cyanic-selkie/wikianc huggingface dataset:
Nongpok Ningthou
History
The Nongmaiching Hill (also known as Selloi Langmai Hills) was the ancestral territory of the Selloi Langmai people. This zone has the strongest worship of God Langmai Ningthou (Nongpok Ningthou). According to the Nongmaiching Chingkoipa (AKA Nongmaijing Chingoiba) text, the mountain in the east and beyond the rivers (Imphal R., Iril R. and Kongba R.) is the abode of God Keinou Chingsompa (another name of Nongpok Ningthou).
According to the Thalon (Tharon) text, Selloi Langmai Hill had 5 divisions. Each division was occupied by different ethic groups. Each groups had different ancestral deities. These were later described as the 5 pillars of the Selloi Langmai country.
Later, in the course of time, these 5 gods belonging to 5 different places of the Selloi Langmai Hill were integrated into a single God with the name "Langmai Ningthou". The personal names became the aliases or various forms of the God. With this, the tribal society of the Selloi Langmai people evolved into a chiefdom. This chiefdom later rose to the Angom dynasty.
According to the Naothingkhong Phambal Kaba PuYa, the position of the Langmai Ningthou (lit. Langmai King) rose to the highest level of the Umang Lai God. He acquired a new title "Nongpok Ningthou". It took place after the uprooting of the Selloi Langmai people by the Meetei King Ura Konthouba in the 7th century AD. With the end of the ethnic conflict, the Selloi Langmai people merged into the Meitei ethnicity. Their deity "Langmai Ningthou" got renamed as "Nongpok Ningthou" (lit. Sovereign of the East). The name of the God was given by the Meiteis. The God originally belonged to the Selloi Langmai people. These group of people lived in the East of the Kangla, the capital of the Meitei kingdom.
The Cheitharol Kumbaba mentioned the God for the first time during the reign of King Khagemba (1597 AD-1652 AD).
Mythology
God Nongpok Ningthou and Goddess Panthoibi are true lovers. They first met when the goddess was wandering in the open meadows, bathing and sporting in the cool waters of the running river. She was captivated by the handsome looks and towering personality of Nongpok Ningthou (alias Angoupa Kainou Chingsangsompa). They fell in love at first sight. He proposed her to elope with him. But the already married goddess didn't accept the instant proposal very soon because it was not even five days passed after her wedding. She insisted him to spend some time.
The two lovers met secretly but regularly many times. Panthoibi's behavior causes her in-laws to have suspicion over her. Her mortal husband, Khaba Sokchrongba, tried to win her heart with many tricks. But these were useless to the goddess. Nongpok Ningthou eloped with Goddess Panthoibi, his true lover, wearing the attires of the Tangkhuls.
Nongpok Ningthou and Panthoibi, the two divine lovers, united on the Nongmaiching Hills. Their joyous union was celebrated with dances and music by the divine beings. These celebration gave birth to the Lai Haraoba festival.
In another version of the story, Nongpok Ningthou met goddess Panthoibi for the first time when she was helping her father at jhum cultivation (Slash-and-burn). They fell in love at first sight without no conversation. But Panthoibi was married to another man against her will. She left her husband's house to search for her true beloved. Nongpok Ningthou also left his home for the same purpose. The lovers met at the Kangla. Kangla became the place of their divine union. So, it is considered to be an auspicious place of coronation of the Meitei kings.
Cults and shrines
Most of the surviving cults and shrines dedicated to God Langmai Ningthou (Nongpok Ningthou) are located in the Nongmaiching Hill (Selloi Langmai Hill) and its nearby areas.
A few of the most prominent shrines include: (1) Nongpok at Yairipok, (2) Panam Ningthou at Andro, (3) Nongpok Ningthou at Khoirom, (4) Pureiromba at Lamlai, (5) Nongpok Ningthou at Engourok (Ingourok), (6) Pureiromba at Naharup, (7) Nongpok Ningthou at Takhel, (8) Pureiromba at Bamon Kampu, (9) Nongpok Ningthou at Charangpat Maning, (10) Waroi Ching Malang Lamhuiba at Waroi Ching, (11) Nongpok at Chandrakhong.
These shrines are under the institution of the Umang Laism. However, there are many shrines of God Langmai Ningthou independent from the Umang Laism. Examples include Chingyai, Kharong, Isingchaibi, Nungpak Khul, Chingoi, etc. Due to the independence from the Umang Laism, these shrines were absorbed into Hinduism during the post-Charairongba era in Manipur. One notable instance is the shrine of Chingyai. The shrine of Chingyai was converted into the cult of Hindu God Shiva Mahadeva during the reign of King Chandrakirti (1850 AD-1886 AD).
Khwairakpa Erel is the most famous sacred site dedicated to Nongpok Ningthou (alias Khwairakpa) in Assam. It is an island in the middle of the Barak River.
Dance
Panthoibi Jagoi is a duet dance form that is accompanied by a romantic song sung by a maibi and a penakhongba (pena player). It has reference to the love of Nongpok Ningthou for his consort Panthoibi.
The Tangkhul Nurabi Loutaba is an enactment of the repartee between Tangkhul Pakhang (Nongpok Ningthou) and Nurabi (Panthoibi). The two players dress up in Tangkhul attires of farming in the field. This is performed on the last night of the Kanglei Haraoba (a form of Lai Haraoba).
Sami-ul-Haq
Maulana Sami ul Haq (, Samī'u’l-Ḥaq; 18 December 1937 – 2 November 2018) was a Pakistani religious scholar and Senator. He was member of the Senate of Pakistan from 1985 to 1991 and again from 1991 to 1997. He was born in Akora Khattak, British India. Sami-ul-Haq was thought as the "Father of the Taliban".
On 2 November 2018, Sami-ul-Haq was stabbed at his home in Bahria town, Rawalpindi. He was 80 years old.
Horsham
Horsham is a market town in West Sussex, England with a population of roughly 50,000. It is the administrative and market centre of the district of Horsham.
Agout
The Agout or Agoût (Agot) is a river in southwestern France, left tributary of the Tarn river. It flows through the Occitanie region.
Three communes have the name of the river in their names: La Salvetat-sur-Agout, Fraisse-sur-Agout and Vielmur-sur-Agout.
Geography
The Agout river has a length of 194.4 km and a drainage basin with an area of 3497 km2.
Its average yearly discharge (volume of water which passes through a section of the river per unit of time) is 41 m3/s at Lavaur in the Tarn department.
Average monthly discharge (m3/s) at Lavaur (56 years)
Course
The source of the Agout is on the Monts d'Espinouse, in the southern Massif Central in the Parc Naturel Régional du Haut-Languedoc ("Regional Natural Park of High Languedoc"), in the commune of Cambon-et-Salvergues, Hérault department, at an altitude of about 1060 m.
The Agout flows, in general, to the northwest and passes through the following regions, departments and communes:
The Agout river flows through a total of 36 communes.
Finally, it flows, as a left tributary into the Tarn river at Saint-Sulpice, in the Tarn department, at 98 m of altitude.
Main tributaries
The main tributaries, with a length greater than 30 km, of the Agout are:
Angus Young
Angus McKinnon Young (born 31 March 1955) is a Scottish-born Australian guitarist and songwriter. He is one of the founders of the Australian hard rock band AC/DC. He is known for his style of playing the guitar, his very active performance while on stage, and schoolboy-uniform clothing. He was ranked 96th on Rolling Stone ' s list "The 100 Greatest Guitarists of All Time". Young uses Gibson SG guitars often but he also owns Fender Telecasters, Firebirds and ES-335s. In 2003, he became a member of the Rock and Roll Hall of Fame along with other members of AC/DC.
His brothers are Malcolm and George Young.
Stockholm Cathedral
The Stockholm Cathedral (Storkyrkan) is a cathedral in the town of Stockholm in Sweden. It belongs to the Stockholm Cathedral Parish of the Church of Sweden. The church building serves the Diocese of Stockholm. It has been around since the 12th century.
Giselle
Giselle; or, The Wilis is a romantic ballet in two acts. Jules-Henri Vernoy de Saint-Georges and Théophile Gautier wrote the story of the ballet. They based it on a short prose passage in Heinrich Heine's De l'Allemagne. They also used Victor Hugo's poem "Fantômes". Adolphe Adam wrote the music. Jean Coralli and Jules Perrot designed the dances. Carlotta Grisi danced the role of Giselle in the first production. The scenery was created by Pierre Cisceri.
The story is set in Germany during the Renaissance. Giselle is a peasant girl. She falls in love with Albrecht. He is a nobleman pretending to be a peasant boy. Giselle is shocked to discover Albrecht is going to marry the princess Bathilde. Her heart breaks. She goes mad (insane, crazy) and dies. One night, she rises from her grave. She wants to protect Albrecht from the Wilis. The Wilis are the ghostly spirits of dead girls. They force men to dance to their deaths.
The ballet was first performed in Paris on Monday 28 June 1841 at the Théâtre de l'Académie Royale de Musique. It was a great success. It was staged almost at once by other ballet companies in Europe, Russia, and the United States. Grisi was declared another Taglioni. Taglioni was the age's greatest ballerina. Ballet historian Grace Robert writes "Giselle ... is the archetype of the ballets of the romantic age".
Act 1
The ballet opens on an autumn morning in Germany. Giselle and Albrecht are in love. Hilarion is in love with Giselle, too. She does not love him though. He grows jealous. He promises to take revenge. Albrecht's gentle manners arouse Hilarion's suspicions. Albrecht is really a Duke. He is pretending to be a peasant. The peasant boys and girls start a waltz. Giselle asks Albrecht to dance with her. Giselle's mother says her daughter has a weak heart. She will die if she does not give up dancing. She is afraid that Giselle will become one of the Wilis. The Wilis are ghostly female spirits. They dance men to death.
A hunting horn is heard in the distance. Albrecht becomes nervous. He hurries away with the peasants. The Prince of Courland, his daughter Bathilde, and their courtiers enter. They are looking for a place to rest after the hunt. Giselle and her mother bring them food and drink. Bathilde takes an interest in Giselle. They each say that they are in love, and soon to be married. Albrecht returns with the peasants. Bathilde says he is her future husband. Giselle is shocked. She goes mad and dies in her mother's arms. Albrecht is chased away by the peasants.
Background
After the Revolution, French ballet directors and designers turned their attention to stories based on the Greek and Roman mythologies. The aristocracy liked these stories. The directors and designers however turned instead to the stories the middle class liked. These stories were based on real life, real places, past times, everyday people, and the supernatural.
Two ballets with such stories caused great excitement in Paris in the 1830s. In November 1831, Meyerbeer's opera Robert le diable had its first performance. It included a short ballet called The Ballet of the Nuns. In this little ballet, dead nuns rise from their graves. They dance in the moonlight. The public loved this ballet. In March 1832, the ballet La Sylphide was performed. This ballet is about a beautiful sylph (fairy). She loves James, a young Scotsman. Tragedy occurs. James accidentally kills the sylph.
This ballet brought Marie Taglioni before the French public. She was the first to dance en pointe. She did this for artistic reasons rather than spectacle. She was also the first to wear the white, bell-shaped, calf-length ballet skirt. This skirt is now considered an essential feature of the romantic ballet. Poet and critic Théophile Gautier attended the first performance of La Sylphide. His ideas for Giselle would show touches of La Sylphide ten years later. It would be set in a real place and in the past, for example, and would be about everyday people and supernatural women.
Story development
In an 1841 news article announcing the first performance of Giselle, Théophile Gautier recorded his part in the creation of the ballet. He had read Heinrich Heine's description of the Wilis in De l'Allemagne, and thought these evil spirits would make a "pretty ballet". He planned their story for Act 2, and settled upon a verse by Victor Hugo called "Fantômes" to provide the inspiration for Act 1. This verse is about a beautiful 15 year old Spanish girl who loves to dance. She becomes too warm at a ball, and dies of a chill in the cool morning.
Heine's prose passage in De l'Allemagne tells of supernatural young women called the Wilis. They have died before their wedding day and rise from their graves in the middle of the night to dance. Any young man who crosses their path is forced to dance to his death. In another book, the Wilis are said to be jilted young women who have died and become vampires. This is assumed to be the reason that they hate men.
Gautier thought Heine's Wilis and Hugo's fifteen year old Spanish girl would make a good ballet story. His first idea was to present an empty ballroom glittering with crystal and candlelight. The Wilis would cast a spell over the floor. Giselle and other dancers would enter and whirl through the room, unable to resist the spell to keep them dancing. Giselle would try to keep her lover from partnering other girls. The Queen of the Wilis would enter, lay her cold hand on Giselle's heart, and the girl would drop dead.
Gautier was not satisfied with this story. It was basically a succession of dances with one moment of drama at its end. He had no experience writing ballet stories so he called upon Vernoy de St. Georges, a man who had written many stories for the ballet. St. Georges liked Gautier's basic idea of the frail young girl and the Wilis. He wrote the story of Giselle as it is known today in three days, and sent it to Léon Pillet, the director of the Paris Opéra.
Pillet wanted to present a beautiful young Italian dancer named Carlotta Grisi to the public. He considered La Sylphide, but Adèle Dumilâtre reminded him that the role had been promised to her. A ballet in preparation, La Rosière de Gand, was suggested, but Grisi objected. The role was too long and the story was not suitable for dance. Pillet needed a good story, and he found it in Giselle. Grisi liked the story as much as Pillet did, so Giselle was put into development at once.
Music
Adolphe Adam was a popular writer of ballet and opera music in early 19th-century France. He wrote with great speed. He completed Giselle in about two months. The music was written in the smooth, song-like style of the day called cantilena. This style is well known to music lovers from Bellini's opera Norma and Donizetti's Lucia di Lammermoor.
Adam used several leitmotifs in the ballet. A leitmotif is a short musical phrase that is associated with a certain character, event, or idea. Adam's leitmotifs are heard several times throughout the ballet. A leitmotif is associated with Giselle, and another with Albrecht. Hilarion's motif marks his every entrance. It suggests the Fate theme in Beethoven's Fifth Symphony. Another leitmotif is associated with the "he loves me, he loves me not" flower test in Act 1. This leitmotif is heard again in the mad scene, and in Act 2 when Giselle offers flowers to Albrecht. The Wilis have their own motif. It is heard in the overture, in Act 1 when Berthe tells the story of the Wilis, and in the mad scene. It is heard again in Act 2 when the Wilis make their first entrance. The hunting horn motif marks sudden surprises. This motif is heard when Albrecht is exposed as a nobleman.
The music was completely original with Adam. A critic noted however that Adam had borrowed eight bars from a romance by a Miss Puget and three bars from the huntsman's chorus in Carl Maria von Weber's opera Euryanthé. In addition, two pieces by Friedrich Burgmüller were put into the ballet. One was a waltz called "Souvenir de Ratisbonne". The other music was a group of dances performed by Giselle's friends. It is unknown who put these pieces into the ballet.
One dance historian writes:"By no stretch of the imagination can the score of Giselle be called great music, but it cannot be denied that it is admirably suited to its purpose. It is danceable, and it has colour and mood attuned to the various dramatic situations ... As we listen today to these haunting melodies composed over a century ago, we quickly become conscious of their intense nostalgic quality, not unlike the opening of a Victorian Keepsake, between whose pages lies an admirably preserved Valentine—in all the glory of its intricate paper lace and symbolic floral designs—which whispers of a leisured age now forever past. For a brief space the air seems faintly perfumed with parma violet and gardenia. The music of Giselle still exerts its magic."
- Cyril W. Beaumont
Dance and pantomime
Jean Coralli and Jules Perrot designed the dances for Giselle. Perrot and Carlotta Grisi were lovers, and Perrot designed all of Grisi's dances and all of her pantomime. Everyone in the Paris dance world knew that Perrot had designed Grisi's dances, and Coralli said so, but Perrot was given no official credit in the printed materials such as posters and programs. This was most likely done to prevent Perrot from collecting royalties (money, profits) on the ballet. Perrot liked bold touches and planned several rapid aerial swoops on wires in Act 2 for Giselle. Grisi was afraid of these swoops. A stage hand was brought in to test the swoops. He crashed face-first into the scenery. The swoops were abandoned.
Cyril Beaumont writes that Giselle is made up of two elements—dance and mime. Act 1 features short mimed scenes, he points out, and episodes of dancing which are fused with mime. In Act 2, mime has become fused entirely with dance. He writes that the choreographic vocabulary is composed of a small number of simple steps: Beaumont speculates that the simple steps were deliberately planned to allow the "utmost expressiveness."
Parts of Giselle have been cut or changed since the ballet's first night. Giselle's Act 1 pantomime scene in which she tells Albrecht of her strange dream is cut. The peasant pas de deux in Act 1 is cut back a bit. The Prince of Courland and his daughter Bathilde used to make their entrance on horseback, but today they walk on. In the original production, the Prince and Bathilde were present at Giselle's death, but now they leave the scene before she dies. The machines used to make Giselle fly and to make her disappear are no longer used. A trapdoor is sometimes employed to make Giselle rise from her grave and then to make her sink into it at the end of Act 2.
At the end of Act 2, Bathilde formerly entered with the courtiers to search for Albrecht. He took a few unsteady steps toward them and collapsed into their arms. This moment was an artistic parallel to the Act 1 finale when the peasants gathered about the dead Giselle. Now, Bathilde and the courtiers are cut, and Albrecht slowly leaves the stage alone.
Ethnic music, dance, and costume
Ethnic music, dance, and costume were a large part of romantic ballet. At the time Giselle was written, people thought of Germany when they heard a waltz because the waltz was of German origin. Giselle makes her first entrance to the music of a waltz, and the audience would have known at once that the ballet was set in Germany. Adam wrote three waltzes for Giselle: two for Giselle and one for the Wilis. Adam wrote that the "Giselle Waltz" in Act 1 has "all the German color indicated by the locality." People agreed. One critic wrote: "A lovely waltz ... in the Germanic spirit of the subject".
Costumes
The historical period for Giselle is not indicated in the story. Paul Lormier, the chief costume designer at the Paris Opéra, probably consulted Gautier on this matter. It is also possible that Pillet had the ballet's budget in mind and decided to use the many Renaissance-style costumes in the Opéra's wardrobe for Giselle. These costumes were said to have been those from Rossini's William Tell (1829) and Berlioz's Benvenuto Cellini (1838). Lormier certainly designed the costumes for the principal characters. His costumes were in use at the Opéra until the ballet was dropped from the repertory in 1853.
Giselle was revived in 1863 with new costumes by Lormier's assistant, Alfred Albert. Albert's costumes are closer to those of modern productions than those of Lormier, and were in use at the opera until 1868. The ballet was revived again in 1924 with scenery and costumes by Alexandre Benois. He wanted to revive the costumes of the original production but dropped the idea, believing the critics would charge him with a lack of imaginative creativity.
Sets
Pierre Luc Charles Ciceri was the chief set designer at the Paris Opéra from 1815 to 1847. He designed the sets for the first production of Giselle. Gautier was not specific about the ballet's locale, but placed it in "some mysterious corner of Germany ... on the other side of the Rhine". This would have been the eastern side.
Giselle was two months in rehearsal. This was a very long rehearsal time for the period. Even so, Ciceri did not have enough time to design sets for both acts and focused on the second act. The sets for the first act were actually those designed for the 1838 ballet, La Fille du Danube by Adam. An illustration from Les Beautés de l'Opera of 1845 shows Giselle's cottage with a roof of straw on the left, and Albrecht's cottage on the right. The two cottages are framed by the branches of two large trees on either sides of the stage. Between the two cottages, in the distance, appears a castle and slopes covered with vineyards. Although this scene was not designed for Giselle, it has remained the model for most modern productions. Ciceri's set was in use until the ballet was dropped from the repertoire in 1853. At that time, Gautier noticed that the sets were falling apart: "Giselle's cottage has barely three or four straws on its roof."
A circular hole was cut into the backdrop and covered with a transparent material. A strong light behind this hole represented the moon. The light was occasionally manipulated to suggest the passage of clouds. Gautier and St. Georges wanted the pool to be made of large mirrors. Pillet rejected this idea because of its cost. In the 1868 revival however, the mirrors were acquired for this scene.
Adam thought Ciceri's backdrop for Act 1 was "not so good ... it is all weak and pale" but he liked the set for Act 2: "[Ciceri's] second act is a delight, a dark humid forest filled with bulrushes and wild flowers, and ending with a sunrise, seen at first through the trees at the end of the piece, and very magical in its effect." The sunrise also delighted the critics.
First performance
The balletomanes of Paris became very excited as the opening night of Giselle approached. News reports kept their interest alive. Some reports said that Grisi had had an accident. Some reports said that the conductor was ill with a tumour. Still others said that the stage hands feared for their safety.
Hopes that the ballet would be ready in May were dashed. Opening night was postponed several times. Grisi was absent for a few days and her return was delayed to protect her health. Lighting, trapdoors, and scene changes needed further rehearsals. Cuts were made in Grisi's role to spare the dancer's health. Instead of returning to her tomb at the end of the ballet, it was decided Giselle would be placed on a bed of flowers and sink slowly into the earth. This touch preserved the romantic mood of the Act 2 finale.
At last, on Monday 28 June 1841, the curtain rose on Giselle in the Salle Le Peletier. Grisi played Giselle with Lucien Petipa as her lover Albrecht, M. Simon as the gamekeeper Hilarion, and Adèle Dumilâtre as Myrtha, the Queen of the Wilis. Typical of the theatrical practices of the time, Giselle was preceded by an excerpt from another production—in this case, the third act of Rossini's opera, Moise.
In spite of the chief machinist shouting orders to his crew that could be heard by the audience, Giselle was a great success. Grisi was a sensation. Ballet-goers regarded her as another Taglioni, the greatest ballerina of the period.
Contemporary reviews and comments
Giselle was a great artistic and commercial success. Le Constitutionnel praised Act 2 for its "poetic effects". Moniteur des théâtres wrote that Grisi "runs [and] flies across the stage like a gazelle in love". One critic made a detailed analysis of the music in La France Musicale. He thought the Act 1 waltz "ravishing", and noted that the scene of Berthe's narrative was filled with "quite new" harmonic modulations. He praised other moments in Act 1 (especially the mad scene), and was in raptures with the music of Act 2, singling out the entrance of the Wilis and the viola solo played through Giselle's last moments. He thought the flute and harp music accompanying Giselle as she disappeared into her grave at ballet's end "full of tragic beauty."
Coralli was praised for the Act 1 peasant pas de deux and for the "elegance" of Act 2. Coralli followed a suggestion made by Gautier and picked the most beautiful girls in the company to play the peasants and the Wilis. One observer thought the selection process cruel: the almost-beautiful girls were turned away without a second thought.
Grisi and Petipa were great successes as the tragic lovers. Gautier praised their performance in Act 2, writing that the two dancers made the act "a real poem, a choreographic elegy full of charm and tenderness ... More than one eye that thought it was seeing only [dance] was surprised to find its vision obscured by a tear—something that does not often happen in a ballet ... Grisi danced with a perfection ... that places her in the ranks between Elssler and Taglioni ... Her miming surpassed every expectation ... She is nature and artlessness personified."
Adam thought Petipa "charming" as both dancer and actor, and that he had "rehabilitated" male dancing with his performance. Of Dumilâtre he wrote, "... in spite of her coldness, [Dumilâtre] deserved the success she achieved by the correctness and the 'mythological' quality of her poses: perhaps this word may seem a little pretentious, but I can think of no other to express such cold and noble dancing as would suit Minerva in a merry mood, and in this respect [Dumilâtre] seems to bear a strong resemblamce to that goddess."
Early productions
Giselle was performed in Paris from its debut in 1841 to 1849. It was then dropped from the repertory. Grisi always danced the title role. The ballet was revived in 1852 and 1853, but without Grisi. The work was dropped from the repertory after 1853. It was revived in 1863 for a Russian ballerina then dropped in 1868. It was revived almost 50 years later in 1924 for the debut of Olga Spessivtzeva. This production was revived in 1932 and 1938.
Giselle was produced by other ballet companies in Europe and America almost immediately after its first night. The British had their first taste of Giselle—not with the ballet— but with a drama based on the ballet called Giselle, or The Phantom Night Dancers by William Moncrieff. He had seen the ballet in Paris the same year. The play was performed on 23 August 1841 at the Theatre Royal, Sadler's Wells.
The actual ballet was first staged in London at Her Majesty's Theatre on 12 March 1842 with Grisi as Giselle and Perrot as Albrecht. The dances were credited to Perrot and one Deshayes. It was revived many times, once in 1884 with a Mlle. Sismondi in the role of Albrecht. This production was received with little enthusiasm. It was preceded by the operetta Pocahontas.
The ballet was staged by Diaghilev's Ballets Russes in 1911 at the Royal Opera, Covent Garden with Tamara Karsavina and Nijinsky as Giselle and Albrecht. Anna Pavlova danced Giselle with her own company in 1913. Alicia Markova danced the role with the Vic-Wells Ballet in 1934, and Margot Fonteyn took the role in 1937 when Markova left the company. The English loved Giselle. In 1942, for example, three different companies were dancing the ballet in London. Giselle was first performed in Russia at the Bolshoi Theatre, St. Petersburg, on 18 December 1842. Gedeonov, the Director of the St. Petersburg Imperial Theatres, sent his Ballet Master Titus to Paris to find a new ballet for ballerina Elena Andreyanova. Titus picked Giselle. The Ballet Master then staged the work completely from memory in St. Petersburg. Perrot produced Giselle in St. Petersburg in 1851. He made many changes to the ballet in his years of service to the Imperial Ballet. In the 1880s, Ballet Master Marius Petipa made many changes to the Perrot production.
Giselle was first staged in Italy at Teatro alla Scala in Milan on 17 January 1843. The music however was not Adam's, but that of one N. Bajetti. The dances were not the original either, but those of one A. Cortesi. It is possible, but unknown if, the ballet was first staged in the provincial theatres.
In 1844, American ballerina Mary Ann Lee arrived in Paris to study with Coralli for a year. She returned to the United States in 1841 with the directions for Giselle and other ballets. Lee was the first to present Giselle in the United States. She did this on 1 January 1846 in Boston at the Howard Athenæum. George Washington Smith played Albrecht. Lee danced Giselle (again with Smith) on 13 April 1846 at the Park Theatre in New York City.
Modern productions
Nijinsky was going to dance Albrecht for the first time in St. Petersburg in January 1911. The Czar and his family would be present. Diaghilev wanted Nijinsky to wear the Renaissance-style costume he had worn in Paris the same month. It was easier to dance in than the thick pants of traditional Russian Albrechts, but his genitals (though covered) could be detected. He was ordered not to wear it. Nijinsky said that he only wanted to dance well. According to Stravinsky, Nijinsky wore not much more than the tightest tights and a padded athletic supporter (jockstrap). The next day, the angry director of the Imperial Theatres ordered Nijinsky to apologize. Complaints about the dancer were collected here and there. Nijinsky knew Diaghilev would give him work, so he resigned. On 24 January 1911 he was officially dismissed from the Imperial Theatres.
Structure
Act I
Act II
Fleurey
Fleurey is a commune. It is in Bourgogne-Franche-Comté in the Doubs department in east France.
Vanna White
Vanna White (born Vanna Marie Rosich; February 18, 1957)  is an American actress from North Myrtle Beach, South Carolina. She co-hosts the television game show Wheel of Fortune with Pat Sajak.
White married restaurant owner George San Pietro in December 1990. They divorced in November 2002. White has two children, a son born in 1994 and a daughter born in 1997.
Dan Hamhuis
Daniel Hamhuis (born December 13, 1982 in Smithers, British Columbia, Canada) is a Canadian former professional ice hockey defenceman. He played 16 seasons in the National Hockey League (NHL). He played for the Nashville Predators, Vancouver Canucks, and Dallas Stars.
Hamhuis played in the WHL for the Prince George Cougars for 4 seasons and played for the Milwaukee Admirals in the AHL. Hamhuis won a gold medal with Canada at the 2014 Winter Olympics.
On August 13, 2020, Hamhuis announced his retirement from the NHL.
Pansexual flag
The pansexual flag is a bright pink, yellow and cyan flag. It was made as a symbol for the pansexual community to increase its visibility and recognition.
Design and symbolism
The pansexual flag consists of three equally-sized colored horizontal bars. They are magenta on top, yellow in the middle, and cyan on the bottom.
Some sources say that the cyan represents attraction to men. But others say it represents people who are attracted to men. Magenta represents attraction to women. Yellow represents attraction to non-binary people such as those who are agender, bigender and genderfluid. Other sources say that the colours cyan, magenta, and yellow stand for those who identify as men, women and non-binary people, respectively.
References
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Akshaye Khanna
Khanna became famous with starring roles in the musical romantic drama Taal (1999), the comedy drama Dil Chahta Hai (2001) which won him a Filmfare Award for Best Supporting Actor, the romantic thriller Humraaz (2002) for which he was nominated in the Best Negative Role category, the romantic comedies Hungama (2003) and Hulchul (2004), the murder mystery 36 China Town (2006), the action thriller Race (2008) and the heist comedy Tees Maar Khan (2010), and he continued to draw praise for his performances in the 1999 romance Dahek, the 2002 psychological thriller Deewangee, the 2007 biographical drama Gandhi, My Father and the 2010 action thriller movie Aakrosh.
In 2016, after a four-year break from acting, he came back and played an antagonist in the action-comedy movie Dishoom and appeared as an investigative cop in two 2017 thrillers, the crime movie Mom and the murder mystery Ittefaq.
Bradley County
Bradley County is the name of two counties in the United States:
Eiso
Eiso (永祚) was a Japanese era name (年号,) after Eien and before Shōryaku. This period spanned the years from August 988 through  November 990. The reigning emperor was Ichijō-tennō (一条天皇).
Sánchez, Dominican Republic
Sánchez is a Dominican municipality in the Samaná province, on the south coast of the peninsula of Samaná.
Name
Sánchez is named after Francisco del Rosario Sánchez, one of the three Founding Fathers of the Dominican Republic.
History
The old town of Las Cañitas was elevated to the category of municipality in 1866.
It was a very small town but it grew in importance and population when the railway from the town to La Vega began to run across the rich region of the Cibao. Sánchez became the most important port of the country during the rest of the 19th century and beginning of the 20th century. The railway worked until 1966.
Bisexual flag
The bisexual flag is a pride flag representing bisexuality, bisexual people, and the bisexual community. The pink stripe represents homosexuality. The pink stripe represents heterosexuality. The purple stripe is the "overlap" of the two colors. This stripe represents attraction regardless of sex or gender.
Sánchez, Dominican Republic
History
The port lost its importance when other ports in the country grew in importance. And the Yuna River has been filling the Samaná Bay with solid materials and only small boats can get to the port.
Bisexual flag
The flag was designed by Michael Page in 1998 to raise awareness of bisexuals in the world and in the LGBT community. He wanted to give the bisexual community a symbol like the rainbow flag was for the LGBT community. The first bisexual pride flag was shown at the BiCafe's first anniversary party on December 5, 1998.
Sánchez, Dominican Republic
Population
The municipality had, in, a total population of 24,509: 12,583 men and 11,926 women. The urban population was 45% of the total population.
Bisexual flag
Design and colors
Page said that he took the colors and overlap from the biangles (also known as the bisexuality triangles). The biangles were designed by artist Liz Nania for the Second National March on Washington for Lesbian and Gay Rights in 1987. The design of the biangles began with the pink triangle, a Nazi concentration camp badge that later became a symbol of gay liberation representing homosexuality. The addition of a blue triangle contrasts the pink and represents heterosexuality. The two triangles overlap and form lavender.
Kosovo Liberation Army
The Kosovo Liberation Army were Albanian guerilla groups which operated in Kosovo in the late 1990s.
Bisexual flag
Design and colors
Page described the meaning of the pink, purple, and blue colors:
Sánchez, Dominican Republic
Geography
Sánchez has a total area of 340.1 km2, about 39% of the total area of the province of Samaná. The city is an elevation of 7 m above sea level, and at 34 km to the west of Samaná.
Bisexual flag
Design and colors
"The pink color represents sexual attraction to the same sex only (gay and lesbian). The blue represents sexual attraction to the opposite sex only (straight) and the resultant overlap color purple represents sexual attraction to both sexes (bi). The key to understanding the symbolism of the Bi Pride Flag is to know that the purple pixels of color blend unnoticeably into both the pink and blue, just as in the 'real world,' where bi people blend unnoticeably into both the gay/lesbian and straight communities."
Sánchez, Dominican Republic
Geography
The city is surrounded by mountains of the Sierra de Samaná, a small mountain range that covers most of the Samaná peninsula.
Bisexual flag
Design and colors
The flag is used in different aspect ratios. 2:3 and 3:5 are often used, which is common between flags.
Sánchez, Dominican Republic
Geography
Sánchez does not have any municipal district.
Bisexual flag
Design and colors
The exact colors given by Page are PMS 226 for the pink, 258 for the purple, and 286 for the blue. The pink stripe takes up two fifths of the flag. The purple stripe takes up the middle fifth. The blue stripe takes up the other two fifths. The flag has been most commonly made with the pink stripe at the top, but both ways are acceptable. The flag is not patented, trademarked, or service marked.
Sánchez, Dominican Republic
Geography
The municipality of Sánchez has the Atlantic Ocean to the northwest, the municipality of Las Terrenas to the north, the municipality of Samaná to the east, the Duarte and María Trinidad Sánchez provinces to the west and the Samaná Bay to the south. It also borders, in its southeastern part, to the Hato Mayor province.
Bisexual flag
References
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Sánchez, Dominican Republic
Climate
Sánchez has a tropical wet climate (Köppen-Geiger classification: Af) with no dry or cold season as it is constantly moist (rainfalls during the whole year).
The average amount of rainfall for the year in the city is 2064.5 mm. The month with the most precipitation on average is May with 236.3 mm of rainfall, followed by November with 225.2 mm.
The driest season is winter. The month with the least rainfall on average is February with an average of 96.6 mm and the second is March with 112 mm.
Economy
The main economic activity of the municipality is farming. Fishing was the main activity but now is not so important.
Blue Kentucky Girl (song)
"Blue Kentucky Girl" is a 1965 song by country singer Loretta Lynn and is the title track from her fourth studio album Blue Kentucky Girl. It went to number 7 on the Billboard Hot Country singles chart.
Emmylou Harris version
In 1979, Emmylou Harris covered Blue Kentucky Girl for her sixth studio album Blue Kentucky Girl. It went to number 6 on the Billboard Hot Country singles chart. It was nominated for a Grammy Award in 1980.
Sainte-Cécile-les-Vignes
Sainte-Cécile-les-Vignes is a commune. It is found in the region Provence-Alpes-Côte d'Azur in the Vaucluse department in the south of France.
Pinto Colvig
Vance DeBar "Pinto" Colvig (September 11, 1892 - October 3, 1967) was an American actor, voice actor, newspaper cartoonist, circus performer, vaudeville performer, animator, and writer. He was best known as the original Bozo the Clown. He was the voice of Disney's Goofy. In 1993 he was honored with a Disney Legends award.
Life and career
Colvig was born in 1892 in Jacksonville, Oregon. His parents were Addie and William Colvig. His father was the Jackson County attorney. He was the youngest of seven children. He was nicknamed "Pinto" because of all his freckles. Colvig grew up in Jacksonville and nearby Medford. He spend a good deal of time mimicking the sounds he heard all around him. He could mimic the sound of farm animals, a rusty gate and noises from around the village.
He studied art at Oregon Agricultural College (OAC) (later Oregon State University) in Corvallis, Oregon. in 1916 he married Margaret Slaven. They moved to San Francisco where Colvig worked as a cartoonist for the San Francisco Bulletin and the San Francisco Chronicle.
Talking pictures
When movies changed to sound he began doing voices for characters. He is also known for his Disney work as the voice of Goofy from 1932 until his death in 1967. He was the voice of Bluto in Popeye cartoons. He was Grumpy and Sleepy in Snow White and the Seven Dwarfs. In The Three Little Pigs he was the voice of the Practical Pig. He was also the co-writer of the song "Who's Afraid of the Big Bad Wolf?" in the same movie.
Sound artist
From the 1920s he provided sound effects on programs such as the Jack Benny Program and Amos 'n' Andy. He invented most of his own sound effects. He was known for making a funny line even funnier. Colvig is a legend among foley sound technicians.
Fianna Fáil
Fianna Fáil is an Irish political party. It was founded in 1926 by Éamon DeValera and Constance Markievicz, . Its leader is Micheál Martin, who has also been Taoiseach since 2020. It was a faction of Sinn Fein - another Irish political party alongside Fine Gael - before splitting to become its own political party in 1926. Its name is translated from Irish as 'Soldiers of Destiny' but literally means 'Warriors of Fál' (Fál was the name of Ireland in legends).
Pinto Colvig
Death
Colvig died of lung cancer on October 3, 1967, in Woodland Hills, California. He was 75 years old.
Peter Carey
Peter Carey may mean:
Linth
The Linth (pronounced "lint") is a Swiss river that starts near the village of Linthal in the mountains of the canton of Glarus, and flows into the Obersee section of Lake Zurich. It is about 50 km long.
The textile industry of the canton of Glarus he started because it could use the water power of the Linth. Today, the river drives the Linth–Limmern power stations in its upper reaches.
The river and its upper valley are the boundary between the mountain ranges of the Glarus Alps, to its east and south, and the Schwyzer Alps, to its west.
Cape Fear (1991 movie)
Cape Fear is a 1991 American psychological thriller movie. It was directed by Martin Scorsese and it was produced by Barbara De Fina. Cape Fear was released on November 13, 1991. It is adapted from the John D. MacDonald novel The Executioners. It is a remake of the 1962 movie directed by J. Lee Thompson. The movie is about an attorney who is stalked along with his family by a vengeful criminal he had defended in court against rape charges, but was sent to jail for eight years.
Kashmore
Kashmore (کشمور) is a city in Kashmor District, Sindh, Pakistan.
Fianna Fáil
The party is part of a coalition government with Fine Gael and the Green Party, with Fianna Fáil being the largest party in the Dáil Éireann.
Cape Fear (1991 movie)
Reviews
The movie got positive reviews from critics. It has a 76% rating on Rotten Tomatoes. Movie critic Roger Ebert of the Chicago Sun-Times gave the movie 3 out of 4 stars and said that he liked the "Cape Fear is impressive moviemaking, showing Scorsese as a master of a traditional Hollywood genre who is able to mold it to his own themes and obsessions. But as I look at this $35 million movie with big stars, special effects and production values, I wonder whether it represents a good omen from the finest director now at work."
Fianna Fáil
Presidents/Leaders
There have been eight leaders of the Fianna Fáil since its creation in 1926. They are:
Youth Wing
The Youth Wing of Fianna Fáil is the Ógra Fianna Fáil, which was created in 1975 to get younger people to vote and support the party.
Cape Fear (1991 movie)
Awards
At the 64th Academy Awards, Robert De Niro was nominated in the category of Best Actor and Juliette Lewis was nominated in the category of Best Supporting Actress but neither of them won. At the 49th Golden Globe Awards, De Niro was nominated for Best Actor – Drama and Lewis was nominated for Best Supporting Actress – Motion Picture.
Dina, Pakistan
Dina (دینہ) is a rapidly expanding commercial town in the Jhelum District of the province of Punjab, Pakistan. It is about 10 miles northwest of Jhelum City, where there is a junction with the road to the Mangla Dam and Rohtas Fort. The historic Grand Trunk Road passes through the centre of the town.
Government
In 1977, a municipal committee was established at Dina, but the town's status was changed to an administrative subdivision or tehsil of Jhelum District. The town is divided into 2 Union councils, UC 23 and UC 24.
Geography
The town is located at 33°1'60N 73°35'60E and has an altitude of 275 metres (905 ft) and has an area of about 21880 acre.
Tribes & Clans
The jatt, Ghakkars, Mughals, Gujjars, Mirzas, Kashmiri Butt and Balouch tribes have the main control over the political activities and they occupy the maximum land of Dina city.
Kosovo War
The Kosovo War was a controversial war that took place from 1998 to 1999 in the Federal Republic of Yugoslavia. The Kosovo Liberation Army fought the Yugoslavian army from 1998 to 1999. In 1999 NATO bombed Yugoslavia to prevent genocide in Kosovo.
References
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Winston Zeddemore
Winston Zeddemore is a fictional character appearing in the Ghostbusters movies, TV series, and video games. He was played by Ernie Hudson in both movies and was voiced by Arsenio Hall in the first two seasons of The Real Ghostbusters.
Buster Jones provided Winston's voice in the remaining seasons, and he reprised the role in a cameo on Extreme Ghostbusters. Hudson returned to provide his appearance and voice to Zeddemore in 2009's Ghostbusters: The Video Game.
Unlike the other Ghostbusters, Zeddemore is not a doctor and sometimes never appears with the group.
Diocese of Visby
The Diocese of Visby (Visby stift) is a diocese of the Church of Sweden, established in 1572. Covering Swedish Baltic Sea island of Gotland, it uses the Visby Cathedral as its seat.
Since November 2002, the diocese is also responsible for the Church of Sweden Abroad.
Lemgo
Lemgo is a city in the Lippe district in North Rhine-Westphalia, Germany, with a population of c. 42,000.
Takht-e-Nasrati Tehsil
Takht-e-Nasarati is an administrative subdivision (tehsil) of Karak District in Khyber Pakhtunkhwa, Pakistan. The town of Takht-e-Nasrati is the headquarters of the tehsil.
Administration
The tehsil is administratively divided into 7 Union Councils - one of which makes up the tehsil capital. These are:
Arques, Aveyron
Arques  is a commune of the Aveyron department in the southern part of France.
Auvergne-Rhône-Alpes
Auvergne-Rhône-Alpes (Franco-Provençal: Ôvèrgne-Rôno-Ârpes; Auvèrnhe Ròse Aups) is an administrative region of France that was created on 1 January 2016 from the former French regions Auvergne and Rhône-Alpes. It is in the central and eastern parts of southern France.
Its capital is the city of Lyon.