davidanugraha/M4-RAG huggingface dataset:
Spellemannprisen

Spellemannprisen is a Norwegian music award presented to Norwegian musicians. The award was established by the International Federation of the Phonographic Industry (IFPI), an organization that represents the interests of the recording industry worldwide. First awarded in 1973, the prize honours musicians from the previous year; it is still awarded annually, usually in January or February. The Spellemann committee, composed of members of IFPI Norway and FONO, manages the award and acts as the judge. 21 categories are currently awarded, in addition to other honorary and industry awards the committee may give. In 2020 and 2021, the award show was held digitally due to the COVID-19 pandemic.
Separate juries convene for each category. Members are confidential from both the general public and the other juries. The juries score each nominee separately, then convene to deliberate until there is a winner. Usually, three nominees are presented to the jury.
The Spellemann committee nominates three categories: Newcomer of the Year, Fiddler of the Year and Hit Artist. A nomination jury nominates the rest of the videos, which are then presented to the juries.
Starting in 2007, the winner of the Newcomer of the Year Award takes home a prize of 200 000 kroner. The scholarship is awarded by Gramo, a Norwegian music industry funding agency.
As of 2014, sixteen artists have won the prize more than five times. Leif Ove Andsnes has the most wins with 10 awards.
In 2011, the live award show returned to NRK for the first time since 2001, and remained on the same channel afterwards. From 2002 to 2010, the show was broadcast on TV 2.
Nominees and winners:
Nominees and winners:
Barnemusikk (Children's music)
Nominees:
Arne & Carlos

Arne & Carlos are a duo of textile designers specialising in knitted goods, and consisting of Arne Nerjordet and Carlos Zachrison. Their knitwear designs draw both on traditional Scandinavian and on contemporary influences. Julekuler, their book of patterns for knitting woollen Christmas balls, sold more than 50,000 copies in Norway.
Arne & Carlos have written or contributed to eight books that focus on knitting. Julekuler, their book of patterns for knitting woollen Christmas balls, sold more than 50,000 copies in Norway, and has been translated into several languages including English, where it is called 55 Christmas Balls to Knit. They have been recognised by The Boston Globe as a resource for beginner knitters. The Guardian credits the pair with the rising popularity of knitted Christmas baubles around 2015.
The pair gained notoriety with an Instagram post of a knitted facsimile of Kim Kardashian's nude photo for Paper magazine. Carlos credited Arne with knitting Kardashian's likeness in three days. The pair declined to release a pattern for the item.
Nerjordet, Norwegian by birth, is the more experienced knitter. He is influenced by several generations of knitting in his family, having learned from his mother, grandmother, and great-grandmother. Zachrison is Swedish and South American. Though he is the less experienced knitter of the pair, he is reported to have come from an artistic family in Sweden.
Nerjordet has been quoted in an interview with ABC News (AU) saying, "When I grew up, it was not normal for a little boy to be knitting, so I was different. But I didn't care; I just kept knitting."
Cardigan (sweater)

A cardigan is a type of knitted garment that has an open front, and is worn like a jacket.
Commonly cardigans are open fronted, have buttons, and are often knitted or woven: garments that are tied are instead considered a robe. Knit garments with zippers can also be referred to as a cardigan. A current fashion trend has the garment with no buttons or zipper and hangs open by design. By contrast, a pullover (or sweater) does not open in front but must be "pulled over" the head to be worn. It may be machine- or hand-knitted. Traditionally, cardigans were made of wool but can now be made of cotton, synthetic fibers, or any combination thereof. In British English, a baby's short cardigan is known as a matinee jacket.
The cardigan was named after James Brudenell, 7th Earl of Cardigan, a British Army major general who led the Charge of the Light Brigade at the Battle of Balaclava during the Crimean War. It is modelled after the knitted wool waistcoat that British officers supposedly wore during the war. The legend of the event and the fame that Lord Cardigan achieved after the war led to the rise of the garment's popularity – supposedly, Brudenell invented the cardigan after noticing that the tails of his coat had accidentally been burnt off in a fireplace.
The term originally referred only to a knitted sleeveless vest, but expanded to other types of garment over time. Coco Chanel is credited with popularizing cardigans for women because "she hated how tight-necked men's sweaters messed up her hair when she pulled them over her head." The garment is mostly associated with the college culture of the Roaring Twenties and early 1930s, being also popular throughout the 1950s, 1970s, 1990s, 2000s and into the early 2010s.
Plain cardigans are often worn over shirts and inside suit jackets as a less formal version of the waistcoat or vest that restrains the necktie when the jacket has been removed. Its versatility means it can be worn in casual or formal settings and in any season, but it is most popular during cool weather.
Monochromatic cardigans, in sleeved or vest form, may be viewed as a conservative fashion staple. As an item of formal clothing for any gender, it is worn over a button-down dress shirt. A less formal style is wearing a T-shirt underneath.
Varsity letters for college and high school sports teams have been applied to cardigans and letterman jackets.
Sweater girl

The term "sweater girl" was made popular in the 1940s and 1950s to describe Hollywood actresses like Lana Turner, Jayne Mansfield, and Jane Russell, who adopted the popular fashion of wearing tight, form-fitting sweaters that emphasized the woman's bustline. The sweater girl trend was not confined to Hollywood and was viewed with alarm by some. In 1949 a Pittsburgh police superintendent even singled out the sweater girl as a symptom of the moral decline of postwar youth:
New, soft fabrics like cashmere and angora were being used to make sweaters. The conical shape bra, sometimes called a bullet bra, raises and separates the breasts. In its original form, the look was often tied to the promotion of new bra technology.
Interest in the bullet bra revived after Madonna wore a cone bra during her 1990 Blond Ambition World Tour. The bra was designed by Jean Paul Gaultier who was inspired by the vintage Perma-Lift bullet bra of the 1940s. By that time, the style was regarded as erotic and provocative. The bullet bra has also become popular with burlesque and rockabilly enthusiasts, both of which draw inspiration from the 1950s.
Lana Turner's appearance in the 1937 film They Won't Forget in a tight-fitting knit top is sometimes considered the first case of the "sweater girl", as Hollywood publicists sought for a catchy phrase to describe the impact she made on the screen. Movie magazines nicknamed her "The Sweater Girl," just as Ann Sheridan was "The Oomph Girl," Dorothy Lamour "The Sarong Girl," and Clara Bow "The It girl."
Sweater Girl is the name of a 1942 film written by Robert Blees and Beulah Marie Dix, directed by William Clemens and starring Eddie Bracken, June Preisser, Phillip Terry, and Betty Jane Rhodes.
From the 1944 Army–Navy Screen Magazine No. 20, a one-reel short that showed portions of a special Armed Forces Radio Network recording session, Bob Hope introduces "sweater girl" Judy Garland. Before she sings "Over the Rainbow", they perform a short comic sketch, Garland asking why men are so crazy about sweater girls. Hope says he does not know and wisecracks, "That's one mystery I'd like to unravel".
In September 1968 an obscure clerical worker named Francine Gottfried briefly attained international celebrity as "Wall Street's Sweater Girl" as large crowds of gawking men and newspaper reporters awaited her arrival at the Wall Street subway stop each morning and mobbed her on her way to work.
Candomblé Banto

O Candomblé Banto, Candomblé de Congo-Angola ou simplesmente Candomblé de Angola é uma das maiores nações de candomblé. Desenvolveu-se entre escravos que falavam quicongo, umbundo e principalmente quimbundo
A palavra banto é uma reconstrução do protobanto com o significado de gente, termo criado pelo linguista alemão Wilhelm Bleek. O termo banto é usado para identificar os povos da África subsariana que falavam línguas bantas.
No candomblé de angola, os sacramentos são:
Existem muitos outros rituais do candomblé Congo/Angola, porém esses são os mais importantes e conhecidos.
Na hierarquia do candomblé de angola, os cargos de maior importância e responsabilidade são:
Bori (candomblé)

Bori ou obori é um ritual das religiões tradicionais africanas e diáspora africana como culto de Ifá, Candomblé e outras, que harmoniza e diminui a ansiedade, o medo, a dor e a tristeza trazendo a esperança, alegria e a harmonia. É através do jogo de Búzios que o babalorixá recebe as instruções para realizar este ato ritualístico. Desta forma, o Bori é uma das oferendas mais importantes que visa o bem estar individual no Candomblé. O Ritual de Bori é muito sério, complexo e profundo. Ori significa, literalmente, cabeça e é, misticamente, o primeiro Orixá a ser cultuado. Seu objetivo é o de alimentar o Ori Eledá, seja qual for o sexo, raça, profissão, idade, nível social da pessoa.
Omi (água) e obi (semente africana), por exemplo, são elementos indispensáveis no Bori.
Bori é um ritual da religião tradicional iorubá e consequentemente das suas afrodescendentes, como o candomblé, e principalmente os da candomblé Queto. É um rito elaborado a quem se propõe a ingressar na religião dos orixás.
O homem e a Mulher iorubá cultuam o seu elemento mais sacro, o ori, sua cabeça. Bori é o rito de oferenda à cabeça (ebó ori), que consiste em assentar, sacralizar, reverenciar e ofertar o Orixá Ori, portanto, cultuar e louvar ori e assim estabelecer o elo entre a cabeça material (ori) do neófito e sua cabeça espiritual, ou seja, criar a harmonia e equilíbrio necessários à vida.
A coexistência do ori físico e do ori espiritual de quem se submete ao Bori perfaz o orixá Ori, e, é através dos ritos próprios do bori, que se estabelece essa comunhão, é assim que se busca a estabilidade espiritual. É desta forma que se consegue optar e viver melhor, o mais próspero possível. Ori é quem sempre está mais próximo do ser humano, portanto é fundamental harmonizar a coexistência.
Somente o orixá Ori, é assentado, sacralizado, reverenciado (ver Ibá de Ori) e ofertado no cerimonial do bori, esse é um dos mais importantes rituais da religião, pois abrange todos os adeptos de forma igualitária e sem distinções. Assim sendo, deve-se sempre rogar e ofertar antes de qualquer outro orixá. Como diz um verso religioso iorubá (ẹsẹ ifá): “Nenhuma divindade poderá ser adorada, sem o consentimento do seu próprio Ori.”
É também digno de nota, que os elementos usados para simbolizar o ori em seu assento são únicos, pois, diferem e nem tampouco se assemelham, nem externamente e tampouco interiormente com nenhum dos outros assentamentos dos orixás que comumente geram transe, ou seja: não é simbolizado, por exemplo, com um ocutá e/ou ota (pedra ou seixo) e nem em irim (ferro)." (Barretti Fº, (1984) 2012 (dados e recortes).) De forma que o assentamento de Orí não tem pedra de nenhuma forma, finalidade ou propósito.[1]
Euó (tabu)

Euó (em iorubá: Ewó), quizila (kizila) ou quijila (kijila) são regras de conduta do candomblé e da religião iorubá. São exigidos pelos orixás na feitura de santo e na iniciação em Orumilá, determinando o que um elegum (iniciado no candomblé) não pode comer ou fazer, durante um curto ou longo período da sua vida. Na iniciação em Ifá, as proibições são até a morte, para não cometer os mesmos erros que te levaram à morte na vida passada. As interdições são proclamadas pelo babalorixá ou ialorixá, depois de fazer a leitura no merindilogum logo após os rituais de panã e urupim. Transgredir o euó é interpretado por toda a comunidade como uma afronta aos orixás e passível de punição, que pode variar desde a exigência de uma pequena oferenda de comida ritual até a oferenda de um animal de quatro patas.
Euó é uma palavra iorubá que significa, literalmente, tabus. "Quizila" procede do termo quimbundo kijila, que significa "regra, preceito, mandamento".
São quizilas comuns a todos os terreiros de candomblé: não comer caranguejo, peixe-de-pele, cajá, jaca, berinjela, alguns tipos de marisco, raia-pintada.
Deve-se receber qualquer objeto ou alimento com as duas mãos, alimentar-se com a cabeça descoberta, não passar por baixo de arame farpado, não andar nas ruas ou sair da casa de candomblé nos horários de meio-dia, meia-noite ou às 18 horas.
Um dos piores euós, abominável por todos do candomblé, é a quebra do carô (juramento feito diante do obi).
Hierarquia do candomblé

Após duas iniciações ("Mãos"), e sob a obediência a rígidos códigos morais, o babalaô recebe o direito de utilizar o opelé-ifá (ou Rosário de Ifá) e os iquins (sementes de dendezeiro). O merindilogum (Jogo de búzios) é franqueado somente aos Obaoriates e os Auofacãs (Aqueles que receberam a "primeira mão")são chamados também de Oluós. Às Iapetebis (Mulheres iniciadas a Ifá) usam o jogo de búzios chamados Ekuró. As omoifás também usam. Os Babaifás, que são da rama brasileira, onde as cores são o azul claro e branco.
Masculinos:
Alguns oiê dos ojê agbá: Baxorun, Ojê ladê, Exorun, Faboun, Ojé labi, Alaran, Ojenira, Akere, Ogogo, Olopondá.
Femininos:
Outros oiê: Ialé Alabá, Iaquequerê, Iá Monioiô, Iá Elemaxó, Iamorô.
Os vodunces da família de Dan são chamados de Megitó, enquanto que da família de Caviungo, do sexo masculino, são chamados de Doté; e do sexo feminino, de Doné
No Jeje-Maí
No Jeje-Mina Casa das Minas
No Kwé Ceja Houndé
Os cargos de Ogã na nação Jeje são assim classificados: Pejigã que é o primeiro Ogã da casa Jeje. A palavra Pejigã quer dizer “Senhor que zela pelo altar sagrado”, porque Peji = "altar sagrado" e Gan = "senhor". O segundo é o Runtó que é o tocador do atabaque Run, porque na verdade os atabaques Run, Runpi e Lé são Jeje.
Títulos Hierárquicos Banto, Angola, Congo
Banto (Angola-Congo).
Angola - língua quimbundo - Congo - língua quicongo
Mãe Gilda de Ogum

Gildásia dos Santos e Santos, conhecida como Mãe Gilda de Ogum, foi uma líder religiosa e ativista social brasileira. Em 1988, fundou o Ilê Axé Abassá de Ogum, um terreiro de candomblé (ou casa de culto) próximo à Lagoa do Abaeté, bairro de Itapuã, em Salvador.
Ela própria foi iniciada no candomblé em 1976 no Terreiro de Oya. Após muitos anos de iniciação na religião, recebeu o cargo de ialorixá e, em outubro de 1988, registrou seu Terreiro de Candomblé, o Axé Abassá de Ogum. Ela se destacou por sua personalidade forte e seus esforços para melhorar a área de Nova Brasília de Itapuã em Itapuã.
Ela morreu em 21 de janeiro de 2000, logo após ser atacada pela Igreja Universal do Reino de Deus (IURD) nas páginas da Folha Universal. Em 2007, o Governo Federal do Brasil instituiu o aniversário de sua morte (21 de janeiro) como o Dia de Luta contra a Intolerância Religiosa.
Oxum

Oxum (em iorubá: Oṣun), na religião iorubá, é uma orixá que reina sobre as águas doces, considerada a senhora da beleza, da fertilidade, do dinheiro e da sensibilidade. Intimamente associada à riqueza espiritual e material, à vaidade e à capacitação da mulher, é representada por uma mulher africana elegante, adornada da cabeça aos pés com joias de ouro, sentada à beira de um rio, com um espelho redondo e dourado, enquanto amamenta um bebê ao colo. É cultuada no Candomblé, na Umbanda e em diversas religiões afro-americanas. Oxum é dona do ouro e das pedras preciosas, e é cultuada como rainha da nação ijexá. Tem o título de ialodê (em iorubá: ìyálodè), ou seja, senhora da sociedade.
Oxum é filha de Iemanjá e Oxalá. Oxum, Iansã e Obá eram esposas de Xangô. Ipondá é a mãe de Logunedé, orixá menino que compartilha dos seus axés. Ambos dançam ao som do ritmo ijexá, toque que recebe o nome de sua região de origem. Usa um abebé (espelho de metal) nas mãos, uma alfange (adaga), por ser guerreira, e um ofá (arco e flecha) dourado, por sua ligação com Oxóssi. É uma das mais jovens.
Na Umbanda, o culto a Oxum apresenta poucas diferenças em relação à Religião iorubá e ao Candomblé.
Nas religiões afro-brasileiras, é sincretizada com diversas Nossas Senhoras. Na Bahia, ela é tida como Nossa Senhora das Candeias ou Nossa Senhora dos Prazeres, enquanto em Pernambuco e nos demais estados do Nordeste é sincretizada com Nossa Senhora do Carmo. No Sul do Brasil, é muitas vezes sincretizada com Nossa Senhora da Conceição. No Centro-Oeste e Sudeste é associada ora à denominação de Nossa Senhora, ora com Nossa Senhora da Conceição Aparecida, e especificamente em Minas Gerais é sincretizada com Nossa Senhora das Dores. No Norte do Brasil, é sincretizada com Nossa Senhora de Nazaré.
No Haiti, Oxum é a orixá do amor, do dinheiro e da felicidade. Também conhecida como Erzile ou Erzulie, Erzulie Freda no vodum.
Brajá

Brajá é o fio-de-contas usado por babalaôs, Bokonon e outros sacerdotes africanos, no Brasil é usado por Babalorixás, Ialorixás, ogãs, Equedes, e pessoas de outros posto de graduação do Candomblé de todas as nações, é um símbolo de nobreza, estatuto, senioridade, sapiência, jamais poderá ser usado por pessoas que não tenham cargo ou posto.
O brajá é usado pelos filhos da cobra como são chamados os filhos de Dã, Oxumarê, Angorô, pelos filhos da terra como são chamados os filhos de Omolu, Obaluaiê e por voduns semelhantes e Nanã. Representa as escamas da cobra ou serpente, representa a riqueza porque é feito com búzios abertos (que na África era usado como dinheiro ou moeda corrente), trançados com fios de cordonê, de um lado e de outro sobrepostos formando as escamas.
Quimbanda

Kimbanda ou Quimbanda é um conceito religioso afro-brasileiro com raízes na mitologia Bantu, ainda controverso quanto a sua real definição na atualidade. Por vezes, é classificada como uma religião autônoma, e por vezes como uma Linha de Trabalho (Linha de Esquerda) da Umbanda e do Candomblé, ou seja, uma modalidade de atuação e conhecimento do mundo astral e espiritual onde Umbandistas têm a possibilidade de fazer o uso da magia e feitiços para atingir os objetivos, seja práticos, seja objetivos de evolução espiritual pregados pelo culto ao exú e pombagira.
Suas entidades, conhecidas como "Povo da Rua", dividem-se entre Exus (masculinos) e Pombagiras (femininas), os ambos mensageiros e guardiões, que vibram nas matas, cemitérios, encruzilhadas, etc
O nome vêm da palavra de língua Quimbundu (ou Mbundu) Kimbanda, que significa "curador" ou "xamã", também se refere a "aquele que se comunica com o além".
A Quimbanda trabalha diretamente com os Exus e com as Pambu ia-njila (Pombajiras), de uma forma não trabalhada na linha direita da Umbanda, pois esta trata do culto a Orixás. De acordo com a cosmologia Umbandista, Exus e Pombajiras manipulam tanto forças negativas quanto positivas - o que não significa que sejam malignas: as raízes da cosmovisão da Kimbanda não adota a divisão maniqueísta entre bem e mal. Os Exus e Pombajiras de Quimbanda diferenciam-se de (e atuam contra) as Kiumbas, que são espíritos obsessores que mantêm-se presos à terra por atrasos em sua evolução, e que por vezes podem mesmo se manifestar fantasiados de falsos Exus e Pombajiras. Os Exus e Pombajiras trabalham basicamente para o desenvolvimento espiritual das pessoas, com o intuito de evolução espiritual, além de proteção de seu médium. Como são as entidades mais próximas à faixa vibratória dos encarnados, apresentam muitas semelhanças com os humanos.
A entrega de oferendas é comum na Kimbanda, assim como na Umbanda, mas variam de acordo com cada entidade. Podem ser oferecidas bebidas alcoólicas, tais como cachaça (Marafo), uísque, vinho, sidra, conhaque, entre outras, além de velas, charutos e cigarros.
O termo "Quimbanda" (da mesma forma que o termo "Umbanda") tem origem na língua Mbundu, e dentro do Candomblé de Angola designa, desde o período pré-colonial, um rito próprio, cujo sacerdote que o pratica é chamado de "Tata Kimbanda".
No Brasil, com o advento da Umbanda enquanto religião organizada pela tradição de Zélio, o termo "Quimbanda" passou a ser usado para descrever pejorativamente todos aqueles trabalhos espirituais que eram negados pelos preceitos desta Umbanda de corte espírita e católico, que utiliza mesmo termos como "fariseus" para se referir a Umbandistas que fazem trabalhos com Exus de Umbanda; trabalhos que, de acordo com a cosmovisão africana alheia ao maniqueísmo ocidental, não são necessariamente "malignos". Não se pode confundir a Quimbanda (culto de Exus e Pombajiras) com "Quiumbanda", que é outro nome para os Kiumbas.
Tranca Rua das Almas

Tranca Rua das Almas é o nome de uma subdivisão da falange de Exu Tranca Ruas.
Exus compreendem entidades ligadas a energias mais densas, com finalidade de defender um ambiente ou pessoas. Exus são entidades comuns na Umbanda e Quimbanda, mas que acabaram sendo abraçadas pelo Candomblé e pelo Catimbó. Existem diversos domínios de Exu: estradas, encruzilhadas, matas, praias, cemitério, cruzeiro, almas, etc.
Segundo o entendimento de alguns, apesar de não ser um consenso, os Exus e Pombajiras estão ligados aos orixás, e aos domínios dos mesmos. Nesta concepção, Tranca Ruas teria ligação com o orixá Ogum, já Tranca Rua das Almas teria também ligação com Oxalá e Omolu.
Observa-se uma predileção das cores branca e preta nas vestes para Tranca Rua das Almas, porém há outras configurações, como branca e roxa e até mesmo preta e roxa. Costuma usar capa, cartola, punhal, bengala ou cetro. As guias (fio de contas) são também nas mesmas cores.
Em geral bebidas destiladas são oferecidas: cachaça, conhaque, uísque. Fuma charuto.
Por ser um Exu ligado às Almas, Tranca Rua das Almas atua protegendo ambientes e pessoas de Eguns. Por esse mesmo motivo, o Dia de Finados é um dia votivo específico para esta entidade. Em geral, toda segunda-feira é tida como dia de Exu e das Almas.
Farofa (ritual)

Farofa ou mi-ami-ami é um nome comum a vários tipos de comidas rituais votivas, feita de uma mistura, que tem como base farinha de mandioca, "farinha de pau ou farinha de guerra". Esta comida ritual sagrada, também é um alimento ritual e muito apreciada pela maioria do povo do santo da cultura Nagô-Vodum. "Farofa" é uma palavra iorubá, e no Benim e na Nigéria é um prato profano preparado do mesmo jeito que no Brasil, com farinha de mandioca, ovos, aceite de dendé.
Candomblé Ketu

Candomblé Ketu (or Queto in Portuguese) is the largest and most influential branch (nation) of Candomblé, a religion practiced primarily in Brazil. The word Candomblé means "ritual dancing or gather in honor of gods" and Ketu is the name of the Ketu region of Benin. Its liturgical language, known as yorubá or Nagô, is a dialect of Yoruba. Candomblé Ketu developed in the early 19th century and gained great importance to Brazilian heritage in the 20th century.
Queto is a system of beliefs that merges the Yoruba mythology (brought to the New World by Yoruba slaves) with different influences of other African Communities within Brazil, especially Bahia, where the Ala-Queto Nation is most prevalent. Queto developed in the Portuguese Empire. Yoruba slaves carried with them various religious customs, including a trance and divination system for communicating with their ancestors and spirits, animal sacrifice, and sacred drumming and dance. The religion grew popular among slaves because it was a way for Yoruba slaves to maintain their culture and express independence.
Its origins are entwined with the religious and beneficent brotherhoods (irmandades) organized by the Roman Catholic Church among ethnic Yoruba, Jeje and Bantu enslaved people; the Order of Our Lady of the Good Death (Nossa Senhora da Boa Morte), for women, and the Order of Our Lord of the Martyrdom (Nosso Senhor dos Martírios), for men.
Numerous terreiros of the Ketu branch of Candomblé have received historic status and government protection from the National Institute of Historic and Artistic Heritage (IPHAN). Ilê Axé Iyá Nassô Oká in Salvador was the first non-Roman Catholic and first Afro-Brazilian religious place of worship to receive protected heritage status in Brazil. Ilê Odó Ogé, also known as Terreiro Pilão de Prata, has protected heritage status from the state of Bahia.
As the largest branch of the Candomblé religion, Ketu origins have a major influence on the religion as a whole. Although there are various branches of Candomblé, the foundational beliefs are the same. They differ based on names, songs, and rituals primarily due to no written scripture. Each branch possesses a unique deity under the Supreme god Olódùmarè who is seen as unequaled and beyond all existence. Ketu's deities are called Orixá. Orixá control the destiny of the people and act as a guardian. Orixá also represent different forces in nature, foods, colors, animals, and days of the week.
In Ketu, Candomblé storytelling and animal sacrifices are important. Storytelling is expected to be done in a clear and precise way in order to be passed down to further generations. Animals such as pigs, goats, cows, sheep, and chicken are often sacrificed. Animals are seen as sacred, so they are often sacrificed as a way to transfer energy between nature, humans, and the Orixá.
There was a great deal of Catholic resistance due to the belief that the religion was devil's work. Slaves often incorporated front Catholic Saints in order to keep their practices a secret. Catholics wanted slaves to convert to their religion and feared retaliation if slaves became too independent.
Candomblé Bantu

Candomblé Bantu (also called Candomblé Batuque or Angola) is one of the major branches (nations) of the Candomblé religious belief system. It developed in the Portuguese Empire among Kongo and Mbundu slaves who spoke Kikongo and Kimbundu languages. The supreme and creative god is Nzambi or Nzambi a Mpungu. Below him are the Jinkisi or Minkisi, deities of Bantu mythology. These deities resemble Olorun and the other orishas of the Yoruba religion. Minkisi is a Kongo language term: it is the plural of Nkisi, meaning "receptacle". Akixi comes from the Kimbundu language term Mukixi.
The word "Bantu" means "people"; it is a combination of ba, a plural noun marker and -ntu, meaning "person". "Banto" was a generic term used by the Portuguese in Brazil to describe people who spoke Bantu languages.
Candomblé Jejé

Candomblé Jejé, also known as Brazilian Vodum, is one of the major branches (nations) of Candomblé. It has roots in the beliefs of the Adja, Fon and Ewe peoples from what H.B. Capo called the "Gbe speaking area", which today is around southeastern Ghana, southern Togo, southern Benin, and the southwestern fringe of Nigeria.
Jejé spirits are called Voduns (sing. Vodum). According to tradition, they were introduced into the Kingdom of Dahomey from nearby lands by its founder King Adja-Tado, on the advice of a bokono (seer). Their cult was reorganized and uniformized by King Agajah in the 18th century.
Jejé Vodums are sometimes worshiped in houses of other nations by different names. For instance, the Vodum Dan or Bessen is called Oxumarê in Candomblé Ketu. Conversely, the Ketu Orixás may be worshiped in Jejé houses, but retain their names.
Voduns are organized into families:
African diaspora religions

African diaspora religions, also described as Afro-American religions, are a number of related beliefs that developed in the Americas in various areas of the Caribbean, Latin America, and the Southern United States. They derive from traditional African religions with some influence from other religious traditions, notably Christianity and Islam.
Afro-American religions involve ancestor veneration and include a creator deity along with a pantheon of divine spirits such as the Orisha, Loa, Vodun, Nkisi, and Alusi, among others. In addition to the religious syncretism of these various African traditions, many also incorporate elements of folk Catholicism including folk saints and other forms of folk religion, Native American religion, Spiritism, Spiritualism, Shamanism (sometimes including the use of Entheogens), and European folklore.
Various "doctoring" spiritual traditions also exist such as Obeah and Hoodoo which focus on spiritual health. African religious traditions in the Americas can vary. They can have non-prominent African roots or can be almost wholly African in nature, such as religions like Trinidad Orisha.
The nature and composition of the African diaspora have undergone significant changes over time: from the forced migration of African captives of the Old and New Worlds to the voluntary emigration of free, skilled Africans in search of political asylum or economic opportunities; from a diaspora with little contact with the point of origin (Africa) to one that maintains active contact with the mother continent, all culminating in the birth of a unique African who straddles continents, worlds and cultures.
There are several conceptual difficulties in defining the African diaspora—indeed, in defining the term diaspora. Contemporary theorizations of the term diaspora tend to be preoccupied with problematizing the relationship between diaspora and nation and the dualities or multiplicities of diasporic identity or subjectivity; they are inclined to be condemnatory or celebratory of transnational mobility and hybridity. In many cases, the term diaspora is used in a fuzzy, ahistorical and uncritical manner in which all manner of movements and migrations between countries and even within countries are included and no adequate attention is paid to the historical conditions and experiences that produce diasporic communities and consciousness—how dispersed populations become self-conscious diaspora communities.
Ọya

Ọya (Yorùbá: Ọya, also known as Oyá or Oiá; Yàńsàn-án or Yansã; and Iansá, Iansã, or Iansan in Latin America) is an Orisha of winds, lightning, and violent storms. As a river deity she is also regarded as a deity of children, able to provide children to her devotees or those who come to her banks at the Niger river.
Ọya lived on Earth as a human from the town of Ira, in present day Kwara state, Nigeria, where she was a wife of the Alaafin of Oyo, Shango. In Yorùbá, the name Ọya is believed to derive from the phrase coined from "ọ ya" which means "she tore," referring to her association with powerful winds. She was believed to have the power to shape-shift into a buffalo, and is often depicted as one in traditional Yorùbá poetry. As such, the buffalo serves as a major symbol of Ọya, and it is forbidden for her priests to kill one. She is known as Ọya Ìyáńsàn-án, the "mother of nine", because of the nine children she gave birth to with her third husband Oko, after suffering from a lifetime of barrenness. She is the patroness of the Niger River (known to the Yorùbá as the Odò-Ọya).
In the Yoruba religion, Ọya was married three times, first to the warrior orisha Ogun, then Shango, and finally, another hunting and farming deity, Oko.
Oya was traditionally worshipped only in the areas of Yorubaland once under the control and influence of the Oyo Empire. Because of the Atlantic slave trade, many of her followers of Oyo origin were kidnapped and sold to the New World, where her worship became widespread. Oya worship has also spread to other parts of Yorubaland.
In Candomblé, Oya is known as Oiá, lyá Mésàn, or most commonly, Iansã, from the Yoruba Yánsán. Iansã, as in Yoruba religion, commands winds, storms, and lightning. She is the queen of the river Niger and the mother of nine. She is a warrior and is unbeatable. Attributes of Iansã include great intensity of feelings, sensations, and charm. Another ability attributed to Iansã is control over the mysteries that surround the dead. Iansã is syncretized with Saint Barbara. In the Candomblé nação (association) of Angola Congo, Iansã is associated with the color red.
Acarajé is a spherical patty made with peeled, crushed black-eyed peas, stuffed with small shrimp, okra, crushed peanuts, and other savory, piquant spices. The ball-like patty is fried in dendê oil (red palm oil). It's a traditional Afro-Brazilian dish that is also a traditional offering to Iansã in the Candomblé tradition. A simple, unseasoned form of acarajé is used in rituals and a version served with various condiments is sold as a common street food in Bahia in the northeast of Brazil. Ipeté and bobo de inhame are also associated with Iansã.
In Yorùbá, her food is Àkàrà. Eggplant, mulberries, pudding, and dark chocolate are also foods for Oya.
Misogi

Misogi (禊) is a Japanese Shinto practice of ritual purification by washing the entire body. Misogi is related to another Shinto purification ritual, harae. Thus, both are collectively referred to as misogiharae (禊祓).
Every year, many people take pilgrimages to sacred waterfalls, lakes and rivers, either alone or in small groups, to perform misogi. Mount Ontake, the Kii mountain range and Mount Yoshino are but a few examples of ancient and well known areas for misogi in Japan. In Kyoto, people douse themselves under Kiyomizu Temple's Otowa no taki (Sound-of-Wings) waterfall, although the majority of visitors drink from the waters rather than plunging into them. In the United States, misogi was performed at the Tsubaki Grand Shrine of America at the Konryu Myojin no Taki waterfall each morning in the years prior to its closure in 2023.
Before encountering misogi, members generally undergo some sort of preliminary purification. Such things as prayers, fasting, or some sort of physical activity is common. Generally, women put on a special white kimono and men put on a fundoshi (loincloth), with both genders also wearing headbands. They then begin furitama (降り魂) or "spirit shaking" by clenching their hands in front of the stomach and shaking them up and down, vibrating the upper torso. The purpose of this is to become aware of/unified with the spirit's presence within. Following this is a "warm-up" or calisthenics (tori-fune (鳥船) or "bird boat" rowing). These two aforementioned practices are sometimes accompanied by special prayers or incantations. After, the leader begins to speak out invocations/prayers that are said to activate the spirit. The followers generally speak along with them, thus affirming the potential for realizing one's own spirit, and thus unifying them with the kami around them.
The above exercises make participants raise their metabolism, and some groups accompany that with deep breathing. The exercises may be sprinkled with purifying salt and may be given sake to spit into the waterfall in three mouthfuls. Sometimes the participants are given salt to throw into the waterfall as they enter. In some groups, the leader counts to nine, cuts the air, and shouts the word "yei!" to dispel this impurity. The participants then enter the waterfall while continuously chanting the phrase harai tamae kiyome tamae rokkon shōjō (祓い給え清め給え六根清浄). This phrase asks the kami to wash away the impurity from the six elements that make up the human being, the five senses and the mind. The practice of this varies from group to group, each having their own traditions or methods.
Misogi is also used in some forms of martial arts, especially aikido, to prepare the mind for training and to learn how to develop one's Dantian, or centre. The founder of aikido, Morihei Ueshiba, regularly used this form of meditation to complement his training and search for perfection. The Sen Shin tei Misogi Well at Ki Society Headquarters in Japan is a well-known place for people performing misogi with cold water before sunrise.
Water Ritual 1: An Urban Rite of Purification

Water Ritual #1: An Urban Rite of Purification is a 1979 short experimental film directed, produced, written, and edited by Barbara McCullough. It is McCullough's first film and is generally considered a pioneering experimental film by an African-American woman. The title card is: "In West African societies, a story-teller charged with maintaining legacies, histories, knowledge and traditions in oral form."
Milanda (Yolanda Vidato) prepares for and partakes in a purification ritual.
The primary theme of the film is about African-American women within the African Diaspora. The use of surreal lighting and unclear narrative convey the confusion and displacement experienced by African-Americans. Milanda walks through a desolate wasteland with a confident detachment, representing African-American women's resilience despite harsh racial inequalities and a bleak outlook. The titular ritual augments this trope: Milanda's expulsion of clothing, water, and waste invoke African diaspora cosmology. David E. James wrote that the film is an "...inter-artistic work that combines collage, the avant-garde jazz of the Los Angeles native Don Cherry, and themes of history, folklore, magic, and the specificity of black feminism." In an interview, McCullough explained that the film "is really about touching [an] ancestral past."
McCullough was inspired to make the film when her close friend had a mental breakdown. The film was initially shot on black and white film. It was then colored to mimic an infrared color film strip.
শ্রীলঙ্কার রন্ধনশৈলী

শ্রীলঙ্কীয় রন্ধনশৈলী হচ্ছে শ্রীলঙ্কায় প্রচলিত বিভিন্ন রন্ধনপ্রণালী যা বিভিন্ন ঐতিহাসিক, সাংস্কৃতিক ও অন্যান্য বিষয় দ্বারা প্রভাবিত হয়ে বর্তমান অবস্থায় উপনীত হয়েছে। বিদেশী বণিকদের আনা ফল, ইন্দোনেশীয় রন্ধনশৈলী ও দক্ষিণ ভারতীয় রন্ধনশৈলীর সহায়তায় শ্রীলঙ্কীয় রন্ধনশৈলী গড়ে উঠেছে। আজকের দিনে শ্রীলঙ্কীয় রন্ধনশৈলীর প্রধান খাদ্য দ্রব্যের মধ্যে আছে চাল, নারিকেল এবং মশলা। শ্রীলঙ্কা অন্যতম মশলা উৎপাদনকারী দেশ এবং বিভিন্ন দেশের ব্যবসার কেন্দ্র হিসেবে ব্যবহৃত হতো। ফলে এদের মশলায় অভুতপূর্ব বৈচিত্র্যতা আসে।
শ্রীলঙ্কার প্রধান খাবারের মধ্যে আছে ভাত যা মাছ, মুরগী, গরু বা ছাগলের মাংসের তরকারি দিয়ে পরিবেশন করা হয়। এছাড়া সবজি, ডাল বা ফল দিয়ে তৈরী বিভিন্ন তরকারিও পরিবেশন করা হয়। এর সংগে ফল বা সব্জির আচার, চাটনি ও স্যাম্বল পরিবেশন করা হয়। নারিকেল স্যাম্বলের ব্যবহার বেশি হয় যা ঝাল মরিচ, শুটকি মালদ্বীপ মাছ এবং লেবুর রস দিয়ে প্রস্তুত করা হয়।
কিরিবাথ শব্দের অর্থ দুধ ভাত। নুন মেশানো নারিকেল দুধ দিয়ে চাল রান্না করে কিরিবাথ প্রস্তুত করা হয়। কিরিবাথ সকালে নাস্তায় প্রস্তুত করা হয়। এছাড়া জন্মদিন, নতুন বছর এবং ধর্মীয় উৎসবে কিরিবাথ প্রস্তুত করা হয়। এটা লাল পেয়াজ ও মরিচ দিয়ে তৈরী লুনু মিরিস দিয়ে পরিবেশন করা হয়। সিংহলী/তামিল নতুন বছর আলুথ আভুরুডু/পুথান্ডু'র সময়ে কিরিবাথ কাভুম, কোকিস, মুং কাভুম ইত্যাদি মিষ্টির সংগে পরিবেশন করা হয়।
কোট্টু হচ্ছে মশলা যুক্ত ছেড়া রুটি ও সব্জির মিশ্রণ। এতে স্থানভেদে ডিম, মাংস বা পনিরও যোগ করা হয়। এটা বাট্টিক্যালাওতে উদ্ভাবিত হয় এবং তামিল ভাষায় এর অর্থ কাটা রুটি।
আপ্পাম গাঁজনের মাধ্যমে তৈরী গোলা (ব্যাটার) দিয়ে তৈরী করা হয়। সাধারণত চালের গুড়ো, নারকেল দুধ ও মশলা দিয়ে এটা তৈরী করা হয়। গাঁজনের জন্য তালের রস বা ইস্ট ব্যবহার করা হয়। হপারের বিভিন্ন প্রকারভেদ আছে যেমন ডিম আপ্পা, দুধ আপ্পা, সুতা আপ্পা, ভান্ডু আপ্পা ও পানি আপ্পা। শ্রীলঙ্কার সাধারণ মিষ্টির মধ্যে আছে কেভুম নামে এক ধরনের তেলের পিঠা যা চালের আটা দিয়ে তৈরি করে ডুবো তেলে ভেজে সোনালী বাদামী বর্ণে পরিণত করা হয়। এর প্রকারভেদে আছে মুগ কেভুম যা মুগডাল দিয়ে প্রস্তুত করা হয় এবং ভাজার পূর্বে হীরকের আকৃতি দেওয়া হয়। কেভুমের অন্যান্য প্রকারভেদের মধ্যে আছে আথিরাহা, কোন্ডা কেভুম, আথিরস এবং হাঁড়ি কেভুম। সিংহলি ও তামিল নববর্ষে কিরিবাথের সাথে অনেক মিষ্টি পরিবেশিত হয়।
অন্যান্য কেকজাতীয় খাবারের মধ্যে আছে:
অন্যান্য মিষ্টি জাতীয় খাবারের মধ্যে আছে
সমুদ্র উপকূলবর্তী শ্রীলঙ্কায় বিভিন্ন ধরনের পানীয় প্রচলিত। এর মধ্যে উল্লেখযোগ্য হচ্ছেঃ
চুঙ্গাপুড়া পিঠা

চুঙ্গাপুড়া পিঠা বা চুঙ্গা পিঠা বাংলাদেশের সিলেট অঞ্চলের একটি প্রাচীন ঐতিহ্যবাহী পিঠা। চুঙ্গাপিঠা তৈরির প্রধান উপকরণ ঢলু বাঁশ ও বিন্নি ধানের চাল (বিরইন ধানের চাল) হলেও বিন্নি চাল, দুধ, চিনি, নারিকেল, ঢলুবাঁশ ও চালের গুঁড়া দিয়ে তৈরি এই খাবারটি সিলেটের একটি নিজস্ব এবং ঐতিহ্যবাহী খাবার হিসেবে সুপরিচিত।
বাংলাদেশে এক সময় বাজারে মাছের মেলা বসতো। সেসব মেলা থেকে মাছ কিনে অথবা হাওর-নদী হতে বড় বড় মাছ (রুই, কাতলা, চিতল, বোয়াল, পাবদা, কই, মাগুর) ধরে নিয়ে এসে হাল্কা মসলা দিয়ে ভেজে (আঞ্চলিক ভাষায় মাছ বিরান) চুঙ্গাপুড়া পিঠা খাওয়া সিলেট অঞ্চলের একটি অন্যতম ঐতিহ্য ছিল। বাড়িতে মেহমান বা নতুন জামাইকে শেষ পাতে চুঙ্গাপুড়া পিঠা, মাছ বিরান আর নারিকেলের ও কুমড়ার মিঠা, বা রিসা পরিবেশন না করা যেন লজ্জার বিষয় ছিল।
এক সময় সিলেটের পাহাড়ি আদিবাসীরা বাঁশ কেটে চুঙ্গা বানিয়ে এর ভেতর ভেজা চাল ভরে তৈরি করত এক ধরনের খাবার। ধীরে ধীরে এ খাবার পাহাড়িদের কাছ থেকে সিলেটবাসীদের কাছে চলে আসে। সময়ের পরিক্রমায় চুঙ্গা দিয়ে তৈরি করা এই খাবার এখন চুঙ্গা পিঠা নামে বহুল পরিচিত।
চুঙ্গাপিঠা বানানোর জন্য ঢলুবাঁশ অবশ্যই প্রয়োজন। ঢলুবাঁশে এক প্রকার তৈলাক্ত রাসায়নিক পদার্থ থাকে যা আগুনে বাঁশের চুঙ্গাকে না পোড়াতে সাহায্য করে। ঢলুবাঁশের ভিতরে বিন্নি চাউল ধোয়ে কলাগাছের পাতা প্যাঁচালো ভাবে ঢুকিয়ে তার মধ্যে বিন্নি চাল ভর হয়। অতঃপর খড় (নেরা বা খের) দিয়ে আগুনে পুড়িয়ে এই চুঙাপুড়া পিঠা তৈরি করা হয়। ঢলুবাঁশে অত্যধিক রস থাকায় আগুনে না পুড়ে ভিতরের পিঠা আগুনের তাপে সিদ্ধ হয়। ঢলুবাঁশের চুঙ্গা দিয়ে ভিন্ন স্বাদের পিঠা তৈরি করা করা হয়ে থাকে। কোনো কোনো জায়গায় চুঙ্গার ভেতরে বিন্নি চাল, সাথে দুধ, চিনি, নারিকেল ও চালের গুঁড়া দিয়ে পিঠা তৈরি করা হয়।
পিঠা তৈরি হয়ে গেলে মোমবাতির মতো চুঙ্গা থেকে পিঠা আলাদা হয়ে যায়।
গোলাকার আকৃতির ঐতিহ্যবাহী এই পিঠা দুধের মালাই, খেজুরের গুড় ও দুধের সর দিয়ে পরিবেশন করা হয়। বিভিন্ন ধরনের মাছ, যেমন- রুই-কাতলা, বোয়াল, চিতল, পাবদা, কই, মাগুর মাছ হালকা মসলায় ভেজে তৈরি মাছ বিরাণেও চুঙ্গা পিঠা খাওয়া হয়।
তেহারী

তেহারি এক প্রকার খাবার বিশেষ। পোলাও'র চাল ও মাংস এর প্রধান উপকরণ। বিরিয়ানি'র সাথে এর মূল পার্থক্য হলো এতে মাংসের টুকরা বেশ ছোট হয়। এক ধরনের তেহারি রান্নায় গোল আলু ব্যবহার করা হয়। তবে এটা বাধ্যতামূলক নয় যে তেহারিতে আলু থাকতেই হবে! । তেহারি বাংলাদেশ, পাকিস্তান এবং উত্তর ভারতে খুবই জনপ্রিয়।
জিরা, ধনে গুঁড়া, গোলমরিচ, এলাচ, দারুচিনি, জায়ফল গুঁড়া করুন। গরম তেলে মাংস আদা বাটা, রসুন বাটা, দই, কাঁচামরিচ, লবণ মিশিয়ে হালকা বাদামী করে ভাজুন এবং মাংস সিদ্ধ হলে মসলা দিয়ে নেড়ে নামান। হাঁড়িতে প্রয়োজনমতো পানি ফুটিয়ে চাল (তুলশীমালা চাল, কালিজিরা চাল, চিনিগুঁড়া চাল ইত্যাদি), দুধ, লবণ দিয়ে নাড়ূন। পোলাও চাল হয়ে আসার আগে ৬-৭ টুকরো কাঁচামরিচ দিন। অল্প আঁচে রেখে রান্না মাংস ছড়িয়ে দিন এবং মাংসগুলো পোলাও চালের সঙ্গে ভালোভাবে মিশিয়ে নিন। হয়ে এলে নামিয়ে পরিবেশন করুন
জায়ফল, জয়ত্রি, এলাচ, দারচিনি, গোলমরিচ হালকা ভেজে গুঁড়ো করে রাখতে হবে। মাংস, আদা, রসুন, পেঁয়াজের রস, লবণ, দই ও কাঁচা মরিচ দিয়ে ১০ মিনিট ম্যারিনেট করে রাখতে হবে। পাত্রে আধা কাপ তেল দিয়ে মাখানো মাংস মাঝারি আঁচে রান্না করতে হবে। মাংস পানিতেই সেদ্ধ হবে। যদি প্রয়োজন হয় তবে পানি দিতে হবে। পানি শুকিয়ে তেলের ওপর উঠলে গুঁড়া মসলা দিয়ে নেড়ে নামিয়ে ঢেকে রাখতে হবে। হাঁড়িতে চালের দেড় গুণ পানি ফুটিয়ে এলাচ, দারচিনি বাটা আধা কাপ তেল, লবণ মাংসের কিউব ও ১০ মিনিট আগে ভেজানো চাল দিয়ে নেড়ে দিতে হবে। পানি ও চাল সমান হলে অল্প আঁচে দমে বসিয়ে কাঁচা মরিচ দিতে হবে। ১০ মিনিট পর রান্না করা মাংস পোলাওর ওপর দিয়ে কাঠের চামচ দিয়ে ভালোভাবে মিশিয়ে ওপরে কেওড়াজল ছিটিয়ে দিতে হবে। ১৫ মিনিট দমে রেখে নামিয়ে পরিবেশন করতে হবে।
দ্বন্দ্ব সমাস

যে সমাসে প্রতিটি সমস্যমান পদের অর্থের সমান প্রাধান্য থাকে এবং ব্যাসবাক্যে একটি সংযোজক অব্যয় (কখনো বিয়োজক) দ্বারা যুক্ত থাকে, তাকে দ্বন্দ্ব সমাস বলে। যেমন: তাল ও তমাল= তাল-তমাল, দোয়াত ও কলম= দোয়াত-কলম। এখানে তাল ও তমাল এবং দোয়াত ও কলম- প্রতিটি পদেরই অর্থের প্রাধান্য সমস্ত পদে রক্ষিত হয়েছে।
দ্বন্দ্ব সমাসে পূর্বপদ ও পরপদের সম্বন্ধ বোঝানোর জন্য ব্যাসবাক্যে এবং, ও, আর - এই অব্যয় পদগুলো ব্যবহৃত হয়। যেমন: মাতা ও পিতা= মাতা-পিতা, বই ও খাতা= বই-খাতা, ন্যায় ও অন্যায়= ন্যায়-অন্যায়, সহজ ও সরল= সহজ-সরল, সত্য ও মিথ্যা= সত্য-মিথ্যা।
দ্বন্দ্ব সমাস আট প্রকার: ১। সমার্থক দ্বন্দ্ব: কাজ ও কর্ম= কাজ-কর্ম ২। বিপরীতার্থক দ্বন্দ্ব: দিন ও রাত= দিন-রাত ৩। বিকল্পর্থক দ্বন্দ্ব: হার অথবা জিৎ = হার-জিৎ ৪। সমাহার দ্বন্দ্ব: দুধ ও কলা= দুধ-কলা ৫। মিলনার্থক দ্বন্দ্ব: চাল ও ডাল= চাল-ডাল ৬। অলুক দ্বন্দ্ব: কাগজে ও কলমে= কাগজে-কলমে ৭। বহুপদী দ্বন্দ্ব: রূপ, রস, গন্ধ ও স্পর্শ= রূপ-রস-গন্ধ-স্পর্শ ৮। একশেষ দ্বন্দ্ব: তুমি, আমি ও সে= আমরা
বিভিন্নভাবে দ্বন্দ্ব সমাস গঠিত হয়। যেমন:
যে দ্বন্দ্ব সমাসে কোনো সমস্যমান পদের বিভক্তি লোপ পায় না, তাকে অলুক দ্বন্দ্ব বলে। যেমন: দুধে-ভাতে, জলে-স্থলে, দেশে-বিদেশে, হাতে-কলমে।
তিন বা বহু পদে দ্বন্দ্ব সমাস হলে তাকে বহুপদী দ্বন্দ্ব সমাস বলে। যেমন: সাহেব-বিবি-গোলাম, হাত-পা-নাক-মুখ-চোখ।
দেশী

দেশী (বিকল্প বানান: দেশি; বাংলা উচ্চারণ: [d̪eʃi]) দক্ষিণ এশিয়ার মানুষ, পণ্য, সংস্কৃতি এবং তাদের বিস্ফুরিত জনগণের জন্য ব্যবহৃত একটি শিথিল শব্দ, যা প্রাচীন সংস্কৃত শব্দ দেশ থেকে এসেছে এবং যার অর্থ "দেশ" বা "ভূমি"। শিথিল শব্দ হিসাবে দেশী হলো দেশ বা রাষ্ট্র বিষয়ক। যাইহোক, এটা প্রায়ই স্বীকার করে নিয়েছিল যে ভারত, বাংলাদেশ, পাকিস্তান, নেপাল, ভুটান ও শ্রীলঙ্কা হলো "দেশী দেশ" বা "দেশী সংস্কৃতির দেশ"।
দেশী সংস্কৃত শব্দ দেশ হতে এসেছে যায় অর্থ "দেশ" বা "ভূমি"। ইন্দো-আর্য ভাষাসমূহতে, দেশ বলতে অঞ্চল, রাজ্য, প্রদেশ বা দেশ (বাংলা শব্দ)-কে বুঝায়। বাংলা ভাষায় "দেশি" হলো নিজ দেশের উৎপন্ন বা নিজ দেশের বা স্থানীয় জাত, যেমন: দেশী মাছ, দেশি মলা প্রভৃতি।
বাংলাদেশ, ভারত, পাকিস্তান, ভুটান, নেপাল ও শ্রীলঙ্কায় দেশী বলতে জাতীয় ও ঐতিহ্যবাহী খাবারগুলোকে বুঝানো হয়ে থাকে, তার একটি সাধারণ উদাহরণ হল- দেশী ঘি। দেশী ঘি ভারতীয় উপমহাদেশে ঐতিহ্যগতভাবে স্থানীয় পরিবেশে তৈরি করা হয়, যা খাবার তেলের বিকল্প হিসাবে ব্যবহার করে।
রোনাল্ড রস

স্যার রোনাল্ড রস (১৩ মে, ১৮৫৭ – ১৬ সেপ্টেম্বর, ১৯৩২) একজন স্কটিশ (ব্রিটিশ) চিকিৎসক ও ব্যাকটেরিয়া বিজ্ঞানী ছিলেন। চিকিৎসা বিজ্ঞানে উচ্চশিক্ষা সনদ লাভের পরে তিনি ভারতীয় চিকিৎসা ব্যবস্থাতে যোগদান করেন। তিনি তৃতীয় ইঙ্গ-বর্মী যুদ্ধে (১৮৮৫) অংশগ্রহণ করেন। এরপর তিনি ১৮৮৮ ও ১৮৮৯ সালে আবার লন্ডনে গিয়ে ব্যাকটেরিয়াবিজ্ঞানে পড়াশোনা শেষ করে ভারতে ফেরৎ আসেন। সেখানে তিনি স্যার প্যাট্রিক ১৮৯৭ সালে অ্যানোফিলিস জাতীয় মশার পৌষ্টিকনালীতে ম্যালেরিয়া রোগ সৃষ্টিকারী জীবাণু প্লাসমোডিয়াম আবিষ্কার করেন। তিনি সুস্থ ও সংক্রমিত পাখিদেরকে অধ্যয়ন করে প্লাসমোডিয়াম জীবাণুর সমগ্র জীবনচক্র সম্পর্কে জ্ঞানার্জন করেন। তিনি দেখান যে মশার লালাগ্রন্থিতে প্লাসমোডিয়াম জীবাণু থাকে এবং মশার কামড়ের মাধ্যমে এটি অন্য পোষকের দেহে সংক্রমিত হয়। তাঁর এই কাজের উপর ভিত্তি করে অ্যানোফিলিস মশার বংশবিস্তার রোধের মাধ্যমে ম্যালেরিয়া রোগ প্রতিরোধের ব্যবস্থা গ্রহণ করা হয়। যার ফলে বিশ্বজুড়ে বহু কোটি মানুষের প্রাণরক্ষা পেয়েছে। রস ১৯০২ সালে ম্যালেরিয়া রোগের উপরে গবেষণার জন্য চিকিৎসাবিজ্ঞানে নোবেল পুরস্কার লাভ করেন।
১৮৫৭ সালে কুমায়ুনের আলমোড়াতে, যা বর্তমানে ভারতের উত্তরাখণ্ড রাজ্যে অবস্থিত।
ম্যালেরিয়া নিয়ে তার গবেষণার জন্য ১৯০২ সালে তিনি নোবেল পুরস্কার পান। তিনিই প্রথম দেখান কি করে ম্যালেরিয়া ছড়ায়। তার ভারতীয় সহ-গবেষক পাণিহাটি-নিবাসী ডাক্তার কিশোরীমোহন বন্দ্যোপাধ্যায়কে এই কর্মের জন্য ব্রিটেনের সম্রাট এডওয়ার্ড স্বর্ণপদকে ভূষিত করেন।
১৯৩২ সালে।
আখের রস

যন্ত্র দিয়ে আখ গাছের লম্বা কাণ্ডের ভিতরের যে মিষ্টি রস পিষে বের করে সেটাকে আখের রস বলে। আখের রস দিয়ে গুড় ও চিনি তৈরি করা হয়।
প্রথমে জমি হতে আখ সংগ্রহ করা হয় | পরে আখের মাথার অংশ কেটে আখ পরিষ্কার করা হয়ে | এতে প্রথমে আখের গায়ের ময়লা পরিষ্কার করে পরিষ্কার পানিতে ধুয়ে নিতে হয় | এবার আখ মাড়াইকরণ যন্ত্র চালু করে আখ যন্ত্রের মাঝে দিতে হয় | এতে যন্ত্রের ৩টি রোলারের চাপে আখ পিষ্ট হয় এবং রস আলাদা হয়ে যায়, তখন এ রস সংগ্রহ করা হয় |
বাংলাদেশএ গরমের দিনে, রোজা , ইফতারএ , বা ক্লান্তি মেটাতে আখের রসের বিপুল জনপ্রিয়তা লক্ষ্য করা যায় । গ্লাসে রস ছেঁকে বরফ সহ অথবা শুধু রস পরিবেশিত হয় |
ডালিয়া সেরা

ডালিয়া সেরা রাজস্থান এবং গুজরাটের মিষ্টান্ন খাবার। এটি ফাটানো গম দিয়ে প্রস্তুত করা হয়, এটি ডালিয়া নামেও পরিচিত।
ফাটা গম (ডালিয়া), গুড় (গুড়), পরিষ্কার মাখন (ঘি), জল, দুধ, এলাচের গুঁড়ো (এলাইচি), ছোট ছোট নারকেল টুকরা লম্পির উপাদান।
ডালিয়া খাঁটি ঘি তে ভাজা হয়ে থাকে, ধীরে ধীরে নাড়াচাড়া করা হয়, যতক্ষণ না এটি গোল্ডেন ব্রাউন হয়। এলাচি গুঁড়ো এবং চিনি জাতীয় জল এবং মশলা যোগ করা হয় এবং ঘি মিশ্রণ থেকে পৃথক না হওয়া পর্যন্ত মিশ্রণটি অল্প আঁচে স্টিভ করা হয়। ডিশ শীতল হওয়ার পরে দুধ যোগ করা হয়, এবং তারপরে থালাটি পুনরায় গরম করা হয়।
পরিবেশনের জন্য পুষ্টির মানগুলি হল: ক্যালোরি: ৩৮০, ফ্যাট: ১৫ জি, শর্করা: ৫৩ গ্ৰাম প্রোটিন: ৬ গ্ৰাম
কখনও কখনও দুধের পরিবর্তে জল ব্যবহার করা হয় এবং কখনও কখনও বাদাম, কাজু, কিসমিস ইত্যাদি শুকনো ফল যুক্ত করা হয়।
ডালিয়া থেকে তৈরি অন্যান্য কয়েকটি খাবার হ'ল উপমা, খির, খিচদি ইত্যাদি দক্ষিণ ভারতে চাল প্রতিস্থাপনের জন্য ডালিয়া ব্যবহার করা হয়।