davidanugraha/M4-RAG huggingface dataset:
Consulate-General of Pakistan, Dubai

The Consulate-General of Pakistan, Dubai is a diplomatic mission of Pakistan in Dubai, United Arab Emirates. The consulate serves the emirate of Dubai and the five surrounding Northern Emirates of Sharjah, Ajman, Umm al-Quwain, Fujairah and Ras al-Khaimah. It is one of two Pakistani diplomatic missions in the UAE, the other being the Pakistani embassy in Abu Dhabi, to which it reports. The current Consul-General is Mr. Hussain Muhammad.
The Pakistani community in Dubai numbers over 400,000, forming around 13% of the local population and constituting the third largest ethnicity in the city. The Consulate-General oversees Pakistani interests in Dubai and provides various services to Pakistani citizens in the emirate. It is the largest Pakistani consulate in the Middle East. It is located at Khalid bin Waleed Road in the Bur Dubai district. Consular services provided include the receiving, processing and delivery of documentation, including machine readable passports, manual passports, NADRA identity documents, attestation and visas. The consulate operates from Sunday to Thursday, with the operational hours ranging from early morning to afternoon. It remains closed on public holidays.
The consulate-general provides liaison with the various Pakistani associations in Dubai and the northern Emirates, including the Pakistan Association Dubai, Pakistan Association Ladies Wing (Dubai), Pakistan Professionals Wing, Pakistan Business Council (Dubai), and various Pakistani community centres. It also promotes trade, commerce and investment between Pakistan and Dubai. A Community Welfare Wing is attached with the consulate-general, which provides welfare services to Pakistanis residing in Dubai and the northern Emirates. These include general community welfare services, facilitating remittances, dispatching bodies of deceased persons, and settlement of issues relating to the Pakistani labour workforce working in Dubai and the northern Emirates.
Cultural events such as Pakistan's Independence Day are celebrated each year, during which the Consul-General of Pakistan in Dubai unfurls the national flag at the consulate in a ceremony.
The consulate-general oversees the provision of all Pakistani-curriculum education in Dubai and the northern Emirates. There are currently 12 Pakistani international schools throughout Dubai and its adjacent emirates, four of which were established by the consulate-general and the remainder eight privately. The schools predominately provide education to the children of Pakistani expatriates, teaching from junior grades up to the higher secondary level. The curriculum is affiliated with the Federal Board of Intermediate and Secondary Education (FBISE) and the syllabus is English-medium. The schools are listed below:
Father Time (DC Comics)

Father Time is a supervillain in publications from DC Comics. The character first appeared in Seven Soldiers: Frankenstein #3 (April 2006), and was created by Grant Morrison and Doug Mahnke.
Father Time is the commander of the Super Human Advanced Defense Executive (S.H.A.D.E.), a Patriot Act-funded covert operations group employing metahumans to fight terrorism. His own concerns appear to have at least as much to do with consolidating power as with national security. In Uncle Sam and the Freedom Fighters #1, he assassinates a presidential candidate applying too much scrutiny on S.H.A.D.E., and replaces him with a double, Gonzo the Mechanical Bastard.
Father Time first appeared in Grant Morrison's Seven Soldiers of Victory: Frankenstein #3, temporarily pressing the undead assassin into S.H.A.D.E. service. During the event known as World War III, Time and S.H.A.D.E. try to stop the rampaging Black Adam, and Adam rips off Time's face.
Time, confined to a hospital bed, then metamorphoses into a new form. He next appeared in the Infinite Crisis tie-in The Battle for Blüdhaven, and appears to be a major player in the new Freedom Fighters miniseries.
Father Time is reborn in a new body on New Year's Day to accompany the new year. In Frankenstein, he appears as a young black man wearing a costume resembling The Spirit's, but wearing a bowler hat. This is his appearance when Black Adam rips his face off. The Father Time shown in Freedom Fighters, on the other hand, is an elderly white man with long hair and a Buffalo Bill beard, except for the seventh and eighth issues, in which he resembles an African-American Doctor Occult. In September 2011, The New 52 rebooted DC's continuity and Father Time still exists in this new timeline, first seen with the appearance of an elementary-age Japanese girl, complete with school uniform, wearing a domino mask as seen in The New 52: Futures End.
For most of the new Uncle Sam and The Freedom Fighters series, Father Time was depicted as a villain, but in issue eight he reveals that he knew the danger Gonzo posed all along, and created the new versions of Doll Man, Phantom Lady, etc., to bring Uncle Sam forth, make his new team heroes in the public eye, and defeat Gonzo's plan. When Gonzo is defeated, Time takes himself and his S.H.A.D.E. soldiers into the timestream.
Father Time possesses invulnerability and enhanced strength to nigh-superhuman levels, enough to engage the Atomic Knights in battle. At the beginning of each year, he regenerates and takes on a new appearance. In The New 52, Father Time has stated that he generates a new appearance every decade rather than every year.
Dunbar Theatre (Kansas)

The Dunbar Theatre is a movie theater in Wichita, Kansas, United States. Opened in 1941, it was named after an American author Paul Laurence Dunbar. It is listed in the National Register of Historic Places since July 2, 2008, and the Kansas State Registry of Historic Places. It is located at 1007 N Cleveland St. in the McAdams Neighborhood, which is a historically African-American Neighborhood.
During the 1940s, the Dunbar Theatre was not only a destination for entertainment but also a center of the McAdams neighborhood, providing a welcoming place for African-Americans who faced segregation elsewhere in the city. Located at the intersection of 9th and Cleveland streets, the theatre was a central gathering place for locals to socialize and enjoy themselves. It became a symbol of not just a building but also a sense of community.
There is a plan to renovate the theatre and transform it into a cultural performing arts center, with expanded space for promotion of the arts and education.
The Dunbar Theatre opened on August 15, 1941, a time at which other theaters in the Wichita area did not serve African American patrons. It was designed by Raymond M. Harmon, and built specifically to serve the African American community.
The Dunbar was the hub of the neighborhood business and social community. The area was one of only a few where African Americans could freely do business and participate in cultural and social events in the Jim Crow era. In addition to films, the Dunbar hosted plays, pageants, and touring African American performers.
Wichitan Ferwilda Sears said, "The blacks didn't have a theater to go to, but the Dunbar was open to us." City Councilwoman Lavonta Williams, who represents the area said, “When we were kids, we were dropped off at that theater almost every Saturday.”
The Dunbar closed in 1963. The City of Wichita twice attempted to condemn and demolish the Dunbar in 1980 and 1991, 'but the historic site was saved through community action.
Restoration of the Dunbar is a project of the P.O.W.E.R. Community Development Corporation led by James Arbertha, Founding Executive Director, who hopes to reopen the Dunbar in 2020. Restoration of the sign and marquee took place from 2012-2014. The new Marquee was dedicated on December 14, 2012. The Wichita City Council approved funding more than $600,000 toward the renovation effort in November 2017. Once restored, the Dunbar will be a 340-seat theater with a concession area and restrooms.
After the existing theatre is restored, new construction will begin to add a black box theater, an arts center, educational facilities, a public gallery, and a bookstore. The restoration effort will also include the Turner Drug Store, which will be converted to a cafe.
Despite the theater not being ready for use, outdoor community activities take place on the property outside. Two of the more notable events were the August 25, 2017 End of Summer Bash, and the September 3, 2018 Melanin Fest, both fundraisers for the restoration efforts.
Welfare chauvinism

Welfare chauvinism or welfare state nationalism is the political notion that welfare benefits should be restricted to certain groups, particularly to the natives of a country as opposed to immigrants, or should be for the majority, excluding ethnic minorities.
It is used as an argumentation strategy by right-wing populist parties, which describes a claimed connection between the problems of the welfare state and, in essence, immigration, but also other social groups such as welfare recipients and the unemployed. The focus is placed on categorizing state residents in two extremes: the "nourishing" and "debilitating" and the contradiction between them in the competition for the society's scarce resources.
The term welfare chauvinism was first used in social science in the 1990 paper "Structural changes and new cleavages: The progress parties in Denmark and Norway" by Jørgen Goul Andersen and Tor Bjørklund. The authors described it as the notion that "welfare services should be restricted to our own".
In the description of society and the problems of the welfare state, populists, especially right-wing populists and welfare chauvinists, use a line of argument based on two extremes in which citizens are divided into 'nourishing' and 'debilitating' groups. The nourishing group consists of those who are a part of society's welfare and the country's prosperity: community builders; "the people"; the ordinary honest working man. The second group as standing outside of "the people" are the debilitating group, believed to be promoting or utilizing welfare without adding any value to society. The debilitating group consists of bureaucrats, academics, immigrants, the unemployed, welfare recipients and others. As such, welfare is seen as a system with embedded exclusion mechanisms.
According to welfare chauvinists, the safety nets of the welfare state are for those whom they believe belong in the community. By the right-wing populist standard, affiliations with society are based in national, cultural and ethnic or racial aspects. Considered to be included in the category are those that are regarded as nourishing. The debilitating group (primarily immigrants) is considered to be outside of society and to be unjustly utilizing the welfare system. In essence, welfare chauvinists consider immigration to be a drain on societal scarce resources. They believe these resources should be used for the ethnically homogeneous native population, preferably children and the elderly.
The same principle of argument is, according to the academics Peer Scheepers, Mérove Gijsberts and Marcel Coenders, transferred to the labor market, where the competition for jobs is made out to be an ethnic conflict between immigrants and the native population. In times of high unemployment this rhetorical coupling amplifies and enhances the legitimacy of the welfare chauvinist and other xenophobic arguments.
Notable contemporary political parties and groups that have employed welfare chauvinist argumentation include Alternative for Germany in Germany and the Party for Freedom in The Netherlands.
Begum Akhtar Sulaiman

Begum Akhtar Sulaiman (née Akhtar Jahan Suhrawardy) (1922–1982) was a Pakistani-Bengali social worker, political activist and the daughter of Huseyn Shaheed Suhrawardy, the fifth Prime Minister of Pakistan. Begum Akhtar Suleiman, went out on a limb to support the Yahya Khan regime during the war of 1971. She started actively supporting the activities of the Yahya Khan government. She gave a number of statements at that time on behalf of the Suhrawardy family saying her father believed in Pakistan. Her daughter Shahida Jamil served as the first female Pakistani Federal Minister for Law.
Begum Sulaiman was married to Shah Ahmed Sulaiman (son of Justice Sir Shah Sulaiman and the Karachi manager of a large British export-import company that dealt in antibiotics and other medical supplies) and had one child, Shahida Jamil (who later became the first female Pakistani Federal Minister for Law). Shahida Jamil has two sons, Zahid Jamil (a lawyer in Pakistan) and Shahid Jamil (an attorney in Chicago).
Begum Sulaiman's interest in civic and philanthropic work began when she was quite young. When the killings on Direct Action Day occurred in 1946 she worked hours on end to relieve the suffering of the riot victims. Later she founded widows and children's home and was named Honorary Lady Magistrate dealing with juvenile delinquency. She was also an Honorary Secretary of the Girls Orphanage in Calcutta.
Immediately following Pakistan's independence in 1947, Begum Sulaiman, in order to assist her father's efforts of promoting Hindu-Muslim harmony, made it her special concern to study the grievances of the Muslim minority in India and bring their plight to the attention of the authorities as well as seek redress for them.
Begum Sulaiman, after moving to Pakistan in 1948, worked with the refugees migrating from India to Pakistan to better their condition. When her father, a widower, became Prime Minister of Pakistan in 1956, Begum Sulaiman acted as his hostess, accompanying him during his state visits in the US (Summer 1957) and China (October 1956).
She was the President of the Society for the Rehabilitation of Crippled Children, Karachi, among her many other social activities were President of the Refugee Co-Ordinating Council; President of the Pakistan Guild Welfare Council, Karachi section; Vice President of the Adult Blind Center; Vice President of the All Pakistan Child Welfare Council, Member of the Executive Body of the National Council Social Works, member of the Executive Body of the Pakistan Red Cross and District Commissioner of the Girl Guides Association of Karachi.
Mushtaq Chhapra

Mushtaq Kassim Chhapra is a Pakistani industrialist, philanthropist, and diplomat who is the founder of The Citizens Foundation, Patients Aid Foundation, and The Kidney Centre. He serves as the chairman to a group of companies under Chhapra group, with a reported net-worth of 475 million US dollars. Hailing from one of the founding families of Pakistan.
Born to a politically influential Memon family in Karachi in 1949, Chhapra finished his education at Harvard University in public service and stepped into his father's business of manufacturing and development. With a passion to serve humanity from an early age, Chhapra has also been actively engaged in welfare and community activities. He is the founder of some of the most successful welfare initiatives in Pakistan. He also serves as chairman of the largest network of NGOs in Asia. Chhapra has played a vital role in the development of Pakistan. Furthermore, he serves as Counsel General of Nepal, a title inherited from his late father Kassim Chhapra.
He is a Pakistani business tycoon with affairs in South Africa, United Kingdom, USA, Sri Lanka, Bangladesh, and Pakistan where he has established factories and manufacturing plants as the founder and Chairman of Coastal Synthetics, CBM, Transpak and Chhapra group of companies multinational since 1976. The Group in 1998 invested US$600 million in manufacturing reusable plastics in South Africa, and further Investments were made in Florida United States by the group In hotels and hotel management exceeding US$1.4 billion.
He was the General Secretary of the Pakistan Jamaat from the mid-1970s to the 1990s.
He is an engaged member of the Pakistan Chamber of Commerce and Industry with status of federal minister.
Born to Prominent Memon business family, Chhapra was interested in social work from an early age. In 1985, Chhapra began The Kidney Centre (KC). In 1990, he set-up the Patients' Aid Foundation. In 1995, he co-founded The Citizens Foundation. In 2016 he had declared, assets of Rs. 66.4 billion.
•Sitara-e-imtiaz
•Skoll Award
He has served as the Consulate General of Nepal since 1996 and sits on several boards:
Public Welfare Foundation

The Public Welfare Foundation is an American grantmaking foundation founded in 1947. As of 2023, it had assets of $568 million.
As of 2014, it had distributed more than $540 million to 4,700 different organizations.
The foundation was overseen by Charles E. Marsh until 1953. His wife oversaw it from 1952 to 1974. It owned the Spartanburg Herald-Journal, The Tuscaloosa News, and The Gadsden Times. However, a 1969 federal tax law required non-profits to sell newspaper holdings, so the foundation had to sell these papers to The New York Times in 1985. In 2011, it added a special initiative to fund civil legal aid for the poor.
Obelisco a los Constituyentes de 1830

El obelisco a los Constituyentes de 1830 es un obelisco histórico de la ciudad de Montevideo, Uruguay, ubicado en la intersección del bulevar Artigas con la avenida 18 de Julio. Es una obra en bronce y granito del escultor uruguayo José Luis Zorrilla de San Martín. Inaugurado en 1938, honra a los participantes en la Asamblea General Constituyente y Legislativa del Estado, que sancionó la primera Constitución del Uruguay en el año 1830.
Este obelisco de 40 metros de altura se realizó enteramente en granito rosado uruguayo. En su cara oeste, la aguja central tiene grabada la inscripción A los constituyentes de 1830. Incluye tres estatuas de bronce que representan a la Ley, la Fuerza y la Libertad. Tiene una fuente de agua hexagonal alrededor. En el borde de la fuente están grabados los nombres de las instituciones bancarias que ofrendaron su homenaje a los constituyentes de 1830.​
En 1983, junto al mismo tuvo lugar un histórico acto ciudadano de oposición a la dictadura cívico-militar, bajo la consigna «Por un Uruguay sin exclusiones».
Línea 230 (Suburbanos Montevideo)

La línea 230 de la red de transporte suburbano de Montevideo une terminal Baltasar Brum con Las Piedras.
Fue creada como una extensión de la línea 130 en los años setenta. Por aquellos años, a las líneas suburbanas se solía agregarles al inicio el indicador 2, por lo tanto a dicha extensión desde Montevideo a Las Piedras fue denominada 230. Siendo que por el contrario, la línea 130 llegaba hasta La Paz.​
Circula en ambos sentidos por los barrios Centro, Aguada, Arroyo Seco, Bella Vista, Capurro, Prado, Paso Molino, Belvedere, Sayago, Colón de Montevideo, el pueblo Abayubá del departamento de Montevideo y la ciudad de La Paz y el la ciudad y el barrio Obelisco de Las Piedras.
Obelisco de Treinta y Tres

El obelisco de Treinta y Tres es un monumento erigido en la ciudad uruguaya de Treinta y Tres, en homenaje a los primeros fundadores de la ciudad, realizado por el arquitecto Jorge Geille en 1954.​
Es una construcción de 45 metros de altura. En cada una de sus caras, el obelisco de Treinta y Tres tiene un símbolo que identifica a los fundadores. La cruz representa la fe del sacerdote José Reventós,la bandera con una espada por asta representa el símbolo del militar Dionisio Coronel,y en la cara que mira hacia la ciudad posee una ninfa realizada en bronce que simboliza el río comarcano: el Olimar.​
Obelisco a la Aurora Gloriosa

El Obelisco a la Aurora Gloriosa es un monumento que conmemora la gesta libertaria de Guayaquil, el 9 de octubre de 1820, que culminó con la Independencia de Guayaquil. Se inauguró el 9 de octubre de 1999, el día en que el entonces alcalde León Febres-Cordero entregó el Malecón 2000.​
Registra el periódico El Patriota de 1821, que la Junta Provisoria de la Provincia Libre de Guayaquil ordenó levantar este monumento en el muelle de la ciudad. Esto sólo se hizo realidad durante la alcaldía de León Febres-Cordero Ribadeneyra.​
Es un obelisco piramidal hecho en mármol translúcido, que se ubica en la intersección del Malecón 2000 con la calle 10 de Agosto, frente a la Plaza de la Administración.​
Repique (tambor)

Las dimensiones del repique lo sitúan en el medio entre los tambores de candombe. Es más grande que el chico pero más pequeño que el piano y, en cuanto a registro, también está situado en el medio. Básicamente cuenta de un ritmo de 2 células de 2 negras donde se acentúa la 2.ª semicorchea de la primera negra y la primera y cuarta semicorchea de la 2.ª negra. Entre estos acentos que son tocados con la mano el palo rellena; este relleno depende totalmente del barrio y del tocador. El repique también cumple la función de llevar la clave (madera) sobre el casco del tambor y «conversa» con los otros repiques y con los pianos. Normalmente es el tambor que llama tanto a subir o bajar de tempo e intensidad como a cerrar y abrir el toque.
El repique es el que más improvisa y difícilmente se puede describir con lenguaje técnico su ritmo. Una base de ejemplo es:
Jorge Galemire

Jorge Galemire (Montevideo, 11 de marzo de 1951 - Ib., 6 de junio de 2015) fue un guitarrista, arreglista, compositor y cantante uruguayo.​
Sus comienzos artísticos estuvieron muy marcados por la era beat, e integró por los años 1970 varios grupos de cierta importancia en el medio nacional, como El Syndikato, Epílogo de Sueños y Aguaragua, entre otros.
Hacia 1975 participó por un corto período del grupo Canciones para no dormir la siesta.
En 1977 fue fundador, junto con Jorge Lazaroff y Jorge Bonaldi, del grupo Los que iban cantando, uno de los más importantes del canto popular uruguayo de la época de la dictadura.
Realizó los arreglos de discos importantes para la música uruguaya, entre los que se cuentan Hoy canto de Dino y Sansueña de Eduardo Darnauchans. Junto a este último y a Eduardo Rivero, realizó en 1976 y 1993 un espectáculo llamado Nosotros Tres, de gran convocatoria de público. Asimismo participó como instrumentista en discos de muchos otros artistas como Jorge Drexler y Tabaré Arapí.
En 1981 Galemire produjo su primer trabajo solista, llamado Presentación y dos años más tarde se editó, Segundos afuera.
Paralelamente a su carrera solista, participó hacia 1984 en el grupo Repique integrado además por Jorge Vallejo, Alberto Magnone, Jaime Roos, Andrés Recagno, Gustavo Etchenique y Carlos «Boca» Ferreira. Antes de su alejamiento de este grupo, participó en la grabación de su primer fonograma, titulado Repique.
En 1991 salió a la venta Casa en el desierto y posteriormente se radicó en España regresando a Uruguay recién en 2004.
En junio de 2005 se lanzó, junto a la galesa Karen Ann, a la interpretación y composición de música celta, ofreciendo diferentes espectáculos en eventos nacionales de esta música.
En mayo de 2008 obtuvo el premio Graffiti de Uruguay por su trayectoria.
En 2011 su disco Presentación fue incluido en el libro 111 Discos de Andrés Torrón, por considerarlo uno de los discos fundamentales en la historia de la música uruguaya.​
A principios de abril de 2015 sufrió un infarto y un derrame cerebral por lo que permaneció internado en el Centro de Tratamiento Intensivo del Hospital Maciel hasta su fallecimiento en junio del mismo año.​ Otras fuentes indican que el accidente cerebrovascular habría tenido lugar en marzo de 2015.​
Bruno Piano

Bruno Nicolas Piano Rosewarne (Montevideo, 4 de abril de 1977) es un exfutbolista uruguayo. Actualmente es ayudante técnico del Club Nacional de Fútbol de la Primera División Profesional de Uruguay.
En el 2003 se marchó a Perú para jugar por Universitario de Deportes, jugó al lado del portero mundialista peruano José Carvallo.
Suite para piano y pulso velado

Suite para piano y pulso velado es el tercer álbum del músico y dj Luciano Supervielle, lanzado en 2016.​​ El álbum incluye la suite Pianos Tiranos, música original compuesta para la serie de Tiranos Temblad.
Fue presentado en 15 de marzo de 2017, en el Auditorio Nacional del Sodre Dra. Adela Reta con el recital: “Otro día en Uruguay, concierto para piano y electrónica”. El espectáculo cuenta con las visuales de Agustín Ferrando, creador de la serie “Tiranos Temblad”.​​
En junio de 2017 álbum ganó el Premio Graffiti.​
Temas compuestos por Luciano Supervielle.
Ring-repique

The ring-repique is a percussion instrument originated in Brazil. It is a small drum commonly made of aluminum, and unlike the hand-repique, has two drumheads (top and bottom, commonly made out of animal skin), and a different, much deeper timbre. In Brazil, this instrument is used mainly to play Samba and its variants, such as Pagode. The ring-repique has this name because traditionally, the musician wears one or more rings to play it, striking the body of the instrument with his fingers and using his thumb to play on the bottom or top skins. Normally the free hand hits the top skin, and this technique allows the player to perform more than one rhythm. The ring-repique was invented in the 1970s by musician Doutor.
Hand-repique

The hand-repique is a percussion instrument originated in Brazil. It’s a small drum of cylindrical form, that can be made of wood, aluminum or acrylic. It’s played with the hands, both on the skin and its body. The hand-repique has a sharp sound and is used mainly to play Samba and its variants, such as Pagode. Its common role inside these genres is to increase the percussion section, filling up the spaces and playing the off-beats. It was invented by musician Ubirany, founder and percussionist with the band "Fundo de Quintal". The hand-repique is derived from another percussion instrument, the "Repinique". Ubirany started to use the repinique in its band but felt it was too uncomfortable to play, since this instrument is made to be originally played with a drumstick. So he adapted it, adding a few mufflers on the inside, lowering the hoop and taking the bottom skin off it. It became so popular that it began to be produced by several manufactures (such as Gope, Contemporânea and Izzo), evolving away from the original repinique.
Repinique

A repinique is a two-headed drum used in samba baterias (percussion ensembles). It is used in the Rio de Janeiro and São Paulo Carnival baterias and in the baterias of Bahia, where it is known as repique. It is equivalent to the tik-tik in the non-Brazilian drum kit or to the tenor drum in marching bands. It is tuned very high to produce a tone that cuts through the sound of the rest of the bateria and is used as both a lead and solo instrument.
Typically its body is made of metal. The heads, made of nylon, are tightened through the use of metal tuning rods. The instrument is usually smaller in diameter than the Brazilian caixa (snare drum) but several inches longer in height and lacking a snare. It is carried using a shoulder strap attached to one of the tuning rods. In Rio-style samba it is played with one wooden stick and one hand. In Bahia it is played with two wooden sticks usually but in some cases also like the Rio-style (the bloco afro Ilê Aiyê for example). It may also be played with two thin plastic "whippy" sticks.
The repinique was established in samba percussion in the 1950s. Then, this drum was made out of wood with natural heads made from goatskin. Also the manner of playing was different. For example, in the soundtrack to the movie Black Orpheus one may hear the sound at that time.
Baterias commonly include a group of repinique players whose patterns set the tempo to which the rest of the bateria plays by elaborating on the basic "1-2-3-4" rhythmic structure typical of samba. The repinique is also often used by the musical director as a lead instrument, producing calls to which the rest of the bateria responds in a set fashion. It is often played with the hand or stick and is used to alert the percussion section of rhythmic changes with chamadas (calls). In samba, it is also used to assist the dancer in keeping the tempo and rhythm of the piece
The repinique is also used in American classical music as well. A solo repinique was used in the 30 minute symphonic work "Rhapsody for solo percussion and orchestra" by Ney Gabriel Rosauro.
Music for Piano and Drums

Music for Piano and Drums is the first studio album by a duo consisting of Swiss keyboardist Patrick Moraz and English drummer Bill Bruford. Both were members of Yes at different times (Bruford from 1968- 1972 and Moraz from 1974-1977), and the two had played together on Yes bassist Chris Squire's solo album Fish Out of Water in 1975.
The album was recorded while Moraz was in The Moody Blues and Bruford was in King Crimson. As the album title suggests, the album features eight instrumentals performed on grand piano and acoustic drum kit (Bruford was known for playing electric drums at this time). After touring briefly to support the album, Moraz & Bruford recorded a second album two years later, Flags.
The authors of The Penguin Guide to Jazz Recordings wrote: "There are one or two alarming moments when one might be listening to The Carpenters jamming at home. Then it's Stravinsky; then..."
Bill Milkowski of JazzTimes stated: "The most daring tracks are the two improv pieces: 'Living Space' showcases Bruford's deft touch with brushes in an engaging dialogue with Moraz, and the frantically swinging 'Any Suggestions' has Bruford keeping a steady boppish pulse on the ride cymbal while matching Moraz's rapid-fire keyboard runs with Max Roach-like snare and tom-tom statements."
Writing for All About Jazz, John Kelman commented: "Albums like this always tend to challenge the preconception that there has to be a fuller ensemble. Stark and spacious at times, equally rich and full at others, Moraz and Bruford create a broad tapestry with only two instruments that, considering their primary occupations at the time, must have come as quite a surprise to many of their fans."
Chico DeBarge (album)

Chico DeBarge is the debut album by American singer Chico DeBarge. It was released by Motown Records in 1986 in the United States. The album peaked at number 90 on the US Billboard 200 and number 25 on the Top R&B/Hip-Hop Albums chart. Chico DeBarge spawned the hit single "Talk to Me."
AllMusic editor Rick A. Bueche called Chico DeBarge his "best album for Motown" as well as "a fine start."
Notes
Nação Zumbi

Nação Zumbi (formerly Chico Science & Nação Zumbi) is a Brazilian band formed by Chico Science. They have been hailed as one of the most important groups to come out of the manguebeat movement in the 1990s. The musicians of the group continued as Nação Zumbi after Science died in a car accident on February 2, 1997.
In their songs they experiment with mixing of rock, punk, funk, hip hop, soul, Pernambuco's regional rhythms and Brazilian traditional music, with heavy use of percussion instruments.
They released two albums before the time of Chico's death, Da lama ao caos (From Mud to Chaos) in 1994 and Afrociberdelia in 1996. Both received critical acclaim.
In 1996, Nação Zumbi contributed Maracatu Atômico to the AIDS-Benefit Album Red Hot + Rio produced by the Red Hot Organization.
HoneyWorks

HoneyWorks is a Japanese musical group consisting of songwriters Gom and shito, and illustrator Yamako. The group started uploading original Vocaloid songs to NicoNico in 2010, and released their debut album under label MusicRay'n in 2014. Since their inception, they have collaborated with a wide range of vocalists. In 2014, HoneyWorks partnered with singer CHiCO to form the unit CHiCO with HoneyWorks.
They are the creators of the Kokuhaku Jikkō Iinkai: Ren'ai Series multimedia project.
HoneyWorks' songs have been featured as an opening/ending song in the following anime television shows:
Also, a TV anime Itsu Datte Bokura no Koi wa 10 senchi Datta (Our Love Has Always Been 10 Centimeters Apart) that featured HoneyWorks' story and songs started its 6-week program on November 24, 2017.
HoneyWorks songs have been featured as an opening/ending/insert song in the following movies:
HoneyWorks songs have been the inspiration for two movies, Zutto Mae Kara Suki Deshita and Suki ni Naru Sono Shunkan o. Both heavily incorporate the band's songs.
Jawbone (instrument)

The quijada, charrasca, or jawbone (in English) is an idiophone percussion instrument made from the jawbone of a donkey, horse, mule, or cattle, producing a powerful buzzing sound. The jawbone is cleaned of tissue and dried to make the teeth loose and act as a rattle. It is used in music in most of Latin America, including Mexico, Peru, El Salvador, Ecuador, and Cuba. It was also historically used in the early American minstrel show.
To play it, a musician holds one end in one hand and strikes the other with either a stick or their hand; this causes the teeth to rattle against the bone creating a loud, untuned sound, specific to this instrument. The stick can also be pulled along the teeth which act as a rasp. These ingredients provide the basis for a wide variety of combinations and rhythms.
While it is used in most of Latin America, the quijada originated from the Africans that were brought to the Americas during the colonial era. It is believed that it was first introduced in Peru, making it an Afro-Peruvian instrument. It is a mix of African and indigenous cultures that created an instrument that gained value from the people of Latin America. It is one of the main instruments used by Afro-Peruvian musical ensembles and is used in many other Latin American cultures, like the candombe of Argentina (in Uruguay it is not used), Costa Rica, the Dominican Republic, Haiti, as well as Belizean brukdown, Mexican music by son jarocho, and "Costa Chica" ensembles. An example is a song played in Oaxaca, Mexico in which the quijada keeps the beat. The quijada de burro (quijada made of donkey jaw) is most often used at carnivals and religious festivals. In popular culture the use of a quijada was shown in a conga dance scene in a 1939 film ("Midnight" starring Claudette Colbert and Don Ameche) beginning at 54:35.
Alvaro Salas

Alvaro Salas (born May 25, 1953 in Montevideo, Uruguay) is a Uruguayan Master Candombe drummer and percussion teacher.
Salas was born in Ansina, a neighbourhood in Palermo, Montevideo.
Salas has worked, both live and on records, with a number of musicians, including Eduardo Mateo, Jorginho Gularte, Roberto Galletti, Federico Britos, and Urbano Moraes. He has also worked as a percussionist, arranger, and director with several award-winning Carnival groups including Marabunta, Sueno del Buceo, Vendaval, and others. He is the current Director of the Afro-Uruguayan social organization Mundo Afro. As well, he runs the musical school in this institution, which has international prestige. In 2018, he worked with Kamba Kuá in celebrating afro-Paraguayan identity at the "Agustin Pio Barrios" music school at the new Municipal Art Institute (IMA, in Spanish). He demonstrates the interaction between the typical percussive family of candombe, consisting of what are known as the piano, chico and repique drum.
Candombe
Geraes

Geraes is the eighth studio album by Brazilian singer, guitarist, and composer Milton Nascimento. The album played a strong role in connecting Nascimento's music with the American public; at the time he was already known worldwide. It features Mercedes Sosa in "Volver A Los 17", Chico Buarque in "O Que Será (À Flor da Pele)", Clementina de Jesus in "Circo Marimbondo", and the Chileans from Grupo Agua, discovered by Milton, in the tracks "Caldera", "Promessas do Sol", and "Minas Geraes", the closing track. The album cover, by Cafi, shows the same drawing of the Três Pontas Mountains and train shown in the insert of Nascimento's previous album Minas (1975) that now stands out in the Geraes cover and vinyl insert with envelope paper. The album's 1994 CD reissue features two tracks from a compact disc Milton made with Chico Buarque in 1977 for the Philips label: "Primeiro de Maio" and "Cio da Terra", which was re-recorded by Pena Branca & Xavantinho, Sérgio Reis and Mercedes Sosa herself.
हस्तशिल्प

हस्तकला ऐसे कलात्मक कार्य को कहते हैं जो उपयोगी होने के साथ साथ सजाने के काम आता है तथा जिसे मुख्यतः हाथ से या सरल औजारों की सहायता से ही बनाया जाता है। ऐसी कलाओं का धार्मिक एवं सांस्कृतिक महत्त्व होता है। इसके विपरीत ऐसी चीजें हस्तशिल्प की श्रेणी में नहीं आती जो मशीनों द्वारा बड़े पैमाने पर बनाये जाते हैं।
भारत हस्तशिल्प का सर्वोत्कृष्ट केन्द्र माना जाता है। यहाँ दैनिक जीवन की सामान्य वस्तुएँ भी कोमल कलात्मक रूप में गढ़ी जाती हैं। यह हस्तशिल्प भारतीय हस्तशिल्पकारों की रचनात्मकता को नया रूप प्रदान करने लगे हैं। भारत का प्रत्येक क्षेत्र अपने विशिष्ट हस्तशिल्प पर गर्व करता है। उदाहरणार्थ— कश्मीर कढ़ाई वाली शालों, गलीचों, नामदार सिल्क तथा अखरोट की लकड़ी के बने उपस्कर (फर्नीचर) के लिए प्रसिद्ध है। राजस्थान बंधनी काम के वस्त्रों, कीमती हीरे-जवाहरात जरे आभूषणों, चमकते हुए नीले बर्त्तन और मीनाकारी के काम के लिए प्रसिद्ध है। मध्यप्रदेश के महेश्वर के खत्री, मोमिन,बलाई इत्यादि बुनकरों द्वारा बनाई जाने वाली महेश्वरी साड़ी।आंध्रप्रदेश अपने बीदरी के काम तथा पोचमपल्ली की सिल्क साड़ियों के लिए प्रख्यात है। तमिलनाडु ताम्र मूर्त्तियों एवं कांजीवरम साड़ियों के लिए जाना जाता है तो मैसूर रेशम और चंदन की लकड़ी की वस्तुओं के लिए तथा केरल हाथी दाँत की नक्काशी व शीशम की लकड़ी के उपस्कर के लिए प्रसिद्ध है। मध्यप्रदेश की चंदेरी और कोसा सिल्क, लखनऊ की चिकन, बनारस की ब्रोकेड़ और जरी वाली सिल्क साड़ियाँ तथा असम का बेंत का उपस्कर, बांकुरा का टेराकोटा तथा बंगाल का हाथ से बुना हुआ कपड़ा, भारत के विशिष्ट पारम्परिक सजावटी दस्तकारी के उदाहरण हैं। ये आधुनिक भारत की विरासत के भाग हैं। ये कलाएँ हजारों सालों से पीढ़ी-दर-पीढ़ी पोषित होती रही हैं और हजारों हस्तशिल्पकारों को रोजगार प्रदान करती हैं। इस प्रकार देखा जा सकता है भारतीय शिल्पकार किस तरह अपने जादुई स्पर्श से एक बेजान धातु, लकड़ी या हाथी दाँत को कलाकृति में बदलकर भारतीय हस्तशिल्प को अन्तरराष्ट्रीय स्तर पर अतुलनीय पहचान दिलाते हैं।
कुछ प्रमुख हस्तकलाओं की सूची निम्नवत है -
RmKV

RmKV Silks, also for commercial purposes branded as RmKV, is an Indian textile manufacturing company and a wedding silk retailer. The company operates outlets in across South Indian region and it manufactures wedding saris, silk fabrics and men's wear.
RmKV began business operations initially as a small scale business enterprise at Turunelveli in 1924. The company was named as RmKV in honor of its founding father Rm K Visvanatha Pillai by using initials mentioned on his birth certificate.
The company made rapid strides by incorporating handloom silk weaving techniques to design and produce different types of sarees considering the evolution of the demographic aspects of women. The company also introduced natural silk saree which was a predominant product sold by RmKV Silks to their customer base. RmKV also initiated a French tapestry technique in their weaving method to replicate Raja Ravi Varma paintings on the saree designs. RmKV Silks also gained patent rights for its innovative novelty of lino silk saris, which weighs around 40% comparatively lesser than traditional silk sarees in general.
In 2015, RmKV introduced the modernised pneumatic handloom in order to expedite and speed up their processing of weaving silk fabrics and sarees at their manufacturing facilities. Modernised pneumatic handloom was developed by streamling the worflow of lifting the loom using compressed air. It was reported that RmKV pioneered the concept of modernised pneumatic handloom in the textile industry and RmKV applied patent rights through the National Research Development Corporation for their innovative concept of modernised pneumatic handloom.
In 2024, to mark the centennial year anniversary of RmKV company, a natural dyed silk saree was launched and the product was unveiled with over 4,000 colour design patterns. As of 2024, RmKV has been operating three showrooms in Chennai, and has been operating single showroom in Tirunelveli, Coimbatore and in Bengaluru.
Kandangi

Kandangi is a type of cotton saree from the Chettinad region of the Indian state of Tamil Nadu. It was declared as a Geographical indication in 2019–20.
The Chettinadu Kandangi saree is native to the Chettinad region and has been in existence for over 150 years. Kandangi saris were traditionally made of silk. Later, cotton was used for convenience. The saris are known for its checkered pattern using multiple colors with thick contrasting borders. Earthen colors and hues are used, mostly obtained from vegetable dyes. The sari is coarse and made with a 40 thread count typically, to ensure longetivity.
The cotton yarn is dyed to different colors as per requirement. After drying, the yarn is spun and collected in spools. The spools are warped, where the threads are separated and wound into warps. Cotton yarn is also hand spun to be used for wefting. The warps and wefts are loaded into a handloom, where the cloth is weaved.
Mulheres que correm com os lobos

Mulheres que correm com os lobos: mitos e histórias do arquétipo da mulher selvagem foi escrito no ano de 1992 pela psicanalista americana Clarissa Pinkola Estés. Estés ganhou o prêmio Las Primeras da Mexican American Women's Foundation por ser a primeira latina na lista dos mais vendidos do New York Times . O livro também apareceu em outras listas de best-sellers, incluindo USA Today, Publishers Weekly e Library Journal . A obra passou 145 semanas na lista dos mais vendidos do jornal The New York Times e foi traduzida para 35 idiomas, ganhando novo fôlego a partir da quarta onda do feminismo e da internet. Dois anos depois, a obra já contava com edição em português, produzida pela Editora Rocco, quem detêm até hoje os direitos de publicação no Brasil.
De acordo com a jornalista Raquel Carneiro, Estés associa diferentes lendas aos hábitos do animal selvagem do título, construindo sua análise a partir da psicologia analítica de Carl Gustav Jung. A autora instigaria suas leitoras, assim, a valorizarem a própria intuição e instintos femininos — qualidades que, segundo Estés, seriam naturais às mulheres mas atualmente negligenciadas devido à opressão masculina.Clarissa Pinkola Estés afirma que as histórias presentes no livro foram contadas por familiares, pessoas que ela conheceu em suas viagens e pacientes. Estés compreende essas histórias como uma forma de transmitir conhecimentos sobre os ciclos da vida e as formas de cura, e também como formas de arte que podem ser utilizadas para curar e ajudar as pessoas ao longo do caminho.
Prometheus (árvore)

Prometheus (também conhecida por WPN-114) foi o apelido dado ao mais antigo organismo conhecido não-clonal, um pinheiro Pinus longaeva, árvore que cresce perto da linha verde no pico Wheeler no leste de Nevada, nos EUA. Em países de língua portuguesa é mais conhecida pelo nome de Matusalém, como referência ao personagem bíblico homônimo.
A árvore, com pelo menos 4862 anos de idade e, provavelmente, se aproximando dos 5000 anos, foi cortada em 1964 por um estudante de pós-graduação com ajuda do pessoal do Serviço Florestal dos EUA para fins de investigação. Eles não sabiam de sua idade, um recorde mundial, antes do corte. No entanto, as circunstâncias e processo decisório que conduziu a derrubada da árvore permanece controverso, com diferentes versões existentes sobre a decisão de cortar a árvore, nem todos os fatos básicos são acordados por todos os envolvidos. O apelido da árvore se refere à figura mitológica grega de Prometeu, que é um Titã conhecido pela sua idade e também roubou o fogo dos deuses e o deu aos seres humanos. A designação WPN-114 foi dada pelo pesquisador original, Donald R. Currey, e refere-se às 114 amostras da árvore por ele utilizadas na sua pesquisa no condado de White Pine, Nevada.
Prometheus era um membro de uma população de pinheiros Bristlecone que crescia perto da linha verde da moreia lateral de uma geleira ex-Wheeler Peak, em que, desde 1986, tem sido o Great Basin National Park, em Nevada oriental. Wheeler Peak é a montanha mais alta na escala de Snake, e a montanha mais alta inteiramente dentro do estado de Nevada. A população de pinheiros Bristlecone sobre esta montanha é dividida em (pelo menos) duas subpopulações distintas, uma delas é acessível por uma trilha interpretativa popular. Prometeu no entanto, cresceu em uma área acessível apenas por caminhadas fora das trilhas. Entre os anos 1958 e 1961, um grupo de naturalistas que admirava o bosque em que a árvore cresceu deu nome a uma série de árvores de maior ou mais distintas, incluindo Prometheus.
Títulos da Sociedade Esportiva Palmeiras

A lista a seguir contém títulos da Sociedade Esportiva Palmeiras em todas as categorias esportivas. Estima-se que o Palmeiras tenha conquistado mais de 350 títulos somente no futebol, mais precisamente com a equipe principal.
Os títulos internacionais mais importantes conquistados no futebol pelo clube são as Copas Libertadores da América de 1999, 2020 e 2021, a Copa Mercosul de 1998 e a Copa Rio de 1951, considerada na época de sua disputa como um Mundial de Clubes de futebol e reconhecido como tal pela FIFA, por meio de seu Comitê Executivo em 2014. A entidade, no entanto, não reconhece esta última competição citada como um torneio FIFA e reforçou este posicionamento em outubro de 2017, quando reconheceu os vencedores da Copa Intercontinental como campeões mundiais, sem, também, promover a unificação da Copa Intercontinental com a sua atual competição.
Quando trata-se de títulos nacionais, o Palmeiras é o clube mais vitorioso do futebol brasileiro, com 18 conquistas deste porte: 12 Campeonatos Brasileiros (sendo o clube que mais vezes sagrou-se campeão brasileiro); 4 Copas do Brasil, uma Supercopa Rei e uma Copa dos Campeões. Pelo Campeonato Brasileiro, o Palmeiras também é o único clube a ser campeão em seis décadas diferentes (décadas de 1950, 1960, 1970, 1990, 2010 e 2020).
Já pelo Campeonato Paulista, o Palmeiras é o segundo clube que foi mais vezes campeão do torneio (26 vezes). Além dos 26 títulos contabilizados pela Federação Paulista de Futebol, o clube tem mais dois títulos extras da mesma competição.
Campeão Invicto
Foz do Iguaçu Futebol Clube

O Foz do Iguaçu Futebol Clube, conhecido como Azulão da Fronteira, é um clube de futebol profissional da cidade de Foz do Iguaçu, estado do Paraná. Foi fundado dia 9 de fevereiro de 1996, e suas cores são o azul e o branco.
Manda seus jogos no Estádio do ABC, com capacidade para 6.969 torcedores (a capacidade operacional liberada conforme CNEF/CBF 2016 é de 5.000 torcedores).
No Campeonato Paranaense de Futebol de 2015, o clube terminou a primeira divisão estadual como quarto colocado e assim, garantiu sua vaga na série D do Campeonato Brasileiro.
Em 2018, no Campeonato Paranaense, terminou em 3º lugar, sendo o time com a segunda melhor campanha do campeonato. Nesse ano, também foi o Campeão Paranaense do Interior.
Em 2019 foi rebaixado no Campeonato Paranaense.
Em janeiro de 2020, alegando problemas financeiros, pediu licença e desistiu de participar do Campeonato Paranaense da Segunda Divisão de 2020.
Voltou as competições em 2021 disputando a terceira divisão e ficando com o vice-campeonato.
Em 2022 sagrou-se campeão da Segunda Divisão Paranaense ao derrotar o Aruko Sports (atual Galo Maringá) por 1 a 0 (4 a 3 no agregado).
Em 2023 foi rebaixado no Campeonato Paranaense.
Em 2024 o azulão ficou em 8° na Segunda Divisão Paranaense, se salvando de uma queda para a terceira divisão
Ranking da CBF atualizado em dezembro de 2017