davidanugraha/M4-RAG huggingface dataset:
சிங்களத் திரைப்படத்துறை

சிங்களத் திரைப்படத்துறை (Sinhala cinema) என்பது இலங்கைத் திரைப்படத்துறையில் சிங்கள மொழிகளில் வெளியாகும் திரைப்படங்களையும், அதைச் சார்ந்த தொழிலாளர்களையும் உள்ளடக்கிய திரைப்படத்துறை ஆகும்.
இது இலங்கை நாட்டின் முதன்மை திரைப்படத்துறையாகவும் சிங்களவர்களிடையே பெரும் வரவேற்பைப் பெற்ற ஒரு துறையாகும் இருக்கின்றது. பல தத்ரூபங்கள் அமையப்பெற்ற சிங்களத் திரைப்படங்கள் வெளிநாடுகளில் நடைபெறும் சர்வதேச திரைப்பட விழாக்களில் பங்கு கொண்டு விருதுகளைப் பெறுவதும் குறிப்பிடத்தக்கது.
1925 ஆம் ஆண்டு இந்தியாவில் தயாரிக்கப்பட்டு சிங்கப்பூரில் வெளியிடப்பட்ட 'ராஜாகீய விக்ரமாயா' என்ற திரைப்படமே முதன் முதலில் தயாரிக்கப்பட்ட சிங்களத் படமாகும். பின்னர் நீண்ட இடைவெளிக்குப் பின்னர் 1947 ஆம் ஆண்டு எஸ். எம். நாயகம் என்பவரால் தயாரித்து வெளியிடப்பட்ட கடவுனு பொறந்துவ திரைப்படமே முதன் முதலில் இலங்கையில் வெளியிடப்பட்ட முதல் சிங்கள மொழித் திரைப்படம் ஆகும். இத் திரைப்படம் தென்னிந்தியத் திரைப்படத்துறை கலைஞர்களால் தயாரிக்கப்பட்டது என்பது குறிப்பிடத்தக்கது.
1948 ஆம் ஆண்டு 'சிரிசேன விமலவீர' வெளியிட்ட 'அம்மா' என்ற அவரது முதற் திரைப்படம் மூலம் இந்தியத் திரைப்படத்துறைக்கும் சிங்களத் திரைப்படத் துறைக்கும் இருந்த ஒற்றுமைகளைக் கலைந்து புதிய திரைப்பட வகையினை வெளிப்படுத்தினார். 1956 ஆம் ஆண்டின் பண்டாரநாயக்கா ஆட்சிக் காலத்தில் புத்தமதத்தின் கூற்றுக்களுக்கு மதிப்பளித்து சிங்களத் திரைப்படங்கள் வெளிவந்ததும் குறிப்பிடத்தக்கது. இந்தியாவில் எடுக்கப்படும் திரைப்படங்களைப் போன்று காதல் கதைகள் அல்லாது பல வகைகளிலும் சிங்களத் திரைப்படங்கள் எடுக்கப்பட்டதும் குறிப்பிடத்தக்கது. பிரபல இயக்குநரான லெஸ்டர் ஜேம்ஸ் பீரிஸ் வெளியிட்ட 'ரேகவா' திரைப்படத்தில் காதல் அற்ற பல விடயங்கள் ஆராயப்பட்டிருப்பதனையும் அறியலாம். மேலும் இத்திரைப்படம் கான் திரைப்பட விழாக்களில் பங்குகொண்ட முதல் சிங்களத் திரைப்படமென்பதும் குறிப்பிடத்தக்கது.
இத்திரைப்ப்டத்தினைத் தொடர்ந்து இவர் இயக்கிய 'கம்பெரலிய' டெல்லியில் நடைபெற்ற சர்வதேச திரைப்ப்ட விழாவில் கிராண்ட் பிரிக்ஸ் விருதைப் பெற்றது.மேலும் இவரின் படைப்பான 'நிதனய' திரைப்படம் வெனிசில் நடைபெற்ற சர்வதேச திரைப்பட விழாவில் பங்குபெற்றதும் குறிப்பிடத்தக்கன.
தேங்காய் சுடும் விழா

தேங்காய் சுடும் விழா தமிழ்நாட்டின் பல்வேறு பகுதிகளில் ஆடி 1 அன்று குறிப்பாக காவிரி, அமராவதி உள்ளிட்ட பல ஆற்றங்கரையோரங்களில் கொண்டாடப்படுகின்ற விழாக்களில் ஒன்றாகும்.
பொதுவாக புதிதாகத் திருமணம் ஆன தம்பதியர், தீய எண்ணங்களை முழுமையாக அகற்றிவிட்டு அங்கு நல்ல எண்ணங்களை விதைத்து சுவையான வாழ்வினைத் தொடங்கவும், விவசாயம் செழிப்பாக அமையவும், செல்வம் பெருகவும், ஆண்டு முழுவதும் குடும்பத்தில் ஒற்றுமை நிலவி மகிழ்ச்சியாக இருக்கவும் இவ்விழா கொண்டாடப்படுகிறது.
முற்றிய தேங்காயின் கண்களைத் திறந்து அதிலுள்ள நீரை அகற்றிய பின்னர் பொட்டுக்கடலை, பச்சரிசி, பருப்பு, வெல்லம், அவல், எள், ஏலக்காய் ஆகியவை கலந்த கலவையை இட்டு, கூராக சீவப்பட்ட அழிஞ்சி மர குச்சியில் இந்த தேங்காயை சொருகி தீயில் வாட்டி, சுட்டு பின் சாப்பிட்டு மகிழ்கின்றனர். தேங்காயை உரித்து சுத்தம் செய்து மஞ்சள் தடவி, துளையிட்டு, அதில் உள்ள தேங்காய்நீரை எடுத்ததும், ஊறவைத்த பச்சரிசி, நாட்டுச்சக்கரை, பொட்டுக்கடலை, எள், வறுத்த பாசிப்பருப்பு போன்றவற்றை அரைத்து அதனைத் தேங்காயில் போட்டு சுடுவதும் உண்டு. பிரசாதமாக தங்களின் வீட்டிற்கு எடுத்துச் செல்கின்றனர்.
கரூர் (கரூர் மாவட்டம்) சேலம், மேட்டூர், ஈரோடு, நாமக்கல், பள்ளிபாளையம், குமாரபாளையம், பரமத்திவேலூர், திருச்செங்கோடு, ராசிபுரம், சேந்தமங்கலம் உள்ளிட்ட பல இடங்களில் இவ்விழா கொண்டாடப்படுகிறது.
Marathi Christians

Marathi Christians are an ethnoreligious group of the Indian state of Maharashtra who accepted Christianity during the 18th and 19th centuries during the East India Company, and later, the British Raj. Conversions to Protestantism were a result of Christian missions such as the American Marathi Mission, Church Mission Society and the Church of England's United Society for the Propagation of the Gospel.
Around the turn of the 18th century, British Baptist missionary William Carey was instrumental in translating the Bible into the Marathi language. Most of the converts were lower-caste Hindus with some upper-caste Hindus and Muslims.
The American Board of Commissioners for Foreign Missions established their first foreign mission with the American Marathi mission in Bombay on 21 December 1813, it was the first Protestant Mission in Western India and spread into hundreds of villages. The mission center moved from Bombay to Ahmednagar in 1831 because it was closer to the center of Marathi country. Schools, Boardings, Colleges and theological institutions were created by Marathi mission in late 1800, aiding famine and reaching untouchables increased Christian Converts in area.
Christians of Ahmednagar district account for nearly 10% of district's population, a significant number of whom are located in the eastern part of the district in places such as Nevasa, Pathardi, Shevgaon, Rahuri and Ahmednagar itself.
European and American missionaries established missions in Palghar and Dahanu in Palghar district. Most of the converted Christian community from these areas are local native belong to the Second District of the Church of the Brethren (F-257 Bom).
Aurangabad is home to The Diocese of Aurangabad which has its Cathedral and Bishop’s House located in the Cantonment Area. The Diocese covers the whole of Marathwada and works mainly in field of Education, Health, and social work.
The American Free Methodist Church maintains missions at Yavatmal, Wani, Umri, Rajur and Darwah.
The city of Pune is home to the headquarters of the Diocese of Pune. The Diocese has a significant Marathi Catholic population.
There are several Marathi Methodist, Anglican, Baptist, Seventh-Day Adventist, Church of the Nazarene, Pentecostal and Church of Christ missions across the city.
There are similarities of customs and culture between Hindus and Marathi Christians, such as dress, food and cuisine. The Hindu custom of wearing Saree, Mangalsutra and placing Bindis is still prominent among native Christians. Marathi Christian highly retain their Marathi culture, and they have kept their Pre-Christian surnames. In Maharashtra, great Marathi poet Narayan Wamanrao Tilak realised that a Hindu-Christian synthesis was simply not possible, unless the Christian religion had deep roots in the Indian culture. He trained the Marathi Christians to worship and sing Bhajan and Kirtan.
List of Marathi-language newspapers

The Marathi language has a long history of literature and culture. The first Marathi newspaper, Darpan, was started on 6 January 1832 by Balshastri Jambhekar. The paper was bilingual fortnightly also published in English as The Bombay Darpan and stopped publishing in 1840. Founded in 1881 by Bal Gangadhar Tilak, the daily Kesari was a prominent newspaper of the pre-Independence era with a large readership. It claimed to have circulation of 3500 within two years of establishment and reached up to 22,000 during 1908. Narayan Meghaji Lokhande's Marathi daily Din Bandhu, which focused on social causes of labour class, was the second largest circulation in Bombay Presidency with 1650 copies a week in 1884.
Pandit Bhimsen Joshi Lifetime Achievement Award

Pandit Bhimsen Joshi Lifetime Achievement Award (Marathi: पंडित भीमसेन जोशी जीवनगौरव पुरस्कार) by the Government of Maharashtra since 2012. Award is given to artist who has been doing outstanding work in the field of classical singing and playing for a long time. The honour conveys the money prize of ₹0.1 million (US$1,200), a citation and a memento.
The recipients of the Pandit Bhimsen Joshi Lifetime Achievement Award are as follows
Pratélaning lambang kembang ing Indonésia

Pratélan flora identitas provinsi ing Indonésia inggih punika satunggaling pratélan wontenipun jinis sadaya nama-nama tuwuhan ingkang kasebar wonten ing sadaya wewengkon nusantara, mliginippun ingkang wonten ing 34 wewengkon provinsi ing Indonésia, ingkang dipunwiwiti saking tuwuhan ingkang dipunlindhungi ngantos tuwuhan ingkang kalebet jinis tuwuhan endemik. Ing ngandhap punika inggih pratélan flora identitas provinsi ing Indonésia ingkang kalebet saperanganipun flora ingkang radi arang kapanggih malih kawontenanipun ing Indonésia.
Wonten tigang jinis kembang nasional ingkang dipuntemtokaken déning pamaréntah kanthi ancasipun saged makili karakteristik bangsa lan nagara Indonésia. Lan Indonésia piyambak gadhah tigang kembang nasional ingkang dipuntemtokaken saking Dudutan Présidhèn Indonésia Nomor 4/1993. Spesies kembang ingkang dipuntemtokaken dados kembang nasional saking kaputusan kasebat inggih punika:
==Flora Identitas Provinsi ing Indoensia]] Ing ngandhap punika inggih pratélan flora identitas provinsi ing Indonésia dhedhasar Dudutan Mantri pedoman peneapan iDalam Negeri Nomor 48 Taun 1989 tangal 1 September 1989 ngengingi pedopan kanggé netepaken identitas flora lan fauna laladan:
Hainuwélé

Hainuwele, "Gadis Kelapa", kalebu tokoh saka crita rakyat Wemale lan Alune ing Pulo Seram ing Kepulauan Maluku, Indonesia . Crita kasebut minangka mitos asal .
Mitos Hainuwele kacathet dening etnis Jerman Adolf E. Jensen sawise ekspedisi Institut Frobenius 1937-8 menyang Kepulauan Maluku. Panliten mitos iki sajrone riset babagan pangurbanan agama nyebabake Jensen ngenalake konsep Dema Dewa ing etnologi .
Joseph Campbell pisanan nyritakake legenda Hainuwele menyang pamirsa sing nganggo basa Inggris ing karyane The Masks of God .
Nalika mburu ing sawijining dina, ana wong lanang sing jenenge Ameta nemokake klapa, ana sing durung nate dingerteni ing Seram, sing kejiret ing cangkang babi hutan . Ameta, sing dadi bagean saka salah sawijine kulawarga asli saka Ceram Kulon sing metu saka gedhang, nggawa klapa kasebut mulih. Wengi iku, ana tokoh sing muncul ing impen lan menehi arahan nandur klapa kasebut. Ameta nindakake, lan mung sawetara dina, klapa kasebut tuwuh dadi wit sing dhuwur lan mekar. Ameta menek wit kanggo ngethok kembang kanggo nglumpukake getah, nanging nalika proses kasebut, driji lan getihe mudhun dadi kembang. Sangang dina mengko, Ameta nemokake ing papan kembang iki bocah wadon sing dijenengi Hainuwele, tegese "Cabang Kelapa". Dhèwèké bungkus sarung banjur digawa mulih. Dhèwèké diwasa kanthi cepet banget. Hainuwele duwe talenta sing luar biasa: nalika dhèwèké buang air besar, dhèwèké ngetokake barang-barang sing terkenal. Amarga iki, Ameta dadi sugih banget.
Ing tarian kanthi berturut-turut, para pria ngubengi para wanita ing tengah lapangan nari, ing antarane Hainuwele, sing menehi hadiah. Sadurunge wengi kaping sanga, para pria ndudhuk jugangan ing tengah lapangan nari lan, nuwuhake Hainuwele, sajrone nari dhèwèké terus maju terus nganti dhèwèké disurung lumebu ing jugangan kasebut. Wong lanang kasebut kanthi cepet nyapu bocah wadon kasebut, nutupi tangisane karo lagune. Mula Hainuwele dikubur urip-urip, nalika para pria padha nari terus ing rereget sing nuli mudhun.
Ameta, sing ilang ing Hainuwele, nggoleki dhèwèké. Liwat oracle dhèwèké nemokake apa sing kedadeyan, banjur dhèwèké njupuk mayit kasebut lan dipotong-potong, banjur dikubur maneh ing desa kasebut. Potongan-potongan kasebut tuwuh dadi macem-macem tanduran migunani anyar, kalebu umbi-umbi, mula dadi panganan utama sing wis dinikmati masarakat Indonesia wiwit saiki.
Ameta nggawa tangane Hainuwele menyang mulua Satene, dewa sing nguwasani manungsa. Karo wong-wong mau, dhèwèké nggawe gerbang kanggo spiral sing kudu dilewati kabeh wong. Wong-wong sing bakal bisa melintasi gerbang bakal tetep dadi manungsa, sanajan saiki bisa uga fana, dadi dipisahake dadi Patalima (Pria lima) lan Patasiwa (Pria nomer sanga). Sing ora bisa liwat ambang dadi jinis kewan utawa memedi anyar . Satene dhewe nilar Bumi lan dadi panguwasa ing alam mati. Patasiwa minangka klompok sing dadi anggota Wemale lan Alune.
Mangliawan

Mangliawan (Malyawan) iku putrane Prabu Sukesa, ratu kang kadhatone ing akasa. Mangliawan nduwé adhi 2, jenenge Mali, lan Sumali.
Miturut layang Uttarakanda, madege kadhaton Ngalengka iku ing jamané danawaraja 3 tunggal rama-ibu, yaiku Malyawan, Mali, lan Sumali. Sing yasa (gawe) kadhaton Ngalengka iku Bathara Wiswakarma, dewa kang ahli ing babagan bangunan, saka panyuwune danawaraja 3 iku.
Kadhaton Ngalengka sawijining kadhaton emas pinatik manik mawa retna, ambane 30 yojana (1 yojana=112 Km). Dumunung ing pucuking Gunung Trikuta, sapinggiring Daksinasagara (samodra kidul, maksude samodra ing sakiduling Indhi), ing sacedhake Gunung Parwata.
Mangliawan iku digdaya banget. Awake ora tedhas ditamani landheping gegaman wujud apa wae, watake angkara murka. Mula banjur ada-ada arep nguwasani kahyangan (papane para dewa). Mali ngombyongi, dene Sumali rangu-rangu. Kinarya dhadhakaning prakara, Mangliawan utusan Patih Lodra supaya nyaosake layang marang ratuning para dewa, nglamar Dewi Sri Kembang garwane Bathara Wisnu.
Bathara Guru ora minangkani panyuwune Mangliawan. Layang disebit-sebit, diuncalake ing raine Patih Lodra. Sang Patih banjur bali ing Ngalengka, ngaturake cabaring laku.
Mangliawan banjur ngirid wadyabala nglurugi kahyangan. Dadi perang rame. Jroning paprangan 3 dina, rerenggan kahyangan akeh sing rusak. Bathara Wisnu sigra gawe rekadaya. Dewi Sri (garwane) didhawuhi mikat lan nemoni Mangliawan, golek sisik mêlik papan pengapesane.
Mangliawan bareng weruh kasulistyane Dewi Sri, sanalika gandrung-gandrung. Dewi Sri matur saguh kagarwa, nanging darbe panjaluk kepengin ngerti dununge kasektene Mangliawan. Rehne kadhung wuyung, panjaluke Dewi Sri dituruti, dikandakake yen wadi kasektene iku dumunung ing poking kuping tengen kang belang putih sing gedhéné saendhoge manuk emprit.
Bathara Wisnu sing ngawat-awati Dewi Sri kanthi laku kadewatan, wis mireng ucape Mangliawan. Sigra nglepasaké senjata Cakra tumanduk ing kupinge tengen Mangliawan kang ana belange putih. Mangliawan sirna margalayu. Ragane kontal tiba ing bumi, dadi gunung, ingaran Gunung Mangliawan. Mali bela pati. Diuntapake sisan dening Bathara Wisnu. Sumali weruh kadang-kadange mati, sigra oncat saka paprangan, ndhelik ing Gunung Trikuta. Sawatara taun kadhaton Ngalengka komplang. Sawise rinasa aman, Sumali bali ing Ngalengka lan jumeneng ratu, jejuluk Prabu Sumali.
Mangliawan ninggalake anak 1, jenenge Jambumangli. Jambumangli diopeni Sumali. Ing tembé didadekake senapati ing Ngalengka.
Remy Sylado

Yapi Panda Abdiel Tambayong (Ejaan Républik: Japi Tambajong) utawa kondhang karo jeneng pena Remy Sylado lair ing Makassar, Sulawesi Selatan 12 Juli 1945 ya iku sastrawan Indonésia.
Remy Silado ya iku penyair, kondhang amarga puisi mbeling. Dhèwèké lair ana Malino, Makassar, Sulawesi Kidul, ing 12 Juli 1945, kanthi jeneng Yapi Panda Abdiel Tambayong utawa Japi Tambajong. Jenenge kerep ditulis nganggo angka 23761, dijipuk saka chord sepisanan lagu All My Loving duweke The Beatles. Kabèh babagan seni wis dijajal, saka nulis geguritan, novèl, ésai, nganti naskah lakon; uga seni musik, seni rupa, lan mligi seni téater.
Remy Silado dadi pelopor puisi mbeling taun 1970-an, 'apa waé bisa lan olèh ditulis dadi geguritan, lan sapa waé olèh dadi penyair'. Dhèwèké dadi rédhaktur ana kalawarti Aktuil lan ngurusi rubrik Puisi Mbeling.
Geguritan-geguritané sasuwéné 30 taun diklumpukaké lan diterbitaké kanthi irah-irahan Puisi Mbeling Remy Silado déning Kepustakaan Populer Gramedia taun 2004.
Remy, nalika cilik tau manggon ing Semarang lan Sala.
Remy duwé sesinglon akèh kaya ta "Dova Zila", "Alif Danya Munsyi", "Juliana C. Panda", "Jubal Anak Perang Imanuel", lan liya-liayné. Saliyané kagiyatan ing babagan musik, seni rupa, teater, filem, uga bisa akèh basa.
Remy wiwit karier dadi wartawan majalah Tempo (Semarang, 1965), redaktur majalah Aktuil Bandung (wiwit 1970), dhosèn Akademi Sinematografi Bandung (wiwit 1971), ketua Teater Yayasan Pusat Kebudayaan Bandung. Dhèwèké nulis kritik, puisi, carkak, novèl (wiwit umur 18), drama, kolom, esai, sajak, roman populer, uga buku-buku musikologi, dramaturgi, basa, lan teologi. Remy kaloka amarga kekendhelané ngadhepi wong akèh liwat panggung-panggung drama kang kabawah. Remy uga salah sijiné pelopor panulisan puisi mbeling.
Saliyané nulis novèl, Remy uga pinter nggambar, drama lan ngerti babagan filem. Saiki Dhèwèké manggon ing Bandung. Remy tau dianugerahi bebungah Sastra Khatulistiwa 2002, iku kanggo novèl kang judhulé Kerudung Merah Kirmizi.
Puisi mbeling lair bebarengan karo saya kuwaté konsolidasi pulitik pamaréntah Orde Anyar kang agi waé munggah kuwasa. Surak-surak ana kalangan pulitis lan aktivis pergerakan kang wis kasil olèhé mbabat Orde Lawas isih krasa. Pangarep-arep kang dibotaké ana pamaréntahan anyar ora ninggali rasa kritis kaya ing jaman démonstrasi gedhé taun 1966. Sing metu ya iku usaha bebarengan kanggo nyipta suwasana kondusif lan stabil, ora mung ana puitik, nanging uga sastra.
Kaya kang diujaraké Remy Sylado, gerakan mbeling ya iku perlawanan kang diarahaké ana 2 sasaran. Sepisanan, èstétika geguritan kang kekurung ana pikiran-pikiran konvénsional kang diungkap kanthi kabur lan peteng ana basa kembang-kembang saéngga geguritan kelangan tanggung-jawabé marang kasunyatan. Kapindho, situasi pulitik Orde Anyar kang nyata dibingkai ana gerontokrasi kang salah kaprah kanthi slogan-slogan saka pejah gesang ndhèrèk bapak dadi mikul dhuwur, mendhem jero.
Agave maculata

Agave maculata (synonym Manfreda maculosa), commonly known as the Texas tuberose or spice lily, is a species of Agave that is endemic to southern Texas and northeastern Mexico.
The Texas tuberose is acaulescent, meaning the stem is extremely short. The fleshy silvery-green leaves are covered with purple spots and in low light situations may lay flat on the ground. In a drought, the leaves may wither, leaving little or nothing visible above ground. Sufficient precipitation yields an inflorescence 60 cm (24 in) tall in the period April–September. The new flower stalks (inflorescences) are fed on by small mammals, javelina, deer, and feral pigs, which can end the flowering effort for that season. The leaves are fed on by these as well, especially during droughts, weakening and killing the plants.
The flowers open and change colors over 3–4 days of life, from white to pink to dark red. The inferior ovaries turn from green to purple to black as they mature as seedpods.
Agave maculata was first described by Eduard von Regel in 1856. Later, in 1859, William Hooker described the same species as Agave maculosa. It was under this synonym that it was transferred to the genus Manfreda and then the genus Polianthes (both now included in Agave), but Regel's epithet is the oldest and so has priority.
Texas tuberose is the primary host plant for the caterpillars of the rare manfreda giant-skipper or aloe skipper (Stallingsia maculosus (= Stallingsia smithi)). A reduction in the A. maculata population could threaten the existence of the butterflies.
Data related to Agave maculata at Wikispecies
Danur 2: Maddah

Danur 2: Maddah is a 2018 Indonesian supernatural horror film directed by Awi Suryadi and written by Lele Laila. The film stars Prilly Latuconsina, Sandrinna Michelle and Shawri Adrian Khulafa in leading roles with Sophia Latjuba, Bucek Depp, and Gama Haritz in supporting roles. The film is the sequel to the 2017 film Danur: I Can See Ghosts, and is followed by Danur 3: Sunyaruri in 2019.
A year after her revisit to her childhood home, Risa and her sister Riri live in Bandung alongside Peter, William, and Janshen. Due to Elly going abroad along with her husband, they generally visit their aunt Tina's residence. Tina lives along with her husband Ahmad and son Angki. Riri, now a ballet rookie, enrages whilst Risa shouts amidst her stage overall performance, as there is a ghost behind her. Meanwhile, Peter, William, and Janshen meet fellow ghost friends Hendrick and Hans.
Risa slowly turns suspicious towards Ahmad, who unexpectedly turns introverted, in addition to regularly scattering tuberose vases everywhere in the residence. Risa spots Ahmad taking walks with a woman, soaking up scents of infidelity to her. Strange matters occur; Tina is traumatized by an encounter with a ghost, leading her to be hospitalized. At the sanatorium, Risa meets a corpse purifier who additionally has the ability to engage with ghosts; he explains that foxy ghosts can select whether or no longer their danur is capable of getting in contact with a human's senses, suggesting she exercise maddah, a ritual to deepen one's powers.
Fed up with the hauntings, Angki urges Risa to use her sixth sense to know what is actually taking place. Risa opens her frame for a ghost; the ghost tells Angki that she will kill Ahmad. Risa shows Angki a diary she took from Ahmad. In it, Ahmad claims to worship a female named Elizabeth, who will soon begin her twenty-third birthday; Ahmad plans to "meet" with her. Observing Elizabeth's photograph, Ahmad notes that she is the same as Ahmad's ex-female friend. Gathering the diary and a peculiar photo Riri located previously, Risa suspects that Elizabeth is a colonial-era Dutch girl who plans to kill Ahmad as an alternate for a brand new spouse. Risa rushes and saves Ahmad, tearing all pictures of any Dutch ladies within the residence. Ahmad is later possessed; Risa is helped with the aid of her ghost pals in rescuing Ahmad from Elizabeth. Afterward, a tearful Ahmad tears up his diary.
Risa's ghost friends introduce her to Ivanna, one of the Dutch women she noticed in an image. Ivanna explains that her brother, Dimas, changed into Elizabeth's boyfriend. Dimas is killed by Elizabeth's father, who does not believe their relationship, and Ivanna cuts off her family from Elizabeth's on account of that then.
Sometime after, Risa, her pals, Tina, Ahmad, and Angki visit the theater to watch Riri's ballet performance. Risa sees Canting, the theater's ghost.
Tuberose (album)

Tuberose is a studio album by French singer Amanda Lear, released in October 2021 by the independent label Boomlover.
The album was recorded at Studio Richer in Paris. It consists of downtempo acoustic covers of songs by Serge Gainsbourg, Charles Trenet and Georges Moustaki, among others. The material is performed primarily in French.
Tuberose was preceded by the dance single "More" in March 2021 which on the album appears in an acoustic version. "Le bel âge" and "Immortels" were then made available in September and October, respectively. The album entered the physical albums sales chart in France, but failed to chart on the French Top Albums 200.
Farnesol

Farnesol is a natural 15-carbon organic compound which is an acyclic sesquiterpene alcohol. Under standard conditions, it is a colorless liquid. It is hydrophobic, and thus insoluble in water, but miscible with oils. As the pyrophosphate ester, farnesol is a precursor to many terpenes and terpenoids.
Farnesol is present in many essential oils such as citronella, neroli, cyclamen, lemon grass, tuberose, rose, musk, balsam, and tolu. It is used in perfumery to emphasize the odors of sweet, floral perfumes. It enhances perfume scent by acting as a co-solvent that regulates the volatility of the odorants. It is especially used in lilac and peony perfumes. Farnesol and its ester derivatives are important precursors for a variety of other compounds used as fragrances and vitamins.
Farnesol is used as a deodorant in cosmetic products. Farnesol is subject to restrictions on its use in perfumery, because some people may become sensitised to it.
The pyrophosphate ester of farnesol is the building blocks of possibly all acyclic sesquiterpenoids. These compounds are doubled to form 30-carbon squalene, which is the precursor for steroids in plants, animals, and fungi.
Farnesyl pyrophosphate is produced from the reaction of geranyl pyrophosphate and isopentenyl pyrophosphate. Farnesyl pyrophosphate is the precursor to farnesol and farnesene.
Farnesol is used by the fungus Candida albicans as a quorum sensing molecule that inhibits filamentation.
Obtaining farnesol from natural sources is uneconomical. In industry, farnesol is produced from linalool.
Farnesol was named (ca. 1900–1905) after the Farnese acacia tree (Vachellia farnesiana), since the flowers from the tree were the commercial source of the floral essence in which the chemical was identified. This particular acacia species, in turn, is named after Cardinal Odoardo Farnese (1573–1626) of the Italian Farnese family who (from 1550 though the 17th century) maintained some of the first private European botanical gardens in the Farnese Gardens in Rome. The addition of the -ol suffix implies an alcohol. The plant itself was brought to the Farnese gardens from the Caribbean and Central America, where it originates.
Luisa Peirano

Luisa Peirano Basso (Montevideo, 10 de mayo de 1956) es una escritora y comunicadora uruguaya.
Es hija de Alba Basso Stajano (1921-2009) y su padre fue el abogado, empresario, catedrático y político Jorge Peirano Facio (1920-2003); nacida en una familia católica del Opus Dei;​sus hermanos son Juan, Jorge, María, Dante, José y Blanca Peirano Basso. Estudió letras en la Universidad Católica Argentina (UCA) de Buenos Aires, galardonada con la Beca Hubert Humphrey de la Universidad de Maryland en Estados Unidos y es doctora en Comunicación Pública por la Universidad de Navarra. Trabaja en la Universidad de Montevideo, dirige la Dirección de Relaciones Internacionales.​
Es editora y escribió varios libros como: El valor del ejemplo en 1994, realizó la dirección y edición literaria del libro Alberto Methol Ferré de Javier Restán Martínez en 2010, también la publicación Marcha de Montevideo, y la formación de la conciencia latinoamericana a través de sus cuadernos en 2001 y Abuélix en 2023.​ Publicó el artículo La primera época de los Cuadernos de Marcha en Marcha y América Latina.​
El libro Abuélix La vida de Alba Basso de Peirano, biografía de su madre, fue presentado en el Hotel Cottage y en la 48° Feria Internacional del Libro de Buenos Aires el 2 de mayo de 2024.​
Fiestas Julias

Como Fiestas Julias son denominados los festejos patronales, celebrados del 17 al 26 de julio,​ en la ciudad de Santa Ana, El Salvador. Estas festividades, en honor a la Señora Santa Ana (patrona de la ciudad), se han convertido en uno de los festejos más importantes de este país.
El sitio donde se asentaba la ciudad de Santa Ana, antes de la conquista española, era dominado por pipiles quienes nombraron a la región Sihuatehuacan, que significa Ciudad de las sacerdotisas. Los españoles conquistaron esta población entre 1530 y 1540.
La población sería evangelizada por la década de 1550s por la orden monástica de los dominicos, quienes fundaron un convento en San Salvador en 1551; con ello la localidad obtendría por patrona a Señora Santa Ana, obteniendo a su vez su nombre actual.​​​
En 1569 el obispo de Guatemala, Bernardino Villalpando, llegó a esta población el día 26 de julio. Una vez allí, mandó a construir una ermita o parroquia provisional (ubicada en donde hoy está la catedral), dedicándola a Señora Santa Ana; con lo que daría comienzo el trazado urbano actual de la ciudad.​
Las Fiestas Julias han sido celebradas en Santa Ana desde principios del siglo XVII (1600 - 1700).​ Con el tiempo, los días de duración de las festividades también han sido alargados, y en la actualidad inician desde el 17 de julio hasta el 26 de julio.​
Para la organización de las Fiestas Julias, el concejo municipal forma un comité de festejos que prepara todas las actividades que se realizarán desde el mes de mayo y durante el transcurso de las festividades.​ La organización recibe ayuda de las empresas privadas.​
El inicio de las Fiestas Julias coincide con el desfile de correo, el cual tiene lugar el 17 de julio y que transita por las principales calles y avenidas de la ciudad.​ Posterior al desfile, inician las festividades, destacándose en ellas las festividades religiosas, las cuales son realizadas en la Catedral de Santa Ana principalmente; al igual que distintas actividades para el disfrute de la familia, en especial el campo de la feria. También podemos disfrutar de una verbena la cual se inicia el 25 de julio en 25 calle. También tienen lugar ferias dedicadas a la ganadería, al dulce local y artesanía.​
Durante el transcurso de las Fiestas Julias se realizan encuentros deportivos, misas, desfiles, exposiciones musicales, artísticas y fiestas organizadas por una determinada institución (como la policía, la fuerza armada, las cooperativas, la procuraduría general y los bomberos); asimismo se desarrollan eventos en lugares de importancia económica como los mercados.​
Las fiestas terminan el 26 de julio (día en que el santoral católico tiene destinado a Señora Santa Ana), donde ocurre la procesión de la imagen de la Señora Santa Ana por las principales calles y avenidas de la ciudad.​
Argentines in Uruguay

Argentine Uruguayans are people born in Argentina who live in Uruguay. In 2010, there were over 10,000 Argentines living in Uruguayan territory.
Many Argentine-born persons reside in Uruguay, for a number of reasons. Both countries share the same language, culture and ethnicity and their populations bear striking similarities; the historical origins of both nations is common (part of the Viceroyalty of the River Plate, Spanish Empire); both countries are members of MERCOSUR, there is no need for special migration documents, and circulation is relatively easy. Uruguay is a small, quiet country, with wide beaches on the Atlantic Ocean, so many Argentines choose Uruguay as their usual holiday destination, some of them even as permanent residence; Argentine people come to Uruguay in search of a better quality of life. The Uruguayan resort Punta del Este is famous as "the biggest Argentine seaside resort".
The 2011 Uruguayan census revealed 26,782 people who declared Argentina as their country of birth. In 2013, there were almost 6,000 Argentine citizens registered in the Uruguayan social security.
Argentines in Uruguay have their own institutions, such as the Uruguayan-Argentine Institute, a bilingual school in Punta del Este.
In 2022, It was confirmed Colonia was going to make a Silicon Valley in Colonia called 'Colonia Ala Este' to bring more Argentine immigrants due to the bad economy in Argentina doubling their population making their goal reach to about 60,000 people in total in Colonia. With an initial investment of more than US$ 100 million, it was planned to build a sustainable city open to the community to generate a hub for the knowledge economy industry on a 500-hectare site, which includes forests and seven kilometers of coastline. with beaches such as Calabrés and Fernando.
Law of Uruguay

The legal system of Uruguay belongs to the Continental Law tradition.
The basis for its public law is the 1967 Constitution, amended in 1989, 1994, 1996, and 2004. According to it, Uruguay is a democratic republic. There is a clear separation of functions, between the Executive Branch, the Legislative Branch and the Judicial Branch.
On the other hand, private relationships are governed by the Uruguayan Civil Code, which was first published in 1868, thanks to the work of Tristán Narvaja.
In matter of private international law or conflict of laws, the legal system of Uruguay is comprised by international treaties ratified by the country and domestic laws. Uruguay signed and ratified a number of treaties on conflict of laws from several international forums: such treaties from the Hague Conference on Private International Law at an international level, from the Inter-American Specialized Conferences on Private International Law of the Organization of American States at a continental level and from the MERCOSUR at a regional level.
Regarding the domestic law, the core law on conflicts of law is the new General Law on Private International Law number 19920, that replaced the old system of the Appendix to the Final Title of the Uruguayan Civil Code, established by Law number 10084 of 1941, updating and expanding the coverage of the domestic system of private international law that works in the situation of a lack of an international treaty on the matter in the specific case.
Nadia Ferreira

Nadia Tamara Ferreira (born 10 May 1999) is a Paraguayan fashion model and beauty pageant titleholder who was crowned Miss Universe Paraguay 2021. As Miss Universe Paraguay, Ferreira represented Paraguay at Miss Universe 2021, where she placed as the first runner-up. Ferreira had previously been crowned Miss Teen Universe Paraguay 2015, and placed as the third runner-up at Miss Teen Universe 2015.
As a fashion model, Ferreira first garnered recognition in 2018, after being selected to walk in the F/W 2018 show for Custo Barcelona at New York Fashion Week. She has since appeared in Harper's Bazaar, Cosmopolitan, L'Officiel, and Robb Report Singapore.
Ferreira debuted in a Patrol Jeans commercial and other advertising campaigns.
In an Asunción fashion show, her silk dress slipped and bared her chest, garnering media attention. She said it would have been unprofessional to fix her dress while walking, so she continued with her walk and posture. Her fan club commended her actions.
She walked the runway in many occasions, including the New York Fashion Week, creating an uproar in local and international media from both supporters and critics alike.
She has also walked in fashion shows in Milan, Santiago, Paris, Brasil, Uruguay and Paraguay.
In 2018, she signed with the model agency Wilhelmina, famous for models such as Nicki Minaj, Demi Lovato and Nick Jonas. She was featured in Gettyimages editorial photography.
In March 2019, she released a new photo in her Instagram account announcing she had been selected to appear in Cosmo Fashion Night in Mexico City. In the photo, she was seen walking close to mariachi musicians.
On September 9, 2021, she tripped on her high heels and nearly fell during the Custo Barcelona Spring/Summer 2022 fashion show, held as part of the New York Fashion Week. The incident was widely reported in the media, and several commentators wondered if she had hurt herself, leading her to officially declare that she had only superficial scratches (and a bruised ego).
Ferreira became a local celebrity after her participation in Telefuturo's Parodiando, a 2015 television show in which participants perform parodies of famous singers, for her parodies of artists like Taylor Swift and Violetta.
In 2015, Ferreira represented Guairá in Miss Teen Universe Paraguay 2015 and eventually won the title. She represents her country at Miss Teen Universe 2015 which was held in Guatemala and was placed as the third runner-up. On August 31, 2021, Ferreira was appointed as Miss Universe Paraguay 2021. At the end of the event, she succeeded outgoing Miss Universe Paraguay 2020 Vanessa Castro. Ferreira then represented Paraguay at the Miss Universe 2021 pageant in Eilat, Israel, placing as the first runner-up, the highest placement for the country in the history of the pageant to date.
She became engaged to singer Marc Anthony on 13 May 2022. They married on 28 January 2023, and on February 14 of the same year (Valentine's Day), the couple announced that they were expecting their first child together, a boy, the seventh for Anthony and the first for Ferreira.
Río de Oro (Cesar)

Río de Oro es un municipio de Colombia situado en el nordeste del país, en el departamento del Cesar. Limita al norte con el municipio de González y el departamento de Norte de Santander; por el sur con San Martín, por el oriente con Ocaña y por el occidente con Aguachica.
Aparte de su cabecera municipal. Río de Oro tiene bajo su jurisdicción los siguientes centros poblados:
No hay una fecha clara y precisa sobre la fundación del Sitio de Río de Oro, como en un inicio fue denominado, y según historiadores se cree que comenzó a ser poblado desde 1658 por encomenderos españoles.​ Se sostiene que los primeros encomenderos en hacer su aparición en estas tierras fueron: Mateo Corzo, Juan de Gálvez Caballero y Catalina Gálvez de Caballero. También se habla de Luis Téllez Blanco y Gaspar Barbosa de Marín Pedroso como primeros pobladores; pero se habla de construcción, mas no de fundación. También se afirma que las primeras construcciones se realizaron en tierras que fueron donadas por Antón García de Bonilla. Tampoco existe una fuente precisa de la fundación del convento de los agustinos calzados, de quienes se dice que fundaron a Río de Oro en 1658.
En síntesis se habla de construcción mas no de fundación, lo que lógicamente ha debido tener lugar con antelación, al año citado, ya que ha comienzos de la conquista Ambrosio Alfinger, llegó hasta las tribus de los carates o caretas en los puntos llamados después Río de Oro y González.
La economía riodorense se basa prácticamente en la agricultura, la ganadería, la docencia, el comercio a baja escala y los empleos que ofrece la administración pública.
La dinámica económica del municipio corresponde al sector agropecuario, donde su base esencial productiva está sustentada en actividades agrícolas y en la ganadería extensiva.
La actividad agropecuaria presenta moderada rotación de actividades, variando de cultivos a potreros y viceversa, principalmente sobre la zona plana se desarrollan cultivos en gran escala, algo tecnificados, de maíz, siembra de yuca, fríjol, papaya, caña y frutales (mango, aguacate, patilla, cítricos y otros).
En la zona alta se presenta una alta rotación agrícola por los cultivos transitorios de cebolla, tomate, fríjol, hortalizas, café y yuca en menor escala, los suelos son de baja productividad y requieren de abonos orgánicos. Principales productos:
El municipio cuenta con dos vías terrestres muy importantes como son la vía que comunica a Río de Oro con Aguachica, y la que se comunica con Ocaña en Norte de Santander, favoreciendo al municipio ya que por medio de estas es posible el transporte hacia los distintos departamentos de Colombia.
Constituido por 11 concejales por un periodo de 4 años.
El alcalde se pronuncia mediante decretos y se desempeña como representante legal, judicial y extrajudicial del municipio. El alcalde municipal es Arnoldo Osorio Rincón (2024-2027).
Ciro Guerra
Artesanía movima

La artesanía movima es un tipo de artesanía indígena boliviana, realizada por el pueblo movima. Los movimas se encuentran en Santa Ana de Yacuma en la provincia Yacuma del departamento del Beni.​​
La artesanía movima se realiza tanto para uso personal como para generar ingresos económicos adicionales. ​La artesanía se elabora con herramientas menores como utensilios de cocina y herramientas para la ganadería. Los ingresos por la elaboración de la artesanía son en promedio de Bs 800 al año por familia.​ Generalmente, las comunidades movima que no tienen acceso a tierra con aptitud agrícola se dedican sobre todo a la actividad artesanal con fines comerciales. Actualmente, existe una Asociación de Artesanos Indígenas Movimas. Sin embargo, la práctica artesal disminuyó debido a falta de incentivos y a que las familias movima no tienen un lugar donde vender sus productos o una estrategia de comercialización.​
Antes de recolectar los materiales para la elaboración de artesanías, los movima piden permiso a los amos del monte Kaychol o Bo:lawque y les agradecen ofreciéndoles cigarrillos y chivé para que nada malo ocurra​
El conocimiento se transmite de generación en generación. Todos los miembros de la familia se involucran en la producción artesanal, desempeñando funciones distintas según su sexo y su edad.​ Usualmente las mujeres realizan trabajos de cestería y tejidos en algodón. Los hombres, por su parte, se encargan del tallado en madera y el trabajo en cuero. Los hijos mayores acompañan en estas labores y los menores se dedican a observar y fabricar objetos de prueba.​​​
El pueblo movima elabora sus artesanías con diversos materiales, como ser madera, fibras vegetales (incluyendo algodón y motacú), semillas, barro y partes de animales. ​
Los artefactos que se realizan con madera son: canoas y canastos (ju:ve), tacúes (emłdu’u), sillas (si:ya), trapiches (tarapi:chi), carretones (kare:ta), machetes (sawi:pa), máscaras (wakamosi), mesas (me:sa), gavetas (rawe:ta), manijas (barinkwa), rodillos (mase:ta), tenedores (tirinchi), cucharas (sawła) y remos (saylaye:do). ​
Se trabaja con tres tipos de arcilla, amarilla, roja y negra, y se realizan los siguientes objetos: tiestos (wereycho), tinajas (loto:ba), cazuelas (wu’tu), ollas (tomo:re), platos (cha:do), vasos (waso) y mecheros (mechawando).​
Las fibras vegetales con las que trabajan los movima incluyen algodón, motacú y semillas: esteras (powol), venteadores (bo:ve), sombreros (chorankwanto), coronas (chimpa), collares (nowe:di), aretes (mo’toto), rosarios (nowe:di), bolsas (sandinŧwno), canastos (bovemo d’ saresmo), sopladores y venteadores (bo:ve), escobas (dulwenkwa), ropa (do’we), pantalones (karso:ne), camisetas (mariko’ojel) y hamacas (sele).​
Se usan huesos, cuero, plumas y grasa para realizar velas, instrumentos musicales (como pífanos y tambores), sillas, calzados, cinturones, billeteras, tapetes, plumeros y tocados de plumas para la Danza de los macheteros.​
Arte indígena

El arte indígena o arte nativo es el arte de los pueblos indígenas. La diferente consideración y caracterización de éstos, que la antropología clásica identificaba con los pueblos primitivos, hace que en algunos casos se identifique con el denominado arte primitivo (concepto de gran ambigüedad, pero muy importante por su influencia en la ruptura estética de las vanguardias del arte contemporáneo);​ mientras que la antropología cultural reciente y otras ciencias sociales lo hace con otros criterios.​
Desde ese punto de vista, el arte indígena es una de las formas esenciales de transmisión de la cultura, así como un medio de importancia crucial para que un grupo humano se identifique a sí mismo y se preserve en el tiempo y frente a otros grupos.​ La imposición de culturas dominantes a través de la colonización produjo en muchos casos la aculturación de los pueblos indígenas y con ella la transformación radical de sus manifestaciones artísticas; aunque en otros se produjeron verdaderos casos de sincretismo o eclecticismo cultural y artístico. De ambas posibilidades se nutren las formas artísticas del denominado arte colonial en sus distintas variantes locales y temporales.​
Aunque el uso de la expresión "arte indígena" suele limitarse a las artes plásticas (inseparablemente unidas a la artesanía o artes decorativas, en culturas que no distinguen artes mayores de artes menores), también la música y la danza son vehículos de expresión artística de extraordinaria importancia para estas culturas, del mismo modo que la literatura, en la gran mayoría de los casos en su vertiente oral (mitos de origen, leyendas, cuentos). En las últimas dos décadas, el cine indígena ha cobrado una presencia creciente.​Todos estos artes, en el arte indígena, suelen estar desprovistos de toda pretensión de originalidad, representando la continuidad de una tradición de forma idéntica a la imagen que los estudiosos de la época romántica en Europa se hacían del folclore o cultura popular de sus naciones, ya por entonces abocadas a la transformación en sociedades industriales.​
Y es un claro ejemplo de lo plural y singular sentido irónico.Se ha intentado el establecimiento de paralelismos o la identificación de elementos similares al arte indígena en ciertas manifestaciones artísticas relativamente recientes surgidas en el seno de la cultura occidental, particularmente en los estilos musicales que surgen a partir de la incorporación de influencias de grupos marginados, como el flamenco o el jazz (gitanos y afroamericanos respectivamente).​
El arte indígena contemporáneo aún conserva la tradición de sus pueblos al demostrar sus costumbres, cultura e ideas, pero con la diferencia de que se ha generado un estilo actual donde la cotidianidad ha influido en su creatividad para crear su arte con otro sentido estético. Actualmente existe la necesidad de redimensionar la aportación del arte indígena, por lo que amplían sus materiales o el uso del arte sin descuidar la importancia de este arte, que es el de presentar su cultura, costumbres, ritos y otras manifestaciones artísticas propias.
Museo Salinas Siglo XXI

El Museo Salinas Siglo XXI, también conocido como Museo de la Gran Península, está ubicado en Salinas, Ecuador en las calles Malecón y Guayas y Quil. Dispone de una sala arqueológica, una sala de exposiciones temporales, una sala naval y un patio de armas, forman el componente cultural del museo.
Esta sala presenta una muestra completa de las culturas que se asentaron en esta gran península, bienes de las culturas Valdivia, Machalilla y Engoroy (Chorrera) del periodo Formativo (4200 a. C. – 500 a. C.), Guangala y Jambelí del periodo Desarrollo Regional (500 a. C. – 500 d. C.) y Manteño-Guancavilca del periodo de Integración (500 d-C. – 1530), donde se destacan estatuillas antropomorfas y zoomorfas, vasijas ceremoniales y utilitarias, botellas silbato, hachas de piedra, collares con cuentas de Spondylus, pitos y ocarinas y una diversidad de sellos tanto cilíndricos como planos.
Esta sala exhive una maqueta de una balsa Manteña-Guancavilca, reproducida de acuerdo a la descripción de Sámano de 1526. Los Manteños-Guancavilcas llevaban en sus grandes balsas vasijas de color negra, manos y metates de piedra para la molienda de granos; pesos esféricos de piedra para las redes y ojivales para los buzos los cuales sirvieron también para golpear y desprender las conchas Spondylus adheridas a las rocas; objetos de cobre como hachas con mango y hachas monedas y, de concha Spondylus, cuentas de formas circulares y rectangulares las que eran comercializadas junto con el material de cobre, en México y Perú, son las evidencias de los últimos mil años de navegación en Ecuador.
Una maqueta que reproduce el galeón Jesús María de la Limpia Concepción más conocido como La Capitana, nos traslada a la época de la Colonia y en las vitrinas se exhibe lo rescatado en dicho galeón que encalló en 1654 en las costas de Chanduy.
Monedas de 1, 2, 4, y 8 reales llamadas macuquinas o machacadas que fueron hechas en plata y trasladadas en las embarcaciones hasta Panamá y de allí al Caribe para ser llevadas a Europa; fragmentos de cubiertos y platos de plata y de cerámica conocida como mayólica, barras de estaño, de plata, balas de cañón tanto de bronce como de hierro y las de plomo para los mosquetes.
Una cruz de oro con inscripciones en latín, un arete con perla, bases de mechero y candelabro de plata, una hebilla, pendientes de metal y de agate corresponden al material de uso personal usado por los pasajeros que viajaban en esta nave y que encalló frente a las costas del poblado El Real.
Este material único en su género se exhibe por primera vez en el país y en este Museo.
Orfebrería precolombina

La orfebrería precolombina, hace referencia a la manufactura en el continente americano de diversos elementos y objetos utilizando oro y plata, antes de la llegada de los colonizadores europeos. Esta técnica y forma de arte fue practicada por varios de los diversos pueblos y civilizaciones que poblaron América.​
El trabajo de los metales preciosos, comienza con las actividades de extracción del suelo y la metalurgia extractiva necesaria para obtener el metal en su forma pura. Ello va asociado a desarrollar un conocimiento sobre diversas tecnologías y materiales para por ejemplo elaborar los crisoles de cerámica necesarios para realizar el fundido de metales. Si bien existen técnicas que permiten obviar el fundido y trabajar metales en frío. Los metales utilizados en la elaboración de objetos y joyas por los indígenas americanos fueron el oro que funde a 1 063 °C, muchas veces recolectado como pepitas en cursos de agua; y la plata que funde a 961 °C y que se utilizaba pura, siendo obtenida de minas.​
Las evidencias más antiguas del trabajo de los metales preciosos en América se han encontrado en Colombia y Ecuador, y se remontan al 1200 a. C., en la zona andina en Perú y el norte de Chile se han descubierto elementos que indican que hacia el 1000 a. C. allí se realizaron trabajos de fundición de metales, por otra parte en Mesoamérica los registros hallados indican actividad en este sentido hacia el 900 a. C..​
Los principales metales utilizados por los pueblos aborígenes americanos eran oro y plata, donde ambos eran valorizados por igual en las culturas indígenas. También utilizaban el platino, frecuentemente como aditivo en aleaciones de oro y plata, a las que a veces se incorporaban estaño y cobre; las aleaciones más usuales son bronce y la aleación denominada tumbaga desarrollada por los indígenas a base de oro, cobre y a veces plata que a causa de su baja temperatura de fusión resulta en un metal más maleable.​