davidanugraha/M4-RAG huggingface dataset:
The Armagh Rhymers

The Armagh Rhymers are a folk music and theatre ensemble based in Northern Ireland whose work is inspired by traditional Irish performances such as Mummers' plays, Wren Boys, and biddymen.
The Armagh Rhymers group was founded in the 1970s by Dara Vallely, and is one of the few groups on the island of Ireland preserving the tradition of rhyming and mumming. The group perform using woven flax, willow, and straw masks, inspired by the traditional Mummers' masks with outfits mostly made from hessian sackcloth. They incorporate storytelling, music, poetry and song into their performances.
The group have a collection of over 30 masks used in different performances. The oldest mask is a horse's head made by James Mulholland when the group was founded. Their performances are seasonal, marking the Irish festivals including Saint Brigid's Day, Saint Patrick's Day, Bealtaine, and Wren Day and have inspired the poets Seamus Heaney and Michael Longley. The group is the oldest professional theatre in education company.
They tour internationally to festivals including Milk International Festival, Canada, AssiteJ Children's Theatre Festival Korea, Milwaukee Irish Fest, TradFest Edinburgh, and the IMBOLC Festival. They have performed numerous times at the Glastonbury Festival since the 1980s. The group played with Lambeg drummers at the Ulster Folk Museum at an event called Mummers and Drummers in 2019.
Past members of the group include Peter J. Shortall, Brendan Bailey, and Barry Lynch.
Lisa O'Neill (singer-songwriter)

Lisa O'Neill (born 1982) is an Irish singer-songwriter.
O'Neill grew up in Ballyhaise, County Cavan.
O'Neill moved to Dublin aged 18 to study music at Ballyfermot College. For seven years afterwards, she worked in the service industry in places such as Eddie Rocket's and Bewley's of Grafton Street, continuing to write songs. Her first album, Has An Album, was released in 2009. In 2011, David Gray invited her to open for him on his American and Canadian tour and she was also part of his touring band for a time. Her 2013 and 2018 albums were nominated for the Choice Music Prize. She played at the 2016 Vancouver Folk Music Festival.
In 2016, O'Neill made an appearance on the debut album by the trio Yorkston/Thorne/Khan, Everything Sacred. In the album's liner notes, singer James Yorkston reveals that the possibility of calling the group Yorkston/Thorne/Khan/O'Neill was discussed, but that she saw herself as a guest.
In 2017, O'Neill was featured in the film Song of Granite, in which she sang "The Galway Shawl". That year, Donal Dineen and Miles O'Reilly showcased her in their seminal YouTube survey of contemporary Irish folk artists, This Ain't No Disco. She sang her own Factory Girl with Radie Peat of Lankum fame, laying down an a cappella performance that combined the best of trad with intense, minimal production values.
O'Neill won Best Original Folk Track with "Rock the Machine" (from her album Heard a Long Gone Song) at the 2019 RTÉ Radio 1 Folk Awards, and was nominated for Folk Singer of the Year, Best Traditional Track, Best Original Track and Best Album at the BBC Radio 2 Folk Awards in the same year.
In 2021, O'Neill's cover of Dylan's All the Tired Horses reached a huge mainstream audience when her dark contralto channelled Tommy Shelby's return to his Roma roots in the final episode of Peaky Blinders.
In December 2023, O'Neill performed a rendition of "Fairytale of New York" alongside the Pogues and Glen Hansard at Shane MacGowan's funeral service held at St Mary's of the Rosary Catholic Church, Nenagh, Co Tipperary, Ireland. They sang the roles of the 1987 original hit recording by the late Kirsty MacColl and MacGowan.
Umkhosi Wokweshwama

Umkhosi Wokweshwama [um̩kʰoːsi woɠʷeʃʷaːma] ("first fruits festival"), recently also known as Umkhosi Woselwa [um̩kʰoːsi woseːlʷa] ("calabash festival"), is the annual harvest festival of the Zulu people, observed around the December solstice. It takes place at the Enyokeni Royal Palace in Nongoma, KwaZulu-Natal, and is presided over by the Zulu King, who conducts a tasting ceremony as sacred king, closed by the dashing of a calabash to signify that the people may now enjoy the fruits of the harvest; this role was historically expanded by Shaka to have more military significance with a muster and parade. It was revived by the current king's father, the late King Goodwill Zwelithini kaBhekuzulu in 1990, after a ban by British colonial authorities following the 1879 Battle of Isandlwana and Zulu defeat in the Anglo-Zulu War (the last was held in winter 1877–78, though some claim continuity as a less elaborate event).
The festival has mass participation by young men, as Umkhosi woMhlanga has by young women. There is a black bull sacrifice in the king's kraal as the young men work together to kill the animal without weapons, which was the subject of a failed lawsuit by South African animal rights activists in 2009. The sacrifice of the bull is seen as transferring the bull's power to the king. The iNkatha was also renewed. The Scottish mythographer James George Frazer speculated that this reflected an ancient practice of sacrificing the king himself.
The Kingdom of Swaziland's counterpart event is Incwala, part of a larger family of Nguni First Fruit traditions. Aspects of the festival have been adapted by the Zulu-initiated Nazareth Baptist Church in its celebration of Christmas. The Zulu festival was a partial inspiration for the modern African-American holiday of Kwanzaa.
The Bells of Dublin

The Bells of Dublin is a 1991 album of Christmas songs and traditional carols by the Irish band The Chieftains. The album features guest performances by various artists, including Elvis Costello, Jackson Browne, Kate & Anna McGarrigle, Marianne Faithfull, Nanci Griffith, Rickie Lee Jones and the actor Burgess Meredith.
Writing in the album's liner notes, Paddy Moloney said, "These recording sessions hold special memories for The Chieftains and myself, and bring together all the colours of this festive season."
All songs traditional, except as indicated.
Mummers

Mummers were bands of men and women from the medieval to early modern era who (during public festivities) dressed in fantastic clothes and costumes and serenaded people outside their houses, or joined the party inside. Costumes were varied and might include bears, unicorns, deer (with deer hides and antlers) or rams (with rams' horns). The practice was widespread in Europe, present in England, Ireland and Scotland, with words for it in German and French. The practice dates back to the Romans and has survived in some areas (such as Scotland) and is used in the holiday tradition of Mummer's plays. It has also been revived in the modern Mummer's Parade. The practice may also be related to miming.
Mumming was preceded by the Roman holiday Saturnalia, in which partiers masqueraded. Feasts of Pallas Athena included "visars and painted visages." The holiday was a time of "frequent and luxurious feastings amongst friends, presents were mutually sent, and changes of dress made."
Some of these habits carried over to Christmas, including exchanging clothes and visiting neighbors "in the manner which Germans call mummery," wassailing, and Saint Stephen's Day celebrations. In 1377, citizens of London dressed in mummery to amuse the son of Edward the Black Prince. In England, the tradition became associated with obnoxious behavior and led King Henry VIII to declare the wearing of masks to be a misdemeanor. In Scotland, mummers are called guisards and traditionally put on a "rude drama" called Galatian.
Mumming was labeled part of "the progeny of Father Christmas" by Ben Jonson in his 1616 play Chrismas Masque. In the 18th into the 19th century, mummers were mimes, actors, largely specializing in Christmas. The idea of mumming in the 19th century was that it looked back to "simpler times" and mumming antics became part of a "controlled expression of seasonal 'misrule'".
The word mummers appears in late Middle English. It derived from the Old French word momeur, itself from momer ("to act in a mime").
Mummery ties to the similar Old French word mommerie.
The word is related to mum, (silence, mum's the word), mum (to act in a dumb show), mumble (to speak indistinctly, silent utterance) and murmer.
Bouilhenn

Ar vouilhenn pe kailhar (pe fank, pri, mailh), zo ur meskaj douar ha dour. Tud ar c'hêrioù ne blij ket dezho pourmen er vouilhenn, dreist-holl pa vez botoù kêr ganto.
Plijadur o deus bet meur a wech an dud diwar ar maez o welout bourc'hizien o kailhariñ o dilhad er vouilhenn. Brasoc'h e oa ar blijadur pa veze ministred, ha pa vezent rediet da gargañ o botoù. Kement-se zo bet c'hoarvezet da veur a vinistr al labour-douar, Olivier Guichard, Edith Cresson.
Komzet e vez eus pri pa reer anv eus douarouriezh, pe eus sevel-tier (tier-pri), pe eus yec'hed.
Sērā fuku

Sērā fuku pe Sailor fuku (dilhad martolod) eo anv ul lifre skol voutin (japaneg : セーラー服 sērā-fuku) gwisket gant skoliadezed ar c'hentañ hag an eil derez e Japan. Degaset eo bet da Japan e 1921 gant Elizabeth Lee, anezhi renerez skol-veur Fukuoka Jo Gakuin (福岡女学院). Kemer a ra da batrom al lifre a veze implijet gant ar Morlu (Royal Navy) Breizhveuriat d'an ampoent. Tro he doa bet Elizabeth Lee da wiskañ al lifre-mañ hec'h-unan e-kerzh un eskemm etre studierien er Rouantelezh Unanet.
Tre evel lifre ar baotred (ar gakuran) eo heñvel a-walc'h ar Sērā fuku ouzh lifreoù milourel ar morlu. Peurliesañ ez a d'e ober un hiviz stag outi ur pezh dilhad chouk giz martolod (襟 eri), hag ur vrozh. Meur a stumm zo hervez ar c'houlz eus ar bloaz, ma kemm hirder ar milginoù ha danvez an dilhad. Skoulmet e vez ur seizenn war ar bruched dre ul lagadenn stag ouzh an hiviz. Meur a seurt seizenn zo, en o zouez seurtoù kravatennoù, pe lienennoù. Al livioù pennañ eo ar glaz martolod, ar gwenn, ar griz hag an du
A-wechoù e seller ouzh al loeroù hag ar botoù evel ouzh tammoù eus al lifre met ket atav. Gwenn pe glas martolod eo al loeroù peurliesañ tra m'eo du pe gell ar botoù. Ha pa ne vefent ket erbedet gant al lifre e vez implijet loeroù floj gant ar merc'hed diouzh ar c'hiz alies.
Ur sell melkonius a daol ar studierien gozh war o Sērā fuku peurliesañ. Degas a ra da soñj dezho eus amzerioù didrubuilh a-walc'h o yaouankiz peurgetket. Stank e c'haller gwelet dilhad treuzwikañ mod Sērā fuku gant an dud da-geñver gouelioù a bep seurt pe evit Kala-goañv. Gwerzhet e vez ar Sērā fuku er stalioù dilhad penn-da-benn Japan.
Dre ma vez sellet ouzh ar Sērā fuku evel ouzh ur fetich e vez marc'hatet dilhad eildorn da werzhañ dre stalioù underground anvet burusera. Diaesoc'h eo en ober bremañ abalamour d'ur c'hemm zo bet el lezenn war ar poent-se.
Evit pennoù yaouank zo ez eo lifre-se arouez ar sentiñ ha klask a reont degas kemmoù ennañ a-benn gallout ezteurel o hiniennelezh. Evit se e c'haller berraat pe hiraat ar vrozh, troñsañ ar milginoù, kuzhat takonoù pe badjoù dindan an dilhad chouk, hag all. En dekvedoù tremenet ez eus bet degemeret stummoù dilhad Sērā fuku livek-kenañ gant yaouankizoù zo ha gant bagadoù feuls marc'houarnerien Bousouzoku
C'hoari a ra ar Sērā fuku a-gevret gant lifreoù skol all ur roll a bouez er sevenadur otaku hag e patrom revel faltaziet Japaniz evel m'en diskouez an niver bras-kenañ a dudennoù en o lifre en tresadennoù-bev, er mangaoù hag en dōjinshioù. Setu aze un nebeud skouerioù :
Naosikaa

Naosikaa (Ναυσικά/Ναυσικᾶ e henc'hresianeg, "dever listri") zo ur plac'h yaouank meneget hec'h anv en Odysseia, oberenn Homeros.
Merc'h eo da Alkinoos hag Arete, roue ha rouanez ar Faiaked, ha magañ a ra un tamm karantez ouzh Odysseüs.
E C'hwec'hvet levrenn an Odysseia e teu lestr Odysseüs d'ober peñse war aod enez Sc'herie. Naosikaa hag he mitizhien zo aet da gannañ war aod ar mor.
Dihuniñ a ra Odysseüs, kuzhet noazh er c'hoad nepell, o klevout anezho, ma spont ar mitizhien. Sikour a c'houlenn ouzh Naosikaa. Ha hi da reiñ un tamm dilhad dezhañ ha d'e ambroug betek kêr. Kompren a ra ez aio an teodoù en-dro ma vez gwelet o pourmen gant ar gwaz. Hag int da leuskel Odysseüs e-unan aze, ha mont d'ar gêr. Met lavarout a ra ar plac'h da Odysseüs mont rag-eeun da di Alkinoos ha displegañ e stad d'he mamm Arete. Brudet eo Arete da vout furoc'h eget he fried Alkinoos, hag eñ zo kustum da selaou hec'h alioù. Odysseüs a ya neuze da-gaout Arete, a zo prest d'e sikour, ha degemeret eo gant ar roue. E-pad e chomadenn e kont Odysseüs e droioù da Alkinoos hag e lez, hag an danevell-se a ya d'ober un darn vras eus an Odysseia. Alkinoos neuze a bourchas listri da Odysseüs da zistreiñ da Itaka.
Yaouankik ha koantik eo Naosikaa, hag Odysseüs a lavar e tenn d'un doueez, da Artemis dreist-holl. Hervez Aristoteles ha Diktys Kreta e timezas Naosikaa goude da Delemac'hos, mab Odysseüs, hag ur mab o doe, anvet Perseptolis pe Ptoliporthos.
Taolenniñ a ra Homeros ar garantez chomet dilavar, marteze ar skouer gentañ anezhi el lennegezh.
Nessos

Nessos (Νεσσος e henc'hresianeg) a oa un den-marc'h, e mojennoù Hellaz kozh. Evel an darn vrasañ eus an dud-varc'h e oa ganet diwar Iksion, e dad, ha Nefele e vamm. Brudet eo evel pennkaoz da varv an haroz Herakles.
Hervez Caius Valerius Flaccus e oa « Nessus gwenn » e-touez an dud-varc'h a vrezele ouzh al Lapited, met an tec'h a gemeras en emgann, eme ar barzh.
Goude marv an den-marc'h C'hiron ez eas an dud-varc'h a bep tu, ha Nessos a deuas da chom war lez ar stêr Evenos ma lakae da baeañ ar veajourien a felle dezho treuziñ, hervez Pseudo-Apollodoros (II, 7, 6) ha Diodoros Sikilia.
Hogen brudetoc'h eo e varv dindan taolioù Herakles.
Un deiz edo Herakles hag e bried Deianeira o klask treuziñ ar ster Evenos, a oa dic'hlannet. Penaos ober? An den-marc'h Nessos a oa aze a lavaras dezho e oa an treizhour aotreet gant an doueed, abalamour d'e onestiz dibar. Kinnig a reas da Herakles dougen e wreg war e gein, da virout ouzh Deianeira a c'hlebiañ he dilhad, e-keit ha ma treuzje an haroz war-neuñv. Mat e voe kavet an emglev gant Herakles, paeañ a reas an den-marc'h, ha teurel a reas e armoù dreist ar stêr, war al lez all, ha splujañ da dreuziñ. Pa oa erruet en tu all e klevas e wreg o krial forzh, ha pa sellas e welas e oa Nessos o klask c'hoari anezhi. Neuze e tapas e wareg hag e skoas ur saezh, kontammet gant gwad naer-zour Lerna, ha gloazet Nessos, darev da vervel.
Sede penaos eo kontet gant Ovidius (Metamorfozoù, IX, 130-133) :
An doueez Hera, enebourez touet an haroz, bepred o klask ober droug dezhañ, he devije lakaet ar gerioù-mañ e genou an den-marc'h, pa resevas saezh ar marv en e vruched, ha pa zisklêrias da Zeianeira, a-raok e huanad diwezhañ:
Ha Deianeira d'ober hervez kuzulioù Nessos, dre ma kredas gevier an den-marc'h, seul vui ma vage gwarizi ouzh Iole. Reiñ a reas toneg an den-marc'h, da Herakles d'he gwiskañ. Pa voe gwisket gantañ e pegas ouzh e gorf, ken n'halle ket he zennañ ken, hag e poazhe e groc'hen, ma c'houzañve euzhus tra ma oa ar c'hontamm o vont en e gorf. Goulenn a reas bezañ devet evit lakaat fin d'e boanioù.
2024–25 Torino FC season

The 2024–25 season is the 105th season in the history of Torino Football Club, and club's 13th consecutive season in the Serie A. In addition to the domestic league, the club participated in the Coppa Italia.
On 20 May 2024, it was announced that Paolo Vanoli would take charge of the club for the 2024–25 season, replacing the departing Ivan Jurić.
Note: Flags indicate national team as defined under FIFA eligibility rules; some limited exceptions apply. Players may hold more than one non-FIFA nationality.
The match schedule was released on 4 July 2024.
Azerbaijani traditional clothing

Azerbaijani traditional clothing (Azerbaijani: Azərbaycan milli geyimi) is the traditional attire of the Azerbaijani people. It is closely connected to its history, religious culture and national identity.
Costumes and dresses are of great importance in Azerbaijani culture. Azerbaijani style is visible in ornaments of costumes with artistic embroideries in weaving and knitting. In the 17th century, the territory of modern Azerbaijan was of great importance to the silk industry. Silks were produced in the cities Shamakhi, Basqal, Ganja, Shaki, Shusha, and others.
The style of clothes and their colours reflects their wearers' marital status, wealth, and other information.
National outerwear for men consists of a ust koyney (shirt) or Chepken, Arkhalig, Gaba, Chukha and Kurk.
A Russian ethnographer writes about Azerbaijani male costume:
The Papaq was considered a symbol of fortitude, honour and dignity of men on the modern territory of Azerbaijan and losing it was considered as a disgrace. To steal a Papaq was considered as a hostile action against its owner and knocking down a papaq was considered a grave insult. The social dignity of the Papaq's owner could be determined by its shape. Men never took off their papaqs, even during dinner) except before salat. Appearing in public without a headdress was deemed inappropriate.
The national female costume of Azerbaijan consists of outerwear and underwear. It includes chadra – a suck-formed shawl – and rubend, a veil that was worn by women when outdoors. Women's outerwear was made of bright and colourful textiles, the quality of which depended on the wealth of the individual or her family. The clothing also included jewellery such as golden and silver beads, buttons stylised as hordeum seeds, coins, delicate pendants and necklaces. Young women wore bright clothes with bright flowers, unlike their elders.
Women's outerwear consists of a shirt with wide sleeves, wide trousers to the ankle and bell-shaped shirts of the same length. Women also wore a knitted shirt with long sleeves (arkhalig, kulaja) that fitted tightly across the back and chest, and had a wide slit at the front. A tight belt was worn around the waist. A quilted, sleeveless jacket was worn in cold weather. Outerwear was often a cloak that was longer than the shirt. Women's shirts in Gazakh uyezd were long and had slits on each side.
Women of Karabakh wore a tight-fitting chepken (chafken) to the waist and with long, hidden sleeves. Women wore tight pants with wide skirts. Long shirts that reached to the knees were worn in Nakhchivan,. Long shirts were also worn in Shusha, Shamakhi and other districts. Long kulajs were worn only by rich women in Nakhchivan and Ganja.
Headdresses mostly consisted of leather in the form of a suck or caps of different forms. Over them, several headscarves were worn. Women hid their hair in a special bag called a chutga. Heads were covered with a cylindrical pillbox cap made mostly of velvet. A chalma was tied over it, along with several headscarves, named kelaghayi.
Jorabs were common among women.
Qashabiya

The qashabiya (Arabic: القشابية) is a traditional Arab winter garment originating from Algeria. It features a hood and differs from the burnous by the presence of sleeves and a closure. Thicker and wider than the Djellaba (الجلابة), it is made of camel wool. It allows its wearer to brave the wind and precipitation of winter.
It also holds significant importance in the Algerian collective memory, as it, along with the burnous, represents the attire of the shuhada during the Algerian War of National Liberation. It also has the reputation of being Algeria's national attire.
According to Georges Séraphin Colin, the term "qeššabiya" used in central and eastern Algeria is a deformation of the Latin gausapa, a term that would have been preserved in the form of gosaba in the Adrar, where it refers to a shirt.
Arabic dictionaries list several definitions and etymologies for the term qashabiya, although they all agree in designating a garment but differ in its characteristics.
The Qashabiya, a characteristic garment symbol of the High Plateaus of Algeria, is mainly crafted in the heart of Djelfa and its surroundings. It can also be found in the eastern regions of Morocco, the Aurès, Tunisia, and even as far as Tripolitania.
The qashabiya is associated with the mujahideen who fought during the Algerian War of Independence. The qashabiya was crucial in helping Algerian guerrillas withstand the harsh cold in the mountains while also allowing them to blend into their surroundings for camouflage. Nowadays the region of the Ouled Nail is renowned for crafting and wearing the qashabiya.
The Qashabiya is still made by tailors in Sétif, particularly in the district of "At Tarazoun" (الطرازون) street. This traditional industry is however threatened by lack of transmission to the youngest.
In the Djelfa region, a camel wool fabric called Ouabri is made. This fabric is used in the making of a wide range of Qashabiya and Burnous Ouabri. These two garments are in high demand today, particularly the Qashabiya Ouabri. In addition, the fabric of the fabric adapts well to other garments, particularly modern outfits.
The Sower (Millet)

The Sower is an oil painting by the French artist Jean-François Millet from 1850. It is one of several versions of the theme that he painted. The work has been in the collection of the Museum of Fine Arts in Boston since 1917.
Millet moved to Barbizon in 1849, a village in the Fontainebleau forest, outside Paris. There he was part of the artist group of the School of Barbizon, which painted subdued realistic landscapes and motifs in contrast to the traditional romantic dramatic landscape and painting. Millet was himself a farmer's son and described with dignity and seriousness the hard-working life of the rural population. His paintings have sometimes been perceived as sentimental. At the time, however, they were considered radical because of their social realism. Large-scale depiction of simple agricultural workers was new and controversial in the Paris' art establishment. Millet was often questioned for his "ugly" motifs.
The painting depicts a peasant in the act of sowing land, apparently in winter. The Sun shines at the top of the painting, which indicates that it is dawn. The sower is dressed in a typical peasant's attire, with his legs draped in straw to provide more warmth, walking in long strides, and carrying a bag of seeds over his shoulder, while he is in the act of sowing his crops with the right hand. At the left of the painting several crows appear scavenging the crops. At the right side, in the distance a man is seen harrowing the ground with his oxen for the sowers work. The painting is an unidealized depiction of the peasant's strength and hardworking lifestyle.
The Sower was the first major painting that Millet made in Barbizon. In the same year he painted a nearly identical second version (Yamanashi Prefectural Art Museum, Kofu), which he exhibited at the Paris Salon in 1850 where it received much attention and criticism. Critic Clément de Ris praised it as "an energetic study full of movement", while Théophile Gautier derided it as "trowel scrapings".
Art historian Anthea Callen stated that "Millet intentionally transformed his human laborer into a sinewy giant of a man by elongating his proportions ... Reinforced by the sower's dominance of the pictorial space and our low viewpoint, his menacing appearance to the Parisian bourgeoisie in 1850 is thus readily explicable."
Millet first painted the motif of the sower in 1847–48, in a version now in the National Museum of Wales. In the Wales version the horizon is higher, the sower is less monumental, and more space is given to the landscape than in later versions. After painting the Boston and Kofu versions, he returned to the same motif at least three times. An oil version painted after 1850 is held of the Carnegie Museum of Art in Pittsburgh. Two pastel versions are held at the Clark Art Institute in Williamstown, from around 1850, and at the Walters Art Museum in Baltimore, from around 1865.
Dutch painter Vincent van Gogh found inspiration in Millet's paintings of agricultural landscapes and farm workers. He copied The Sower in several of his own paintings, but transformed the image by using brighter colors.
Uroš Kabić

Uroš Kabić (Serbian Cyrillic: Урош Кабић; born 1 January 2004) is a Serbian professional footballer who plays as a winger for Serbian club Čukarički on loan from Red Star Belgrade.
On 30 October 2020, Kabić made his first team debut, replacing Aranđel Stojković in 73rd minute in 3:1 home win against Bačka.
On 1 February 2024, Kabić moved to Torino in Italian Serie A on loan with an option to buy.
Kabić was called in Serbia U16 national team squad during the 2019, and played two friendly games against Slovakia U16. After that, he was member of a national U17 team, and debut against Bulgaria U17.
Waka–Kabic languages

The Waka–Kabic (Waka-Gabi) languages form a nearly extinct family of Pama–Nyungan languages of Australia.
Miyan may be a single language, Wakawaka. Batjala, a possible dialect of Gubbi Gubbi, still has 89 speakers in 2021, and Taribelang still has some L2 speakers.
The Kingkel languages, Darumbal and Bayali, are sometimes believed to be Waka-Kabic. Bowern (2011) moved Darumbal to the Maric languages, but did not address Bayali. The two languages are not close.
Maric languages

Maran or Maric is an extinct branch of the Pama–Nyungan family of Australian languages formerly spoken throughout much of Queensland by many of the Murri peoples. The well attested Maric languages are clearly related; however, many languages of the area became extinct before much could be documented of them, and their classification is uncertain. The clear Maric languages are:
Dharumbal was added by Bowern (2011); it had been classified in the Kingkel branch of Waka–Kabic. It is not clear if the other Kingkel language, Bayali, is also Maric; Bayali and Darumbal are not close.
Ngaro and Giya (Bumbarra), spoken on the coast, may also have been Maric, the latter perhaps a dialect of Biri.
Of the interior, to the west, Breen (2007) writes of "Karna–Mari fringe" languages which are "a discontinuous group of languages, mostly poorly attested, scattered between Karnic and Mari languages but not showing much connection with either or with one another. The only one well attested is also the most remote geographically, Kalkutungu". This includes the Ngura languages, several of which belong to the Karnic branch of Pama–Nyungan (such as the Wilson River dialects spoken by the Galali and Wangkumara, though not the Bulloo River dialects spoken by the same). However, Bowern (2011) lists the Badjiri variety as Maric. Other poorly attested interior languages which may have been Maric include Ngaygungu (Dixon 2002), Bindal (Bowern 2011), Barna (Bowern 2011), Dhungaloo (doubtful in Bowern, not listed at AIATSIS), and Yirandhali (Dixon, Bowern). Yiman near the coast was ethnically Bidjara. Dixon's "Greater Maric" area listed in Bowern (2011) also includes Guwa (Goa) and Yanda. See also Karnic languages for additional varieties from the area.
Craobh Sinsear Peile na hÉireann 2006

Thosaigh Craobh Sinsear Uile-Éireann Peile Bhainc na hÉireann, ar an Domhnach, Bealtaine 7, 2006. Baineadh úsáid as an gcóras "Cáilitheoir" a bhí ann sa bhliain 2005. Bhuaigh Ciarraí an comórtas.
Bernard Brogan

D’imir Bernard ar an stát idirchontae le breis agus deich mbliana le Peileadóirí Átha Cliath. Deireadh lena ghairm mar dhuine de na cailíní Tá CLG maisithe riamh. Tá 13 an Chúige Laighean aige, 4 Sraithchomórtas Náisiúnta agus 7 gCros Cheilteach.
D'imir Bernard ar son na hÉireann don chéad uair ar an 23 Deireadh Fómhair i bPáirc na nGael i Luimneach. Chríochnaigh an chéad teist leis an scór 40 (1-8-10) - 47 (0-14-5) in éadan na hAstráile agus scóráil Brogan (1-1-0).
Uí Eidirsceoil

Rítheaghlach Gaelach is ea Uí Eidirsceoil , ceannairí na nDáirine ad Corca Laidhe go dtí an 16ú haois. Ríthe Mumhan ba ea sa suggest go dtí teacht chun cinn na nEoghanacht sa 7ú haois. Ag tús na 13ú haoise, bhí trí ghéag den chlann ann: Uí Eidirsceoil Mhóir, Uí Eidirsceoil Óig agus Uí Eidirsceoil Bhéarra. Tá an sloinne Ó hEidirsceoil le fáil go fairsing i gContaetha Corcaí agus Ciarraí.
Is é Eidirsceol, a mhair sa 10ú haois é sinsear na clainne. Ciallaíonn an t-ainm idir-scéal, .i. "idirghabhálaí" nó "toscaire".
De shliocht na nÉarann, Corca Laidhe go háirithe, is ea Uí Eidirsceoil. Faoin deichiú haois agus an sloinne á úsáid acu, bhí an tuath Corca Laidhe i n-iardheisceart Chorcaí ina n-áit dúchais, díbeartha ann ag na hEoghanachta agus na Cambra-Normannach. Bhí lárionad acu ag Dún na Séad. Ón 12ú haois ar aghaidh, bhí clann Uí Eidirsceoil ina rítheaghlach Chorca Laidhe.
D'éirigh an chlann ina mairnéalaigh agus iascairí den scoth.
Cé gur chaill an chlann a cuid críoch agus caisleán sa 17ú haois tar éis na curaidh in éadan Eilíse I Shasana, tá an-chuid Uí Eidirsceoil ina gcónaí fís in iarthar Chorcaí.
I measc ainmneacha nasctha leis an gclann, tá Fionn agus Con/Mac Con.
Teimpléad:Munster
Cumann Oiseanach Ollscoil Ghlaschú

Bunaíodh Cumann Oiseanach Ollscoil Ghlaschú in 1831 agus tá sé ar an darna chumann is sine ar an champas. Bunaíodh an cumann mar chumann díospóireachta Gaelach, ach anois tá sé mar sprioc ag an chumann suim i nGaeilge na hAlban agus sa chultúr Gaelach agus Ceilteach a chur chun cinn i measc mic léinn in Ollscoil Ghlaschú.
Huila (Roinn)

Tá Huila ar cheann de na 32 chúige sa Cholóim . Tá Huila i ndeisceart na tíre. Is é Neiva príomhchathair na roinne. Tá 37 cathair sa réigiún.
Léarscáil oifigiúil na roinne Curtha i gcartlann 2010-03-09 ar an Wayback Machine
Sgùrr na Cìche (Cnòideart)

Sliabh i gCnóideart atá suite i [[[Gàidhealtachd na h-Alba|nGhàidhealtachd na h-Alba]] is ea Sgùrr na Cìche',. Tá sé 1040m ar airde agus is Binn Rothaich iargúlta í. Tá sé suite idir ceann Loch Nibheis agus ceann Loch Chuaich. Tá cruth cíche, ar an sliabh agus tá sé le feiceáil ó Àird a’ Bhàsair san Eilean Sgitheanach. Téann druim thoir an tsléibhe go Garbh Chìoch Mhòr (1013m), Garbh Chìoch Bheag (968m) agus Sgùrr nan Coireachan (953m).
Tá céim suas an tsléibhe idir Sgurr na Cîche agus Garbh Cíoch Mòr ó Ghleann Deasaraidh, agus sin an bealach is coitianta chun an mullach a bhaint amach, ag tosú an lae ag ceann Loch Airceig. Tá sé coitianta freisin an oíche a chaitheamh ag Sourlies agus Droim a Gortein a dhreapadh ón iardheisceart, cé nach bhfuil céim ar bith ann. Is siúlóid sléibhe é an siúlóid, agus ní gá trealamh dreapadóireachta chun an mullach a bhaint amach, áfach, tá an talamh bog-fliuch uaireanta, agus tá codanna den sliabh creagach agus géar..
Ladies' Gaelic football

Ladies' Gaelic football (Irish: Peil Ghaelach na mBan) is an Irish team sport for women. It is the women's equivalent of Gaelic football. Ladies' football is organised by the Ladies' Gaelic Football Association. Two teams of 15 players kick or hand-pass a round ball towards goals at each end of a grass pitch. The sport is an all island sport played in all 4 provinces of Ireland ( Ulster, Munster, Leinster and Connacht), where the two main competitions are the All-Ireland Senior Ladies' Football Championship and the Ladies' National Football League. Both competitions feature teams representing the traditional Gaelic games counties. The 2017 All-Ireland Senior Ladies' Football Championship final was the best attended women's sports final of 2017. The 2019 final, after the 2019 FIFA Women's World Cup Final, was the second largest attendance at any women's sporting final during 2019. Historically Cork and Kerry have been the sport's most successful counties. Waterford, Monaghan and Mayo have also experienced spells of success. In more recent years, 2017 to 2020, Dublin have been the dominant team.
Ladies' Gaelic football is also played in Africa, Asia, Great Britain, Canada, Europe, South America, the United States, New Zealand and Australia. Outside of Ireland it is mainly, although not exclusively, played by members of the Irish diaspora. There is also a seven-a-side version of the sport.
Source:
Most of the rules of ladies' Gaelic football are the same as those for the men's game. The main differences are:
2024 All-Ireland Senior Football Championship

The 2024 All-Ireland Senior Football Championship was the 137th edition of the Gaelic Athletic Association's premier inter-county Gaelic football tournament since its establishment in 1887. Thirty-one of the thirty-two Irish counties took part – Kilkenny did not compete, while London and New York completed the lineup.
The championship worked as a two-tier system for the third time, with the Tailteann Cup being the second-tier competition for those that do not qualify for the Sam Maguire Cup competition.
The draws for the championship took place on 21 October 2023. The All-Ireland final was played on 28 July 2024 at Croke Park in Dublin, between Armagh and Connacht champions Galway. Armagh won their 2nd title after a 1–11 to 0–13 win against Galway in the final.
Connacht, Leinster, Munster and Ulster each organise a provincial championship. All provincial matches are knock-out.
Sixteen teams progress to the All-Ireland Championship round-robin:
The other 17 county teams compete in the 2024 Tailteann Cup.
In the All-Ireland Championship round-robin, 16 teams are drawn into four groups of four teams. Each team plays the other in its group once, earning 2 points for a win and 1 for a draw. Each team plays one home, one away, and one neutral fixture.
The top three in each group advance to the knockout stages, first-place teams to the All-Ireland quarter-finals, and second and third-placed teams to the preliminary quarter-finals.
The four second-placed teams play against the third-placed teams in the preliminary quarter-finals. The winners of the preliminary quarter-finals advance to play the group winners in the All-Ireland quarter-finals. Two semi-finals and a final follow. All matches are knock-out.
Thirty-three counties competed in the All-Ireland Senior Football Championship: seven teams in the Connacht Senior Football Championship, eleven teams in the Leinster Senior Football Championship, six teams in the Munster Senior Football Championship and nine teams in the Ulster Senior Football Championship.
Seven places in the All-Ireland group stage are allocated based on performance in the 2024 National Football League, as detailed below.
Number in brackets indicates ranking in the 2024 NFL.
Does not include after extra-time.
Dublin Senior Football Championship

The Dublin Senior Football Championship (currently known for sponsorship reasons as the Go-Ahead Dublin Senior Football Championship) is an annual Gaelic Athletic Association competition between the top Dublin GAA clubs.
The winners of the Dublin Championship qualify to represent their county in the Leinster Senior Club Football Championship, the winners of which progress to the All-Ireland Senior Club Football Championship.
The 2024 Dublin champions are Cuala who defeated Kilmacud Crokes in the final.
The first Dublin Football Championship took place in 1887, Erin's Hope were the first Dublin Champions. St Vincent's have won the most titles, having won on twenty eight occasions.
There were no champions in 1902 as there was no Dublin Football Championship that year. The 1902 final was played in 1903, with Bray Emmets going on to represent Dublin and win the 1902 Leinster and All-Ireland Senior Football Championship representing Dublin (six Bray Emmets Players in all), a final which was played in 1904.
The Dublin senior football championship had received a dramatic revamp for 2006. A backdoor system was introduced and the new system was on a two-year trial which ended in 2007. A whole new system was introduced for the 2008 competition, the teams were divided into groups which were based on seeding from the previous year. The new system was to only involve the senior football championship. The backdoor system was restored for 2009 but was then removed in 2012. The new format included the introduction of a 'Senior B' championship. All the teams that lost in the first round were placed in a competition which was run in parallel to the 'A' Championship.
The Championship received another revamp in 2018 where the straight knock-out format was removed and replaced with a group format that contained 16 teams divided into 4 groups of four. The four teams who played in the semi-final the previous year were seeded and placed in separate groups while the other 12 teams were drawn into the remaining spots. Each team plays the 3 other teams in their group once and the teams that finish first and second within their groups qualify for the quarter-finals.
Notes
The second tier of the senior championship was first founded in 2016 (Senior B) and with St Oliver Plunkett's Eoghan Ruadh crowned champions. In 2017 the second tier competition was known as the Senior Football Championship Tournament and was won by Ballyboden St Enda's. In 2016 and 2017, the losers in the first round of the senior championship formed the years B championship.
In 2018, the senior football championship tournament changed name to the Senior 2 Championship. In 2018, the second tier was given a more permanent set-up. The second tier of the Dublin Championship became a proper second tier in 2018. The teams that were placed in Senior 2 can only leave the championship through promotion and relegation. Senior 2 champions gain promotion to Senior 1 and one side can also be relegated to the Dublin Intermediate football championship from 2019 onwards.
James McCarthy (Gaelic footballer)

James McCarthy (born 1 March 1990) is a Gaelic footballer who plays for the Ballymun Kickhams club and, formerly, for the Dublin county team. He is widely regarded as one of Dublin's greatest ever players.
He was a student at Sacred Heart BNS Ballygall and St Kevin's College in Ballygall.
His father John was also a Dublin senior inter-county player, who won the All-Ireland Senior Football Championship (SFC) on three occasions.
McCarthy attended DCU where he was a defender for the Gaelic football team. In 2012, he won the Sigerson Cup and the O'Byrne Cup with the college.
McCarthy won two Dublin SFC titles with Ballymun, in 2012 and 2020. He added a Leinster Club SFC title in 2012. Ballymun then defeated Dr Crokes in the All-Ireland Club SFC semi-final before losing the 2013 All-Ireland Club SFC final to St Brigid's GAA (Roscommon).
McCarthy won the 2010 Leinster Under-21 Football Championship and All-Ireland Under-21 Football Championship with Dublin.
He made his championship debut for Dublin against Laois in the 2011 Leinster SFC quarter-final, winning his first Leinster SFC title against Wexford at Croke Park in July that year. Dublin progressed to the 2011 All-Ireland SFC final against Kerry, and McCarthy won his first All-Ireland Senior Football Championship. The game finished on a scoreline of 1–12 to 1–11, in Dublin's favour. McCarthy was nominated for GAA GPA Young Player of the Year for his performances.
On 4 November 2024, McCarthy announced his retirement from inter-county football, ending his 14-year senior career. In a released statement he said: "I have decided to retire from representing Dublin GAA at inter-county level, this decision hasn't been an easy one to make but I feel it's the right time."
As of 2020, McCarthy was employed by AIB and lived within two kilometres of Poppintree Park, Albert College Park and Johnstown Park.
TATA AIG

Tata AIG General Insurance Company Limited is an Indian general insurance company and a joint venture between the Tata Group and American International Group (AIG). Tata Group holds a 51 percent stake in the insurance venture with AIG holding the balance of 49 percent.
Tata AIG General Insurance Company, which started its operations in India on 22 January 2001, provides insurance to individuals and corporates. It offers a range of general insurance products including insurance for automobile, home, personal accident, travel, energy, marine, property and casualty as well as specialized financial lines. The company's products are available through distribution channels like agents, brokers, banks (Through bank assurance tie ups), and direct channels like telemarketing, digital marketing, worksite etc.
Millennium Trophy

The Millennium Trophy (Irish: Corn na Mílaoise) is a rugby union award contested annually by England and Ireland as part of the Six Nations Championship. It was initiated in 1988 as part of Dublin's millennial celebrations. The trophy has the shape of a horned Viking helmet. As of 2025, England have won it 21 times, and Ireland 17 times.
Ireland are the current holders after beating England at the Aviva Stadium on 1 February 2025.
Note: Date shown in brackets indicates when the record was last set.
1998 All-Ireland Senior Football Championship final

The 1998 All-Ireland Senior Football Championship Championship final was the 111th All-Ireland Final and the deciding match of the 1998 All-Ireland Senior Football Championship, an inter-county Gaelic football tournament for the top teams in Ireland.
In 2018, Martin Breheny listed this as the third greatest All-Ireland Senior Football Championship Final.
This was Kildare's first appearance in an All-Ireland football final since 1935. They were assisted on their way there by a semi-final victory over Kerry, masterminded by Kerryman Mick O'Dwyer. Going into the final Kildare were favourites to beat Galway.
Kildare were marginal favourites to take the title after dethroning reigning champions Kerry in a tight and close game. As well as dethroning the reigning champions, Kildare had also defeated Meath and Dublin, the 1996 and 1995 champions respectively. Galway were never in danger of losing against Derry in the semi-final and won a five-points victory in the end.
Galway defeated Kildare by a scoreline of 1–14 to 1–10. They took their first Sam Maguire Cup in 32 years - since the 1966 team completed a three-in-a-row for the county.
Like in their semi-final against Derry, Galway started well and had three unanswered points on the board by the 13th minute, one of which saw Michael Donnellan race towards the Kildare at great speed before taking his point. Kildare got their first score through Eddie McCormack In the 20th minute, Kildare took the lead, after Dermot Earley scored a goal.
In response, Michael Donnellan galvanised his team with a moment of GAA magic. From his own defence, he proceeded to charge up the field at lightning pace, exchanging a pass with Kevin Walsh in midfield. The ball found its way to Seán Óg De Paor who finished the move with a well-taken point. It was a score that quelled a potential run of scores for the Lilywhites. At the interval, the score was 1–05 to 0–05 in favour of Kildare.
After the restart, Ja Fallon sniped a point off the arrears before Pádraic Joyce struck with a wonderful goal where he rounded goalkeeper Christy Byrne before finishing in front of an empty net. Galway had regained the lead and would never surrender it until the final whistle. By 50th minute, it was 1–11 to 1–06 to Galway. Kildare managed to cut the lead to three before injury time but Galway had the final score, courtesy of De Paor to give them their first title in 32 years.
Kildare lost against Offaly in the first round of the following year's Leinster championship and then were relegated from the National League Division 1, but won the Leinster Title again in 2000 before losing again to Galway in the All-Ireland semi-final.
Galway lost the following years Connacht final to Mayo. They reclaimed the Connacht & All-Ireland Title again in 2001, after losing to Kerry in the 2000 final after a replay. Michael Donnellan's run from defence culminating in a Seán Óg De Paor point was voted #1 in the 2005 TV programme Top 20 GAA Moments.
Сапоги

Сапоги́ — вид обуви с высокими голенищами.
Получили распространение на Руси и Ближнем Востоке от кочевников, для которых мягкие сапоги были удобной обувью для верховой езды. На Руси первое время считались обувью для богатых (простолюдины обыкновенно носили поршни или лапти), в последующем получили распространение твёрдые юфтевые сапоги.
Сафьяновые сапоги упоминаются в русских былинах. В русских летописях, повествующих о X веке, сапоги противопоставляются лаптям как знак принадлежности аристократии.
В Русском государстве, при царе Алексее Михайловиче, стрельцы носят на ногах высокие сапоги, а полки различались между собой цветом воротников, шапок и иногда сапог.
Популярность сапог среди знати несколько снизилась после того, как Пётр I ограничил ношение традиционной русской одежды.
Сапоги шили из юфти, с пришивным голенищем или цельные — вытяжные. Чаще всего с прямым срезом голенища. Особым шиком считались складки на голенищах (тогда это называлось сапоги «с моршыной»). Складки имели правильную круглую форму. Для этого в кожу вшивалась кольцом круглая верёвка. На голенище помещалось 5 — 6 таких колец. Морщин должно было быть не менее пяти. Также изготовлялись сапоги «со скрипом» — между подошвой и стелькой делали подкладку из сухой бересты или насыпали туда сахарный песок.
Носки имели круглую или удлинённую форму. Сапоги с острыми носами в России назывались остроги. Каблуки делались разнообразных фасонов: низкие, высокие, «в рюмку» (то есть обрезанные сзади).
Сапоги, закрывающие колени, получили название ботфортов и были популярны в эпоху барокко. До середины XX века сапоги в России были мужской и женской обувью. Известный генерал А. А. Брусилов писал: «… к 1917 году … чуть ли не всё население России ходило в солдатских сапогах…». Женщины носили коты — укороченные сапожки, отороченные сверху красным сукном или сафьяном.
В вооружённых силах являлись элементом формы одежды военнослужащих. В Советской Армии ВС Союза ССР военнослужащие носили хромовые, юфтевые (яловые) и кирзовые сапоги.
В Полковом учреждении Суворова говорилось (до середины XIX века при изготовлении обуви для правой и левой ноги обычно использовались одна и та же обувная колодка, обувь потому можно было носить на любой ноге):
В настоящее время опять всё большую популярность приобретают резиновые сапоги.
В эпоху инквизиции испанским сапогом называли орудие пытки.
Сапог использовали также для разжигания потухшего самовара, надевая его голенищем вместо трубы и действуя им как "мехом" для нагнетания воздуха в топку.
Кот в сапогах

«Кот в сапога́х» (фр. Le Maître chat ou le Chat botté — «Господин кот, или Кот в сапогах») — европейская сказка об антропоморфном коте, который хитростью заполучает власть, богатство и руку принцессы для своего нищего хозяина.
Старейшая известная версия сказки — «Удачливый Константино» (итал. Costantino Fortunato) из сборника «Приятные ночи» (1550—1553) итальянского писателя Джованни Франческо Страпаролы. Здесь кот — замаскированная фея, которая помогает своему хозяину, бедному юноше по имени Костантино, жениться на принцессе, обманывая короля, лорда и многих простолюдинов. Более ранний вариант был написан Джироламо Морлини, чьи рассказы Страпарола позаимствовал для «Приятных ночей»; другая версия была опубликована в 1634 году Джамбаттистой Базиле под названием «Cagliuso». Самый популярный вариант сказки был написан на французском языке в конце XVII века Шарлем Перро (1628—1703), отставным государственным служащим и членом Французской академии.
Кот в сапогах появляется во франшизе DreamWorks «Шрек», где является второстепенным героем продолжений оригинального фильма, а также протагонистом двух спин-оффов, «Кот в сапогах» и «Кот в сапогах: Последнее желание». Во всех этих мультфильмах Кота озвучил Антонио Бандерас. Помимо этого, персонаж является маскотом японской аниме-студии Toei Animation, а также популярной пантомимой в Великобритании.
После смерти мельника три его сына разделили наследство: старшему досталась мельница (moulin), среднему — осёл, а младшему — кот (chat). Кот попросил сапоги и, поймав зайца (lapin), преподнес его королю от имени своего хозяина, которого он представил как маркиз де Карабас (marquis de Carabas) — от тюркского «карабаш» или «карабас» («чёрная голова»). Затем кот проделал тот же фокус с куропаткой. Наконец принцесса заинтересовалась маркизом де Карабасом.
Чтобы обеспечить достойный наряд своему хозяину, кот сымитировал его падение в реку, вследствие чего пришедшие на помощь слуги короля облачили юношу в богатую одежду. Затем кот заставил крестьян говорить, что их земли принадлежат маркизу. Резиденцией же маркиза стал замок (château: шато) людоеда (огра), которого съел кот, когда тот превратился в мышь.
Благодаря деловой хватке и хитрости кота, его хозяин получил всё, о чём только мог мечтать юноша: титул, уважение короля, замок, богатство и любовь прекрасной принцессы. Прототипами некоторых персонажей для сюжета являлись владельцы замка Уарон в долине Луары.
В СССР многими кондитерскими фабриками страны выпускались шоколадные конфеты с названием «Кот в сапогах».