title: Kingdom of Iberia

text: This close association with Armenia and Pontus brought upon the country an invasion (65 BC) by the Roman general Pompey, who was then at war with Mithradates VI of Pontus, and Armenia; but Rome did not establish her power permanently over Iberia. Twenty-nine years later, the Romans again marched (36 BC) on Iberia forcing King Pharnavaz II to join their campaign against Albania.


title: Kingdom of Iberia

text: While another Georgian kingdom of Colchis was administered as a Roman province, Iberia freely accepted the Roman Imperial protection. A stone inscription discovered at Mtskheta speaks of the 1st-century ruler Mihdrat I (AD 58–106) as "the friend of the Caesars" and the king "of the Roman-loving Iberians." Emperor Vespasian fortified the ancient Mtskheta site of Arzami for the Iberian kings in AD 75.


title: Kingdom of Iberia

text: The next two centuries saw a continuation of Roman influence over the area, but by the reign of King Pharsman II (116–132) Iberia had regained some of its former power. Relations between the Roman Emperor Hadrian and Pharsman II were strained, though Hadrian is said to have sought to appease Pharsman. However, it was only under Hadrian's successor Antoninus Pius that relations improved to the extent that Pharsman is said to have even visited Rome, where Dio Cassius reports that a statue was erected in his honor and that rights to sacrifice were given. The period brought a major change to the political status of Iberia with Rome recognizing them as an ally, rather than their former status as a subject state, a political situation which remained the same, even during the Empire's hostilities with the Parthians.


title: Kingdom of Iberia

text: From the first centuries of the Christian era, the cult of Mithras and Zoroastrianism were commonly practiced in Iberia. Excavation of rich burials in Bori, Armazi, and Zguderi has produced silver drinking cups with the impression of a horse either standing at a fire-altar or with its right foreleg raised above the altar. The cult of Mithras, distinguished by its syncretic character and thus complementary to local cults within Georgian mythology, especially the cult of the Sun, gradually came to merge with ancient Georgian beliefs. It is even thought that Mithras must have been the precursor of St. George in pagan Georgia. Step by step, Iranian beliefs and ways of life penetrated deeply the practices of the Iberian court and elite: the Armazian script and “language,” which is based on Aramaic (see Tsereteli), was adopted officially (a number of inscriptions in Aramaic of the Classical/Hellenistic periods are known from Colchis as well,; the court was organized on Iranian models, the elite dress was influenced by Iranian costume, the Iberian elite adopted Iranian personal names, and the official cult of Armazi (q.v.) was introduced by King Pharnavaz in the 3rd century BC (connected by the medieval Georgian chronicle to Zoroastrianism)


title: Kingdom of Iberia

text: Decisive for the future history of Iberia was the foundation of the Sasanian (or Sassanid) Empire in 224 by Ardashir I. By replacing the weak Parthian realm with a strong, centralized state, it changed the political orientation of Iberia away from Rome. Iberia became a tributary of the Sasanian state during the reign of Shapur I (241–272). Relations between the two countries seem to have been friendly at first, as Iberia cooperated in Persian campaigns against Rome, and the Iberian king Amazasp III (260–265) was listed as a high dignitary of the Sasanian realm, not a vassal who had been subdued by force of arms. But the aggressive tendencies of the Sasanians were evident in their propagation of Zoroastrianism, which was probably established in Iberia between the 260s and 290s.


title: Kingdom of Iberia

text: However, in the Peace of Nisibis (298) while the Roman empire obtained control of Caucasian Iberia again as a vassal state and acknowledged the reign over all the Caucasian area, it recognized Mirian III, the first of the Chosroid dynasty, as king of Iberia.


title: Kingdom of Iberia

text: Roman predominance proved crucial in religious matters, since King Mirian III and leading nobles converted to Eastern Orthodoxy around 317 and declared Orthodoxy as state religion. The event is related with the mission of a Cappadocian woman, Saint Nino, who since 303 had preached Orthodoxy in the Georgian kingdom of Iberia (Eastern Georgia).


title: Kingdom of Iberia

text: The religion would become a strong tie between Georgia and Rome (later Byzantium) and have a large scale impact on the state's culture and society. Iranian elements in Georgian art gradually ceased with the adoptation of Eastern Orthodoxy in the fourth century.


title: Kingdom of Iberia

text: However, after the emperor Julian was slain during his failed campaign in Persia in 363, Rome ceded control of Iberia to Persia, and King Varaz-Bakur I (Asphagur) (363–365) became a Persian vassal, an outcome confirmed by the Peace of Acilisene in 387. However, a later ruler of Kartli, Pharsman IV (406–409), preserved his country's autonomy and ceased to pay tribute to Persia. Persia prevailed, and Sassanian kings began to appoint a viceroy ("pitiaxae"/"bidaxae") to keep watch on their vassal. They eventually made the office hereditary in the ruling house of Lower Kartli, thus inaugurating the Kartli "pitiaxate", which brought an extensive territory under its control. Although it remained a part of the kingdom of Kartli, its viceroys turned their domain into a center of Persian influence. Sasanian rulers put the Christianity of the Georgians to a severe test. They promoted the teachings of Zoroaster, and by the middle of the 5th century Zoroastrianism had become a second official religion in eastern Georgia alongside Eastern Orthodoxy.


title: Kingdom of Iberia

text: The early reign of the Iberian king Vakhtang I dubbed "Gorgasali" (447–502) was marked by the relative revival of the kingdom. Formally a vassal of the Persians, he secured the northern borders by subjugating the Caucasian mountaineers, and brought the adjacent western and southern Georgian lands under his control. He established an autocephalic patriarchate at Mtskheta, and made Tbilisi his capital. In 482 he led a general uprising against Persia and started a desperate war for independence that lasted for twenty years. He could not get Byzantine support and was eventually defeated, dying in battle in 502.


title: Kingdom of Iberia

text: The continuing rivalry between Byzantium and Sasanian Persia for supremacy in the Caucasus, and the next unsuccessful insurrection (523) of the Georgians under Gurgen had severe consequences for the country. Thereafter, the king of Iberia had only nominal power, while the country was effectively ruled by the Persians. In 580, Hormizd IV (578–590) abolished the monarchy after the death of King Bakur III, and Iberia became a Persian province ruled by a "marzpan" (governor). Georgian nobles urged the Byzantine emperor Maurice to revive the kingdom of Iberia in 582, but in 591 Byzantium and Persia agreed to divide Iberia between them, with Tbilisi to be in Persian hands and Mtskheta to be under Byzantine control.


title: Kingdom of Iberia

text: At the beginning of the 7th century the truce between Byzantium and Persia collapsed. The Iberian Prince Stephanoz I (c. 590 – 627), decided in 607 to join forces with Persia in order to reunite all the territories of Iberia, a goal he seems to have accomplished. But Emperor Heraclius's offensive in 627 and 628 brought victory over the Georgians and Persians and ensured Byzantine predominance in western and eastern Georgia until the invasion of the Caucasus by the Arabs.


title: Kingdom of Iberia

text: The Arabs reached Iberia about 645 and forced its eristavi (prince), Stephanoz II (637 – c. 650), to abandon his allegiance to Byzantium and recognize the Caliph as his suzerain. Iberia thus became a tributary state and an Arab emir was installed in Tbilisi about 653. At the beginning of the 9th century, eristavi Ashot I (813–830) of the new Bagrationi dynasty, from his base in southwestern Georgia, took advantage of the weakening of the Arab rule to establish himself as hereditary prince (with the Byzantine title "kouropalates") of Iberia. A successor, Adarnase IV of Iberia, formally a vassal of Byzantium, was crowned as the “king of Iberia” in 888. His descendant Bagrat III (r. 975–1014), brought the various principalities together to form a united Georgian monarchy.


title: Kingdom of Iberia

text: The similarity of the name with the old inhabitants of the Iberian peninsula, the 'Western' Iberians, has led to an idea of ethnogenetical kinship between them and the people of Caucasian Iberia (called the 'Eastern' Iberians).


title: Kingdom of Iberia

text: It has been advocated by various ancient and medieval authors, although they differed in approach to the problem of the initial place of their origin. The theory seems to have been popular in medieval Georgia. The prominent Georgian religious writer George the Hagiorite (1009–1065) wrote about the wish of certain Georgian nobles to travel to the Iberian peninsula and visit the local "Georgians of the West", as he called them.


title: Khanty-Mansi Autonomous Okrug

text: Khanty-Mansi Autonomous Okrug–Yugra (Russian and Mansi: Ханты-Мансийский автономный округ — Югра, "Khanty-Mansiysky avtonomny okrug — Yugra;" Khanty: Хӑнты-Мансийской Aвтономной Округ) or Khantia-Mansia is a federal subject of Russia (an autonomous okrug of Tyumen Oblast). It has a population of 1,532,243 as of the 2010 Census.


title: Khanty-Mansi Autonomous Okrug

text: The peoples native to the region are the Khanty and the Mansi, known collectively as Ob-Ugric people, but today the two groups only constitute 2.1% of the region's population. The local languages, Khanty and Mansi, enjoy special status in the autonomous okrug and along with their distant relative Hungarian are part of the Ugric branch of the Finno-Ugric languages. Russian remains the only official language.


title: Khanty-Mansi Autonomous Okrug

text: In 2012, the majority (51%) of the oil produced in Russia came from Khanty-Mansi Autonomous Okrug, giving the region great economic importance in Russia and the world.


title: Khanty-Mansi Autonomous Okrug

text: It borders Yamalo-Nenets Autonomous Okrug to the north, Komi Republic to the northwest, Sverdlovsk Oblast to the west, Tyumen Oblast to the south, Tomsk Oblast to the south and southeast and Krasnoyarsk Krai in the east.


title: Khanty-Mansi Autonomous Okrug

text: The okrug was established on December 10, 1930, as Ostyak-Vogul National Okrug (). In October 1940, it was renamed the Khanty-Mansi National Okrug. In 1977, along with other national okrugs of the Russian SFSR, it became an autonomous okrug (Khanty-Mansi Autonomous Okrug). The administrative center is Khanty-Mansiysk. In 2003, the word "Yugra" was appended to the official name.


title: Khanty-Mansi Autonomous Okrug

text: Principal rivers include the Ob and its tributaries Irtysh and Vatinsky Yogan. There are numerous lakes in the okrug, the largest ones are Numto, Tormemtor, Leushinsky Tuman and Tursuntsky Tuman, among others.


title: Khanty-Mansi Autonomous Okrug

text: Khanty-Mansi Autonomous Okrug has an area of 523,100 km, but the area is sparsely populated. The administrative center is Khanty-Mansiysk, but the largest cities are Surgut, Nizhnevartovsk, and Nefteyugansk.


title: Khanty-Mansi Autonomous Okrug

text: The indigenous population (Khanty, Mansi, and Nenets) is only 2.2% of the total population in the Khanty-Mansi Autonomous Okrug. The exploitation of natural gas in Khanty-Mansi Autonomous Okrug has attracted immigrants from all over the former Soviet Union. The 2010 Census counted twenty-five ethnic groups of more than two thousand persons each. The ethnic composition is as follows:


title: Khanty-Mansi Autonomous Okrug

text: According to a 2012 survey 38.1% of the population of Yugra adheres to the Russian Orthodox Church, 5% are unaffiliated generic Christians, 1% of the population adheres to the Slavic native faith (Rodnovery) or to Khanty-Mansi native faith. Muslims (mostly Tatars) constitute 11% of the population. In addition, 23% of the population declares to be spiritual but not religious, 11% is atheist, and 10.9% follows other religions or did not give an answer to the question.


title: Khanty-Mansi Autonomous Okrug

text: According to recent reports Jehovah's Witnesses have been subjected to torture and detention in Surgut.


title: Khanty-Mansi Autonomous Okrug

text: In Khanty-Mansi Autonomous Okrug, the primary transport of goods is by water and railway transport; 29% is transported by road, and 2% by aviation. The total length of railway tracks is 1,106 km. The length of roads is more than 18,000 km.


title: Prison Break (season 2)

text: The second season of "Prison Break", an American serial drama television series, commenced airing in the United States on August 21, 2006, on Mondays at 8:00 pm (EST) on Fox. "Prison Break" is produced by Adelstein-Parouse Productions, in association with Rat Entertainment, Original Film and 20th Century Fox Television. The season contains 22 episodes, and concluded on April 2, 2007. Series creator Paul Scheuring describes the second season as ""The Fugitive" times eight," and likens it to the "second half of "The Great Escape"."


title: Prison Break (season 2)

text: "Prison Break" revolves around two brothers: one who has been sentenced to death for a crime he did not commit and his younger sibling, a genius who devises an elaborate plan to help him escape prison. The brothers, along with six other prisoners at Fox River State Penitentiary, manage to escape, and the second season follows a massive manhunt chasing the group. Dubbed the Fox River Eight, the group splits and members go their individual way, occasionally meeting up to help each other. They struggle to escape from the police while avoiding a secret group of multinationals called The Company, that wants them all dead.


title: Prison Break (season 2)

text: For the season, three characters are downgraded from series regular to recurring status, and a new character is introduced. Filming took place in Dallas, Texas, due to a close proximity of rural and urban settings. For the final three episodes, scenes were filmed in Pensacola, Florida, to represent Panama. Critical reviews of the season were generally positive, with the addition of William Fichtner to the cast receiving much praise. Fox Home Entertainment released the season in Region 1 on September 4, 2007.


title: Prison Break (season 2)

text: Filming began on June 15, 2006, in Dallas, Texas due to a close proximity of rural and urban settings. Executive producer Matt Olmstead stated that the filming location was changed from Chicago in the first season to Dallas in the second season because the characters were on the run. Many locations were needed to represent various American towns, which Dallas provided, whereas locations within Chicago took several hours to travel between. Olmstead noted, "It really came down to a financial thing." Other locations that were considered for filming were New Mexico, Arizona and Louisiana. Dallas was chosen because of its "resourcefulness, cost effectiveness and variety with regard to activities available for the crew", which was considered to be a major component for the final decision. Filming took place in Dallas for nine to ten months, where 20 of the 22 episodes were shot. The series was expected to bring $50 million into the city of Dallas. For the final three episodes of the second season, filming took place in Pensacola, Florida to represent Panama. Filming for each episode took place over eight days, which contributed approximately $1.4 million to the local economy.


title: Prison Break (season 2)

text: Mike Duffy of the "Detroit Free Press" commended the premiere for delivering "rocking good entertainment," and living up to the standard set by the first season. Duffy praised the "motley crew of cellblock characters" and the "taut, ingenious storytelling of series creator Paul T. Scheuring and his staff." Robert Bianco of "USA Today" commented on the "harebrained absurdities that have swamped this show", and accused the writers of being "incredibly lazy" for the continuous use of the tattoo as an "all-purpose plot fix". Ahsan Haque and Christopher Monfette of IGN credited the creators for not being afraid to take risks, which they felt "paid off for the most part". The reviewers found the biggest success factors to be "the constant swerves and twists" throughout the season, and "the development of the hero-villain relationship between Scofield and Mahone".


title: Prison Break (season 2)

text: The addition of Mahone was well received by critics, who often referred to him as Michael's nemesis. Rob Owen of the "Pittsburgh Post-Gazette" found Mahone to be "a far more worthy adversary for Michael than prison guard Brad Bellick... who's still after the convicts but seems like a cartoon compared to the Inspector Javert-like Mahone." Brian Zoromski from IGN believes that the "strongest portions of 'Manhunt' deal with the introduction of a new character, an FBI Agent named Alexander Mahone, played by the great character actor William Fichtner." Digital Spy's Ben Rawson-Jones praised the "wonderful" Fichtner, claiming he "quickly became more appealing than the brooding hero himself". Robert Bianco of "USA Today" said that Fichtner was a welcome addition to the cast, and Andy Dehnart from MSNBC called Mahone the best new character of the second season.


title: Prison Break (season 2)

text: The premiere of the season obtained an average of 9.40 million American viewers, a decrease from the 10.50 million viewers who watched the series premiere, and the 10.24 million viewers who watch the first-season finale. The season obtained its largest audience with the episode "Chicago", which averaged 10.12 million viewers; however, the season finale received one of the lowest audiences in the series' history with 8.12 million viewers. The season averaged 9.30 million American viewers for all 22 episodes. Out of all regular primetime programming that aired during the 2005–2006 American television season, "Prison Break" ranked #51 out of #142, according to the Nielsen ratings system. In Australia, the season premiere was watched by an average of 1.22 million viewers, however ratings dropped consistently throughout the season. In the United Kingdom, ratings declined from an average audience share of 9% in the first season to 8.5% in the second. The season's penultimate episode, "Fin Del Camino", was viewed by an average of 1.20 million viewers, gaining a 7% audience share. As a result of the declining ratings during the season, Five decided not to air the third season and it was picked up by Sky1. "Prison Break" was simulcast in Canada on Global, where it ranked in the top ten of the highest rated television series.


title: Prison Break (season 2)

text: The season was nominated for five awards, winning one. Dominic Purcell won the Australian Film Institute International Award for Best Actor. Work on the episode "Disconnect" was nominated for two Motion Picture Sound Editors Golden Reel Awards. Music editor David Klotz was nominated for Best Sound Editing in Music for Television — Short Form. The supervising sound editor, along with four foley artists and four sound effects editors were nominated for Best Sound Editing in Sound Effects and Foley for Television — Short Form. At the 2007 Teen Choice Awards, Wentworth Miller was nominated for Choice TV Actor: Drama, and Robert Knepper was nominated for Choice TV: Villain.


title: TharnType: The Series

text: TharnType: The Series is 2019 Thai BL television series starring Suppasit Jongcheveevat (Mew) and Kanawut Traipipattanapong (Gulf). It is an adaptation of popular web novel "TharnType Story เกลียดนักมาเป็นที่รักกันซะดีๆ" ( "TharnType's Story: Hate You, Love You More") by MAME (Orawan Vichayawannakul). The story tells about prejudiced university boy and a homosexual room mate who are always on constant tension but gradually open up to each other, developing their hate into affection. The series, directed by Bundit Sintanaparadee (Tee) and produced by Me Mind Y, premiered in Thailand and aired on One 31 from October 7, 2019 to January 6, 2020 with repeats on LINE TV. A special episode titled "TharnType Special, Our Final Love" was screened on January 19, 2020 at Siam Pavalai Royal Grand Theatre.


title: TharnType: The Series

text: Type Thiwat is a handsome freshman with a passion for football and spicy food. Although he’s a friendly boy, he hates gay people because, in his childhood, he was molested by a male worker at his family’s resort. His life turns upside down when the new academic year of college brings along a charismatic roommate, Tharn Kirigun. Tharn is a gorgeous, compassionate music major, who is also openly gay. When Type learns this, he is determined to make Tharn leave the dorm, as he refuses to live with a gay person. Tharn is equally determined not to give into Type's homophobic demands and tantrums. The tension between the two increases as they explore romantic, and eventually sexual, dimensions of their relationship.


title: TharnType: The Series

text: was first released online on December 2, 2014 via Dek-D.com's platform for writers. Even though the story is a spinoff of MAME's previous novel "My Accidental Love is You", the event of TharnType Story takes place three years prior to the latter. The novel was published as a physical copy in 2016, compiling 62 chapters into two books. A sequel story consists of 22 chapters about Tharn and Type's life as a couple in their seventh year was published as one physical book following the first two books. As of 2020, TharnType Story has 216% ratings on its Dek-D official page with over 3.8 million total views.


title: Wayang

text: ', also known as ' (), is a traditional form of puppet theatre play originating from the Indonesian island of Java. refers to the entire dramatic show. Sometimes the leather puppet itself is referred to as . Performances of wayang puppet theatre are accompanied by a "gamelan" orchestra in Java, and by "gender wayang" in Bali. The dramatic stories depict mythologies, such as episodes from the Hindu epics the "Ramayana" and the "Mahabharata", as well as local adaptations of cultural legends. Traditionally, a is played out in a ritualized midnight-to-dawn show by a "dalang", an artist and spiritual leader; people watch the show from both sides of the screen.


title: Wayang

text: UNESCO designated – the flat leather shadow puppet ("wayang kulit"), the flat wooden puppet (), and the three-dimensional wooden puppet ("wayang golek") theatre, as a Masterpiece of the Oral and Intangible Heritage of Humanity on 7 November 2003. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.


title: Wayang

text: The term is the Javanese word for 'shadow' or 'imagination'. The word's equivalent in Indonesian is . In modern daily Javanese and Indonesian vocabulary, can refer to the puppet itself or the whole puppet theatre performance.


title: Wayang

text: is the traditional puppet theatre in Indonesia. is an ancient form of storytelling that is renowned for its elaborate puppets and complex musical styles. The earliest evidence is from the late 1st millennium CE in medieval-era texts and archeological sites. There are four theories about the origins of (Indigenous of Java, Java-India, India, and China), but only two favourable theories:


title: Wayang

text: Hazeu said that wayang came from Java. The structure of the puppet is composed according to a very old model (the way of telling the puppeteer, the height of the voice, the language, and the expressions). The technical design, the style, and the composition of the Javanese plays. It grows from the worship of the ancestors. Kats argues that the technical term clearly comes from Java and that was born without the help of India. Before the 9th century, it belonged to the native population. It was closely related to religious practices (incense and night/wandering spirits). Panakawan uses a Javanese name, different from the Indian heroes. Kruyt argues that originates from shamanism, comparing ancient archipelago ceremonial forms which aim to make contact with the spirit world by presenting religious poetry praising the greatness of the soul.


title: Wayang

text: Some characters such as the "Vidusaka" in Sanskrit drama and "Semar" in are very similar. Indian mythologies and characters from the Hindu epics feature in many of the major plays performed, all of which suggest possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history. Jivan Pani states that developed from two art forms from Odisha in eastern India, the Ravana Chhaya puppet theatre and the Chhau dance.


title: Wayang

text: Regardless of its origins, states Brandon, developed and matured into a Javanese phenomenon. There is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth, and creativity expressed in in Java, Indonesia.


title: Wayang

text: The oldest known record concerning is from the 9th century. Old Javanese (Kawi) inscriptions called Jaha Inscriptions from around 840 CE, issued by Maharaja Sri Lokapala from the Mataram Kingdom in Central Java, mention three sorts of performers: , , and . means ' puppet show', means 'mask dance show', and means 'joke art'. is described in an 11th-century Javanese poem as a leather shadow figure.


title: Wayang

text: In 903 CE, inscriptions called the Balitung (Mantyasih) inscriptions were created by King Balitung from the Sanjaya dynasty, of the Ancient Mataram Kingdom. They state , which means 'Galigi held a puppet show for gods by taking the story of Bima Kumara'. It seems certain features of traditional puppet theatre have survived from that time. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the "Mahabharata".


title: Wayang

text: Mpu Kanwa, the poet of Airlangga's court of the Kahuripan kingdom, writes in 1035 CE in his "kakawin" (narrative poem) "Arjunawiwaha": , which means, "He is steadfast and just a screen away from the 'Mover of the World'." is the Javanese word for the screen, the verse eloquently comparing actual life to a performance where the almighty (the mover of the world) as the ultimate (puppet master) is just a thin screen away from mortals. This reference to as shadow plays suggested that performance was already familiar in Airlangga's court and tradition had been established in Java, perhaps earlier. An inscription from this period also mentions some occupations as and .


title: Wayang

text: are without a doubt the best known of the Indonesian . means 'skin', and refers to the leather construction of the puppets that are carefully chiselled with fine tools, supported with carefully shaped buffalo horn handles and control rods, and painted in beautiful hues, including gold. The stories are usually drawn from the Hindu epics the "Ramayana" and the "Mahabharata".


title: Wayang

text: There is a family of characters in Javanese called "punokawan"; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is actually the god of love, who has consented to live on earth to help humans. He has three sons: Gareng (the eldest), Petruk (the middle), and Bagong (the youngest). These characters did not originate in the Hindu epics, but were added later. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.


title: Wayang

text: The puppet figures themselves vary from place to place. In Central Java, the city of Surakarta (Solo) and city of Yogyakarta have the best-known traditions, and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in Temanggung, West Java, Banyumas, Cirebon, Semarang, and East Java. Bali's are more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.


title: Wayang

text: Historically, the performance consisted of shadows cast by an oil lamp onto a cotton screen. Today, the source of light used in performance in Java is most often a halogen electric light, while Bali still uses the traditional firelight. Some modern forms of such as (from Bahasa Indonesia, since it uses the national language of Indonesian instead of Javanese) created in the Art Academy at Surakarta (STSI) employ theatrical spotlights, colored lights, contemporary music, and other innovations.


title: Wayang

text: Making a figure that is suitable for a performance involves hand work that takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto skin or parchment, providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman.


title: Wayang

text: Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week. However, there is not strong continuing demand for the top skills of craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income.


title: Wayang

text: The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.


title: Wayang

text: (Sundanese: ) are three-dimensional wooden rod puppets that are operated from below by a wooden rod that runs through the body to the head, and by sticks connected to the hands. The construction of the puppets contributes to their versatility, expressiveness and aptitude for imitating human dance. is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden is also known as , which originated from Kudus, Central Java.


title: Wayang

text: Little is known for certain about the history of , but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of are from the north coast of Java in what is called the Pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely that the grew in popularity through telling the stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as "wayang golek menak", and in Cirebon, "wayang golek cepak". Legends about the origins of the attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values.


title: Wayang

text: In the 18th century, the tradition moved into the mountainous region of Priangan, West Java, where it eventually was used to tell stories of the "Ramayana" and the "Mahabharata" in a tradition now called , which can be found in Bandung, Bogor and Jakarta. The adoption of Javanese Mataram kejawen culture by Sundanese aristocrats was probably the remnant of Mataram influence over the Priangan region during the expansive reign of Sultan Agung. While the main characters from the "Ramayana" and "Mahabharata" are similar to versions from Central Java, some (servants or jesters) were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, and Dawala or Udel as Petruk. "Wayang golek purwa" has become the most popular form of today.


title: Wayang

text: or figures occupy a middle ground between the figures of and . They are constructed similarly to figures, but from thin pieces of wood instead of leather, and, like figures, are used as shadow puppets. A further similarity is that they are the same smaller size as figures. However, wood is more subject to breakage than leather. During battle scenes, figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound that these figures make when worked by the .


title: Wayang

text: The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The "Damarwulan" presents the stories of a hero from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an "Adipati" (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.


title: Wayang

text: relies on scroll-painted presentations of the stories being told. has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished, although there are still some groups of artists who support in places such as Surakarta (Solo) in Central Java.


title: Wayang

text: Chinese visitors to Java during the 15th century described a storyteller who unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:


title: Wayang

text: The gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a (a violin-like instrument held vertically) begins to play, and the unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th–13th century East Javanese kingdoms of Jenggala, Daha and Kediri, and also in Bali.


title: Wayang

text: , also known as (literally 'human '), is a type of Javanese theatrical performance wherein human characters imitate the movements of a puppet show. The show also integrates dance by the human characters into the dramatic performance. It typically shows episodes of the "Ramayana" or the "Mahabharata".


title: Wayang

text: or theatrical performances take themes from the Panji cycle of stories from the kingdom of Janggala. The players wear masks known as or . The word comes from which, like "topeng", means 'mask'.


title: Wayang

text: characters are derived from several groups of stories and settings. The most popular and the most ancient is , whose story and characters were derived from the Indian Hindu epics the "Ramayana" and "Mahabharata", set in the ancient kingdoms of Hastinapura, Ayodhya, and Alengkapura (Lanka). Another group of characters is derived from the Panji cycle, natively developed in Java during the Kediri Kingdom; these stories are set in the twin Javanese kingdoms of Janggala and Panjalu (Kediri).


title: Wayang

text: (Javanese for 'ancient' or 'original ') refer to that are based on the Hindu epics the "Ramayana" and "Mahabharata". They are usually performed as , , and dance dramas.


title: Wayang

text: Derived from the Panji cycles, natively developed in Java during the Kediri Kingdom, the story set in the twin Javanese kingdoms of Janggala and Panjalu (Kediri). Its form of expressions are usually performed as (masked ) and dance dramas of Java and Bali.


title: Wayang

text: is a cycle of puppet plays that feature the heroic exploits of Wong Agung Jayengrana, who is based on the 12th-century Muslim literary hero Amir Hamzah. stories have been performed in the islands of Java and Lombok in the Indonesian archipelago for several hundred years. They are predominantly performed in Java as , or wooden rod-puppets, but also can be found on Lombok as the shadow puppet tradition, . The tradition most likely originated along the north coast of Java under Chinese Muslim influences and spread East and South and is now most commonly found in the South Coastal region of Kabumen and Yogyakarta.


title: Wayang

text: The word is a Javanese honorific title that is given to people who are recognized at court for their exemplary character even though they are not nobly born. Jayengrana is just such a character who inspires allegiance and devotion through his selfless modesty and his devotion to a monotheistic faith called the "Religion of Abraham." Jayengrana and his numerous followers do battle with the pagan faiths that threaten their peaceable realm of Koparman. The chief instigator of trouble is Pati Bestak, counselor to King Nuresewan, who goads pagan kings to capture Jayengrana's wife Dewi Munninggar. The pagan Kings eventually fail to capture her and either submit to Jayengrana and renounce their pagan faith or die swiftly in combat.


title: Wayang

text: The literary figure of Amir Hamzah is loosely based on the historic person of Hamza ibn Abdul-Muttalib who was the paternal uncle of Muhammad. Hamzah was a fierce warrior who fought alongside Muhammad and died in the battle of Uhud in 624 CE. the literary tradition traveled from Persia to India and from then on to Southeast Asia where the court poet Yasadipura I (1729-1802) set down the epic in the Javanese language in the "Serat Menak".


title: Wayang

text: is a type of shadow puppet with the main character of and other animal stories taken from "Hitopadeça" and "Tantri Kamandaka". was created by Sunan Giri at the end of the 15th century and is used as a medium for preaching Islam in Gresik. The story of is very popular with the children, has a humorous element, and can be used as a medium of education because the message conveyed through the media is very good for children. is not different from ; is also made from buffalo skin. Even the playing is not much different, accompanied by a gamelan. The language used by the puppeteer depends on the location of the performance and the type of audience. If the audience is a child, generally the puppeteer uses Javanese Ngoko in its entirety, but sometimes Krama Madya and Krama Inggil are inserted in human scenes.


title: Wayang

text: The puppets are carved, painted, drawn realistically, and adapted to the puppet performance. The colors in the detail of the are very interesting and varied. Figures depicted in the form of prey animals such as tigers, elephants, buffaloes, cows, reptiles, and fowl such as crocodiles, lizards, snakes, various types of birds, and other animals related to the tale. There are also human figures, including Pak Tani and Bu Tani, but there are not many human figures narrated. The total number of puppets is only about 100 pieces per set.


title: Wayang

text: The historically popular typically is based on the Hindu epics the "Mahabharata" and the "Ramayana". In the 1960s, the Christian missionary effort adopted the art form to create . The Javanese Jesuit Brother Timotheus L. Wignyosubroto used the show to communicate to the Javanese and other Indonesians the teachings of the Bible and of the Catholic Church in a manner accessible to the audience. Similarly, has deployed for the religious teachings of Islam, while has used it as a medium for national politics.


title: Wayang

text: There have also been attempts to retell modern fiction with the art of , most famously "Star Wars" as done by Malaysians Tintuoy Chuo and Dalang Pak Dain.


title: Wayang

text: Its initial function, is a ritual intended for ancestral spirits of the "hyang" belief. Furthermore, undergoes a shift in role, namely as a medium for social communication. The plays that are performed in the , usually hold several values, such as education, culture, and teachings of philosophy. functions as an effective medium in conveying messages, information, and lessons. was used as an effective medium in spreading religions ranging from Hinduism to Islam. Because of the flexibility of puppets, they still exist today and are used for various purposes. functions can be grouped into three, namely:


title: Wayang

text: is a performance medium that can contain all aspects of human life. Human thoughts, whether related to ideology, politics, economy, social, culture, law, defense, and security, can be contained in . In the puppets contain order, namely a norm or convention that contains ethics (moral philosophy). These norms or conventions are agreed upon and used as guidelines for the mastermind artists. In the puppet show, there are rules of the game along with the procedures for puppetry and how to play the puppet, from generation to generation and tradition, over time it becomes something that is agreed upon as a guideline (convention).


title: Wayang

text: is a communicative medium in society. is used as a means of understanding a tradition, an approach to society, lighting, and disseminating values. as a medium for character education lies not only in the elements of the story, the stage, the instruments, and the art of puppetry, but also the embodiment of values in each character. The embodiment of characters can describe a person's character. From the puppet one can learn about leadership, courage, determination, honesty, and sincerity. Apart from that, the puppets can reflect the nature of anger, namely greed, jealousy, envy, cruelty, and ambition.


title: Wayang

text: puppet performances are a form of entertainment () for the community. performances in the form of theatre performances are still very popular especially in the islands of Java and Bali. Puppet shows are still the favorite of the community and are often included in TV, radio, YouTube, and other social media. performances present a variety of arts such as drama, music, dance, literary arts, and fine arts. Dialogue between characters, narrative expressions (, , ), , , , and are important elements in performances.


title: Wayang

text: The "dalang", sometimes referred to as or , is the puppeteer behind the performance. It is he who sits behind the screen, sings and narrates the dialogues of different characters of the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the "dalang" modulates his voice to create suspense, thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil. The is highly respected in Indonesian culture for his knowledge, art and as a spiritual person capable of bringing to life the spiritual stories in the religious epics.


title: Wayang

text: The figures of the are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today. The figures are painted, flat (5 to at most 15 mm — about half an inch — thick) woodcarvings with movable arms. The head is solidly attached to the body. can be used to perform puppet plays either during the day or at night. This type of is relatively rare.


title: Wayang

text: Pasindhèn or (from Javanese) is the term for a woman who sings to accompany a gamelan orchestra, generally as the sole singer. A good singer must have extensive communication skills and good vocal skills as well as the ability to sing many songs. The title "Sinden" comes from the word which means 'rich in songs' or 'who sing the song'. can be interpreted as someone singing a song. In addition, is also commonly referred to as which is taken from a combination of the words and . The word itself means 'someone who is female' and which means 'itself'; in ancient times, the was the only woman in the or performance.


title: Wayang

text: is a term in the musical arts which means a group of people who have special skills playing the gamelan, especially in accompanying traditional ceremonies and performing arts. is also called or which means 'gamelan musician'.


title: Wayang

text: The Wayang Museum is located in the tourist area of the Kota Tua Jakarta (old city) in Jalan Pintu Besar Utara No.27, Jakarta 11110, Indonesia. The Wayang Museum is adjacent to the Jakarta Historical Museum.


title: Wayang

text: This museum has various types of Indonesian collections such as , , , , , and another Indonesian . There is also a collection of masks ("topeng"), gamelan, and paintings. The collections are not only from Indonesia, but there are many collections of puppets from various countries such as Malaysia, Thailand, Cambodia, Suriname, China, Vietnam, France, India, Turkey, and many other countries.


title: Constitution of France

text: The current Constitution of France was adopted on 4 October 1958. It is typically called the Constitution of the Fifth Republic , and it replaced the Constitution of the Fourth Republic of 1946 with the exception of the preamble per a Constitutional Council decision in July 1971. The current Constitution regards the separation of church and state, democracy, social welfare, and indivisibility as core principles of the French state.


title: Constitution of France

text: Charles de Gaulle was the main driving force in introducing the new constitution and inaugurating the Fifth Republic, while the text was drafted by Michel Debré. Since then, the constitution has been amended twenty-four times, through 2008.


title: Constitution of France

text: The preamble of the constitution recalls the "Declaration of the Rights of Man and of the Citizen" from 1789 and establishes France as a secular and democratic country, deriving its sovereignty from the people.


title: Constitution of France

text: The French Constitution established a semi-presidential system of government, with two competing readings. On one hand, the executive branch has both a President of the Republic and a Prime Minister, which is commonly seen in parliamentary systems with a symbolic President and a Prime Minister who directs the government. This reading is supported by Articles 5 and 21 of the Constitution, which respectively states that the President is a Guardian of the State and of the Constitution, while the Prime Minister has the power to decide on Government’s actions and policies.


title: Constitution of France

text: On the other hand, the Parliament is very weak for a parliamentary system. Parliament has a limited legislative competence: article 34 of the Constitution lists domains exclusive to Parliamentary legislation, but the remaining domains are left to the Executive's regulations. The President also has the crucial powers to call a referendum and to dissolve the National Assembly. While Parliament may make a vote of no confidence on the government, since 1962 a majority in the National Assembly has supported the Government.


title: Constitution of France

text: Charles de Gaulle, the first President of the Fifth Republic, was instrumental in the adoption of the new constitution, as he was called back from retirement and narrowly avoided a coup resulting from the Algerian War. De Gaulle always supported the second interpretation of the constitution, in favor of a powerful President. The first socialist President François Mitterrand, elected in 1981, also supported this interpretation.


title: Constitution of France

text: Beginning in 1986, elections have from time to time resulted in Parliaments with a majority that did not support the President. Such periods as known in France as cohabitation, where a President appoints a Prime Minister from the new parliamentary majority. During cohabitation, besides powers reserved to the President by the Constitution, all other government powers would be exercised by the Prime Minister. In 2000, the Constitution was amended by shortening the President's term of office from seven years to five, coinciding with the term of Parliament. The amendment means the Presidential election would take place around the Parliamentary election, making it more likely to have winners who agree with one another and make cohabitation less likely.


title: Constitution of France

text: The Constitution provides for the election of the President and the Parliament, the selection of the Government, the powers of each and the relations between them. It ensures judicial authority and creates a High Court (a never-as-yet-convened court for trying the Government), a Constitutional Council (an innovation of the Fifth Republic), and an Economic and Social Council.


title: Constitution of France

text: It enables the ratification of international treaties and those associated with the European Union. It is unclear whether the wording, especially the reserves of reciprocity, is compatible with European Union law.


title: Constitution of France

text: The Constitution also sets out methods for its own amendment: a referendum (article 11) or a Parliamentary process with Presidential consent. The normal procedure of constitutional amendment is that the amendment must be adopted in identical terms by both houses of Parliament and then must be adopted by a simple majority in a referendum or by a three-fifths supermajority of the French Congress, a joint session of both houses of Parliament (article 89).


title: Constitution of France

text: Prior to 1971, though executive, administrative and judicial decisions had to comply with the general principles of law (jurisprudence derived from law and the practice of law in general), there were no such restrictions on legislation. It was assumed that unelected judges and other appointees should not be able to overrule laws voted for by the directly elected French parliament.


title: Constitution of France

text: In 1971, a landmark decision by the Constitutional Council (71-44DC) cited the preamble of the Constitution and its references to the principles laid in the Declaration of the Rights of Man and of the Citizen as a reason for rejecting a law that, according to the council, violated one of these principles. Although considered a juridical coup d’état at the time, the decision formed basis of the Constitutional Council today.


title: Constitution of France

text: Since then, it is assumed that the "constitutional block" includes not only the Constitution, but also the other texts referred to in its preamble:


title: Constitution of France

text: Since then, the possibility of sending laws before the council has been extended. In practice, the political opposition sends all controversial laws before it.


title: Constitution of France

text: The Constitution, in Article 89, has an amending formula. First, a constitutional bill must be approved by both houses of Parliament. Then, the bill must either be approved by the Congress, a special joint session of both houses, or submitted to a referendum.


title: Constitution of France

text: In 1962, Charles de Gaulle proposed that the President be elected by direct suffrage. He bypassed the amendment procedure by directly sending a constitutional amendment to referendum (article 11). The Art. 11 procedure was envisioned as a procedure for proposing legislation, including changing the organization of constitutional institutions. The 1962 referendum was approved by 62% of the vote but only 46% of registered voters. The amendment permitted the establishment of a popularly-elected presidency, which would otherwise have been vetoed by the Parliament.


title: Constitution of France

text: The referendum was highly controversial at the time, but the Constitutional Council ruled that it can only review legislative acts for unconstitutionality, not executive acts; since the referendum was proposed by the executive, it was unreviewable. Since a referendum expressed the will of the sovereign people, the Council ruled that the amendment had been adopted. Some scholars had regarded the amendment as a post hoc manifestation of the constituent power, which is the inherent power of the people to bypass an existing constitution to adopt a new constitution.


title: Constitution of France

text: Article 11 was used for constitutional changes for the second and final time in 1969, but the "No" prevailed, causing Charles de Gaulle to resign from the presidency.


title: Constitution of France

text: On 21 July 2008, Parliament passed constitutional reforms championed by President Nicolas Sarkozy by a margin of two votes. The changes, when finalized, introduced a consecutive two-term limit for the presidency, gave Parliament a veto over some presidential appointments, ended government control over Parliament's committee system, allowed Parliament to set its own agenda, allowed the president to address Parliament in-session and ended the president's right of collective pardon. (See French constitutional law of 23 July 2008).


title: Time in Florida

text: The following parts of the Florida panhandle in northwest Florida are in the Central Time Zone (, DST ):


title: Time in Florida

text: The 2010 population of all counties that are entirely in the Central Time zone was 995,882 out of a total state population of 18,801,310 at that time, or 5.3% of the total state population.


title: Time in Florida

text: In 2018, the Florida Legislature approved, and the governor signed, the "Sunshine Protection Act" (House Bill 1013), which would permanently move Florida to Daylight Saving Time. A related bill, Senate Bill 858, also proposed unifying the time zones of the Panhandle counties to the rest of the state, moving the ten counties that are within the Central Time Zone to the Eastern Time Zone, but this bill was not passed. A change to year-round Daylight Saving Time would require approval from United States Department of Transportation as well as the United States Congress.


title: Nissan Tiida

text: The is a compact car produced by the Japanese manufacturer Nissan since 2004 through three generations. Depending on the market, the Tiida was also marketed as a subcompact car, particularly in the Americas for the first-generation model as the Nissan Versa. The first-generation model (C11) was produced up to 2018 in some markets, and was offered as a four-door sedan and a five-door hatchback.


title: Nissan Tiida

text: The second-generation of Tiida (C12) is marketed since 2011 and only available as a five-door hatchback, while the role of a four-door sedan was passed to the subcompact N17 series and the compact Sylphy/Sentra/Pulsar (B17). Starting in 2013, the C12 Tiida was released in Thailand, Australia and New Zealand as the Nissan Pulsar. The C12 Tiida represents a departure from the C11, increasing its width to comfortably occupy the compact class, and was no longer marketed in Japan. It is currently produced and marketed in Taiwan.


title: Nissan Tiida

text: The third-generation Tiida sold in Russia and China was introduced in 2015 as a rebadged Pulsar (C13) hatchback.


title: Nissan Tiida

text: The name "Tiida" is Okinawan for "sun", continuing the naming tradition started in 1966 with the Nissan Sunny.


title: Nissan Tiida

text: Nissan revealed the C-Note concept car in 2003 to preview the styling of the C11 Tiida. It is a concept hatchback based on the same platform of the Renault Mégane. The vehicle was unveiled at the 2003 Tokyo Motor Show.


title: Nissan Tiida

text: The Tiida hatchback and the Tiida Latio sedan debuted in Japan in 2004, and in some European countries in 2007. It is based on a stretched-wheelbase variant of the Nissan B platform, and was manufactured as a five-door hatchback and a four-door sedan. It was sold in North America as Nissan Versa, and in Southeast Asia as the Nissan Latio. The C11 sat between the subcompact and compact car classes, acting as an intermediate model between the smaller Micra/March and larger Sylphy and Sentra models within the global Nissan portfolio.


title: Nissan Tiida

text: In Japan the Tiida replaced the Nissan Sunny (B15) in Nissan's lineup as the smallest sedan. In North America, it became a new entry-level model below the Sentra; and elsewhere the Tiida tended to occupy the role performed previously by the Nissan Almera/Pulsar/Sentra/Sunny (N16), sold in Japan as the Bluebird Sylphy (G10). The G10/N16's successor, the Bluebird Sylphy G11 was not widely sold outside Japan.


title: Nissan Tiida

text: In January 2008, Nissan introduced facelifted versions of both the hatchback and the sedan. They were enhanced with some key changes including new exterior features and interior designs, retuned power steering, powertrain enhancements and a new Plus navi HDD package called CarWings in Japan.


title: Nissan Tiida

text: The exterior features a new grille, front bumper, headlights, tail lights, rear bumper and new wheel covers. The interior sports a more modern look as well as better visibility and usability, new instrument cluster design and metallic-finish dash panels.


title: Nissan Tiida

text: Engines include a 1.5-liter or 1.8-liter four-cylinder engine, the larger of which can be coupled to a six-speed manual transmission. There are also two optional dealer packages: the Nismo S-tune Aero Package and Nismo Performance Package.


title: Nissan Tiida

text: The C11 started to be phased out in China first, during 2011 when partially replaced by the larger, compact class C12 Tiida/Pulsar hatchback. In 2012, the C11 began to be withdrawn from more markets as its main production bases ceased manufacture. The C11 was also replaced by the subcompact Nissan Note or Versa Note (E12) hatchback, and on the sedan fronts, by the subcompact Almera/Latio/Sunny/Versa (N17) and the compact Nissan Pulsar/Sylphy/Sentra (B17).


title: Nissan Tiida

text: The Tiida Hatch in its most basic Latin American version with one airbag received 3 stars for adult occupants and 1 star for toddlers from Latin NCAP in May 2011.


title: Nissan Tiida

text: The Tiida Hatch with two airbags received 4 stars for adult occupants and 1 star for toddlers from Latin NCAP in November 2011.


title: Nissan Tiida

text: The Tiida Sedan in its most basic Latin American version with no airbags and no ABS received 0 stars for adult occupants and 2 stars for toddlers from Latin NCAP in April 2015.


title: Nissan Tiida

text: The Tiida Sedan with two airbags and no ABS received 4 stars for adult occupants and 2 stars for toddlers from Latin NCAP in September 2015.


title: Nissan Tiida

text: In mainland China, the Tiida is produced by the Dongfeng Motor Company, a joint venture between Nissan and a local company.


title: Nissan Tiida

text: The Versa was introduced in the United States and Canada in July 2006 as a 2007 model. North and Latin American models of the Tiida use a DOHC 1.8-liter gasoline engine and are assembled at Nissan's Aguascalientes, Mexico assembly plant. It is also the only Nissan four-door passenger car in the United States and Canada to be sold worldwide, since the Sentra, Altima and Maxima are exclusive to North America.


title: Nissan Tiida

text: According to a Nissan press release in 2008, "versa" is short for "versatile space" meant to imply the spaciousness of the interior and configurable cargo arrangements.


title: Nissan Tiida

text: The North American Versa debuted at the 2006 North American International Auto Show in January of the same year. The hatchback model was introduced first, with the sedan arriving later at the end of the year, both as 2007 models. A 1.6-liter sedan replaced the 1.8-liter sedan in Canada for the 2009 model year, that year in the United States the 1.6 sedan was added to the lineup along the 1.8 sedan.


title: Nissan Tiida

text: The Versa is powered by a 1.8 L I4 MR series engine producing 122 hp (91 kW) and 127 ft·lbf (170 N·m). Three transmissions are offered: a four-speed automatic, a continuously variable transmission (CVT), and a six-speed manual. Two trim levels include the S and SL—the SL offering air conditioning, power accessories and ABS, all of which are options on the S. The Versa SL also has features/options not available on the S such as cruise control (available on some S models), alloy wheels, optional CVT (the four-speed automatic is only available for the Versa S but CVT is available on some S models), optional Bluetooth connectivity for electronic devices, and a sport package which adds a power moonroof, rear spoiler, and underside aero kit.


title: Nissan Tiida

text: Introduced for the 2009 model year in sedan form only, is the Versa 1.6-liter which uses the "HR16DE" inline-four gasoline engine, rated at and of torque. The base transmission is a five-speed manual; a four-speed automatic is optional.


title: Nissan Tiida

text: The Versa 1.6 features black trim (instead of body-colored) for the exterior mirror housings, license plate trim, and front grille; 14-inch steel wheels; black interior; four radio speakers with pre-wiring for a radio—but no radio itself. Safety features include six airbags, active front head restraints, and a tire pressure monitoring system. Air conditioning, AM/FM/CD audio system, power windows, power door locks, power mirrors, and keyless entry are offered as part of a value package. Anti-lock brakes with electronic brake force distribution (EBD) and brake assist are optional ($250) on top of the value package.


title: Nissan Tiida

text: When it was introduced in fall 2008, the Versa's base price of US$9,990 made it the least expensive new car available in the United States, but a price cut to the Hyundai Accent usurped that distinction by $20. The Versa 1.6's $12,498 Canadian base price also undercut its competitors at launch.


title: Nissan Tiida

text: 2010 models featured a redesigned grille and a new design for the 1.8S model's wheel covers. In North America, the sedan was replaced by its second generation starting the 2012 model year (hence, 2011 being its last). The fate of the hatchback was however extended for one more year, 2012 being its last. Production of both for that market stopped in mid-2011.


title: Nissan Tiida

text: On 11 January 2008, Chrysler LLC and Nissan Motor Co., Ltd. announced an agreement for Nissan to supply Chrysler with a new car based on Nissan Versa sedan for limited distribution in Latin America in 2009. However the plan failed to materialise, as it coincided with the arrival of Fiat in Chrysler capital in early 2009.


title: Nissan Tiida

text: The EV-11 prototype electric car was based on Tiida and used an and electric motor, 24 kWh lithium-ion battery pack rated distance, navigation system, EV remote control and monitoring.


title: Nissan Tiida

text: The prototype vehicle was unveiled at Nissan's Yokohama headquarters on 8 February 2009. Production version was set to begin sale in US and Japan in 2010.


title: Nissan Tiida

text: The second generation, C12 series of the Nissan Tiida was unveiled in April 2011 at the Shanghai Auto Show. Sales in China commenced in June 2011. It is available only as a five-door hatchback, and is notably not sold in Japan. The C11 Tiida sedan was instead replaced by the Nissan Latio (N17) and Nissan Sylphy (B17). The C12 Tiida is in fact heavily related to the Sylphy B17—both base their construction on the Nissan V platform and share substantial mechanicals. The Thai manufactured versions even share the Sylphy B17's interior, while the original Chinese and Taiwanese models feature a distinctive design. Powertrains also remain common between C12 and B17 models.


title: Nissan Tiida

text: Instead of being sized and marketed as both a subcompact or a compact car depending on the country, the second-generation Tiida was marketed as a C-segment worldwide as the March/Micra hatchback and the N17 series sedan took the role to serve the B-segment market.


title: Nissan Tiida

text: In Thailand, the Tiida hatchback is called the Nissan Pulsar, which went on sale by February 2013. The Tiida hatchback comes with "MRA8DE" 1.8-litre engine, which it shares with the Nissan Sylphy. In Taiwan, the Tiida hatchback is known as the "Big Tiida" in advertisement due to the size upgrade and went on sale in January 2013.


title: Nissan Tiida

text: In Australia, the Tiida name was dropped in favour of a return to using Nissan Pulsar, which was a very popular nameplate up to 2005.


title: Nissan Tiida

text: Instead of updating to the C13 Tiida/Pulsar, the C12 Tiida was facelifted exclusively in the Taiwanese market conducted by Yulon Motors. The facelift was a budget update to keep the appearance of the C12 Tiida in Taiwan in line with the C13 Tiida in other markets. The facelift replaces the front and rear light units with redesigned set up and light strips, front and rear bumpers, and the front grille. The new front grille features the updated Nissan V motion styling and the rear bumper was designed to mimic those on the C13 Tiida.


title: Nissan Tiida

text: Since March 2015, the Nissan Pulsar (C13), as sold in most of Europe, is sold in Russia and China under the Tiida nameplate.


title: Beyblade: Metal Fusion

text: Beyblade: Metal Fusion, known in Japan as , is a Japanese manga created by Takafumi Adachi, serialized in Shogakukan's monthly magazine "CoroCoro Comic" between September 2008 and February 2012. The series is a spin-off of the original "Beyblade" manga series written by Takao Aoki.


title: Beyblade: Metal Fusion

text: The manga inspired an anime production, retroactively named Beyblade: Metal Saga, which encompasses four seasons: "Metal Fusion", "Metal Masters", "Metal Fury" and "". The first season’s animation was produced by Tatsunoko Pro, with subsequent seasons and spin-offs being produced by SynergySP. It premiered on TV Tokyo on April 5, 2009, and aired until December 23, 2012. Nelvana, which licensed and produced English adaptations of the original anime series, also localized the four seasons of "Metal Saga". In India, it is started from 11 October 2010 on Cartoon Network India.


title: Beyblade: Metal Fusion

text: The series follows the adventures of Gingka Hagane, a Beyblader who is searching for his hidden past while trying to defeat the evil Dark Nebula organization, and Ryuga, a man with the Forbidden Bey known as Lightning L-Drago.


title: Beyblade: Metal Fusion

text: The plot varies between manga and anime with several differences. One notable difference is that in the manga, the Beys transform for their upgrades, while in the anime, the characters just switch parts or get an entirely new Bey. Another difference is that, in the manga, the characters started with the Metal System (4-piece top), while in the anime they started with the Hybrid Wheel System (5-piece top).


title: Beyblade: Metal Fusion

text: The series stars Gingka Hagane, a talented blader traveling all around Japan to get stronger so he can defeat the Dark Nebula, an evil organization that is also responsible for the supposed death of Gingka's father, Ryo Hagane. Gingka aims to recover the forbidden bey, Lightning L-Drago, which has been stolen by the Dark Nebula to use its powers to fulfill their wicked ambitions. Along with his bey, Storm Pegasus, Gingka must face and defeat many foes. Gingka's second-biggest rival is Kyoya Tategami, formerly head of a bad blader group, called the Face Hunters. Kyoya's goal is to defeat Gingka. Gingka is the blader who believes that every blader has a blader's spirit in them. The Dark Nebula recruits a blader named Ryuga, who is given L-Drago. He travels around the world, defeating and either recruiting or destroying the Beyblades of other bladers. Gingka battles Ryuga but is defeated. His friends are also defeated, including Kyoya. There is a tournament that the Dark Nebula has secretly organized called Battle Bladers, and Gingka hopes to battle Ryuga in the final match. Phoenix, a masked, mysterious blader that appears at the best times, often saving Gingka, his friends, and his rivals. In a fierce battle with Doji, the head of the Dark Nebula, Phoenix saves Hyoma and Kenta. After Gingka arrives, the ceiling begins to collapse, and a broken piece breaks Phoenix's mask, revealing that Phoenix is Ryo, Gingka's father. Ryo explains how Storm Pegasus and the Lightning L-Drago came into existence. After this event, it is Kyoya vs Ryuga, in which Kyoya starts off great but once the spirits of L-Drago enter and consume Ryuga's body he cannot hold his ground. Ryuga then explains that it is Gingka's fault that every one of his friends has been absorbed by the vicious L-Drago. It is the final battle and Ryuga seems to be using his full power against Gingka. Realizing that his friends will always be with him, he retaliates and calls for Pegasus. Before he can do that, it seems that L-Drago is trying to absorb Ryuga himself, changing him into a dragon/monster-like form. Gingka's friends are extremely worried and confused until Ryo comes and explains that nobody had been able to control L-Drago more than Ryuga. Furthermore, Ryo explains that the Lightning L-Drago is responsible for Ryuga's misbehavior. After that Gingka realizes that he needs to save Ryuga and free him of the dark power held in Lightning L-Drago. He uses a new special move, Galaxy Nova, and defeats L-Drago. Ryuga walks away disappointed, but not because he lost, but because he could not control Lightning L-Drago. Gingka tries to pick up Pegasus but Pegasus disappears because it went past its limits numerous times. Ryo reassures Gingka that Pegasus will come back, the crew then celebrates with Hikaru, Tsubasa, and Kyoya, who have just been released from the hospital.


title: Beyblade: Metal Fusion

text: "Beyblade: Metal Masters", also known in Japan as , is the second season of the "Metal Saga". After Storm Pegasus sacrifices itself to defeat Ryuga (Carman Melville) and Lightning L-Drago, Gingka (Robert Tinkler) hears from a rock which contains Galaxy Pegasus W105RF, The legendary bey! First Galaxy Pegasus battles with a new bey named Ray Striker and its owner, Masamune Kadoya (Cameron Ansell). Together with Madoka (Barbara Mamabolo), Masamune, Yu (Denise Oliver), Tsubasa (David Reale), and Gingka, they form a team called Gan Gan Galaxy to participate a new Beyblade World Tournament. On the way, they have to battle Team Garcias, Team Wang Hu Zhong, Team Lovushka, Team Excalibur, Team Desert Blaze, Team Chandora, Team Wild Fang, and Team Starbreaker with a new guy, Toby/Faust (Benjamin Israel) and other members of Team Starbreaker. The matches are hard at first, and they become harder as they progress through the world tournament. Unknowingly, a man named Dr. Ziggurat attempts to find power and differentiate Beys by using the tournament to collect data for experiments he calls the Arrangements. These devices enhance a Blader's skills in Beyblade. But Gingka realizes that it was not safe. Therefore, Gingka & his friends together try to stop Dr. Ziggurat (Richard Waugh) & his Spiral Force. Gingka and Masamune battled together with a bey named Twisted Tempo. Ryuga helped Gingka and Masamune. Then they were successful to stop the spiral force.


title: Beyblade: Metal Fusion

text: "Beyblade: Metal Fury", also known in Japan as , is the third season of the "Metal Saga". After their latest triumph against Hades Inc., Gingka is challenged by Kyoya to have a battle on a mysterious island. Gingka and Kyoya both fight as hard as they can, but neither can seem to gain the upper hand until Pegasus is stuck in mud. Kyoya uses his special move, King Lion Reverse Windstrike, but Gingka and Pegasus rally and fight on. Suddenly, both Gingka's and Kyoya's Beyblades transform. Gingka's new Beyblade is called Cosmic Pegasus, and Kyoya's Fang Leone. They soon realize that both Gingka and Kyoya's Beyblade were given power by a mysterious light that fell from the sky. Gingka and his friends find themselves saving a boy named Yuki from a mysterious boy named Johannes. As well as a boy genius and astronomer, Yuki is also a Blader who owns Mercury Anubius. Yuki came to tell Gingka and his friends about the Star Fragment which split into 10 pieces, and that two of them are in Gingka's and Kyoya's Beyblades, and that it must not fall into the hands of evil. He witnessed the Star Fragment fall from the sky and release beams of light. That evening, the Star Fragment told him that a great evil is trying to revive the God of Destruction, Nemesis by using the power of the Star Fragment and use it to destroy the world. In order to prevent Nemesis from being revived, they must find the rest of the ten "Legendary Bladers" who also have Beyblades with the power of the Star Fragment. Gingka and Kyoya travel first to an island in the Pacific after receiving intel that one of the Star Fragment pieces fell there. When they reach, they discover Ryuga at the top of a dormant volcano with a new Beyblade, L-Drago Destructor. Kyoya battles Ryuga, but the overwhelming attack power of Ryuga's Beyblade defeats Kyoya. Gingka arrives to see Kyoya defeated, and explains to him that they need Ryuga's strength in order to take down Nemesis. However, Ryuga is stubborn and says that he will only cooperate if Gingka beats him in a battle. Ryuga and Gingka battle, and after a long fight, Gingka loses because was not powerful to fight Ryuga himself he was very weak. Ryuga leaves saying he would try and take the rest of the Star Fragments for himself. Gingka and his friends travel to China where it is believed a mysterious Crimson Flash Beyblade might be one of the Legendary Bladers. They all enter a Tag Team Tournament, where Gingka masters a new special move, Cosmic Tornado against Dashan Wang, and Kyoya gets a new special move, King Lion Crushing Fang. Kyoya and Benkei battle Aguma and Bao, only to find out that Bao, who has the Crimson Flash Beyblade, is actually not the Legendary Blader and instead of that it is Aguma, with his Scythe Kronos. Gingka and Yuki advance to the final the face Bao and Aguma, however at the last moment Gingka is stopped from using his special move and Johannes recruits Aguma. After that, they head to America and witnessed the Destoryer Dome! After Block A and B each have three bladers left, the final six battle for the last time with the winner being King along with his bey, Variares D:D who turns out to be the sixth legendary blader. In Africa, Team Wild Fang help them through a maze and a mountain entering a sacred place where they meet Dynamis and his bey, Jade Jupiter who is the seventh legendary blader. He tells them about the history of the star fragment and that one of the pieces has already fell into Nemesis and that there are two more legendary bladers left. Kyoya leaves the group and heads off to unknown parts. They head off to Easter Island and battle trying to see who the legendary blader of Winter is. A new blader named Chris and Masamune battle in the finals and after its over, Chris is revealed to be the legendary blader with his bey, Phantom Orion.


title: Beyblade: Metal Fusion

text: The "Metal Fusion" manga was written and illustrated by Takafumi Adachi. In Japan, they were published in the monthly "CoroCoro Comic" magazine, from September 2008 to February 2012. Shogakukan later compiled the chapters into eleven "shinsōban" volumes. The first volume was released on March 27, 2009, and the last on March 28, 2012. The chapters were released without a title during the serialisation, where they were identified only by an arc name and a chapter number. The chapter names appeared for the first time in the volume compilation.


title: Beyblade: Metal Fusion

text: Adachi returned to draw a one-shot reunion that was published in the Summer 2019 issue of "CoroCoro Aniki".


title: Beyblade: Metal Fusion

text: The first season was produced by Tatsunoko Pro. Nelvana produced the English-language version and licensed the series as "Beyblade: Metal Fusion". The series aired in Japan on TV Tokyo between April 5, 2009, and March 28, 2010. It premiered in North America later that Fall on YTV in Canada and Cartoon Network in the United States. Beyblade: Metal Fusion briefly rerun on Primo TV in late 2020. The Metal Trilogy and Shogun Steel are rerunning on Disney XD as of January 3, 2021.


title: Beyblade: Metal Fusion

text: In 2010, Nelvana announced that they were looking at parties interested in producing a second season of the anime series, which would be titled "Beyblade: Metal Masters". The second season produced by SynergySP instead of Tatsunoko Pro, aired in Japan from April 4, 2010, and March 27, 2011. A third season was announced in Shogakukan's "CoroCoro Comic" magazine. Released as "Beyblade: Metal Fury" in North America, the third season aired between April 3, 2011 and April 1, 2012. The fourth and final season, "", aired in Japan between April 8, 2012, and December 23, 2012. Episodes 39–45 of this season were released on DVD on August 27, 2013, and September 25, 2013.


title: Beyblade: Metal Fusion

text: The first video game to be released from the "Beyblade: Metal Fusion" series was "Metal Fight Beyblade DS", which debuted on March 26, 2009 for the Nintendo DS in Japan and November 9, 2010 in the United States. The majority of the games produced so far have only been released in Japan, though Hudson Soft has localized the second Nintendo DS game and the Nintendo Wii game for North America, which is called "Battle Fortress". So far, all dedicated "Metal Fight Beyblade" games have been developed and published by Hudson Soft. The most recent "Metal Fight Beyblade" video game to be released was "Metal Fight Beyblade: Choujou Kessen! Big Bang Blader" for the DS in Japan, which was released on December 2, 2010.


title: Beyblade: Metal Fusion

text: All of these toys are made by Takara Tomy in Japan Hasbro in the USA, Australia and Canada , Europe , India and by Sonokong in South Korea.


title: Beyblade: Metal Fusion

text: The "Metal" toyline was marketed and distributed by Takara Tomy in Japan; Hasbro in North America, Australia, Europe, and India; and by Sonokong in South Korea.


title: Sgian-dubh

text: The ( ; ) – also anglicized as skene – is a small, single-edged knife () worn as part of traditional Scottish Highland dress along with the kilt. Originally used for eating and preparing fruit, meat, and cutting bread and cheese, as well as serving for other more general day-to-day uses such as cutting material and protection, it is now worn as part of traditional Scottish dress tucked into the top of the kilt hose with only the upper portion of the hilt visible. The is normally worn on the same side as the dominant hand.


title: Sgian-dubh

text: The name comes from the Scottish Gaelic '. Although the primary meaning of ' is "black", the secondary meaning of "hidden" is at the root of ', based on the stories and theories surrounding the knife's origin, in particular those associated with the Highland custom of depositing weapons at the entrance to a house prior to entering as a guest. Compare also other Gaelic word-formations such as ' "underwater skerry" (lit. black skerry), ' "riddle" (lit. hidden word), ' "enigma" (lit. hidden question).


title: Sgian-dubh

text: Despite this practice, a small twin edged-dagger, (a mattucashlass), concealed under the armpit, combined with a smaller knife, (), concealed in the hose or boot, would offer an element of defence or of surprise if employed in attack.


title: Sgian-dubh

text: As ' is feminine, the form ' might be expected, since a feminine noun causes initial consonant lenition in a following adjective, and indeed the everyday modern Gaelic for a normal 'black knife' is "". However, the term for the ceremonial knife is a set-phrase containing a fossilized historical form. In older Gaelic, a system of blocked lenition meant that lenition did not occur when the adjective started with a consonant of the same group as the final consonant of the noun, and n and d are both dental in Gaelic.


title: Sgian-dubh

text: The Gaelic plural, "", is only rarely encountered in English. The anglicised plural is most commonly "sgian-dubhs" (in its various spellings), though "sgians-dubh" is also occasionally encountered.


title: Sgian-dubh

text: The may have evolved from the ", a dagger that could be concealed under the armpit. Used by the Scots of the 17th and 18th centuries, this knife was slightly larger than the average modern and was carried in the upper sleeve or lining of the body of the jacket.


title: Sgian-dubh

text: Courtesy and etiquette would demand that when entering the home of a friend, any concealed weapons would be revealed. It follows that the " would be removed from its hiding place and displayed in the stocking top held securely by the garters.


title: Sgian-dubh

text: The also resembles the small skinning knife that is part of the typical set of hunting knives. These sets contain a butchering knife with a blade, and a skinner with a blade of about . These knives usually had antler handles, as do many early sgian-dubhs. The larger knife is likely the ancestor of the modern dirk.


title: Sgian-dubh

text: Bog oak, jet black in appearance, was a very hard wood suitable for the purpose. The handles on the stag knives simulate horn which was also traditionally used. Any ornamentation is merely a reflection of the Highlander's lack of confidence in paper money which resulted in him embellishing much of his personal wearing apparel with silver and valuable cairngorm stones. Thus he carried on his person most of his worldly wealth. The black dagger () was usually carried in a place of concealment very often under his armpit (or oxter). This gives support to the view that 'black' does not refer only to the colour of the handle but implies 'covert' – as in (as stated previously) blackmail or black market. When the Highlander visited a house on his travels having deposited all his other weapons at the front door he did not divest himself of his concealed dagger, since in these days it was unsafe to be ever totally unarmed, not because he feared his host but rather because he feared intrusions from outside. Accordingly, although retaining the dagger, out of courtesy to his host he removed it from its place of concealment and put it somewhere where his host could see it, invariably in his stocking on the side of his dominant hand (right- or left-handed).


title: Sgian-dubh

text: The can be seen in portraits of kilted men of the mid-19th century. A portrait by Sir Henry Raeburn of Colonel Alasdair Ranaldson MacDonell of Glengarry hangs in the National Gallery of Scotland; it shows hanging from his belt on his right hand side a Highland Scottish dirk, and visible at the top of his right stocking what appears to be a nested set of two sgian-dubhs. A similar sgian-dubh is in the collection of The National Museum of Antiquities of Scotland.


title: Sgian-dubh

text: The early blades varied in construction, some having a "clipped" (famously found on the Bowie knife) or "drop" point. The "spear-point" tip has now become universal. The earliest known blades, some housed in the National Museum of Scotland in Edinburgh, are made from German or Scandinavian steel, which was highly prized by the Highlanders. Scalloped filework on the back of the blade is common on all Scottish knives. A short blade of is typical.


title: Sgian-dubh

text: Traditionally the scabbard is made of leather reinforced with wood and fitted with mounts of silver or some other metal which may be cast or engraved with designs ranging from Scottish thistles, Celtic knotwork, or heraldic elements such as a crest. While this makes for more popular and expensive knives, the sheath is hidden from view in the stocking while the is worn. The sheaths of many modern sgian-dubhs are made of plastic mounted with less expensive metal fittings.


title: Sgian-dubh

text: Since the modern is worn mainly as a ceremonial item of dress and is usually not employed for cutting food or self-defence, blades are often of a simple (but not unglamorous) construction. These are typically made from stainless steel. The hilts used on many modern sgian-dubhs are made of plastic that has been molded to resemble carved wood and fitted with cast metal mounts and synthetic decorative stones. Some are not even knives at all, but a plastic handle and sheath cast as one piece. Other examples are luxurious and expensive art pieces, with hand-carved ebony or bog wood hilts, sterling silver fittings and may have pommels set with genuine cairngorm stones and blades of Damascus steel or etched with Celtic designs or heraldic motifs.


title: Sgian-dubh

text: When worn as part of the national dress of Scotland, the is legal in Scotland, England, and Wales: in Scotland under the Criminal Law (Consolidation) (Scotland) Act 1995 s. 49(5)(c); in England and Wales under the Criminal Justice Act 1988 (s. 139) and the Offensive Weapons Act 1996 (s. 4).


title: Sgian-dubh

text: However, the wearing of the is sometimes banned in areas with zero tolerance weapons policies or heightened security concerns. For example, they were banned from a school dance in Scotland,


title: Sgian-dubh

text: A Montreal bagpiper who got a ticket from police for wearing the knife fought the charge at court. Police gave Jeff McCarthy a $221 ticket for sporting it in his kilt hose while performing at the McGill University convocation ceremony on 2 November 2016. The case was dropped in May 2018 and his knife was returned.


title: Keira Walsh

text: Keira Fae Walsh (born 8 April 1997) is an English professional footballer who plays as a midfielder for Barcelona and England. She is considered both a playmaker and a defensive midfielder. She has previously played for Blackburn Rovers and Manchester City, and Great Britain at the Olympics. With Manchester City, she topped the Women's Super League in 2016; won the FA Cup three times; and won the League Cup four times, taking one domestic treble. She was part of the England team that won the UEFA Women's Euro 2022, and was named player of the match in the final.


title: Keira Walsh

text: Walsh became a first-team regular at City as a teenager during their 2014 campaign, playing a key role in helping the team secure their first League Cup. She stayed with the side for eight seasons, briefly captaining them several times, and in March 2022 became the second player to reach 200 appearances for them; when she left to join Barcelona later that year, she jointly held City's record for number of appearances and set a world-record fee for a female footballer.


title: Keira Walsh

text: She represented England for their age-group teams from the age of twelve before making her senior debut in 2017, for 2019 FIFA Women's World Cup qualifying, and starting as captain in a match a year later. She was named in the Team of the Tournament for the 2022 Euro. She has been described as one of the best midfielders in the world.


title: Keira Walsh

text: Keira Fae Walsh was born on 8 April 1997 in Rochdale to Peter and Tracy Walsh, and was raised by the Pennines in Syke, a rural suburb of the town. Here she practised football with her father on the field across from their house from about the age of five. She played for local side Pearson Juniors under-7 boys', then Samba Stars boys' – both coached by the father of her primary school best friend, who initially took her along – until she turned eleven.


title: Keira Walsh

text: Walsh attended Haslingden High School and Bacup and Rawtenstall Grammar School Sixth Form, both in Rossendale; after the Lionesses won the 2022 Euro, local bus company Rosso, which runs between Rochdale and Rossendale, named a bus after Walsh. Haslingden High School had girls' football teams in the first few year groups, which Walsh played for, reaching a national final. She joined Manchester City, the team she and her family support, in July 2014, when she was seventeen; City sent her to St Bede's College in Manchester to finish her A-Levels while she trained and played with them. Future teammate Georgia Stanway would also attend St Bede's.


title: Keira Walsh

text: Though a dedicated Manchester City fan, having had pet fish named after Shaun Goater and Nicolas Anelka, Walsh was inspired as a child by Spanish football, in part due to having family in Spain and often playing in the country when visiting them, and because her father encouraged her to watch Barcelona play. She also briefly supported Arsenal, due to being a fan of Cesc Fàbregas, until she saw David Silva, her favourite player, with City.


title: Keira Walsh

text: In 2008, aged eleven, Walsh was named Greater Manchester Young Sports Person of the Year. She was ranked number 1 in the county in under-13 badminton between 2007 and 2009, having taken up the sport aged nine and representing Rochdale in it. She also played cricket for Lancashire, represented Rochdale in swimming and netball, and played football at the Blackburn Rovers Girls' Centre of Excellence. Walsh played for Lancashire in the 2013 English Schools' Football Association County Cup; eleven members of this Lancashire squad came from Blackburn Rovers. Following the 2022 Euro win, Walsh received the freedom of the borough of Rochdale.


title: Keira Walsh

text: Seeking a way to continue playing football when she could no longer play with boys, Walsh attended a Football Association (FA) Skills Centre based at Kingsway Park High School at the age of eleven, where she was coached by Fara Williams. She then went to trials at the Blackburn Rovers Girls' Centre of Excellence, put forward by her childhood coach and encouraged by good performances at the Skills Centre, and joined them in 2008. She played for Blackburn Rovers in their age-group teams from under-12 through under-17. Though she began playing as a right-footed left-back, and then a centre-half, she moved to the central midfield at Blackburn when a new coach came in for the under-14 team and suggested she try the position.


title: Keira Walsh

text: With the Blackburn youth teams, and despite playing in defense and midfield, Walsh was a prolific goalscorer, making four goals in six games in her first year at the club. She played for the under-17 team in the 2013 FA Girls' Youth Cup final against Arsenal, narrowly missing an opening goal, with Blackburn eventually losing the match. In their 2014 FA Youth Cup quarter-final against Sunderland, Walsh scored a hat-trick in thirteen minutes.


title: Keira Walsh

text: In February 2014, when she was sixteen, Walsh signed for Blackburn Rovers' first team until the end of the season, debuting as a half time substitute four days later. The club had suffered a poor start to the league that season, and the addition of Walsh was said to be key to maintaining their place in it. Still involved with the under-17 side, Walsh played in nine FA Women's Northern Premier League matches for the first team, scoring three goals, including the team's goal of the season – a "stunning" second goal against Derby County in March that brought Blackburn up from relegation. She also played for the team in the final of the Lancashire Women's Challenge Cup, said to be the best player in the match despite the team losing, and in the fourth round of the FA Women's Cup. She left both youth and senior Blackburn Rovers sides in 2014, picking up a Contribution Award for six seasons with them.


title: Keira Walsh

text: Walsh began looking to join a Women's Super League (WSL) team shortly after she turned seventeen when she was still playing with the under-17 Blackburn Rovers side. She had been offered a place on Everton's development squad without trialling and was planning to join, despite Manchester City, the club she supports, preparing to enter the WSL and holding trials. Walsh's mother encouraged her to attend the trials for the City development squad in July 2014; before the session was complete, first team coach Nick Cushing, who had gone as an observer, asked to sign her to the main squad as their playmaking midfielder. Cushing would later say that Walsh has "the best football brain" of any player he has coached, adding that "some players are almost touched by God"; in response, Walsh deflected praise, saying that Cushing's coaching style benefits technical and tactical players.


title: Keira Walsh

text: Within ten days of the City trials, in July 2014, Walsh made her senior debut for Manchester City as a substitute in a 1–0 win over Notts County. Too young for a professional contract, she officially trained with the development squad, for which she never made an appearance; by the end of the 2014 season she regularly had a starting position in the first team. She was also important within the City side that won the 2014 League Cup, starting in the final. Having not expected to play, she had initially told her parents not to travel for the game. She performed particularly well in it, marking England legend Kelly Smith out of the game and "leaving the footballing world intrigued" by the unknown talent.


title: Keira Walsh

text: In June 2015, Walsh signed her first senior contract with the club, though did not play between March and August this year due to an ankle injury. Manchester City added her to their 2015 League Cup squad when she recovered, but the FA "might have" lost the registration documents for the change, causing City to be briefly suspended for fielding an unregistered player before the matter was resolved. The team's quarter-final against Arsenal, which City lost, had been postponed due to the investigation. City still came second in the league in 2015, which also allowed them to compete in the Champions League the following year. A crucial part of his City plans since the start, Cushing made Walsh a vice-captain.


title: Keira Walsh

text: The team were unbeaten in their 2016 league campaign; Walsh was injured again at the start of the season but worked her way back onto the squad and, in September, was described as their "unsung hero" by 90min. Having gone undefeated in the league in 2016, City won the league in September with a game to spare, Walsh described as "unassuming" and "pivotal" in their success. On 9 November 2016, Walsh scored her first goal for City, a long-range strike from outside the area, in a 1–0 victory against Brøndby IF in the first leg of the last-16 tie in their debut Champions League. Two days later, she extended her contract with City through 2020. For the 2015–16 season, Walsh was nominated for the PFA Women's Young Player of the Year award; she would see further nominations for this award every year through the 2018–19 season.


title: Keira Walsh

text: With Manchester City, Walsh won all three women's domestic titles over what would be a regular 2016–17 season (2016 FA WSL, 2016 WSL Cup, 2016–17 FA Women's Cup); the WSL ran calendar year seasons until 2017, curtailing the season in spring to start a new one in autumn that matched European schedules. For the 2017 FA Cup final, in which City defeated Birmingham 4–1, Walsh (who didn't score) was named player of the match, saying only that "it was a real team effort" and that it was special to win a trophy at Wembley.


title: Keira Walsh

text: During the summer pre-season for the 2017–18 season, Walsh captained the team. At the end of 2017, also accounting for the previous season, Walsh was listed at number 98 on The 100 Best Female Footballers in the World list by "The Offside Rule"/"The Guardian". The team went out of the Women's FA Cup in the semi-finals in 2018.


title: Keira Walsh

text: At the end of extra time during City's 3–0 victory over Liverpool in November 2018 – in which Walsh provided the assist for the only open play goal and got in several shots on target (all saved) herself – Liverpool's Rinsola Babajide made a harsh tackle that took down Walsh, who stayed down in pain before being stretchered off and the game ended. After initial fears of a broken leg, assessment confirmed she only suffered a minor knee injury. She was named player of the match by City's official supporters club, having been on the shortlist before the injury.


title: Keira Walsh

text: City reclaimed the FA Cup in 2019, defeating West Ham in the final 3–0, with Walsh scoring the opening goal. The team also won the League Cup for a domestic double. In September 2019, Walsh was shortlisted for the dream team FIFA FIFPRO The Best Women's World 11, the only English midfielder to be so. At the end of the year, she placed joint-ninth (with Jennifer Hermoso) on the International Federation of Football History & Statistics (IFFHS) ranking of the Women's World Best Playmaker.


title: Keira Walsh

text: With doubts about her career following criticism at the 2019 FIFA Women's World Cup, Walsh did not want to play football in England, thinking she was not what the domestic fans wanted to see in a holding midfielder. Prior to the 2019–20 season, she handed in a transfer request amid interest from Lyon and Atlético Madrid. On 29 July, she withdrew her transfer request; Cushing had convinced her to stay by encouraging her and joking that he would dress like Pep Guardiola, one of Walsh's idols, to be more like him. Cushing said that Walsh was integral to City's system and it was imperative the club retain her, while adapting to other transfers. He re-emphasised Walsh's importance to the side after she scored a goal from distance then created the opportunity for a second in an October 2019 match that saw them defeat Birmingham 3–0.