davidanugraha/M4-RAG huggingface dataset:
Excelsior Caffé

Excelsior Caffé is a Japanese chain of coffeehouses owned by Doutor Coffee. Established in 1999, it operates exclusively in Japan. The restaurant has an Italian style, hence its use of "caffé" (the Italian spelling) instead of "café" in its name.
The company was created in 1999 by Doutor Coffee. Its first location opened in July of that year in Seavans A Mall in Shibaura. Doutor was a more grab-and-go coffeehouse without any baristas, using machines instead. They wanted to create a more "premium" experience for its customers, allowing them to have a place to sit and relax in a quiet atmosphere. In 2000, American coffee chain Starbucks filed for an interim injunction against the Doutor, saying that their logo (which has since changed) and appearance looked too much like its own.
In 2021, Excelsior started using the food sharing service TABETE to reduce food loss.
The chain has a seasonal menu that changes often. Still, it also has many stationary drinks, including lattes, uji matcha, hōjicha, mocha, Americano, milk tea, espresso panna cotta, Unshu mandarin orange juice, and lemonade. It uses four varieties of coffee beans, Excelsior, Yirgachefe Washed, Decaffeinated, and Organic Guatemala, from Brazil and Tanzania, Ethiopia, Colombia, and Guatemala, respectively. The milk used in the drinks comes from cows in Hokkaido. Other than beverages, the coffeehouse serves hot dogs, sandwiches (consisting of roast beef and Danish cream cheese, shrimp and salmon cream cheese, pastrami and lettuce, and mortadella and Gouda cheese), beef stew with mozzarella, yuzu koshō doria, shrimp and avocado doria, and pasta (with varieties such as crab tomato crean, salmon and four-cheese, shiso soy sauce with mascarpone, and bolognese with truffle oil).
As of 2021, Excelsior Caffé has 123 stores, all in Japan. It is mainly concentrated in the Kantō region.
Sky Bus Transport System

Sky Bus Transport System Share Company is a first modern intercity coach transport company in Addis Ababa, Ethiopia. It was established by more than 3400 shareholders with a registered capital of birr 60 million.
Sky Bus is directed by a Board of Directors and managed and operated by highly qualified professionals in various disciplines and many years of experience in the transport sector, it is now functioning across ten major destinations in Ethiopia. The firm has also announced plans to cover the whole country in the coming few years and expand service to other nations in the Horn of Africa. The bodies of the buses are manufactured by Jinhun Youngman, automobile manufacturing company of China, in joint venture with Neoplan of Germany. The buses are luxury coaches powered by world-class MAN 310 horsepower engines. In addition, ZF manufactured our buses’ axles (front and rear) and gearboxes with air suspensions and leveling mechanisms. The steering and brake systems are German products. Instead of the traditional 62 seats, Buses have 47 seats leaving more space for the passengers’ comfort with safety belt all round and individually controlled air conditioning system.
Although SkyBus was established with a great vision of connecting Ethiopian cities and even Ethiopia with neighboring countries, the company has long stopped operating, about two years, due to an utter bankruptcy that resulted from poor management, corruption, and direct and inappropriate manipulation of the company by higher entities of TPLF, the now ousted group that controlled the country for over three decades. The company's website indicated in this article used to be functional but doesn't exist now.
Ministry of Transport and Communications (Ethiopia)

The Ministry of Transport and Communications is an Ethiopian government department responsible for the oversight of transport and communication sectors in Ethiopia. It was formerly known as the Ministry of Transport. Dagmawit Moges served the ministry from 2018 to 2023. The current minister is Alemu Sime since 20 January 2023.
Modern service delivery of transport emerged for the first time during the regime of Emperor Menelik II. After the invading Italian army was driven out of Ethiopia, an office known as "Ministry of Works and Communications" is formed to lead the service of transport and communications by Proclamation No 1/1953 promulgated to define powers and duties of the ministries.
After staying until 1966, the communications sector was detached from this Ministry with order No 46/1966 and established bearing the name "Ministry of Communications". In 1970, the Ministry of Communications, Telecommunication and Post” was established so as to supervise transport and communication services in the centralized manner. Then, in 1974, the name was changed to "Ministry of Communication and post" and after a couple of years (in 1976); it was again renamed "Ministry of Transport and Communications". The ministry merged with the sector of construction and energy and named "Ministry of Infrastructure" in 2001 with Proclamation No 256/2001. Once again it gained its name "Ministry of Transport and Communication" with proclamation No 471/2005.
After delaying until 2011, the communication sector was detached from the Ministry with order No. 691/2011 and established bearing the name "Ministry of Transport" changed with the supervision and coordination of eleven institutions of transport sectors:
In its field of activity the Ministry of Transport functions:
Asociación Obrera Textil

La Asociación Obrera Textil de la República Argentina (AOT) es el sindicato que agrupa a los obreros de la industria textil en la República Argentina. La AOT ha sido tradicionalmente uno de los sindicatos grandes del sindicalismo argentino, también llamados localmente "gordos". A sus filas pertenecieron Andrés Framini y Juan Carlos Laholaberry, quienes se desempeñaron como secretarios generales.
La AOT fue creada el 27 de octubre de 1945, dentro de la Confederación General del Trabajo (CGT). En ese momento existía otro sindicato que agrupaba también a los trabajadores textiles, la Federación Obrera Textil (UOT), dirigido por socialistas y comunistas. Antes de finalizar la década de 1940, la UOT se disolvió y sus miembro decidieron afiliarse a la AOT.
Cuenta con una obra social, OSPIT (Obra Social del Personal de la Industria Textil) y un periódico llamado El Textil. Está afiliada a la Federación Internacional de Trabajadores del Textil, Vestuario y Cuero (FITTVC).
En 2008 su secretario general es Jorge Lobais.
Formas y Colores

Formas y Colores es una empresa textil y plástica Argentina, líder en la fabricación y distribución de alfombras y cortinas para decoración del hogar, como así también exportadora en más de 18 países durante los años de 1990 y 2000.​
Fue fundada en 1978 por los hermanos Eduardo y Horacio Markowiecki.
La idea de encarar la puesta en marcha de una empresa donde aplicar todas las enseñanzas recibidas por parte de padres y abuelos les dio a los fundadores un ímpetu que se vio reflejado en el crecimiento de la empresa.
Formas y Colores tuvo tres sedes principales a lo largo de su historia, la primera en la calle Marcos Sastre, la segunda en la calle México, y la última y definitiva desde 1998 en la calle Zuviría 5630 de la Ciudad de Buenos Aires, donde antiguamente se localizaba Frenithe, una de las mayores empresas de frenos de aire, transmisores y silenciadores para automóviles de la Argentina —funcionó entre 1960 y 1998— y de la que primero se adquirió el ala derecha y luego, el ala izquierda. En ese mismo predio, también forjó sus comienzos Curtiembre La Hispano Argentina bajo el nombre Breuer, Villarino & Cía, entre 1920 y 1925. Hacia los años de 1930, funcionó el edificio de curtiembre José D'Urso & Cía y posteriormente, el lavadero de lana Galy & Erviti, cuya sociedad fue liquidada y puesta a remate en 1950. Inicialmente, Formas y Colores contaba con 450 metros de planta fabril y en la actualidad, con alrededor de 6000.
Las instalaciones, conjuntamente con la inversión en maquinaria y la incorporación de personal especializado y profesionales, permitió el desarrollo de nuevos artículos en el correr del tiempo, entre los que se hallan alfombras, cortinas para baño, protectores plásticos, cubrecamas, antideslizantes y accesorios de baño.
La empresa exportó productos entre 1991 y 2011 a 18 países, entre ellos Brasil, Chile, Uruguay y España, en los que llegó a contar con representantes, oficinas comerciales y showrooms en Buenos Aires y Porto Alegre, como así también con una planta en la localidad de Villa Mercedes, Pcia. de San Luis. Actualmente, opera solamente dentro del territorio argentino.​
En 2003, celebró sus 25 años en el mercado con un importante evento.
A lo largo de su historia, la empresa fue merecedora de reconocimientos, y partícipe de múltiples exposiciones y festivales. El Comité Ejecutivo SRL de la Feria Presentes, a través de un jurado de profesionales, galardonó a Formas y Colores con el premio Presentes a la Excelencia en Diseño en la categoría «Producto Textil» (2004 y 2007), «Innovación Tecnológica» (2006 y 2007) y «Textiles de Baño» (2008 y 2010). Por otro lado, la Fundación Export.Ar, dependiente de la Cancillería Argentina, organizó en 2005 la 10.º edición del Premio Export.Ar y premió a Formas y Colores «en reconocimiento a los esfuerzos y logros de la empresa en la inserción de sus productos en el mercado internacional».
Museo Iberoamericano de Artesanías

El Museo Iberoamericano de Artesanías es un museo ubicado en la Ciudad de Córdoba (Argentina) con fecha de inauguración en 1983.
El museo está en el interior del reconocido Centro Cultural Paseo de las Artes (Belgrano 750, Barrio Güemes), visitado los fines de semana por más de cinco mil personas de todo el mundo.​
Se exhiben alrededor de 480 piezas del ámbito de la artesanía tradicional y moderna. Entre ellas se encuentran: artesanías indígenas de Brasil y Perú, muebles en mimbre de Chile, cerámicas de Nicaragua, máscaras de Oruro, tallas de madera, la caja escultórica de diseño gótico de Jorge Bianello, trabajos de cuchillería de Sergio Bruno, tallado en madera de Eduardo Paviolo, además piezas donadas por artesanos que participaron en anteriores ediciones.​
En general, la manifestación de las artesanías se relaciona con las celebraciones religiosas y populares, el culto de la música, los antepasados, los juegos infantiles, la indumentaria, la cocina, la agricultura, entre otros. Algunas de ellas fueron premiadas en la Feria Internacional de Artesanías, que se realiza anualmente en el Complejo Feriar.​
Itatí (Argentina)

Itatí (en guaraní: Itatĩ) es la ciudad cabecera del departamento homónimo, en el norte de la provincia de Corrientes, a orillas del río Paraná (en Argentina). El municipio comprende las islas: Verde, Guazú, Itá Ritá, del Pañuelo, y del Abra.
La ciudad fue fundada el 7 de diciembre de 1615 por el sacerdote franciscano Luis de Bolaños. Probablemente la fundación se hizo en las cercanías de un antiguo poblado indígena al que Sebastián Gaboto llegó en 1528 y denominó Santa Ana y cuya existencia es confirmada, al igual que el Fuerte Sancti Spiritus, en el Theatrum Orbis Terrarum (primer atlas moderno) publicado en 1570. La ciudad se encuentra a 73 kilómetros de la Ciudad de Corrientes, capital provincial. En 1999, el casco histórico de Itatí fue declarado «pueblo histórico».​
La principal vía de acceso es la ruta provincial 20, que la vincula por pavimento con la ruta nacional 12. Desde esta última se comunica al oeste con la Ciudad de Corrientes y al este con la Ciudad de Posadas.
El actual intendente de la localidad es el Sr. Francisco Romero, su vice-intendente es la Sra. Gladis Itati Leiva
Cuenta con 6 562 habitantes (Indec, 2010), lo que representa un incremento del 7,8% frente a los 6 084 habitantes (Indec, 2001) del censo anterior.
En varias ocasiones durante el año Itatí se convierte en uno de los centros de peregrinación católica más importantes de la Argentina; en donde miles de fieles acuden desde distintos lugares del país (destacándose las caminatas que parten principalmente desde Corrientes, San Luis del Palmar y Paso de la Patria) para venerar a la Virgen, que se encuentra en la imponente Basílica de Itatí, de 88 m de altura, en donde se resguarda una estatuilla de la Virgen María tallada en madera por los pueblos originarios de la provincia.
Tal estatuilla es considerada milagrosa por los fieles católicos, dando lugar a una de las advocaciones que reciben más dulía o veneración en Argentina y todo el Cono Sur, y generando consecuentemente multitudinarias romerías o peregrinaciones.
La basílica en honor a la Virgen atrae miles de visitantes durante las peregrinaciones e incluso durante los domingos regulares. Alrededor de ella numerosos puestos venden sus artesanías y productos, dedicadas muchas a imágenes de la advocación mariana. También atraen bañistas y pescadores sus playas sobre el río Paraná.
También pueden destacarse cámpines, pesca y playas sobre el río Paraná.
Lo predominante en Itatí se relaciona con el turismo, el gran movimiento comercial que se genera en torno a él, religiosa. Hay presencia de talleres de cerámica y de artesanías en madera y plata.
En idioma guaraní, la traducción más aceptada y difundida de "Itatí" es 'piedra blanca',​ siendo la mezcla de las palabras "ita" (piedra) y "morotĩ" (blanco).​ También podría traducirse como "punta de piedra" o "nariz de piedra". También, podría derivar de las Misiones del Itatín (más de 1000 km al norte) en donde quizás fue realizada la estatuilla a inicios del siglo XVI.
Capilla de la Virgen del Rosario de San Nicolás
Charango eléctrico

El charango eléctrico es un instrumento musical desarrollado por el reconocido lutier Mariano Delledonne de la ciudad de La Plata, Argentina.
Se trata de un instrumento de cuerda que reúne las principales características de un charango tradicional tales como la afinación (E, A, E, C, G), pero con la particularidad de poseer cuerdas de metal y un sistema eléctrico con micrófonos electromagnéticos que le otorgan gran versatilidad a la hora de encontrar nuevos sonidos. El charango eléctrico permite ser utilizado con eficiencia en el mundo de los pedales de efectos y las nuevas tecnologías, ampliando el universo sonoro del charango tradicional que ha sido uno de los instrumentos más significativos del acervo cultural latinoamericano.
Este instrumento ha recibido diversas distinciones, entre las que se destaca el Reconocimiento a la Excelencia Artesanal de la UNESCO.​​​ Además, ha sido presentado en relevantes festivales internacionales de la música y la luthería tales como The NAMM Show (EE. UU.),​ Internacional Folk Art Market (EE. UU.),​ Feria Internacional de Artesanías Hutzot Hayotzer (Israel),​ Charangos del Mundo (Chile, Perú, Argentina),​ entre otros.
Entre los principales músicos que han adquirido y promovido el charango eléctrico se encuentra Jaime Torres,​​ uno de los charanguistas más virtuosos y destacados de la Argentina.
Las características propias del charango eléctrico han sido desarrolladas en otros instrumentos de la familia del charango como el Ronroco.
Villa Atamisqui

Villa Atamisqui es una localidad argentina de la provincia de Santiago del Estero, asentada en la margen derecha del río Dulce, a 121 km de la capital provincial. Es la cabecera del departamento Atamisqui, y municipio de 3.ª Categoría.
Fundado en 1543, es una de las localidades más antiguas de Argentina (Santiago del Estero fue fundada en 1553).​
Cuenta con 3,289 habitantes (Indec, 2010), lo que representa un incremento del 22,5% frente a los 2,683 habitantes (Indec, 2001) del censo anterior y representan el 30,1% de la población total del departamento.
Son muy afamadas sus artesanías textiles, en especial sus coloridas y brillantes colchas. Teleras Atamisqueñas, grupo de aproximadamente 50 mujeres dedicadas a la producción de piezas artesanales, tejidos en telares de distinto tipo.
Aguayo

Un aguayo es un tejido con el que elaboran prendas rectangulares (q'epis y llicllas)​ usada en Argentina, Bolivia, Perú y Chile como mochila, abrigo o adorno, particularmente por mujeres de ascendencia indígena. Se la considera un símbolo de la identidad aimara y, por extensión, sudamericana.​
Aunque es originaria del altiplano, su uso se ha extendido a zonas bajas como Lima y Santa Cruz de la Sierra y por la inmigración de habitantes del altiplano andino. Por lo general los aguayos son muy coloridos con franjas de colores que se alternan y con franjas con figuras simples.
En el Idioma aimara que se habla en el Lago Titicaca (Perú y Bolivia) la tela se llama awayo o llijlla.​
El aguayo se teje a base de lana de llama, oveja o de alpaca y se lo tiñe con tintes naturales. Para que una tela sea considerada un aguayo es fundamental la contraposición de matices entre una y otra raya, y la alternancia de distintos grosores.
Estudios semánticos, que implicaron la revisión de antiguas fuentes históricas, como también la recolección de testimonios orales entre los urus-chipayas y los aimaras del lago Titicaca, demostraron que esa situación de contraste óptico lo extrae el nativo de un pájaro que habita la zona, denominado localmente allqamari, ( allka en aimara significa bicolor ) de definida coloración blanca y negra.​
Las telas a rayas del tipo aguayo son aplicadas a distintas labores antiguas y actuales: uncus, talegas, costales, axsus (prendas femeninas que cubren la espalda), chuspas, etcétera. Cuando un sector de la tela permanece liso, se lo denomina “pampa” y las rayas pueden comprimirse hacia ambos extremos.​
Como queda establecido a partir de los colores del ave “allgamari”, un aguayo puede ser simplemente blanco y negro o de tonos naturales tenues.​
El cambio de las costumbres llevó a teñir los aguayos de estridentes tintes, que son el placer de los nativos y también de los turistas y que sirven para destacarse en el paisaje terroso de Los Andes.​
El aguayo ha alcanzado amplia dispersión en Perú, Ecuador, Chile y el noroeste Argentino.
La antropóloga chilena Verónica Cereceda, especialista en el estudios de textiles,​ citada en una revista humahuaqueña (1991) dice:
Es de destacar tanto las funciones antiguas y tradicionales del aguayo (portar carga, o un niño a la espalda, extenderse sobre la tierra para ofrendar a la Pachamama), como las nuevas (ser usado de mantel en el altar o como parte de la vestimenta del sacerdote católico). Varias congregaciones católicas lo han incorporado dentro de la liturgia de la misa.​
Clara Passafari

Clara Passafari (Buenos Aires, 20 de marzo de 1930 - Rosario (Argentina), 3 de junio de 1994)​ fue una etnóloga, antropóloga, escritora y poeta argentina. Con sus padres Elizabeth Badolato e Italo Passafari, se fue a vivir desde muy niña a la ciudad de Santa Fe.
Realiza su enseñanza media en el "Instituto Nuestra Señora del Calvario". Y en 1947 obtiene el título de "Maestra Normal Nacional"; para posteriormente trasladarse a Rosario, donde en la "Facultad de Filosofía y Letras" de la Universidad Nacional de Rosario obtiene el título de profesora de Filosofía y Letras.
Se casa con Eduardo Gutiérrez, y tendrán cuatro hijos: Clara Mónica (8 de marzo de 1949 (76 años), reconocida periodista y abogada), Laura Inés, Sergio, y Claudia.
Luego se licencia en sociología y en literatura argentina, doctorándose en Filosofía y Letras. En 1975 la OEA (Organización de los Estados Americanos), la nombra administradora cultural. En Rosario sería por diecinueve años delegada del Fondo Nacional de las Artes; y por siete, directora de Extensión Universitaria de la Universidad Nacional de Rosario. De 1971 a 1992 será investigadora full time en Antropología (culturas de tradición oral y catedrática de investigación en folclore).
Con el notable investigador argentino, Augusto Raúl Cortázar, se especializa en folclore, continuando sus planes en el Fondo Nacional de las Artes, donde coordinaría treinta exposiciones y ferias de artesanías regionales, nacionales y americanas.
Dictó cursos en el país, América y Europa sobre folclore y educación, animación cultural, política cultural del patrimonio tradicional y acciones para reactivar la riqueza cultural de las comunidades tradicionales.
Fue codirectora de la Revista Argentina de Política cultural.
En 1984 la Fundación Konex,​ la distingue como una de las cinco mejores figuras de las letras argentinas en la disciplina folclore. Por otra parte, en 1989, recibe el premio «Reconocimiento -Alicia Moreau de Justo.
Fundado el "Colegio de Graduados en Filosofía y Letras", es designada Secretaria de Cultura, función que desempeña de 1953 a 1986 en que renuncia, por razones de salud.
Clara Passafari fundamenta la razón de impulso y prédica en un elevado pensamiento:
La Fundación Interamericana de Etnomusicología y Folclore -FINIDEF-la distingue designándola su representante en Rosario.
Fallece en Rosario (Argentina) el 3 de junio de 1994.​
Quitilipi

Quitilipi es una ciudad de la provincia del Chaco, Argentina. Es la cabecera del departamento homónimo y del municipio de Quitilipi, que también tiene jurisdicción sobre la Villa Rural El Palmar y parte de la Colonia Aborigen Chaco.
Quitilipi se halla en la intersección de la Ruta Nacional 16 y la Ruta Provincial 4, ambas totalmente asfaltadas. La primera es la vía más importante, enlazándola al noroeste con Presidencia Roque Sáenz Peña y la Provincia de Salta, y al sudeste con Machagai y Resistencia. La ruta 4 la vincula al sur con Villa Berthet, y al norte con Pampa del Indio li.​
Las vías del ferrocarril General Belgrano a 2013 se utilizan sólo como transporte de carga por la empresa estatal Trenes Argentinos Cargas; no obstante es un punto fundamental de la ciudad ya que la misma nació alrededor de la Estación Quitilipi. A 20 km se halla el Aeropuerto de Presidencia Roque Sáenz Peña.
Cuenta con 24,517 habitantes (Indec, 2010), lo que representa un incremento del 15% frente a los 20,737 habitantes (Indec, 2001) del censo anterior.​ En el municipio el total ascendía a los 32,083 habitantes (Indec, 2001).​
Quitilipi es el nombre autóctono de un búho encontrado en todo el territorio nacional. En el Norte se lo denomina indistintamente búho o quitilipi, también tuku (quechua), ñacurutú (guaraní), tucuquere o ucuquer (mapuche), talacua (aymara).
La denominación Tuku deriva del quechua tukuchikk que significa "acabar o concluir una cosa" quizá por el simbolismo de mal presagio que tiene esta ave. El nombre quitilipi según algunos autores deriva del qom'lek o del vilela, y para otros es de derivación quechua. Kinti "par, ambos" y llipid "parpadeo rápido, instantáneo": metonimia indígena que define una particularidad propia de este inofensivo búho.
El quitilipi sirvió de motivo para las urnas funerarias: en las infantiles de la alfarería pazioca o en las de la llamada civilización chaco-santiagueña ( básicamente: lule y toconoté junto a los ya mencionados vilela).
Elecciones al Parlamento Andino de Ecuador de 2021

Las elecciones al Parlamento Andino de Ecuador de 2021 se llevaron a cabo el 7 de febrero de 2021. En esta ocasión se eligió la totalidad de 5 parlamentarios principales y 5 suplentes para el periodo 2021-2025.
Los parlamentarios andinos elegidos se posesionarán el 19 de mayo de 2021.​
Los cinco parlamentarios andinos elegidos fueron:
Cserszegtomaj

Cserszegtomaj is a village in Zala county, Hungary. It is located north of Keszthely, at the south-west foot of the Keszthely Hills.
The name Cserszeg comes from the compound of the two Hungarian words cser and szeg (meaning corner). Tomaj was originally used in the forms of Tolmay, Tolma, Tolmad, therefore, it is not likely to refer to the Tomaj genus who lived in that region in earlier times. Tomaj is rather originated from the Old Hungarian name Tulma, which comes from the Turkish language and means filling.
Cserszegtomaj is believed to have been inhabited since ancient times, as artefacts of Romans and Eurasian Avars were explored in that region.
The village was first mentioned as Tolmaj in 1357, when it was drafted together with Keszthely. Its chapel was built in the 15th century, in the eastern part of the village. In 1564, the region was invaded by Turkish troops and gradually lost its inhabitants for the 1620s. Though, its vineyards were still cultivated by the villages of surrounding areas.
Cserszeg appeared in the 17th century and might have belonged to Keszthely. Its main industry was also wine producing.
In the beginning of the 19th century, the vineyards of the region were in the focus of attention, which resulted in the quick development of the area. In 1848, the two villages were united and Cserszegtomaj was born. Its population consisted of 1239 people in 1857, which was regarded high at that time.
In the 20th century, the village did not develop significantly and its population began to decrease as its inhabitants migrated to Keszthely and Hévíz.
Then, from the 1990s more and more tourists have visited Cserszegtomaj, and the village began to develop again. It attracted an increasing number of people, even foreigners inhabited the region. According to the data of the Central Statistical Office, Cserszegtomaj has had the most dynamic increase in the number of inhabitants in the Balaton region. Though, it is still a small settlement: the population consisted of 2700 people in the beginning of 2008.
The most fascinating sight of Cserszegtomaj is the so-called Fountain Cave, which was accidentally discovered by Lajos Tóth in 1930. It is a subtle cave system and consists of various halls and corridors. The Fountain Cave is a highly protected natural area.
Further sights:
Cserszegtomaj has inspired many artists due to its rich and fascinating sights and atmosphere.
In 1992, the Cserszegtomaj-born painter Ferdinand Takács founded the International Free Art Colony of Cserszegtomaj, and has been organizing summer art camps for international artists ever since then. The participants of the art camp include artists from Hungary, Slovakia, Serbia, Croatia, Romania, Ukraine, Austria, England, Argentina and Japan, just to mention a few.
Aguayo (cloth)

The aguayo (possibly from awayu, Aymara for diaper and for a woven blanket to carry things on the back or to cover the back), or also quepina (possibly from Quechua q'ipi bundle) is a rectangular carrying cloth used in traditional communities in the Andes region of Argentina, Bolivia, Chile, Colombia, Ecuador and Peru. Aymara and Quechua people use it to carry small children or various other items in it on their backs. It is similar to a lliklla and sometimes regarded as a synonym.
Tobas

The folkloric dance of the Tobas speaks of the ancient past of Bolivia. It has roots in a time when the Incas were the predominant force in the Andean highlands region. Tobas is an athletic dance comprising agile steps accentuated with many jumps and bounds.
The Tobas were a tribe of warriors who lived in the Chaco region of Bolivia. The Incas admired the Tobas dance and they were taken from their Amazonian homeland by the Emperor Tupac Yupanqui. The dance and music of the Tobas have been reinterpreted by subsequent people of Bolivia.
Today, Tobas is a prominent part of the annual carnivals (like the Carnaval de Oruro or the Bolivian Festiva in Virginia).
The Tobas dance is a special representation of energy - a singular dance with impressive jumps performed by the dancers to impress the audience. This unique dance is performed during religious and other festivities as well as the Oruro Carnival. Not only do you need good physique, but a lot of stamina and energy.
The dance steps have special names: Bolivar (quick with regular jumps); camba (very agile, one meter high jumps); chucu-chucu (with a faster rhythm that amuse the audience, in the foot tips, almost in the knees); and the cullahui jump.
The typical Tobas costume is headwear entirely made of feathers, decorated with jewels, a skirt and top decorated made with colorful fabrics, with beads and fringes on the bottom, with cows feet sewed onto fabric to tie around the ankle, spear or hatchet, bracelet of feathers, and an anklet of feathers.
José Larralde

José Larralde (born 22 October 1937) is an Argentine singer-songwriter of folk music.
At the early age of 7 years Larralde had already written songs with social content. Throughout the years he would write various songs about crafts, situations and people he had stumbled upon in his life. Of Iraqi and Basque descent, José Larralde has been a bricklayer, a rural worker, a welder, a mechanic, and a guitarist and songwriter.
Some songs by Jose were published by Jorge Cafrune in his LP Jorge Cafrune (1967). In 1967 Larralde recorded his first LP in a series of over 30 edited in Argentina: Canta José Larralde
Larralde is not as well known as other folklore argentino artists because of his shunning of promotions and massive concentrations. Notwithstanding, his singing crossed the national boundaries and triumphed in countries such as Germany, Australia, Mexico, Brazil, Uruguay, Paraguay, Chile and Spain among others. His lyrics deal with social and political injustices and inequities.
Larralde also debuted as an actor in the Argentine film Santos Vega (1972). His cover of "Quimey Neuquén," originally composed by Marcelo Berbel and Napoleón Milton Aguilar, was re-edited by Chancha via Circuito and it has been showcased in the AMC television series Breaking Bad, in the episode "Buried."
Chiachio & Giannone

Leo Chiachio and Daniel Giannone, better known as Chiachio & Giannone (born in 1969 and 1964 respectively), are a gay art collective from Argentina.
Chiachio was born in Buenos Aires, Argentina, in 1969, while Daniel Giannone was born in Cordoba, Argentina in 1964. They met at a friend's house in 2003 and have collaborated on art ever since. Their artwork is primarily fabric-based textiles and embroidery, with the occasional gouache painting. Their aim is to replicate the principals of painting, but by using thread.
As a gay art collective, Chiachio & Giannone have held several LGBT projects to advocate for the community. Most involve community members contributing a piece of cloth with an encouraging message, which is then sewn into a larger project or mosaic. These mosaics have been displayed in several cities, most notably the Celebrating Diversity flag, which traveled from Argentina to Long Beach, California.
Leo Chiachio studied studio art at the National School of Fine Arts "Prilidiano Pueyrredon" and at the Superior School of Fine Arts “Ernesto de La Cárcova”.
Chiachio and Giannone have hosted a number of participatory art projects and community events intended to celebrate and promote the LGBT community.
Workshops were held at the Museum of Contemporary Art in San Diego, California; at The Front Arte & Cultura in San Ysidro, California; and at The Studio Door in San Diego, California in 2020. In these workshops, participants were given a piece of reused cloth that came in the color of the trans flag or the pride flag, which they then decorated with encouraging messages, notably LGBT and Latino acceptance messages. The pieces were then sewn together by Chiachio & Giannone into a large mosaic, with the text LATINX written over it.
This project that took place at Chiachio & Giannone's Museum of Latin American Art residency from March to May 2019. The artwork is a 120-foot long flag made of textile, and consists of messages from over 3,500 people in the LGBT community. The aim was to have the participants decorate a piece of cloth with symbols, words, or phrases that reflect the meaning of diversity and acceptance. The banner was later exhibited at the Long Beach Pride Parade and at the Pride at the Port event in San Pedro, California.
Chiachio & Giannone's art is in the permanent collections of several museums, including in the Buenos Aires Museum of Modern Art, the Museum of Contemporary Art of Rosario, the Caraffa Fine Arts Museum, and at the Juan B. Castagnino Fine Arts Museum.
Alexandra Kehayoglou

Alexandra Kehayoglou (born 1982) is an Argentine textile artist. She is best known for her large-scale carpets and tapestries reflecting natural landscapes, works which address the topic of climate change. She won the Konex Award from Argentina in 2022.
Kehayoglou was born in 1982 in Buenos Aires, Argentina to a family of carpet-makers. Her grandparents immigrated from Isparta (present-day Turkey) in the 1920s, bringing with them their practice of making Ottoman-style rugs. Her grandmother founded a carpet-making company, El Espartano. Kehayoglou went on to incorporate the family tradition of carpet-making into her own artistic practice.
She grew up in a house in Argentina surrounded by a garden, a forest, a farm, and a river, which influenced her artistic interest in nature and the Argentine landscape.
She currently lives and works in Athens .
Her technique relies heavily on the hand-tufting system, a laborious type of textile weaving used in carpet-making. The subject matter links her with her families traditions, specifically her grandmother. She uses recycled scrap yarn from her families factory to create her work.
Her subject matter is the Argentine landscape that she calls home. She often travels to new locations to research and study the landscapes she depicts. Her work represents places which have been impacted by climate change or damaged by human activity. Her work has become known for its call for environmental preservation and awareness.
For Paris Fashion Week in 2015, Dries van Noten ordered a tufted rug from Kehayoglou for a catwalk that covered the entire stage. The carpet consisted of four parts and totaled 144 square meters. It was completed by three 10-member teams in 16 days. The carpet is an abstraction of the Argentine landscape where she lives.
Her 2016 work No Longer Creek documents the Raggio Creek, a creek north of Buenos Aires where she used to go running, whose banks have been damaged by human activity. Her work represents what the creek used to look like to reflect the greenery and landscape that has been lost. It calls the viewer to experience this environment that no longer exists and reconnect with lost nature.
In 2017 she completed Santa Cruz River, titled after the Santa Cruz River in Argentina, for the National Gallery of Victoria Triennial. The river was the proposed site of two major hydroelectric dams.
Her 2018 series titled Prayer Rugs addresses the landscapes of the Parana Delta Wetlands, which has been damaged by deforestation, hunting, the introduction of foreign species of fauna, and both domestic and industrial pollution. Her work documents the "micro-narratives" of the surviving plants and wildlife in this region.
List of angels in Ars Paulina

Ars Paulina, the third book of the grimoire The Lesser Key of Solomon, is divided into two parts. The first part contains the angels of the hours of the day and night; the second part deals with the angels of the Zodiac signs. Unlike Ars Goetia, the first book of The Lesser Key of Solomon, Ars Paulina contains no description of the form and capabilities of the angels. Instead, it focuses on their names, seals, and the conjuration to call forth them.
The first part of Ars Paulina tells of angels associated with the 24 hours of day, and their servants. Each angel has many servants, but only a few chief dukes and lesser dukes are named. Each hour is also given a name. Also, only the 24 ruling angels have corresponding seals; no seals are provided for the named dukes.
Part 2 of Ars Paulina contains mystical names of the angels of the Zodiac signs in general, and also the names of the angels of every degree and the signs. These are called the angels of men: because under some one of those signs and degrees, every man is born.
The following 12 names are attributed to 12 signs of the Zodiac. If a man knows merely his sign, but not the exact degree of his nativity, he could make use of this table.
The names of the other angels which are attributed to every degree are as follows. Notice that since some angels govern more than one position, the number of distinct angels is 259.
Rowe, in his 1999 Afterword of his publication, comments that the original Sloane Manuscript 2731 has small and cramped handwriting that is very difficult to distinguish between o, e, and a in the text. Due to this text condition, occasional correction, and page damage, some of the names have been confused between transcribers.
Imihiindagurikire yikirere Cyu' Rwanda

U Rwanda ruherereye mu turere dushyuha (uburebure: 1 ° 51'S - 2 ° 51'S n'uburebure bwa 28 ° 52'E - 30 ° 55'E).N'ubwo u Rwanda ruherereye mu turere dushyuha, u Rwanda rufite ikirere gike bitewe n'uburebure bwacyo. Igice cyo mu majyaruguru y'uburengerazuba ni imisozi n'ibirunga bifite ubutumburuke burenga 2000m. Uburebure bugabanuka bugana mu kibaya cyo hagati (1500 - 2000m) cy'u Rwanda hanyuma ukerekeza mu kibaya cy'iburasirazuba ugana ku mupaka na Tanzaniya (munsi ya 1500m). Ikigereranyo cy'ubushyuhe ku Rwanda ni 20 ° C kandi biratandukanye na topografiya.
Ubushyuhe buri mwaka mu Rwanda buboneka mu burasirazuba buke (20 - 21 ° C) no mu kibaya cya Bugarama (23 - 24 ° C), n'ubushyuhe bukonje ahantu hirengeye mu kibaya cyo hagati (17.5 - 19 ° C) no mu misozi miremire ( munsi ya 17 ° C). Ubushyuhe buratandukanye cyane mumwaka.
U Rwanda rufite imiterere ya bimodal yimvura, itwarwa ahanini niterambere ryakarere ka Inter-Tropical Convergence Zone (ITCZ). ITCZ ikurikira iterambere ryizuba ryumwaka uko rijya mu cyi cyamajyaruguru iyo izuba ryambutse ekwateri ahagana ku ya 21 Werurwe, nizuba ryamajyepfo ahagana 23 Nzeri buri mwaka.
Referances
Kibango

kibugabuga n'izina bwite ryiswe ishyamba riherereye mu karere ka bugesera mu ntara y'uburasirazuba n'ishyamba rya kimeza rikikijwe n'imirenge itandukanye harimo mayange, gashora, na kamabuye ndetse n'ikiyaga cya cyohoha byumwihariko rikaba rinakora ku gihugu cy' abaturanyi burundi. Ishyamba rya kibugabuga rifite byinshi mu mateka y'urwanda ariho havugwamo icyobo cya rwabayange twumva mu mateka ndetse iri shyamba niho hubatsemo ishuri rikuru rya gisirikare Gako military academy. aha niho hakomoka indirimbo ya cecile kayirebwa"kibugabuga na ngeruka".
Küschall

Küschall AG, ifite icyicaro i Aesch, muri Busuwisi, ni uruganda rukora amagare y'abamugaye .
Isosiyete yashinzwe muri 1978 na Rainer Küschall wari muri quadriplegike . cyari icyitegererezo cy'ambere cya Küschall yatsindiye mu irushanwa, ryagaragazaga igishushanyo gishya cyoroshye. Ibicuruzwa bya mbere byakozwe mugutangirara mubyumba by'uwarishinze. Nyuma iyi sosiyete yimukiye mu mutungo wa Allschwil . Muri 1986 " Küschall yo muri Amerika " yafunguwe nyuma y'imyaka ibiri na " Küschall wo muri Chili. Ibigo byombi, byasheshwe nyuma y'imyaka mike kugirango babashe gukomeza igihe gito cyo kugabura.
Kuva muri 1995 iyi sosiyete yabaye umunyamuryango witsinda rya Invacare kandi yakoreraga mu isi yose. Muri 2005 iyi sosiyete yavuye muri Allschwil yerekeza i Witterswil. Urubuga rushya rwateguwe kubyaza umusaruro mwinshi no kwiyongera kwa bantu kandi rufite ibikorwa remezo bigezweho mu ikoranabuhanga rinshya rya Witterswil.
Mu mpera bakoze igare rya cyenda Vario axle yasohotse ku isoko, ryari icyitegererezo cyemereraga kamera guhinduka inyuma .
Muri 1985, Rainer Küschall yahawe igihembo cy’abamugaye mu ma irushanwa hamwe n’igihembo cyiza cya Designer cyatanzwe na muzehe m’ubuhanzi bugezweho i New York ( ari naho yerekanwa ). Muri 2003 sosiyete yatsindiye igihembo cya JB Richey Innovation Award kubera igare ry’bamugaye " cyitwa Nyampinga ", ikurikirwa n’igihembo cya Red Dot Design muri 2004 kubera icyitegererezo cyitwa " Fusion ". Model ya R33 yahawe igihembo cyihariye cyo gukurura ihungabana muri 2007 hamwe na Janus Award, hamwe naCoup de Coeur muri 2008 hamwe na Rehacare Best Design Award
Imigongo

Imigongo (Kinyarwanda: [i.mí.ɡôː.ŋɡo]) is an art form popular in Rwanda traditionally made by women using cow dung. Often in the colors black, white and red, popular themes include spiral and geometric designs that are painted on walls, pottery, and canvas.
The images are produced using cow dung which is put onto wooden boards in spiral and geometric designs. The dung is mixed with ash, which kills bacteria and odor and is left to harden and is then decorated using colours made from organic material. The traditional colours are black, white, red, grey and beige-yellow but increasingly other colours are used.
The imigongo images were originally found in Kibungo inside the walls of huts as "magical" decorations during the 18th century.
There is also a legend that imigongo was invented as an interior decoration by Prince Kakira of Gisaka Kingdom in Nyarubuye in the 1800s.
During the 1994 Genocide (The Rwandan Genocide & The Nyarubuye massacre), the skills involved almost disappeared. However, a women's cooperative on the road to Rusumo in the Eastern Province near Kirehe has rescued and revived this uniquely Rwandan art form. Traditionally geometric designs are produced but as the women artists have grown in confidence they have begun to experiment with more modern, innovative images that convey the spirit of the Rwandan landscape, its flora and fauna and its people.
Polygamy in Rwanda

Though legally prohibited since 1962, polygamy is still marginally practiced in Rwanda. Polygyny is the only form traditionally practiced. It is most prevalent in rural areas, older generations, and adherents of traditional/animist religion. In 2012, 5.4% of rural men were in polygynous unions; this included 15% of rural men over 80 years old but less than 3% of men under 30, with the average number of wives being two. Animism has the greatest proportion of polygynous men, followed by non-religious men and Islam. However, the vast majority of polygynous men are Christian. Polygyny has been in decline since the first census data in 1978.
It is estimated that 30% of marriages in pre-colonial Rwanda were polygynous. The number of wives for polygynous men rarely exceeded 4, and while polygynous Hutu men averaged more wives than their Tutsi and Twa counterparts, this number could be exceeded by high-ranking Tutsi chiefs pursuing more wives to establish larger familial networks. Supplementary wives were culturally preferred to bear more children and to serve as economic assets for managing a rich husband's cattle or land plots. It was also a solution to a man's only wife being sterile.
A polygynous husband's wives lived separately and did not raise each other's children. For husbands who could afford it, each wife resided in separate, economically self-sufficient compounds that they each managed in addition to their domestic duties. When husbands owned a single compound, the wives would live in separate huts. The first wife married by a husband was equal in status to his other wives. Her compound was not considered a primary household, though if she bore his first son, his status as his father's successor would gave her a particular importance.
Polygyny began to decline in the early to mid-twentieth century, partly due to a combined effort by the White Fathers and Belgian colonial administration to stop the practice as part of a broader campaign to Christianize the population. This included deposing King Yuhi V Musinga for his refusal to convert, limiting administrative positions exclusively to Christians, and a 1931 polygamy tax on additional wives. Despite organized resistance from the Nyabingi cult in northern Rwanda, the conversion of King Mutara III Rudahigwa led to a mass adoption of Roman Catholicism. Additional factors included the introduction of a monetary economy and the increasing cost of bride price.
Polygamous marriages are not lawful in Rwanda, nor is the practice itself. The Rwandan constitution explicitly bans all forms of non-monogamous marriages from being recognized under civil law and does not allow for customary law to recognize such unions either. The text from the constitution reads:
List of heads of former ruling families

These individuals may or may not claim titles associated with an abolished monarchy. Individuals who stake claims to monarchical titles but who are not part of former dynasties are not included. Note that a country may have multiple houses with a claim to the defunct position.
Nepal's numerous small monarchies were collectively abolished by the federal government on 7 October 2008. At the time, the thrones of both Salyan and Jajarkot had been vacant since the deaths of Rajas Gopendra Bahadur and Prakash Bikram respectively (both in 2003), and have remained vacant.
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Until the mid-nineteenth century, the Italian peninsula comprised a number of states, some of which were monarchies. During the Italian unification, the monarchs of such agglomerated states lost their sovereignty and their titles became purely ceremonial. The resultant throne of the Kingdom of Italy was held by the former king of Sardinia.
Old Palace Yard

Old Palace Yard is a paved open space in the City of Westminster in Central London, England. It lies between the Palace of Westminster to its north and east and Westminster Abbey to its west. It is known as the site of executions, including those of Sir Walter Raleigh, Guy Fawkes and other conspirators of the Gunpowder Plot, and James Hamilton, 1st Duke of Hamilton, following the Battle of Preston.
St Margaret Street/Abingdon Street divides Old Palace Yard into
two parts, running diagonally from the north-west to the south-east. The eastern, larger part belongs to the grounds of the Palace of Westminster, the seat of the Parliament of the United Kingdom. To the north of the Yard is St Stephen's Entrance, the public entrance into the Palace, as well as the great South Window of Westminster Hall. Standing near this window and facing away from it is a bronze equestrian statue of Richard Coeur de Lion (King Richard I, also known as "Richard the Lionheart"). Created by Baron Carlo Marochetti, the statue was completed in 1856 and installed in its present location in 1860. The eastern side of Old Palace Yard is defined by the West Front of the Palace, which is part of the precincts of the House of Lords; the carriage porch of the Peers' Entrance marks the middle of this frontage, and the Victoria Tower its southern end.
Access to this part of Old Palace Yard is restricted for security reasons by means of concrete barriers. For most of the year it is used as a car park for the House of Lords, but it is cleared of barriers and street furniture for the annual State Opening of Parliament, the formal opening of the legislative session by the British monarch. Conveyed from Buckingham Palace to Parliament in a horse-drawn carriage, the monarch passes through the Yard en route to the Sovereign's Entrance, at the foot of the Victoria Tower.
The western part of Old Palace Yard is freely accessible to the public. To its west are located the Henry VII Chapel and the Chapter House of Westminster Abbey, while to its south stands 6–7 Old Palace Yard, the sole survivor of the row of houses that used to surround the Yard. The building is now part of the Parliamentary Estate. Close by is a statue of King George V, made of Portland stone; sculpted by Sir William Reid Dick and unveiled in 1947, it stands on a pedestal by Sir Giles Gilbert Scott and faces the Peers' Entrance of the Palace of Westminster. In 2002, an analemmatic sundial was fitted into the Yard's pavement in front of the statue, as a gift to Queen Elizabeth II from Parliament on the occasion of her Golden Jubilee.
51°29′57″N 0°07′32″W﻿ / ﻿51.499206°N 0.1255037°W﻿ / 51.499206; -0.1255037