title: Barenaked Ladies

text: In May 2006, Barenaked Ladies, along with other prominent Canadian musicians, formed the Canadian Music Creators Coalition in response to plans by the Canadian government to revisit and update copyright laws. Steven Page has acted as a conduit between the CMCC and the press, urging the government to focus on the Canadian cultural scene. Page has said the formation of the CMCC was in response to what he believes is the wrong direction taken by the RIAA and the major labels, by suing fans for filesharing.


title: Barenaked Ladies

text: The band has also become a proponent of environmentalism, following from Page's passion for greening (he is himself a board member of WWF Canada). The group began bringing an "eco-village" organized by the Reverb organization on their 2004 Au Naturale tour. The band has since partnered with Reverb to form the "Barenaked Planet" project, which is the group's label for their project to progressively "green" their touring. Efforts the band have made include ensuring backstage materials are recycled, using biodiesel in their tour vehicles (B20 as of December 2006), and offsetting carbon emissions with wind power. This includes both band-sponsored offsets for their own emissions, as well as having volunteers sell "Barenaked Planet" stickers to concertgoers with the money going to offset their drives to the venues.


title: Barenaked Ladies

text: Barenaked Ladies is the first Canadian band to receive their own ice cream flavour, following in the footsteps of other band-themed Ben & Jerry's flavours such as Cherry Garcia (Jerry Garcia), One Sweet Whirled and Magic Brownies (Dave Matthews Band) and Phish Food (Phish).


title: Barenaked Ladies

text: Barenaked Ladies are a member of Canadian charity Artists Against Racism and has worked with them in the past on awareness campaigns.


title: Barenaked Ladies

text: Barenaked Ladies have made several appearances during WE Day events, performing in front of thousands of teenagers, empowering the young students to get involved in their communities and to promote social activity through WE charity's work.


title: Barenaked Ladies

text: Barenaked Ladies have supported hunger relief organization Rock Can Rol and together with their fans have helped to feed people in need.


title: Barenaked Ladies

text: Tyler Stewart, Jim Creeggan, Kevin Hearn, and Ed Robertson all have past or present side projects during their time off from Barenaked Ladies. Stewart was part of a short-lived trio called Don't Talk Dance, which released a self-titled album in 1995 featuring Chris Brown (who later sat in for Hearn with Barenaked Ladies during his late-90s cancer treatment). The album was made for charity, and all profits went to Casey House, an AIDS charity in Canada. Stewart also plays occasionally with the rockabilly band Pogo Rodeo which he first joined in high school. The band reunited in the early 2010s and has since played occasional concerts


title: Barenaked Ladies

text: Jim Creeggan formed the alternative/jazz group The Brothers Creeggan, with brother and former Barenaked Ladies member Andy Creeggan, later joined by Ian McLauchlan (who died in 2009). The group (variously as a duo and a trio) recorded four albums between 1995 and 2002. The group stopped performing regularly in the mid-2000s and have only played together on rare occasions, such as for the Barenaked Ladies' cruises. Andy Creeggan also has several solo albums, with the most recent one released in 2021.


title: Barenaked Ladies

text: Since 1995, Kevin Hearn has released four albums as the frontman of Kevin Hearn and Thin Buckle and three others with solo billing (with members of Thin Buckle as well as other musicians backing him). Hearn's albums feature a mix of alternative rock and jazz with many other eclectic influences. Hearn continues to perform in the Toronto area and occasionally tours with Thin Buckle. Hearn was also the musical director and keyboardist for Lou Reed's band from the mid-2000s until Reed's passing in October 2013. He has also released an album of love songs as "The Cousins" in 2004 with his cousin, comedian Harland Williams.


title: Barenaked Ladies

text: Robertson joined a supergroup called Yukon Kornelius in 2008 with Dave Matthews Band bass player Stefan Lessard, singer/guitarist Adam Gardner of Guster, and drummer Eric Fawcett of Spymob. To date, the band has played four shows, but they anticipate doing a short tour when work with their other bands permit. Special guests usually join Yukon Kornelius during their shows, including Dee Snider of Twisted Sister, Carl Bell (formerly of Fuel), Tyler Stewart, and other members of the Dave Matthews Band. Robertson also hosted three seasons of the 2006 television program called "Ed's Up" for OLN Canada in which he flew his own plane to various locations to experience and publicize a variety of interesting occupations.


title: Barenaked Ladies

text: Former member Steven Page had a side project called The Vanity Project. The first self-titled album was written mostly with long-time collaborator Stephen Duffy. In the wake of a band decision to try to keep songwriting amongst its then-five members, Page said that the project was an opportunity for him to write with non-Barenaked Ladies writers. He indicated that a future release might include other writers and not necessarily Duffy. However, Page did not record a second Vanity Project album before his departure from Barenaked Ladies and has released his post-Barenaked Ladies works in his own name. Page has also hosted a season of the reality television series "The Illegal Eater", which features Page travelling to showcase food and drink experiences that are in some way taboo, illicit, or outright illegal.


title: Barenaked Ladies

text: Also, band members (both individually and together) have often collaborated with other artists, such as making guest appearances on their albums, performing live, or co-writing songs with them.


title: Barenaked Ladies

text: In February 2019 all four band members joined Canadian rock musician Kim Mitchell in recording a rework of Mitchell's former band Max Webster song Diamonds Diamonds from their 1977 album "High Class in Borrowed Shoes". A video of the collaboration was released on YouTube.


title: Barenaked Ladies

text: In December 2008 former member of The Beatles, Paul McCartney was reportedly asked by a session musician which bands he enjoys in the current music scene. The response was the Barenaked Ladies: "Their harmonies are right on. They could outsing us any day of the week. I don't think John and myself ever had the sort of range they do." McCartney added that he would not mind recording with the band in the future.<ref name="http://ianundercover.com/2008/12/13/iuc-paul-mccartney-says-barenaked-ladies-sing-much-better-than-fab-four/"></ref>


title: Barenaked Ladies

text: In 2018, notable Ontarian musical historians Liam Coholan, Patrick Murphy, and Jon "The Don" Dilario acknowledge in their latest Canadian music history issue that "BNL was one of the most impactful bands when it comes to discussing the development of Canadian society in the 21st century."


title: Orientalism

text: In art history, literature and cultural studies, Orientalism is the imitation or depiction of aspects in the Eastern world. These depictions are usually done by writers, designers, and artists from the Western world. In particular, Orientalist painting, depicting more specifically the Middle East, was one of the many specialisms of 19th-century academic art, and the literature of Western countries took a similar interest in Oriental themes.


title: Orientalism

text: Since the publication of Edward Said's "Orientalism" in 1978, much academic discourse has begun to use the term "Orientalism" to refer to a general patronizing Western attitude towards Middle Eastern, Asian, and North African societies. In Said's analysis, the West essentializes these societies as static and undeveloped—thereby fabricating a view of Oriental culture that can be studied, depicted, and reproduced in the service of imperial power. Implicit in this fabrication, writes Said, is the idea that Western society is developed, rational, flexible, and superior. This allows Western imagination to see "Eastern" cultures and people as both alluring and a threat to Western civilization.


title: Orientalism

text: Orientalism refers to the Orient, in reference and opposition to the Occident; the East and the West, respectively. The word Orient entered the English language as the Middle French "orient". The root word "oriēns", from the Latin "Oriēns", has synonymous denotations: The eastern part of the world; the sky whence comes the sun; the east; the rising sun, etc.; yet the denotation changed as a term of geography.


title: Orientalism

text: In the "Monk's Tale" (1375), Geoffrey Chaucer wrote: "That they conquered many regnes grete / In the orient, with many a fair citee." The term "orient" refers to countries east of the Mediterranean Sea and Southern Europe. In "In Place of Fear" (1952), Aneurin Bevan used an expanded denotation of the Orient that comprehended East Asia: "the awakening of the Orient under the impact of Western ideas." Edward Said said that Orientalism "enables the political, economic, cultural and social domination of the West, not just during colonial times, but also in the present."


title: Orientalism

text: In art history, the term "Orientalism" refers to the works of mostly 19th-century Western artists who specialized in Oriental subjects, produced from their travels in Western Asia, during the 19th century. In that time, artists and scholars were described as Orientalists, especially in France, where the dismissive use of the term "Orientalist" was made popular by the art critic Jules-Antoine Castagnary. Despite such social disdain for a style of representational art, the French Society of Orientalist Painters was founded in 1893, with Jean-Léon Gérôme as the honorary president; whereas in Britain, the term Orientalist identified "an artist."


title: Orientalism

text: The formation of the French Orientalist Painters Society changed the consciousness of practitioners towards the end of the 19th century, since artists could now see themselves as part of a distinct art movement. As an art movement, Orientalist painting is generally treated as one of the many branches of 19th-century academic art; however, many different styles of Orientalist art were in evidence. Art historians tend to identify two broad types of Orientalist artist: the realists who carefully painted what they observed and those who imagined Orientalist scenes without ever leaving the studio. French painters such as Eugène Delacroix (1798–1863) and Jean-Léon Gérôme (1824–1904) are widely regarded as the leading luminaries of the Orientalist movement.


title: Orientalism

text: In the 18th and 19th centuries, the term Orientalist identified a scholar who specialized in the languages and literatures of the Eastern world. Among such scholars were officials of the East India Company, who said that the Arab culture, the Indian culture, and the Islamic cultures should be studied as equal to the cultures of Europe. Among such scholars is the philologist William Jones, whose studies of Indo-European languages established modern philology. Company rule in India favored Orientalism as a technique for developing and maintaining positive relations with the Indians—until the 1820s, when the influence of "anglicists" such as Thomas Babington Macaulay and John Stuart Mill led to the promotion of a Western-style education.


title: Orientalism

text: Additionally, Hebraism and Jewish studies gained popularity among British and German scholars in the 19th and 20th centuries. The academic field of Oriental studies, which comprehended the cultures of the Near East and the Far East, became the fields of Asian studies and Middle Eastern studies.


title: Orientalism

text: In his book "Orientalism" (1978), cultural critic Edward Said redefines the term "Orientalism" to describe a pervasive Western tradition—academic and artistic—of prejudiced outsider-interpretations of the Eastern world, which was shaped by the cultural attitudes of European imperialism in the 18th and 19th centuries. The thesis of "Orientalism" develops Antonio Gramsci's theory of cultural hegemony, and Michel Foucault's theorisation of discourse (the knowledge-power relation) to criticise the scholarly tradition of Oriental studies. Said criticised contemporary scholars who perpetuated the tradition of outsider-interpretation of Arabo-Islamic cultures, especially Bernard Lewis and Fouad Ajami. Furthermore, Said said that "The idea of representation is a theatrical one: the Orient is the stage on which the whole East is confined", and that the subject of learned Orientalists "is not so much the East itself as the East made known, and therefore less fearsome, to the Western reading public".


title: Orientalism

text: In the academy, the book "Orientalism" (1978) became a foundational text of post-colonial cultural studies. The analyses in Said's works are of Orientalism in European literature, especially French literature, and do not analyse visual art and Orientalist painting. In that vein, the art historian Linda Nochlin applied Said's methods of critical analysis to art, "with uneven results". Other scholars see Orientalist paintings as depicting a myth and a fantasy that didn't often correlate with reality.


title: Orientalism

text: There is also a critical trend within the Islamic world. In 2002 it was estimated that in Saudi Arabia alone some 200 books and 2000 articles discussing Orientalism had been penned by local or foreign scholars.


title: Orientalism

text: Reflecting the colonialist-racist worldview of the European and American bourgeoisie, from the very beginning bourgeois orientology diametrically opposed the civilizations of the so-called "West" with those of the "East" slanderously declaring that Asian peoples are racially inferior, somehow primordially backward, incapable of determining their own fates, and that they appeared only as history's objects rather than its subject.


title: Orientalism

text: The Moresque style of Renaissance ornament is a European adaptation of the Islamic arabesque that began in the late 15th century and was to be used in some types of work, such as bookbinding, until almost the present day. Early architectural use of motifs lifted from the Indian subcontinent is known as Indo-Saracenic Revival architecture. One of the earliest examples is the façade of Guildhall, London (1788–1789). The style gained momentum in the west with the publication of views of India by William Hodges, and William and Thomas Daniell from about 1795. Examples of "Hindoo" architecture are Sezincote House (c. 1805) in Gloucestershire, built for a nabob returned from Bengal, and the Royal Pavilion in Brighton.


title: Orientalism

text: "Turquerie", which began as early as the late 15th century, continued until at least the 18th century, and included both the use of "Turkish" styles in the decorative arts, the adoption of Turkish costume at times, and interest in art depicting the Ottoman Empire itself. Venice, the traditional trading partner of the Ottomans, was the earliest centre, with France becoming more prominent in the 18th century.


title: Orientalism

text: "Chinoiserie" is the catch-all term for the fashion for Chinese themes in decoration in Western Europe, beginning in the late 17th century and peaking in waves, especially Rococo Chinoiserie, "c." 1740–1770. From the Renaissance to the 18th century, Western designers attempted to imitate the technical sophistication of Chinese ceramics with only partial success. Early hints of Chinoiserie appeared in the 17th century in nations with active East India companies: England (the East India Company), Denmark (the Danish East India Company), the Netherlands (the Dutch East India Company) and France (the French East India Company). Tin-glazed pottery made at Delft and other Dutch towns adopted genuine Ming-era blue and white porcelain from the early 17th century. Early ceramic wares made at Meissen and other centers of true porcelain imitated Chinese shapes for dishes, vases and teawares (see Chinese export porcelain).


title: Orientalism

text: Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German palaces, and in tile panels at Aranjuez near Madrid. Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, "c." 1753–70. Sober "homages" to early Xing scholars' furnishings were also naturalized, as the "tang" evolved into a mid-Georgian side table and squared slat-back armchairs that suited English gentlemen as well as Chinese scholars. Not every adaptation of Chinese design principles falls within mainstream "chinoiserie". Chinoiserie media included imitations of lacquer and painted tin ("tôle") ware that imitated japanning, early painted wallpapers in sheets, and ceramic figurines and table ornaments. Small pagodas appeared on chimneypieces and full-sized ones in gardens. Kew has a magnificent Great Pagoda designed by William Chambers. The Wilhelma (1846) in Stuttgart is an example of Moorish Revival architecture. Leighton House, built for the artist Frederic Leighton, has a conventional facade but elaborate Arab-style interiors, including original Islamic tiles and other elements as well as Victorian Orientalizing work.


title: Orientalism

text: After 1860, "Japonism," sparked by the importing of ukiyo-e, became an important influence in the western arts. In particular, many modern French artists such as Claude Monet and Edgar Degas were influenced by the Japanese style. Mary Cassatt, an American artist who worked in France, used elements of combined patterns, flat planes and shifting perspective of Japanese prints in her own images. The paintings of James Abbott McNeill Whistler's "The Peacock Room" demonstrated how he used aspects of Japanese tradition and are some of the finest works of the genre. California architects Greene and Greene were inspired by Japanese elements in their design of the Gamble House and other buildings.


title: Orientalism

text: Egyptian Revival architecture became popular in the early and mid-19th century and continued as a minor style into the early 20th century. Moorish Revival architecture began in the early 19th century in the German states and was particularly popular for building synagogues. Indo-Saracenic Revival architecture was a genre that arose in the late 19th century in the British Raj.


title: Orientalism

text: Depictions of Islamic "Moors" and "Turks" (imprecisely named Muslim groups of southern Europe, North Africa and West Asia) can be found in Medieval, Renaissance, and Baroque art. In Biblical scenes in Early Netherlandish painting, secondary figures, especially Romans, were given exotic costumes that distantly reflected the clothes of the Near East. The Three Magi in Nativity scenes were an especial focus for this. In general art with Biblical settings would not be considered as Orientalist except where contemporary or historicist Middle Eastern detail or settings is a feature of works, as with some paintings by Gentile Bellini and others, and a number of 19th-century works. Renaissance Venice had a phase of particular interest in depictions of the Ottoman Empire in painting and prints. Gentile Bellini, who travelled to Constantinople and painted the Sultan, and Vittore Carpaccio were the leading painters. By then the depictions were more accurate, with men typically dressed all in white. The depiction of Oriental carpets in Renaissance painting sometimes draws from Orientalist interest, but more often just reflects the prestige these expensive objects had in the period.


title: Orientalism

text: Jean-Étienne Liotard (1702–1789) visited Istanbul and painted numerous pastels of Turkish domestic scenes; he also continued to wear Turkish attire for much of the time when he was back in Europe. The ambitious Scottish 18th-century artist Gavin Hamilton found a solution to the problem of using modern dress, considered unheroic and inelegant, in history painting by using Middle Eastern settings with Europeans wearing local costume, as travelers were advised to do. His huge "James Dawkins and Robert Wood Discovering the Ruins of Palmyra" (1758, now Edinburgh) elevates tourism to the heroic, with the two travelers wearing what look very like togas. Many travelers had themselves painted in exotic Eastern dress on their return, including Lord Byron, as did many who had never left Europe, including Madame de Pompadour. The growing French interest in exotic Oriental luxury and lack of liberty in the 18th century to some extent reflected a pointed analogy with France's own absolute monarchy. Byron's poetry was highly influential in introducing Europe to the heady cocktail of Romanticism in exotic Oriental settings which was to dominate 19th century Oriental art.


title: Orientalism

text: French Orientalist painting was transformed by Napoleon's ultimately unsuccessful invasion of Egypt and Syria in 1798–1801, which stimulated great public interest in Egyptology, and was also recorded in subsequent years by Napoleon's court painters, especially Antoine-Jean Gros, although the Middle Eastern campaign was not one on which he accompanied the army. Two of his most successful paintings, "Bonaparte Visiting the Plague Victims of Jaffa" (1804) and "Battle of Abukir" (1806) focus on the Emperor, as he was by then, but include many Egyptian figures, as does the less effective "Napoleon at the Battle of the Pyramids" (1810). Anne-Louis Girodet de Roussy-Trioson's "La Révolte du Caire" (1810) was another large and prominent example. A well-illustrated "Description de l'Égypte" was published by the French Government in twenty volumes between 1809 and 1828, concentrating on antiquities.


title: Orientalism

text: Eugène Delacroix's first great success, "The Massacre at Chios" (1824) was painted before he visited Greece or the East, and followed his friend Théodore Géricault's "The Raft of the Medusa" in showing a recent incident in distant parts that had aroused public opinion. Greece was still fighting for independence from the Ottomans, and was effectively as exotic as the more Near Eastern parts of the empire. Delacroix followed up with "Greece on the Ruins of Missolonghi" (1827), commemorating a siege of the previous year, and "The Death of Sardanapalus", inspired by Lord Byron, which although set in antiquity has been credited with beginning the mixture of sex, violence, lassitude and exoticism which runs through much French Orientalist painting. In 1832, Delacroix finally visited what is now Algeria, recently conquered by the French, and Morocco, as part of a diplomatic mission to the Sultan of Morocco. He was greatly struck by what he saw, comparing the North African way of life to that of the Ancient Romans, and continued to paint subjects from his trip on his return to France. Like many later Orientalist painters, he was frustrated by the difficulty of sketching women, and many of his scenes featured Jews or warriors on horses. However, he was apparently able to get into the women's quarters or harem of a house to sketch what became "Women of Algiers"; few later harem scenes had this claim to authenticity.


title: Orientalism

text: When Ingres, the director of the French "Académie de peinture", painted a highly colored vision of a "Turkish bath", he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms (who might all have been the same model). More open sensuality was seen as acceptable in the exotic Orient. This imagery persisted in art into the early 20th century, as evidenced in Henri Matisse's orientalist semi-nudes from his Nice period, and his use of Oriental costumes and patterns. Ingres' pupil Théodore Chassériau (1819–1856) had already achieved success with his nude "The Toilette of Esther" (1841, Louvre) and equestrian portrait of "Ali-Ben-Hamet, Caliph of Constantine and Chief of the Haractas, Followed by his Escort" (1846) before he first visited the East, but in later decades the steamship made travel much easier and increasing numbers of artists traveled to the Middle East and beyond, painting a wide range of Oriental scenes.


title: Orientalism

text: In many of these works, they portrayed the Orient as exotic, colorful and sensual, not to say stereotyped. Such works typically concentrated on Arab, Jewish, and other Semitic cultures, as those were the ones visited by artists as France became more engaged in North Africa. French artists such as Eugène Delacroix, Jean-Léon Gérôme and Jean-Auguste-Dominique Ingres painted many works depicting Islamic culture, often including lounging odalisques. They stressed both lassitude and visual spectacle. Other scenes, especially in genre painting, have been seen as either closely comparable to their equivalents set in modern-day or historical Europe, or as also reflecting an Orientalist mind-set in the Saidian sense of the term. Gérôme was the precursor, and often the master, of a number of French painters in the later part of the century whose works were often frankly salacious, frequently featuring scenes in harems, public baths and slave auctions (the last two also available with classical decor), and responsible, with others, for "the equation of Orientalism with the nude in pornographic mode"; ("Gallery, below")


title: Orientalism

text: Though British political interest in the territories of the unravelling Ottoman Empire was as intense as in France, it was mostly more discreetly exercised. The origins of British Orientalist 19th-century painting owe more to religion than military conquest or the search for plausible locations for nude women. The leading British genre painter, Sir David Wilkie was 55 when he travelled to Istanbul and Jerusalem in 1840, dying off Gibraltar during the return voyage. Though not noted as a religious painter, Wilkie made the trip with a Protestant agenda to reform religious painting, as he believed that: "a Martin Luther in painting is as much called for as in theology, to sweep away the abuses by which our divine pursuit is encumbered", by which he meant traditional Christian iconography. He hoped to find more authentic settings and decor for Biblical subjects at their original location, though his death prevented more than studies being made. Other artists including the Pre-Raphaelite William Holman Hunt and David Roberts (in "The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia") had similar motivations, giving an emphasis on realism in British Orientalist art from the start. The French artist James Tissot also used contemporary Middle Eastern landscape and decor for Biblical subjects, with little regard for historical costumes or other fittings.


title: Orientalism

text: William Holman Hunt produced a number of major paintings of Biblical subjects drawing on his Middle Eastern travels, improvising variants of contemporary Arab costume and furnishings to avoid specifically Islamic styles, and also some landscapes and genre subjects. The biblical subjects included "The Scapegoat" (1856), "The Finding of the Saviour in the Temple" (1860), and "The Shadow of Death" (1871). "The Miracle of the Holy Fire" (1899) was intended as a picturesque satire on the local Eastern Christians, of whom, like most European visitors, Hunt took a very dim view. His "A Street Scene in Cairo; The Lantern-Maker's Courtship" (1854–61) is a rare contemporary narrative scene, as the young man feels his fiancé's face, which he is not allowed to see, through her veil, as a Westerner in the background beats his way up the street with his stick. This a rare intrusion of a clearly contemporary figure into an Orientalist scene; mostly they claim the picturesqueness of the historical painting so popular at the time, without the trouble of researching authentic costumes and settings.


title: Orientalism

text: When Gérôme exhibited "For Sale; Slaves at Cairo" at the Royal Academy in London in 1871, it was "widely found offensive", partly because the British involvement in successfully suppressed the slave trade in Egypt, but also for cruelty and "representing fleshiness for its own sake". But Rana Kabbani believes that "French Orientalist painting, as exemplified by the works of Gérôme, may appear more sensual, gaudy, gory and sexually explicit than its British counterpart, but this is a difference of style not substance ... Similar strains of fascination and repulsion convulsed their artists" Nonetheless, nudity and violence are more evident in British paintings set in the ancient world, and "the iconography of the "odalisque" ... the Oriental sex slave whose image is offered up to the viewer as freely as she herself supposedly was to her master – is almost entirely French in origin", though taken up with enthusiasm by Italian and other European painters.


title: Orientalism

text: John Frederick Lewis, who lived for several years in a traditional mansion in Cairo, painted highly detailed works showing both realistic genre scenes of Middle Eastern life and more idealized scenes in upper class Egyptian interiors with no traces of Western cultural influence yet apparent. His careful and seemingly affectionate representation of Islamic architecture, furnishings, screens, and costumes set new standards of realism, which influenced other artists, including Gérôme in his later works. He "never painted a nude", and his wife modelled for several of his harem scenes, which, with the rare examples by the classicist painter Lord Leighton, imagine "the harem as a place of almost English domesticity, ... [where]... women's fully clothed respectability suggests a moral healthiness to go with their natural good looks".


title: Orientalism

text: Other artists concentrated on landscape painting, often of desert scenes, including Richard Dadd and Edward Lear. David Roberts (1796–1864) produced architectural and landscape views, many of antiquities, and published very successful books of lithographs from them.


title: Orientalism

text: Russian Orientalist art was largely concerned with the areas of Central Asia that Russia was conquering during the century, and also in historical painting with the Mongols who had dominated Russia for much of the Middle Ages, who were rarely shown in a good light. The explorer Nikolai Przhevalsky played a major role in popularising an exotic view of "the Orient" and advocating imperial expansion.


title: Orientalism

text: "The Five" Russian composers were prominent 19th-century Russian composers who worked together to create a distinct national style of classical music. One hallmark of "The Five" composers was their reliance on orientalism. Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's "Islamey", Borodin's "Prince Igor" and Rimsky-Korsakov's "Scheherazade". As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of Anton Rubinstein and other Western-oriented composers.


title: Orientalism

text: Edward Said originally wrote that Germany did not have a politically motivated Orientalism because its colonial empire did not expand in the same areas as France and Britain. Said later stated that Germany "had in common with Anglo-French and later American Orientalism [...] a kind of intellectual authority over the Orient," However, Said also wrote that "there was nothing in Germany to correspond to the Anglo-French presence in India, the Levant, North Africa. Moreover, the German Orient was almost exclusively a scholarly, or at least a classical, Orient: it was made the subject of lyrics, fantasies, and even novels, but it was never actual." According to Suzanne L. Marchand, German scholars were the "pace-setters" in oriental studies. Robert Irwin wrote that "until the outbreak of the Second World War, German dominance of Orientalism was practically unchallenged."


title: Orientalism

text: Nationalist historical painting in Central Europe and the Balkans dwelt on oppression during the Ottoman Empire period, battles between Ottoman and Christian armies, as well as themes like the Ottoman Imperial Harem, although the latter was a less common theme than in French depictions.


title: Orientalism

text: The Saidian analysis has not prevented a strong revival of interest in, and collecting of, 19th century Orientalist works since the 1970s, the latter was in large part led by Middle Eastern buyers.


title: Orientalism

text: Authors and composers are not commonly referred to as "Orientalist" in the way that artists are, and relatively few specialized in Oriental topics or styles, or are even best known for their works including them. But many major figures, from Mozart to Flaubert, have produced significant works with Oriental subjects or treatments. Lord Byron with his four long "Turkish tales" in poetry, is one of the most important writers to make exotic fantasy Oriental settings a significant theme in the literature of Romanticism. Giuseppe Verdi's opera "Aida" (1871) is set in Egypt as portrayed through the content and the visual spectacle. "Aida" depicts a militaristic Egypt's tyranny over Ethiopia.


title: Orientalism

text: Irish Orientalism had a particular character, drawing on various beliefs about early historical links between Ireland and the East, few of which are now regarded as historically correct. The mythical Milesians are one example of this. The Irish were also conscious of the views of other nations seeing them as comparably backward to the East, and Europe's "backyard Orient."


title: Orientalism

text: In music, Orientalism may be applied to styles occurring in different periods, such as the "alla Turca", used by multiple composers including Mozart and Beethoven. The musicologist Richard Taruskin identified in 19th-century Russian music a strain of Orientalism: "the East as a sign or metaphor, as imaginary geography, as historical fiction, as the reduced and totalized other against which we construct our (not less reduced and totalized) sense of ourselves." Taruskin conceded Russian composers, unlike those in France and Germany, felt an "ambivalence" to the theme since "Russia was a contiguous empire in which Europeans, living side by side with 'orientals', identified (and intermarried) with them far more than in the case of other colonial powers".


title: Orientalism

text: Nonetheless, Taruskin characterized Orientalism in Romantic Russian music as having melodies "full of close little ornaments and melismas," chromatic accompanying lines, drone bass—characteristics which were used by Glinka, Balakirev, Borodin, Rimsky-Korsakov, Lyapunov, and Rachmaninov. These musical characteristics evoke:not just the East, but the seductive East that emasculates, enslaves, renders passive. In a word, it signifies the promise of the experience of "nega", a prime attribute of the orient as imagined by the Russians... In opera and song, "nega" often simply denotes S-E-X a la russe, desired or achieved.Orientalism is also traceable in music that is considered to have effects of exoticism, including the Japonisme in Claude Debussy's piano music all the way to the sitar being used in recordings by the Beatles.


title: Orientalism

text: In the United Kingdom, Gustav Holst composed "Beni Mora" evoking a languid, heady Arabian atmosphere.


title: Orientalism

text: Orientalism, in a more "camp" fashion also found its way into exotica music in the late 1950s, especially the works of Les Baxter, for example, his composition "City of Veils."


title: Orientalism

text: The Romantic movement in literature began in 1785 and ended around 1830. The term "Romantic" references the ideas and culture that writers of the time reflected in their work. During this time, the culture and objects of the East began to have a profound effect on Europe. Extensive traveling by artists and members of the European elite brought travelogues and sensational tales back to the West creating a great interest in all things "foreign." Romantic Orientalism incorporates African and Asian geographic locations, well-known colonial and "native" personalities, folklore, and philosophies to create a literary environment of colonial exploration from a distinctly European worldview. The current trend in analysis of this movement references a belief in this literature as a mode to justify European colonial endeavors with the expansion of territory.


title: Orientalism

text: In his novel "Salammbô", Gustave Flaubert used ancient Carthage in North Africa as a foil to ancient Rome. He portrayed its culture as morally corrupting and suffused with dangerously alluring eroticism. This novel proved hugely influential on later portrayals of ancient Semitic cultures.


title: Orientalism

text: Said argues that the continuity of Orientalism into the present can be found in influential images, particularly through the Cinema of the United States, as the West has now grown to include the United States. Many blockbuster feature films, such as the "Indiana Jones" series, "The Mummy" films, and Disney's "Aladdin" film series demonstrate the imagined geographies of the East. The films usually portray the lead heroic characters as being from the Western world, while the villains often come from the East. The representation of the Orient has continued in film, although this representation does not necessarily have any truth to it.


title: Orientalism

text: In "The Tea House of the August Moon" (1956), as argued by Pedro Iacobelli, there are tropes of orientalism. He notes, that the film "tells us more about the Americans and the American's image of Okinawa rather than about the Okinawan people." The film characterizes the Okinawans as "merry but backward" and "de-politicized," which ignored the real-life Okinawan political protests over forceful land acquisition by the American military at the time.


title: Orientalism

text: Kimiko Akita, in "Orientalism and the Binary of Fact and Fiction in 'Memoirs of a Geisha"', argues that "Memoirs of a Geisha" (2005) contains orientalist tropes and deep "cultural misrepresentations." She states that "Memoirs of a Geisha" "reinforces the idea of Japanese culture and geisha as exotic, backward, irrational, dirty, profane, promiscuous, bizarre, and enigmatic."


title: Orientalism

text: During the Romantic period of the 19th century, ballet developed a preoccupation with the exotic. This exoticism ranged from ballets set in Scotland to those based on ethereal creatures. By the later part of the century, ballets were capturing the presumed essence of the mysterious East. These ballets often included sexual themes and tended to be based on assumptions of people rather than on concrete facts. Orientalism is apparent in numerous ballets.


title: Orientalism

text: The Orient motivated several major ballets, which have survived since the late nineteenth and early twentieth centuries. "Le Corsaire" premiered in 1856 at the Paris Opera, with choreography by Joseph Mazilier. Marius Petipa re-choreographed the ballet for the Maryinsky Ballet in St. Petersburg, Russia in 1899. Its complex storyline, loosely based on Lord Byron's poem, takes place in Turkey and focuses on a love story between a pirate and a beautiful slave girl. Scenes include a bazaar where women are sold to men as slaves, and the Pasha's Palace, which features his harem of wives. In 1877, Marius Petipa choreographed "La Bayadère", the love story of an Indian temple dancer and Indian warrior. This ballet was based on Kalidasa's play "Sakuntala". "La Bayadere" used vaguely Indian costuming, and incorporated Indian inspired hand gestures into classical ballet. In addition, it included a 'Hindu Dance,' motivated by Kathak, an Indian dance form. Another ballet, "Sheherazade", choreographed by Michel Fokine in 1910 to music by Nikolai Rimsky-Korsakov, is a story involving a shah's wife and her illicit relations with a Golden Slave, originally played by Vaslav Nijinsky. The ballet's controversial fixation on sex includes an orgy in an oriental harem. When the shah discovers the actions of his numerous wives and their lovers, he orders the deaths of those involved. "Sheherazade" was loosely based on folktales of questionable authenticity.


title: Orientalism

text: Several lesser-known ballets of the late nineteenth and early twentieth century also show their Orientalism. For instance, in Petipa's "The Pharaoh's Daughter" (1862), an Englishman imagines himself, in an opium-induced dream, as an Egyptian boy who wins the love of the Pharaoh's daughter, Aspicia. Aspicia's costume consisted of 'Egyptian' décor on a tutu. Another ballet, Hippolyte Monplaisir's "Brahma", which premiered in 1868 in La Scala, Italy, is a story that involves romantic relations between a slave girl and Brahma, the Hindu god, when he visits earth. In addition, in 1909, Serge Diagilev included "Cléopâtre" in the Ballets Russes' repertory. With its theme of sex, this revision of Fokine's "Une Nuit d'Egypte" combined the "exoticism and grandeur" that audiences of this time craved.


title: Orientalism

text: As one of the pioneers of modern dance in America, Ruth St Denis also explored Orientalism in her dancing. Her dances were not authentic; she drew inspiration from photographs, books, and later from museums in Europe. Yet, the exoticism of her dances catered to the interests of society women in America. She included "Radha" and "The Cobras" in her 'Indian' program in 1906. In addition, she found success in Europe with another Indian-themed ballet, "The Nautch" in 1908. In 1909, upon her return to America, St Denis created her first 'Egyptian' work, "Egypta". Her preference for Orientalism continued, culminating with "Ishtar of the Seven Gates" in 1923, about a Babylonian goddess.


title: Orientalism

text: While Orientalism in dance climaxed in the late nineteenth and early twentieth centuries, it is still present in modern times. For instance, major ballet companies regularly perform "Le Corsaire", "La Bayadere", and "Sheherazade". Furthermore, Orientalism is also found within newer versions of ballets. In versions of "The Nutcracker", such as the 2010 American Ballet Theatre production, the Chinese dance uses an arm position with the arms bent at a ninety-degree angle and the index fingers pointed upwards, while the Arabian dance uses two dimensional bent arm movements. Inspired by ballets of the past, stereotypical 'Oriental' movements and arm positions have developed and remain.


title: Orientalism

text: An exchange of Western and Eastern ideas about spirituality developed as the West traded with and established colonies in Asia. The first Western translation of a Sanskrit text appeared in 1785, marking the growing interest in Indian culture and languages. Translations of the "Upanishads", which Arthur Schopenhauer called "the consolation of my life", first appeared in 1801 and 1802. Early translations also appeared in other European languages. 19th-century transcendentalism was influenced by Asian spirituality, prompting Ralph Waldo Emerson (1803–1882) to pioneer the idea of spirituality as a distinct field.


title: Orientalism

text: A major force in the mutual influence of Eastern and Western spirituality and religiosity was the Theosophical Society, a group searching for ancient wisdom from the East and spreading Eastern religious ideas in the West. One of its salient features was the belief in "Masters of Wisdom", "beings, human or once human, who have transcended the normal frontiers of knowledge, and who make their wisdom available to others". The Theosophical Society also spread Western ideas in the East, contributing to its modernisation and a growing nationalism in the Asian colonies.


title: Orientalism

text: The Theosophical Society had a major influence on Buddhist modernism and Hindu reform movements. Between 1878 and 1882, the Society and the Arya Samaj were united as the Theosophical Society of the Arya Samaj. Helena Blavatsky, along with H. S. Olcott and Anagarika Dharmapala, was instrumental in the Western transmission and revival of Theravada Buddhism.


title: Orientalism

text: Another major influence was Vivekananda, who popularised his modernised interpretation of Advaita Vedanta during the later 19th and early 20th century in both India and the West, emphasising "anubhava" ("personal experience") over scriptural authority.


title: Orientalism

text: With the spread of Eastern religious and cultural ideals towards the West, came in with studies and certain illustrations that depicts certain regions and religions under the Western perspective. Many the aspects or views are often turned into the ideas that the West have adopted onto those cultural and religious ideals. One of the more adopted views can be depicted through Western context on Islam and the Middle East. Under the adopted view of Islam under the Western context, Orientalism falls under the category of the Western perspective of thinking that shifts through social constructs that refers towards representations of the religion or culture in a subjective view point. The concept of Orientalism dates back to precolonial eras, as the main European powers acquired and perceived of territory, resources, knowledge, and control of the regions in the East. The term Orientalism, depicts further into the historical context of antagonism and misrepresentation into the tendencies of a growing layer of Western inclusion and influence on foreign culture and ideals.


title: Orientalism

text: In the religious perspective under Islam, the term Orientalism applies in similar meaning as the outlook from the Western perspective, mainly in the eyes of the Christian majority. The main contributor of the depiction of Oriental perspectives or illustrations on Islam and other Middle Eastern cultures derives from the imperial and colonial influences and powers that attribute to formation of multiple fields of geographical, political, educational, and scientific elements. The combination of these different genres reveal significant division among people of those cultures and reinforces the ideals set from the Western perspective. With Islam, historically scientific discoveries, research, inventions, or ideas that were presented before and contributed to many other European breakthroughs are not affiliated with the previous Islamic scientists. From the exclusion of past contributions and initial works further lead to narrative of the concept of Orientalism with the passing of time generated a history and directive of presence within region and religion that historically influences the image of the East.


title: Orientalism

text: Through the recent years, Orientalism has been influenced and shirted to altering representations of various forms that all derive from the same meaning. From the nineteenth century, among the Western perspectives on Orientalism, differed as the split of American and European Orientalism viewed different illustrations. With mainstream media and popular production reveal many depictions of Oriental cultures and Islamic references to the current event of radicalization for Non-western cultures. With references and mainstream media often utilized to contribute to an extended agenda under the construct judgement of alternate motives. The approach with the generalization of the term Orientalism was embedded with under beginning of colonialism as the root of the main complexity of within modern societies perspectives of foreign cultures. As mainstream media depicts illustrations to utilize many instances of discourse and on certain regions mainly among the conflict within regions in the Middle East and Africa. With agenda of influencing views on non-western societies to be deemed non-compatible with differing ideologies and cultures, the elements that present diversion among Eastern societies and aspects.


title: Orientalism

text: The concept of "Orientalism" has been adopted by scholars in East-Central and Eastern Europe, among them Maria Todorova, Attila Melegh, Tomasz Zarycki, and Dariusz Skórczewski as an analytical tool for exploring the images of East-Central and Eastern European societies in cultural discourses of the West in the 19th century and during the Soviet domination.


title: Orientalism

text: The term "re-orientalism" was used by Lisa Lau and Ana Cristina Mendes to refer to how Eastern self-representation is based on western referential points:Re-Orientalism differs from Orientalism in its manner of and reasons for referencing the West: while challenging the metanarratives of Orientalism, re-Orientalism sets up alternative metanarratives of its own in order to articulate eastern identities, simultaneously deconstructing and reinforcing Orientalism.


title: Orientalism

text: The term "occidentalism" is often used to refer to negative views of the Western world found in Eastern societies, and is founded on the sense of nationalism that spread in reaction to colonialism (see Pan-Asianism). Edward Said has been accused of Occidentalizing the west in his critique of Orientalism; of being guilty of falsely characterizing the West in the same way that he accuses Western scholars of falsely characterizing the East. Said essentialized the West by creating a homogenous image of the area. Currently, the West consists not only of Europe, but also the United States and Canada, which have become more influential over the years.


title: Orientalism

text: 18th century Qing emperors in China had a material fascination with "Occidenterie", or objects inspired by Western art and architecture (an analogue to Europe's chinoiserie or material imitation of Chinese artistic traditions). Although the phenomenon was strongly associated with the emperor's court and the architecture project of Xiyang Lou, nonetheless, a wide spectrum of China's social classes had some access to "Occidenterie" objects as they were domestically produced.


title: Orientalism

text: The action of "othering" cultures occurs when groups are labeled as different due to characteristics that distinguish them from the perceived norm. Edward Said, author of the book "Orientalism", argued that western powers and influential individuals such as social scientists and artists othered "the Orient." The evolution of ideologies is often initially embedded in the language, and continues to ripple through the fabric of society by taking over the culture, economy and political sphere. Much of Said's criticism of Western Orientalism is based on what he describes as articularizing trends. These ideologies are present in Asian works by Indian, Chinese, and Japanese writers and artists, in their views of Western culture and tradition. A particularly significant development is the manner in which Orientalism has taken shape in non-Western cinema, as for instance in Hindi-language cinema.


title: BM-30 Smerch

text: The BM-30 "Smerch" (, "tornado", "whirlwind"), 9K58 Smerch or 9A52-2 Smerch-M is a heavy self-propelled 300 mm multiple rocket launcher designed in the Soviet Union. The system is intended to defeat personnel, armored, and soft targets in concentration areas, artillery batteries, command posts and ammunition depots. It was designed in the early 1980s and entered service in the Soviet Army in 1989. When first observed by the West in 1983, it received the code MRL 280mm M1983. It continues in use by Russia; a program to replace it with the 9A52-4 Tornado began in 2018.


title: BM-30 Smerch

text: The first confirmed combat uses of the Smerch were in two war zones in 2014. Syrian military forces used the system against rebel forces during the Syrian civil war, including in fighting in Jobar. It was also used by Russia-backed militants to deliver explosive and cluster munitions to Ukrainian military positions and likewise by the Ukrainian Army. Several have been seen in use by pro-Russian rebels. The Russian Ground Forces used the BM-30 in Syria in October 2015 during the Russian intervention in Syria.


title: BM-30 Smerch

text: During the 2020 Nagorno-Karabakh conflict, Armenia and Azerbaijan both targeted the other country's territory with Smerch rockets.


title: BM-30 Smerch

text: Smerch rockets were fired from Belgorod in the 2022 Russian Invasion of Ukraine. As Smerch rockets are a Multiple Launch Rocket System, using these to attack a densely populated area of civilians caused some to call the action a war crime. The Human Rights Watch also claims that Smerch cluster munitions 9M55K (containing 72 9N235 submunitions) were fired into densely populated neighborhoods in Kharkiv, resulting in the deaths of at least 11 civilians. During the Battle of Kharkiv it is alleged that 11 Smerch rockets were fired on 27–28 February alone.


title: BM-30 Smerch

text: 300mm rockets with a firing range of 70 and 90 km and various warheads have been developed for the Smerch MLRS.


title: Ubuntu philosophy

text: Ubuntu () is a Nguni Bantu term meaning "humanity". It is sometimes translated as "I am because we are" (also "I am because you are"), or "humanity towards others" (Zulu ""). In Xhosa, the latter term is used, but is often meant in a more philosophical sense to mean "the belief in a universal bond of sharing that connects all humanity".


title: Ubuntu philosophy

text: Although the most popular name referring to the philosophy today is Ubuntu (Zulu language, South Africa), it has several other names in other Bantu languages.


title: Ubuntu philosophy

text: The name also differs by country, such as in Angola (kimuntu), Botswana (muthu), Burundi (ubuntu), Cameroon (bato), Republic of the Congo (RotC; bantu), Democratic Republic of the Congo (DRC; bomoto/bantu), Kenya (utu/munto/mondo), Malawi (umunthu), Mozambique (vumuntu), Namibia (omundu), Rwanda (ubuntu), South Africa (ubuntu/botho), Tanzania (utu/obuntu/bumuntu), Uganda (obuntu), Zambia (umunthu/ubuntu) and Zimbabwe (Ubuntu, unhu or hunhu). It is also found in other Bantu countries not mentioned here.


title: Ubuntu philosophy

text: There are various definitions of the word "Ubuntu". The most recent definition was provided by the "African Journal of Social Work" ("AJSW"). The journal defined "ubuntu" as:


title: Ubuntu philosophy

text: There are many different (and not always compatible) definitions of what ubuntu is. Even with the various definitions, Ubuntu encompasses the interdependence of humans on another and the acknowledgment of one's responsibility to their fellow humans and the world around them. It is a philosophy that supports collectivism over individualism.


title: Ubuntu philosophy

text: Ubuntu asserts that society gives human beings their humanity. An example is a Zulu-speaking person who when commanding to speak in Zulu would say ""khuluma isintu"", which means "speak the language of people". When someone behaves according to custom, a Sotho-speaking person would say ""ke motho"", which means "he/she is a human". The aspect of this that would be exemplified by a tale told (often, in private quarters) in Nguni ""kushone abantu ababili ne Shangaan"", in Sepedi ""go tlhokofetje batho ba babedi le leShangane"", in English (two people died and one Shangaan). In each of these examples, humanity comes from conforming to or being part of the tribe.


title: Ubuntu philosophy

text: "A person is a person through other people" strikes an affirmation of one’s humanity through recognition of an "other" in his or her uniqueness and difference. It is a demand for a creative intersubjective formation in which the "other" becomes a mirror (but only a mirror) for my subjectivity. This idealism suggests to us that humanity is not embedded in my person solely as an individual; my humanity is co-substantively bestowed upon the other and me. Humanity is a quality we owe to each other. We create each other and need to sustain this "otherness" creation. And if we belong to each other, we participate in our creations: "we are because you are, and since you are, definitely I am". The "I am" is not a rigid subject, but a dynamic self-constitution dependent on this "otherness" creation of relation and distance.


title: Ubuntu philosophy

text: An "extroverted communities" aspect is the most visible part of this ideology. There is sincere warmth with which people treat both strangers and members of the community. This overt display of warmth is not merely aesthetic but enables the formation of spontaneous communities. The resultant collaborative work within these spontaneous communities transcends the aesthetic and gives functional significance to the value of warmth. How else are you to ask for sugar from your neighbour? Warmth is not the sine qua non of community formation but guards against instrumentalist relationships. Unfortunately, sincere warmth may leave one vulnerable to those with ulterior motives.


title: Ubuntu philosophy

text: "Ubuntu" as political philosophy encourages community equality, propagating the distribution of wealth. This socialisation is a vestige of agrarian peoples as a hedge against the crop failures of individuals. Socialisation presupposes a community population with which individuals empathise and concomitantly, have a vested interest in its collective prosperity. Urbanisation and the aggregation of people into an abstract and bureaucratic state undermines this empathy. African intellectual historians like Michael Onyebuchi Eze have argued, however, that this idea of "collective responsibility" must not be understood as absolute in which the community's good is prior to the individual's good. On this view, ubuntu it is argued, is a communitarian philosophy that is widely differentiated from the Western notion of communitarian socialism. In fact, ubuntu induces an ideal of shared human subjectivity that promotes a community's good through an unconditional recognition and appreciation of individual uniqueness and difference. Audrey Tang has suggested that Ubuntu "implies that everyone has different skills and strengths; people are not isolated, and through mutual support they can help each other to complete themselves."


title: Ubuntu philosophy

text: "Redemption" relates to how people deal with errant, deviant, and dissident members of the community. The belief is that man is born formless like a lump of clay. It is up to the community, as a whole, to use the fire of experience and the wheel of social control to mould him into a pot that may contribute to society. Any imperfections should be borne by the community and the community should always seek to redeem man. An example of this is the statement by the African National Congress (in South Africa) that it does not throw out its own but rather redeems.


title: Ubuntu philosophy

text: Other scholars such as Mboti (2015) argue that the normative definition of Ubuntu, notwithstanding its intuitive appeal, is still open to doubt. The definition of Ubuntu, contends Mboti, has remained consistently and purposely fuzzy, inadequate and inconsistent. Mboti rejects the interpretation that Africans are "naturally" interdependent and harmony-seeking, and that humanity is given to a person by and through other persons. He sees a philosophical trap in attempts to elevate harmony to a moral duty – a sort of categorical imperative – that Africans must simply uphold. Mboti cautions against relying on intuitions in attempts to say what Ubuntu is or is not. He concludes that the phrase "umuntu ngumuntu ngabantu" references a messier, undisciplined relationship between persons, stating that: "First, there is value in regarding a broken relationship as being authentically human as much as a harmonious relationship. Second, a broken relationship can be as ethically desirable as a harmonious one. For instance, freedom follows from a break from oppression. Finally, harmonious relations can be as oppressive and false as disharmonious ones. For instance, the cowboy and his horse are in a harmonious relationship."


title: Ubuntu philosophy

text: Although ubuntu has been in existence in orature (oral literature), it appeared in South African written sources from as early as the mid-19th century. Reported translations covered the semantic field of "human nature, humanness, humanity; virtue, goodness, kindness". Grammatically, the word combines the root "-ntʊ̀" "person, human being" with the class 14 "ubu-" prefix forming abstract nouns, so that the term is exactly parallel in formation to the abstract noun "humanity".


title: Ubuntu philosophy

text: The concept was popularised in terms of a "philosophy" or "world view" (as opposed to a quality attributed to an individual) beginning in the 1950s, notably in the writings of Jordan Kush Ngubane published in the "African Drum" magazine. From the 1970s, the "ubuntu" began to be described as a specific kind of "African humanism". Based on the context of Africanisation propagated by the political thinkers in the 1960s period of decolonisation, "ubuntu" was used as a term for a specifically African (or Southern African) kind of humanism found in the context of the transition to majority rule in Zimbabwe and South Africa.


title: Ubuntu philosophy

text: The first publication dedicated to "ubuntu" as a philosophical concept appeared in 1980, "Hunhuism or Ubuntuism: A Zimbabwe Indigenous Political Philosophy" ("hunhu" being the Shona equivalent of Nguni "ubuntu") by Stanlake J. W. T. Samkange. Hunhuism or Ubuntuism is presented as political ideology for the new Zimbabwe, as Southern Rhodesia attained independence from the United Kingdom.


title: Ubuntu philosophy

text: The concept was used in South Africa in the 1990s as a guiding ideal for the transition from apartheid to majority rule. The term appears in the Epilogue of the Interim Constitution of South Africa (1993), "there is a need for understanding but not for vengeance, a need for reparation but not for retaliation, a need for "ubuntu" but not for victimisation".


title: Ubuntu philosophy

text: In South Africa, it has come to be used as a contested term for a kind of humanist philosophy, ethic, or ideology, also known as Ubuntuism propagated in the Africanisation (transition to majority rule) process of these countries during the 1980s and 1990s. New research has begun to question the exclusive "humanism" framing, and thus to suggest that "ubuntu" can have a "militaristic" angle - an "ubuntu" for warriors.


title: Ubuntu philosophy

text: Since the transition to democracy in South Africa with the Nelson Mandela presidency in 1994, the term has become more widely known outside of Southern Africa, notably popularised to English-language readers through the ubuntu theology of Desmond Tutu. Tutu was the chairman of the South African Truth and Reconciliation Commission (TRC), and many have argued that "ubuntu" was a formative influence on the TRC.


title: Ubuntu philosophy

text: In the Shona language, the majority spoken language in Zimbabwe, ubuntu is "unhu" or "hunhu". In Ndebele, it is known as ubuntu. The concept of ubuntu is viewed the same in Zimbabwe as in other African cultures. The Shona phrase "munhu munhu nekuda kwevanhu" means a person is human through others while "ndiri nekuti tiri" means I am because we are.


title: Ubuntu philosophy

text: Stanlake J. W. T. Samkange (1980) highlights the three maxims of Hunhuism or Ubuntuism that shape this philosophy: The first maxim asserts that 'To be human is to affirm one's humanity by recognizing the humanity of others and, on that basis, establish respectful human relations with them.' And 'the second maxim means that if and when one is faced with a decisive choice between wealth and the preservation of the life of another human being, then one should opt for the preservation of life'. The third 'maxim' as a 'principle deeply embedded in traditional African political philosophy' says 'that the king owed his status, including all the powers associated with it, to the will of the people under him'.


title: Ubuntu philosophy

text: Ubuntu: "I am what I am because of who we all are." (From a definition offered by Liberian peace activist Leymah Gbowee.)


title: Ubuntu philosophy

text: Tim Jackson refers to Ubuntu as a philosophy that supports the changes he says are necessary to create a future that is economically and environmentally sustainable. Judge Colin Lamont expanded on the definition during his ruling on the hate speech trial of Julius Malema:.


title: Ubuntu philosophy

text: In Malawi, the same philosophy is called "uMunthu" in the local Chewa language. According to the Catholic Diocese of Zomba bishop Rt. Rev. Fr. Thomas Msusa, "The African worldview is about living as one family, belonging to God". Msusa noted that in Africa "We say 'I am because we are', or in Chichewa "kali kokha nkanyama, tili awiri ntiwanthu" (when you are on your own you are as good as an animal of the wild; when there are two of you, you form a community)."


title: Ubuntu philosophy

text: The philosophy of uMunthu has been passed on through proverbs such as "Mwana wa mnzako ngwako yemwe, ukachenjera manja udya naye" (your neighbor's child is your own, his/her success is your success too). Some notable Malawian uMunthu philosophers and intellectuals who have written about this worldview are Augustine Musopole, Gerard Chigona, Chiwoza Bandawe, Richard Tambulasi, Harvey Kwiyani and Happy Kayuni. This includes Malawian philosopher and theologist Harvey Sindima’s treatment of uMunthu as an important African philosophy is highlighted in his 1995 book "Africa’s Agenda: The legacy of liberalism and colonialism in the crisis of African values". In film, the English translation of the proverb lent its hand to forming the title of Madonna's 2008 documentary, "I Am Because We Are", about Malawian orphans.


title: Ubuntu philosophy

text: In June 2009, in her swearing-in remarks as US Department of State Special Representative for Global Partnerships, Global Partnership Initiative, Office of the Secretary of State, Elizabeth Frawley Bagley discussed ubuntu in the context of American foreign policy, stating: "In understanding the responsibilities that come with our interconnectedness, we realize that we must rely on each other to lift our World from where it is now to where we want it to be in our lifetime, while casting aside our worn out preconceptions, and our outdated modes of statecraft." She then introduced the notion of "Ubuntu Diplomacy" with the following words:


title: Ubuntu philosophy

text: In education, ubuntu has been used to guide and promote African education, and to decolonise it from western educational philosophies. Ubuntu education uses the family, community, society, environment and spirituality as sources of knowledge but also as teaching and learning media. The essence of education is family, community, societal and environmental well-being. Ubuntu education is about learners becoming critical about their social conditions. Interaction, participation, recognition, respect and inclusion are important aspects of ubuntu education. Methods of teaching and learning include groups and community approaches. The objectives, content, methodology and outcomes of education are shaped by ubuntu.


title: Ubuntu philosophy

text: This refers to Afrocentric ways of providing a social safety net to vulnerable members of society. Common elements include collectivity. The approach helps to "validate worldview and traditions suppressed by Western Eurocentric cultural hegemony". It is against materialism and individualism. It looks at an individual person as holistically. The social interventions done by social workers, welfare workers and development workers should strengthen, not weaken families, communities, society, the environment and peoples's spirituality. These are the five pillars of ubuntu intervention: family, community. society, environment and spirituality. Ubuntu is the current theme for the Global Agenda for Social Work and Social Development and represents the highest level of global messaging within social work profession for the years 2020–2030 . Utilising the biopsychosocial and ecological system approaches, ubuntu is a philosophy that is applicable in clinical social work in mental health.


title: Ubuntu philosophy

text: Ubuntu can guide research objectives, ethics and methodology. Using ubuntu research approach provides researchers with an African oriented tool that decolonises research agenda and methodology. The objectives of ubuntu research are to empower families, communities and society at large. In doing ubuntu research, the position of the researcher is important because it helps create research relationships. The agenda of the research belongs to the community, and true participation is highly valued. "Ujamaa" is valued, it means pulling together or collaboration.


title: Ubuntu philosophy

text: According to this philosophy, "actions are right roughly insofar as they are a matter of living harmoniously with others or honouring communal relationships", "One's ultimate goal should be to become a full person, a real self or a genuine human being". "Ukama", i.e. relationships are important. Among the Shona people, for example, when a person dies, his or her property is shared amongst relatives and there are culturally approved ways of doing this. The practice is called "kugova". Samkange (1980)'s maxim on morality says “If and when one is faced with a decisive choice between wealth and the preservation of the life of another human being, then one should opt for the preservation of life”.


title: Ubuntu philosophy

text: Samkange (1980) said no foreign political philosophy can be useful in a country more than the indigenous philosophies. "Is there a philosophy or ideology indigenous to (a) country that can serve its people just as well, if not better than, foreign ideologies?", asked Samkange in the book "Hunhuism or Ubuntuism". His maxim for leadership is “The king owes his status, including all the powers associated with it, to the will of the people under him”.


title: Ubuntu philosophy

text: Ubuntu justice has elements different from western societies: it values repairing relationships. Ubuntu justice emphasises these elements:


title: Ubuntu philosophy

text: African scholars have noted that while some elements of Ubuntu are liberating to women, others "marginalize and disempower" them, and "can be seen as engendering patriarchy".


title: Ubuntu philosophy

text: Ubuntu was a major theme in John Boorman's 2004 film "In My Country". Former US president Bill Clinton used the term at the 2006 Labour Party conference in the UK to explain why society is important.


title: Ubuntu philosophy

text: The Boston Celtics, the 2008 NBA champions, have chanted "ubuntu" when breaking a huddle since the start of the 2007–2008 season. The first episode of the 2020 Netflix docuseries "The Playbook" shows how Boston Celtic's coach, Glenn Anton "Doc" Rivers learned of the Ubuntu philosophy. The documentary then explores the impact of the philosophy on the team members and how it became their guiding principle.


title: Ubuntu philosophy

text: At the 2002 UN World Summit on Sustainable Development (WSSD), there was an Ubuntu Village exposition centre. Ubuntu was the theme of the 76th General Convention of the American Episcopal Church. The logo includes the text "I in You and You in Me".


title: Ubuntu philosophy

text: In October 2004 Mark Shuttleworth, a South African entrepreneur and owner of UK based company Canonical Ltd., founded the Ubuntu Foundation that is the company behind the creation of a computer operating system based on Debian GNU/Linux. He named the Linux distribution Ubuntu.


title: Ubuntu philosophy

text: In film, the English translation of the proverb lent its hand to forming the title of pop singer Madonna's documentary, "I Am Because We Are" about Malawian orphans.


title: Ubuntu philosophy

text: Blackwood, Alecia, "Transformative Learning: Improving Teachers' Cultural Competencies Through Knowledge and Practice of Ubuntu Pedagogy" (2018). Electronic Theses and Dissertations. 6056.


title: One Hundred and One Dalmatians

text: One Hundred and One Dalmatians (also simply known as 101 Dalmatians) is a 1961 American animated adventure comedy film produced by Walt Disney Productions and based on the 1956 novel "The Hundred and One Dalmatians" by Dodie Smith. The 17th Disney animated feature film, it was directed by Hamilton Luske, Clyde Geronimi and Wolfgang Reitherman and written by Bill Peet, and features the voices of Rod Taylor, Cate Bauer, Betty Lou Gerson, Ben Wright, Lisa Davis, and Martha Wentworth. The film's plot follows a litter of Dalmatian puppies who are kidnapped by the villainous Cruella de Vil ("deVille"), who wants to make their fur into coats. Their parents, Pongo and Perdita, set out to save their puppies from Cruella, in the process of rescuing 84 additional ones that were bought in pet shops, bringing the total of Dalmatians to 101.


title: One Hundred and One Dalmatians

text: The film was originally released in theaters on January 25, 1961, and was a box office success, pulling the studio out of the financial slump caused by "Sleeping Beauty", a costlier production released two years prior, and became the eighth highest-grossing film of the year in the North American box office. Aside from its box-office revenue, the employment of inexpensive animation techniques—such as using xerography during the process of inking and painting traditional animation cels—kept production costs down. Disney later released a live-action remake titled "101 Dalmatians" in 1996 and its sequel "102 Dalmatians" in 2000. A direct-to-video animated sequel to the 1961 film titled "" was released in 2003. A live-action reboot titled "Cruella" directed by Craig Gillespie was released on May 28, 2021, in theaters and on Disney+ with Premier Access simultaneously.


title: One Hundred and One Dalmatians

text: Aspiring songwriter Roger Radcliffe lives in London, in a bachelor flat with his pet dalmatian, Pongo. Deciding both of them need a "mate", Pongo watches women and their dogs in the street. Noticing Anita and her Dalmatian Perdita, he drags Roger to the park to arrange a meeting. Roger and Anita fall in love, and soon marry, with Pongo and Perdita attending.


title: One Hundred and One Dalmatians

text: The pair hires a nanny and moves to a small townhouse near Regent's Park. After Perdita becomes pregnant with a litter of 15 puppies, Anita's fur-obsessed former schoolmate, Cruella de Vil, arrives and demands to know when the puppies will arrive. Roger responds by writing a jazzy song mocking her. When the puppies are born, Cruella returns, demanding to buy them. Roger firmly denies her request; Cruella swears revenge, and storms out.


title: One Hundred and One Dalmatians

text: A few months later, Cruella hires brothers Horace and Jasper Baddun, two burglars, to steal the puppies. When Scotland Yard is unable to find the puppies, Pongo and Perdita use the "Twilight Bark", a canine gossip line, to solicit help from the other dogs in London.


title: One Hundred and One Dalmatians

text: Colonel, an old English sheepdog, along with his compatriot Sergeant Tibbs, a tabby cat, investigate the nearby "Old De Vil Place", where puppies had been heard barking two nights earlier. Tibbs learns they are going to be made into dog-skin fur coats, after which Colonel sends word back to London. Pongo and Perdita leave through a back window and begin a long cross-country journey, crossing an icy river and running through the snow towards Suffolk.


title: One Hundred and One Dalmatians

text: Meanwhile, Tibbs overhears Cruella ordering the Baduns to kill the puppies that night out of fear the police will soon find them. In response, Tibbs helps the puppies escape through a hole in the wall, but the Baddun brothers notice and give chase. Pongo and Perdita break into the house and confront the Baduns just as they are about to kill the puppies. While the adult dogs attack the two men, Colonel and Tibbs guide the puppies from the house. After a happy reunion with their own puppies, Pongo and Perdita discover there are 84 more puppies with them. Shocked at Cruella's plans, they decide to adopt all of them, certain that Roger and Anita would never reject them.


title: One Hundred and One Dalmatians

text: The Dalmatians start their homeward trek, pursued by the Baddun brothers. They take shelter from a blizzard in a dairy farm with a friendly collie and three cows, then make their way to Dinsford, where they meet a Black Labrador waiting for them in a blacksmith's shop. Cruella and the Baddun brothers arrive, prompting Pongo to have his entire family roll in a sooty fireplace to disguise themselves as other Labradors. The Labrador helps them board a moving van bound for London, but melting snow falls on Lucky and clears the soot off of him. Enraged, Cruella pursues the van in her car and rams it, but the Baduns, who try to cut it off from above, end up colliding with her. Both vehicles crash into a ditch. Cruella yells in frustration as the van drives away.


title: One Hundred and One Dalmatians

text: In London, a depressed Nanny and the Radcliffes try to enjoy Christmas, and the wealth they have acquired from the song about Cruella, which has become a big radio hit. The soot-covered Dalmatians suddenly flood the house. Upon removing the soot and counting the massive family of dogs, Roger chooses to use his songwriting royalties to buy a big house in the country so they can keep all 101 dalmatians.


title: One Hundred and One Dalmatians

text: Dodie Smith wrote the book "The Hundred and One Dalmatians" in 1956. When Walt Disney read it in 1957, it immediately grabbed his attention, and he promptly obtained the rights. Smith had always secretly hoped that Disney would make it into a film. Disney assigned Bill Peet to write the story, which he did, marking the first time that the story for a Disney animated film was written by a single person. Writing in his autobiography, Peet was tasked by Disney to write a detailed screenplay first before storyboarding. Because Peet never learned to use a typewriter, he wrote the initial draft by hand on legal paper.


title: One Hundred and One Dalmatians

text: He condensed elements of the original book while enlarging others, some of which included eliminating Cruella's husband and cat, as well merging the two mother Dalmatians, birth mother Missis and adopted mother Perdita, into one character. Another notable character loss was Cadpig, the female runt of Pongo and Missis' puppies, whose traits were transferred between Lucky and the newly established Penny in the film (although it is never indicated outright that Cadpig was dropped); the Colonel's cat assistant was re-gendered from being a female by the name of Lieutenant Willow in the book, and Horace Baddun was renamed from Saul to presumably make him sound more akin in tone to Jasper. Bill Peet did retain a scene in which Pongo and Perdita exchange wedding vows in unison with their owners, by which the censor board warned that it might offend certain religious audiences if the animals repeated the exact words of a solemn religious ceremony. The scene was reworked to be less religious with Roger and Anita dressed in formal clothes.


title: One Hundred and One Dalmatians

text: Two months later, Peet completed the manuscript and had it typed up. Walt said the script was "great stuff" and commissioned Peet to begin storyboarding. Additionally, Peet was charged with recording the voice-over process. Although Disney had not been as involved in the production of the animated films as frequently as in previous years nevertheless, he was always present at story meetings. When Peet sent Dodie Smith some drawings of the characters, she wrote back saying that he had improved her story and that the designs looked better than the illustrations in the book.


title: One Hundred and One Dalmatians

text: After "Sleeping Beauty" (1959) disappointed at the box-office, there was some talk of closing down the animation department at the Disney studio. During the production of it, Disney told animator Eric Larson: "I don't think we can continue; it's too expensive." Despite this, he still had deep feelings towards animation because he had built the company upon it.


title: One Hundred and One Dalmatians

text: Ub Iwerks, in charge of special processes at the studio, had been experimenting with Xerox photography to aid in animation. By 1959, he had modified a Xerox camera to transfer drawings by animators directly to animation cels, eliminating the inking process, thus saving time and money while preserving the spontaneity of the penciled elements. However, because of its limitations, the camera was unable to deviate from a black scratchy outline and lacked the fine lavish quality of hand inking. Disney would first use the Xerox process for a thorn forest in "Sleeping Beauty", and the first production to make full use of the process was "Goliath II". For "One Hundred and One Dalmatians", one of the benefits of the process was that it was a great help towards animating the spotted dogs. According to Chuck Jones, Disney was able to complete the film for about half of what it would have cost if they had had to animate all the dogs and spots.


title: One Hundred and One Dalmatians

text: Ken Anderson proposed the use of the Xerox on "Dalmatians" to Walt, who was disenchanted with animation by then, and replied "Ah, yeah, yeah, you can fool around all you want to". For the stylized art direction, Anderson took inspiration from British cartoonist Ronald Searle, who once advised him to use a Mont Blanc pen and India ink for his artwork. In addition to the character animation, Anderson also sought to use Xerography on "the background painting because I was going to apply the same technique to the whole picture." Along with color stylist Walt Peregoy, the two had the line drawings be printed on a separate animation cel before being laid over the background, which gave the appearance similar to the Xeroxed animation. Disney disliked the artistic look of the film and felt he was losing the "fantasy" element of his animated films. In a meeting with Anderson and the animation staff concerning future films, Walt said, "We're never gonna have one of those goddamned things" referring to "Dalmatians" and its technique, and stated, "Ken's never going to be an art director again."


title: One Hundred and One Dalmatians

text: Ken Anderson took this to heart, but Walt eventually forgave him on his final trip to the studio in late 1966. As Anderson recalled in an interview:


title: One Hundred and One Dalmatians

text: He looked very sick. I said, "Gee, it's great to see you, Walt," and he said, "You know that thing you did on "Dalmatians"." He didn't say anything else, but he just gave me this look, and I knew that all was forgiven and in his opinion, maybe what I did on "Dalmatians" wasn't so bad. That was the last time I ever saw him. Then, a few weeks later, I learned he was gone.


title: One Hundred and One Dalmatians

text: As with the previous Disney films, actors provided live-action reference in order to determine what would work before the animation process begun. Actress Helene Stanley performed the live-action reference for the character of Anita. She did the same work for the characters of Cinderella and Princess Aurora in "Sleeping Beauty". Meanwhile, Mary Wickes provided the live-action reference for Cruella de Vil.


title: One Hundred and One Dalmatians

text: Marc Davis was the sole animator on Cruella De Vil. During production, Davis claimed her character was partly inspired by Bette Davis (no relation), Rosalind Russell, and Tallulah Bankhead. He took further influence from her voice actress, Betty Lou Gerson, whose cheekbones he added to the character. He later complimented, "[t]hat [her] voice was the greatest thing I've ever had a chance to work with. A voice like Betty Lou's gives you something to do. You get a performance going there, and if you don't take advantage of it, you're off your rocker". While her hair coloring originated from the illustrations in the novel, Davis found its disheveled style by looking "through old magazines for hairdos from 1940 till now". Her coat was exaggerated to match her oversized personality, and the lining was red because "there's a devil image involved".


title: One Hundred and One Dalmatians

text: Before starring in high-profile roles such as "The Birds" and "The Time Machine", Australian actor Rod Taylor had extensive radio experience and then was cast as Pongo. The filmmakers deliberately cast dogs with deeper voices than their human owners, so they had more power. Walt Disney originally had Lisa Davis read for the role of Cruella De Vil, but she did not think that she was right for the part, and wanted to try reading the role of Anita. Disney agreed with her after the two of them read the script for a second time.


title: One Hundred and One Dalmatians

text: Betty Lou Gerson, who was previously the narrator for "Cinderella", auditioned for the role of Cruella De Vil in front of Marc Davis and sequence director Wolfgang Reitherman, and landed it. While searching for the right accent of the character, Gerson landed on a "phony theatrical voice, someone who's set sail from New York but hasn't quite reached England". During the recording process, she was thought to be imitating Tallulah Bankhead. However, Gerson disputed, "Well, I didn't intentionally imitate her...I was raised in Birmingham, Ala., and Tallulah was from Jasper, Ala. We both had phony English accents on top of our Southern accents and a great deal of flair. So our voices came out that way". In addition to voicing Mrs. Birdwell, Gerson finished recording in fourteen days.


title: One Hundred and One Dalmatians

text: To have music involved in the narrative, Peet used an old theater trick by which the protagonist is a down-and-out songwriter. However, unlike the previous animated Disney films at the time, the songs were not composed by a team, but by Mel Leven who composed both lyrics and music. Previously, Leven had composed songs for the UPA animation studio in which animators, who transferred to work at Disney, had recommended him to Walt. His first assignment was to compose "Cruella de Vil," of which Leven composed three versions. The final version used in the film was composed as a "bluesy number" before a meeting with Walt in forty-five minutes.


title: One Hundred and One Dalmatians

text: The other two songs included in the film are "Kanine Krunchies Jingle" (sung by Lucille Bliss, who voiced Anastasia Tremaine in Disney's 1950 film "Cinderella"), and "Dalmatian Plantation" in which Roger sings only two lines at its closure. Leven had also written additional songs that were not included in the film. The first song, "Don't Buy a Parrot from a Sailor," a cockney chant, was meant to be sung by Jasper and Horace at the De Vil Mansion. A second song, "Cheerio, Good-Bye, Toodle-oo, Hip Hip!" was to be sung by the dalmatian puppies as they make their way into London. A third song titled "March of the One Hundred and One" was meant for the dogs to sing after escaping Cruella by van. Different, longer versions of "Kanine Krunchies Jingle" and "Dalmatian Plantation" appear on the Disneyland Records read-along album based on the film.


title: One Hundred and One Dalmatians

text: The Sherman Brothers wrote a title song, "One Hundred and One Dalmatians", but it was not used in the film. The song has been released on other Disney recordings, however.


title: One Hundred and One Dalmatians

text: "One Hundred and One Dalmatians" was first released in theaters on January 25, 1961. The film was re-released theatrically in 1969, 1979, 1985, and 1991. The 1991 reissue was the 20th highest-grossing film of the year for domestic earnings.


title: One Hundred and One Dalmatians

text: "One Hundred and One Dalmatians" was first released on VHS on April 10, 1992, as part of the Walt Disney Classics video series. By June 1992, it had sold 11.1 million copies. At the time, it was the sixth best-selling video of all time. It was re-released on March 9, 1999, as part of the Walt Disney Masterpiece Collection video series. Due to technical issues, it was later released on LaserDisc and was delayed numerous times before its release on DVD. The film was re-released on VHS, and for the first time on DVD, in December 1999, as a Walt Disney Limited Issue for a limited 60-day time period before going into moratorium. A two-disc Platinum Edition DVD was released on March 4, 2008. It was released on Blu-ray Disc in the United Kingdom on September 3, 2012. A Diamond Edition Blu-ray of the film was released in North America on February 10, 2015. A Limited Edition from Disney Movie Club was released on Blu-ray and DVD combo on November 6, 2018. Then it was re-released on HD digital download and Blu-ray on September 24, 2019, as part of the Walt Disney Signature Collection.


title: One Hundred and One Dalmatians

text: During its initial theatrical run, the film grossed $14 million in the United States and Canada, which generated $6.2 million in distributor rentals. It was also the most popular film of the year in France, with admissions of 14.7 million ranking tenth on their all-time list.


title: One Hundred and One Dalmatians

text: The film was re-released in 1969, where it earned $15 million. In its 1979 theatrical re-release, it grossed $19 million, and in 1985, the film grossed $32 million. During its fourth re-release in 1991, it grossed $60.8 million.


title: One Hundred and One Dalmatians

text: Prior to 1995, the film had grossed $86 million overseas. In 1995, it grossed $71 million overseas bringing its international total to $157 million. The film's total domestic lifetime gross is $145 million, and its total worldwide gross is $303 million. Adjusted for inflation, and incorporating subsequent releases, the film has a lifetime gross of $900.3 million.


title: One Hundred and One Dalmatians

text: In its initial release, the film received critical acclaim from critics, many of whom hailed it as the studio's best release since "Snow White and the Seven Dwarfs" (1937) and the closest to a real "Disney" film in many years. Howard Thompson of "The New York Times" wrote, "While the story moves steadily toward a stark, melodramatic "chase" climax, it remains enclosed in a typical Disney frame of warm family love, human and canine". However, he later opined that the "[s]ongs are scarce, too. A few more would have braced the final starkness". "Variety" claimed that "While not as indelibly enchanting or inspired as some of the studio's most unforgettable animated endeavors, this is nonetheless a painstaking creative effort". "Time" praised the film as "the wittiest, most charming, least pretentious cartoon feature Walt Disney has ever made". "Harrison's Reports" felt all children and adults will be "highly entertained by Walt Disney's latest, a semi-sophisticated, laugh-provoking, all cartoon, feature-lengther in Technicolor." Dodie Smith also enjoyed the film where she particularly praised the animation and backgrounds of the film.


title: One Hundred and One Dalmatians

text: Contemporary reviews have remained positive. Reviewing the film during its 1991 re-release, Roger Ebert of the "Chicago Sun-Times", while giving the film three stars out of four, asserted that "it's an uneven film, with moments of inspiration in a fairly conventional tale of kidnapping and rescue. This is not one of the great Disney classics - it's not in the same league with "Snow White" or "Pinocchio" - but it's passable fun, and will entertain its target family audiences." "Chicago Tribune" film critic Gene Siskel, in his 1991 review, also gave the film three stars out of four. Ralph Novak of "People" wrote "What it lacks in romantic extravagance and plush spectacle, this 1961 Disney film makes up for in quiet charm and subtlety. In fact, if any movie with dogs, cats, and horses who talk can be said to belong in the realm of realistic drama, this is it". However, the film did receive a few negative reviews. In 2011, Craig Berman of MSNBC ranked it and its 1996 remake as two of the worst children's films of all time, saying that, "The plot itself is a bit nutty. Making a coat out of dogs? Who does that? But worse than Cruella de Vil's fashion sense is the fact that your children will definitely start asking for a Dalmatian of their own for their next birthday".


title: One Hundred and One Dalmatians

text: The review aggregator website Rotten Tomatoes reported the film received an approval rating of based on reviews with an average score of . The website's critical consensus reads, "With plenty of pooches and a memorable villain (Cruella De Vil), this is one of Disney's most enduring, entertaining animated films."


title: One Hundred and One Dalmatians

text: Since the original release of the film, Disney has taken the property in various directions. The earliest of these endeavors was the 1996 live-action remake, "101 Dalmatians", which starred Glenn Close as Cruella De Vil. Unlike the original film, none of the animals had speaking voices in this version. Its success in theaters led to "102 Dalmatians", released on November 22, 2000.


title: One Hundred and One Dalmatians

text: After the first live-action version of the film, an animated series titled "" was launched. The characters' designs were stylized further to allow for economic animation and to appeal to contemporary trends.


title: One Hundred and One Dalmatians

text: "101 Dalmatian Street" is the second TV series with a plot in the 21st century, with a new art style and a concept loosely based on the source material. Set 60 years after the original animated film, the show focuses on Dylan and Dolly, (who are both descendants of Pongo and Perdita) caring for their 97 younger siblings who all live without a human in Camden Town.


title: One Hundred and One Dalmatians

text: "", the official sequel to the original animated film, was released direct-to-video on January 21, 2003.


title: One Hundred and One Dalmatians

text: In 2021, Disney released another live-action film that focuses on the origin of Cruella de Vil. Emma Stone plays Cruella and Alex Timbers was in negotiations to direct the film, but he left directing duties for "Cruella" due to scheduling conflicts and was replaced by the "I, Tonya" director Craig Gillespie in December 2018. Emma Thompson portrays Baroness von Hellman, while Paul Walter Hauser joined the project, revealed to be as Horace, with Joel Fry cast as Jasper. The film was originally scheduled to be released on December 23, 2020, but was delayed to May 28, 2021.


title: Ellora Caves

text: Ellora is a UNESCO World Heritage Site located in the Aurangabad district of Maharashtra, India. It is one of the largest rock-cut Hindu temple cave complexes in the world, with artwork dating from the period 600–1000 CE. Cave 16 features the largest single monolithic rock excavation in the world, the Kailash temple, a chariot-shaped monument dedicated to the god Shiva. The Kailash temple excavation also features sculptures depicting various Hindu deities as well as relief panels summarizing the two major Hindu epics.


title: Ellora Caves

text: There are over 100 caves at the site, all excavated from the basalt cliffs in the Charanandri Hills, 34 of which are open to public. These consist of 17 Hindu (caves 13–29), 12 Buddhist (caves 1–12) and 5 Jain (caves 30–34) caves, each group representing deities and mythologies prevalent in the 1st millennium CE, as well as monasteries of each respective religion. They were built close to one another and illustrate the religious harmony that existed in ancient India. All of the Ellora monuments were built during the Rashtrakuta dynasty (r. 753-982 CE), which constructed part of the Hindu and Buddhist caves, and the Yadava dynasty (c. 1187–1317), which constructed a number of the Jain caves. Funding for the construction of the monuments was provided by royals, traders and the wealthy of the region.


title: Ellora Caves

text: Although the caves served as temples and a rest stop for pilgrims, the site's location on an ancient South Asian trade route also made it an important commercial centre in the Deccan region. It is north-west of Sambhaji Nagar, and about east-northeast of Mumbai. Today, the Ellora Caves, along with the nearby Ajanta Caves, are a major tourist attraction in the Marathwada region of Maharashtra and a protected monument under the Archaeological Survey of India (ASI).


title: Ellora Caves

text: Ellora, also called Verul or Elura, is the short form of the ancient name Elloorpuram. The older form of the name has been found in ancient references such as the Baroda inscription of 812 CE which mentions "the greatness of this edifice" and that "this great edifice was built on a hill by Krishnaraja at Elapura, the edifice in the inscription being the Kailasa temple. In the Indian tradition, each cave is named and has a suffix "Guha" (Sanskrit), "Lena" or "Leni" (Marathi), meaning cave.


title: Ellora Caves

text: It is also thought to be derived from Ilvalapuram, named after the asura Ilvala who ruled this region who was vanquished by Sage Agastya.


title: Ellora Caves

text: The Ellora caves are situated in state of Maharashtra about northwest of the city of Aurangabad, east-northeast of Mumbai, from Pune and about west of the Ajanta Caves, 2.3 kilometres (1.42 miles) from Grishneshwar Temple (India).


title: Ellora Caves

text: Ellora occupies a relatively flat rocky region of the Western Ghats, where ancient volcanic activity had created multilayered basalt formations, known as the Deccan Traps. The volcanic activity that formed the west-facing cliff that houses the Ellora caves occurred during the Cretaceous period. The resulting vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.


title: Ellora Caves

text: The construction at Ellora has been studied since British colonial rule. However, the overlapping styles between the Buddhist, Hindu and Jain caves has made it difficult to establish agreement concerning the chronology of their construction. The disputes generally concern: one, whether the Buddhist or Hindu caves were carved first and, two, the relative dating of caves within a particular tradition. The broad consensus that has emerged is based on comparing the carving styles at Ellora to other cave temples in the Deccan region that have been dated, textual records of various dynasties, and epigraphical evidence found at various archaeological sites near Ellora and elsewhere in Maharashtra, Madhya Pradesh and Karnataka. Geri Hockfield Malandra and other scholars have stated that the Ellora caves had three important building periods: an early Hindu period (~550 to 600 CE), a Buddhist phase (~600 to 730 CE) and a later Hindu and Jain phase (~730 to 950 CE).