Sandra Eleta is an artist and photographer. She was born in Panama City in Republic of Panama in 1942. Eleta studied Fine Arts at Finch College and later studied Social Investigation in The New School of Social Research in New York, her study of Social Investigation lead her to tell the life stories of a variety of different people in varying social classes throughout Latin America. In the 1970’s, she took courses at the International Center of Photography in New York with Ken Heyman and George Tice, who are were both photographers, she went on to teach at the Universidad Nacional de Costa Rica. She lives and works in Portobelo and has done so since the mid 1970s, she is known for is a photograph she captured in 1977 in Panama, entitled "The One with the Feather Duster". It was showcased at the Hammer Museum in Los Angeles during the Radical Women in Latin American Art exhibit in Winter of 2017. Servitude Series In her description of this series Eleta writes, "Two continents, two countries, two residences and two generations bear silent witness … In this series I sought to discover the differences between the older and younger generations as they related to servitude.
Spain Victor finds his personal identity within his role as servant. He is the personification of his art. For him, there is no division between his being. There is only a humoristic pride which dresses his person. Purit a is one who questions, one who challenges and defies: Her energy, like that of a caged feline was palpable, could be felt thumping about the enormity of the house. What might she be contemplating? I wandered.... Panamá as Rosa polished the silver, each piece engraved with the family´s coat of arms, she paused periodically to study her own reflection: Most of her life had been spent within the confines of this family residence, which she had grown to consider her own, given that she had scarcely known any other. During The United States’ invasion of Panamá, Romi decided to grab a hunting rifle, which she found in my brother´s closet; the people in our neighborhood were frightened, imagining seen Noriega´s “dignity batallions” looting and burning nearby houses. I had never witnessed such intensity in Romi.
As I photographed her, I remember thinking: Honestly, who would she like to shoot?". Portobelo Series In her description of the Portobelo series Eleta writes, "It could be said that with this series, my life and photography became one; when I arrived in Portobelo, in the early seventies’, I began photographing those who engaged me in some profound way, who seemed to resonate that which I felt deepest within me. Wanting to more, I drew nearer and dug deeper, hoping to fathom the depths of their souls. I of course understood that I could not accomplish this alone, but winning their trust, they revealed themselves to me willingly, allowing their auras to repose in my lens. Much like an invitation to dance, we found ourselves locked in a mutual rhythm unencumbered in-tune, it was in this way the protagonist of this story revealed themselves to me: Josefa, a healer of the “evil eye,” locally known as a “curandera”. It could be said, that with this series my photographic identity was born, that as I came face to face with these images for the first time, I felt I was looking at myself, but from a renewed point of view.
2009 Gallérie Agathe Gaillard, France 2001 Ángeles Multiétnicos, Arteconsult Gallery, Panamá 1998 Por los caminos del Chagres: Los Emberás, hijos del río. PNUD, Panamá 1987 Burden Gallery, New York, New York 1985 Portobelo, Panamá. Photography. Photo gallery at The San Martín Theater, Buenos Aires, Argentina 1983 Gallérie Agathe Gaillard, Francia 1982 Portobelo viene al Museo, Museo de Arte Contemporáneo, Panamá 1980 Consejo Venezolano de Fotografía, Venezuela 1979 Canon Photo Gallery, Holland. 1976 “Ritos y Minorias”, Fotocentro Gallery, Madrid. 2009 Photo Paris, Gallérie Agathe Gaillard, Francia 2006 Patrimonio Humano, Espacio Arte, Casco Antiguo San Felipe, Panamá 2003 Caminos del Maíz, Museo de Arte Contemporáneo, Panamá, Panamá 2003 Titanes, Galería La Boheme, Panamá, Panamá 2001 Festival Iberoamericano de Cadíz, España 2001 Obra reciente: Sandra Eleta & Gustavo Araujo, Arteconsult Gallery, Panamá, Panamá 1999 Panameños en la Bienal de Lima, Museo de Arte Contemporáneo, Panamá, Panamá 1999 Comanche, Brooke Alfaro & Sandra Eleta, artistic installation and video.
Bienal de Lima, Perú 1999 MUA Instala, Mujeres en las Artes, Honduras 1998 Raquel Bigio y Sandra Eleta, Galería Mateo Sariel, Panamá, Panamá 1998 XXVI Bienal de Sao Paolo, Brasil 1985 Portobelo y Sirenata en B, Teatro Nacional de Panamá, Panamá 1984 Bienal Latinoamericana de La Habana, Cuba 1984 Nikon, Photo Gallery, Suiza 1982 Fotografie Lateinamerika, 1960-1980. Academie der Kunzt, Berlín, Alemania 1982 Contrast Gallery, Inglaterra 1982 Photografie Contemporaine Latinoamericaine, Centro Pompidou, Francia 1981 1st Latin-American Photography auction, Zurich, Switzerland 1981 Revelación, Revuelta y Ficción, Consejo Mejicano de Fotografía, México 1981 Segunda Muestra de Fotografía Latinoamericana Contemporánea, Museo de Arte Moderno, México, México 1979 Reincontres Photographiques d’Arles, Fran
Deerfoot City is an outdoor shopping centre located in northeast Calgary, Canada. It opened in 1981 as Deerfoot Outlet Mall, just east of Deerfoot Trail on 64th Avenue NE; the 1.1 million square foot shopping centre, owned by Shape Properties, sits on an 80-acre site. Upon its opening, the mall's anchor tenants were Woolco, Canada Safeway, The Bay; the mall features 80 retailers, including two anchor stores: Walmart. The mall is now considered to be "outlet mall," and has billed itself as "Western Canada's only enclosed outlet mall and in 1999 a statue was placed”A plan announced in September 2013 would convert the enclosed mall into an open air regional centre, add over 500,000 additional square feet of retail space, it was renamed Deerfoot City. As of 2019 major anchors include The Rec Room, Wal-Mart, Canadian Tire, Cabela's, Goodlife Fitness and Winners; the original mall structure has been split into three sections. List of shopping malls in Canada
Kawkab America was an Arabic-language weekly newspaper published in New York City, United States. Kawkab America was the first Arabic-language newspaper in North America. Typeset by hand, Kawkab America was published between 1892 and 1908, it became a daily in 1898. Politically, Kawkab America was supportive of Ottoman rule; the launching of the newspaper had been scheduled for the birthday of the Ottoman Sultan. However, it was delayed; the first issue came out on April 1892, carrying a major article of praise of the Sultan. However, according to an 1898 article in the New York Times, Kawkab America represented the Young Turks Party in the United States and condemned repression against Armenians in the Ottoman Empire. There are different claims about, the founder of the newspaper; some historians claim the newspaper was founded by the brothers Najeeb and Ibrahim Arbeely, that the founding editor was Najeeb Diab. Lilian George Shoucair claims that her father, Saed Shoucair, was the founding editor of Kawkab America and that the Arbeelys financed its publishing.
She stated that Saed Shoucair bought the newspaper from the Arbeelys and that he had left it when he moved out of the city in 1907. Kawkab America was the transliteration used at the time of publishing. However, the Library of Congress used the more direct transliteration Kawkab Amirka. Only the issues of the first four years have been preserved. List of Arab American writers
The Taittirīya Upanishad is a Vedic era Sanskrit text, embedded as three chapters of the Yajurveda. It is a mukhya Upanishad, composed about 6th century BC; the Taittirīya Upanishad is associated with the Taittirīya school of the Yajurveda, attributed to the pupils of sage Tittiri. It lists as number 7 in the Muktika canon of 108 Upanishads; the Taittirīya Upanishad is the seventh and ninth chapters of Taittirīya Āraṇyaka, which are called the Śikṣāvallī, the Ānandavallī and the Bhṛguvallī. This Upanishad is classified as part of the "black" Yajurveda, with the term "black" implying "the un-arranged, motley collection" of verses in Yajurveda, in contrast to the "white" Yajurveda where Brihadaranyaka Upanishad and Isha Upanishad are embedded; the Upanishad includes verses that are prayers and benedictions instruction on phonetics and praxis advice on ethics and morals given to graduating students from ancient Vedic gurukula-s a treatise on allegory, philosophical instruction. Taittiriya is a Sanskrit word that means "from Tittiri".
The root of this name has been interpreted in two ways: "from Vedic sage Tittiri", the student of Yāska. The root of the title comes from the nature of Taittriya Upanishad which, like the rest of "dark or black Yajur Veda", is a motley, confusing collection of unrelated but individually meaningful verses; each chapter of the Taittiriya Upanishad is called a Valli, which means a medicinal vine-like climbing plant that grows independently yet is attached to a main tree. Paul Deussen states that this symbolic terminology is apt and reflects the root and nature of the Taittiriya Upanishad, which too is independent of the liturgical Yajur Veda, is attached to the main text; the chronology of Taittiriya Upanishad, along with other Vedic era literature, is unclear. All opinions rest on scanty evidence, assumptions about evolution of ideas, on presumptions about which philosophy might have influenced which other Indian philosophies. Stephen Phillips suggests that Taittiriya Upanishad was one of the early Upanishads, composed in the 1st half of 1st millennium BCE, after Brihadaranyaka and Isha, but before Aitareya, Kena, Manduka, Prasna and Maitri Upanishads, as well as before the earliest Buddhist Pali and Jaina canons.
Ranade shares the view of Phillips in chronologically sequencing Taittiriya Upanishad with respect to other Upanishads. Paul Deussen and Winternitz, hold a similar view as that of Phillips, but place Taittiriya before Isha Upanishad, but after Brihadaranyaka Upanishad and Chandogya Upanishad. According to a 1998 review by Patrick Olivelle, the Taittiriya Upanishad was composed in a pre-Buddhist period 6th to 5th century BCE; the Taittiriya Upanishad has three chapters: the Siksha Valli, the Ananda Valli and the Bhrigu Valli. The first chapter Siksha Valli includes twelve Anuvaka; the second chapter Ananda Valli, sometimes called. The third chapter Bhrigu Valli consists of ten verses; some ancient and medieval Hindu scholars have classified the Taittiriya Upanishad differently, based on its structure. For example, Sâyana in his Bhasya calls the Shiksha Valli as Sâmhitî-upanishad, he prefers to treat the Ananda Valli and Bhrigu Vallu as a separate Upanishad and calls it the Vāruny Upanishad; the Upanishad is one of the earliest known texts where index was included at the end of each section, along with main text, as a structural layout of the book.
At the end of each Vallĩ in Taittiriya Upanishad manuscripts, there is an index of the Anuvakas which it contains. The index includes the initial words and final words of each Anuvaka, as well as the number of sections in that Anuvaka. For example, the first and second Anuvakas of Shiksha Valli state in their indices that there are five sections each in them, the fourth Anuvaka asserts there are three sections and one paragraph in it, while the twelfth Anuvaka states it has one section and five paragraphs; the Ananda Valli, according to the embedded index, state each chapter to be much larger than surviving texts. For example, the 1st Anuvaka lists pratika words in its index as brahmavid, idam and states the number of sections to be twenty one; the 2nd Anuvaka asserts it has twenty six sections, the 3rd claims twenty two, the 4th has eighteen, the 5th has twenty two, the 6th Anuvaka asserts in its index that it has twenty eight sections, 7th claims sixteen, 8th states it includes fifty one sections, while the 9th asserts it has eleven.
The third Valli lists the pratika and anukramani in the index for each of the ten Anuvakas. The Siksha Valli chapter of Taittiriya Upanishad derives its name from Shiksha, which means "instruction, education"; the various lessons of this first chapter are related to education of students in ancient Vedic era of India, their initiation into a school and their responsibilities after graduation. It mentions lifelong "pursuit of knowledge", includes hints of "Self-knowledge", but is independent of the second and third chapter of the Upanishad which discuss Atman and Self-knowledge. Paul Deussen states that the Shiksha Valli was the earliest chapter composed of this Upanishad, the text grew over time with additional chapters; the Siksha Valli includes promises by students entering the Vedic school, an outline of basic course content
You Said is the thirteenth studio album by US singer-songwriter Jermaine Jackson, released in 1991 as his only album released with LaFace Records, his last with Arista. According to Jackson, he was the first major act to sign with LaFace Records. Released in 1991, the entire album was produced by "The LaFace Family", consisting of L. A. Reid, Babyface and Daryl Simmons. Compared to many of his previous releases, You Said was a commercial failure, failing to peak within the Billboard 200; the original version of "Word to the Badd" gained significant controversy for its scathing lyrics directed towards his brother Michael. Although this version was not included on the US edition of the album, both the original and re-written versions of the song were included on the international edition of the album. In 2009, all of Jackson's albums released with Arista Records were re-released on CD format, with new bonus tracks, in Japan; the re-release of You Said was based on the international edition of the album, thus contained the original version of "Word to the Badd".
Ed Hogan from Allmusic gave the album a mixed review, saying "at times, You Said sounds derivative of LA Reid & Babyface's previous productions". However, he did credit it as "one of Jackson's better post-Motown albums". "Word to the Badd!" was released as the album's lead single in 1991. Although it never was released, it was the most successful single from the album, reaching #78 on the Billboard Hot 100, #88 on the Hot R&B/Hip-Hop Songs; the second single from the album, "You Said, You Said", had more success on the Hot R&B charts, reaching #25. The third single, "I Dream, I Dream" reached #30 on the Hot R&B charts