stay visitation fees and other restrictions. For all of the culture with none of the crowds, consider other Italian cities like Lecce and Bologna.

11 Boracay, Philippines

The Philippine island of Boracay was dubbed the simplest island within the world by Travel + Leisure magazine in 2012. Fast-forward a few years and Boracay is now a textbook example of the consequences of overtourism. The once-crystal clear waters are crammed with green algae; the streets are suffering from trash; sewage was, until recently, being pumped into the ocean; and quite 70 percent of the coral cover has been destroyed due to unmonitored snorkeling. Give the island time to heal by instead visiting Siargao, a teardrop-shaped Philippine island known for its lush jungles and pristine beaches.

12 Santorini, Greece

This Greek island, known for its world-famous sunsets and volcanic cliffs, is additionally known for its tourists. within the popular summer months, Santorini sees quite 10,000 visitors per day. Those numbers have put significant strain on the island, from traffic jams and a spike in energy consumption to rising water levels. In an attempt to curb the consequences of overtourism, the govt has limited cruise liner numbers to eight,000 a day. If you're keen on living out your Sisterhood of the Traveling Pants fantasies, consider the lesser-visited Greek islands of Milos and Koufonisia.

13 Bali

Water shortages, plastic-filled beaches, and overall congestion are new realities of life on Bali, where tourism has taken a pointy increase following the island's starring role in Elizabeth Gilbert's 2006 travel memoir Eat Pray Love. Disrespectful behavior is additionally, sadly, an issue: tourists have posed inside sacred temples wearing bikinis. Do your part to bring the island back to its former self by choosing another Balinese island—say, the nearby paradise of Lombok—for your vacation plans.

14 Barcelona, Spain

In Barcelona, locals are taking to the streets to decry the consequences of overtourism on their city, which include lack of affordable housing, pollution, and street congestion and noise. Barcelona's mayor has taken a stand, restricting the number of cruise ships that are allowed to dock within the city and stalling the expansion of the airport. Other alternatives to busy Barcelona include San Sebastian and Cádiz, both of which are on the ocean and boast a wealth of cultural attractions.

15 Maya Bay, Thailand

At the peak of its popularity, Maya Bay, on the Thai island of Koh Phi Phi Leh Island, saw quite 5,000 visitors per day. (Blame its appearance within the 2000 film The Beach, which depicted the isle's turquoise waters and limestone cliffs.) Strong visitation resulted in serious environmental damage: most of the island's coral died as a result. Since then, the Department of National Parks Wildlife and Plant Conservation has closed the bay, and it's projected to be off-limits to visitors until 2021. In the meantime, travelers should set their sights on lesser-known neighboring isles like Koy Yao Noi.

#Blog Post 3. Indian Percussion Instruments

The Indian subcontinent's music is usually divided into two main classical music traditions: North India's Hindustani music and South India's Karnatak music, although many areas of India do have their own musical traditions independent of these. According to the Hornbostel – Sachs method, Indian musical instruments can be narrowly divided into four categories: chordophones (string instruments), aerophones (wind instruments), membranophones (drums), and idiophones (non-drum instruments).The diversity of drums and percussion instruments in India is enormous. The famous Indian percussion instruments include Tabla, Mridangam, Dholak, Pakhawaj, Madal, Dhol, Ghatam and many more.

 Tabla

The Tabla is one of India's most popular instruments. It is a two-piece percussion instrument and is the main rhythmic accompaniment to most classical and light music from North India. It is said to have originated from the two-faced drum called the mridangam and the pakhawaj. The bass drum or the male drum played with the left hand is called the bayan, the dhaga, or the duggi. The Dayan or tabla is called the treble or the female drum that is played with the right hand. The bayan has a rounded metal shell, and the Dayan usually has a slimmer wood shell. Both are covered with the skin attached to leather hoops that are extended through leather braces over the drum's head. Between the braces and the tabla wall, there is a cylindrical block of wood wedged. It is possible to push up or down the wedges to lower or lift the pitch. Applying a flour-water mixture to the Dayan's left head reduces the pitch and gives the dull bass sound. After use, this coating can always be scrapped off. The plaster is mixed with fillings of iron in bayan and applied once and for all. The table's sound is light and sweet, while the bayan's pitch is infinite. The drums on the field are held upright and played with the fingertips. This instrument has the ability to produce almost all rhythm patterns. The most popular artist of Tabla is Ustad Zakir Hussain.

                                            Ustad Zakir Hussain

  Mridangam

 Mridangam is the rhythm instrument used in the Carnatic music to sustain the recital thala. Mridangam's word means clay's body. It is the oldest of all instruments for percussion. It's similar to north India's Pakhawaj. The Mridangam is a double-sided drum with one piece of wood in the body of the instrument. It has a barrel shape slightly to one side with the bulge and the right side is smaller than the left side. For high and low pitched sounds, the body is hollow with two openings of different sizes. The left side is called the two-layer tappi. A flat leather ring attached to a plait known as the pinnal is the outer layer. The inner layer is a circular piece parchment with a diameter close to the outer skin. There are three laminations on the right side. There are rings in the inner and outer. The centre circular layer is held by fastening the annular rings of leather along its periphery. The whole complex called ' valan talai ' is stitched onto a pinnal or plait and mounted on the barrel's right mouth. The two heads are joined together and held tightly together by leather straps that move on both sides in and out of the pinnals or braids. On the centre of the left side, a combination of flour and water is added to lower the sound to the desired pitch. It gives a full burst of bass. After use, this is removed every time. The center of the right side has a permanent coating of a black substance called siyahi which is a mixture of boiled rice, manganese dust, iron filings and other substances. This layer gives characteristic tone to the mridangam and facilitates the tuning to a particular pitch.

  Chenda

The Chenda is an important instrument of percussion used in many Kerala dance forms, especially in the Kathakali (traditional art form) and the Koodiyattam (traditional art form). It is one of the traditional tools used in temples of Kerala. It is also known in some parts of Karnataka as a chende and is used in the Yakshagana folk dance drama. It is a cylindrical wooden drum with a length of two feet and a diameter of about one foot. Typically the drum is made of wood from jackfruit. The skin is covered on both sides of the Chenda. While the Chenda has two faces, it uses only one surface. From his back, the drummer suspends the Chenda so that it hangs more or less horizontally. Then it is played with the Champpangu tree's specially made sticks. The sound that the Chenda produces is very loud. The Uruttu Chenda, the Veeku Chenda and the Acchan Chenda are some of the varieties in the Chenda.

  Dholak

The dholak is a double-headed drum with one side of the bass head and the other side of the treble head. It is one of the most commonly used drums in India's folk music. In most recording and broadcast environments, it is also a common instrument. The Bass head is more like a multi-layered skin tabla head. A paste on the head of the treble gives a tone of high pitch. Metal hooks keep the heads in place with nuts at the bottom that can be tightened or loosened to change the head's pitch. It is mainly used in folk music, light music, bhajan, and movie music.

  Pakhawaj

The Pakhawaj is an ancient percussion instrument in the shape of a barrel with two hands. It's basically a Mridangam's North Indian version. The right head is the same as the tabla and the left head is similar to the tabla bayan except that instead of the black permanent spot, there is a temporary application of flour and water. It is rawhide lined and has tuning blocks between the straps and the case. A sequence of mnemonic syllables known as bol shows the rhythms. The Pakhawaj is used primarily to accompany dhrupad and dhammar singers. It is also used extensively in Orissi dances and sometimes in the kathak. It is also present in Rajasthan's classical form called the Haveli Sangeet. This instrument is rare today.

  Ghatam

The Ghatam is one of South India's oldest percussion instruments. It is a specially designed mud pot with a narrow end, which together with the Mridangam is used as a secondary percussion instrument. The pot usually consists of a mixture of clay baked with fillings of brass or copper and a small amount of fillings of iron. The pitch of the Ghatam varies according to its length. Each Ghatam has its own inherent pitch, but it can be slightly altered by adding plasticine, clay, and water to the pot's inner layers. The performer sits with the ghatam cross-legged on his lap, the mouth of the instrument facing his belly. The ghatam is sometimes turned around, so the mouth faces the crowd, and the artist plays on the ghatam's head. Often, to the delight of the audience, the performer throws the pot in the air and catches it in rhythm.

  Instruments which I have encountered with!!!

Even though I don’t know any of these instrument I had got a chance to explore some of them. They include tabla, mridangam, chenda and ghatam. In our state Kerala (in India), there is an annual youth festival in which there is competition for these instruments. When I was studying under graduation in Kerala I also got chance to visit this competition as a part of students union. We had students from my college who plays these instruments. Therefore I got a chance to play some rough beats and had a great time exploring them.  

 References

1.      Chenda. (n.d.). [Image] Available at: http://niagaratharangam.com/photo_gallery.php [Accessed 7 Nov. 2019].

2.      Courtney, D. (n.d.). Pakhawaj - Indian Drum. [Online] Chandrakantha.com. Available at: https://chandrakantha.com/articles/indian_music/pakhawaj.html [Accessed 7 Nov. 2019].

3.      Darbar.org. (2019). The Mridangam: an ancient, divine drum | Darbar Explains | Music of India. [online] Available at: https://www.darbar.org/article/the-mridangam-an-ancient-divine-drum/84 [Accessed 7 Nov. 2019].

4.      Dholak. (2017). [Image] Available at: https://www.istockphoto.com/gb/photo/indian-drums-dholak-gm638213674-114300219 [Accessed 7 Nov. 2019].

5.      En.wikipedia.org. (2019). Chenda. [Online] Available at: https://en.wikipedia.org/wiki/Chenda [Accessed 7 Nov. 2019].

6.      En.wikipedia.org. (2019). Dholak. [Online] Available at: https://en.wikipedia.org/wiki/Dholak [Accessed 7 Nov. 2019].

7.      En.wikipedia.org. (2019). Ghatam. [Online] Available at: https://en.wikipedia.org/wiki/Ghatam Accessed 7 Nov. 2019].

8.      En.wikipedia.org. (2019). Mridangam. [Online] Available at: https://en.wikipedia.org/wiki/Mridangam [Accessed 7 Nov. 2019].

9.      En.wikipedia.org. (2019). Tabla. [Online] Available at: https://en.wikipedia.org/wiki/Tabla [Accessed 7 Nov. 2019].

10.  En.wikipedia.org. (2019). Zakir Hussain (musician). [Online] Available at: https://en.wikipedia.org/wiki/Zakir_Hussain_(musician) [Accessed 7 Nov. 2019].

11.  Ghatam. (n.d.). [Image] Available at: https://www.ghatamudupa.com/ [Accessed 7 Nov. 2019].

12.  Indianmirror.com. (n.d.). Dholak. [Online] Available at: https://www.indianmirror.com/music/dholak.html [Accessed 7 Nov. 2019].

13.  Kasliwal, s. (2001). Ghatam - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-ghatam.html [Accessed 7 Nov. 2019].

14.  Kasliwal, S. (2001). Mridangam - India Instruments. [Online] India-instruments.com. Available at https://www.india-instruments.com/encyclopedia-mridangam.html [Accessed 7 Nov. 2019].

15.  Kasliwal, s. (2001). Pakhawaj - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-pakhawaj.html [Accessed 7 Nov. 2019].

16.  Kasliwal, S. (2001). Tabla - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-tabla.html [Accessed 7 Nov. 2019].

17.  Keralaculture.org. (n.d.). Chenda, Percussion Instrument. [Online] Available at: http://www.keralaculture.org/chenda/105 [Accessed 7 Nov. 2019].

18.  Mridangam. (2019). [Image] Available at: https://www.flickr.com/photos/skbalasub/14251452512 [Accessed 7 Nov. 2019].

19.  Pakhawaj. (2019). [Image] Available at: http://adit151621.blogspot.com/2016/11/musical-instruments-used-in-odissi.html [Accessed 7 Nov. 2019].

20.  Ponmelil, V. (n.d.). India - Percussion Musical Instruments - India Info @ New Kerala .Com. [Online] Newkerala.com. Available at: https://www.newkerala.com/india/Indian-Music/Indian-Musical-Instruments/Percussion-Musical-Instruments.html [Accessed 7 Nov. 2019].

21.  Siebenkaes, M. (n.d.). Indian Musical Instruments. [Online] Tarang Indian Instruments. Available at: https://www.indian-instruments.com/drums_and_percussion/drums_and_percussion_overview.htm [Accessed 7 Nov. 2019].

22.  Tabla. (n.d.). [Image] Available at: http://vedanshmusicschool.com/home/ [Accessed 7 Nov. 2019].

23.  Zakir Hussain. (2019). [Image] Available at: https://www.clatgyan.com/clat-general-knowledge/briefs/the-daily-brief-18th-july-2019/ [Accessed 7 Nov. 2019].

Gaya apa sih ?🤣 Pohon tua kayu putih ini konon sudah ratusan tahun..tapi jaraknya gak jauh hanya 35Km dari kota Denpasar, gak usah jauh2lah Penasaran...? Datang ke Bali saya temenin #sepedaanbukansepedanya (at Bayan Ancient Tree) https://www.instagram.com/p/CUWPDkjv6nJ/?utm_medium=tumblr

THE WRITHING

Brahma, God of Heaven, Creator of the Universe and supreme master of knowledge looked at his creation

and was pleased.

Although he had created birds of the sky, fowl of the land and fish of the sea, as well as rivers and forests and mountains and all things that were pleasing to his eye Brahma, God of Heaven, Creator of the Universe and Supreme master of Knowledge resolved that in order to keep his creation pleasing he must bestow upon it one last blessing, for its sake. That it may grow and change and evolve into a paradise on earth.

And so Brahma, God of Heaven, Creator of the Universe and Supreme Master of Knowledge bestowed on his creation the ultimate blessing of the gods. 

Life.

____________________________________________________________

The Nagarayan – Goi dynasty get their name from the Narayan – Goi trees that densely populate the great forest of Kuru Panchala.  It is said that an ancient ancestor of the clan copulated with the Goddess Naga and that such was their love making that she blessed the tree and all its fruit and brought fertility to the land.

The Nagarayan – Goi have since honored the Goddess’ magnificence by commemorating this occasion through the ceremony of the Writhing and the Goddess has for centuries been honored and worshiped as the protector, and the supreme goddess of both the Nagaraya - Goi family and the city of Kai Puriji.  

Her holy temple and shrine are located within the Golden Palace and pilgrims will travel from Kuru Panchala and across the land of the Hindu to pay homage to the Goddess and ask for her benefices for their harvests or wombs on holy days, high days and festivals.

The Goddess Naga, or to give her, her formal name Nagamaan – is worshiped as the giver of life and prosperity through festivals and holy days celebrated by the faithful in the City. Her temple, the sacred and ancient Kama – Bayan Rhoi located directly beneath the Golden Palace but within its grounds houses the Goddess’ Golden shrine.  With it’s five headed golden statue of the Goddess some ten feet high, the shrine and temple are nevertheless accessible to worshipers on holy days and festivals. It contains, Pavitr Vasant, the holy spring, an energetic umbilical cord of spring water which traverses down from the divine Udra – Pai through a series of tributaries and rivulets and comes to rest in the Goddess’ temple in Kai Purija, bringing life and abundance to that city.  All water works in the city including wells, pumps, springs, fountains, reservoirs and holy pools are fed by the Pavitr Vasant and the Goddess is said to have created the tributaries of the land in her own image to bless the people of Kuru Panchala. 

Whilst there are many shrines and temples to the Gods in Kai Puriji, with worshipers making their offerings to the God of their choice, of the many shrines to the Goddess that populate the city, the most holy is in the Golden Palace located within the inner sanction of the palace. It is the preserve of the Nagaraya – Goi Royal Family and their priests and any who defile the Goddess with their presence will have committed sacrilege and profaned her sacred house. She will demand the ultimate price for such impudence and so none, for fear of their lives and the displeasure of the Goddess, will err too closely to the divine.     

There are many Holy days in the Kuru Panchala calendar, for fear a lesser God may take spite at the snub and make mischief with the Goddess’ great work.  It is for the priests and holy men to ensure that Gods throughout the city of Kai – Puriji and across Kuru Panchala are worshiped and respected appropriately.  It is for these reasons that the priests and holy men will make journeys to shrines from Kai – Puriji across Kuru Panchala to assist the worshipers in their holy practice and to ensure that the shrines and temples are in good repair and to consecrate other shrines and temples, that the Gods may be honored in all their glory. 

Of the Holy Days dedicated to the Goddess there are four of significance which the people of Kai – Puriji celebrate through festivals throughout the season. One commemorates winter, when the goddess takes her rest, one to commemorate spring when the goddess is youthful and in bud, one to commemorate the holy act of creation between the goddess and the Nagarayan tree that brought such wonders to Kuru Panchala and one whose meaning over time has been lost.  But the most celebrated festival and holy day has come to be known as the Great Writhing or Holy Writhing and is held in late summer to commemorate the bringing in of the harvest and the Goddess’ successful delivery of abundance to her people.

It is said that the tributaries of the blessed Udra-Pai were created when the Goddess and her Nagarayan lover writhed in ecstasy in their copulation and that their pleasure was so great and so blessed that the earth itself was moved and formed the great rivers and tributaries that now traverse the plains of Kuru Panchala.  This act of Holy Writhing, therefore, has come to symbolize the ultimate act of creation for the people of Kuru Panchala and is seen as a sacred ceremony commemorated by the worshipers of Kuru Panchala as the Holy Writhing Festival or Great Writhing.  

 The Spiritual Practice of Kuru Panchala

Kuru Panchala was for many years known as the land of spiritual delights by its neighbors and many friends. The delicate intelligent design of its artists, jewelers, engineers, musicians, carpenters, builders, weavers, tapestrist, smiths and scribes are amongst the myriad of crafts, industries, and guilds that fed the Royal Court and created the opulence, wisdom and joy, for which the Nagarayan – Goi dynasty are known throughout the land of the Hindu and beyond.  It is these schools and academies, guilds, societies and associations that were all said to have been blessed by Pravrantiaaa, Goddess of Joy. 

The Goddess of Joy, it was said, was enjoying the delights of her holy garden, as she softly played her magical flute and composed an ode to nature, when her pet peacock having caught the chord and felt his mistress’ sorrow did lead her to a land of wonder and beauty as to make that maidens heart fill with happiness and ease and she fell from her heavily sphere into Brahma’s sweet creation of bliss and harmony and showered abundance on the people for evermore.  

She returns to her holy garden once in a season when her peacock will fly down and return her to the Gods on its wings lest it lose her to mere earthly pleasures. But for all the hollies of Gods they do not keep her, she cannot stay away for too long - for Pravrantiaaa, Goddess of Joy, Kuru Panchala is her garden of spiritual delights.

And so, there are many pleasures to tempt the appetites of the worshipers of Kuru Panchala and a worshiper is expected to fulfill their desires in accordance with their purse and preferences, as well as their religion, caste or gender as Brahma instructs. 

But they are also cautioned not to feed their indulgences for fear that fed to surfeiting, the appetite may sicken and so die. And in so doing they may forget the Goddess, and she in her misery, may forget her Joy.

For though it may seem to the uncivilized stranger’s eye, that the people of Kuru Panchala are lax or lazy or indulgent, in reality it is the Kingdom’s farms and villages and quarries and bread houses and mines and forts and encampments where the Goddess also lives, and where Joy is happiness made manifest.  

For it is through the artisans, poets, musicians and thinkers of Kuru Panchala, such people who rely on civilization to plough their furrow and who are drawn from village and hut and meadow, whose hand eye genius’ of thought and vision bestows such creative wonders on the land as to please a Goddess, a rectangle of pleasure or simile of joy, as in the stitch of a sari made of golden ambrist thread, or a tantric two bar rhythm in a court poem, that will delight for centuries, and add to the Goddess bounty and continue her Joy.

So worshipers are cautioned,  that none may spoil the hard won peace of the Nagarayan – Goi, which cost that clan it’s brightest stars but brought harmony and abundance to the land and created the civilisation that has, in wonder of the magnificence of existence, dreamed the wisdom of the Blessed Path of the Gods into being, for the enjoyment of all of creation, is not lost on the ayogy, or Drstihina, (in the Maharati “the sightless”). Those who, having shared in the Goddess’ bounty, might, once their senses had alighted, and their consumption been tempted, forget their own divinity and be blinded by tastes and wants alone. Existing in a hell of pleasures and yearnings and desire, who live only to crave and forget their Gods. 

For in Nagaraya – Goi Hindu spiritual practice it is only through the balance of these points between enjoyment and restraint, neither craving nor satiated, the mastery of temporal and corporeal passions, the balance of the self, where a worshiper may enter the Gateway to Spiritual Heaven - and the soul live forever in the Palace of the Gods. 

And it is the calendars, both spiritual and tangible, of festivals and harvests, of market days, and royal audiences, of high days and holy days, that manage the seasons in perfect harmony with Brahma’s creation and beat the rhythms of life for the people of Kuru Panchala that they may reap the bounty of the Gods and in doing so go forth and be multiple.  

Those who take this mantra to their practice and discipline their pleasure so as not to restrict the Goddess’ Joy, like Bhaktrivedanta Prabhupada, the Great Walker, who is ever mindful of the Goddess’ music as he walks through her garden of spiritual delights for it fills his heart with love and his soul with grace, are blessed in the eyes of Brahma, and are said to be Walking the Blessed Path of Grace. 

Overindulgence, therefore, whether in nature or degree, of a kind that might lead a worshiper to be so blinded as to forget his Gods, is looked down upon in Kuru Panchala society and to call someone “sightless” is an insult that attacks the soul. 

Such people are, if and when they are discovered, shunned by their neighbours and peers, least their foolishness offends the Goddess, and brings bad luck on her people. 

________________________________________________________________

The Ceremony of the Holy Writhing, or the Great Writhing Festival is a sacred event in the lunar calendar of Kuru Panchala. 

It takes place annually, although minor or lesser writhings may be practiced throughout the year by worshipers, as the needs of the populace dictates, with the permission of the King, and in accordance with the instruction of the priests.

While the Holy or Great Writhing remains a spiritual experience for many and is celebrated as such, it is now also celebrated as a symbol of the greatness of the King and the happiness of the people and is a high holy day for the people of the Kingdom.  

But as the Goddess is bountiful and her blessings multiple so the Great Writhing or the High Holy Writhing, necessary, spiritual and symbolic, - can also take place for the purposes of enjoyment alone and is therefore considered, among the common people, whatever its reasoning, as the Magical ceremony or Manitra, 

When the Goddess in her magnificence, through the rhythmic tempo and movement of the worshipers bodies, beating to the tantric drums, and intoxicated by the incense of the Tubkumo tree that grows near the wild forest, is tempted to look down and open the chakra’s of her worshipers, making bliss manifest on earth.

The Holy Day of the Festival of the Holy Writhing, occurs four times in the Kuru Panchala calendar – and pilgrims, traders, artisans, farmers and makers and buyers and sellers of all kinds will start their trek to Kuru Panchala sometimes months in advance to the markets and temples for the four days of ceremony, it is the duty and the pleasure of each worshiper to make the pilgrimage at least once every five years to pay homage to the goddess and tribute to the king. 

Some villages and townships will send delegations to perform ceremonial rites and civic duties on behalf of a village, township or community and soldiers, weavers, growers and builders, and people of all status will be given the rest days to honour the gods.

There are minor ceremonies across Kuru Panchala, where in towns, villages, and hamlets, friends and neighbours will come together for many months, making lanterns and cosmetics and coloured masks and flower banners, saving the corn and fermenting the berry, in shared anticipated glee of the holy happy day of magic, as it’s often known by the common people. 

So that the happy day can spread happiness in its wake, treats are given out, business is done, and marriages arranged and the day flows from spiritual to enjoyable to municipal. For if the Goddess is pleased with the honour she receives she may, in her glory, spread prosperity and contentment on her people and turn the seasons again to the happiness of the land. 

As the Maharati proverbs of the twelfth century sage Harkandha Marendranata Pattir tell us in the Persian texts, 

the goddess Nagamaan brought bud to the branch of the tree of life, so flowers the seed and Brahma’s creation grows manifold.  

Though poets have found it is less poetic when spoken in the translation. 

It is often confusing to outsiders that the Great Writhing and the Holy Writhing are not one and the same and are celebrated by two separate calendars, kept by scholars of different schools.  The Holy High Writhing can be best known as the Writhing celebrated by the worshipers of Kai – Puriji and others who may wish to commemorate the holy act of creation between the goddess and the Nagarayan tree, and while similar in many ways to the Great Writhing it is the Holy High Writhing that is the holy high day, that is celebrated annually in a separate calendar to the High Holy Great Writhing which is celebrated four times annually and is the high holy day.  It is for the worshipper to decide which calendar to honour, but it is not uncommon for worshippers, and particularly the Royal Family to worship both calendars under guidance from the priests and astronomers. 

Both the Holy Writhing and the Great Writhing will both start at dawn and priests and holy men will sing the holy Pahata mantras, the mantras of the dawn, welcoming and thanking the sun for the day, 

This is the signal to begin.  

Having already made their ablutions and offerings and paid the annual tribute to the King of the best produce and product of the land, and in the knowledge that they enter the presence of the Goddess with kind heart, clean body and open mind ready to receive the pureness of grace, the worshipers will begin the chanting of the mantras, a necessary element of the spiritual miracle that is, in itself a sight to see, its sound it is said, reaches heaven.

For Kai – Puriji is itself a city of some size, the largest by far of Kuru Panchala and some say the broader Hindu lands, and be it high holy day or holy high day the Goddess’ worshipers have need of her mercy and fertility and abundance and will flock to her cause in great numbers.  

During these days of holy highs and high holies, every room and rooftop in Kai – Puriji will be let some five times over.  The barracks outside the city walls will be filled with the wandering soldiers on leave or builders or labourers on holiday who cannot find a bed within the city. In the desert plain, to the north of the city outside the Gate of the Pilgrims whose high stone walls like the three other city gates, the Gate of Peace, the Gate of Travellers and the Gate of the King are carved to represent the five headed body of the Goddess, and where only those who walk the path of the Goddess may tread. Encampments and tents of all sizes and varieties form to house an over spill of pilgrims, traders, clans and merchants, who will bring a flock and a still, and an oven, and a smithy – and build cities anew for the Goddess. 

And when this collection of souls, not through caste, or religion or gender or status or reason, but through the Goddess alone come together to sing the mantras, if the sound is holy and the people are pure then the goddess might once more spill her seed and the land shall again grow fat.So, the singing of the Mantras begins and is itself a holy practice and will fill worshipers with joy and peace and knead their souls that they may receive the grace that is to come.

Once the Mantra’s end the stillness begins.  It is for the high priest to decide when to summon the sound to still the people, he will do this by striking, or causing to be struck the Dhvani ka pot, or in the ancient hindi, the Vessel of Divine Sounds.  

This holy vessel which, it is said Brahma struck to bring order to chaos before the beginning, will echo a sound so pure and create a stillness so light that it will lift the souls of the worshippers to heaven filling them with sacred bliss and attracting the Goddess’ notice, and she will fill her worshippers with ever deepening stillness and a divine grace of transcendent beauty.  

Once the Dhvani ka pot has been struck twice and the people so satiated with grace are beyond their senses that tears pour from their eyes and love thunders from their souls, the Holy High Day or High Holy Day may begin.  

When the stillness has ended and the worshipers return to their senses, the procession will begin from the Temple of Holies in the Golden Palace. The statues of the Goddess across the city will be collected one by one in order of beneficence and be carried by the priests around the city both within the walls and now because of the number of worshipers, outside. Holy men will throw sweets and flowers at the worshipers throughout the city while the people throw offerings and make devotions. 

Coloured masks will be worn, faces painted, cloth of crimson and verdigris and lapus will be worn along with every variety in the kingdom. Drums will be struck, symbols crashed and powder thrown and the people will be happy. 

Acrobats and fire eaters and jugglers will entertain the crowds and the atmosphere will crackle from the explosions of pyrotechnics, firecrackers and sparklers that singe the air and leave excitement on the air. Worshippers, drunk with joy, in their conscious unconscious, their every sense thrilled by sound and vision and flavour and taste and variety and noise and excitement will sing like one to the goddess.  

Once the Goddess has witnessed the devotion of the people, the Royal procession, either on elephants or in Pandam will begin and the Maharaja and the royal court will show themselves in their opulent magnificence, a sign of the Goddess favour. Each procession may show itself several times before the next begins, or the Goddess in her jealousy may show herself several times to the people and the Maharaja must wait.  These matters are for the priests, scholars and astronomers to determine in advance and in accordance with the calendars. 

The Maharaja and Royal Court will shower benevolences on the people in accordance with high holy or holy high, their attendants will throw flower garlands, sweets and coin to the populace as a sign of royal favour. When the Maharaja and his royal court, his nobles and his army, his poets and musicians and dancers and beasts have received the adoration of the worshippers the procession will make its way out of the city through the north Gate of the Pilgrims on to the vast desert landscape that the city now dominates and lead the people to the sacred public arena so the games may begin.  

The day will consist of tournaments of strength, speed, music, daring, drama and oratory and of festivities of all kinds, and will in the case of the Holy Writhing may continue for seven days. The Maharaja, either alone or accompanied by favourites and members of the court, will attend such festivities and events as befits his station and interests and will bestow gifts of great honour and value on the victors. He will travel in a Royal Pandam in appropriate ceremonial style whether high holy or holy high depending on the Writhing, and his artists, builders and engineers will have built great stands, amphitheatres, private Royal apartments, temples and pavilions for worshipers and spectators, now outside of the city walls.  

At some point during the early to middle Maharanti period the beasts of the kingdom were included in the festivities and celebrations and now an eagerly anticipated highlight of both high day and holy day are the tiger races, the elephant displays and the peacock ceremonies along with other similar entertainments. These will continue until the priests ring the bells of the temples and call the High Holy or Holy High day to a close.   

After a period of rest when worshippers may recoup their energies and change their clothes and again make ablutions in the sacred pools and springs, the priest will sing the holy Tinhisanja mantras, the mantras of the dusk, thanking the sun and welcoming the moon. When the mantras have been sung, the holy chanting will again call down the Goddess and beg her attention.  

Again, it is for the priest to decide when the Goddess has noticed and will strike or cause to be struck the Dhavani ka pot to begin the stillness.  The Stillness of the High Holy Day is similar but of different energetic vibrations than the Stillness of the High Holy Night, just as the Stillness of the Holy High Day is similar but different to the Stillness of the Holy High Night.  

Once the stillness is ended the feasting begins, and when the ceremonial prayers and offerings are completed, conjurors, jugglers, acrobats, raga dances, poets and performers of all kinds will delight the crowds and foods of every variety including tiger meat from the Maharaja’s own stores which he may dispense as Royal favour, and all wines and fish and fowl and fruit of the cosmos will be served in a display of magnificent reserved for the Great feast.  

Each temple may hold its own Great Feast or each community, guild, congregation or family may enjoy the feasting at their own choosing and arrangements. When the feasts are over and the entertainments ended, those who wish to end their High Holy, Holy High in prayer, yoga, chanting and silent meditation, may do so for their devotions are no less beloved of the Goddess.

But the ceremony that gives both the High Holy and the Holy High its name is the Writhing which, once the moon ascends to her heaven is begun by the Writhing priests with a summoning of the worshipers by the tantric drums from the Goddess’ holy temple.

As holy men chant the mantras from the high platforms the tantric drums on the roof of the Palace temple and within the Hall of Writing will beat the rhythms to summon the Muladhara worshipers.

With body washed, perfumed and oiled, and breath sweetened with a little honey-wine, the Muladhara worshippers will make their way to the Hall of Writhing, where their naked bodies must surrender their will to the call of the tantric drums so as to keep the primordial rhythms that the ceremony is known for.  

They will say the holy prayers and so as pilgrims prepared, they will enter the Hall of Writhing, or tent or temple, and so begin the mass movement of bodies, or Writhing, to the sound of the tantric drums, which will beat all night keeping the rhythm of the Goddess great miracle awake in the bodies of the participants.  

Body after body entranced by the mystical smells of incense that will cloud their nostrils and confuse their minds, and the soul bending sound of the drums that will call forth their desires, will pump and thrust and grind to honour the Goddess’ act in one magnificent display of transcendental creation. 

And if she is pleased with their offering she may notice their worship and allow her Klidilini spirit to enter their love chakra and pierce their soul.

For it is said that worshippers who please the Goddess will transcend mere physical ecstasy and bodily release, with their physical selves disintegrating into minute pieces of pleasure, they achieve mystical grace and spiritual bliss. 

For the ancient practice of the Writhing honoured since the beginning for its spirituality and it’s procreative bounty and by both calendars, is ultimately an exercise in release from the body and the bonds that tie the soul to the earthly plain. 

And those that infuse it’s beating, thrusting, pulsing, pumping primordial rhythms and the heady, intoxicating scent of the incense, and the heat of the writhing bodies as they are taken over by the Goddess joy, in a nameless, status - less, self-less act of mass creation and who, through the physical gateway, defeat ego and conquer self, are said to transcend in a cascade of bliss their souls being one with the ultimate Holy or Great Holy. 

For as long as they are able and while the Goddess in her glory has, once more deigned to reach down and open the love chakras of the faithful, their bodies will beat, and pump and thunder to the rhythm of the tantric drums enacting once more the miracle of life through the act of spiritual copulation. 

If the Goddess is pleased, she may hold off a pestilence or keep a well flowing for longer, she may bless a merchant’s trade route or an artisan’s tongue or a noble’s bloodline. She may keep people safe, happy and prosperous and if she does not, she may have instilled such wisdom into the Maharaja as to have kept the grain stores full or the forts in repair or the people abundant.  

In her happiness she may as carelessly as a child, shower her blessings down to fall where they may, for it is for the priests and not the people to know the Goddess’ intentions.   

And in time there will be writhing children born, whose status while not wholly respectable, will allow them to become the farmers, and builders and engineers and soldiers and court servants who keep the kingdom prosperous and abundant and make the Goddess’ mercy manifest. 

Giant Bayan Ancient Tree. Pohon Kayu Putih Raksasa Terbesar Usia Ratusan Tahun Di Marga Tabanan Bali

Giant Bayan Ancient Tree. Pohon Kayu Putih Raksasa Terbesar Usia Ratusan Tahun Di Marga Tabanan Bali

Giant Bayan Ancient Tree. Pohon Kayu Putih Raksasa Terbesar Usia Ratusan Tahun Di Marga Tabanan Bali Jangan Lupa Untuk Subscribe, Like, Comment Dan Share Youtube Channel: Ngurah Surya Kusuma » Sumber informasi Artikel » Berita » Otomotif » Wisata » dan lain-lain terkadang berasal dari berbagai sumber situs media lain. Hak cipta sepenuhnya dipegang oleh sumber tersebut. Cari Info Terbaru » Sewa…

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Apolaki

Note: If a word is unfamiliar to you and need of translation, please don’t be afraid to refer to the list of translations I have made available. It can be found right after the poem. 

A fabled man, with many feats  Crushed his enemies with his own two feet  Saved the islands from the Spanish  Magellan and his forces, he vanquished 

The warrior goes by many names  But only one of which is true to name  Named after the warrior god  Apolaki is his mighty name 

Apolaki was no normal man  He fought for the islands, against god and man  And served as a peacekeeper Because no one in his islands can 

On his right, he draws a golden kampilan  A weapon of Sulu, his home and bayan  A shield he bears on his left  A wooden kalasag, he lifts with heft 

He fought through the skies  against the manananggal  Sliced their half bodies in half  Wiping them, wings and all 

He shaped the Philippines and its land  Mountains and volcanoes, built by hand  He nurtured the fields and made the terraces  A land for all kinds of races 

Darkness came and so did the monsters  Tikbalangs, kapres and all kinds of creatures  Leading them was a ghoul from the shadows  A human pugot, fresh from the gallows 

The headless body threatened the islands  With famine and death, never seen on the islands  Apolaki gathered anyone he can  To save the islands once again 

A battle was approaching and two sides were marching  A battle that’ll decide which one will be packing  The ghouls of darkness with wills to fight  or a coalition of man and creatures alike

The battle began at break of dawn  Thousands of weapons have been drawn  Teeth and claw have been sharpened  No cry or scream will be dampened 

Hours and hours, the two sides fought  Apolaki killing dozens with no thought  The pugot and him finally met  A duel that had been set 

The ghoul and man parried and attacked  The ghoul more aggressive, no grace or tact  They dueled through the battlefield, over bloody green grass  Each not wanting this due to be their last 

Alas the man surprises the ghoul  A stab to the heart of the headless fool  The pugot crumples, no fight to give  And so follows his army, the coalition relieved

 And here at last, our hero rests  Many battles fought had finally caught  He rests today in a blocked off cave  Where he sleeps in peace, an eternal rest 

Filipino to English Translations 

Kampilan – an ancient sword allegedly used by Filipino hero Lapu Lapu against the Spanish explorer Magellan 

Kalasag – an ancient shield used in southern Philippines  Manananggal – usually a severed waist-up body of a woman with bat wings.  Tikbalang – a horse humanoid with unusually long limbs  Kapre – Giants fabled to be living on top of trees. Often seen smoking a cigar.  Pugot – a headless ghoul 

QC solon wants to preserve Novaliches' memory

#PHnews: QC solon wants to preserve Novaliches' memory

MANILA -- There is a need to make the people of Novaliches, especially the youth, fully aware of the historical role played by their former town in the struggle for Philippine independence from Spain in the second half of the 1890s.

Rep. Alfred D. Vargas of Quezon City's 5th District (Novaliches area) made this observation after he was told about the history of the century-old "Katipunan Tree" at the campus of the 72-year-old Metro Manila College (MMC) in Barangay Kaligayahan, Novaliches, Quezon City.

MMC was the former Novaliches Academy (NA), the pioneer secondary educational institution established in 1947 in the former Novaliches town, now divided between Quezon City and Caloocan City.

The so-called "Katipunan Tree" is actually an ancient duhat (java plum) tree which was renamed as such in April 1980 to perpetuate the memory of the revolutionary society "Kataas-taasang, Kagalang-galangang Katipunan ng mga Anak ng Bayan" (Highest and Most Venerable Society of the Sons of the Country) or KKK.

With Gat Andres Bonifacio at its helm, the KKK started the revolution against the tyrannous Spanish rule in the Philippines on Aug. 23, 1896.

During a recent meeting at the MMC Guest House, Vargas was briefed on how the old tree got its name "Katipunan" by Mrs. Natividad Miranda Villano, former MMC principal and now member of the Board of Trustees of the "Gawad Metronian Educational Foundation Inc. (GMEFI) of the same college.

Villano said the ancient duhat tree, estimated to be more than 180 years old at present, was renamed “Katipunan Tree”on April 26, 1980 by then National Historical Institute (now the National Historical Commission of the Philippines), the Ministry of Education, Culture and Sports (now Department of Education or DepEd), the Tree Preservation Foundation of the Philippines Inc. (TPFPI), and the MMC led by Dr. Mamerto S. Miranda, founder of the college.

Among the others present in the meeting were Dr. Eveleyne M. Dominguez, president of GMEFI; Maria Aurora M. Villafuerte, secretary; Billy Miranda and Nante Mendoza Serrano, president, and vice president, respectively, of the Novaliches People's Alliance-Movement (NPAM); and former Barangay Novaliches Proper Kagawad Yolly Santiago Mendoza.

After the meeting, Vargas and his companions proceeded to the Katipunan Tree site and inspected its marker. According to the marker, Bonifacio and his men were often seen holding meetings under the shade of the tree.

On several occasions, the revolutionary heroine Melchora Aquino, better known as "Tandang Sora," was also there, nursing and feeding the wounded and sick Katipuneros.

Vargas noted that the ancient tree is indeed a pride of Novaliches, and to memorialize its history, in particular, and Novaliches, in general, he would initiate the production and publication of a coffee table book which would feature both old and modern photographs about Novaliches.

In connection with this, the lawmaker is requesting Novaliches residents, particularly the so-called native ones, to provide his office with old pictures about Novaliches for possible inclusion in the coffee table book.

Despite its old age, the duhat tree continues to bear fruits, but these are becoming smaller every year and not as succulent or juicy as they were before.

Its shade and height also have been reduced as detached old branches and twigs have not been replaced with new ones.

The duhat tree is located about two kilometers away from the La Mesa Dam and the old Barrio Pasong Putik in Novaliches, where Tandang Sora was captured by the Spanish civil guards before her incarceration and eventual exile to the Marianas Islands in 1896.

To prolong its life, the MMC officials requested the Department of Environment and Natural Resources in June 2014 to conduct rehabilitation, treatment and removal of the decayed portion inside the callous of the ancient tree. (PNA)

***

References:

* Philippine News Agency. "QC solon wants to preserve Novaliches' memory." Philippine News Agency. https://www.pna.gov.ph/articles/1088783 (accessed December 15, 2019 at 07:41PM UTC+14).

* Philippine News Agency. "QC solon wants to preserve Novaliches' memory." Archive Today. https://archive.ph/?run=1&url=https://www.pna.gov.ph/articles/1088783 (archived).

TRT’nin yeniden yayın hayatına başlayan kültür ve sanat kanalı “TRT2”nin 6 – 12 Mayıs 2019 tarihleri arasındaki, haftalık yayın akışına bu başlıktan ulaşabilirsiniz. Farklı kültür sanat içeriklerini ekrana taşıyan TRT 2’de; sinemadan müziğe, resimden edebiyata, tarihten felsefeye kadar birçok alanı konu alan yapımlar izleyici ile buluşuyor.

Yayın akışında oluşacak değişiklikler ve akıştaki eksiklikler; öğrendiğimiz anda akışa eklenecektir.

TRT2 6 – 12 Mayıs – Haftalık Yayın Akışı: [su_spacer] [su_tabs] [su_tab title=”Pazartesi”] 6 Mayıs 2019 Pazartesi: 05:00 İstiklal Marşı 05:02 Muasır 05:30 Dünya Müzik Gelenekleri 05:50 Pazar Konseri 07:00 İhmal Edilebilir Nasihatler 08:00 Tarihin Ruhu 08:30 Muasır 09:00 Anjelika Akbar İle Sesler 10:00 Hülya Koçyiğit İle Film Gibi Hayatlar 11:00 Aramızda Müzik Var 11:45 Opera Dünyası 12:15 Karalama Defteri 12:45 Evliya Çelebi 13:15 Sarayın Lezzetleri 13:45 Sinema + 14:15 Dünya Müzik Gelenekleri 14:30 Koleksiyoner 15:00 Bir Resim Bir Hikaye 15:30 Tarihin Ruhu 16:00 Aykut Köksal İle Mimarlık Söyleşileri 17:00 Muasır 17:30 Murat Boncuk’la Atölye 18:00 Hayat Sanat 19:00 Eskici 19:30 Geleneğin Kalp Atışları 20:00 Belgesel – Eski Mısır Hazineleri 1- Treasures Of Ancient Egypt 1 20:50 Karalama Defteri 21:30 Yabancı Sinema “Geçmiş “(Le Passe / The Paste) (2013) (Yön:Asghar Farhadi) 23:30 Tarih Söyleşileri 00:30 Sarayın Lezzetleri 01:00 Hayat Sanat 02:00 Yabancı Sinema“Geçmiş “(Le Passe / The Paste) (2013) (Yön:Asghar Farhadi) (Tekrar) 04:00 Belgesel – Eski Mısır Hazineleri 1- Treasures Of Ancient Egypt 1 [/su_tab] [su_tab title=”Salı”] 7 Mayıs 2019 Salı: 05:00 İstiklal Marşı 05:02 Geleneğin Kalp Atışları 05:30 Eskici 06:00 Anjelika Akbar İle Sesler 07:00 Tarih Söyleşileri 08:00 Sinema + 08:45 Dünya Müzik Gelenekleri 09:00 Belgesel – Eski Mısır Hazineleri 1- Treasures Of Ancient Egypt 1 10:00 Anjelika Akbar İle Sesler 11:00 Bir Resim Bir Hikaye 11:30 Sarayın Lezzetleri 12:00 Aykut Köksal İle Mimarlık Söyleşileri 13:00 Tarihin Ruhu 13:30 Muasır 14:00 Hülya Koçyiğit İle Film Gibi Hayatlar 15:00 Geleneğin Kalp Atışları 15:30 Koleksiyoner 16:00 Sarayın Lezzetleri 16:30 Sinema + 17:00 Evliya Çelebi 17:30 Eskici 18:00 Hayat Sanat 18:50 Müzelerin Yıldızları 19:00 Bir Resim Bir Hikaye 19:30 Tarihin Ruhu 19:45 Belgesel- Metin Erksan’ın Tutkusu 21:30 Yabancı Sinema “Sonsuzluk Ormanı” (The Sea Of Trees) (2015) (Yön: Gus Van Sant) 23:20 Geleneğin Aydınlığı 23:30 Hülya Koçyiğit İle Film Gibi Hayatlar 00:30 Eskici 01:00 Hayat Sanat 02:00 Yabancı Sinema “Sonsuzluk Ormanı” (The Sea Of Trees) (2015) (Yön: Gus Van Sant) (Tekrar) 03:50 Yeryüzleri 04:00 Belgesel- Metin Erksan’ın Tutkusu [/su_tab] [su_tab title=”Çarşamba”] 8 Mayıs 2019 Çarşamba: 05:50 İstiklal Marşı 05:52 Erol Sayan Saygı Konseri 07:00 Aykut Köksal İle Mimarlık Söyleşileri 07:50 Bir Resim Bir Hikaye 08:30 Murat Boncuk’la Atölye 09:00 Belgesel- Metin Erksan’ın Tutkusu 11:00 Karalama Defteri 11:30 Tarihin Ruhu 12:00 Koleksiyoner 12:30 Hülya Koçyiğit İle Film Gibi Hayatlar 13:20 Aramızda Müzik Var 14:00 Eskici 14:45 Geleneğin Kalp Atışları 15:15 Anjelika Akbar İle Sesler 16:00 Muasır 16:30 Bir Resim Bir Hikaye 17:00 İhmal Edilebilir Nasihatler 18:00 Hayat Sanat 19:00 Murat Boncuk’la Atölye 19:30 Koleksiyoner 20:00 Belgesel – Numbers- Sayılar 20:40 Yeryüzleri 21:00 Evliya Çelebi 21:30 Yerli Sinema “Kalandar Soğuğu” (2015) (Yön: Mustafa Kara) 23:30 Edebiyat Söyleşileri 00:30 Bir Resim Bir Hikaye 01:00 Hayat Sanat 02:00 Yerli Sinema “Kalandar Soğuğu” (2015) (Yön: Mustafa Kara) (Tekrar) 04:00 Belgesel – Numbers- Sayılar [/su_tab] [su_tab title=”Perşembe”] 9 Mayıs 2019 Perşembe: 05:00 İstiklal Marşı 05:02 İhmal Edilebilir Nasihatler 06:02 Koleksiyoner 06:30 Tarihin Ruhu 07:00 Edebiyat Söyleşileri 08:00 Evliya Çelebi 08:30 Eskici 09:00 Belgesel – Numbers- Sayılar 10:00 Bir Resim Bir Hikaye 10:30 Anjelika Akbar İle Sesler 11:30 Sarayın Lezzetleri 12:00 Muasır 12:30 İhmal Edilebilir Nasihatler 13:30 Tarihin Ruhu 14:00 Evliya Çelebi 14:30 Aykut Köksal İle Mimarlık Söyleşileri 15:30 Murat Boncuk’la Atölye 16:00 Aramızda Müzik Var 17:00 Karalama Defteri 17:30 Konsere Davet 18:00 Hayat Sanat 19:00 Sinema + 19:30 Yeryüzleri 19:45 Dünya Müzik Gelenekleri 20:00 Belgesel -Beynin Sırları 5. Bölüm 21:00 Tarihin Ruhu 21:30 Yabancı Sinema“New York’ta Bir Kral” (A King in New York) (1957) (Yön: Charles Chaplin) 23:10 Müzelerin Yıldızları 23:30 Felsefe Söyleşileri 00:30 Evliya Çelebi 01:00 Hayat Sanat 02:00 Yabancı Sinema“New York’ta Bir Kral” (A King in New York) (1957) (Yön: Charles Chaplin) (Tekrar) 04:00 Belgesel -Beynin Sırları 5. Bölüm [/su_tab] [su_tab title=”Cuma”] 10 Mayıs 2019 Cuma: 05:00 İstiklal Marşı 05:02 Konsere Davet 05:30 Eskici 06:00 Aramızda Müzik Var 06:30 Bir Zamanlar 07:00 Felsefe Söyleşileri 08:00 Sinema + 08:30 Dünya Müzik Gelenekleri 09:00 Belgesel -Beynin Sırları 5. Bölüm 10:00 Aramızda Müzik Var 10:40 Bir Zamanlar 11:00 Evliya Çelebi 11:30 Konsere Davet 12:00 Eskici 12:30 Karalama Defteri 13:00 Murat Boncuk’la Atölye 13:30 Bir Resim Bir Hikaye 14:00 Sinema + 14:30 Bir Zamanlar 15:00 Hülya Koçyiğit İle Film Gibi Hayatlar 16:00 Konsere Davet 16:30 Muasır 17:00 Koleksiyoner 17:30 Opera Dünyası 18:00 Hayat Sanat 19:00 Karalama Defteri 19:30 Bir Zamanlar 19:50 Yeryüzleri 20:00 Sarayın Lezzetleri 20:30 Aykut Köksal İle Mimarlık Söyleşileri 21:30 Yabancı Sinema “Düşmanın Yolu” (Two Men in Town) (2014) (Yön: Rachid Bouchareb) 23:30 Tarihin Ruhu 00:00 Sarayın Lezzetleri 00:30 Karalama Defteri 01:00 Hayat Sanat 02:00 Yabancı Sinema “Düşmanın Yolu” (Two Men in Town) (2014) (Yön: Rachid Bouchareb) (Tekrar) 04:00 Aykut Köksal İle Mimarlık Söyleşileri [/su_tab] [su_tab title=”Cumartesi”] 11 Mayıs 2019 Cumartesi: 05:00 İstiklal Marşı 05:02 Erol Sayan Saygı Konseri 06:00 Opera Dünyası 06:30 Bir Resim Bir Hikaye 07:00 Hülya Koçyiğit İle Film Gibi Hayatlar 08:00 Konsere Davet 08:30 Sarayın Lezzetleri 09:00 Karalama Defteri 09:30 Bir Zamanlar 09:45 Yabancı Sinema “Düşmanın Yolu” (Two Men in Town) (2014) (Yön: Rachid Bouchareb) (Tekrar) 11:30 Aramızda Müzik Var 12:00 Bir Zamanlar 12:30 Muasır 13:00 Eskici 13:30 Tarihin Ruhu 14:00 İhmal Edilebilir Nasihatler 15:00 Belgesel- Beynin Sırları 2 16:00 Anjelika Akbar İle Sesler 17:00 Murat Boncuk’la Atölye 17:30 Evliya Çelebi 18:00 Konsere Davet 18:30 Belgesel – Numbers- Sayılar 19:20 Bir Resim Bir Hikaye 19:50 Geleneğin Kalp Atışları 20:30 Muasır 21:00 Yeryüzleri 21:45 Film Önü 22:00 Yabancı Sinema “Bayan Daisy Ve Şoförü” (Driving Miss Daisy) (1989) (Yön: Bruce Beresford) 23:30 Film Arkası 23:45 İhmal Edilebilir Nasihatler 00:45 Sinema + 01:15 Film Önü 01:30 Yabancı Sinema “Bayan Daisy Ve Şoförü” (Driving Miss Daisy) (1989) (Yön: Bruce Beresford) (Tekrar) 03:00 Film Arkası 03:30 Belgesel- Beynin Sırları 2 04:15 Konsere Davet [/su_tab] [su_tab title=”Pazar”] 12 Mayıs 2019 Pazar: 05:00 İstiklal Marşı 05:02 Eskici 05:30 Geleneğin Kalp Atışları 06:00 Anjelika Akbar İle Sesler 07:00 Aramızda Müzik Var 07:45 Sinema + 08:30 Opera Dünyası 09:00 Belgesel- Beynin Sırları 2 09:45 Western Kuşağı “Hızlı Ve Ölü” (The Quick And The Dead) (1987) (Yön: Robert Day) 11:50 Yeryüzleri 12:00 Hülya Koçyiğit İle Film Gibi Hayatlar 13:00 Konsere Davet 13:30 Pazar Konseri 15:00 Belgesel – Numbers- Sayılar 16:00 Bir Resim Bir Hikaye 16:30 Sarayın Lezzetleri 17:00 Koleksiyoner 17:30 Eskici 18:00 İhmal Edilebilir Nasihatler 19:00 Muasır 19:30 Murat Boncuk’la Atölye 20:00 Tarihin Ruhu 20:30 Evliya Çelebi 21:00 Dünya Müzik Gelenekleri 21:15 Film Önü 21:30 Yabancı Sinema “Mutlu Lazzaro” (Lazzaro felice / Happy as Lazzaro) (2018) (Yön: Alice Rohrwacher) 23:40 Film Arkası 00:15 Hülya Koçyiğit İle Film Gibi Hayatlar 01:00 Yeryüzleri 01:15 Film Önü 01:30 Yabancı Sinema “Mutlu Lazzaro” (Lazzaro felice / Happy as Lazzaro) (2018) (Yön: Alice Rohrwacher) (Tekrar) 03:40 Film Arkası 04:15 Anjelika Akbar İle Sesler [/su_tab] [/su_tabs]

TRT2 kanalının uydu frekans bilgileri ve platform kanal numaraları ise şu şekilde:

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TRT2 Frekans 01

TRT2 Frekans 02

TRT2 – 6 – 12 Mayıs 2019 – Haftalık Yayın Akışı TRT'nin yeniden yayın hayatına başlayan kültür ve sanat kanalı “TRT2”nin 6 - 12 Mayıs 2019 tarihleri arasındaki, haftalık yayın akışına bu başlıktan ulaşabilirsiniz.

🕉▪no regrets▪ tadi pagi, saat berkendara dalam perjalanan ke kuta, pikiranku sedikit 'terpusat' pada rangkaian kejadian, yang sebetulnya belum 'selesai' tapi hadir rasa berserah gitu, sambil membatin, kalau Hyang Jagad ngga berkenan, bakal ada petunjuknya. toh yang sudah terjadi juga seizin-Nya. lalu saat saya mesti berhenti karena lampu merah, tiba-tiba mata tertumbuk pada tulisan: "no regrets!" ya udah, pesan itu bisa dari mana saja, sekalipun dari iklan rokok filter. well noted. 🤣😂🙃 #random #noregrets #lifeisamessage #banyupadmatangi #ikhlasituperjalanan #bali 28.06.2021 📷 @rhumraisin (at Bayan Ancient Tree) https://www.instagram.com/p/CQpskcGg7Vw/?utm_medium=tumblr

“HUDUU GER” – “NOMADIC URGUU”  Project

Chance to spend your summer in a fun and unique way

 Project  in brief: With the support of  Global Environment Facility ( GEF) of UNDP,  we are implementing  the  “Hodoo Ger”- “Nomadic Urguu “ travel project  associated with    thirty five community forestry and herding groups of Khentii, Bulgan, Uvurkhangai,  Dornod, Selenge, Tov  provinces. This tourism project gives  community groups the chance to increase their incomes. In addition both  domestic and foreign tourists will be introduced to the Mongolian nomadic lifestyle, culture and conservation.

Brief  introduction :

Project name : Nomadic Urguu- Huduu Ger Length  : 1-14 days Destination : Selenge,  Bulgan, Uvurkhangai, Dornod , Khentii     ·         Nomadic Urguu- Ger visit      ·         Travel to Chinggis Khan’s  birthplace and other historical               sites related to his life .     ·         Community travel 1,2

Travel special feature :

     ·        Travel to Mongolian Natural sightseeing places      ·        Acknowledge of Mongolian Nomadic  culture      ·        Horse ride learning      ·        Eco travel,  picking up mushrooms and fruits      ·        Historic and cognitive travel

Huduu Ger-Nomadic Urguu travel :

Visit to following community forestry and herding  groups Mandal soum  of Selenge province Batshireet, Bayan-Adraga , Binder, Dadal  soum of Khentii province, Bat-Olziit and Kharahorin  soums of Ovorkhangai province Bugat, Khutag-Undur, Saikhan soum s of Bulgan province.

Lenght : 1-14 days

Special feature : You will have your own house (ger) to stay, own horse to ride, dairying cow, learning  Mongolian culture and custom, creative and cognitive travelling

Chinggis Khan’s birthplace travel:

Sightseeing  nature,  places that keep Mongolian culture and  history of Chingis Khaan , Travel destination : UB – Batshireet – Binder – Bayan-Adraga – Dadal – Batnorov – Chinggis – Delgerkhan – Ulaanbaatar.(UB)

Lenght : 7 night, 8 day

Accommodation : Community ger camps ·        Visit to community families live close to historical and sightseeing places,            enjoy unique nature beauty , have local guide to the home country of                    Chingis Khaan. Chingis Khaan and Histrory of Mongolia ·        Nomadic life and culture ·        Natural beauty

Community group travel

Visit community herding group home which live in combination of modern life  with ancient nomadic culture , enjoy the beauty of wild nature, improve your experience on traditional culture cognition

Travel destination: UB – Mandal (SE) – Bugat – Khutag-Undur – Saikhan (BU) – Kharkhorin – Bat-Ulziit (UV) – Ulaanbaatar( UB)

Lenght: 7 night, 8 day

This travel offers beautiful nature view and experienced country guide. Acknowledge mountainous and fertile areas like Orkhonii Khundii, and Selenge province

-   Herding family life           -   Beautifulnature   -   Historic places

“ NOMADIC URGUU “  Eco-cognitive travel for Students

Purpose: Is for students. Provide them possibility  spend their summer vocation  creatively and participatory, in the fresh air, in Mongolian culture, having chance to learn Mongolian culture and customs,  increase their participation to environmental protection, learn on country life and skills and  living in the community families

 Learning objectives:

·        Learn Mongolian custom and tradition, culture, history, ·        Proper use and preparation of Mongolian food and dairy products ·        Learn to  ride horses  and care of domestic animals ·        Learn  to prepare Dairy milk  products ·        Learn medical plant species ,  fruit, mushroom  and how to process the          products

Assist to volunteer work , forest cleaning, learn to plant trees, Learn how to make Mongolian traditional clothing and wear it well as required,Learn how to make khorkhog, boodog and other traditional meals

·        Learn Mongolian traditional games ·        Learn on weather  diagnosing and definition and  traditional methods of                define locations

TEHNOJ BUSINESS INCUBATOR CENTER

HOME: Han-Uul district, 3rd khoroo, Chinggis avenue TEL: 700 00 700 MOB: 88897870,99093532, 88093530 WEB ADDRESS: WWW.INCUBATOR.MN E-MAIL: [email protected], [email protected],                [email protected]

▪curhat▪ nice quote i heard this morning: "learn to embrace the change." 🌱🤗🌳....termasuk di dalamnya adalah gimana tetep waras dengan segala gejolaknya. contoh sederhana, gimana menjaga emosi supaya tetap stabil saat membuat mala dengan tangan yang masih beraroma bawang, karena baru selesai masak, dengan 'musik' anak-anak yang riuh saat truk sampah datang lalu tiba-tiba mereka rusuh tak terkendali🤘🤣 hidup ideal itu kadang ngga berteman baik dengan harapan, tapi menerima & melepaskan bisa jadi kata kunci. ikhlasnya boleh sambil jalan, dong!🤘😂🙃 kalian sehat, ya 💚💚💚 #bigtree #ilovetrees #banyupadmatangi #gratitude #bali 06.05.2021 (at Bayan Ancient Tree) https://www.instagram.com/p/COhNc9VAdHx/?igshid=99bfwvv8lf6y

dulu saya pernah tertawa gembira (karena sepakat) membaca quote, if you don't like how things are, change it, you are not a tree; tapi berjalannya waktu, bukan karena saya makin bijaksana, mungkin makin bisa berpikir jernih, ngga melulu latah pendapat orang lain 🙃🤣 saya melihat dari sudut pandang lain, apa salahnya (menjadi) sebuah pohon? indah, kokoh, konsisten, bertumbuh, mengayomi, menjadi saksi tanpa banyak bicara, belum lagi filosofi orang orang pintar (dari sudut pandang traditional chinese medicine) tentang pohon yang makin membuat saya makin cinta pohon, apalagi yang setua dan sebesar ini... unsur magis pasti terasa ya kalau melihat pohon besar, tapi yang saya rasakan saat memeluk pohon kayu putih di desa bayan tabanan yang berdiameter sekitar 6 meter ini, pohon ini hangat, memulihkan, dan baiiikkkk banget 🌳🌳🤗🤗💚💚🌱🌱 komang yang setinggi itu saja nampak mungil di bawah pohon itu, apalagi saya 😂 #tree #ilovetrees #bigtree #nature #banyupadmatangi #bali #tabanan 03.05.2021 (at Bayan Ancient Tree) https://www.instagram.com/p/COaXl_9AKmK/?igshid=171f1olz7nr5k