#bala

[luxthestrange]

WTDSIK Incorrect Quotes#38 Respect your in-laws

Kalego: I hate being touched, The last time I touched another demon was when I was 14, It was during hand-to-hand combat

Narnia: Your Boyfriend and those...things*Looking at Kalego being held in an arm throne and you and Baby Iruma on Kalego's lap* are literally hugging you right now

Kalego:...This means nothing

[real-fire-emblem-takes]

I can’t believe Balthus/Manuela isn’t a canon paired ending like WHAT a huge oversight. They’re both hot, funny, charismatic, and a little messy. Balthus likes older women. Men leave Manuela when they realize she’s not the glamorous, idealized woman they thought she was (and maybe she also has bad taste in men or something? icr her supports rn) but I can see Balthus not really caring or even thinking it’s hot or funny. And then maybe she’d judge him for his money issues but they’d have an interesting back and forth about it. I dunnooo I just can’t believe it’s not canon. Also only 12 FICS ON AO3 WHAT. I would be the change I want to see but unfortunately I have other WIPs 😔

"only 12"

[viejospellejos]

Esto es lo que pasa cuando disparas una bala contra la nieve:

[golge-gezgin]

Doğanın derinliklerine bakın, o zaman her şeyi daha iyi anlayacaksınız.

( Albert Einstein )

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[ Ankara, Bala, Beynam, 26.08.2023 ]

[blondebrainpowered]

Bala

Malinke 19th century

The bala is a wooden xylophone that comes from the Mandé region of West Africa, which refers to the geographical shadow of the Mandé empire (1235-1469 A.D.), including present-day Mali, Senegal, Guinea, Guinea-Bissau, and the Gambia. The Mandé bala is the first instrument of Malinke jeli: a patrilineal tradition of musicians, storytellers, and singers who perform a variety of functions in Mandé society.

There are many different versions of the bala’s origin story in jeli traditions. One common thread among these many versions is the influence of Susu (also Sosso) sorcerer king Sumanguru Kante on the instrument, reflecting the significance of numulu, or blacksmiths, on the tradition. Another common thread is the symbolism of the magical bala, specifically Kante’s bala, being transferred to Bala Faseke Kouyate, the first Malinke player, which is representative of the transfer of power from blacksmiths to warriors in the thirteenth century with the birth of the Mandé empire. According to ethnomusicologist Eric Charry, this bala in the Met’s collection closely resembles the Susu Bala, the original Bala played by Kante and which has been closely guarded by the Kouyate family in Niagassola, Guinea, for generations (2000: 144).

Each of the bala’s slats are smoked to both petrify the wood and tune it to a precise pitch. The slats, graduated in length and tapered toward the smallest in length, are then fastened to the top of a four-sided wooden frame–a morphological detail that distinguishes it from other sub-Saharan African xylophones–with hide ropes. The hide rope that secures the slats on this bala is fastened to vertical end posts and also rests on top of and is tied to fifteen dowels that alternate with the slats. These dowels, secured to the frame, provide a structure to which fourteen gourd resonators called batolu have been attached in a zigzag arrangement. Shorter, horizontal beams on either side of the instrument are rounded outwards in order to accommodate the batolu.

A sound hole is carved into each batolu, on top of which a talingjalo, a mirliton or vibrating membrane, is placed using an adhesive made of mashed rice or bread. Talingjalo translates to spiderweb and, indeed, these mirlitons are made with the protective silk wrapped around spider egg sacs commonly found attached to rock surfaces in the region. The appearance of talingjalo on the bala connects it materially and morphologically to voice-disguisers found across sub-Saharan Africa, which more often than not use vibrating spider silk membranes over at least one end of a tube made by a variety of materials (see, for example, Balfour 1948). The Met’s musical instrument conservators have remarkably managed to preserve the original 19th century spider silk talingjalo on this bala using Japanese paper conservation techniques. Modern Mandé musical instrument builders, however, have increasingly replaced spidersilk with a more durable and accessible material—cigarette paper or plastic bags.

The wooden frame suspends the batolu above whatever surface the bala is placed on. When a slat is hit with a rubber-tipped mallet, air passes through the batolu, amplifying the slat’s tone and vibrating the talingjalo, creating a distinct buzzy timbre. Outside of the teaching context, wherein an apprentice may learn to play by sharing a bala with his teacher, the Malinke bala is performed by a single player, although several bala players may perform together at one time. With the slats arranged parallel to one another, ascending in pitch from right to left, the right hand voices the bass and tenor notes, while the left plays in the alto to soprano range of the instrument.

Broadly speaking, a bala piece begins with a short melodic introduction, in which the left and right hand typically work together to spell out a single melodic line. The right hand will then articulate the kumbengo: a rhythmic pattern, similar to a vamp, that characterizes Mandé instrumental performance, particularly on jeli instruments like the bala, kora and ngoni. The kumbengo may be varied tonally (for example, transposed a third higher), but rarely rhythmically, apart from adding or subtracting beats, over the course of a performance. The left hand will then play a series of melodic and rhythmic lines in dialogue with the kumbengo. This may include a reiteration of the melody, a variation on the melody, and a series of improvisations. A player’s virtuosity is often demonstrated by how many ways they are able to syncopate the kumbengo with their left hand while also holding it steady with the right. When Bala players perform as an ensemble, they will often recreate this structure, with one player performing the kumbengo, often in both hands, thereby producing an octave, while others syncopate the kumbengo in interlocking rhythmic patterns. (Althea SullyCole, 2022)

[ratethisalbum]

#111) Maleza

BALA

Suggested by: Anonymous

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Spotify

(Remember to listen first, then rate!)

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Tracklist:

1 Agitar

2 Hoy no

3 X

4 Mi orden

5 Cien obstáculos

6 Quieres entrar

7 Rituais

8 Bessie

9 Una selva

[aneverydaything]

Day 2261, 31 August 2024

Tryweryn River (Afor Tryweryn) at Bala, Gwynedd, Wales

I had taken part in the Pont Y Bala Parkrun this morning which follows this beautiful river along the path on the right hand side of the photograph

[godblessyoublackemperor]

walked past a violin luthiers last night and he happened to be open today so i popped in and was like "sorry im so curious is it ok if i look around and take pics" and he was like yeah sure :) so i did and we chatted a bit, he gets work from all over apparently, his latest project (last pic) is a five string fiddle for a bluegrass musician in essex

love how many cool little places like this re tucked away in this town

[books1700to1900]

This splendid antique shop in Bala is a must visit. It’s full of ticking clocks.

[desdemonical]

New human form for Bala and some doodles of them and Othaar (Xe/Xim/Xir) :3 The two of them are a pair of devils disguising themselves very badly as people who both think the other is 1. a person (false) and 2. completely fooled (true). (design attribution under the cut just because there's a few ppl and revamps)

Bala was a custom design by NeonUFO for a DnD character I made but not designed and Othaar is a previous homestuck adopt by Greaserparty I've posted here before, who also got a fantasy revamp by NeonUFO :> Bala's human (elfin) design by me is based on their original more demon like design.

providing this attribution because I'm not sure if I've drawn Bala before and last time I drew Othaar xe had a different design

[luxthestrange]

WTDSIK Incorrect Quotes#32 "Found"...

Balam: As unbecoming as this is, I..."found" a Human baby on the side of the road and could not bring myself to walk away...*Holding Baby Iruma who is sucking his thumb*

Kalego: Shichiro, We arent no daycare and you are obsessed with humans, I get that you didn't want the human baby to die but we can't-

Balam*puts baby Iruma in his arms*

Kalego*Sees Iruma Nuzzles into his chest and yawns closing his eyes*-give him away, This is my pup now, if anyone tries to hurt him I will snap their necks!-...wait what just happen?...

Balam*Gleams at Kalego*

-Somewhere in the school...in the room Iruma was left for a nap you came to check on your son-

Y/n*Sees Iruma is missing but there is a feather left*...

The Prowler song as you're about to hunt the demon who took your son

Prequel to:

Taggin:@reallyshadowycollective,@winxrlia

[dylanrosales25]

[viejospellejos]

A este hombre le dispararon en la espalda pero la bala rebotó y no lo atravesó:

(Obviamente porque tenía una sudadera de Goku)

[h0bg0blin-meat]

Since Pradyumna was the avatar of Kama (or rather Kama himself)

I'm gonna headcanon Luv Kush being the avatars of Bala and Utaaha cuz they are so underrated and they aee my pookies :3

AYYYYYYYY that's actually RAD lmao

I 100% imagine them to be Bala and Utsaha just taking avatars like no biggie

Kama: .....So everybody taking avatars now huh

Bala: You think only the 1st and 2nd gen gods were capable of dat? 🗿🗿

[luvtonique]

Made a theme for my demon girl Bala.

Why yes that is a death metal fiddle thanks for noticing.

(I'm not posting lyrics cause I plan to make YouTube lyric vids for these)

[lostinlifetravelling]

Shinkansen from Tokyo to Kyoto