davidanugraha/M4-RAG huggingface dataset:
Макулеле

Макулеле е боен танц от африкански и индиански произход, танцуван в началото от афробразилци, мулати, кафузу и кабоклу.
Тясно е свързан с бойното изкуство капоейра и танца фреву. В началото макулелето е бойно изкуство, но с течение на времето се превръща в танц.
Използват се 2 тояжки дълги около 50 – 60 сантиметра и с 2 см диаметър. Понякога се използват и ножове тип мачете, заради искрите при ударите.
Според легендата хора от едно индианско племе намират болен негър и го приютяват и лекуват. Един ден всички мъже отиват на лов, а Макулеле, името на негъра, остава с жените и децата в селото понеже няма право да ловува. През това време селото е нападнато от друго индианско племе и Макулеле защитава всички жени и деца сам, само ползвайки две тояжки.
Песните са по традиционния африкански начин, където един пее едно изречение, после всички отговарят със същото в хор.
Екипировката за танца е пола̀, направена от сезал, което е лико добито от вид agave. И тялото е украсено по индиански традиций, намазано с бои с гривни около бицепсите и глезените.
Музиката се състои от три вида ударни музикални инструменти – голямо, средно и малко атабаки (atabaque), като двете по-големи държат основния ритъм, а малкото импровизира. В макулелето танцьорите се нареждат в кръг (roda) и правят основните стъпки, докато двама по двама влизат в кръга и играят един срещу друг удряйки пръчки и импровизирайки.
Стъпки в огъня

„Стъпки в огъня“ е първият български документален 3D филм, режисьори са Андрей Хадживасилев и Мелоди Гилбърт.
Първият български документален филм в 3D ще ви направи свидетели на един от най-българските обичаи – нестинарството, идващо от малкото село Българи, разположено в Странджа планина. Филм за тайнство, разпънато между свещено и езическо, запазено през вековете.
Автентичните нестинари играят своя танц в жаравата само един път в годината, вечерта на 3 юни (Св. Константин и Елена по стар стил). Затова изживяването на този филм в 3D го прави още по-уникален. Ще имате възможността да сте там 365 дни в годината. „Стъпки в огъня – 3D“ ще изненада зрителите освен със своята триизмерна перспектива, така и с интересното сътрудничество на българския режисьор Андрей Хадживасилев и американката документалист Melody Gilbert.
Важно е да се знае, че нестинарството е много повече от „танц“ в огъня. Това е двудневен ритуал, изпълнен с множество обреди от сутрин до вечер, за които повечето хора не знаят. От лентата на режисьорите Андрей Хадживасилев и Мелъди Гилбърт ще може да научите още за най-видната нестинарка – баба Злата, за хората и нравите в малкото село Българи, сгушено в полите на Странджа планина.
Филмът е реализиран изцяло от екипа на филмово студио „Ривайв Вижън“, с любезното съдействие и подкрепа на Община Царево и TechnoRental BG.
Очаквани първи прожекции на филма в RealD 3D, Dolby Digital 3D & 2D през 2015 г. За повече информация следете секция Новини.
Баба Гюргя

Баба Гюргя (на македонска литературна норма: Баба Ѓурѓа) е смесено мъжко-женско народно хоро от Скопско, северната част на Северна Македония. Играе се с държане на китките със свободно пуснати ръце. Ритъмът му е 7/16 (2, 2, 3) с летящо темпо и бързи стъпки на полустъпалата. Мъжете играят периодични подскоци и изразителни балансирания на тялото.
Ръченица

Ръченицата е български народен танц. Тя има индивидуален характер и, дори когато се играе от повече от един танцьор, те остават независими, като обикновено се състезават един с друг. Играе се в размер 7 16 {\displaystyle {\frac {7}{16}}} , обикновено с тривременна група на третия дял (2+2+3), освен специфичната ръченица с първи удължен дял (3+2+2), известна като мъжка ръченица.
Наименованието на ръченицата идва от ръченѝк – кърпа, която често се държи в ръка и се развява от играещия. Тя има и множество местни названия – по̀садник, по̀седница, по̀сварник, тестемѐличка, чѐпница, зъ̀лвенска, на плѐсане и други.
Танцът е разпространен в цяла България, но в отделните етнографски области се танцува с характерния стил на съответната област. Според етнографската област и стила на изпълнение основните видове ръченица са: добруджански ръченик, северняшка ръченица, шопска ръченица, тракийска ръченица и македонска ръченица.
Шопската ръченица е много бърза като мелодия и се изпълнява с бързи и технични движения. Тракийската ръченица е с бавна и орнаментирана мелодия и се играе с бавни и отмерени движения в характерен стил. Добруджанският ръченик също е относително бавен, но с подчертан ритъм, характерен за добруджанските мелодии. Играе се тежко и по-често от мъже. Северняшката ръченица е бърза по ритъм и често се среща и като ръченица на песен. Играе се умерено бързо, а стилът е близък до тракийския.
Ръченица (село)

Ръченица (изписване до 1945 година: Рѫченица) е историческо село в Югоизточна България, в Сливенско. Името на селото до 1934 година е Кючеклари. На 10 август 2006 година селото е присъединено към село Зайчари. Населението на селото към 2006 година е 6 души. Селото е разположено на надморска височина от 598 метра, а географските му координати са 42° 58' северна ширина и 26° 15' източна дължина.
Вердикал

„Вердикал“ е квартал на град Банкя.
Центърът му е маркиран от паметник „Загинали за родината“. Съборът на Вердикал се празува месец юни на празника на Всички светии, първата неделя след Петдесетница. Празникът идва от старинната църква в кв. Вердикал „Всех Светих“, която е най-старият християнски храм в района на Банкя, като в нея са се черкували всички околни села. Счита се, че е построена веднага след Боянската църква (Х-ХІ в.). До 1971 година Вердикал има статут на самостоятелно село, когато е присъединено заедно със селата Градоман и Михайлово като квартали на Банкя, обявена през 1969 година за град.
Името му идва от най-хубавата девойка в Банкя. Според легендата турчин искал да вземе за булка момиче на име Калина. Брат и обаче отказал да я даде. Турците го заловили и искали от него да им съдейства да вземат сестра му, но той не се пречупил. Когато го заплашили със смърт и разбрал, че няма да може да я защити, той изпратил съобщение, което се предавало по селото от уста на уста, а именно „Варди Калина“. По-късно това се превърнало в прозвището Вердикалино, което с годините се изменило до сегашния си вид.
Във Вердикал е нарисувана известната картина на майстора Иван Мърквичка (1856 – 1938) Ръченица". Знае се, че Мърквичка се е лекувал и често е посещавал минералната баня на град Банкя край София. Пътувал е всяка събота и неделя до Банкя с файтон като е плащал на файтонджията да стои с него до неделя и в определен час да го върне отново в столицата. След процедурите в банята на Банкя, художникът отсядал в апартамент на санаториума, в центъра на курорта. В събота вечер и в неделя по обяд обикалял кръчмите. Харесвал българските манджи, лютите пикантни чушчици, кавърми и яхнии и често е посещавал специално кръчмата на село Вердикал – сега квартал на Банкя. Там бил изумен от страстните танци на шопите. И в картината „Ръченица“ той рисува прекрасния млад мъж, танцуващ вихрен танц. Позирал му е самият персонаж – Недялко Хубавеца. Култов местен герой, който освен, че танцувал, умеел и да свири прекрасно на гайда.
Joe Boyd

Joe Boyd (born August 5, 1942) is an American record producer and writer. He formerly owned Hannibal Records. Boyd has worked on recordings of Pink Floyd, Fairport Convention, Sandy Denny, Richard Thompson, Nick Drake, The Incredible String Band, R.E.M., Vashti Bunyan, John and Beverley Martyn, Maria Muldaur, Kate & Anna McGarrigle, Billy Bragg, James Booker, 10,000 Maniacs, and Muzsikás. He was also one of the founders of the highly influential nightclub venue UFO.
Boyd was born in Boston, Massachusetts, and raised in Princeton, New Jersey. He attended Pomfret School in Pomfret, Connecticut. He first became involved in music promoting blues artists while a student at Harvard University. After graduating, Boyd worked as a production and tour manager for music impresario George Wein, which took Boyd to Europe to organise concerts with Muddy Waters, Coleman Hawkins, Stan Getz and Sister Rosetta Tharpe. Boyd was responsible for the sound at the 1965 Newport Folk Festival, when Bob Dylan played a controversial set backed by electric musicians.
In 1964 Boyd moved to London to establish the UK office of Elektra Records. In 1966, Boyd and John "Hoppy" Hopkins opened the UFO Club, a famous but short-lived UK Underground club in London's Tottenham Court Road. He produced the first single "Arnold Layne" by UFO regulars Pink Floyd, and recordings by Soft Machine. Boyd worked extensively with audio engineer John Wood at Sound Techniques studio in Chelsea. In this studio, Boyd and Wood made a succession of celebrated albums with British folk and folk rock artists, including the Incredible String Band, Martin Carthy, Nick Drake, John Martyn, Fairport Convention and Richard Thompson. Some of these were produced by Boyd's company Witchseason Productions.
Boyd returned to the United States at the end of 1970 to work as a music producer for Warner Bros. with special input into films, where he collaborated with Stanley Kubrick on the sound track release of A Clockwork Orange. Boyd also contributed to the soundtrack of Deliverance, directed by John Boorman, where he supervised the recording of "Dueling Banjos", which became a hit single for Eric Weissberg. Boyd also produced and co-directed the film documentary Jimi Hendrix (1973). In the States, Boyd produced albums by Maria Muldaur and Kate & Anna McGarrigle. Boyd subsequently founded the Hannibal Records label in 1980 (later absorbed into Rykodisc), which released albums by Richard Thompson and many recordings of world music, including Hungarian band Muzsikás. Boyd also produced R.E.M.'s third album Fables of the Reconstruction (1985) and records by Billy Bragg and 10,000 Maniacs.
Boyd was executive producer for the 1989 feature film Scandal, starring John Hurt and Bridget Fonda about the Profumo affair in UK politics in 1963. Boyd left Hannibal/Ryko in 2001 and his autobiography, White Bicycles - Making Music in the 1960s, was published in 2006 by Serpent's Tail in the UK.
In 2008, Boyd was a judge for the 7th annual Independent Music Awards to support independent artists.
Boyd was a producer on the long-delayed Aretha Franklin concert film "Amazing Grace."
Real Illusions: Reflections

Real Illusions: Reflections is the seventh studio album by guitarist Steve Vai, released on February 22, 2005, through Epic Records. The album reached No. 147 on the U.S. Billboard 200, as well as No. 88 on the Dutch albums chart and No. 110 on the French albums chart.
Described by Vai as "rock fable", Real Illusions: Reflections is the first part of a three-part concept album about a town visited by the godsent Pamposh and his construction of the Church. "Lotus Feet", purposely designated as track seven (see The Seventh Song) and recorded live during three separate concerts in the Netherlands during Vai's 2004 "Aching Hunger Tour", was nominated for Best Rock Instrumental Performance at the 2006 Grammy Awards. Vai cites Bulgarian wedding music as having inspired "Freak Show Excess".
Sean Westergaard at AllMusic gave Real Illusions: Reflections a positive review, listing "K'm-Pee-Du-Wee", "Firewall", "Yai Yai", "Freak Show Excess" and "Lotus Feet" as highlights. He also remarked favorably about Vai's singing: "As a vocalist, he's gotten way more confident, and while it's doubtful his singing will ever be the primary attraction, he does a fine job here."
Rachenitsa Nunatak

Rachenitsa Nunatak (Bulgarian: нунатак Ръченица, ‘Nunatak Rachenitsa’ \'nu-na-tak r&-che-'ni-tsa\) is the ridge 1.8 km long in south-north direction, with twin rocky heights extending 500 by 350 m with elevation 842 m, and 900 by 330 m with elevation 843 m respectively, situated in Nichols Snowfield, northern Alexander Island in Antarctica. The vicinity was visited on 2 February 1988 by the geological survey team of Christo Pimpirev and Borislav Kamenov (First Bulgarian Antarctic Expedition), and Philip Nell and Peter Marquis (British Antarctic Survey).
The feature is named after the Bulgarian folk dance Rachenitsa, in connection with the settlement of Rachenitsa in Southeastern Bulgaria.
The south height of the ridge is located at 69°35′24″S 71°15′45″W﻿ / ﻿69.59000°S 71.26250°W﻿ / -69.59000; -71.26250, which is 5.3 km south-southwest of Shaw Nunatak, 8.3 km west of Tegra Nunatak and 8.05 km northwest of Nebush Nunatak in Elgar Uplands, and 8.4 km east-northeast of Moriseni Peak in Lassus Mountains.
This article includes information from the Antarctic Place-names Commission of Bulgaria which is used with permission.
Music of Thrace

The music of Thrace, a region in Southeastern Europe spread over southern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and European Turkey (Eastern Thrace), contains a written history that extends back to the antiquity, when Orpheus became a legendary musician and lived close to Olympus. Though the Thracian people were eventually assimilated by surrounding Balkan groups, elements of Thracian folk music continue.
Traditional Thracian dances are usually swift in tempo. They are mostly circle dances in which the men dance at the front of the line. The gaida, a kind of bagpipe, is the most characteristic instrument, but clarinets and toumbelekis are also used. The Thracian gaida, also known in ancient Greece as askaulos, is different from the Macedonian or other Bulgarian bagpipes. It is higher in pitch then the Macedonian gaida but less so than the Bulgarian gaida (or Dura). The Thracian gaida is also still widely used throughout Thrace in northeastern Greece.
List of European folk music traditions

This is a list of folk music traditions, with styles, dances, instruments and other related topics. The term folk music can not be easily defined in a precise manner; it is used with widely varying definitions depending on the author, intended audience and context within a work. Similarly, the term traditions in this context does not connote any strictly-defined criteria. Music scholars, journalists, audiences, record industry individuals, politicians, nationalists and demagogues may often have occasion to address which fields of folk music are to a distinct group of people and with characteristics undiluted by contact with the music of other peoples; thus, the folk music traditions described herein overlap in varying degrees with each other. Sometimes, folk songs will often be passed down.
Korovai

The korovai (Ukrainian: коровай [kɔrɔˈʋai̯] , Russian: коровай before the 1956 reform), karavai (modern Russian: каравай [kərɐˈvaj], Belarusian: каравай, Old East Slavic: караваи), or kravai (Bulgarian: кравай [krɐˈvaj]) is a traditional Bulgarian, Ukrainian, and Russian bread, most often served at weddings, where it has great symbolic meaning. It has remained part of the wedding tradition in Belarus, Russia, Ukraine, as well as in the Russian and Ukrainian diasporas. Its use in Belarus, Russia and Ukraine dates back to hospitality and holiday customs in ancient Rus. A similar bread (Polish: korowaj) is made in parts of eastern Poland. A round korovai is a common element of the bread-and-salt ceremony of welcome.
The bread has ancient origins, and comes from the pagan belief in the magical properties of grain. Korovai was a large round braided bread, traditionally baked from wheat flour and decorated with symbolic flags and figurines, such as suns, moons, birds, animals, and pine cones. Wheat stalks, herbs, nuts, flowers and fruit were used to embellish the korovai. The white, shaped decorations are typically made from salt dough, also known as dead dough or baker's clay. The bread has no set design, and the style and ornamentation of the korovai varies by region, although colors red, gold and silver were most commonly employed in decoration.
The bread was traditionally prepared in the home of the bride by women who sang traditional songs to guide them through the making. These women were called the korovainytsi, and were most often invited in odd numbers to do the job of making the bread, usually seven.
The embellishments served a symbolic function. Two birds, made out of dough, represent the couple, and other birds represent family and friends. The entire arrangement is surrounded by a wreath of periwinkle, a symbol of love and purity. The korovai receives blessings before it is placed in the oven for baking.
The bride and groom were given the korovai as a blessing before the wedding ceremony. The korovai was shared by all the wedding guests, and this was considered the culmination of the wedding. During times of hardship, when a wedding was impossible, the blessing and sharing of bread was often considered enough to constitute a marriage in the eyes of the community.
The top part of the korovai symbolizes the Moon; it is divided in half and belongs to the marrying couple, the next slice goes to the mother and father of the bride, and so on. In eastern Ukraine, the mother receives a pair of shoes made out of dough, while the father is given an owl, out of those decorating the korovai.
The bottom section of the korovai called the pidoshva can be shared with the guests and the band as a symbol of good luck and future prosperity.
Konstantin Makovsky

Konstantin Yegorovich Makovsky (Russian: Константи́н Его́рович Мако́вский; (20 June o.c.) 2 July n.c. 1839 – 17 o.c. (30 n.c.) September 1915) was an influential Russian painter, affiliated with the "Peredvizhniki (Wanderers)". Many of his historical paintings, such as Beneath the Crown (1889) also known as The Russian Bride's Attire and Before the Wedding, showed an idealized view of Russian life of prior centuries. He is often considered a representative of Academic art.
Konstantin Makovsky (1839–1915) was a famous Russian realist painter who opposed academic restrictions that existed in the art world at the time. His father was the Russian art figure and amateur painter, Egor Makovsky and his mother was a composer. Because of his parents' professions, Makovsky showed an early interest in painting and music. He entered the Moscow School of Painting, Sculpture and Architecture at the age of 12, where he was influenced by teachers such as Vasily Tropinin and Karl Bryullov. After graduating, Makovsky went to France in hopes of becoming a composer, but after touring Europe in order to get acquainted with traditional folk and classical music, he ultimately chose painting.
In 1858 Makovsky entered the Imperial Academy of Arts in Saint Petersburg, where he created artworks such as Curing of the Blind (1860) and Agents of the False Dmitry kill the son of Boris Godunov (1862). In 1863, Makovsky and thirteen other students protested against the Academy's decision to only allow artwork of Scandinavian mythology in the competition for the Large Gold Medal of Academia. Thus, all of them left the academy without a diploma. This incident later came to be known as the "Revolt of the Fourteen".
Later, Makovsky joined the Artel of Artists, a cooperative association founded by Ivan Kramskoi, whose members were realist artists that advocated for more realistic depictions of the everyday life of old Russia. Notable works by Makovsky of this period are "The Widow" (1865) and "The Herringwoman" (1867). In 1870 he became a founding member of the Society for Travelling Art Exhibitions and continued to work on paintings in the realism genre. He went on to travel North Africa and Serbia in the mid-1870s., which resulted in a significant stylistic change as he started putting greater emphasis on colours and shapes.
At the World's Fair of 1889 in Paris, he received the Large Gold Medal for his paintings Death of Ivan the Terrible, The Judgement of Paris, and Demon and Tamara. By the end of the century, Makovsky was one of the most respected and highly-paid Russian artists, regarded by some critics as the forerunner of Russian impressionism. He died in 1915 when his crew crashed into a tram on the streets of St. Petersburg.
The artist's painterly style has the features of several styles. Having left school and being a representative of academism, he demonstrated some of the qualities which would be most clearly shown in the work of the Russian Impressionists. In addition, some of his historical paintings, such as Bride-show (1889), show an idealised view of life in Russia in previous eras.
Pikki Pikki dance

The Pikki Pikki dance is a viral South Korean cheerleading dance routine, invented in 2022 by the cheerleaders of the KBO Baseball team KIA Tigers, based in Gwangju.
The dance is simple: it entails moving each hand in turn in a thumbs-up position up and down. It is named onomatopoeically after the creaky noise of its music.
The music is from a remix by Indonesian DJ Prengky Gantay of "My Lecon" by the K-pop group jtL from their album Enter the Dragon (2001). The original song was written by Tony Ahn. "My Lecon" had been popular in Indonesia since its release. Gantay's remix was first popularised as part of a different TikTok challenge in 2021, the Olive Beat Dance Challenge, which then became popular in South Korea in 2021 as the Escalator Dance Challenge.
The dance is performed by the Kia Tigers' cheerleaders when the team's pitcher strikes out an opposing batter. The dance then went viral on social media. The original 19-second video clip that popularised was uploaded to YouTube in June 2024 and soon moved to TikTok and Instagram. It featured a cheerleader, Lee Joo-eun, transitioning from fixing her make-up to performing the dance and then returning to her seat, all without changing her laidback, deadpan expression. The original clip has had over 80 million views.
Social media videos performing the dance can involve people likewise nonchalantly transitioning from routine actions to performing the dance. The dance has been performed by people including Olivia Rodrigo and cheerleaders for the Dallas Cowboys.
The video brought attention to Asian baseball culture, especially in South Korea and led to the cheerleaders visiting other countries with similar baseball cheerleading culture, such as Taiwan.
Kristiansand domkirke

Kristiansand domkirke er hovedkirke for Agder og Telemark bispedømme og menighetskirke for Domkirken menighet i Kristiansand. Den nåværende kirken er den tredje domkirken i byen og den fjerde kirken på Torvet i Kristiansand.
Kirken er bygd etter tegning av arkitekt Henrik Thrap-Meyer og er en av landets største. Kirken har en forenklet gotisk spissbuestil, og betegnes som nygotikk. Bygningen er 70 meter lang og 39 meter bred, og tårnet er 70 meter høyt. Opprinnelig hadde kirken 2 029 sitteplasser og 1 216 ståplasser. I dag er den godkjent for 1 500 mennesker.
For å kunne utnytte de gamle murene fra kirken som brant i 1880, ble alteret lagt mot vest, mens kirker normalt pleier å ha alteret i øst.
Bygningsarbeidene ble ferdige 1. februar 1885, og hadde da kostet totalt 240 000 kroner. Blant annet gikk det med 700 000 murstein à 2 øre. Kirken ble vigslet 18. mars 1885 av stiftsprost Johan M. Brun som var fungerende biskop.
Under angrepet på Norge 9. april 1940 ble toppen av kirketårnet skutt av etter det ble truffet av en granat fra det tyske skipet Karlsruhe. Tyskerne var raskt i gang med å få fikset spiret, granaten som streifet tårnet slo ned med handelshuset Slottet som ligger ved foten av Baneheia
Kunstneren Eilif Peterssens altertavle «Jesus og Emmausvandrerne» stod ferdig i 1886, et år etter at den skulle vært overlevert. Bildet ble malt i Roma, der kunstneren oppholdt seg da han mottok oppdraget.
I 1930 ble kirken utstyrt med glassmalerier. De var utført av Carl Kristensen, og motivkretsen er hentet fra Det nye testamentet.
Kristiansand fikk sin første kirke i 1645 som ble kalt «Trefoldighetskirken». Den ble vigslet 21. juni 1646. Det var en liten kirke bygd i tre.
Kristiansand ble stiftstad og bispesete i 1682. Byen måtte da også få en standsmessig kirke, og stiftets første katedral fikk navnet «Vor Frelsers Kirke». Den var bygd i stein og ble vigslet av biskop Hans Munch i 1696, men brant ned allerede i 1734.
Byens tredje kirke og andre domkirke ble vigslet i 1738 av biskop Jacob Kærup. Denne kirken gikk med i bybrannen 18. oktober 1880.
Dagens kirke ble så reist på samme sted hvor alle de tre tidligere kirkene hadde stått.
Munken i Nidarosdomen

Munken i Nidarosdomen er et påstått spøkelse i Nidarosdomen. Han ble først observert og omtalt på 1920–tallet.
Bispinne Marie Gleditsch forteller om en opplevelse under en aftengudstjeneste i Mariakapellet i Nidarosdomen i januar 1924. Idet den forrettende presten, pastro Birkelund, stemte i med en salme, så bispinnen en skikkelse dukke opp i søylegangen mot oktogonen. Det så ut som en middelaldrende mann, med tonsur, munkekutte og et sår på halsen. I noen kilder dateres observasjonen til 1927.
Også senere biskop Alex Johnson skal ha sett en skikkelse i domen, i 1933.
I 1966 sto filosofimagister Jon Medbøe fram og fortalte at han og to studenter under nattlige vandringer i Nidarosdomen hadde hørt slepende skritt og messesang – «..og som musikk-historiker kunne jeg bestemme den som korsang fra 1208, [Perotinus], Notre Dame.» Dette utløste en voldsom offentlig debatt, og resulterte i intervjuer med flere som hadde sett Munken samt mer generelle innlegg for eller mot troen på spøkelser. Munken ble kjendis også i utlandet; et stort tysk ukeblad laget en fotomontasje som viste Munken i Domen.
Medbøe ble utestengt fra Nidarosdomen natterstider, etter ordre fra domprosten. Og da Andre Bjerke og Harald Tusberg noen år senere ønsket å utforske mysteriet i TV-programmet Streiftog i grenseland, forble dørene stengt.
Arbeiderbladet skrev på lederplass 9. mars 1966, mens interessen for Munken var på det høyeste: «Vi synes at de ansvarlige for Domkirken bør gå i gang med å finne en utvei til å ta knekken på de mange legender om munken som viser seg til de urimeligste tider, til og med under høymesse. De kan ikke finne seg i at Domkirken blir et beryktet spøkelseshus.» Flere eksperter innen ulike fagfelt har forsøkt å ta knekken på legendene, dvs. finne naturlige forklaringer på observasjonene av Munken, innen sine respektive fagfelt. Psykologiprofessor Harald Schjelderup mente at den tilstand Medbøe befant seg i, kunne føre til hørselsillusjoner. Audiofysikeren Gordon Flottorp gav eksempler på byggetekniske lyder som kilder til Medbøes og andres hørselsinntrykk.
Edvard Hoem og Henning Sommerro har laget Munken : et musikkdramatisk verk med handling fra 1200-tallet som ble oppført på Trøndelag Teater i 1991.
Forfatteren Frid Ingulstad har skrevet en roman om Munken og hans mulige opprinnelse.
Munken ble brukt i en episode av TV-serien Brødrene Dal og legenden om Atlant-is. I episoden voktet han en halvdel av et kart over en tapt samisk by.
Verdensby

Verdensby er en alminnelig betegnelse for en by som spiller en sentral rolle innen global kultur og økonomi.
Generelt anses New York, London, Tokyo og Paris for å være de fire dominerende verdensbyene. Deretter kommer «sekundære» verdensbyer som Hongkong, Singapore, Milano, Berlin, Toronto, Chicago, Los Angeles med flere.
Kjennetegn ved en verdensby er dens rolle innenfor forskjellige deler av samfunnet; at det er statlige myndigheter i byen, store internasjonale virksomheter, børser, storbanker og internasjonale organisasjoner.
I 1999 offentliggjorde Globalization and World Cities Study Group & Network (GaWC) på Loughborough University i Storbritannia en liste over verdensbyer i økonomisk forstand, på bakgrunn av deres betydning på ulike områder: Bokføring, reklame, bankvesen og adokatvesen. For hvert av de fire tjenesteytende områdene ble det fastslått sentre og tildelt poeng. Ledende sentre fikk tre poeng, større sentre to poeng og mindre sentre et poeng. Poengene ble lagt sammen for hver by. Den oppdaterte lista fra 2010 er som følger:
Omvendt trafikkpyramide

Omvendt trafikkpyramide eller omvendt transportpyramide er et prinsipp for bærekraftig transport som prioriterer transportformer som fremmer helse, det sosiale og viktige samfunnsfunksjoner i et hierarki. Det brukes av forkjempere for trafikksikkerhet over hele verden og i retningslinjer for trafikkdesign.
I 2020 undersøkte myndighetene i Storbritannia å legge inn bestemmelser om et slikt trafikanthierarki i trafikkforskriftene hvor fotgjengere prioriteres. Den omvendte trafikkpyramiden er sentral i australsk transportplanlegging.
Konseptet ble først utarbeidet i 1992 for canadiske Ottawalk og Transportation Working Committee for Ottawa-Carleton Round-table on the Environment, og sa bare "Gå, sykle, ta buss, kjøre lastebil, bil".
I 1994 publiserte Chris Bradshaw artikkelen The Green Transportation Hierarchy: A Guide for Personal & Public Decision-Making, og den ble oppdatert i 2004. Bradshaw var del av en gruppe for fotgjengere i USA, og i hierarkiet foreslo han å rangere passasjertransport basert på miljøutslipp. Rangeringen var: Gange, sykling, offentlig transport, bildeling og til slutt privat bil.
Hierarkiet har blitt rettet både mot individer og deres livsstilsvalg, og mot offentlige myndigheter for å styre ressurser, utvikling og sanksjoner. Bradshaw har beskrevet hierarkiet som logisk, og at effekten av å bruke det vil være radikal.
Modellen avviser konseptet om det balanserte transportsystemet hvor brukere antas å stå fritt til å velge mellom mange forskjellige, men likevel "like gode" transportmidler. Argumentasjonen for dette er at valg av transportmidler som generelt ansees som rangert lavt (gange, sykling, offentlig transport) ansees å generelt ha stor innvirkning på andre valg.
Gangbarhet

I arealplanlegging er gangbarhet eller gåbarhet når fasiliteter er lett tilgjengelig til fots og omgivelsene gjør det er trygt og behagelig å gå.
Begrepet walkability ble popularisert i 1960-årene av Jane Jacobs sine urbane studier. Bedring av gangbarhet er basert på ideen om at byrom skal være mer enn bare transportkorridorer designet for å få gjennom flest mulig kjøretøy, men også være ta vare på fotgjengere som oppholder og beveger seg der. Et beboelig og gangbart sted bør tjene en rekke bruksområder, brukere og transportmåter, og redusere behovet for biler for reiser.
De siste årene har gangbarhet blitt populært på grunn av fordelene det gir innen helse, økonomi og miljøvern, og er et viktig konsept for bærekraftig urbant design. Faktorer som påvirker gangbarhet inkluderer tilstedeværelse eller mangel og kvaliteten på gangstier, fortau eller andre steder hvor fotgjengere har prioritet, trafikk- og vegforhold, arealbruksmønstre, bygningers tilgjengelighet og sikkerhet.
Sonata Arctica

Sonata Arctica er et finsk power metal-band. Bandet ble startet i byen Kemi i 1996 under navnet Tricky Beans. De spilte så inn tre demoer (Friend 'till the End, Agre Pamppers og PeaceMaker.) Musikken på disse demoene minner mer om hard rock enn power metal, som de spiller i dag. Ingen av de første demoene ble sendt til noen platestudioer.
I 1997 endret de navn til Tricky Means, og i perioden 1997–1999 endret de stil til power metal. I 1999 gikk de i studio og spilte inn en demo ved navn FullMoon. Denne ble så sendt til Spinefarm Records og en platekontrakt og et endelig navnebytte til Sonata Arctica var et faktum. Like etter platekontrakten kom singlen UnOpened i Finland, hvor den nådde den finske listetoppen samme uken som den ble sluppet for salg.
Endelig i november 1999 ble deres første album Ecliptica gitt ut i Finland, og i andre land i begynnelsen av 2000. Albumet ble en stor suksess i Japan der den solgte i over 300 000 eksemplarer. På grunn av suksessen ble gruppen valgt ut til en Europa-turné sammen med de store power metal-bandene Stratovarius og Rhapsody (Rhapsody of Fire i dag). Etter at albumet ble sluppet ut ønsket ikke Tony Kakko å spille under turneen. I januar 2000 ble keyboardspilleren Mikko Härkin med bandet for å spille under turneen. Etter turneen kom gruppen ut med EP-en Successor, og de spilte på de største finske festivalene og klubbene med blant annet Nightwish. Sommeren 2000 meldte bassisten Janne Kivilahti seg ut av bandet av personlige årsaker, og til hans plass ble Marko Paasikoski valgt. Han hadde tidligere spilt i Sonata Arctica, da bandet gikk under navnet Tricky Means.
Nasjonsligaen i fotball for kvinner 2023/24 – divisjon A

Nasjonsligaen i fotball for kvinner 2023/24 – divisjon A var som øverste divisjon delt inn i 4 grupper med 4 lag i hver. Vinnerne i gruppene møttes i et finalespill ved gruppespillets slutt. Lagene som endte på tredjeplass måtte ut i playoff mot lagene som endte på andreplass i divisjon B, mens lagene som ble sist rykket ned til divisjon B.
Trekningen for sluttspillet ble gjennomført 11. desember 2023. Spania trakk Nederland, mens Frankrike trakk Tyskland i semifinalene. Vinneren og taperen av kampen mellom Spania og Nederland fikk hjemmekamp i henholdsvis finalen og bronsefinalen.
Klokkeslettene er oppført i sentraleuropeisk tid (UTC+1) (lokaltid, hvis annerledes, står i parantes).
Thomas Ken

Thomas Ken (født i juli 1637, død 19. mars 1711) var en engelsk biskop og salmedikter.
Han ble ordinert til prest i 1662, og hadde ulike sognekall før han i 1672 ble kapellan ved Winchesterkatedralen. I denne tiden begynte han sitt forfatterskap. I 1679 ble han hoffpredikant for prinsesse Maria ved hoffet i Amsterdam. Fra 1680 var han predikant ved den engelske kong Karl IIs hoff. I 1684/85 ble han utnevnt til biskop i Bath and Wells, men ble fratatt bispeembedet igjen i 1691. Da hadde han sittet en periode i Tower sammen med seks andre biskoper, etter at de hadde kritisert Karl II. Året han ble biskop utga han sin mest kjente bok Exposition on the Church Catechism, The Practice of Divine Love.
Hans dikt og salmer ble utgitt i fire bind i 1721 under tittelen Hymns for all the Festivals of the Year. Andre tekster utkom i ett bind i 1838. Han er representert med én salme i Norsk Salmebok og Norsk salmebok 2013.
Han var svoger av fiskebokforfatteren Izaac Walton.
Trinity Church (Oslo)

Trinity Church (in Norwegian, Trefoldighetskirken), is a church in the Hammersborg neighborhood in central Oslo, Norway. Trinity Church is neighbor of the government buildings in Regjeringskvartalet. It is the parish church of the parish of Trinity, belonging to the Diocese of Oslo of the Church of Norway. It is one of the largest churches in Oslo (1000 seats). The church itself is in the raw red brick, while the vaults, arches and small columns have gray scale color. The nave is octagonal with a Greek cross superimposed, with the choir in the apse, shallow transept and rectangular entrance flanked by two slender, octagonal bell towers. A central dome rises above the church. Trinity Church is the largest church in Oslo and one of the largest of the many octagonal churches in Norway, but one of few octagonal churches constructed in red brick.
Trinity Church was consecrated in 1858 by Bishop Jens Lauritz Arup. The church has a neo-Gothic central plan, with two towers and eight-sided dome, and was designed by architect Alexis de Chateauneuf (Hamburg, Germany), but some time after the work was entrusted to his pupil Wilhelm von Hanno, who made some modifications to the original plans and put his personal stamp on the details of interior decoration. The main body (1872) is the work of Claus Jensen, the altarpiece (1866) is a painting by Adolph Tidemand (the Baptism of Jesus), chandeliers were designed by Emanuel Vigeland in 1923, and Frøydis Haavardsholm was the designer of the stained glass windows.
List of largest clock faces

A list of permanent working clocks with the largest faces in the world. Entries include all clocks with faces at least 4 m (13 ft) in diameter. Clocks can be located on the exterior or interior of buildings, and towers as well as on the ground as is the case with floral clock faces.
A list of clocks with the largest faces that have been installed as temporary structures. Inclusion in this list follows the criteria for the list above except for the temporary nature of the clock.
A list of the largest faced clocks that have been destroyed or demolished since their construction. Inclusion in this list follows the criteria for the list above except for the fact that the clocks are no longer extant.
Oscarshall

Oscarshall Palace is a maison de plaisance located in the small fjord Frognerkilen on Bygdøy in Oslo, Norway.
The palace was built from 1847 to 1852 by the Danish architect Johan Henrik Nebelong on commission from King Oscar I and Queen Joséphine of Norway and Sweden. In 1881, King Oscar II opened the palace to the public as a museum.
The palace, with its secondary buildings and surrounding park, is considered to be one of the finest examples of neo-Gothic architecture in Norway and is one of the country's most important embodiments of the National Romantic style which was popular in Norway during the period.
The interior was wholly constructed and decorated by Norwegian artists and artisans. The walls of the dining hall are decorated with paintings by Joachim Frich, Adolph Tidemand, and Hans Gude while the decoration and furniture in the drawing room evokes the style of the old Norwegian guildhall.
Oscarshall was sold by King Carl IV to the Norwegian state in 1863. The palace was almost given a new role when it was decided in 1929 that Oscarshall would become the new residence of Crown Prince Olav and Princess Märtha. These plans were never realized, however, as both financial problems and political opposition arose. The situation was later solved when Fritz Wedel Jarlsberg sold his estate Skaugum to the royal couple. Today it is the property of the state and is placed at the disposal of the King.
Between 2005 and 2009 Oscarshall underwent a total renovation and restoration, bringing colours and furniture back to its original style from 1859. The renovation completed, Oscarshall was once again open to the public.
The palace is now open for guided tours during the summer season. In 2013, Queen Sonja opened the Queen Joséphine Gallery on the grounds of Oscarshall. The gallery exhibits graphic prints and featured prints by Her Majesty herself during its first season.
59°54′36.53″N 10°41′32.04″E﻿ / ﻿59.9101472°N 10.6922333°E﻿ / 59.9101472; 10.6922333
Ullern Church (Oslo)

Ullern Church (Ullern kirke) is a cruciform Romanesque church on the Holgerslyst property in the Ullern borough of Oslo, Norway. It is the parish church for the Ullern congregation in the Vestre Aker Deanery of the Diocese of Oslo.
The church is built of stone in 1903 and has seating for 800 people. The cruciform structure is dominated by an imposing central tower. The tower is square and has three windows on each side. It is topped by a tall hip roof covered in copper. The church was designed by the architect Harald Bødtker. The original plans for the church had been drawn up by Georg Andreas Bull, Oslo's city surveyor. The plans were reworked by the architect Johan Storm Munch (1862-1947) in 1899 and approved by the municipality. The drawings were lost that year, when the farm where Munch had his office burned down. The assignment then went to Harald Bødtker, who had just been hired as the municipal architect in Aker.
The church is dominated by its choir apse with the fresco The Ascension, painted by Eilif Peterssen in 1908–1909. It was created in close collaboration with Domenico Erdmann. Over the altar, in front of the fresco, is a marble baldachin designed by Bødtker. The pulpit was also designed by Bødtker, and the baptismal font is from the company Johs Grønseth & Co. The stained glass dates from 1915 to 1915; it was designed and created by various artists, including Gabriel Kielland and Karl Kristiansen (1886–1971).
The church yard contains a cemetery (Ullern kirkegård) which is the final resting place to a number of notable Norwegian citizens including Håkon Christie, Chrix Dahl, Thorbjørn Egner, Carl Otto Løvenskiold and Nic Schiøll.
Fagerborg Church

Fagerborg Church (Fagerborg kirke) is located south of Stensparken at Fagerborg in Oslo, Norway.
Construction of the church began in 1901 and was completed in 1903. The church was consecrated on 22 December 1903 by Bishop Anton Christian Bang. The structure is a three-aisled church built of brick, with constructive joints made of quarried granite and has 480 seats. The church is in neo-Gothic style with elements of Jugendstil and built in granite from Skjeberg. The church was redecorated inside for the 50th anniversary in 1953. On this occasion, the church received new chandeliers designed by architect Harald Hille.
The church is built to a design by architect Hagbarth Martin Schytte-Berg (1860-1944), after a competition in which 54 entries were submitted. The style church is the result of Art Nouveau treatment of the historic eclecticism. The basic features are derived from the Neo-Romanesque and neo-Gothic, but filtered through the Jugendstil styled shapes and materials. Church doors are executed in a national romantic medieval-inspired style
The pulpit and altar are both designed by the church architect.
Stained glass is made of imperial and royal court stained glass artist Max Roth from the studio Miksa Roth in Budapest, Hungary, with Art Nouveau features.
Pulpit is also Art Nouveau style and made of American Oregon pine. It is decorated with carvings from drawing by Schytte-Berg. The font is in white marble, has an octagonal base and is in neo-Romanesque style.
The altarpiece was designed by the architect and executed by sculptor Jo Visdalen (1861-1923). The altarpiece has over the years undergone a number of changes.
The old church organ at the side of the choir was completed in 1903. The church received a new organ in 1932 consisting of 2728 pipes. In 2007 a newer organ was dedicated. The new organ was built by Orgelbau Goll based in Lucerne. The organ has 54 voices and is among the largest in Oslo.
Grønland Church

Grønland Church (Grønland kirke) is a church located in the neighbourhood of Grønland in the borough of Gamle Oslo in Oslo, Norway.
Grønland Church congregation was formed in 1861. Grønland Church was consecrated on March 3, 1869, by Bishop Jens Lauritz Arup. The church is characterized its tall and monumental tower surrounded by four smaller spires. The structure is of brick, in neo-Romanesque architectural style. Its architect was Wilhelm von Hanno. He also designed the school, former fire station and former police station, together with the church as a unified group of buildings in Grønland, a district that recently (1859) had been incorporated into Christiania (now Oslo).
Grønland Church originally had 1380 seats, which has since been reduced to approx. 800. The church has an historic organ built by Walcker Orgelbau in 1877. It was moved to Grønland Church in 1934. The organ was restored in 1961 by J. H. Jørgensen Orgelfabrik. The church has undergone several restorations, most recently in 1988.
The church owned and operated Vestasol camp at Larkollen off Moss. It hosts social gatherings and meetings, and church members work together in the effort to maintain the camp site.
Grønland Church is a heritage site and is registered in the Norwegian Directorate for Cultural Heritage.
List of regional characteristics of Romanesque churches

Romanesque is the architecture of Europe which emerged in the late 10th century and evolved into Gothic architecture during the 12th century. The Romanesque style in England is more traditionally referred to as Norman architecture.
The style can be identified across Europe with certain significant architectural features occurring everywhere. There are other characteristics that differ greatly from region to region.
Most of the buildings that are still standing are churches, some of which are very large abbey churches and cathedrals. The majority of these are still in use, some of them having been substantially altered over the centuries.
This list presents a comparison of Romanesque churches, abbeys and cathedrals of different countries. The second section describes the architectural features that can be identified within pictures of major architectural elements.
These features often have strong local and regional traditions. However, the movement of senior clergy, stonemasons and other craftsmen meant that these traditional features are sometimes found at distant locations.
Old Aker Church

Old Aker Church (Norwegian: Gamle Aker kirke) is a medieval era church located in Oslo, Norway. An active parish, the church is the oldest existing building in Oslo. The church is surrounded by Old Aker Cemetery.
Old Aker Church was built as a three-naved Romanesque style basilica and constructed from limestone. It is believed to have been erected by King Olav Kyrre in 1080 as a church for all of Vingulmark, the historic area surrounding Oslo. The grounds of Old Aker Church were originally likely the former site of the regional thing during the pre-Christian period.
The oldest part of the surrounding churchyard dates back to the 12th century. The church has been pillaged and ravaged by fire several times. After a lightning strike and fire during 1703, the tower and church bells as well as the entire inventory were destroyed. The exterior was restored by architects Heinrich Ernst Schirmer and Wilhelm von Hanno in 1861. Interior restoration during the period 1950–1955 included removal of plaster on brick walls and restoration of the Baroque style furnishings.
The church sits on top of Telthusbakken and is located centrally in the borough of St. Hanshaugen. It is surrounded by an old graveyard and a stone wall. The church has a baroque pulpit and baptismal font from 1715. The tower is built in 1861. Most of the buildings in the area are from the 1880s, with the addition of some apartment blocks from the 1930s. Gustav Jensen was appointed a curate at the church in 1874. Knud Karl Krogh-Tonning was parish priest at the church from 1886 to 1900.
The church was built over the former site of the Akerberg mines (Akersberg gruve), an ancient silver mine which was in use since the early Viking Age. The mines are mentioned in the 1170 Historia Norvegiae. The existence of these former mines must have been the inspiration for a number of local stories about the church having hidden silver treasures and even dungeons with dragons.
With the occupation of Norway by Nazi Germany during the Second World War in April 1940, King Haakon VII and his family left for England on the British cruiser HMS Glasgow, not knowing when or even if they would return. On 19 April 1940, the coffin of the king's late wife Queen Maud of Norway, who had died unexpectedly in London in 1938, was moved in secret to Old Aker Church, on the instructions of Eivind Josef Berggrav, Bishop of Oslo and Primate of the Church of Norway, and Hofmarschall Peter Broch. Her body was left undiscovered in the crypt, covered in a hidden tomb, until 1949, when her remains were finally interred in the Royal Mausoleum at Akershus Castle.
Old Aker Cemetery (Norwegian: Gamle Aker kirkegård) is the cemetery of Old Aker Church. Like the church, the cemetery dates back to the Middle Ages. The cemetery is located adjacent to the newer Cemetery of Our Saviour, which was established in 1808. Several notable people are interred in the cemetery.
List of tallest buildings by country

The following is a list of the tallest buildings in the world by country, listing only the tallest building in each country. The list includes only completed or topped out buildings. 25 countries have supertall skyscrapers (above 300 m (980 ft)) and 4 countries have megatall skyscrapers (above 600 m (1,969 ft)). Many countries constructed their tallest buildings in the 2010s, with the oldest tallest building being Caracol in Belize, which has stood as the country's tallest building since 1200 BC.
The list includes the tallest completed or topped out buildings in each country in the world. Heights are measured to the architectural top, with antennae being excluded.
The list includes the tallest under construction buildings that will become their nation's tallest building upon completion.
White (architecture firm)

White Arkitekter is an architectural firm based in Gothenburg, Sweden. It is the biggest firm in Scandinavia, with more than 900 employees. The company has 16 offices in Sweden, Denmark, Norway and England.
The firm was founded in Gothenburg in 1951 by architects Sidney White (1917–1982) and P. A. Ekholm, and has since established offices in Stockholm, Malmö, Halmstad, Linköping, Örebro, Uppsala, Umeå, Västerås, London, and Oslo. White Arkitekter has a shared ownership model between their employees, with more than 600 shareholders, of which ~130 are partners.