davidanugraha/M4-RAG huggingface dataset:
Гьорче Петров (община)

Гьорче Петров (на македонска литературна норма: Општина Ѓорче Петров) е община в Северна Македония, образувана през 1996 година като съставна община на столицата Скопие. Разположена е в северозападната част на македонската столица, на левия бряг на река Вардар.
Територията ѝ се простира до граничната линия със Сърбия. Граничи с общините Карпош, Сарай и Чучер.
Историята на община Гьорче Петров започва непосредствено след Първата световна война като предградие на главния град Скопие, до който се е стигало само с познатото „вовче пампурче“. Първоначално общината се е казвала Ханриево, по името на френския генерал от Първата световна война Анрис. От 1941 до 1945 година общината носи името на българския генерал Константин Жостов - Жостово. През 1945 общината е наречена на българския революционер Гьорче Петров.
По време на българското управление във Вардарска Македония в годините на Втората световна война, Йордан Николов Пешев от Куманово е български кмет на Ген. Жостово от 9 юли 1941 година до 13 май 1942 година. След това кметове са Енчо Ив. Григоров (13 май 1942 - 4 февруари 1944) и Страхил Йорд. Пецев от Скопие (19 май 1944 - 9 септември 1944).
Община Гьорче Петров има 41 634 жители със следната етническа структура:
Парламентарни избори в България (юли 2021)

Парламентарните избори в България през юли 2021 година се провеждат за избирането на народни представители в XLVI народно събрание на Република България. Изборите са извънредни, след като трите проучвателни мандата – на ГЕРБ – СДС, „Има такъв народ“ и БСП, са върнати на президента Румен Радев и насрочва предсрочни парламентарни избори на 11 юли 2021 г.
Към 4 юли 2021 г., пет социологически агенции са получили одобрение от ЦИК за извършване на проучвания „на изхода“ – ЦАМ със 113 анкетьора, Галъп с 243 анкетьора, Алфа Рисърч с 296 анкетьора, Тренд с 377 анкетьора и Маркет Линкс със 191 анкетьора.
Леви Щраус

Леви Щраус (на английски: Levi Strauss, Ливай Строс; роден като Льоб Щраус, на немски: Löb Strauß; 26 февруари 1829 – 26 септември 1902) е американски индустриалец от еврейско-германски произход, създател на джинсите.
Щраус е роден с името Льоб в градчето Бутенхайм в Северна Бавария като син на еврейски родители. Баща му Хирш Щраус, беден амбулантен търговец, умира от туберкулоза, когато Льоб е едва 16-годишен. Многобройното семейство попада в криза. През 1847 г. майка му Ребека имигрира в Америка заедно с малките си деца – с него и 2 от сестрите му. Те потеглят към двамата най-големи братя на Леви, които работят в текстилното производство в Ню Йорк. Друга причина за преселването на семейство Щраус са тогавашните вражески настроени към евреите закони в Бавария. От имиграцията си в Америка Льоб се преименува на Леви. Получава американско гражданство и работи в магазина на двамата му братя.
Новините за открития на злато се разпростират от Изтока до Запада в Америка. През 1853 г. Леви тръгва по стъпките на златната треска и се преселва в Сан Франциско, Калифорния. Зет му, брат му Луис и самият Леви основават магазин за търговия с галантерийни изделия и платове. Стоките се умножават и към тях се добавят разнообразни изделия като четки за зъби, тиранти, копчета и цялостно облекло за златотърсачите.
Понеже и по-рано се бил занимавал с облекло и галантерия, Леви взима със себе си разнообразни платове като брезент. Скоро открива, че златотърсачите се нуждаят от издръжливи панталони при своята тежка работа. Първите си панталони той поръчва на шивач да бъдат изработени от брезента. Първият клиент, закупил си панталоните, бил така въодушевен от покупката, че цяла нощ се шляел из града и разказвал на всекиго.
Първите панталони са все още кафяви, изработени от конопени влакна и се придържат от тиранти. Скоро Щраус започва да използва деним – памучен плат, който се оцветява в синьо с индиго. Ръбовете на джобовете обаче все още са недостатъчно груби за златотърсачите, които пъхат в тях всякакви материали от мините.
През декември 1870 г. на Якоб Дейвис – шивач от Рига, му хрумва да нитва краищата на джобовете на панталоните, за да ги подсили. Понеже му липсват пари за патентоване на своята идея, превърнала се в реалност през 1872 г., се обръща към Леви Щраус, който му заема част от плата, нужен за производство. Щраус подпомага Дейвис и получава заедно с шивача патент на 20 май 1873 г. До края на годината са продадени 70 500 бройки панталони и палта от материала деним. Две фабрики произвеждат джинсите. 10 г. по-късно действат вече над 535 предприятия.
През 1902 г. Щраус умира неочаквано в своята къща в Сан Франциско, където живее заедно със семейството на сестра си Фани. Основаната през 1853 г. фирма, наречена „Леви Щраус & Ко“, Щраус оставя на своите 4 племенника, защото той самият няма деца. Погребан е в гробището „Hills of Eternity“, намиращо се в Колма, южно от Сан Франциско.
Люсиен Леви-Дюрмер

Люсиен Леви-Дюрмер (на френски: Lucien Lévy-Dhurmer, 1865 – 1953) е френски художник и керамик, чието творчество се свързва с теченията символизъм и ар нуво.
Люсиен Леви е роден на 30 септември 1865 г. в Алжир в еврейско семейство. През 1879 г. започва да изучава рисуване и скулптура в Париж. През 1887 г. Леви е назначен за главен художествен директор във фабриката за керамични изделия на Клеман Масие. Леви се интересува от декоративните изкуства в Северна Африка и в Азия и в работата му се усещат такива влияния. През 1895 г. той отива в Париж, за да се занимава с живопис; в същия период посещава Италия, където е повлиян и от изкуството на Ренесанса.
През 1896 г. той излага първите си пастели и картини под името Люсиен Леви-Дюрмер, добавяйки последните две срички от моминското име на майка си (Goldhurmer). Получава висока оценка за картините си и печели известност.
Леви-Дюрмер черпи вдъхновение от музиката и прави опити да пресъздаде творби на известни композитори като Лудвиг ван Бетовен под формата на картини.
Умира на 24 септември 1953 г. в Льо Везине.
Шумейкър-Леви 9

Шумейкър-Леви 9 (номенклатурно име: D/1993 F2) е комета, която не се върти около Слънцето, а около планетата Юпитер, в чиято орбита е била прихваната 25-30 години преди датата на откриването. През 1994 г. се сблъсква с планетата Юпитер, като преди това се разпада на най-малко 20 части.
Кометата е открита на 24 март 1993 г. чрез обсерваторията „Паломар“ в Калифорния от астрономите Юджийн Шумейкър, Каролин Шумейкър и Дейвид Леви, чието име носи. Числото „9“ след името показва, че това е деветата подред комета, открита от този екип учени.
След откриването на Шумейкър-Леви 9 е установено, че кометата е с параметри: перихелий 5,381 А.Е. ; ексцентрицитет 0,216; инклинация към еклиптиката 6° 00′; аргумент на периценътра 354° 53′; дължина на възходящия възел 220° 32′; средна аномалия 242,7°; сидеричен период 18,0 години. Абсолютната звездна величина е 6m.
Кратко след откритието се появяват съобщения, че кометата е фрагментирана и че има вероятност от сблъсък с Юпитер. При поредното сближаване с планетата през юни-юли 1994 г. кометата преминава Границата на Рош, раздробява се под влияние на приливните сили и 22-та фрагмента се врязват в атмосферата на Юпитер със скорост 60 km/s (216 000 km/h). Ударите оставят видими с месеци петна, някои с диаметър сравним с този на Земята. Наблюденията от Земята са затруднени поради факта, че ударите са по южното полукълбо на Юпитер от обратната му страна, гледано от Земята, но са заснети от приближаващия космически апарат Галилео от разстояние 1,6 а.е. Благодарение на бързото въртене на Юпитер около оста си, петната стават видими от Земята след няколко часа и са заснети от космическия телескоп Хъбъл.
Първият фрагмент А се врязва в атмосферата на Юпитер на 16 юли, при което възниква експлозия с температура 24 000 К и изхвърлените газове изригват на височина до 3000 km и стават видими от Земята. Най-големият фрагмент G се сблъсква с атмосферата на 18 юли. Възниква петно с диаметър 12 000 km (сравним с диаметъра на Земята), а енергията на взрива е оценена на 6 милиона мегатона тротилов еквивалент (600 пъти повече от целия ядрен арсенал на Земята). По оценки, подобен сблъсък на Юпитер се случва веднъж на няколко хилядолетия.
Сблъсъкът е широко отразен в световните медии, а кометата е наблюдавана отблизо от астрономите по света. Сблъсъкът предоставя важна информация за Юпитер и осветлява неговата роля за защита от сблъсък с космически тела на планетите от вътрешната Слънчева система.
Рита Леви-Монталчини

Рита Леви-Монталчини (на италиански: Rita Levi-Montalcini) е италианска невроложка и от 2001 г. до смъртта си е пожизнена сенаторка. Носителка е на Нобелова награда за медицина през 1986 г.
Родена е на 22 април 1909 г. в Торино, Италия, в семейството на евреи. Заедно със сестрите и братята си към фамилното си име добавя фамилията на майка им Монталчини през 1930 г. Въпреки съпротивата на баща си, според чиито консервативни възгледи образованието пречи на ролята на жената в семейството, успешно завършва медицина в Медицинската академия в Торино през 1936 г.
Непосредствено след завършването си започва работа като асистент в академията, но законите за расата на Мусолини от 1938 г. водят до нейното уволнение. През следващите няколко години Леви-Монталчини самостоятелно провежда научни експерименти в дома си. През 1946 г. приема покана от Университета Вашингтон в Сейнт Луис (Washington University in St. Louis), САЩ, където в продължение на следващите 30 години провежда най-значимата си научна дейност. Успоредно с това от 1961 до 1969 г. ръководи италианския Национален научен съвет (Consiglio Nazionale delle Ricerche) в Рим, а от 1969 до 1978 г. – Лабораторията по клетъчна биология. През 1986 г. Леви-Монталчини и колегата ѝ Стенли Коен печелят Нобеловата награда за медицина за изследванията си върху факторите на растеж, които са от огромно значение за разбирането на механизмите на раковите заболявания.
От 1 август 2001 г. Леви-Монталчини е пожизнен сенатор в Сената на Италианската република. Често взема участие в дебатите, известна е с умерените си леви убеждения. През 2004 г. влага научния си и личен авторитет в успешната кампания срещу решението на тогавашния министър на образованието да премахне биологичната еволюция от националния учебен план. Леви-Монталчини също оглавява фондация за правата на жените в Африка.
Pie Rouge des Plaines

The Pie Rouge des Plaines (French pronunciation: [pi ʁuʒ de plɛn]) is a modern French breed of dairy cattle. It was created in about 1970 by cross-breeding the traditional Armorican cattle of Brittany, in north-western France, with red-pied cattle of the Dutch Meuse-Rhine-Yssel and German Deutsche Rotbunte breeds.
The Pie Rouge des Plaines is a modern breed. In 1970, farmers raising the traditional red-pied Armorican cattle in the three western départements of Brittany – Côtes-d'Armor, Finistère and the Morbihan – took the decision to merge their breed with red-pied cattle of Germany and the Netherlands, through a programme of extensive cross-breeding with German Rotbunt and Dutch Meuse-Rhine-Yssel stock, to create a new dairy breed with good meat-producing qualities. A breeders' association, the Eleveurs de la Race Française Pie Rouge des Plaines, was formed, and a herd-book was opened for the new breed in 1970 or 1971. From 1982 an attempt was made to increase size and udder quality by introducing Red Holstein blood; however, the resulting stock was less successful for beef production.
The Pie Rouge des Plaines is concentrated mainly in Brittany, where about 80% of the total herd is found; it is also distributed in Normandy, and – to a lesser extent – in the Massif Central. In 2015 the total population was estimated to be in the range 62500–67500, with approximately 25000 breeding cows, of which about 3500 were registered in the herd-book. Frozen semen from some 150 bulls was available for artificial insemination.
The original Armorican breed has become rare: it was listed by the FAO as "critically endangered" in 2007. The population was estimated in 2005 to be in the range 230–248 head, and in 2014 was reported at 263.
The Pie Rouge des Plaines is red-pied, with short crescent-shaped horns. The skin, muzzle and mucosa are pale. Cows have good resistance to mastitis.
Pie Rouge des Plaines has good dairy aptitude: milk yield is of the order of 8000 kg in a lactation of 329 days; the milk has 4.3% fat and 3.3% protein. Meat production also contributes to profitability.
Orlaya

Orlaya is a genus of flowering plants from Europe in the family Apiaceae, with between 1 and 11 species. They are annuals with finely-divided leaves, and umbels of lacy pink or white flowers. O. grandiflora, white laceflower, is well-known and widely cultivated as an ornamental in the UK and elsewhere. It has gained the Royal Horticultural Society's Award of Garden Merit.
The following species are currently accepted:-
Armorican Massif

The Armorican Massif (French: Massif armoricain, pronounced [masif aʁmɔʁikɛ̃]) is a geologic massif that covers a large area in the northwest of France, including Brittany, the western part of Normandy and the Pays de la Loire. It is important because it is connected to Dover on the British side of the English Channel and there has been tilting back and forth that has controlled the geography on both sides.
Its name comes from the old Armorica, a Gaul area between the rivers Loire and Seine. The massif is composed of metamorphic and magmatic rocks that were metamorphosed and/or deformed during the Hercynian or Variscan orogeny (400 to 280 million years ago) and the earlier Cadomian orogeny (650 to 550 million years ago). The region was uplifted when the Bay of Biscay opened during the Cretaceous period. The Cantabrian Mountains and the Armorican Massif were then rift shoulders of the Bay of Biscay.
The competent old rocks of the Armorican Massif have been eroded to a plateaulike peneplain. The highest summit, the Mont des Avaloirs (Mayenne département), is just 417 m (1,368 ft) above sea level. The western part of the Armorican Massif (which covers Brittany) are the Monts d'Arrée.
During the Neoproterozoic, older parts of the Armorican Massif formed the northern margin of the paleocontinent Gondwana. During the Paleozoic era, the Armorican Massif was part of the microcontinent Armorica, which probably also included terranes found in the Vosges, Black Forest and Bohemian Massif further east. Armorica rifted off the northern margin of Gondwana somewhere during the Ordovician or Silurian periods to move northward and collide with Laurussia during the Hercynian orogeny.
The oldest rocks of the massif are Neoproterozoic sediments of the Brioverian Supergroup which were deformed and metamorphosed during the Cadomian orogeny. These are overlain by lower Paleozoic (Cambrian to Devonian) (meta-)sediments. The whole sequence was deformed, metamorphosed and intruded by felsic magmas during the Hercynian orogeny.
The massif is cut in three by two major late Hercynian southeast-northwest striking shear zones (the North and South Armorican Shear Zones). The divisions are simply called the North, Central and South Armorican Zones. Generally the north was less deformed during the Hercynian orogeny than the south. The South Armorican Zone is considered part of the core of the Hercynian orogeny, comparable to the Moldanubian Zone of southern Germany and central Europe. Late Hercynian granitoid bodies were intruded along the South Armorican Shear Zone. The northern parts of the Armorican Massif have less intrusive rocks, although a small zone in the northwest of Brittany (Léon Zone) forms an exception.
48°N 3°W﻿ / ﻿48°N 3°W﻿ / 48; -3
Muñeira

La muñeira​ (en gallego, muiñeira: "molinera") es una danza popular de origen gallego que se baila en Galicia y en las comunidades autónomas españolas de Asturias (donde también se la conoce como muñera) y en territorios de Castilla y León limítrofes con Galicia. Según Dionisio Preciado en otras regiones de España se la llama «gallegada».​ Se canta y baila acompañada de la gaita, el tamboril o tambor, la pandereta (pandeireta), el pandero (pandeiro), bombo, charrasco y a veces las conchas (cunchas o vieiras). No existen referencias documentales inequívocas anteriores al siglo XVI. En la actualidad es, sobre todo, una danza instrumental que al igual que la sardana mantiene un ritmo compaseable en 6/8. El nombre muiñeira evoca las jornadas de trabajo en los molinos -en gallego muíños- y el ocio asociado a la espera de la molienda.​​
El aturuxo es un grito que se utiliza en las fiestas, para darle ánimos a los bailarines. Suele ser fuerte, agudo y prolongado.
Se apunta algunas veces que el "aturuxo" puede tener que ver con las manifestaciones musicales del norte de África, que habrían llegado a Galicia por mar, la denominada "cultura atlántica", patente en otros aspectos musicales, tales como algunas curvas
El aturuxo, junto con el representativo ritmo percusivo de la muñeira, posible herencia de las bandas tradicionales de los suevos, demuestran que la muñeira no necesariamente tiene sus orígenes en las danzas populares gallegas que bailaban las familias alrededor de los molinos esperando la molienda, sino que también puede estar vinculada con las bandas militares suevas y las guerras históricas gallegas. También puede provenir de los gritos de guerra de los galaicos. Encontramos exclamaciones similares en Irlanda y más, en Escocia, lo cual puede indicar que esta versión sea la más precisa, pese a que la posibilidad más acertada sea una mezcla de todas las anteriores versiones.
Y ahora voy a salir (Ranxeira)

Y ahora voy a salir (Ranxeira) es el decimocuarto sencillo de Mägo de Oz y el primero del álbum La Ciudad de los árboles.
El videoclip de la canción fue estrenado el 10 de octubre del 2007, en la página web oficial del grupo.
La canción mezcla la ranchera mexicana y la muñeira gallega; de donde proviene el término "Ranxeira". En el video musical se pueden apreciar a algunos integrantes del grupo usando trajes típicos de mariachi teniendo una bandera mexicana.
La canción incluye algunos mexicanismos como carnal (amigo) y padre (muy bueno).
El sencillo incluye como B-Side una versión del tema «Moonlight Shadow», de Mike Oldfield, teniendo a la voz a Patricia Tapia, corista del grupo y vocalista de KHY.
Meses después del lanzamiento del sencillo, Mägo de Oz volvió a usar la melodía para una canción llamada Soy del Real Madrid, incluida en el álbum Sentimiento madridista dedicado al equipo de fútbol madrileño.
Conservatorio Profesional de Danza de Albacete

El Conservatorio Profesional de Danza José Antonio Ruiz de Albacete es una escuela pública de ámbito regional, dependiente de la Consejería de Educación, Cultura y Deportes del Gobierno de Castilla-La Mancha, con sede en la ciudad española de Albacete, en la se imparten enseñanzas de régimen especial en la especialidad de danza.
Es el conservatorio de danza más importante de Castilla-La Mancha y uno de los dos conservatorios profesionales de danza en la comunidad autónoma junto con el de Puertollano.​
El Conservatorio Profesional de Danza de Albacete fue creado gracias a la colaboración entre la Diputación Provincial de Albacete y la Junta de Comunidades de Castilla-La Mancha. Comenzó las clases en el curso 2007-2008, absorbiendo las enseñanzas profesionales de danza que se impartían en el Real Conservatorio Profesional de Música y Danza.​ Fue inaugurado oficialmente el 14 de mayo de 2008 por el presidente de Castilla-La Mancha, José María Barreda.​
En 2011, a propuesta de la comunidad educativa del centro, recibió la denominación de «José Antonio Ruiz» en honor al ilustre director, coreógrafo y bailarín español, Premio Nacional de Danza en 1997 y Medalla de Oro al Mérito en las Bellas Artes en 2005. En 2014 el Gobierno de Castilla-La Mancha anunció que sería elevado al grado superior con la creación del Conservatorio Superior de Danza de Castilla-La Mancha.​
En el centro se ofertan los estudios correspondientes a los seis cursos de enseñanzas profesionales de danza en las especialidades de danza clásica y danza española, así como las enseñanzas elementales de danza clásica y danza española.
El moderno edificio del conservatorio tiene una superficie de 3000 m² distribuidos en planta baja y dos plantas de altura, con sótano. Cuenta con doce aulas de danza (tres de danza española, tres de danza contemporánea y seis de danza clásica), tres aulas teóricas, dos aulas de música, sala de maquillaje, una sala polivalente para actuaciones, biblioteca, cuatro tutorías, cafetería y vestuarios, entre otras dependencias.
12 Danzas españolas

Las Doce danzas españolas, Op. 37 para piano son una serie de doce piezas pianísticas compuestas por el compositor Enrique Granados.​​​​ De forma incorrecta se las ha etiquetado en algunas publicaciones como Op.5, al confundir el nombre de la danza andaluza No.5 denominada de forma homónima "Andaluza" con el opus.​ Se desconocen las fechas exactas de composición de cada una de ellas, si bien se cree que fueron escritas entre 1892 y 1900. El propio compositor declaró que la mayoría son de 1883 (cuando contaba 16 años). Cabe la posibilidad de que, por otro lado, escritas en fechas tempranas, fuesen perfeccionadas más tarde por Granados, lo cual haría compatibles dos de sus cualidades: por una parte, su sencillez de escritura, generalmente tripartita A-B-A, alejada de las complejidades de su obra insigne Goyescas, lleva a pensar que son obras de juventud; por otra parte, la maestría, la elegancia y el dominio rítmico indicarían que estamos ante un compositor maduro. Estas danzas constituyen una gran aportación a la música nacionalista española para piano del siglo XIX, siendo otra serie de obras ya mencionadas como Goyescas su máxima aportación.
En versión orquestal se interpretan las danzas n°. 2 "oriental", n°. 5 "andaluza" y n°. 6 "rondalla aragonesa", bajo el nombre de Tres danzas españolas.
Danza tradicional japonesa

La danza tradicional japonesa se refiere a las diferentes expresiones artísticas de danza realizadas en dicho país. Se divide en dos formas principales: odori (踊り, 'odori'), originado en el período Edo; y el mai (舞, 'mai'), desarrollado en la parte oeste de Japón. El odori se desarrolló fuera del escenario teatral kabuki y es orientado más a los sentimientos masculinos; mientras que el mai es desarrollado en las habitaciones en vez del escenario, y fue influido por el teatro nō. He Existe una variante del mai llamado kyomai o danza de estilo Kioto. Se desarrolló en la era Tokugawa durante el siglo XVII y tiene una fuerte influencia en la sofisticación y glamour de los hábitos de la Corte Imperial de Kioto.
Danza tradicional rusa

La danza tradicional rusa (en ruso: Русский народный танец) es una parte importante de la cultura rusa. Algunas de las características únicas sugieren que varios elementos fueron desarrollados por los primeros poblados rusos. Las danzas rusas también fueron influenciadas por culturas de Oriente y Occidente .
Muchas danzas rusas se conocieron a partir del siglo X. Rusia fue testigo de varias invasiones de otros países. Debido a su ubicación y tamaño, el país también entró en contacto con muchas culturas diferentes a través de la migración y el comercio. A su vez, una mezcla cultural euroasiática de música y danza ayudó a desarrollar las danzas folclóricas rusas.​
Muchas de estas primeras danzas fueron realizadas y practicadas por las clases bajas. Por lo general, las clases altas observaban a los artistas en lugar de participar en los bailes.
Las tradiciones originales de la danza folclórica rusa continúan desempeñando un papel importante en la cultura del país y han estado en constante interacción con los numerosos grupos étnicos de Rusia.​ Las danzas folclóricas rusas también están en interrelación con otros tipos de expresiones artísticas.​ Un ejemplo se puede ver en los ballets rusos, que evocan danzas y música folclóricas rusas en sus piezas.
Los disfraces para danza de concierto están diseñados con gran detalle. Por lo general, la ropa para los bailes se basa en eventos específicos, como las vacaciones, y varía dependiendo de los eventos. Las mujeres usan tocados festivos, camisas bordadas, cinturones y delantales ornamentados. Los hombres visten camisa, cinturón, pantalón estrecho y botas altas rojas. El color rojo se incorpora en muchos de los trajes porque está asociado con la belleza en la tradición rusa. En los bailes rusos, las mujeres y las niñas suelen llevar consigo un pañuelo de bolsillo. Las niñas y las mujeres suelen llevar el tradicional tocado ruso kokoshnik durante las actuaciones.​
La base de los bailes de danza rusa es la música suave y furiosa.​​
Probablemente las características más famosas de los bailes masculinos rusos son las de la danza rusa en cuclillas, flexionando rodillas, pisando fuerte y los haciendo saltos.​​ Las características de este tipo de danza suelen utilizar música rápida que cambia de ritmo con el tiempo.​​ Las sentadillas rusas y las flexiones de rodillas suelen ser realizadas por los bailarines.​ En la danza rusa también es común que los bailarines pisoteen, aplaudan y golpeen la planta, la parte delantera del pie, los muslos, las rodillas y el pecho con las palmas de sus manos, de forma similar al Schuhplattler alemán, pero a un ritmo mucho más rápido.​​
La danza circular rusa Jorovod tiene sus raíces en las antiguas tradiciones eslavas y existe en formas similares en los Balcanes (Choros en Grecia ), en las culturas de Oriente Medio y en China.​
Ricardo Villa (músico)

Ricardo Villa González (Madrid, 23 de octubre de 1873 - 10 de abril de 1935) fue un compositor y director de orquesta español.
Tomó sus primeras lecciones de música de los monjes de su parroquia. Posteriormente, ingresó en el Conservatorio de Madrid, y estudió teoría musical, violín (con Jesús de Monasterio). A los 17 años formaba parte como violinista de la orquesta del Teatro Apolo, así como en la iglesia de Nuestra Señora de Montserrat.
Villa se graduó en el Conservatorio en 1898 con primeros premios, y pronto consiguió un trabajo como violinista en la orquesta del Teatro Real, y en la orquesta de la Sociedad de Conciertos de Madrid. En 1899 estrenó en el Teatro Real sus Cantos Segovianos.
En 1905 se convirtió en Director Musical del Teatro Real. En esa época también dirigió la Banda Municipal de Gijón y la Banda Municipal de Santander. En 1909 se funda la Banda Municipal de Madrid, con Villa como primer director y cofundador. Permaneció en el cargo hasta su muerte, en 1935. Fue él quien amplió la plantilla de la banda, para convertirla en Banda Sinfónica, añadiendo violonchelos, contrabajos y arpa.
Como compositor y director de orquesta se convirtió en gran protagonista de la música española en su época.
Tiene dedicada una calle en Madrid (calle Maestro Villa), así como una plaza (Plaza Maestro Villa) en el Parque de El Retiro. También una calle en Barcelona, en los aledaños de donde estuvo el campo de fútbol del R.C.D. Espanyol en la Avenida de Sarrià.
(Zarzuelas)
Muiñeira

The muiñeira (Galician: muiñeira, Castilian and Asturian: muñeira) is a traditional dance and musical genre of Galicia and some parts of Asturias (Spain). It is distinguished mainly by its expressive and lively tempo, played usually in 8, although some variants are performed in other time signatures. There are also variant types of muiñeira which remain in the tempo of 8 but which displace the accent in different ways. Muiñeira is associated with traditional choreographic schemes and the associated instrumentation is a form of bagpipe known as a gaita. It is subject to highly varied interpretation in differing local traditions. According to "Galicia-The Spanish Cousins", an article on Roots World, muiñeira is the Galician "equivalent" of a jig, which is consistent with the time signature of 8. The word "muiñeira" (the same pronunciation in Portuguese, but spelled "moinheira") means literally both millstone and a mill landlady (or the miller's wife, if a man). Galician music is classified as part of Celtic music.
It is a dance of playful character, with a social component expressing gallantry. It is somewhat more permissive of improvisation than other folk dances; improvised in fiestas and exhibitions. Some interpreters have added increased complexity to its traditional choreography.
It is played at a fast tempo. Dancers often form a circle or parallel threes. Often jumps are incorporated, synchronized with percussion accompaniment: a snare-drum known as the tamboril (a wooden natural-skinned drum with gut snares), and the bombo, a bass drum.
Examples of the genre recommended by native Galician commentators include ' ' Muiñeira de Chantada' ' and to ' ' Muiñeira de Lugo' '.
According to RootsWorld"the most prominent gaita virtuoso in Galicia, and one of the world's best, is Carlos Núñez. He often tours and records with The Chieftains, who consider him an auxiliary member of the group". Núñez performed a "Muneira de Chantada" with the Chieftains in early 2008, which featured Irish foot dancing.
Susana Seivane Hoyo (born 25 August 1976) is a Galician gaita (bagpipes) player born in Barcelona, Spain, into a family of well-known Galician luthiers and musicians, the Seivane family, whose workshop is the Obradoiro de Gaitas Seivane. She started her musical career at the age of three. Guided by her father Álvaro Seivane and influenced by skilled bagpipers such as her grandfather Xosé Manuel Seivane, Ricardo Portela and Moxenas, she is notable in the bagpipe world and the world of traditional Galician music. She synthesizes the "enxebre" style of the ancient bagpipers while creating her own style including other musical influences.
Galician bagpipes come in three main varieties, though there are exceptions and unique instruments. These include the tumbal (B-flat), grileira (D) and redonda (C). Asturian bagpipes are usually played along with a tambor (snare drum). Asturian bagpipes usually have only one drone and follow a different fingering pattern. Tunes using the gaita are usually songs, with the voice either accompanying the instrumentation or taking turns with it.
Lá Nua (album)

Lá Nua is an album by Lúnasa. It was released in 2010, and is the band's eighth major release. The album's name means "new day" in Irish.
It is the band's first album to be released on their own record label since their debut album, Lunasa. It was recorded in the Cooley Mountains.
Earlie Hutchner of American newspaper Irish Echo ranked the album at number 2 on his list of the "Top Ten Traditional Albums of 2010".
Spanish National Dance Company

The Spanish National Dance Company (Spanish: Compañía Nacional de Danza, CND) was founded in 1979 under the name Ballet Nacional de España Clásico. Its first director was dancer Victor Ullate, followed by Maria de Avila, Ray Barra, Maya Plisetskaya, Nacho Duato (1990 – July 2010), Hervé Palito, José Carlos Martínez (December 2010 – 2019), and Joaquín de Luz.
In 2018 it was announced that the company would be moving to the railway museum, near the centre of Madrid.
A Galician Dances the Mambo

A Galician Dances the Mambo (Spanish: Una gallega baila mambo) is a 1951 Mexican comedy film directed by Emilio Gómez Muriel and starring Niní Marshall, Joaquín Pardavé and Silvia Pinal. It was shot at the Azteca Studios in Mexico City. The film's sets were designed by the art director Jorge Fernández.
Cándida, a Spaniard from an aristocratic background, moved to Mexico many years before with her husband. She now lives there with her daughter, and pretends that her long-dead husband is still alive in order to keep receiving a stipend from his family back home.
City of Culture of Galicia

The City of Culture of Galicia (Galician: Cidade da Cultura de Galicia or simply Cidade da Cultura) is a complex of cultural buildings in Santiago de Compostela, Galicia, Spain, designed by a group of architects led by Peter Eisenman.
Construction was challenging and expensive as the design of the buildings involves high degree contours, meant to make the buildings look like rolling hills. Nearly every window of the thousands that are part of the external façade has its own custom shape. In 2013 it was announced that after more than a decade, construction of the project would be halted. The International Art Center and Music and Scenic Arts Center will not be built.
In February 1999 the Parliament of Galicia held an international design competition for a cultural center on Mount Gaiás. The entrants were Ricardo Bofill, Manuel Gallego Jorreto, Annette Gigon and Mike Guyer, Steven Holl, Rem Koolhaas, Daniel Libeskind, Juan Navarro Baldeweg, Jean Nouvel, Dominique Perrault, Cesar Portela, Santiago Calatrava, who later withdrew his proposal, and Eisenman, whose proposal was selected for both conceptual uniqueness and exceptional harmony with the place.
The concept of the project is a new peak on Monte Gaiás, made up of a stony crust reminiscent of an archaeological site divided by natural breaks that resemble scallops, the traditional symbol of Compostela.
The building site has also become the base for the development of a public transparency urban experiment by the Spanish architect and artist Andrés Jaque. With Jaque's 12 Actions to Make the Cidade da Cultura Transparent, the building site was equipped with devices that make the political implications and ecological extension of the construction works understandable for the general public.
In 2021 the Fontán Building (Edificio Fontán) was inaugurated, in the place where the auditorium was originally going to be built, using part of the already existing structure.
The project has more than doubled its original budget and has not attracted significant numbers of visitors, becoming a white elephant for subsequent governments and taxpayers. Construction of the final two planned buildings was stopped in 2012 and terminated definitively in March 2013 following high cost overruns.
42°52′13″N 8°31′32″W﻿ / ﻿42.870162°N 8.52567°W﻿ / 42.870162; -8.52567
Bolero (Spanish dance)

Bolero is a Spanish dance in 3/4 time popular in the late 18th and early 19th centuries. It originated from the seguidilla sometime between 1750 and 1772, and it became very popular in Madrid, La Mancha, Andalusia and Murcia in the 1780s. Bolero was performed as a solo or partner dance with a moderately slow tempo, accompanied by guitar and castanets, and with lyrics in the form of the seguidilla.
Sebastián Cerezo was credited by as one of the earliest and best dancers of the genre. According to Zamácola y Ocerín, Cerezo danced slowly and his particular way of dancing marked the definitive transition from seguidilla to bolero (from voleo, cf. vuelo, "flight"). This original slow way of dancing was promoted by Murcian dancer Requejo around 1800 in response to the faster style of bolero dancing that had become popular over the years. The dance became obsolete in the mid-19th century, but survived in an academic tradition known as the escuela bolera, which influenced the development of modern flamenco dancing. One of the palos (styles) of flamenco is derived directly from the dance, the seguidillas boleras. In the 20th century, flamenco's popularity led to the almost extinction of the escuela bolera, which continues to exist in Seville. The genre's legacy also lives in the works of many classical composers such as Maurice Ravel, whose most famous piece is named after the dance, Boléro.
During its heyday, the bolero became a popular dance in ballrooms across Spain and was performed by Spanish troupes abroad along with other dances such as the cachucha. Over time, many classical composers wrote pieces inspired in the genre:
Some art music boleros are actually based on the habanera, a Cuban adaptation of the French contredanse which was often featured in French opera and Spanish zarzuela.
Parranda (dance)

The parranda is a traditional Spanish dance that originated from the Region of Murcia, the eastern areas of Almería, and the southeastern areas of Albacete in the 18th century. It is a dance similar to the seguidilla, and is usually characterized by its usage of extraordinary jumps and turns in the air.
According to the Diccionario de la lengua española, the origin of the word parranda is similar to that of a "group of musicians who come out at night to play music and dance" and a "boisterous spree, especially one that is done from one place to another". The variety of parranda native to the county in the northwest region of Murcia and to the populations of the Sierra de Segura de Albacete is called the pardica.
The parranda originated from seguidilla, an old Castilian form of folk music and dance, during the 18th century, within the Region of Murcia, as well as the eastern areas of Almería (Los Vélez, Levante Almeriense and Valle de Almanzora) and the southeastern areas of Albacete (Campos de Hellín and Sierra de Segura) in the 18th century.
A parranda is formed by three couplets paired with three verses. Its structure is similar to the beginning, ending, return, couplets and ending structure of a seguidilla. The melody is diatonic and syllabic. It has a ternary rhythm, and a tonal harmony and is played in major key. The three types of parranda are solo, trio, and campo.
The dance is often accompanied by Murcian castanets or pitos (finger snapping). The instruments used for this variety of music are guitars, guitarros, violins, and bandurrias (similar to Spanish lutes).
The parranda is usually danced by two people, like the seguidilla, but it is distinct from the seguidilla in its usage of extraordinary jumps and turns in the air. At the beginning of the dance, two rows are made, leaving the pairs in front. In its basic structure, it begins with some lateral steps and then the dancers cross with their partner and turn themselves around. However, there are many varieties of steps and turns that are characteristic to each town or community.
The parranda is danced chiefly outdoors.
Konark Dance Festival

Konark Dance Festival is a five-day dance festival held every year in the month of December mostly from 1 to 5 in backdrop of the Sun temple in Konark, Odisha in India. It is one of the biggest dance festivals held in Odisha.
The exquisite 'Salamander' or the 'dancing hall' of this shrine is an architectural wonder. Every inch of its walls has been covered with fine artistic designs of ancient times. Musicians playing drums, cymbals, and other musical instruments adorn the sculptures in Odissi dance poses.
Many celebrated dancers from all over the country perform at this venue. Since 1986, this festival has been organized in the state jointly by Odisha Tourism and Odissi Research Centre to promote the diverse Indian dance heritage as well as the popularity of Konark Temple and Odisha as a tourist destination.
Along with this, during the same period, International Sand Art Festival also takes place.
The Sand festival celebrates sand sculptures produced by skilful sand artists. Not just the traditional sand sculptures, you may expect sand, stone, bronze or wood, created by skilful sand artists. The International Sand Artist Festival celebrates the spectacular displays of sand artists from India and from many other countries. As many as 30 Indian and 10 foreign artists participate in this Competition-turned-Festival. Best sand artists from Mexico, Spain, Singapore, France, Norway, Germany, Netherland & USA and remaining 20 artists are from different states of India usually grace the golden beach of Chandradrabhaga.
The International Sand Art Festival was started in 2015 on the Chandrabhaga beach, a short distance from Konark, Puri, Odisha, India. It was a part of the Konark Dance Festival that is organized during the same time. Every year, the theme for the Artists hover around the burgeoning issues of the Earth.
Alberto Conde

Alberto Conde (b. 1960) is a Galician Jazz pianist and composer. He started studying classic guitar with Tomás Camacho before he played piano and Jazz.
His creative style often combines elements of different genres, such as muñeira, bulería, waltz, jota, etc., being "World Jazz" as result. On his approach to Galician rhythms developed a particular style, the so-called "Muñeira Jazz".
His former contact with Jazz happened in Banyoles (Girona, Spain) where he attended to Jazz seminars with Thad Jones, Chuck Israels, Bill Dobbins, Steve Brown, Sal Nístico, Ben Riley, Jim McNeely, Hal Crook, Claudio Roditi, etc. In 1982, he studied at the San Diego School of Performing Music (California) with Hal Crook.
Founder member of the Baio Ensemble (1983), nowadays teaches Piano Jazz at Conservatorio Superior de A Coruña (Spain) and leads the Alberto Conde Trío.
Mares de tempo

Mares de tempo is an album by Galician gaita (bagpipes) player Susana Seivane, released in 2004.
Seivane's third record, in which some well-known Galician musicians participated, is supplemented by a DVD that contains footage of her on stage and off. Mares de tempo is a title that has been taken from the work of the Galician poet Celso Emilio Ferreiro: "Longa noite de pedra". It is a reflection on the passage of time and its effects.
The song, "Muneira de Alen", is one that Seivane had recorded on her previous album, This time it is given a heavier treatment. Almost all the tracks can be described as folk-rock and for the first time there is no acoustic guitar. The tunes and songs mostly come from Gallician Spain.
1 ላባርና

1 ላባርና እንደሚታሠብ ምናልባት 1582-1559 ዓክልበ. አካባቢ ከሕሽሚ-ሻሩማ በኋላ በኩሻራ (በሐቲ) አገር) የገዛ ንጉሥ ነበር።
በ1 ሐቱሺሊ አዋጅ ውስጥ (1559 ዓክልበ.) የላባርና ተከታይ ሐቱሺሊ እንዲህ ይላል፦
ከዚህ የተነሣ፣ ንጉሥ ሕሽሚ-ሻሩማ ላባርናን በጉዲፈቻ እንደ አልጋ ወራሽ እንደ ሾመው ይታስባል። የሕሽሚ-ሻሩማ ልጆች እንዳመጹበትና ከነሱ መሃል ፓፓሕዲልማሕ የተባለው ለአጭር ጊዜ (1582 ዓክልበ. ግ.) ዙፋኑን እንደ ቃመው ይመስላል። ሆኖም የላባርና ወገን ፓፓሕዲልማሕን ድል አድርጎ እንደ ሕሽሚ-ሻሩማ ፈቃድ ላባርና መንግሥቱን ወረሰ።
በኬጥያውያን መስዋዕት ዝርዝር ላይ፣ ሕሽሚ-ሻሩማ የላባርና አባት ይባላል። ከፊተኛው ሰነድ እንዳየነው ግን ላባርና ልጁ የሆነው በጉዲፈቻ እንደ ነበር ይመስላል።
የተለፒኑ አዋጅ (1483 ዓክልበ. ግ.) ደግሞ ስለ ላባርና ይተርካል፦
የላባርና ልጆች የገዙት ከተሞች ሁሉ በማዕከለኛ አናቶሊያ ይገኛሉ። በሌላ ምንጭ ዘንድ ወደ ምዕራብ ከአርዛዋ (ሉዊያ) አገር አንዳንድ ቦታ እንደ ያዘ ይታወቃል። ወደ ደቡብም በመድቴራኔአን ላይ ያለው አገር አዳኒያ (በኋላ ኪዙዋትና እና ኪልቅያ የተባለው) ከሐቱሺሊ ዘመን በፊት ለሐቲ እንደ ተገዛ ይመስላል።
የላባርና ንግሥት ታዋናና ተባለች። በኋላ «ላባርና / ታባርና» እና «ታዋናና» የሚሉ ስያሜዎች እንደ ነገሥታት ማዕረጎች (እንደ ሮማይስጥ) ቄሣር) ይቆጠሩ ነበር። እንዲሁም ተከታዩ ንጉሥ 1 ሐቱሺሊ ደግሞ «2 ላባርና» በመባል ታውቀዋል፤ ስለዚህ ይህ ላባርና በዘልማድ «1 ላባርና» ይባላል።
ተከታዩም ሐቱሺሊ በአንዱ ሰነድ እራሱን «የንግሥት ታዋናና ወንድም ልጅ» ይላል። ሕሽሚ-ሻሩማን አያቱን ስላለው፣ ታዋናና እራሷ የሕሽሚ-ሻሩማ ልጅ ስትሆን ባልዋ ላባርና በዚያ አልጋ የሕሽሚ-ሻሩማ ወራሽ እንደ ሆነ ይታስባል።
በድሮ ታሪክ ጸሐፊዎች እንደ ሂውጊኑስ (1 ዓም አካባቢ)፣ ቅዱስ ጄሮም፣ ቅዱስ አውግስጢኖስና ኦሮሲዮስ (400 ዓም. አካባቢ) ወዘተ.፣ በዚያው ዘመን ያሕል «ሊበር ፓተር» (ሊበር አባት) የተባለ ንጉሥ «ሕንድ»ን ሁሉ በጨካኝ ጦርነት አሸነፈ፤ «ኒሳ» የተባለ ከተማ መሠረተ። በጣልያን በ194 ዓክልበ. የተገነነው አረመኔ ሥነ ስርዓት በዚህ «ሊበር ፓተር» ትውስታ ይካሄድ ነበር፤ ከዚያም በሮማይስጥ ቃላት እንደ «ሊበርታስ» (አርነት) ወደ ሌሎች ቋንቋዎች ገብቷል። በዘመናት ላይ በምሥራቅ ወይም በእሥያ ያሉት አገራት ሁሉ በመሳሳት «ህንድ» ሊባሉ ቻለ። «ኒሳ» ግን ካነሽ ሊሆን ስለሚችል ምናልባት የ«ሊበር» መታወቂያ ከዚሁ ንጉሥ ላባርና ትዝታ እንደ ደረሰ ይቻላል።
Dungur

Dungur (or Dungur 'Addi Kilte) is the ruins of a substantial mansion in Aksum, Ethiopia, the former capital city of the Kingdom of Aksum. The ruins are in the western part of Aksum, across the road from the Gudit stelae field.
The remains of the mansion and its associated building are limited to the lowest levels and the podium, covering about 3,250 square meters. During its prime, a double staircase led into the entrance of the complex, which opened into one of the courtyards surrounding the central structure.
In the associated buildings a number of stone piers were recovered, "presumably for supporting wooden columns or floors", and brickwork which might be evidence of a hypocaust. However, the purpose of these buildings is unclear. Stuart Munro-Hay notes, "The 'rooms' with stone piers have no doorways, and the piers presumably supported floors, but occasional divisions on the same level do have doorways, implying that not all the lower level was merely a podium for a higher floor level. Possibly some rooms were entered from within by ladders."
S. Puglisi performed the first archaeological excavation in this area, excavating a 3 x 5 meter sondage with the intent of revealing its stratification. The next excavations in this area were conducted in 1966–1968 by Francis Anfray, who uncovered a dwelling 250 meters west of Puglisi's trench that he described as a "château", inhabited by one of the city's elite. Based on the evidence from these excavations, Butzer dated Anfray's dwelling to the seventh century; he pointed out that the masonry was similar to the base of St Mary of Zion church (which is part of the original structure that dated from Axumite times), while the floor plan was similar to the layout of the central block of the Ta'akha Maryam palace.
14°7′36″N 38°42′24″E﻿ / ﻿14.12667°N 38.70667°E﻿ / 14.12667; 38.70667
İlker Aksum

İbrahim İlker Aksum (born 23 May 1971) is a Turkish actor. He has appeared in more than twenty popular series and films since 1999. His breakthrough roles are in popular series Yabancı Damat, Canım Ailem, Çarli, Olacak O Kadar, and Karayılan. He starred alongside Tuba Büyüküstün in 20 Dakika which has a nomination for the 42nd International Emmy Award for Best Actress.
አዋሳ

አዋሳ ከአዋሳ ሃይቅ በታላቁ ሪፍት ቫሌ/ስምጥ ሸለቆ ላይ የሚገኝ ከተማ ነው። የደቡብ ሕዝቦች ክልል ዋና ከተማ ስትሆን በሲዳማ ዞን ተገኛለች። የአዲስ አበባ-ናይሮቢ መንገድ ላይ በላቲቱደና ሎንጁቱድ 7°3′ ሰሜን ኬክሮስ እና 38°28′ ምሥራቅ ኬንትሮስ ላይ ናት። አዋሳ በውበትዋና በትልቅነትዋ ባሁኑ ጊዜ ታላቅ የቱሪስት መስህብ ያላት ነች።
በማዕከአዊ ስታቲስቲክ ባለስልጣን ትመና የ119,623 ሰው መኖሪያ ስትሆን ከነሱም 60,378 ወንዶች 59,245 ሴቶች ሆነው ተተምነዋል። አዋሳ የቀድሞ ሲዳሞ ክፍለ ሓገር ዋና ከተማ የነበረች የደቡብ ዩኒቨርሲቲ፥ የአንድ ኤርፖርትና የሰፊ ገበያ ማዕከል ናት። አዋሳ ከ1998 ዓ.ም. ጀምሮ ሃዋሳ በመባል የታወቃል። ይህን ተመርክዞ የደቡብ ዩኒቨርሲቲ ሃዋሳ በመባል ስሙ ተቀይሮአል።
የሃዋሳ ከተማ በአሁን ሰዓት በከፍተኛ ደረጃ እያደገች ያለች ከተማ ሰትሆን ወደ 600,000 ነዋሪ እንደሚገኝባት ይገመታል። ከተማዋን በሰሜን ኦሮምያ በደቡብ ዲላ በምዕራብ ከምባታ በ ምስራቅ አለታ ወንዶ ያዋስኑዋታል።
አሁን በሲዳማ ክልል
ሀዋሳ ዩኒቨርስቲ

ሐዋሳ ዩኒቨርሲቲ ኢትዮጵያ ውስጥ በሲዳማ ክልል ሀዋሳ ከተማ የሚገኝ የከፍተኛ ትምህርት ተቋም ነው።
ስሙ አሁን ከደቡብ ዩኒቨርስቲ ተቀይሯል።
Lake Hawassa

Lake Hawassa or Awasa, is an endorheic basin in Sidama Region of Ethiopia, located in the Main Ethiopian Rift south of Addis Ababa, the capital city of the country. According to the Statistical Abstract of Ethiopia for 1967/68, the lake is 16 km long and 9 km wide, with a surface area of 129 square kilometers. It has a maximum depth of 10 meters and is located at an elevation of 1,708 meters. It is located inside the Awasa Caldera.
Because it is relatively accessible to scientists, Lake Hawassa is the most studied of the Rift Valley lakes in Ethiopia. According to William Taylor, a member of the African Lakes and Rivers Research Group at the University of Waterloo, Lake Hawassa is, despite its lack of an outflow, "essentially a freshwater lake (conductivity is variable, but less than 1,000) indicating that it must have a subterranean outlet."
Hawassa University

Hawassa University (HU) (Amharic: ሀዋሳ ዩኒቨርሲቲ) is a residential national university in Hawassa, Sidama Region, Ethiopia. It is approximately 278 kilometres (173 mi) south of Addis Ababa, Ethiopia. The Ministry of Science and Higher Education admits qualified students to Hawassa University based on their score on the Ethiopian Higher Education Entrance Examination (EHEEE).
The origin of Hawassa University was the establishment of Debub University ("South" University) on 22 December 1998 via a government proclamation. Debub University originally consisted of Awassa College of Agriculture, Wondo Genet College of Forestry, and Dila Teachers' Education and Health Science College.
Debub University was renamed Hawassa University on 17 February 2006.
Hawassa University was reestablished on 23 May 2011 in the heart of Hawaasa City in Sidama Regional state.
HU offers 81 undergraduate programs, 108 Masters programs, and 16 PhD programs. In March 2018, the student population was 48,558.
HU operates seven campuses.
Bale Hawassa

Bale Hawassa (Wolaytta: Bale Hawaassa) or in short Bale is a city in Wolayita Zone of South Ethiopia Regional State, Ethiopia. The city is one of seven city administrations in Wolaita Zone. It is administrative capital of Kindo Koysha district of Wolayita Zone, Ethiopia. Bale is located about 400 km away from Addis Ababa to the south on the path Addis-Butajira-Sodo and 38 km westward from Sodo, the capital of Wolaita Zone. The city has an average elevation 1500 meter above sea level. Bale Hawassa lies between 6°55'05" North, and 37°31'55" East.
Bale Hawassa is one of populated places in the South Ethiopia Regional State. Based on 2023 population projection conducted by central statistical service of Ethiopia, the city has total population comprises 18,532. And Males count 8,995 and Females count 9,537.