davidanugraha/M4-RAG huggingface dataset:
Rajwada

Rajwada, also known as the Holkar Palace or Old Palace, is a historical palace in Indore that was constructed by the Holkars of the Maratha empire around 2 centuries ago. An example of the architecture of the time, the palace is a 7 story structure that is placed near the Holkar Chhatris. The structure has gained the attention of tourists due to its size and age.
The construction of the palace was started by Malhar Rao Holkar, the founder of Holkar Dynasty, in the year 1747 A.D. This structure is placed in Khajuri Bazaar, near the center of the city. The palace has the Shiv Vilas Palace (New Palace) on the right and faces a garden with a statue of Maharani Ahilya Bai Holkar, fountains, and an artificial waterfall.
The structure comprises two parts with one near the center of the city and the other in an older section. Both parts utilize Maratha architectural styles. The entrance itself is marked with a large wooden door, supported by iron studs. Inside the entryway, there is a courtyard that consists of a Maratha arched Ganesha hall and a number of balconies, windows, and corridors that link to galleried rooms. The lower three floors are made of stone and the upper floors are made of wood.
The existing building is rectangular with cylindrical bastions at the four corners. It was originally constructed in 1766, and the southern part was later rebuilt in the years 1811–1833 after being damaged by fire. The front bay has forecourt assessed by a large fenestration in the front façade. The Rajwada building is now state property under Archeology, which granted special permission for restoring the old wada (residence) after the main building was damaged during the 1984 riots. This building was restored by H.H Usha Raje Holkar with the assistance of architects Himanshu Dudwadkar and Shreya Bhargava who used the 200-year-old blueprint. Additionally, the same material & finishes were used while adhering to modern seismic structural requirements. The restoration was designed to be identical to its previous state which was constructed with thin bricks in lime mortar with lime plaster, wooden columns with stone bases, rough black basalt flooring, and a brick paved courtyard. The only departure from the original building was a concealed pipe frame for structural stability which was necessary because the building lies in an earthquake prone area. This modification was also required to obtain relevant building permissions.
After renovation of palace by H.H. Usharaje S Holkar in March 2007, another renovation was conducted by Indore Municipal Corporation from 2017 to 2023. Firstly it was scheduled for completion in 2019 but postponed due to budget related issues and COVID-19 pandemic in India. Rajwada was open after almost 6 years in February 2023.
22°43′06″N 75°51′19″E﻿ / ﻿22.7184°N 75.8552°E﻿ / 22.7184; 75.8552
Visión de San Juan en Patmos-Tenochtitlan

La Visión de San Juan en Patmos-Tenochtitlán es una pintura al óleo realizada entre 1756 y 1783 por el artista novohispano Francisco Antonio Vallejo.​
Se trata de una composición alegórica que declara la honra al juramento de los tres patronos principales de la Nueva España: San José, patriarca de la iglesia indiana y la conversión de los indios; la Virgen de Guadalupe y San Juan Nepomuceno. Muestra también un escenario marítimo y celestial en medio de la revelación que tuvo San Juan Evangelista en Patmos según el capítulo 12 del Apocalipsis: contempló la figura de la Mujer águila encinta huyendo hacia el desierto. También se observa intervenido el atributo principal de San Juan como escritor visionario con la pluma en mano: el águila no sólo es el tradicional símbolo del Tetramorfos que sostiene con el pico el tintero para que el evangelista moje la pluma, sino que se confunde intencionalmente con el ave fundacional de Tenochtitlán y, por eso mismo, se ha colocado con un tunal.​
Por su manejo de luces y sombras en correcta planimetría, paleta suave, contornos que dejan de ser nítidos y se confunden con el fondo, esta lámina muestra la transición del Barroco al Neoclasicismo.​
La obra de Vallejo se relaciona con el momento guadalupano, cuando el papa Benedicto XVI declaró a la Virgen de Guadalupe patrona sobre el reino de la Nueva España en 1754, después de múltiples gestiones y esferzos por parte de los jesuitas para lograrlo. Fue precisamente la orden de San Ignacio de Loyola quien encargó esta lámina.​​
Basílica de Guadalupe (Monterrey)

La Basílica de Guadalupe, Basílica de Nuestra Señora de Guadalupe o Santuario de Nuestra Señora de Guadalupe es una edificación religiosa católica localizada en la Colonia Independencia (Monterrey), en el área metropolitana de Monterrey, Nuevo León. Se inauguró el 11 de diciembre de 1982, y es el epicentro de la devoción guadalupana en esta ciudad.​
Se cree que Nuestra Señora usó el termino azteca (náhuatl) de coatlaxopeuh, el cual es pronunciado quatlasupe y su pronunciación es semejante a la palabra en español Guadalupe. Coa significado serpiente, tla del articula la, xopeuh significa aplastar. Así, Nuestra Señora se debió haber referido a ella misma como la que aplasta la serpiente.​
Año tras año es el destino del peregrinaje de miles de fieles devotos a la Virgen de Guadalupe, en especial, en los días previos a su fecha, el 12 de diciembre, en la que a medianoche (las 0.00 del día 12) se festeja con Mariachi y canciones tradicionales el santo de la Virgen, además de las esperadas mañanitas a la Guadalupana o serenata a la Virgen.
Las peregrinaciones son integradas por fieles que van rezando y matachines que van danzando desde distintos puntos de la región para llegar a la Basílica y escuchar misa, frente a la imagen de la Virgen de Guadalupe. La imagen original está en la basílica de la Ciudad de México.
El recinto se encuentra en las afueras del Primer Cuadro de la ciudad. Arriba de la sede, cuenta con 80 rosas de oro sujetas a unas cuerdas. Fue diseñada por el arquitecto Pedro Ramírez Vázquez, también parte del equipo que diseñó la Basílica de Guadalupe de la Ciudad de México,​ y el arquitecto Antonio Elosúa Muguerza, fundador de RBE y U-Calli.​
El diseño de la basílica cuenta con muros superpuestos, techo inclinado y postes decorativos. Entre las palmeras del exterior de la iglesia se encuentra una enorme cruz. La Basílica de Guadalupe se fundó tras la aparición de Nuestra Señora de Guadalupe en la Ciudad de México, en el siglo XVI. Al interior se colocan velas y arreglos florales dedicados a la Virgen María.​
Una de las frases adjudicada a Nuestra Señora de Guadalupe, que se encuentra en el dintel de la Basílica de Guadalupe, que está en ciudad de Monterrey en Nuevo León, es No estoy yo aquí, que tengo el honor y la dicha de ser tu madre. (escrito en Náhuatl ¿Cuix amo nican nica nimonantzin? , sacado de Nican Mopohua y traducido por Antonio Valeriano).
Mandala

Los mandalas son representaciones simbólicas espirituales y rituales del macrocosmos y el microcosmos, utilizadas en el budismo y el hinduismo.
El término mandala es de origen sánscrito.
El Diccionario de la lengua española, de la Real Academia Española, recoge tanto la versión usual española «mandala» (pronunciada grave o llana) como la etimológica «mándala» (pronunciada esdrújula).​
Estructuralmente, el espacio sagrado (el centro del Universo y soporte de concentración) se representa como un círculo inscrito dentro de una forma cuadrangular. En la práctica, los yantras hinduistas son lineales, mientras que los mandalas budistas son bastante figurativos. A partir de los ejes cardinales, suelen sectorizarse las partes o regiones internas del círculo-mandala.
Por otra parte, otras culturas poseen configuraciones mandálicas o mandaloides, frecuentemente con intención espiritual: la mandorla (almendra) del arte cristiano medieval, ciertos laberintos en el pavimento de las iglesias góticas, los rosetones de vitral en las mismas iglesias, las chacanas del mundo andino, los diagramas de los indios pueblo, etcétera.
Es muy probable que esta universalidad de las figuras mandálicas se deba al hecho de que las formas concéntricas sugieren una idea de perfección (de equidistancia con respecto a un centro) y de que el perímetro del círculo evoque el eterno retorno de los ciclos de la Naturaleza (tal y como en la tradición helenística lo proponía, por ejemplo, el uróboros).
A su vez, en los rituales mágicos es frecuente la separación de un espacio sacro respecto de uno profano; para esto, en la tradición del ocultismo occidental se ha recurrido y se recurre a los círculos mágicos. El espacio sacro —o al menos el del ritual— es el inscripto en tales círculos que, de este modo, cumplen funciones análogas a los mandalas orientales.​
Esta universalidad de los mandalas hizo que el psiquiatra Carl Gustav Jung los privilegiara como expresiones probables de lo inconsciente colectivo. Para él, el centro del mandala figura al sí-mismo (selbst), que el sujeto intenta lograr perfeccionar en el proceso de individuación.​
Según el Sanskrit-English Dictionary (diccionario sánscrito-inglés), de sir Monier Monier-Williams, el término sánscrito mandala significa:​
Dentro de las múltiples técnicas de relajación orientales, se encuentra la de pintar mandalas, los cuales son publicados en libros parecidos a los libros infantiles dedicados a pintar y colorear. En estos cuadernos o libros, aparece el dibujo del mandala (líneas) y el resto en blanco dispuesto para colorear. Esta técnica de relajación no requiere ninguna disciplina expresa, como puede serlo en otras, ya que quien está haciéndolo lo colorea según sus gustos estéticos e imaginativos. La pueden realizar personas de cualquier edad, siendo además una actividad que fortalece la creatividad, aporta serenidad y contribuye a gestionar situaciones de ansiedad.
Nancy A. Curry y Tim Kaser (2005) realizaron un estudio en el que comprobaron que la elaboración de los mandalas eran efectivos para disminuir los niveles de ansiedad y estrés.​
When Johnny Comes Marching Home

«When Johnny Comes Marching Home», a veces también llamada «When Johnny Comes Marching Home Again», es una canción popular de la guerra de Secesión que expresa el deseo de la gente de que sus amigos y familiares que estaban combatiendo en la guerra regresaran.
La letra de «When Johnny Comes Marching Home» fue escrita por el músico Patrick Gilmore durante la Guerra de Secesión. Sin embargo, presentó la partitura original en la Biblioteca del Congreso de Estados Unidos con el nombre de «Louis Lambert» el 26 de septiembre de 1863, mientras que los derechos de autor pertenecían a la compañía Henry Tolman & Co., radicada en Boston.​ Pese a que se desconoce la razón por la que Gilmore escogió un seudónimo, se sabe que era una práctica usual de los compositores de aquellos años para añadir romanticismo y misterio a sus creaciones.​ Por otra parte, se dice que escribió la canción para su hermana Annie, quien solía orar por el retorno de su prometido, el capitán de artillería ligera del Ejército de la Unión, John O'Rourke, quien peleaba en el conflicto.​​​ Empero, no hay evidencia del compromiso nupcial en ese año de 1863, ya que ambos no se casarían hasta 1875.​
La música de la obra no era original, lo que sería admitido por el propio Gilmore. Él mismo aseveró en un artículo del Music Herald del año 1883: «Fue un estribillo que escuché a alguien cuando iniciaba la guerra; me gustó tanto que escribí la letra, le hice un arreglo, le di un nombre, le puse una rima, todo con el propósito que estuviera acorde con los sucesos que se vivían».​
La melodía, de hecho, era conocida desde el 1 de julio de 1863, ya que le daba ritmo a una canción popular en las cantinas conocida como «Johnny Fill Up the Bowl».​ Además, en un volante ilustrado que contenía la letra de la canción de Gilmore, impreso por el titular de la obra, se recomendaba que «When Johnny Comes Marching Home» debía ser cantada como «Johnny Fill Up the Bowl»,​ en cuya partitura original se afirmaba que el arreglo musical había sido de J. Durnal, aunque no se establecía que él era su autor.​ De igual forma, existe una similitud con la música de la canción «John Anderson, My Jo», cuyo letrista, Robert Burns, la había adaptado a su vez a una melodía creada alrededor de 1630. Por su parte, el escritor Jonathan Lighter ha sugerido un nexo con la balada del siglo XVII, «The Three Ravens».​
También se interpreta de la misma manera que «Johnny I Hardly Knew Ye», y se ha creído popularmente que es una versión posterior de esta pieza. Sin embargo, «Johnny I Hardly Knew Ye» no se lanzó hasta 1867, con un arreglo diferente.​
La canción «When Johnny Comes Marching Home» alcanzó mucha popularidad en su tiempo, y era muy interpretada tanto por el bando unionista como el confederado;​ y además fue un éxito en Inglaterra.​
La letra original, como fue escrita por Patrick Gilmore, es la siguiente:​
Municipio de Tenochtitlán

El municipio de Tenochtitlán se encuentra en el estado de Veracruz, es uno de los 212 municipios de la entidad y tiene su ubicación en la zona centro del Estado. Su cabecera es la localidad de Tenochtitlán. Sus coordenadas son 19°48’ latitud norte, longitud oeste de 96°55’ y cuenta con una altura de 900 m s. n. m.​ El municipio lo conforman 24 localidades en las cuales habitan 4.995 personas.
El clima de este municipio es templado-húmedo-extremoso, con una temperatura de 22,2 °C, lluvias abundantes en verano y principios de otoño, con menor intensidad en invierno.
Tenochtitlán celebra el día 10 de julio la feria por el aniversario de su fundación, los días 24 y 25 de agosto se festeja en honor de san Bartolomé Apóstol y el 12 de diciembre la fiesta religiosa en honor de la Virgen de Guadalupe. También el 16 de julio se lleva a cabo una fiesta titular en la Congregación de “El Colorado”.
Fraumünster

La iglesia de la abadía de Fraumünster es un templo situado en Zúrich (Suiza). Es una de las principales iglesias del casco antiguo de la ciudad junto a Grossmünster y Peterskirche. Es conocida por sus vidrieras firmadas por Marc Chagall y Augusto Giacometti. Forma parte de la antigua abadía de la que el claustro y los edificios abaciales fueron demolidos a finales del siglo XIX.
La abadía fue fundada en 853 por Luis el Germánico para su hija Hildegard y dotó al convento que encomendó a la Orden de San Benito tierras de Zúrich, Uri y el bosque de Albis, y además le otorgó inmediación imperial, poniéndolo bajo su autoridad directa.
En 1045, el rey Enrique III concedió a la abadía el derecho de celebrar mercados, acuñar monedas y cobrar peajes, entre otros, haciendo así a la abadesa la máxima dirigente de la ciudad.
El emperador Federico II otorgó a la abadía el derecho Reichsfreiheit en 1218, haciéndolo así territorialmente independiente de toda autoridad salvo del emperador mismo, y aumentando el poder político de la abadesa. Ésta designaba el alcalde y además delegaba el acuñamiento de monedas a algunos de sus ciudadanos. Sin embargo, el poder político del convento fue disminuyendo lentamente en el siglo XIV con el establecimiento de las leyes gremiales (Zunftordnung) en 1336 por Rudolf Brun, que además se convirtió en el primer alcalde independiente, es decir, no elegido por la abadía.
La abadía fue disuelta el 30 de noviembre de 1524 como consecuencia de las reformas de Ulrico Zwinglio.
Las vidrieras policromadas del coro de la iglesia son obra de Marc Chagall y fueron instaladas en 1970. El conjunto está formado por cinco vitrales altos y estrechos que muestran imágenes bíblicas. De izquierda a derecha, las cinco obras son las siguientes:
Además de las obras de Marc Chagall también destaca la vidriera conocida como El paraíso celestial, obra de Augusto Giacometti, que muestra a Dios, Cristo, los evangelistas y diversos profetas. Esta obra se encuentra en el transepto y fue instalada en el año 1945.
Detrás del órgano de la iglesia se sitúa una vidriera de Clement Heaton, encargada en 1914 como parte de las reformas que tuvieron lugar a comienzos del siglo XX. Debido a la gran distancia que existe entre el vitral y el espectador, el artista decidió prescindir de la mayor parte de las figuras, incluyendo únicamente cuatro ángeles, estando formada principalmente por motivos geométricos.
La primera mención a la existencia de un órgano en Fraumünster data de 1475, si bien su localización y aspecto son desconocidos. Este fue retirado en 1527 a raíz de la reforma protestante y no volverá a haber un instrumento de este tipo hasta 1853 cuando, con motivo del cumplimiento de los 1000 años desde la fundación de la iglesia, un nuevo órgano es ubicado. Este sería sustituido 100 años más tarde por el actual.
Coat of arms of Haiti

The coat of arms of Haiti is the national coat of arms of the Republic of Haiti. It was originally introduced in 1807, and it has appeared in its current form since 1986. Since this Haitian national symbol does not conform to the rules of heraldry for a traditional coat of arms, then it could be considered a national emblem instead (national emblem of Haiti).
It has six draped flags of the country, three on each side, which are located behind a palm tree and cannons on a green lawn. Upon the lawn are various items, including a drum, bugles, cannonballs and ship anchors. Above the palm tree is a liberty cap placed as a symbol of freedom.
The ribbon bears the motto L'Union fait la force (French for 'Unity makes strength'), which is also the motto of several other countries. This should not be confused with the national motto of Haiti, which according to the Constitution of Haiti is Liberté, égalité, fraternité (French for 'Liberty, Equality, Fraternity').
The oldest use of a symbol for Haiti is known since 1807. The symbol shows several national flags, with two cannons and palm trees. The symbol indicates the battle for independence of the republic. The motto, in French, means 'Strength through unity'. The use of the symbol was interrupted twice; once was during the period of Henri I. The then president Henri Christophe declared himself as the King of Haiti and adopted a Royal Coat of Arms. On the yellow shield of the arm there was a phoenix rising from its flames with five-pointed stars around it, and the motto Je renais de mes cendres (I will rise in my ashes) inscribed on a ribbon outlining the shield. Two royally crowned lions supported both sides of the shield, and the motto Dieu ma cause et mon épée (God, my cause and my sword) was placed on another ribbon at the bottom. In 1814 Henri I slightly changed his Royal Arm, the lions were removed and the motto was changed to a Latin one: Ex cineribus nascitur (Reborn from the ashes). Another change occurred in 1849, when President General Faustin Soulouque crowned himself as Emperor Faustin I. He adopted new Imperial arms, showing two cannons and a French imperial eagle. Two lions were again used as supporters and the whole was placed in a purple mantle, with a motto similar to the one Henri I used: Dieu, ma patrie et mon épée (God, my country and my sword). The emperor was forced to leave the country in 1859, and the old symbol was later restored. Ever since the composition has been the same, but the colors and items have changed somewhat.
The coat of arms is on the national flag of Haiti, but not on its civil flag.
Coat of arms of the Bahamas

The coat of arms of the Bahamas contains a shield with the national symbols as its focal point.
The blazon of the coat of arms is described in Bahamas law:
Arms: Upon a representation of the Santa Maria on a base barry wavy of four Azure and Argent on a Chief Azure demisun Or.
Crest: Upon a representation of Our Royal Helmet mantled Azure doubled Argent on a Wreath Or and Azure. A Conch Shell proper in front of a Panache of Palm Fronds proper.
Supporters: On the dexter side a Marlin proper and on the sinister side a Flamingo proper; and upon a Compartment per pale Waves of the Sea and Swampland proper.
Motto: “Forward, Upward, Onward Together”.
The escutcheon (shield) is supported by a marlin and flamingo. The crest on top of the helm (helmet) is a conch shell, which represents the varied marine life of the island chain. Below the helm is the escutcheon itself, whose main charge is a ship, reputed to represent the Santa María of Christopher Columbus. It is sailing beneath a sun in the chief. The animals supporting the shield are the national animals, and the national motto is found at the bottom. The flamingo is located upon land, and the marlin upon sea, indicating the geography of the islands.
The vibrant tinctures of the coat of arms are also intended to point to a bright future for the islands. They are also reputed to have been maintained for their attractiveness to tourists.
The coat of arms was approved by Queen Elizabeth II on 7 December 1971. It was designed by Bahamian artist and clergyman Dr. Hervis L. Bain, Jr., who is also a member of the Order of the British Empire.
In addition to the National Coat of Arms, there are a total of eighteen regional island shields (including two unofficial devices). These were granted upon Independence in 1973, to be displayed at the Independence day celebration to reflect each island's individual cultural heritage.
Coat of arms of Mexico City

The Coat of arms of Mexico City (Spanish: Escudo de la Ciudad de México, lit. "state shield of Mexico City") is a symbol of the Free and Sovereign State of Mexico City in Mexico.
The coat of arms of Mexico City is a field azure (blue) with a castle with three movable bridges from the sides and from the top without reaching the castle supporting two lions facing each other and leaning on the castle, all of gold; border of gold with ten leaves of green pads from prickly pear cactus.
The historical symbol is used by all successive regimes in different forms.
Coat of arms of the State of Mexico

The coat of arms of State of Mexico (Spanish: Escudo del estado de México, lit. "state shield of Mexico") is a symbol of the Free and Sovereign State of Mexico.
The coat of arms of the State of Mexico is a representation of a legend of the conquest of New Spain to today.
The coat of arms of the State of Mexico is a national eagle on the top of the Coat of Arms, in accordance with the Law on the Coat of Arms, the Flag and the National Anthem, and the drawing in the upper left quarter representing the Xinantécatl volcano, the Pyramid of the Sun of Teotihuacán and the original toponym of Toluca, the capital of the State of Mexico.
Represented in the second upper right quarter by a cannon of the time, on the place where the Battle of Monte de las Cruces took place, on October 30, 1810.
Represented in the third and fourth quarters, together, below the previous ones, containing the toponym of Mexico, which gave its name to the Homeland and the State; the furrows of agriculture producing corn plants and the open book of knowledge, on it a factory gear, a sickle, a pickaxe, a shovel and a flask, tools of human work. It also contains eighteen bees that represent the number of Judicial Districts of the State.
Although the explanatory statement of the decree of April 9, 1941 states that since its creation the State of Mexico did not have its own coat of arms, it is known that when the Kingdom of Mexico was formed and then the Intendancy of Mexico during the viceroyalty of New Spain, it was used as the coat of arms of these viceregal entities.
The symbol is used by all successive regimes in the State of Mexico, in different forms.
Xicalcoliuhqui

Xicalcoliuhqui (also referred to as a "step fret" or "stepped fret" design and greca in Spanish) is a common motif in Mesoamerican art. It is composed of three or more steps connected to a hook or spiral, reminiscent of a "greek-key" meander. Pre-Columbian examples may be found on everything from jewelry, masks, ceramics, sculpture, textiles and featherwork to painted murals, codices and architectural elements of buildings. The motif has been in continual use from the pre-Columbian era to the present.
The word xicalcoliuhqui (Nahuatl pronunciation: [ʃikaɬkoˈliʍki]) means "twisted gourd" (xical- "gourdbowl" and coliuhqui "twisted") in Nahuatl. The motif is associated with many ideas, and is variously thought to depict water, waves, clouds, lightning, a serpent or serpent-deity like the mythological fire or feathered serpents, as well as more philosophical ideas like cyclical movement, or the life-giving connection between the light of the sun and the earth, and it may have been a protection against death, but no single meaning is universally accepted. It is also possible that the motif represents the cut conch shell which is an emblem of Ehecatl, the wind god, an aspect of Quetzalcoatl. It seems likely that the multivalent nature of the symbol gave rise to its potency and longevity.
Xicalcoliuhqui chimalli, are shields featuring a single iteration of the stepped fret motif which were painted or covered with featherwork. They are depicted frequently in the Codex Mendoza, and many other central Mexican codices, usually with the xicalcoliuhqui design shown in yellow and green.
The xicalcoliuhqui motif appears in embellishments on temples and other buildings at archaeological sites around Mexico.
Miss Earth South Africa

Miss Earth Afrika Kusini ni mashindano ya urembo nchini Afrika Kusini yaliyoanza mwaka 2001. Mshindi wa shindano hilo anawakilisha nchi yake kwenye shindano la Miss Earth .
Miss Earth South Africa ni shindano la urembo linalolenga kuwawezesha wanawake na kuendeleza uongozi, ambalo linakuza maendeleo ya kijamii na uendelevu wa mazingira kwa kutumia jukwaa lake kuleta mabadiliko endelevu katika kuhifadhi na kulinda wanyamapori na mazingira Shindano hilo linajumuisha warsha za mazingira, kampeni, na miradi ya jumuiya ya mgombea.
Chakacha

Chakacha ni muziki wa jadi na mtindo wa ngoma kwa waswahili wa pwani ya Kenya na Tanzania.mshirika wa awali na harusi huku kuchezwa na kutazamwa na wanawake.Mwishoni mwa karne ya 20, vikundi vya muziki kama vile Mombasa Roots, Safari Sound band na them Mushrooms wamebadilisha mtindo huu kwa muziki wa afropop. Wanawake huvaa kwa mwanga sana, kwa uwazi nguo na kuwa na mkanda kiunoni kwa urahisi wa harakati. Wadada wa kitanzania haswa wanaozunguka maeneo ya pwani wanatamba sana kwenye ngoma hii
Pia inahusishwa kwa kiasi fulani na Taarab,aina nyingine ya mtindo wa muziki uliochukuliwa katika pwani na hasa unaofanywa na wanawake.Tamaduni maarufu sana ya mwambao, yenye mashairi ya Kiarabu, taarab imetumika kama njia ya kejeli ya kuwasilisha ujumbe kote.
Miondoko ya dansi ya kuyumba-yumba ya Chakacha pia ina mfanano fulani na ngoma za Kongo za soukous na dansi za tumbo za Mashariki ya Kati.
Kanisa la Kiorthodoksi la Eritrea

Kanisa la Kiorthodoksi la Eritrea ni madhehebu ya dini ya Ukristo iliyotawala makabila ya Eritrea kaskazini kwa karne kadhaa hadi sasa.
Wakristo hao wanaotaka kuzingatia imani sahihi ya Makanisa ya Kiorthodoksi ya Mashariki ni sehemu muhimu katika utamaduni wa Eritrea kama ulivyo kwa wenzao wa Ethiopia.
Kwa sasa lina waumini milioni 3. wengi wao wakiishi nchini Eritrea, lakini pia Ulaya na Amerika.
Kanisa la Kiorthodoksi la Eritrea linaendeleza ushirika na Kanisa la Misri tangu lilipoanzishwa na mtakatifu Frumensyo aliyetumwa na mtakatifu Atanasi, Patriarki wa Aleksandria ainjilishe ufalme wa Aksum katikati ya karne ya 4 BK.
Hata hivyo mwaka 1993 lilikubaliwa liwe na Patriarki wake mwenyeji na kujiongoza.
Kufuatana na mapokeo ya huko Misri, Epifania na Pasaka ni sikukuu muhimu sana, na husherehekewa kwa kufanya mambo kama vile kufunga kula na kucheza.
Pia kuna siku kadhaa katika mwaka ambapo ni mboga za majani pekee na samaki ndio huruhisiwa kuliwa.
Ndoa huweza kuanzishwa au kupangwa wakati mwanamume ana umri wa miaka kumi na..., au ishirini na... Kiutamaduni, wasichana wanaruhusiwa kuolewa wakiwa na umri wa miaka 14 hadi 18, lakini katika karne ya 20, mambo yamebadilika, hivyo sasa umri mdogo kuliko wote wa kuolewa ni miaka 18, na suala hili linasimamiwa na serikali. Ndoa za kiserikali ni nyingi japo pia, wapo watu wanaofunga ndoa katika makani mbalimbali. Na baada ya kufunga ndoa kanisani, suala la talaka halipo na haliwezekani. Kila familia hufanya sherehe ya ndoa baada ya harusi.
Tangu kuzaliwa, padri hutembelea familia kwa ajili ya kumbariki mtoto, na pia kutahiri mtoto kama ni wa kiume. Mama wa mtoto, hutakiwa kukaa ndani kwa siku 40 baada ya kujifungua kama mtoto ni wa kiume na kukaa ndani kwa siku 80 kwa mtoto ni wa kike kabla ya kwenda kanisani kwa ajili ya ubatizo.
Sanaa ya nchini Eritrea kwa ujumla imeegamia katika masuala ya dini na michoro ya dini.
Mmoja kati ya michoro mizuri zaidi ya vitu au watu wenye macho makubwa na mara nyingi huwa ni watu wanaohusiana na Biblia.
Kanisa la Kiorthodoksi la Ethiopia

Kanisa la Kiorthodoksi la Ethiopia (kwa Kiamhara የኢትዮጵያ:ኦርቶዶክስ:ተዋሕዶ:ቤተ:ክርስቲያን, Yäityop'ya ortodoks täwahedo bétäkrestyan) ni madhehebu ya dini ya Ukristo iliyotawala watu wa jamii ya Waamhara kwa karne kadhaa hadi sasa.
Wakristo hao wanaotaka kuzingatia imani sahihi ni sehemu muhimu katika utamaduni wa Ethiopia na Eritrea.
Kwa sasa ni kubwa zaidi duniani kuliko mengine yote ya jamii ya Makanisa ya Kiorthodoksi ya Mashariki, likiwa na waumini milioni 45-50. wengi wao wakiishi nchini Ethiopia, lakini pia Mashariki ya Kati, Ulaya na Amerika.
Kanisa la Kiorthodoksi la Ethiopia linaendeleza ushirika na Kanisa la Misri tangu lilipoanzishwa na mtakatifu Frumensyo aliyetumwa na mtakatifu Atanasi, Patriarki wa Aleksandria katikati ya karne ya 4 BK.
Hata hivyo mwaka 1959 lilikubaliwa liwe na Patriarki wake mwenyeji na kujiongoza.
Kwa jumla majimbo ni 44 na maaskofu 60.
Kufuatana na mapokeo ya huko Misri, Epifania na Pasaka ni sikukuu muhimu sana, na husherehekewa kwa kufanya mambo kama vile kufunga kula na kucheza.
Pia kuna siku kadhaa katika mwaka ambapo ni mboga za majani pekee na samaki ndio huruhisiwa kuliwa.
Ndoa huweza kuanzishwa au kupangwa wakati mwanamume ana umri wa miaka kumi na..., au ishirini na... Kiutamaduni, wasichana wanaruhusiwa kuolewa wakiwa na umri wa miaka 14 hadi 18, lakini katika karne ya 20, mambo yamebadilika, hivyo sasa umri mdogo kuliko wote wa kuolewa ni miaka 18, na suala hili linasimamiwa na serikali. Ndoa za kiserikali ni nyingi japo pia, wapo watu wanaofunga ndoa katika makani mbalimbali. Na baada ya kufunga ndoa kanisani, suala la talaka halipo na haliwezekani. Kila familia hufanya sherehe ya ndoa baada ya harusi.
Tangu kuzaliwa, padri hutembelea familia kwa ajili ya kumbariki mtoto, na pia kutahiri mtoto kama ni wa kiume. Mama wa mtoto, hutakiwa kukaa ndani kwa siku 40 baada ya kujifungua kama mtoto ni wa kiume na kukaa ndani kwa siku 80 kwa mtoto ni wa kike kabla ya kwenda kanisani kwa ajili ya ubatizo.
Sanaa ya nchini Ethiopia kwa ujumla imeegamia katika masuala ya dini na michoro ya dini.
Mmoja kati ya michoro mizuri zaidi ya vitu au watu wenye macho makubwa na mara nyingi huwa ni watu wanaohusiana na Biblia.
Truefitt & Hill

Truefitt & Hill is the oldest barbershop in the world, as certified by Guinness Book of World Records in April 2000. Truefitt was established in 1805 by William Francis Truefitt, who styled himself as hairdresser to the British Royal Court and the firm received their first Royal Warrant from King George III. In 1911, Edwin Hill set up a barber shop on Old Bond Street, also near the royal neighbourhoods in London and it was to this address H.P. Truefitt (William's nephew) moved in 1935 to create Truefitt & Hill. Other Truefitt regional outlets were merged into the present company in 1941. The present location of Truefitt & Hill at 71 St. James's Street, was taken up in 1994. In addition, there are locations in Toronto, Melbourne, Beijing, Canberra, Sydney, Bangladesh, India, Kuala Lumpur, Singapore, Kuwait, Bangkok, Nepal, Sri Lanka, Bhutan, Vietnam, Myanmar, and the Czech Republic.
Their products include an array of modern and traditional toiletry goods and accessories. They have a mixture of scents that include some that have been developed for the modern market (1805, Trafalgar and No.10) and also the more traditional scents (some dating back almost 200 years) such as Spanish Leather, Sandalwood, West Indian Limes, Lavender and Rose.
Some of the services they provided in the past (such as wig making) have now become obsolete in the mainstream, but other traditional services (such as the Traditional Hot Towel Wet Shave) have made a popular come back in the past 50 years, with the service often being part of a birthday surprise or wedding party group activity. Although providing various modern products and services, Truefitts still supplies a number of traditional products, such as Hair Tonic (C.A.R. Lotion, Bay Rum, Oleaqua and the like), Hair Cream, Shaving Soap and Bath Oil.
Famous clients include the British Royal Family, members of visiting Royal Households, business leaders, Members of Parliament, Frank Sinatra, Winston Churchill, Charles Dickens, John Wayne, various Ambassadors and the diplomatic service and visiting dignitaries. The C.A.R. hair lotion was a favourite with 'Captain' Hartman -director of Lendrum & Hartman Limited, who was fetched from the shop in Bond Street by his staff to serve the Prince of Wales (Duke of Windsor). Another ardent user of C.A.R. was Josslyn Hay, 22nd Earl of Erroll, part of the so called Happy Valley set in Kenya in 1941. Up until 2021, Truefitt & Hill held a Royal Warrant by appointment to the Prince Philip, Duke of Edinburgh.
51°30′21″N 0°08′20″W﻿ / ﻿51.5058°N 0.1388°W﻿ / 51.5058; -0.1388
Hot Looks

Hot Looks were posable 19 inch "fashion model" dolls made by Mattel in 1987 and 1988.
The doll's bodies were made from stockinette with a sturdy, bendable armature within to aid in posing, and their heads were vinyl with long, thick rooted vinyl hair, and inset faceted button-like earring studs, upon which hoops and various other dangles could be hung.
The line was introduced in the 1987 Mattel Toy Catalog, with a textual crash course on the concept of fashion "temperatures", describing color schemes that were deemed appropriate for certain complexions and coloring: people (or dolls) with dark hair and eyes were dubbed "Hot", and were suggested to wear fashions with bright, vivid, dramatic colors; those with red hair and green eyes were considered "Medium", where earth tone colors were suggested; while blondes and light-haired individuals were seen as "Cool", and were prescribed fashions with icy pastel shades.
The five dolls in the 1987 line-up, all international teenage models at The Hot Looks Modeling Agency, were:
Twelve additional fashions were sold separately for the dolls in 1987, four in each of the three temperature ranges. A Hot Looks Fashion Kit was also available, a large hexagonal black-and-white plastic case filled with additional shoes, belts, earring dangles, and other fashion accessories.
In 1988, all the talk of fashion temperatures was judiciously edited out of the proceedings. The line expanded, with four new dolls, eight new extra outfits, and three new accessory assortments. but not all of these items were released worldwide. The four new dolls received a couple of noteworthy alterations from their 1987 predecessors: their inset stud earrings were changed to large round beads, with figural dangles being inserted from underneath, and their pinky fingers, which were extended on the 1987 dolls, were streamlined into an "easier to dress" mitten-like fabric hand. The new models were:
They were released in limited markets in Canada, while the new clothing and accessory sets were available in the U.S. and elsewhere. Eight of the twelve 1987 outfits were reissued, and given names to go along with their stock numbers, and to match the new packaging of the 1988 releases. Any model could-- and DID-- wear any extra outfit in the 1988 Catalog, regardless of their previously prescribed fashion temperature.
Interestingly, the 1988 Mattel Catalog spelled the names of two of the 1987 dolls in a unique way: ZiZi and MiMi each received additional capitalization in the text for their entries.
Tswana music

Traditional Tswana music is performed by Tswana people during feasts and special occasions such as beer gatherings, weddings and initiation ceremonies. Some of the instruments used include the segaba and setinkane. The segaba is more like a violin, in the design, but uses only one string hooked to a tin. The setinkane is made with varying forks, and played more like a keyboard.
During the colonial era, Tswana folk music was discouraged because it was considered a hindrance in the proper development of the region and people. Since independence for Botswana, folk music has been revived, though still the most popular music is from elsewhere in Africa (especially South Africa), United States and Europe.
Many current music groups in Botswana are performing Tswana music and dance, such as Culture spears, Matsieng, Mokorwana, Ditaola, Mokorwana, Makhirikhiri and many others groups.
Tswana people classify their vocal music as 'dipina' (songs) according to their function within various social institutions for instance, music produced during initiation ceremonies is known as 'moamo'. The performance of much of the Tswana traditional music is related to the agricultural season of the year. The seasons are as follows:
Traditional Tswana communal music is characteristically largely pentatonic, of diversive symmetrical meter performed with much expression and rhythmic bodily movements. Traditional Tswana songs are either 'mainmane a segologolo' which is a 'folklore of great import' or the songs are contemporary, where they originate from a known composer 'motlhami'. The songs may be sung in unison (pina e e kodunngwe) or in two or more parts. Multipart songs are usually in a 'call and response' form where the 'call' is known as 'segalodimo' and the response 'segalo tlase'.
Tswana Bows There are 4 main types of bows used by the Tswana people namely the lengope, senwana, setinkane and nokukwane
Lengope- This bow consists of a curved length of cane strung with nylon fishing rod. The 'lengope' is mouth resonated, fingered with the left hand and plucked with the right forefinger.
Sengwana- This bow is calabash-resonated, stick-struck, and has its cord divided unequally so as to produce a 2 tones, a minor third apart. The effect of variations in tone quality is made by the performer raising and lowering the calabash opening against their chest. This bow a much larger than the 'lengope'
Setinkane - The 'setinkane' is similar to the 'sengwana' but it does not have a resonator.
Nokukwane- This bow was obtained by the Korana people and the Tswana people are the only Bantu people who use it. The bow is simple however, its arc is more pronounced that the other bows.
Other musical instruments:
Ambivalent Crowd

Ang Ambivalent Crowd ay isang grupo na sumikat noong dekada 1970 sa Pilipinas. Ilan sa mga kasapi nito ay sina Louie Reyes at Celeste Legaspi. Sila ay nakakontrata sa ilalim ng Vicor Records.
Ang lathalaing ito na tungkol sa Pilipinas ay isang usbong. Makatutulong ka sa Wikipedia sa pagpapalawig nito.
Kalamay

Kalamay (also spelled calamay, literally "sugar") is a sticky sweet delicacy that is popular in many regions of the Philippines. It is made of coconut milk, brown sugar, and ground glutinous rice. It can also be flavored with margarine, peanut butter, or vanilla. Kalamay can be eaten alone, but is usually used as a sweetener for a number of Filipino desserts and beverages. It is related to the Chamorro dessert called kalamai.
Kalamay is made by extracting coconut milk from grated coconuts twice. Glutinous rice is added to the first batch of coconut milk and the mixture is ground into a paste. Brown sugar is added to the second batch of coconut milk and boiled for several hours to make latík. The mixture of ground glutinous rice and coconut milk is then poured into the latík and stirred until the consistency becomes very thick. It can be served hot or at room temperature especially when eaten with other dishes. Viscous kalamay are often served cooled to make it less runny and easier to eat.
Kalamay is a popular pasalubong (the Filipino tradition of a homecoming gift). They are often eaten alone, directly from the packaging. Kalamay is also used in a variety of traditional Filipino dishes as a sweetener, including the suman and the bukayo. It can also be added to beverages like coffee, milk, or hot chocolate.
Biko and sinukmani are similar dishes that use whole glutinous rice grains. The preparation is the same except that the glutinous rice is first cooked whole and not ground into a paste, and then is smothered with the latík. In some regions (particularly in the Northern Philippines), this dish is referred to as the kalamay, with the viscous kind differentiated as the kalamay-hati.
The latík from kalamay by itself can be used with other desserts, particularly with dishes made from cassava (which is then referred to as 'cassava kalamay'). Kalamay is also commonly confused with matamis sa bao, a similar viscous dish. However, the latter does not use rice.
There are many variations and types of kalamay. Kalamay can be divided roughly into two types: the syrupy kind used in conjunction with other dishes (higher latik ratio), and the gummy, chewy kind which is more expensive and usually eaten on its own.
Similar to other traditional kakanin rice cakes, kalamay also has variants based on secondary ingredients. They include:
Kalamay, in many Visayan languages (particularly Hiligaynon), is synonymous with 'sugar' (extracted from sugarcane). The word is usually elided to kamay in modern Cebuano dialects. In the Waray language, kalamay refers to a hardened cake of molasses used as sweeteners for many cooked desserts. Its production has been known since the Spanish colonization of the Philippines.
A cousin of kalamay is dodol, found in Indonesia, Malaysia, Brunei, Singapore and in some parts of the Philippines. It uses similar basic ingredients and preparation. Dodol, however, is a solid candy, unlike the liquid kalamay. Kalamay is visually similar to the Chinese nian gao (also known as tikoy in the Philippines), but they are not related.
Media related to Kalamay at Wikimedia Commons
Christmas ham

A Christmas ham, or Yule ham, is a ham often served for Christmas dinner or during Yule in Northern Europe and the Anglosphere. The style of preparation varies widely by place and time.
The tradition of eating ham is thought to have evolved from the Germanic pagan ritual of sacrificing a wild boar known as a sonargöltr to the Norse god Freyr during harvest festivals.
The centerpiece of the cold cuts section of a traditional Swedish Christmas smörgåsbord (at Christmas called "julbord") is a large Christmas ham (a cured ham which has been boiled or baked, then coated with a mixture of egg, breadcrumbs and mustard, browned in the oven).
As of 2019, Americans purchase about as much ham as turkey around the holiday season. Ham began being mentioned as a Christmas dish in around 1900, and started growing in popularity in about 1960. The holiday ham began being promoted by Armour & Company in 1916 as part of its marketing efforts for its novel industrially quick-cured and less salty hams. The baked Christmas ham with a clove-studded, diamond-hatched sugar glaze which became popular in the 20th century was introduced in the 1930s. Glazed hams had long been popular long before that, but until the 1880s, they were usually glazed with stock, not sugar, and were not associated with Christmas.
The sugar-glazed ham has become identified with Southern cooking.
There are also various regional recipes. Stuffed ham is popular in southern Maryland, and particularly St. Mary's County, where it is traditional to stuff a corned ham with greens such as kale and cabbage. This tradition has been around in the area for at least 200 years. Similar stuffed hams are also sometimes prepared in Kentucky.
Ham is a traditional Australian dish that features on most tables on Christmas Day. It is cooked and served in various ways throughout Australia, with many families adding special ingredients, making it an important aspect of a Christmas meal.
As Christmas in Australia comes at the beginning of summer, many people no longer serve a traditional hot roast dinner, serving cold turkey and ham, seafood and salads instead. Christmas ham leftovers are often frozen to make soup and other dishes when the summer is over.
In the Philippines and among diaspora groups such as Filipino-Americans, a ham is prepared for Christmas celebrations. The ham is referred to as a hamón, from the Spanish word for "ham", jamón. The hamón is sometimes soaked in kumquat and lime juice. It is similar to, but not to be confused for, hamonado, which is another Filipino dish that can include pork and is also served around the Christmas season.
Biko (food)

Biko, also spelled bico, is a sweet rice cake from the Philippines. It is made of coconut milk, brown sugar, and sticky rice. It is usually topped with latik (either or both the coconut curds or the syrupy caramel-like variant). It is a type of kalamay dish and is prepared similarly, except the rice grains are not ground into a paste. They are also sometimes packaged and sold as suman.
It is also known as inkiwar in Ilocano Northern Luzon and sinukmani or sinukmaneng in the Southern Luzon area. In the Muslim regions of the Philippines, it is known as wadjit in Tausug; wadit in Maranao; and wagit in Maguindanao.
A notable variant is puto maya in Cebuano-speaking regions of the Philippines. It is usually made from purple glutinous rice (called tapol) soaked in water, drained and then placed into a steamer for 30 minutes. This rice mixture is then combined with coconut milk, salt, sugar and ginger juice and returned to the steamer for another 25 to 30 minutes. It is traditionally served as small patties and eaten very early in the morning with sikwate (hot chocolate). It is also commonly paired with ripe mangoes. Puto maya is characteristically al dente, compared to the mushier texture of biko.
Biko can also be prepared with other common Filipino ingredients. Examples include ube-biko which is made with ube (mashed purple yam), and pandan biko which is made with pandan leaf extracts; these are characteristically deep purple and bright green, respectively.
List of Filipino Christmas carols and songs

This article lists Christmas carols and songs sung by the Filipinos during local Christmas season. As with much Filipino music, some of these songs have their origins in the Spanish and American colonial periods, with others written as part of the OPM movement.
It is an old Ilonggo Christmas carol in Hiligaynon. Daigon is the Hiligaynon term for caroling. Ilonggos are fond of singing this song caroling from house to house. It is sometimes used as a piece for Christmas carol choral competitions.
"Himig Pasko" or "Himig ng Pasko" is a Christmas carol written by Serapio Y. Ramos in the 1960s. The opening line has become a popular allusion as it describes the Amihan, or cool, northeasterly trade winds that prevail around December.
"Namamasko" is part of a series known as Maligayang Pasko, and was originally an untitled song now commonly known by its incipit. Though more playful in tone as carolling is seen as a pastime reserved for children, its theme is similar to the English carol Here We Come A-wassailing/A-caroling.
"Maligayang Pasko at Masaganang Bagong Taon" (English: Merry Christmas and a Prosperous New Year), popularly known as Ang Pasko ay Sumapit (English: Christmas is Coming), is a traditional Filipino Christmas song. It was originally composed by Vicente D. Rubi and Mariano Vestil in 1933 as Kasadya ning Táknaa (English: How Blissful is this Season). A version of the song in Tagalog was used by Josefino Cenizal as a film score for the film Ang Pugad ng Aguila ("Hawk's Nest") in 1938. National Artist Levi Celerio also wrote Tagalog lyrics to the song during the 1950s. The song is still sung today in various communities, especially in churches both in the Philippines and abroad (usually during the end of the Holy Mass).
Ang Pasko ay Sumapit is in public domain as an unprotected work. In his 2011 press statement, former Senator Manny Villar claimed that if the Christmas carol and Celerio's other songs were protected by copyright earlier, Celerio would have not died a pauper.
"Pasko Na Naman" is a Filipino Christmas carol written by lyricist Levi Celerio and composer Felipe Padilla de León.
"Kampana ng Simbahan" is Filipino Christmas song arranged by Ryan Cayabyab and sung by Leo Valdez in 1981, as part of Pamasko ng Mga Bituin album, released by Universal Records (as WEA Records at that time). The song became a TikTok trend in Christmas of 2023.