davidanugraha/M4-RAG huggingface dataset:
Wild goat

The wild goat (Capra aegagrus) is a wild goat species, inhabiting forests, shrublands and rocky areas ranging from Turkey and the Caucasus in the west to Turkmenistan, Afghanistan and Pakistan in the east. It has been listed as near threatened on the IUCN Red List and is threatened by destruction and degradation of habitat.
It is thought to be the ancestor of the domestic goat (C. hircus).
Capra aegagrus was the first scientific name proposed by Johann Christian Polycarp Erxleben in 1777 for the wild goat populations of the Caucasus and Taurus Mountains. Capra blythi (proposed by Allan Octavian Hume in 1874) was given to wild goat horns found from Sindh.
Both the Bezoar ibex (C. a. aegagrus) and the Sindh ibex (C. a. blythi) are considered to be valid subspecies of the wild goat. There is debate as to whether or not the Chiltan ibex (C. a. chialtanensis). Though it was initially thought to be a distinct subspecies, it is now considered a variant of the wild goat, with some scientists suggesting it may be a hybrid with markhor.
The Cretan goat (formerly C. a. pictus), or kri-kri, was once thought to be a subspecies of wild goat, but is now considered to be a feral descendant of the domestic goat (Capra hircus), now known as Capra hircus cretica.
In Turkey, the wild goat occurs in the Aegean, Mediterranean, Black Sea, Southeastern and the Eastern Anatolia Regions up to 3,250 m (10,660 ft) in the Taurus and Anti-Taurus Mountains.
In the Caucasus, it inhabits montane forests in the river basins of Andi Koysu and its tributaries in Dagestan, Chechnya and Georgia up to 2,700 m (8,900 ft).
In Armenia, wild goats were recorded in the Zangezur Mountains, in Khosrov State Reserve, and in highlands of the Syunik Province during field surveys from 2006 to 2007. In Azerbaijan, wild goats occur in Ordubad National Park, Daralayaz and Murovdag mountain areas in Nakhchivan Autonomous Republic. In Iran's Haftad Gholleh Protected Area, wild goat herds live foremost in west-facing areas with rocky substrates, water sources and steep slopes that are far from roads. In Turkmenistan, wild goat populations inhabit the mountain ranges of Uly Balkan and Kopet Dag. In Pakistan, wild goat herds occur in Kirthar National Park.
In Kirthar National Park, 283 wild goat groups were observed for 10 months in 1986. The group sizes ranged from two to 131 individuals but varied seasonally, with a mean ratio of two females per male.
In Dagestan, male wild goats start courting females in mid December. The rutting season lasts until the third week of January. Females give birth to between one and three kids in late June to mid July.
Older males drive younger males from the maternal herds. The gestation period averages 170 days. Kids are mobile almost immediately after birth. Kids are weaned after 6 months. Female goats reach sexual maturity at 1½–2½ years, males at 3½–4 years. The lifespan of a goat can be from 12 to 22 years.
Wild goat populations are threatened foremost by poaching, habitat loss due to logging, and competition with domestic livestock for food resources.
Ras Dashen

Ras Dashen (Amharic: ራስ ዳሸን rās dāshn) or Ras Dejen (Amharic: ራስ ደጀን) is the highest mountain in Ethiopia. Located in the Simien Mountains National Park in the North Gondar Zone of the Amhara Region, it reaches an elevation of 4,550 metres (14,930 ft).
The English form "Ras Dashen" is a corruption of its Amharic name, "Ras Dejen", the term used by the Ethiopian Mapping Authority (EMA) that alludes to the traditional head or general who fights in front of the Emperor.
According to Erik Nilsson, Ras Dashen is the eastern peak of the rim of "an enormous volcano, the northern half of which is cut down about [a] thousand metres by numerous ravines, draining into the Takkazzi River." Its western counterpart is Mount Biuat (4,437 meters), separated by the valley of the Meshaha River. The mountain often sees violent snowfalls during the night, but given that day and night temperatures vary greatly, the snow is almost completely melted in a few hours (during the hottest period of the year), for the temperature may be over 5 degrees Celsius by midday. In winter snow falls normally, since the majority of Ethiopia's yearly rainfall is in the summer, but if it does it usually lasts for weeks or months.
The first recorded ascent by a European was in 1841, by French officers Ferret and Galinier. There is no verifiable evidence of earlier ascents by locals, but the summit climate and conditions are relatively hospitable, and there are nearby high-altitude pastoral settlements. A small fort is still partially standing at around 4,300 metre SRTM data.
Soleá (flamenco)

La soleá es un cante o palo flamenco. Es uno de los estilos más fundamentales del flamenco, pues aglutina todos los elementos característicos de esta música, como por ejemplo, el compás de soleá y el toque por arriba.​ La primera soleá interpretada de la que se tiene noticia se atribuye a la cantaora gitana María La Andonda.
La soleá puede ser ejecutada por una bailaora solista de gran expresividad. La soleá es muy dada al lucimiento de la bailaora, que puede hacer movimientos típicamente femeninos con los brazos y el cuerpo, acompañados de zapateados.
La bailaora llama la atención con el movimiento de sus caderas, su desplante y su seriedad.
La soleá tiene un tempo lento y pesado, aunque su compás es igual que el de las alegrías y las bulerías, pero con otro carácter
Según el concepto de compás manejado en el mundo del flamenco, el esquema rítmico de la soleá es
1 2 1 2 3 4 5 6 7 8 9 10
Las cifras en negrita indican los pulsos fuertes del compás. Al contar en voz alta, los pulsos 1 y 2 en el principio suelen nombrarse también como 11 y 12 al final.
Desde el punto de vista de la teoría musical clásica, el compás, que usualmente se concibe en ella desde el primer acento musical métrico, empezaría en el pulso que en la cultura flamenca se marca como 3º por atenderse en ésta a la letra de la canción, que a menudo comienza en anacrusa. Sería, al entender de la música clásica, un compás de 3 tiempos, sólo que con acentos desplazados, o más bien sería un compás de 12 pulsos que respondería al esquema
La organización de los pulsos del compás puede transcribirse de estas dos maneras:
Igual que antes, en este esquema las cifras en negrita indican los pulsos fuertes del compás.
Como ocurre en general en los palos del flamenco y en buena parte de la música del Mediterráneo, la soleá se desarrolla básicamente en modo frigio.​
Si bien la soleá se puede interpretar en el tono frigio de La (toque por medio), su tono habitual es el de Mi frigio (toque por arriba).
El cante por soleá posee un amplio abanico de estilos y variantes, identificándose los más importantes en lugares concretos:
A cada uno de estos grupos pertenece una gran variedad de 'estilos', siendo en total en torno a un centenar.​ Como en la mayoría de palos flamencos, a la hora de interpretar una tanda de soleares, se interpretan varios estilos ordenados normalmente en un orden ascendente de intensidad y dificultad. De este modo, se comienza, de forma tradicional, con un cante de preparación, que viene seguido de un cante de transición para dar paso al cante valiente, que es el de mayor expresividad. A menudo se remata la soleá con una coletilla, que consiste en una estrofa de dos o tres versos que sirve para cerrar la tanda y que típicamente se canta en el tono homónimo mayor (es decir, en Mi Mayor en lugar de en Mi frigio).
Las estrofas se componen de 3 o 4 versos octosílabos. Estas últimas poseen rima asonante en los versos pares, mientras que las de 3 versos (también conocida como solea corta) tienen la rima en el primero y en el tercero. Algunos ejemplos de letrillas tradicionalmente usadas en la soleá son:
Abanico de pericón

Un Abanico de pericón es un abanico de grandes dimensiones muy utilizado, debido a sus dimensiones, en el mundo del teatro y la danza, especialmente el flamenco. Se realizaban en diversas técnicas: con un fondo de tul trabajado por la técnica de encaje de bolillos, forrados, pintados... Se pusieron de moda en el último tercio del siglo XIX. Dentro de la serie filatélica denominada Patrimonio Nacional, correos puso en circulación una serie de tres sellos entre los que se encuentra uno del último tercio del siglo XIX de los llamados pericón.​ Con este nombre lo describe García Lorca, en su obra teatral Tragicomedia de Don Cristóbal y la Señá Rosita estrenada en 1937.​
Raquel Marí Adsuar​ en 2016 acabó la elaboración del abanico pericón de encaje de torchón más grande del mundo con un metro de extremo a extremo, el cual se encuentra pendiente de récord Guinness.
En el Museo de Arenys de Mar se conserva un ejemplar de este tipo de abanico, proveniente de la colección privada de Carmen Tórtola Valencia, del Colegio del Arte Mayor de la Seda de Valencia. Se mostró en la exposición Carmen Tórtola Valencia, pasión por el coleccionismo, junto con una fotografía, del fondo de documentación del Instituto del Teatro, donde se puede ver a Tórtola luciendo este abanico en concreto.​
Ana Reverte

Ana Zamora Martín (Los Corrales, provincia de Sevilla, 26 de mayo de 1951), conocida artísticamente como Ana Reverte es una cantante española de canciones aflamencadas y románticas, además de cantaora de flamenco y pintora. Es especialista en los cantes flamencos de ida y vuelta.​
Se inicia en el cante en Cataluña, donde vivió desde muy joven aunque posteriormente cambió su residencia habitual a Sevilla. En sus inicios artísticos cantó en peñas flamencas de Sabadell y Barcelona, apreciada especialmente en cantes de ida y vuelta como la colombiana, aunque en su discografía ha grabado un amplio abanico de palos flamencos. Participó en la IV Bienal de Flamenco de Sevilla.​
En el mundo de la canción ha cantado también baladas, boleros, y entre otros autores ha cantado temas de Alejandro Abad, Mari Trini, Amado Jaén, Salvatore Adamo, Nicola di Bari, Julio Iglesias e incluso de Jacques Brel —Ne me quitte pas, en versión española No me dejes— o de Marina Rossell —La gavina—, además de haber grabado muchos temas de su autoría y otros de origen popular. En 1993 ganó el primer premio del Festival de la OTI representando a España en la ciudad de Valencia con el tema Enamorarse, compuesto por Alejandro Abad.​
Tuvo que apartarse de la música durante varios años debido a un problema de salud, volviendo en 2016 con el álbum "A solas contigo".​ En 2018 recibió el Premio Radiolé concedido por la cadena del Grupo Prisa.​
Desde hace un tiempo compagina la música con la pintura con algunas exposiciones itinerantes.​
Retrato de Felipe II (Heere)

El retrato de Felipe II es un cuadro atribuido al pintor, poeta y escritor flamenco Lucas de Heere, (Gante, 1534-1584) realizado a mediados del siglo XVI, que se encuentra en el Museo del Prado con número de inventario P001949.
El historiador Allende-Salazar y el director del Museo del Prado de 1960 a 1968 Francisco Javier Sánchez Cantón atribuyeron la obra a este pintor basándose en el estudio del estilo, la edad del príncipe hispano y su vestimenta. La mención a una carta del cardenal Granvela de noviembre de 1553 en la que se citaba un retrato inacabado de Felipe II que ocupaba al autor “del que todavía no ha realizado más que la cabeza”. Parece ser que la tabla inconclusa acabó cortándose hasta su actual tamaño. Por estas pruebas nada concluyentes algunos estudiosos, como Beroqui, han rechazado la autoría de este pintor flamenco.
En su página, el museo indica que pudo servir como estudio previo para obras mayores sin la presencia del modelo, manteniendo la tipología facial de los monarcas Habsburgo.​
Flamenco occidental

el Flamenco Occidental (West-Vlams o West-Vloams o Vlaemsch en Flandes francés; en neerlandés: West-Vlaams; en francés: flamand occidental) es una colección de variedades de Baja Franconia habladas en el oeste de Bélgica y las zonas vecinas de Francia y los Países Bajos.
El flamenco occidental es hablado por alrededor de un millón de personas en la provincia belga de Flandes Occidental, y por otras 50.000 en el vecino distrito costero neerlandés de Flandes zelandés (200.000 si se incluyen los dialectos estrechamente relacionados del zelandés) y entre 10.000 y 20.000 en la parte norte del departamento francés de Norte. Algunas de las principales ciudades donde se habla ampliamente el flamenco occidental son Brujas, Dunkerque, Cortrique, Ostende, Roeselare e Ypres.
El flamenco occidental está catalogado como lengua "vulnerable" en el Libro Rojo de las Lenguas Amenazadas de la UNESCO.​
Clapping

A clap is the percussive sound made by striking together two flat surfaces, as in the body parts of humans or animals. Humans clap with the palms of their hands, often quickly and repeatedly to express appreciation or approval (see applause), but also in rhythm as a form of body percussion to match the sounds in music, dance, chants, hand games, and clapping games.
Some people slap the back of one hand into the palm of the other hand to signify urgency or enthusiasm. This act may be considered uncouth by others.
Clapping is used in many forms of music. In American music, clapping is popular in funk, gospel, doo-wop and early pop. In flamenco and sevillanas, two Spanish musical genres, clapping is called palmas and often sets the rhythm and is an integral part of the songs. A sampled or synthesized clap is also a staple of electronic and pop music.
Classical works performed entirely by clapping
Classical works which include clapping
The clapping patterns known as keplok are important in Javanese gamelan. A type of synthesized clap is popular in many rap and hip hop songs as well. This is derived from and mimics the technique used in older popular music (e.g. disco and funk of the 1970s), in which multiple instances of real handclaps were recorded or a single recording was made of a group of performers clapping in unison. This was usually done for the purpose of reinforcing the snare drum beat on the 2nd and 4th beats of the bar (offbeat). Modern R&B, hip hop, and rap often omit the snare drum, making the claps a more obvious and central feature of the beat.
Clapping is useful in (medical) opening up blocked blood circulation. Clapping can be used in acoustics to check the reverberation time of a room. This is determined by measuring the clap's decay time.
Clapping is often used to help people recognize the rhythm in sounds. It can be used to help musicians count out rhythms.
It is also used to teach phonological awareness to students learning the ways words are constructed. They often clap out syllables to learn to break words into their component sounds.
During UEFA Euro 2016, Iceland's fans became widely known for their 'volcano clap' (or 'Viking clap') with a 'huh' chant, though it originated with fans of Scottish club Motherwell F.C. Canberra Raiders fans subsequently adopted the 'Viking clap'. Similarly, fans of the Minnesota Vikings have also adopted the 'Viking clap' to show support for the team, chanting 'skol' rather than the original 'huh' chant.
In the mid 2010s, a practice of clapping as a way to emphasize talking points emerged among African American women, especially when clapping out individual syllables in words. This was pointed out in popular media by the comedian Robin Thede on The Nightly Show with Larry Wilmore. It has since become more widely applied both online, often using the "hand clap" emoji, and in person.
Joaquín Cortés

Joaquín Pedraja Reyes (known professionally as Joaquín Cortés; born 1969) is a Spanish classically trained ballet and flamenco dancer.
Cortes was born to a Gitano family in Córdoba and showed interest in dancing from an early age. Cortés and his family moved to Madrid in 1981. Soon after moving to Madrid, he began to take formal dancing lessons and studying seriously.
In 1984, he was accepted as a member of Spanish prestigious national ballet company. He traveled the world with the Spanish National Ballet, performing in important venues such as the Metropolitan Opera House (Lincoln Center) of New York and the Kremlin Palace in Moscow. During his stint with the Spanish National Ballet, he also became a principal solo performer known for his phenomenal stamina and athleticism.
Desiring more creative control, Cortés formed the Joaquín Cortés Flamenco Ballet company and launched his first international tour 'Cibayí', with other artists such as Antón Jiménez as guitarist, in 1992.The formation of Cortés' own company allowed him to diverge from purist ballet and create his own fusion of flamenco, ballet and modern dance. In 1995, in addition to being featured in two international films- 'La flor de mi secreto' (The Flower of My Secret) and Carlos Saura's 'Flamenco', Joaquín Cortés embarked on what is often considered his most successful venture, 'Pasión Gitana' (Gypsy Passion). 'Pasión Gitana' marked the beginning of Cortés' recognition for not only his prowess as a dancer, but also as a choreographer and artistic director. In 1999 Cortés was the subject of a documentary film and he launched a successful tour of 'Soul' across North and South America. In the 1990s Joaquín Cortés gained notoriety for his close relationships with high-profile celebrities such as Naomi Campbell, Giorgio Armani and Mira Sorvino.
Continuing into the millennium, Cortés' focus shifted from dancing to choreography and artistic direction. He continues to dance in a limited capacity live on stage, in film and television. In 2000, landed a role in the film 'Gitano' (Gypsy) and again in 2004 in 'Vaniglia e cioccolato' (Vanilla and Chocolate). In 2001, he also made a guest appearance on Jennifer Lopez's concert in Puerto Rico. In 2004, Cortés was involved in the international tour of 'De Amor y Odio' that took him to England, Portugal, Thailand and New York, among other places. 2007 marked the beginning of Joaquín Cortés most recent spectacle, 'Mi Soledad.' On 15 May 2007 he performed as a guest dancer in a high-profile semi-final segment on ABC's "Dancing with the Stars."
Cortes is also the visual inspiration for the character Vamp from the Metal Gear video game series.
Danza de tijeras

The Danza de las tijeras (Spanish pronunciation: [ˈdansa ðe tiˈxeɾas]; English: scissors dance; Quechua: Supaypa wasin tusuq, also Galas, laijas) is an original dance of Chanka origin from the south of the Andes, in Peru. The dance consists of two or more dancers, followed by their respective orchestras of a violin and a harp. The dancers dance in turns, doing explicit moves and challenging steps, such as dancing with just one foot.
The places where this dance is most influential are: Huancavelica, Ayacucho, Junín, Apurimac, and Lima.
UNESCO designated the Danza de las tijeras intangible cultural heritage in 2010.
The scissors dance can be of different types, for example, the greater or competition dance, the smaller dance or "Qolla alva" which is danced at night; and zapateos, executed in the Christmas festivities. In the competition dance, two dancers (also called "danzaq" or "tusuq") dance by turns challenging each other to overcome the risk of the steps they perform, this competition is known as "Atipanakuy", "Hapinakuy", "Tupanakuy" among others.
Danzantes de tijeras (scissors dancers) are descendants of the "tusuq laykas", prehispanic priests, fortune tellers, healers and shamans who experienced persecution during the colony. In this colonial period, they began to be known as "supaypa waman" (son of the devil in Quechua) and took refuge in the highest areas. As time passed by, the colonizers accepted they return but conditioning them to dance for the Catholic God and saints. In this way, they started to perform the danza de tijeras in fiestas patronales.
Nowadays, it is a magical-religious and ritual dance that represents, through their choreographies, the spirits of pachamama, yacumama, hanaccpacha, ucupacha, and others.
Peruvian writer José María Arguedas (1911-1969) immortalized danzante de tijeras in several novels, even in the short story La agonía de Rasu Ñiti (1962), the main character is one of them.
The scissor dancers are identified with ritual skill and challenge from the outsider's point of view. Basically, the scissors dance is an impressive manifestation of physical art and skills, but to the Andean man it represents a complex ritual. A series of mysteries stalk around the dancers (the ones who do the ritual) who, in a surge of force and elasticity, test their skills with the gymnastics-like jump at the sound of a harp and a violin, while they cut the air with their scissors.
According to the priests of the colony, its magical side obeys to an assumption pact with the devil, due to surprising moves or tests that they execute in the dance. This tests denominate Atipanacuy.
The central instrument of the dance is the elaborated scissors of two independent metal plates of approximately 25 cm, and when the two plates are fused, they make a shape of blunt-end scissors. The scissors replaced the flat stones used in antiquity due to the similar sound they emit. It is considered a great humiliation if the scissors fall from the dancer's hand while he is dancing.
Indonésia Raya

Indonésia Raya nyaéta lagu kabangsaan nagara Indonésia. Indonésia Raya didangukeun dina wanci kahijina ku komponis, Wage Rudolf Supratman, dina tanggal 28 Oktober 1928 basa Kongres Pemuda di Batavia (ayeuna Jakarta). Indonesia Raya jadi awal lahirna pergerakan nasional di Indonésia.
Lagu Indonésia Raya dipilih jadi lagu kabangsaan basa Proklamasi Kamerdékaan Indonésia dina kaping 17 Agustus 1945.
Jos Cleber nyusun lagu ieu dina philharmonic orchestra taunn 1950.
Vérsi I (Resmi)
Indonésia, tanah airku, tanah tumpah darahku. Di sanalah aku berdiri, jadi pandu ibuku. Indonésia, kebangsaanku, bangsa dan tanah airku. Marilah kita berseru, "Indonesia bersatu!" Hiduplah tanahku, hiduplah neg'riku, Bangsaku, rakyatku, semuanya. Bangunlah jiwanya, bangunlah badannya Untuk Indonésia Raya.
Réfrain: Indonésia Raya, merdeka, merdeka Tanahku, neg'riku yang kucinta. Indonésia Raya, merdeka, merdeka Hiduplah Indonésia Raya. Indonésia Raya, merdeka, merdeka Tanahku, neg'riku yang kucinta. Indonésia Raya, merdeka, merdeka Hiduplah Indonésia Raya.
Vérsi II
Indonésia tanah yang mulia, tanah kita yang kaya. Disanalah aku berada untuk s'lama-lamanya. Indonésia tanah pusaka, P'saka kita semuanya. Marilah kita mendoa, "Indonesia bahagia!" Suburlah tanahnya, suburlah jiwanya, Bangsanya, rakyatnya, semuanya. Sadarlah hatinya, Sadarlah budinya Untuk Indonésia Raya.
Réfrain
Vérsi III
Indonésia, tanah yang suci, tanah kita yang sakti. Di sanalah aku berdiri, Jaga ibu sejati. Indonésia, tanah berseri, tanah yang aku sayangi. Marilah kita berjanji, "Indonesia abadi!" S'lamatlah Rakyatnya, S'lamatlah putranya, pulonya, lautnya, semuanya. Majulah negrinya, majulah pandunya Untuk Indonésia Raya.
Réfrain
Kabupatén Bulukumba

Kabupaten Bulukumba (Bugis: ᨀᨅᨘᨄᨈᨛ ᨅᨘᨒᨘᨀᨘᨅ) mangrupikeun salah sahiji Daérah Tingkat II di propinsi Sulawesi Kidul, Indonesia. Ibukota kabupaten perenahna di kota Bulukumba. Kabupaten ieu ngagaduhan luas 1,154.58 km² sareng gaduh penduduk anu 418,326 jiwa (dumasar kana data BPS ti Kabupaten Bulukumba 2019).
Kabupatén Soppeng

Kabupaten Soppeng mangrupikeun salah sahiji Daérah Tingkat II di propinsi Sulawesi Kidul, Indonesia. Ibukota Kabupatén perenahna di Watansoppeng. Kabupaten ieu ngagaduhan luas 1.500.00 & nbsp; km² sareng gaduh penduduk sakitar 223.826 jiwa (2010).
Kabupatén Jeneponto

Kabupaten Jeneponto (Makassar: ᨀᨅᨘᨄᨈᨙ ᨍᨙᨊᨙᨄᨚᨈᨚ) mangrupikeun salah sahiji Daérah Tingkat II di propinsi Sulawesi Kidul, Indonesia. Ibu kota kabupaten Jeneponto perenahna di Bontosunggu. Kabupaten ini memiliki luas wilayah 749,79 km dan berpenduduk sebanyak 330.735 jiwa.
Prof. Ir. Charles Prosper Wolff Schoemaker

Prof. Ir. Charles Prosper Wolff Schoemaker, mangrupa salah sahiji arsitek kanamaan di jaman walanda. anjeuna mangrupa rektor ka-7 di Technische Hoogeschool anu ayeuna disebut ITB ( Institut Teknologi Bandung ) ngajabat ti 16 Juni 1934 nepi ka 2 Agustus 1935.
Prof. Ir. Charles Prosper Wolff Schoemaker mangrupa guru dari Ir. Soekarno présidén Pertama RI pas sakolah di ITB. Prof. Ir. Charles Prosper Wolff Schoemaker lahir di Banyu Biru cakeut Ambarawa tahun 1882 jeung pupus tahun 1949 di Bandung. Ia dikurebkeun di TPU Pandu Bandung. Charles Prosper Wolff Schoemaker mangrupa pangguna gaya arsitektur Art-Deco, jeung karyana nu fenomenal jeung masih katempo nepika ayeuna nyaéta Mesjid Cipaganti, Villa Isola, Jaarbeurs, Gedung Merdeka (Concordia), Landmark, Gereja St.Petrus, Gereja Bethel, Majestic, Observatorium Bosscha jeung sanesna.
Prof. Charles Prosper Wolff Schoemaker (gumelar di Banyubiru, Semarang, Jawa Tengah, Indonesia, 25 Juli 1882 – tilar dunya di Kota Bandung, Jawa Barat, Indonesia, 22 Méi 1949 dina umur 66 taun) adalah séorang arsitek berkebangsaan Belanda yang berdiam di Hindia Belanda (sekarang Indonesia). Selain itu ia juga pernah menjadi guru besar arsitektur dan rektor ketujuh Technische Hoogeschool te Bandoeng (TH Bandung - yang kemudian menjadi Institut Teknologi Bandung - ITB) yang menjabat pada periode 16 Juni 1934-2 Agustus 1935.
East Jakarta

East Jakarta (Indonesian: Jakarta Timur; Betawi: Jakarte Beletan), abbreviated as Jaktim, is the largest of the five administrative cities (kota administrasi) which form the Special Capital Region of Jakarta, Indonesia, with a land area of 188.03 km (72.6 sq.miles). It had a population of 2,693,896 at the 2010 Census and 3,037,139 at the 2020 Census; the official estimate as at mid 2023 was 3,315,114, making it the most populous of the five administrative cities within Jakarta. East Jakarta is not self-governed and does not have a city council, hence it is not classified as a proper municipality.
East Jakarta is bounded by North Jakarta to the north, Bekasi to the east, Depok to the south, and South Jakarta and Central Jakarta to the west.
The mayor's office is located in the Administrative Village (Kelurahan) of Pulo Gebang, in Cakung District.
East Jakarta Administrative City (Kota Administrasi Jakarta Timur) is subdivided into ten districts (kecamatan), listed below with their areas and their populations at the 2010 Census and 2020 Census, together with their official estimates as at mid 2023. The table also includes the locations of the district administrative centres, the number of administrative villages ( all classed as urban kelurahan) in each district, and their names (with their post codes).
Aviastar Mandiri has its head office in East Jakarta.
In the past, in East Jakarta, there are 23 Sugar mills such as Setu, Jatiwarna, Ceger, Kalijereng, Pedongkelan (Cimanggis), Palsigunung, Klender, Pondokjati and Cibubur is open in 1914 and is closed due to the 1997 Asian financial crisis.
The sugar mills were first open in Klender ((in Dutch): Suikerfabriek Klender) in 1905.
6°14′43″S 106°54′02″E﻿ / ﻿6.24528°S 106.90056°E﻿ / -6.24528; 106.90056
Tebet Eco Park

The Tebet Eco Park (Indonesian: Taman Eco Tebet) or Taman Kota Tebet is an urban park located in Tebet, Jakarta, Indonesia. The park has a land area of 7 hectares and it was previously known as Tebet Honda Park. It is a popular place for exercise, socialization, and recreation for neighboring community.
This park was revitalized in 2022, for multi-functional purposes. It has three main concepts in its development, namely prioritizing ecological functions, especially flood control, social space functions, and also the function of educational and recreational spaces for residents. This park has forest buffer, link bridge, community lawn, wetland boardwalk, children's playground, plaza, community garden, and thematic garden. The park has two part, north and south, connected by a pedestrian bridge named as the Infinity Link Bridge.
There is a Wetland Boardwalk to help contain water flow and increase water retention. Meanwhile, in the Community Garden, there is the main entrance to the South Area with a pavilion equipped with facilities for social activities for the community around Tebet. Swamp Playground or children's play area with a variety of games and viewing decks that take advantage of different contours. The northern part of the park, there are TEP Plaza, thematic gardens, and community lawns. TEP plaza serves as a drop-off area or a visitor's recipient, equipped with a pavilion building, amphitheater, parking facilities and MSMEs. Furthermore, opposite TEP Plaza there is an area with an existing density of Leda trees which is used as a Thematic Garden. Meanwhile, Community Lawn is presented as an area for public activities to do without family or friends, in the field, with an interactive open lawn.
灰小羚羊

灰小羚羊（学名：Sylvicapra grimmia）也称灰麂羚、灰霓羚、灰遁羚，是偶蹄目牛科普通小羚羊属中唯一的一种，广泛分布于撒哈拉以南非洲的热带草原。
伊蘭羚羊

伊蘭羚羊（學名：Taurotragus oryx），又名巨羚、大羚羊，是東非及南部非洲大草原及平原的一種羚羊。
伊蘭羚羊與德氏大羚羊一同被認為是最大的羚羊種，不過牠們其實更像牛。雌羊重300-600公斤，長200-280厘米，肩高125-153厘米。公羊重400-1000公斤，長240-345厘米，肩高150-183厘米。尾巴長約50-90厘米。雌羊呈黃褐色，公羊較為深色，有一點藍灰色，也有一些兩側有白色斑紋。公羊前額的毛髮很密，喉袋很大。公羊及雌羊都有角，角長65厘米。雌羊兩角較闊。
伊蘭羚羊棲息在南部非洲的遼闊平原及非洲大平原的山腳。牠們吃草、樹枝及葉子。牠們是日間活動的，但在太阳照射强烈的時候則不太活动。
一个伊兰羚羊的群体一般有30-80隻，有些甚至超过400隻。它们会根据自身需要而加入或脱离某个群体。
公羊的體型及力量一般足以對抗掠食者，但雌羊則較易受到攻擊。伊蘭羚羊的掠食者包括獅子、斑鬣狗、非洲野犬及獵豹。
伊蘭羚羊有時被認為屬於藪羚屬，但通常會與德氏大羚羊一起被分到巨羚屬中。
伊兰羚羊会被人类驯养。它们肉质鲜美，这是牠們被獵殺的主要原因。
伊蘭羚羊名字中的「伊蘭」来自荷兰语(Eland)，意思是駝鹿。当初荷蘭殖民者來到開普省看見如此巨大的野生動物時，就用这个名字称呼它们。
台灣長鬃山羊

台灣長鬃山羊（學名：Capricornis swinhoei），淸稱「山羊」，又稱台湾鬣羚、台灣野山羊、台灣羚羊、台灣氈鹿，是台灣特有種的動物，也是台灣唯一的野生牛科動物。由低海拔300公尺的小山，一直到高海拔之玉山南峰、南湖圈谷和雪山圈谷等高山附近，都可以找到台灣長鬃山羊的足跡。目前在1,000公尺以上的山區，牠們的出現機會比較高。
在動物分類學上，屬於牛科之羊亞科（Capainae）的動物，除了我們比較熟知的山羊和綿羊以外，還有斑羚屬（Naemorhedus）、臆羚屬（Rupicapra）、岩羊屬（Pseudois）、麝牛屬（Ovibo）和羚牛屬（Budorcas）等，牠們和山羊以及綿羊在外型上並不完全相似。
事實上，長鬃山羊在分類學上的位置，一直都有著極大的爭議。牠們原先被列於羚羊亞科（Antelopes），後來又改列於羊亞科，因為牠們可以說是介於羊於羚羊之間的動物。這也就是台灣長鬃山羊為什麼又被叫做「台灣羚羊」的緣故。
在被歸為羊亞科以後，一開始台灣長鬃山羊被歸類於該亞科中的長鬃山羊屬。世界上現存的長鬃山羊只有兩種，一種是馬來長鬃山羊（Carpricornis sumatraensis），另一種是日本長鬃山羊（C. crispus）。而日本長鬃山羊可以再分為日本長鬃山羊（C. crispus crispus）和台灣長鬃山羊（C. crispus swinhoei）兩個亞種。
但是，Wilson 和Reeder在1993年又發表了新的分類系統，將台灣長鬃山羊歸在斑羚屬，學名則變為Naemorhedus swinhoei。過去台灣長鬃山羊被認為是與日本長鬃山羊同種的亞種，但是，如果依照Wilson 和Reeder之新的分類法的話，台灣長鬃山羊就已經獨立為台灣的特有種了。
分子系統發生學研究表明斑羚屬和鬣羚屬實姐妹群，而本種屬於後者。
（按照作者姓氏漢語拼音順序排列）
藏原羚

藏原羚（學名：Procapra picticaudata），别名西藏瞪羚，是羚羊的一种，分布在青藏高原，少量生活在拉达克地区。肩高45-60 cm，体重11-20千克。仅雄性有角，尖端很细，带环。较长约35厘米。脸上没有很明显的斑纹。毛色为灰白色，腹部白色。在12月交配，雌性在5月产仔。
藏原羚被列为中国国家二级重点保护野生动物，并被中国脊椎动物红皮书评为近危。
旱湖

旱湖指以前曾經是湖泊的盆地或低地，而湖水因蒸發的速度高於補充的速度而乾涸。若然旱湖由鹼性物質所覆蓋，則該處可被稱作鹼灘，若被鹽覆蓋則為鹽盤（為鹹水湖乾涸後的殘餘）。
當低地聚集雨水或與含水層交會時，湖泊便會形成。但當水分的蒸發超過其補充，低地便會再次變得乾涸，成為旱湖。隨着水分蒸發，湖水中的鹽漸漸沉澱，因此旱湖多為覆蓋着鹽的湖床。這些沉澱物由碳酸鈉、硼砂及其他鹽類構成。旱湖多在乾旱、半乾旱地區形成，沙漠中由波狀原所包圍的地方也可能會形成旱湖。世界最大的旱湖聚集地是德克薩斯州南部及新墨西哥州東部，有接近22000個。旱湖多比較細小，但最大的旱湖烏尤尼鹽沼面積達10,582平方公里。
在雨季時很多旱湖會重新聚集着淺水。當這層淺水受風吹動而在旱湖四處游移時，湖床會變得更平坦堅硬。若湖水較深，可能會形成龜裂的地面。但若水分很少則可能形成沙丘。在美國加州死亡谷國家公園的跑道湖中出現一種稱作迷蹤石的地質現象，湖床上的積水反覆成薄冰並配合風力將石頭緩慢移動，因此在湖床上留下一條軌跡。這些石頭每隔兩年才移動一次，但軌跡可殘留三至四年。
旱湖普遍上缺乏植物生長，但濱藜屬等耐鹽植物卻能長在旱湖周邊。這些植物是家畜及其他食草動物在冬季時的重要食物來源。
在愛達荷州西南部及內華達州、猶他州部分地區，一些獨有的稀有品種出現在季節性集水的旱湖裏，如在2006年發現的一種無甲目動物Branchinecta raptor。旱湖的積水受到風吹，與黏土混合而變得混濁，讓這種蝦避過其掠食者。牠們繁殖時產出極細的囊胞，能夠藏在湖床中多年，直至環境適合才孵化。此外，一種稀有的獨行菜屬多年生植物Lepidium davisii，只於愛達荷州南部及內華達州北部的旱湖出現。
沙漠地區多遠離主要河道及湖泊，因此旱湖也是重要的水源。降兩後野生動物如羚羊會聚集該處喝水。
牛隻養殖場及製酪場頻繁的飼育活動可令旱湖受到污染、土壤被侵蝕。此外，一種經常用作牧場草料的外來品種木地膚，能威脅當地的稀有品種，其根部亦可吸乾旱湖剩餘的水。
旱湖平坦堅硬的表面適合車輛行駛，甚至可以在較大的旱湖上挑戰陸上速度記錄，而不會有路面的凹凸或障礙影響。該紀錄曾在內華達州的黑石沙漠和博納維爾鹽灘刷新，澳洲中的艾爾湖和蓋爾德納湖上亦有打破紀錄的嘗試。博納維爾鹽灘和蓋爾德納湖每年也有競速比賽。
基於上述優點，一些很少積水的旱湖也會被用作軍用機場，如內華達州51區的古魯姆湖及加州的愛德華空軍基地。
每年一度的燃燒人節慶會在黑石沙漠舉行。
一些旱湖，如瑟爾斯湖，具有豐富的鹽礦，能夠加以開採並提取石鹽、硼砂等資源。
坡鹿

坡鹿（Panolia eldii），又名海南坡鹿，是東南亞特有的一種鹿。牠們最初是於1839年在曼尼普爾發現的。
体长约1.8米，尾长约20厘米，四肢细长，显得格外矫健。雄鹿具角，第一眉叉自基部向前侧平伸出，与主干成弯弓形，后枝分出若干小叉，枝端略呈掌状。毛被黄棕、红棕或棕褐色，背有一条黑褐色脊带，背脊两侧点缀着白色斑点，仔鹿的斑点尤为明显，成年鹿冬毛斑点不明显。
坡鹿其下已知有三個亞種：
曼尼普爾坡鹿是很稀有及處於極危的鹿，只有少於40頭。泰國坡鹿也是瀕危的，只有約150頭，在海南省的差不多已經在野外滅絕。緬甸坡鹿是處於近危及仍有一定數量，分佈在奇布爾·拉姆吉奧國家公園及洛克塔克湖。
颱風坡鹿，自2023年「颱風軒嵐諾」被除名後，颱風委員會決定用以上動物名稱代替。
越南鼷鹿

越南鼷鹿（學名：Tragulus versicolor），又名銀背鼷鹿，或按其英語名稱直譯作越南老鼠鹿，是由奥德菲尔德·托马斯於1910年首度描述的物種。 本物種屬哺乳綱偶蹄目鼷鹿科，目前所知只見於越南，是目前世上已知的最小型有蹄類動物，只有相當於兔子或貓的大小。在2004年之前，本物種被視為只是大鼷鹿（T. napu）的一個亞種，儘管其外型更為接近小鼷鹿（T. kanchil）。本物種近年的紀錄非常稀少，自1990年代開始已有近30年不見其踪影。這可能是因為要將本物種跟其他同屬鼷鹿属的其他物種辨識不容易，而在其活動範圍缺乏足夠的田野考察亦使其紀錄很稀少，以至有人認為這個物種很可能已灭绝。
其种加词“versicolor”意为“变色的”、“颜色多样的”。
越南鼷鹿是全球野生動物保護組織“尋找失落物種”倡議關注的25種“最想要的失踪物種”之一。 2019年11月，一組科學家據報導成功拍攝了森林中的越南鼷鹿，這是三十年來的第一次。
Aloo gobi

Aloo gobi (Hindi: आलू गोभी, Urdu: آلو گوبی, ālū gobhī; „Cartofi și conopidă”) este un preparat indian și pakistanez, care constă dintr-o „tocăniță” de cartofi, conopidă și condimente din sudul Asiei. Are culoarea galbenă deoarece se utilizează curcuma. În unele variante conține de asemenea negrilică și murraya koenigii. În alte variante conține usturoi, ghimbir, ceapă, coriandru, roșii, mazăre și chimion.
Alex Bogdan

Alex Bogdan (n. 24 ianuarie 1986, Târgu Ocna, Bacău, România) este un actor român de film si teatru.
S-a nascut pe 24 ianuarie 1986 în Târgu Ocna, România. A absolvit Universitatea Hyperion, Facultatea de Arte, Teatru și Film în 2008. În 2017 a jucat rolul principal în filmul Ana, mon amour. A avut alte roluri notabile în 5GANG: Un altfel de Crăciun (2019) și Îmi este indiferent dacă în istorie vom intra ca barbari (2018). Joacă pe scena Teatrului Mic din București.
Tortellini

Tortellini sunt un tip de pastă făinoasă cu ou și cu umplutură la mijloc, originară din Bologna, al cărui nume derivă din limba italiană torta și din dialectul bolognez turtlén.
Torellinul de astăzi este urmașul unei lungi tradiții culinare. În cartea “L'economia del cittadino in villa" de Vincenzo Tanara publicată în anul 1664 sunt descriși tortellini "prăjiți cu unt". În anul 1842 navigatorul și bibliograful francez Antoine Claude Pasquin (numit Valery 1789 - 1847) descria o umplutură de «(sego di bue) grăsime de vită tocată, gălbenușuri de ouă și parmigiano (cașcaval).
Există mai multe legende referitoare la originea tortellinilor.
După una din legende, tortellinul ar fi fost inventat la Castelfranco Emilia în provincia Modena. În timpul unei călătorii, Lucrezia Borgia s-a oprit la un han din orășel. Captivat de frumusețea ei, hangiul nu s-a putut împotrivi tentației de a se uita prin gaura cheii pe când ea se dezbrăca. Camera era luminată doar de câteva lumânări, astfel încât hangiul a putu să+i vadă doar buricul. Această viziune l-a inspirat să creeze tortellinul.
Altă legendă similară a apărut în Italia medievală și are ca protagoniști personaje mitologice. Conform legendei, zeița Venus și zeul Jupiter au sosit la într-o seară la Bologna și au tras la un han. Urmarea este aproape identică cu legenda anterioară, și buricul zeiței Venus este considerată a fi sursa de inspirație.
Se poate observa că cele două legende indică locuri diferite unde ar fi fost inventat tortellinul.
Tortellini în supă. După tradiția bologneză, se gătesc și se mănâncă cu supă de carne de clapon sau găină. Într-o altă rețetă foarte răspândită în afară de cea tradițională, se fierb în apă și se garnisesc cu smântână; după opinia unor persoane acest tip de garnitură diminuează savoarea umpluturii.
Nu sunt greu de găsit alte rețete (diferite de cele tradiționale) cum ar fi de exemplu tortellini cu ragu. O altă variantă este “timballo” de tortellini, care se obține din coacerea la cuptor a tortellinilor cu mozzarella (brânză), suc de roși și alte ingrediente la alegere cum ar fi: (ouă, ciuperci, vinete etc).
Există și tortellini dulci, umpluți cu marmeladă și ciocolată.
Tortellini se comercializează pasteurizați, congelați sau proaspeți, peste tot în lume și în special acolo unde comunitățile italiene sunt bine inrădăcinate. Tortellini sunt produși astăzi cu mașini industriale special create de către societăți italiene cum ar fi: Arienti & Cattaneo, Ima, Ostoni, Zamboni etc.; tortellini ambalați proaspeți au o garanție de 7 săptămâni durată de înmagazinaj.
Există diferite denumiri similare ale pastelor făinoase italiene. Astfel:
Bucătăria franceză

Bucătăria franceză sau bucătăria franțuzească (fr. Cuisine française) reprezintă totalitatea stilurilor culinare dezvoltate de-a lungul timpului pe teritoriul Franței, urmând tradiția locală, dar acceptând și influențe din coloniile fostului Imperiu. Acesta a evoluat de-a lungul secolelor, în urma schimbărilor sociale și politice din țară. Evul Mediu a văzut dezvoltarea unor banchete somptuoase cu alimente extrem de condimentate și bogat decorate de către bucătarii înaltei aristocrații, unul dintre cei mai celebrii fiind Guillaume Tirel. Odată cu Revoluția Franceză, obiceiurile culinare s-au modificat prin viziunea unor maeștri bucătari ca Pierre François La Varenne și a bucătarului lui Napoleon Bonaparte, Marie-Antoine Carême care au început utilizarea sistematică a mirodeniilor și a ierburilor aromatice. Bucătăria franceză a fost codificată în secolul al XX-lea de către Auguste Escoffier această culegere devenind un punct de referință în bucătăria modernă, ceea ce este cunoscut astăzi ca haute cuisine (în fr. grande cuisine), reprezentând azi nu numai un obicei alimentar, dar și un model cultural. Escoffier nu a reușit însă să cuprindă toate aspectele și complexitatea preparatelor de pe întreg teritoriul Franței o mare parte din caracterul regional, care poate fi găsit în provinciile franceze rămânând în afara codului său. Dezvoltarea turismului culinar și influența Ghidului Michelin au contribuit la orientarea consumatorilor și către mâncărurile regionale fie ele din mediu burghez, fie din mediul țărănesc de pe tot teritoriul țării. În unele zone tradițiile regionale sunt foarte puternice, precum în sud-vest unde bucătăria gasconă este predominantă. Aceiași situație este și în restul Franței unde diferite stiluri de gătit sunt practicate și există multe tradiții regionale, ceea ce face dificil să se vorbească de bucătăria franceză ca un tot unitar. Există multe feluri de mâncare regionale, care s-au dezvoltat și au ajuns să fie (re)cunoscute la nivel național. Multe feluri de mâncare cunoscute, în întreaga țară, au unele variații de la o regiune la alta.
Multe produse agricole, precum brânzeturile, vinul sau diverse preparate din carne, ocupă un loc de excepție în bucătăria franceză, având nenumărate varietăți regionale, care poartă calificativul de produse agricole biologice, sau au denumiri protejate sub etichetele: denumire de origine controlată sau indicație geografică protejată.
Oyster stew

Oyster stew is a stew made with oysters. It is popular in the United States and in The Gambia.
In New England cuisine, oyster stew is often associated with Thanksgiving. In Southern United States cuisine, oyster stew is often prepared on Christmas Eve.
There have been a number of different explanations offered for oyster stew being traditionally consumed on Christmas Eve. Bill Neal suggests that before the acceptance of refrigerated food transport, sufficient cold weather for shipping was not guaranteed before December, and so "Far from the coast, oysters became a symbol of the arrival of the winter holiday season, appearing in the markets by Christmas Eve and on tables that night as oyster stew. Stephanie Butler, however, gives an alternate explanation: Irish Catholic immigrants would not eat meat on Christmas Eve, and were used to eating stew made with ling instead. Butler suggests that "oysters taste pretty similar to dried ling: they're salty, briny and can be quite chewy. The ling stew recipe was quickly adapted for oysters."
The basic southern oyster stew is made with milk and cream. Oyster stew is often served with oyster crackers, and that may be the origin of the cracker's name.
Oyster stew is also a popular dish in Gambian cuisine. Oysters in The Gambia are grown on mangrove roots in swamps.
Grasă de Cotnari

Grasă de Cotnari (Romanian pronunciation: [ˈɡrasə de kotˈnarʲ]) is a Romanian wine variety associated with the Cotnari wine region, in Iași County (historical region of Moldavia), where it has been grown ever since the rule of Prince Stephen the Great (1457–1504).
The grape is characterized by its relatively large berries.
Grasă de Cotnari is usually a botrytised sweet wine (although semi-sweet varieties are also made) and usually has a high residual sugar content, sometimes as much as 300g/liter. The harvest of 1958 reached the maximal sugar content in the history of this wine of about 520g/liter.
With the general decline in demand for sweet wines after the Second World War and bad wine making during the communist era, mainly produced for the Soviet Union, Grasă de Cotnari became largely forgotten in the international wine market. Even today it is seldom available, although the offered qualities have improved considerably.
The wine is made primarily from a grape variety also called Grasă de Cotnari. or Grasă (an old white grape cultivated in the Furmint group), although some additional Fetească Alba is allowed. It is produced from grapes that fully reached and exceeded their maturity, hence the high residual sugar content. It is suitable for making aszú wines in Hungary where it is called Kövérszőlő.
A carefully made Grasă de Cotnari is a golden yellow wine, and in spite of its residual sweetness should retain a fine acid structure and 11,5-14% alcohol by volume. It ages well, its color darkens from pale yellow to reach a dark yellow with an orange note in it. A good Grasă de Cotnari should have a distinct bouquet of apricot, walnut and almond and should be drunk chilled at about 10-12 degrees Celsius.
The grape variety Grasa is known as Kövérszőlő (Hungarian: fat grape) in Tokaj, Hungary. These two grape varieties are identical.
Tempest in a teapot

Tempest in a teapot (American English), or also phrased as storm in a teacup (British English), or tempest in a teacup, is an idiom meaning a small event that has been exaggerated out of proportion. There are also lesser known or earlier variants, such as storm in a cream bowl, tempest in a glass of water, storm in a wash-hand basin, and storm in a glass of water.
Cicero, in the first century BC, in his De Legibus, used a similar phrase in Latin, possibly the precursor to the modern expressions, Excitabat enim fluctus in simpulo ut dicitur Gratidius, translated: "For Gratidius raised a tempest in a ladle, as the saying is". Then in the early third century AD, Athenaeus, in the Deipnosophistae, has Dorion ridiculing the description of a tempest in the Nautilus of Timotheus by saying that he had seen a more formidable storm in a boiling saucepan. The phrase also appeared in its French form une tempête dans un verre d'eau ('a tempest in a glass of water'), to refer to the popular uprising in the Republic of Geneva near the end of the eighteenth century.
One of the earliest occurrences in print of the modern version is in 1815, where Britain's Lord Chancellor Thurlow, sometime during his tenure of 1783–1792, is quoted as referring to a popular uprising on the Isle of Man as a "tempest in a teapot". Also Lord North, Prime Minister of Great Britain, is credited for popularizing this phrase as characterizing the outbreak of American colonists against the tax on tea. This sentiment was then satirized in Carl Guttenberg's 1778 engraving of the Tea-Tax Tempest (shown above right), where Father Time flashes a magic lantern picture of an exploding teapot to America on the left and Britannia on the right, with British and American forces advancing towards the teapot. Just a little later, in 1825, in the Scottish journal Blackwood's Edinburgh Magazine, a critical review of poets Hogg and Campbell also included the phrase "tempest in a teapot".
The first recorded instance of the British English version, "storm in teacup", occurs in Catherine Sinclair's Modern Accomplishments in 1838. There are several instances though of earlier British use of the similar phrase "storm in a wash-hand basin".
A similar phrase exists in numerous other languages:
Rondavel

Rondavel is a style of African hut known in literature as cone on cylinder or cone on drum. The word comes from the Afrikaans rondawel.
The rondavel is usually round or oval in shape and is traditionally made with materials that can be locally found in raw form. Its walls are often constructed from stones. The mortar may consist of sand, soil, or combinations of these, mixed with cow dung. The floor of a traditional rondavel is finished with a dung mixture to make it hard and smooth. The main roofing elements of a rondavel are spars or poles taken from tree limbs, which have been harvested and cut to length. The roof covering is of thatch that is sewn to the poles with grass rope. The process of completing the thatch can take as little as one weekend or up to a year if made by a skilled artisan, as it must be sewn in one section at a time, starting from the bottom working towards the top. As each section is sewn, it may be weathered and aged to form a complete weatherproof seal.
Rondavels can be found in the countries of Southern Africa, including: South Africa, Lesotho (where the hut is also known as a mokhoro), Eswatini, Botswana, and others. In Réunion they exist only in public places, for picnics for example. In different areas, there are small local variations in wall height, roof pitch and general finish. Some people elaborately carve, paint, or decorate the outside wall that has been finished off with dung. In other places, people leave their rondavels undecorated.
In recent times, with the availability of modern construction materials, the appearance and construction of rondavels have changed. They may have concrete foundations, be built with cement blocks or brick, mortared with cement, and/or roofed with corrugated tin. While the traditional rondavel did not have running water, electricity, and/or other modern amenities, many are now equipped with or have been adapted to accommodate these services.
Today, complete homes built in the rondavel architecture are common, and rondavels are fairly popular as outbuildings on smallholdings and commercial farms (e.g. tool sheds, milk rooms, staff accommodation, etc.). Rondavels are also quite common as holiday cottages. Apart from pre-fabricated rondavels, the roofing material is nearly always thatch, because it is difficult to make a neat conical roof out of other materials.
Structurally, no internal struts are required. The principals (wooden poles running radially out from the apex of the roof to the top of the rondavel's wall) are fully supported by the circular purlins: First, the principals do not sag in the middle, because sagging only puts the purlins near the middle of the principals under compression. Second, the principals do not splay at the bottom (push the top of the walls over to the outside) because splaying only puts the purlins near the bottom of the principals under tension. Thus it is possible to build a large rondavel without internal bracing for the roof. Traditional African rondavels range in size depending on the availability of building and construction materials.