#contemporary take on traditional elements

[serpentface]

Yeah epic poetry is a major convention and is what other traditions of poetry here evolved From.

They originated as forms of recording and passing on history and legends in pre-literate Wardi societies (and still are mostly performed and transmitted orally, though most of the old epics have been recorded in writing and are now strictly 'canonized', and most performers memorize from these 'canon' texts). Each story would be divided into roughly equal 'chapters' which could be individually memorized. They are traditionally designed to be sung, and follow strict poetic meter but typically do not have a rhyming scheme (though often show favor for alliterative rhythm).

Most of the genre is comprised of old, established epics, but the practice of recording history this way has been retained in the commission of epic poetry-form documentation of major current events (these are never as popular).

The main traits of the genre are:

Taking place over broad spans of time and locations

Focus is mostly upon esteemed individuals and heroic exploits.

Narrative rhythm is established through repetition of key words and phrases, as well as scenes that thematically echo each other

Heavy use of epithets

Very flowery text that lavishes in visual description of people, animals, buildings, weapons, clothing, and landscapes.

Extensive family trees are provided for most major characters.

Descriptions often rely heavily upon extended similes and figurative language

Characters speak with highly formal language and perform lengthy monologues

Heavy focus on normative male homosociality

Heroic figures embody societal values, though are often shown as imperfect and having to fight baser aspects of their nature (thus making them perhaps The Best embodiments, showing their self-control and discipline)

Heroic figures are 'allowed' to have major flaws, but these flaws are typically connected to a perceived virtue (ie a highly accomplished warrior is foolishly arrogant about it, a hero's fidelity to his family makes him gullible to a malicious relative, etc)

Heavy focus on kinship, family, and honor (and typically exploring multiple dimensions of these values, including negative ones)

Typically having elements of tragedy, which is often interconnected with the aforementioned values- the tragedy occurs because the heroes do the right things in spite of inevitable consequences.

The most culturally significant epic poem is a mythologized recounting of the life of Erub, a (semi)historical king and founder hero. The only thing historically definite about his life is that a prince named Something Like Erub (more likely Urub, Urbin, or Uru) from the Ephenni tribe was involved in a series of campaigns that lead to about 2/5ths of the region being conquered and formed into a kingdom (most of the present day provinces of Ephennos, Wardin, and Erubinnos), which experienced a period of relative peace and stability for about a century before the First wave of Imperial Burri occupation occurred.

The overall plot points:

-Erub's birth and adolescence, in which he is guided to become a great warrior and skilled leader by a deity who is only described in epithets, mostly war and khait-related ('The thrower of spears' 'with the khaitsmane shield', 'whose horns are iron', 'the wild bull(khait)', 'peerless mounted archer'). This is usually interpreted as the Face Inyamache (and Does very likely represent an early incarnation of this deity, possibly a contributor to Odomache as well).

-Erub's ascension to the Ephenni throne via the sacrificial bullfight rite, in which the bull is a magical animal and son of his tutelary deity.

-Erub courting Hippemides, a princess of North Ephennos (who is described as descending from the chief Burri solar deity Inanariya via his son, minor solar deity Nibeña).

-Erub's marriage to Hippemides as a chief wife, and two 'prince concubines' (they aren't assigned definite sex characteristics but are usually understood as akoshos in the contemporary, almost definitely would not have been men)

-Efforts for diplomacy between the Ephenni and Wardinae tribes, historical enemies.

-Erub's king-sister Inyari is insulted by the Wardinae king Janes assuming her to be Erub's wife (a lesser role). In retribution, she commands their younger brother Nedelas to trespass on the king's lands and steal his cattle (described as 'lunar cattle' and implied to be some kind of demigod animal). Janes demands that Erub hand over his brother or face war. Erub has a long monologue examining the complexity of the situation (as his siblings were clearly in the wrong), but loyalty to his family overcomes. War is declared.

-War between the Ephenni and Wardinae tribes.

-Erub and Janes agree to settle the war in single combat. Both are evenly matched and unable to defeat one another. They are both such great and honorable warriors and develop so much respect for one another that they ally instead, and swear brotherhood in front of their collective peoples.

-Erub and Janes pal around for a few years and undertake various heroic tasks and defeat minor enemies of each of their tribes.

-Erub marries one of Janes' cousins as a second wife.

-Janes (ignoring several warning omens) slays a mighty albino buffalo on a hunt, which turns out to have been a powerful animal spirit who curses him in its dying breaths, stating that his death will 'emerge from' his own hunting dogs (the word for 'emerge' is more ambiguous in the source language, and can literally mean 'will physically come out of' or just figuratively mean 'come from'). Janes kills all his hunting dogs and declares himself invulnerable.

-Janes' wife, the queen Mitlewari, is captured by Achetil, the king of the powerful Morinnae tribe (probably a Wogan group). Janes declares war, and Erub follows suit out of loyalty to his sworn brother.

-The fighting between the Ephenni/Wardinae and Morinnae turns into a year of bloody warfare, with many great warriors dying.

-The tide of battle turns to the Ephenni/Wardinae side, and Achetil flees with the remainder of his forces within the city walls. The city of Morinnos is sieged, and Achetil's wives and daughters throw themselves from the fort wall to avoid capture. Mitlewari has been raped in captivity and is pregnant, and, freeing herself in the chaos, she throws herself from the wall as well to preserve herself and her husband's honor.

-The city is sacked. Achetil and his sons are captured and offered as human sacrifices to the proto-Inyamache deity. Erub declares Ephenni, Wardinae, and former Morinae lands to be a new kingdom.

-Erub and Janes, at the behest of their people, are forced to fight once again to determine who should be king. The fight rages on for days without a victor as they are too evenly matched. Janes feels deference to his elder sworn brother and believes Erub should be king, but is unwilling to admit defeat to preserve his and his people's honor. A goddess in the form of an albatross (whose identity is ambiguous in the text and is usually interpreted as Pelannaumache) sends a wind to trip him just enough to slow his parry, and Erub stabs him through the heart. Janes briefly dies but returns to life, as his invulnerability is apparently real. His defeat was unambiguous, however, and Erub is crowned king, retaining Janes as his general and chiefmost advisor.

-The new kingdom is named Erubinnos, and a new palace is raised. A thousand cattle are sacrificed to consecrate the kingdom and eaten at a feast.

-Janes revisits the pyre mound on which his hunting dogs were burned, to mock the curse and revel in his confirmed invulnerability. A viper crawls out from the dog ashes and bites him in the thigh, killing him.

-The funeral for Janes, in which a hundred Morinae prisoners, a hundred khait, and a hundred hounds are killed to serve him in the afterlife. Erub's grief is so tremendous that he shaves his head and beard.

-Erub rules the great kingdom Erubinnos for fifty years until great old age. His eldest nephew Nedachemi (sometimes mistranslated as a son to fit modern Wardi kingship) undergoes the sacrificial bullfight and inherits the throne. Erub dies shortly after.

-The funeral for Erub, in which the same prisoners-khait-hound spread is killed in his honor. Hippemides throws herself onto the funeral pyre in grief.

-Nedachemi marries one of Janes' daughters, and his king-sister marries one of Janes' sons. The wedding consummation of each is described in a fair amount of detail, which has at least Some narrative function as a show of unification between the Ephenni and Wardinae and hope for a prosperous future.

-Ends very abruptly after the sex scenes, with a declaration that the great Erubinnos will one day be whole again (in reference to the state of Imperial Burri occupation that the tale was first developed under, and the fact that the Original Erubinnos was never reformed by the later date of the poem's written recording).

---

The oral tradition the epic descends from probably began about ~750 years BP under the rule of the 1st Burri Empire, and the 'canonized' version of the text was likely recorded about 500 years BP during an independent but heavily tumultuous period of warring Wardi states.

It's notable as a snapshot of the earliest forms of the Faith of the Seven Faced God. The Faith had not crystallized into anything resembling its modern variant during the period of purely oral transmission, and it shows significantly in the text. Entities recognizable as basal forms of some of the seven Faces appear in the text, but they are described as individual deities, are heavily personified and interactive, and some appear to have demigod children (none of these concepts are present in contemporary doctrine). Additionally, gods from the Burri pantheon that had been adopted during this period (and either abandoned or fully syncretized into the Faith in the period since) make distinct appearances. It also contains notable animistic qualities to its worldview, its world is populated by animal and other nature spirits and actions are frequently described as 'witnessed' and reacted to by inanimate and/or non-animal objects/features (sometimes specifically referred to with the antiquated word koya for a essential nature spirit (ie 'the very koya of the grass wept at this bloodshed upon her back'))

This is largely reflective of the proto-Wardi religious practices during the time of the story's development- most regionally native religions had an animistic outlook on the world and centered heavily on animal worship, the proto-Wardi tribes were under foreign occupation with Burri gods introduced as a part of state religion (prioritizing orthopraxy, adoption of rites was forced but there was little to no Active attempts to eliminate native belief systems). These native animal worship ft. general animism practices would continue among much of the population with Burri polytheism added on top, and syncretism between these elements in tandem with cultural upheaval led to the beginning of a new religion (which began to come to fruition after the 1st Burri empire's collapse, and would be a practice in full swing during the 2nd period of occupation).

It also records some obsolete practices with great detail and accuracy, such as the matrilineal kinship systems of the Ephenni where sovereignty passed from the king to his nephew via his sister (and correctly recording that the Wardinae did not have this practice), and the capture of high status war prisoners Very Specifically And Explicitly as sacrificial offerings to deities.

Much of its general themes and priority on honor, kinship, and the family are familiar to contemporary listeners, but a lot of its worldview, practices, and value systems are distinctly dated or entirely confusing. Erub is described as wearing tattoos and having multiple wives (two practices now seen as barbaric), the notion of kings fighting in single combat is seen as Cool But Absurd, and much of its religious worldview is alien to the modern listener. There are some attempts to reinterpret the source text to fit with contemporary outlooks and religious worldview, but it is broadly understood as a snapshot of the 'heathen Wardi' the Wardi peoples descend from and not something to be 'fixed'. Instead, focus is more on finding legitimatizing evidence of modern day religious beliefs in the text (identifying older deities as Faces of God that were simply misinterpreted by the heathen Wardi), and Most of the focus is on framing Erub as a collective father to their people and a great heathen king, whose exploits paved the way to their modern identity.

The declaration at the end that "Erubinnos will be whole again" is heavily reinterpreted to be a sort of prophetic description of Imperial Wardin's emergence as a kingdom for the collective Wardi people (when in context it Absolutely just referred to the specific kingdom comprising most of the present day provinces of Ephennos, Wardin, and Erubinnos, and specifically for the (rather briefly, in the long run) unified Ephenni and Wardinae people (not other proto-Wardi tribes)).

[inspiredlivingspaces]

IG chairishco

[andy-wm]

I have thoughts on Jimin's SGMB

It's the gayest thing I've ever seen.

And by that I mean it's joyous, light-hearted, bright, and fun.

We can all agree, I think, that this is a happy and totally harmless song. Who could criticise Jimin for declaring his love in such a sweet and innocent way?

Of course not everyone will like it, and that's fine. You don't have to like everything he does - or everything BTS does - you are an individual with thoughts and feelings of your own - I hope. But putting that aside you'd have to be a troubled person indeed to take offence at anything here.

So, it is definitely a fan song, right? Jimin is singing to his fans... isn't he?

Maybe.

But if it is (I and I'm not convinced) it's not just a fan song.

It's sweet, so sweet, but....

Maybe it's a little too sweet?

We know Jimin is CUTIE SEXY LOVELY and LOVELY LOVELY LOVELY, but let's be honest, he's also a grown man. And Army are not children (mostly). In fact we have had many many conversations about how ARMY are not children.

But this whole production is pushing the sweet and innocent barrow so hard that I can't help wanting to look underneath and behind and inside to see what's really going on because it's so sweet it's hurting my teeth.

Compare the sophistication and self awareness of FACE to the bouncy, bright and child-like song-and-dance in the SGMB music video. They are WORLDS apart and we were told very specifically that the albums were linked.

"Following his first solo album, “FACE,” where he sought to explore his true identity, “MUSE” documents his journey in search of the source of his inspiration." said the Weverse notification.

So what's really going on here?

What are you doing Jiminie?

And more importantly, why are you doing it?

You could call it a pageant, or a carnival, or a circus - with Jimin as the ringmaster.

But my view is:

This a pantomime. And it's very clever.

According to the Oxford Dictionary, a pantomime is "A dramatic entertainment,  originating in Roman mime, in which  performers express meaning through  gestures  accompanied by music." Yes, that describes it.

Merriam-Webster tells us "[A pantomime] is an ancient Roman dramatic performance featuring a solo dancer and a narrative chorus" That also makes sense.

Oxford also specified that it's a modern BRITISH tradition. "a theatrical entertainment, mainly for children, which involves music, topical jokes, and slapstick comedy." It's a perfect fit.

The British link is already there - Jimin clearly told us he's influenced by The Beatles' Sergeant Peppers Album. There's also the styling of his suit. The stovepipe pants, narrow tie, and fitted jacket are very 1960s (and 1980s) British pop.

There's something old-school about a pantomime. It harks back to childhood, and to the nostalgia of holidays. And the styling of the MV is in keeping with that nostalgic feel too - from the Mountain scene with the vintage film title, to the intertitles - or title cards , to the circular frame of the opening scene.

But back to the Pantomime itself...

A quick google search told me the following are important elements of pantomime. And we have most, if not all of them in this production.

Gender role reversal - TICK

Slapstick comedy - TICK

Colourful costumes - TICK

Audience participation - TICK (the children ARE the audience)

Exaggerated facial expressions - TICK

Take another look at the music video - it's all there.

Wikipedia tells us that pantomimes traditional told fairy tales or folk tales - often love stories - and that the primary role in a Pantomime was:

The 'Principal boy', a hero or charismatic rogue, traditionally played by a young woman in men's clothing.

Smart, very smart. With all the other conversations we've been having a round gender this is totally on the money.

Wikipedia goes on to say "Another pantomime tradition is to engage celebrity guest stars... Contemporary pantomime productions are often adapted to allow the star to showcase their well-known act.... If the star enters into the spirit of the entertainment, he or she likely adds to its overall effect"

Welcome, Loco.

(yes, I know collabs are de rigueur, but that doesn't change the fact that it fits - celeb guests are an established practice in Panto.)

So if this IS a Pantomime (and I'm not saying it definitely is but it looks like one to me), then it's intended to be a sung-story, told as much through dance and gestures as through words.

If it's a pantomime, what is it about?

I'm glad you asked! This little charade is the story of a young person called Jimin who is looking for love. He finds romance easily enough...

but real love takes a little longer.

Fortunately for our hero, he's brave (he will confess to his lover) and he is patient (he encourages them to do so too).

In between, there are shenanigans and goofing...

But our Charismatic Rogue is charming (if devilish) and wins the hearts of the audience - and his lover.

Let's take a closer look at how the story unfolds...

At the start of the MV, as the initial credits appear, Jimin is on stage vibing with his band. Loco is chilling on a rock like a lizard in the sun.

We get the ye olde intertitles, welcoming the audience and introducing.... SMERALDO Garden Marching Band

It's not Smeraldo Garden - Marching Band. It's Smeraldo *pause* Garden Marching Band. Smeraldo (secrets) has the emphasis.

After the intertitles, the scene opens on a group of children - they are ostensibly the audience of the band. They're playing paper-scissors-rock to see who will call for Jimin's attention.

The children run over to him and the tale begins.

Jimin, the main character of this story, immediately launches into song.

He starts off singing about Bangtan - mentioning their harmony (song and personal I think), he shows the Bangtan hand gesture we all know so well, and he sings "we gift happiness every day".

But he mentions June 12th.

Why June 12th?

Why not 13th, their debut day?

BECAUSE THIS IS NOT A SONG for ARMY. He's making it clear that at this point he's referring to Bangtan specifically, not the whole juggernaut of the fandom and fame. June 12th precedes ARMY.

He's made it clear from the start - this is NOT ABOUT ARMY.

Then he leans in and whispers to the children - and the camera -"lets talk about us".

Look at the kids' faces - they're miming shock. Ooooohhh! This is a big secret he's about to tell them - and us.

Look at Jimin's expression - he's just a tad smug. This is not a shocking secret to him, this is a fun secret.

Yes, he is indeed the charismatic rogue of this story.

He sings:

"All the things we couldn't say before

And your hidden feelings too (just for you)

Don't you worry anymore

Since we're together now**

Let's be a little more honest."

So it seems our main character has a LOVER. Someone who couldn't be revealed and who hid their feelings.

<Wow, I have no idea who this could be...>

Hang on, what's happening in the MV??

On his journey, it seems our young hero has a few short-lived romances. And if you look carefully, they are all with men.

He accepts the rose from a man, and plants himself on the bench right up close to .... a man. He jumps up unperturbed, and gifts the rose to (you guessed it) another man.

Jimin manages to sidestep (or completely ignore) all the women except one, who he sends graciously into the arms of a random man before continuing on his journey.

Wait one moment... his romantic partners were ALL MEN??

ALL MEN??

ALL MEN?!!!!!

Yes darling, all men. Let's continue.

So, it seems none of Jimin's previous romances grew into anything more, but he takes his own advice with his mysterious lover and confesses first.

He smirks. He flicks his jacket with pizzazz. He's ready.

He sings:

"Ooooh I love you babe,

I'll come closer to you

I want to hold your hand,

I want you babe (yessir)

Please note the hand gesture in this choreo - it's another one we've seen many times.

The dance ends and Jimin scans the surroundings and spots his old friend...

[Enter stage left: Loco]

Oh look, the friend is a rapper a few years older than Jimin. They seem to have a lot of fun together, Jimin and his rapper friend. There are ZERO romantic overtones here. This guy happily goes along with all the goofing and silliness even though he looks a tiny bit mortified. Either they are both very good actors, or a lot of the time, Loco was holding in his laughter. And Jimin seems incredibly amused by that.

They hang out together until.... something in the atmosphere changes:

The colours become richer, light become warmer, and oh look....

It's *The Golden Hour*

I AM NOT MAKING THIS UP, PEOPLE. HE REALLY DID THIS.

Jimin leaves Loco, chasing the golden light as he sings about "the dazzling sky." Golden confetti (champagne, anyone?) falls all around him and then ...

fucking sunflowers bloom.

SUN FLOWERS.

BLOOM.

FOR HIM.

<I need to lie down and process this>

SUNflowers...

Remind me again what sunflowers are known for? Oh yes, they are symbolic of the sun. Guess what else? They turn to face the sun.

Yup, the sunflowers all turn their faces toward the camera. I'm not crazy, okay?! I'm not.

SMH... let's move on.

Jimin re-joins his band, and the sunflowers do their sunflower thing, and Jimin sings:

"So tell me how you feel,

let whatever you feel

wash over you"

Then he sings

"I love you babe, (yessir)

I'll come closer to you

I want to hold your hand,

I want you babe (yessir)

Please note the hand gesture again

👉 👈

The bridge is next, and Jimin takes us back to Bangtan. As all the stars appear (that ocean of purple light that surrounds them at concerts) and everyone takes their place on stage, they turn up the music. <Are my eyes watering? Perhaps>

"I think we're ready now

<NGL I may have shed a tear here>

Lets begin 1, 2

<Ok fuck, I bawled at this point. Goddammit Jimin!>

Put your hands up"

*cute wiggle-dance commences* and Jimin spots his good friend the rapper again, hiding on the sidelines. He pulls him into the chorus line and they do more silliness and everyone is having a great time.

Confetti- flower petals fall, there's laughter and happiness all around, and they bow and bid us good bye.

The show is over.

*THE END*

But wait, I am not done.

A few more things bear mentioning here:

I saw quite a few comments saying this song is for ARMY.

It is categorically NOT for ARMY. Besides the fact that we already have Closer Than This - a fan song - on this album, Jimin specifically chose a date before debut - before ARMY existed - to place in this song. No mention of ARMY at all. Accept it graciously, this is not for you.

I wanna hold your hand

This lyric is a reference not only to the Beatles song "I Want to Hold Your Hand", It's also a common theme with Jimin and Jungkook. We see them finding any feeble excuse to hold hands, shake hands, touch hands. Yes, we see you two...

I am you, You are me

The gesture used in the choreo when Jimin is singing his confession - I failed miserably to catch it in my screengrab but there's no doubt it's their "I am you, You are me" gesture. Take a look for yourself.

All Jimin's romantic moments happened with men.

I'm not saying in his life, I am saying in this MV. All of them. The only interaction he has with a woman is one brief moment where he grabs her wrist as she passes by and he swings her into the path of a guy behind him. He even scoots around the women and sidesteps them. That can't be accidental. He's making a point.

The addition of 'yessir' in the lyrics makes it clear that he's confessing to a man.

I cannot see any reasonable way to refute this. The BH subtitles include it even though you have to listen carefully to catch it. THAT IS A CHOICE, NOT AN ACCIDENT.

"Even though we're together now"

These lyrics could mean theyre an established, committed couple. But if we think a little broader than that, and a little more literally, who is he together with right now?

It's strategically brilliant.

This is his 'tell all expose' but he has built in a rock solid escape clause by using the panto format. Staging the whole love story - including the prior boyfriends and the man he's now in love with - as an over the top comedy show makes it easily dismissible as pure fiction. By including the fantasy/magical elements he just makes it more so. Deniers will be able to come up with a dozen reasons to reject this... 'It's a fantasy story', 'not all songs are autobiographical', 'he's making a point', 'he's raising LGBTQIA+ awareness'... all true maybe, but that doesn't change the fact that this is HIS song, about HIS muse. If you've been paying attention (and even if you haven't) you will know this is certainly not pure fiction.

AND FINALLY....

The most important one, I left till last. I actually want to scream this, in all caps, in the biggest font possible. But I will restrain myself.

The song is bookended by references to BTS.

That is hugely important. For those who may not be aware, this is a literary device. Bookending a story provides a start and end reference point. Here, the Bangtan bookends provide context for the rest of the lyrics - they frame the lyrics within them. That means the events happening in the song, happen within the context of Bangtan. Reading between the lines, the person he is singing to/about is within Bangtan.

This is not reaching. This is like mixing blue paint and yellow paint together. You will get green paint.

💛+💙=💚

So yes, this song is the gayest thing I've ever seen.

And I DO mean it's joyous, light-hearted, bright, and fun.

But yes, it's also absolutely and totally really really GAY

🏳️‍🌈🐥🦄🌈🏳️‍⚧️🌻🐰☀️🏳️‍🌈

Thank you Jiminie

[logoleptic-since-06]

Types of Dates

That The JJK Men Would Take You In

Pairings: JJK Men x Reader

Inc: Satoru, Suguru, Kento, Choso, Toji

Cont: Fluff, not proofread

Minors DNI

Satoru: Amusement Park Date

Satoru would be the perfect date to take you on all the thrill rides at the park. He'd probably try to win every carnival game just to impress you and show off his skills. He'd spoil you with snacks and treats throughout the day, insisting that nothing is too sweet or unhealthy. Satoru would likely try to set up some sort of romantic moment on a scenic ferris wheel ride.

Suguru: Stargazing Date

Suguru would choose a secluded and peaceful location, far away from the city lights, to ensure the clearest view of the stars. He would likely prepare a picnic with some snacks and drinks to make the experience even more enjoyable. He would be an avid skywatcher and point out various constellations and planets, sharing his knowledge with you. Suguru would probably bring a cozy blanket to keep you warm and comfortable during the chilly night.

Kento: Art Gallery Date

Kento would be a patient and thoughtful companion, taking the time to thoughtfully analyze each piece of art and share his insights with you. He would likely appreciate the more traditional or classical pieces, but would also be open to contemporary or abstract art. During the date, Kento would occasionally point out specific details or hidden meanings in the artworks, showcasing his observant and analytical nature. He may surprise you by buying a small artwork as a souvenir to remember the date.

Choso: Movie Date

Choso would be a loyal and attentive companion, making sure to focus on the movie. He would likely enjoy action or adventure movies, but could also be open to other genres such as comedies or dramas. During the movie, he might lean in close to you, taking in the scent of your hair or skin. Choso may occasionally whisper commentary or ask questions about the movie, but would still be invested in the plotline.

Toji: Hiking Date

Toji would likely be an expert hiker, knowing all the best trails and routes to take. He would probably want to challenge you with a more difficult or strenuous hike to see how far you can push yourself. Toji would probably challenge you to race to see who can reach the peak first, adding an element of playful competition to the date. During the hike, he may tease or make lighthearted jokes at your expense.

[jordanianroyals]

Close-up of Rajwa Al Saif's henna party outfit on 22 May 2023. The dress, by Saudi designer Honayda Serafi, took more than 2,000 hours to create, and includes several hidden messages of love, Vogue Arabia reports.

“Crafted by Saudi designer Honayda Serafi, Al-Saif’s henna dress is a vision in white and gold. The future queen of Jordan celebrated with family and friends in a look that takes inspiration from the traditional Najdi dress, known as Sahabi thoub, which originates from the Najd region of the Kingdom of Saudi Arabia. Keeping in mind the occasion and the family, Serafi made sure to combine the cultural beauty of the Hashemite kingdom of Jordan and the Kingdom of Saudi Arabia to celebrate the union of Rajwa and Prince Hussein beautifully.

Featuring a handcrafted veil and dress, Rajwa Al-Saif’s pristine white henna outfit comes doused in 3D ornaments, made using a mix of silk, metallic threads and traditional reed strings (a signature element of Najdi embroidery). To create this masterpiece, Honayda Serafi took cues from the bride’s personality, attempting to reflect her innate grace, the rich traditions of her land, and her contemporary spirit.

Look closely, and you’ll notice that Al-Saif’s gown is replete with lovingly made details. Featuring a high round neck and full sleeves, the crepe gown features an inverted triangle-shaped bodice that is inspired by the traditional Najdi bodice design, normally worn as a separate piece. As the body-skimming gown continues, it flares out towards the ankles to create a mermaid-esque shape. The bodice of the gown is elevated using embroidery: soft organza flowers share space with geometric shapes and Arabic motifs, all of which are typical to Saudi Arabia and reflect the beauty and traditions of the bride’s homeland.

Rajwa Al-Saif’s veil has also been embroidered with meaningful designs, making this piece so personal to her journey. Seven Jordanian stars adorn her veil to signify the seven-pointed star that sits proudly on the Jordanian flag. What makes this symbol even more special is its religious meaning: The star on the Jordan flag signifies the seven verses in the opening chapter of the Holy Qur’an, and the seven mountains of Amman.

Along with the stars, the veil also features intricate palm trees as a reference to Saudi Arabia, and even some poetry. The words “I see you, and life becomes more beautiful” have been embroidered into Al-Saif’s veil, from Tunisian poet Abu al-Qasim al-Shabi, known for his Andalusian notes. If you’re a fan of Rajwa Al-Saif’s elegant wardrobe, you may already know that the bride-to-be has a soft spot for special symbols when it comes to her clothing. Back in August 2022, when Rajwa was officially engaged to Prince Hussein, she also commemorated the occasion with her clothing—an abaya that was embroidered with two gold birds, symbolizing two souls in love.”

The veil took 760 hours to complete

An exquisite piece of couture requires hours of effort, and Rajwa Al-Saif’s henna outfit is no different. According to the designer, Al-Saif’s veil took 760 hours to complete, and was worked on by a team of experts, craftsman and women. Extending to 10 meters, the piece was made using handcrafted tulle, a process that normally takes close to 2,000 hours of work. As for her billowing gown, the creation is the result of 340 hours of work.

Honayda Serafi: “I am very proud and honored to be part of this historic union”

Speaking on the occasion, Serafi shared, “I am very proud and honored to be part of this historic union between His Royal Highness, Crown Prince Al Hussein bin Abdullah II of the honorable Hashemite family, and Miss Rajwa Khalid Alseif. May they be blessed with happiness and their union be crowned with success.” (x)

[curtwilde]

i have a genuine question, what is arab colonisation? Is it a real thing? The context where I have read about it was a bigoted islamophic hindutvabadi page so I don't know if it's true or just part of their larger lie. Do you have any readings, sources on it?

According to Marriam Abboud Hourani, Arabization is a sociological process of cultural change in which a non-Arab society becomes Arab, meaning it either directly adopts or becomes strongly influenced by the Arabic language and culture. After the rise of Islam in Hejaz, there were a series of conquests in the Middle East and North Africa, after which the Rashidun Caliphate, the first Muslim empire was established. Arab culture spread through the Middle East and North Africa along with the spread of Islam, and in some places pre-Islamic religions and cultures were violently suppressed. These days, most Islamic countries have reconciled elements of their older traditions with Islam. The older religions survive among minorities in some places - Christians, Kurds, Ezidis and Mizrahi Jews for example and are still oppressed under some Islamic fundamentalist countries, like Iran.

Often, the term Arabization or Arab colonialism is used interchangeably with Islamic fundamentalism. On paper they mean entirely different things. However, in reality Islamic fundamentalists revere Arabic culture because the Quran was written in Arabic and events of the Quran are set in Arabia. The difference between the two is a slippery slope and I will let you decide on that.

The term colonization is such a red herring these days and is used to fit a lot of problematic narratives. It is a favourite with zionists, which is probably where these hindutvadis picked it up. And if you come across it on the internet I'd advise you to re-examine the source as they may have an anti-Muslim bias. That said, Islamic fundamentalism is very much a real thing and I wholeheartedly believe that any form of religious fundamentalism, and especially those fundamentalists that try to gain administrative and jurisdictional power for themselves, are a problem. All government and administrative bodies, across the world, should be compulsorily secular.

Now, in the context of South Asia, Arabization in it's strict meaning of the word, has nothing to do with our geopolitical history. Our Muslim rulers were all of Turkish, Afghan, and Central Asian origins with no connection to Arabia. Even culturally, elements of Indian Muslim culture can be traced back to Persia rather than Arabia; and linguistically the Persian influence on Hindi/Urdu is obvious. The term Arab colonization is often used by hindutvadis to mean the spread Islam in the subcontinent but of course they see the Islamic world as a monolith and I doubt they have the reading comprehension to know the difference even if they bothered to look it up.

Books:

The History of the Middle East by Peter Mansfield is a great place to start.

Islam, a short history by Karen Armstrong - very quick read + unbiased take on the Arab conquests.

The Arabization of Islam by Al Mubarak Nadir Shabaz

History of North Africa by Charles Andre Julien

From the holy mountain: a journey among the Christians of the Middle East by William Dalrymple

The Kurds: a contemporary history by Patrick S. Clancy

The Wretched of the Earth by Frantz Fanon for a general idea of colonization.

Mutuals if you have any other recommendations please feel free to add.

[watchnrant]

A Bold Twist on History: Why My Lady Jane is a Hidden Gem in the World of Fantasy

My Lady Jane is a defiant breath of fresh air in the world of historical fantasy, embracing its bonkers nature with unapologetic enthusiasm. This series takes the rulebook of realism, tosses it out the window, and instead opts for a wild ride that blends history, fantasy, and romance into one delightful package. The show doesn’t just flirt with the boundaries of reality; it gleefully dances right past them, making a Black man the King of England and introducing shapeshifters as part of the social fabric. This bold move pays off beautifully, inviting viewers to suspend disbelief and simply enjoy the ride.

What sets My Lady Jane apart is not just its entertainment value but its sharp wit. The protagonists are a joy to follow, with Jane and her fellow female characters serving as the true heart of the show. Jane herself is fantastic—her earnestness is both endearing and occasionally irritating, but always compelling. Surrounding her are standout characters like her cunning, sex-positive mother, Lady Frances, and her fiercely independent sister, Lady Margaret, who exudes a strength and determination that would give even Lady Lyanna Mormont a run for her money.

The series doesn’t just rely on its characters to make an impact; it excels in world-building and plot twists, all presented with a satirical sense of humor. The tone is a unique blend of modern feminism and historical toxic masculinity, creating a fresh take on the period drama genre. It’s a show that doesn’t shy away from revising history, much like Dickinson or The Great, and in doing so, it crafts a narrative that feels both contemporary and timeless.

However, the show isn’t without its faults. At times, the blend of genres and tones may feel jarring to some viewers, and not all of the humor lands perfectly. The pacing can also be uneven, with some episodes feeling slightly stretched while others race through pivotal moments. But these are minor quibbles in an otherwise delightful series.

For those who enjoy a mix of romance, action, and wit in their shows, My Lady Jane delivers in spades. The chemistry between Emily Bader and Edward Bluemel is nothing short of magnetic, their love story evolving from enemies to lovers with a perfect balance of spice and sweetness. Their portrayal of Jane and Guildford is so compelling that you can’t help but root for them, even as they navigate the treacherous waters of political intrigue and personal growth.

The show’s historical twists add tension and excitement to the narrative, making it more than just a simple retelling of history. It’s a femme-centric romp that flips the script on traditional damsel-in-distress stories, showing what happens when women take control and defy the patriarchal constraints of their time. My Lady Jane is outrageous, audacious, and delightfully bawdy—a show that isn’t afraid to be dirty and daring.

That said, this show might not be for everyone. Fans of more traditional period dramas or those who prefer their fantasy with a bit more realism may find the show’s irreverence off-putting. But for viewers who appreciate a fresh, bold take on history with a heavy dose of humor, My Lady Jane is a gem.

Although My Lady Jane was one of the best-reviewed new shows this year, it sadly failed to find a broad enough audience. The series received a 91% critical approval rating on Rotten Tomatoes, yet it never landed on Nielsen’s Top 10 weekly streaming rankings for originals. Despite the initial online buzz, it didn’t translate into enough viewers, leading to the show’s quiet exit.

In my opinion, insufficient marketing and the overshadowing by other, more heavily promoted series prevented My Lady Jane from reaching the wider audience it deserved, ultimately contributing to its untimely cancellation. It’s a real shame, because this show had all the elements of a hit: humor, heart, and a unique blend of magic. From the clever reimagining of history to the standout performances, My Lady Jane was special in many ways. For those who did find it, My Lady Jane remains a gem—one that will be missed but fondly remembered.

[romanceyourdemons]

as a practically beat-for-beat remake of infernal affairs (2002), the departed (2006) reads much stronger than your typical americanization due to martin scorsese’s strong directing and insightful handling of genre; however, i nonetheless feel that some of the original’s strongest themes and moments are unfortunately lost in translation. the most notable and enjoyable element of this project of adaptation is, of course, its highlighting of the difference between 80s-2000s crime film in hong kong and america. whereas the original epitomizes the heroic bloodshed tradition of intensely poignant, tragic, wuxia-derived heroes juxtaposed against the grit and filth and neon of contemporary hong kong, the crime films of coppola and de palma and especially scorsese juxtapose the violence and banal evil of the human soul against the glistening facade of the american dream. urban decay and casual cruelty—from policing and organized crime alike—take center stage in this film, the original’s bonds of brotherhood and cycles of violence set on the back burner, but the loss is hardly felt for scorsese’s supreme artistry in brick and shattered glass. damon and dicaprio and nicholson’s performances are stunning in their force and realism, and the film earns every minute of its extended runtime. unfortunately, the film’s deemphasis of emotional bonds and themes of tragedy means that the ending cannot match the original’s for sledgehammer impact, even if it meets it in terms of bleakness. the shocking deaths of queenan and costigan read as less shocking than their original counterparts’, due to both narrative and visual choices, and perhaps more importantly the film does not bother building collin sullivan’s pathos to match billy costigan’s at the end of the film the way lau kin-ming’s is to match chan wing-yan’s. lau kin-ming is given a desire to have his own identity back paralleling chan wing-yan’s, which is denied even more poignantly than his foil’s, giving infernal affairs (2002) its deeply impactful ending; scorsese does not invest screentime in any such thing, resulting in a denouement that is more or less just a series of bangs. nonetheless, despite several relative weaknesses, the departed (2006) is an excellent film upon its own merit, and i would highly recommend it

[tanadrin]

Stephen Shoemaker has talked at length about the eschatological nature of early Islam in other books and articles; he makes some very interesting points in The Apocalypse of Empire (which is not just about Islam, although it discusses Islam at length in two chapters), synthesizing some points made by other scholars.

Scholarly trend to view Islam as a movement that was from the beginning pragmatic, not apocalyptic. Other scholars try to portray Muhammad as basically a national unifier/Arab empire-builder, with religion as a tool secondary to this aim. This seems to amount to not taking early Islam as it portrays itself very seriously, and indeed in some cases seems to be almost an apologetic project to try to help make early Islam more relevant to the present day.

Snouck Hurgronje(sp?) argued that early Muslims saw Muhammad's appearance itself as a sign the end of the world was at hand, and that Muhammad would not die before its arrival. He and other scholars after him saw other elements of his message as more or less accessories to his concern with the impending end of the world.

Projects of empire-building and apocalypticism are not necessarily opposed! The rest of this book furnishes examples from Byzantium, Rome, Zoroastrianism. For a contemporary example, we might look at ISIS. It was relatively common in the ancient near east to think the eschaton would be realized through imperial triumph, and that the end of history was imminent. Indeed, Muhammad's religious beliefs probably played a significant role in the dynamism and success of his nascent polity.

Later Islamic tradition like the biographies deemphasized the urgent apocalypticism (again, not unlike Christianity!). But the Quran is rife with warnings of impending judgement and destruction ("the Hour"), and incorporates Christian apocalyptic material like the parable of the rich fool from Luke. Shoemaker furnishes lots of quotes like "The matter of the Hour is as a twinkling of the eye, or nearer," and "The Lord's judgement is about to fall," etc. Astronomical events will predict the Hour's arrival; doubters will soon be proved wrong, etc.

Perspectives from the New Testament help us understand why different passages portray the urgency of the Hour differently; the historical Jesus probably preached an imminent apocalypse, but the Gospels were compiled later, so they can be more ambivalent. Likewise later Muslims, when compiling the Quran, would have to deal with the fact that the "urgent" end of the world hadn't arrived yet; though the strong eschatological perspective persisted (as it did in Christianity, too), there was an effort to try to moderate some of these embarrassing passages.

Some early hadith and other early traditions corroborate the impending eschaton, emphasizing the link between his appearance and the end of the world. "According to another tradition, Muhammad offered his followers a promise (reminiscent of Matt. 16:28, 24:34) that the Hour would arrive before some of his initial followers died. In yet another tradition, Muhammad responds to questions about the Hour’s timing by pointing to the youngest man in the crowd and declaring that 'if this young man lives, the Hour will arrive before he reaches old age.'"

Donner argues the conquests were an effort to establish an interconfessional "community of the Believers" that included Jews and Christians, requiring only belief in God and the last day. According to him, Muhammad and his earliest followers didn't even think of themselves as a separate religion; rather, their earliest community was a loose confederation of Abrahamic monotheists who shared Muhammad's apocalyptic aoutlook, and who were trying to establish a righteous kingdom in preparation for the end. Cf. the Constitution of Medina, which seems to be a very early source. It has a dramatic discontinuity with the ethnic and religious boundaries established in later Islam. Traditionally held to be a brief experiment that ended with Muhammed expelling the Jews from Medina, Donner argues that in fact Muhammad's community remained confessionally diverse for decades, including Jews and Christians into the Umayyad period. Indeed, a lot of their early successes may have been aided by their nonsectarian outlook.

Only under Abd al-Malik(!) does Islam begin to consolidate, and a new Arab ethnic identity crystallizes that distinguishes Muslims from outsiders they ruled.

In variant readings of the Quran we can glimpse a view not unlike that of the early Christians, where the Kingdom of God had its inception in Jesus's works; here, the conquests of the early followers of Muhammad are part of an the initiation of the end times. Muhammad is the "seal of the prophets" in this reading because the world is about to end.

So the picture that emerges from all this is that Muhammad was an apocalyptic preacher and reformer, very much like Jesus, who wasn't aiming to found a new religion necessarily. But he preached that the world was ending, and as part of his preaching on this subject he led the creation and rapid expansion of a new polity meant to unite the community of believers. Only once he died, and the world failed to end, and his followers had to consolidate their gains and transform them into an actual, durable state did a coherent scripture (the Quran) and a coherent religious identity (Islam) emerge, both strongly affected by the new social, cultural, and political contexts his followers found themselves in. The turning point seems to be the reign of Abd al-Malik, around fifty years after the death of Muhammad, when the oral traditions of the original community of believers are approaching their expiry date, and a new generation (and new converts) need a worldview and a political system that is relevant to their present circumstances. This is extremely comparable to the transition from early Jesus-traditions to the Gospels finally being written down in the second century, when the last people who knew Jesus directly, or who knew the Apostles directly, were dying, and the community had to transition to a form that could survive indefinitely, or else be forgotten.

[theresattrpgforthat]

Hi Mint!

I love your game recs so much! Do you know any wilderness survival ttrpgs with a lot of crunch? The genre could be anything including horror, fantasy, etc, mainly I’m just looking for a game with plenty of rules/systems for things like foraging and building shelters. Ideally I’d like something with a solo option, but I’m also good with group games :)

Thank you so much!!!

THEME: Wilderness Survival

Hello there! Thank you very much for your kind words. I don’t have a lot of recommendations for you today, but I hope the few I do have are useful for you!

Cast Away, by Monomyth Games.

A shipwreck survival horror game that will crash you against the rocks of mysterious unknown shores and leave you asking—why me?

Castaways are unfortunate lost souls stranded on a far off island… but they aren't the only ones who now call the island home. With rules for exposure, building shelters, crafting, hunting, gathering, debilitating ailments, escape plans, an island weather system, a menagerie of wildlife and monsters, and mysterious island encounters, players will have to fight tooth and nail exploring the harsh island environment to survive against the odds.

MÖRK BORG has really made a name for itself over the past few years as a game with astounding layout and easy-to-learn rules. Cast Away, being built on MÖRK BORG, looks to have plenty of rules built onto the original framework, so I think it might be a bit crunchier than the original game. The setting is also pretty brutal, in tune with the themes of the game it hails from. The game also has a supplement for solo play, called Stranded, in case you want to take the game for a spin by yourself.

Against the Wind, by Cezar Capacle.

In the lands where the wind howls like a beast untamed, you forge your path. They say the gales here shape not just the land, but the very spirit of those who walk it. You are one of those souls, a wanderer amidst the churning skies and the earth that bites with frost.

Against the Wind is a solo/coop fantasy-adventure sandbox game in a land ravaged by fierce winds and biting cold, all infused with a subtle pinch of fairy tale ambiance. In this world, players step into the roles of magical nomad heroes, confronting the relentless climate, traversing diverse landscapes, and following their own unique paths.

The game blends traditional and modern styles of play, merging the classic elements of fantasy adventure — like wilderness exploration and dungeon delving — with contemporary, narrative-driven mechanics.

A character in Against the Wind has plenty of descriptive pieces that tell us about how they look, but they also have pieces that appear to matter mechanically, such as their background, role, gift, skill, and weapon. As a GM-less and solo-friendly game, much of the world appears to be procedurally generated through rolling on tables, so it looks to be pretty dense when it comes to player involvement. With all of these pieces, I’m not sure how much of this game can be labelled “crunch”, but if you’re surviving I imagine you’ll have to deal with things like the surrounding environment, inventory, and dungeon navigation, which feel pretty “crunchy” to me.

Stranded, by Rúnica Games.

The best navigators in history have searched for a northern passage to join the Atlantic and the Pacific. Many of them never returned home. You should have been the last in this line of pioneers, with a discovery that would have brought light to these uncivilized lands. But things went wrong.

A few weeks ago, the fury of the elements left you stranded between sheets of ice. Summer has been very short this year, and it is clear that you do not have enough time to free the ship and repair it to return home.

You must go through the harshest fall and winter of your lives, waiting for warmer days. But neither the ship nor you are prepared to spend months isolated in the most remote part of the world. You have neither the food nor the proper equipment. You only have yourself. Will this be enough?

This game is still in playtest, but it’s a pretty sizeable playtest! Unlike the other games on this list, it’s situated in a very specific time and place, that of an arctic voyage in the Northern Passage. It looks like character creation occurs as you play, so you’ll have a lot of pieces on your character sheet, but you don’t figure them out all at once. I think this kind of character building might be helpful for long-term play, as you can achieve mastery over a long period of time without feeling overwhelmed by new rules or tracks.

Games I’ve Recommended in the Past

Cast Away, by Afterthought Committee.

[natlacentral]

Farnaz Khaki-Sadigh: The Costumes of Avatar: The Last Airbender Season One

Farnaz Khaki-Sadigh revealed the complexities of creating the costumes of Avatar: The Last Airbender Season One, visually translating the four nations and their iconic characters from animation into live-action.

Since 2005, Avatar: The Last Airbender has inspired us with compelling storytelling and its deep mid-19th century historical culture influences–including but not limited to Asia, Mesoamerica, Inuit, Eskimo, and indigenous cultures. The universally acclaimed animated series spanned for three seasons (or three books) and expanded into a sequel series and several different mediums, but after a live-action misstep in 2010, the epic franchise finally found its way to Netflix with a brand-new retelling of the world of Avatar. The live-action series of the same name premiered on February 22, 2024 and immediately captivated the audience through its outstanding cinematography, with a brilliant cast transformed into the beloved characters through the vibrant creations of the costume department. Farnaz Khaki-Sadigh, the costume designer responsible for translating the series from animation to live-action revealed the inspirations and manufacturing challenges and rewards behind the garments of Avatar: The Last Airbender: “A lot of it was research, looking into the cultural background of the nations and the characters that were originally inspired by the animation, learning and understanding their history and tradition. I studied garment history and how clothing was traditionally worn in those cultures, what influenced their color palettes and fabrics, then tried to meld them together in a way that paid homage to the animation but at the same time respectfully and authentically represented the real life cultures. That was really the first step into it.”

Visually creating a fantasy world is a momentous task, where in comparison to contemporary or even historical filmmaking each background character has to be fully developed to build the rich population within storytelling. Khaki-Sadigh and her team crafted over 400 costumes that visually defined the Air Nomads, Water Tribes, Fire Nation, and Earth Kingdom. She said, “For the Air Nomads, I decided to pick the color palettes you see in Fall season … the rusts, oranges, yellows, maroons, deeper browns, it’s just so warm and comforting. For the Water Tribes, I looked at icebergs. There are so many hues of blues and teals; it’s not just white. I also explored how the ocean reflects the light differently, creating various shades of blue. With the Fire Nation I was really inspired by volcanoes, looking at all the different shades you see when a volcano erupts, from the fiery lava to the ashes–the reds and oranges within the lava and the blacks and grays from the ash and from when the lava hardens. Then for Earth Kingdom, the inspiration came from forests and springs. So that’s sort of how I broke down the different color palettes and expanded on what was in the animation.”

Avatar: The Last Airbender showcases the art of “bending” elements, which requires a full range of motion to visually achieve the right level of grace and power on screen. Farnaz Khaki-Sadigh explained the importance of fitting room action tests to assure practicality while wearing these intricate costumes on set: “It’s really important to make sure that it becomes almost like a second skin to the actors, otherwise they would feel out of place, taking them out of character. For example, we changed Aang’s cape; we had it fuller at the beginning but we found that it kept hitting him and didn’t flow as nicely, so we had to taper it down, re-alter the shape of it. It took a lot of math trying to figure out the patterning to get it to a place where it’s still read like a full cape but at the same time it moved with him as opposed to hindering his movements.” Then she added, “We had the Fire Nation armor shoulders wider to match the animation, but after we did some tests we found out that they limited how far they were able to move at the shoulder point. So we made them narrower, which just made the design a little bit different from the animation, but the actors were able to move freer for their bending.”

The costume design challenges for the show continued outside the fitting room. Farnaz Khaki-Sadigh explained that in order to achieve color consistency between outdoor and Volume sets were daunting–the latter’s LED lights forcing fabric changes and prolonged dying processes for many costumes: “We dyed the Fire Nation armor leathers five or six times because in daylight they had a beautiful deep shade of burgundy but in front of the Volume the color turned hot pink! In order to find the right hues to actually read red, we had to go super dark in real life … almost like a blistery color.” She added, “With Aang’s cape, we loved the color, but when we tested it [in the Volume] it was also pink … we tried about ten different fabrics before we narrowed it down to three and chose the one without a pattern with a brownish rust color that read the right hue on camera.”

Being the main protagonist of the series, Aang’s costume had to be just right. The simplicity of the Air Nomads garments meant the costume designer had to focus on texture and layering to prevent a flat look on camera, also utilizing natural fibers to represent the Air Nomad’s peaceful lifestyle. Besides the cape practicalities and color complexities, Farnaz Khaki-Sadigh recalled a peculiar challenge that followed the team throughout the filming of Season One: “Gordon [Cormier] was a growing boy, so every few weeks we had to build him a new pair of pants because he would outgrow them. I think he’s got probably around twenty pairs of pants, which probably will not fit him anymore [laughs].”

There is a beautiful visual perspective in Avatar: The Last Airbender that separates foreground and background characters, the former showcasing more vibrant shades of color and details that define their journeys away from home and unique personalities. For Katara, Khaki-Sadigh incorporated flowy water wave patterns in her parka and the under tunic inspired by Inuit art, whereas for Sokka her team implemented a more geometric design for his costume–symbolizing the character’s engineering background. His armor in particular included some Viking elements, which the costume designer revealed came from her discussions with some of the indigenous advisors on the show, delving into their trading culture and how they would build clothing and tools based on what they had access to–from leathers to bones. She said, “We built all those little rings and hand sewn them into the armor’s leather, creating a sort of chainmail look. We then casted the shoulders to look like metal, taking that element from the fact that there were Fire Nation ships that have basically been abandoned, so he would have been able to use the metal from them to create a protective layer for himself because he’s the warrior of the tribe.”

The show had yet another gorgeous display of fantasy period costume design with Suki and the Kyoshi Warriors. From the golden headpieces to the intricacies of the armors, Farnaz Khaki-Sadigh delved into the process for making those samurai-inspired costumes: “In my research, I came across a group of female samurai warriors called Onna-Bugeisha, which was my inspiration for the Kyoshi warriors. I found this beautiful leather that had this basket weave print on it which became our base for the armor, very traditional for the style of Japanese samurai armors. The headpieces were 3D printed and they all had their own unique geometric fan pattern on them, then we painted them and wrapped the leather straps around with five different layers of hand braided braids, creating these tassels at the end of it.” She then revealed a fascinating fact about Suki’s costume: “The fan that crosses in front of her headdress is actually a vintage fan that we took apart and used to create the front … It had such a beautiful pattern and texture. Also, if you look closely at the corset portion on the bottom panels of the armor, you can spot small little geometrical fans that are laser etched onto the leather to create a little bit more texture and detail onto it.”

Among the Fire Nation, two characters really drove the villainy side of the tale in Season One–on one end Zhao, an ambitious general with a personal agenda, and Prince Zuko on the other, the heir to the throne who is navigating an uncertain path between his devotion to his people and the moral complexities of war. Farnaz Khaki-Sadigh’s team created several looks for the two villains, incorporating symbolic elements that defined their personas: “There’s something just so mysterious about Zhao. He sort of beats to the tone of his own drum so we incorporated his own personal crest, different from the rest of the Fire Nation. If you look at the details of his armor, on his gauntlets and on the skirt panels, even on his shoulder crest when he ends up wearing the [Admiral] cape, there is a different pattern that still has a flame weave to it, but it’s very unique. When he became Admiral, we made a more regal and powerful version of the costume inspired by the traditional Roman conquerors.” Then she delved into Zuko’s designs: “He goes through a lot of changes, personality and emotionally. He’s the man of many changes … he had more changes than any of our cast had, but I think the biggest thing for us was his armor. I wanted to make sure that it was regal prince-like, it stood out in comparison to the other Fire Nation armors, but at the same time, it was still part of the brigade. He’s holding onto so much tradition. He has this overwhelming struggle of what he personally believes and what is expected of him. His armor is not just like a physical thing, it’s also a metaphorical armor; he hides behind this armor to portray something that is expected of him, but yet he’s not sure if that’s who he is yet. We added a bit more layers to him with his armor, doubled the shoulders and three or four panels on his armor to add a little bit more rigidity to him.”

With Avatar: The Last Airbender renewed for two more seasons, the costume designer confessed she looks forward to designing Ba Sing Se and Ember Island and overall further developing the characters through more cultural history exploration. This interview barely scratches the surface of the team’s immense work, so if you crave more behind-the-scenes, make sure to follow Farnaz Khaki-Sadigh on Instagram.

[serpentface]

Im curious to know how Odomache specifically became such an influential face of God in the current Wardi social climate, the Odonii seem to have a uniquely elevated role among even other religious orders that could be argued to be just as important.(im sure there is in universe argument about which Aspect is most influential as well)

It is much more based in internal socio-political factors and the order's extensive history than underlying religious elements.

The Odonii are much older than Imperial Wardin itself (though its modern incarnation developed alongside it), and the basal roots of the tradition are ANCIENT. Spiritual leadership roles specifically for celibate, unmarried women can be found in the history of all the peoples whose (mostly common) ancestors inhabited the region since at least the neolithic (contemporary Wardi, Wogan, and Cholemdinae). Goddesses and spirits depicted as a maned lioness, or special veneration attached to maned lionesses is similarly ubiquitous. The earliest distinct progenitors of the order developed alongside the seven-faced God faith (which is about 800 years old, though has changed tremendously over that time period), with the pre-existing celibate female spiritual leaders taking some of the first priestly roles.

The basic concept of Odomache incarnating into a human first originated under occupation by the 2nd Burri Empire (probably around 250 years ago) and played a role as a unifying factor in resistance movements in the south, ingraining the concept of Odomache with sovereignty, military might, and national identity (where in the centuries before, the deity was mostly conceptualized as a protective mother goddess without these additional elements). Odomache became firmly associated with sovereignty among the South Wardi as the Burri empire collapsed, and this Face's role as a sovereignty deity directly representative of Imperial Wardin itself developed in tandem with the state (which grew out of the city-state of Wardin allying with or conquering neighboring states/kingdoms, thus spreading Odomache-as-sovereignty).

In the contemporary, the sole unifying force across the Imperial Wardi sphere is its shared religion. The collective Wardi people have more or less assimilated/been assimilated into one nationality, but there's still remnants of past individual identity (most prominently in the Ephenni, and among the North Wardi). The Imperial Wardi cultural sphere extends beyond this ethnic grouping and includes very significant and long-established immigrant communities in the region (most populous being Burri, Titen, Kos, and Yuroma). Each province (and the city-state and/or kingdom it was built out of) holds some individual identity, and a significant degree of individual power in practice (they are loyal to a shared Usoma, but the Usoma's power largely rests IN their continued loyalty). There are many other shared elements of cultural identity, but none as ubiquitous and motivating as the religion. It's the most powerful thing holding together an otherwise multipolar society, and it holds it together on personal and emotional levels alongside structural levels.

Among the priesthoods, the Odonii represent this national identity best. They are devoted to the Face that represents the concept of 'Imperial Wardi' AS an identity. And their presence has become associated with the material wellbeing of the state and its people itself. This adds to their power on the purely spiritual level. Most of their power rests in more material levels, they have tremendous sway over the state military and are wholly integrated into its structure. Their leadership has historically taken very active roles in political matters and maneuvered themselves to thoroughly entrench this position.

Thus they have enough hard power that they are a potential threat to the Usoma, who is in a position of risking severe consequences if he attempts to cut them off. Most past Usoma have opted instead to maintain good relations by allowing the Odonii their privileged status and not making overt attempts to remove their hard political power (instead maneuvering to more thoroughly centralize Imperial power, which has a side benefit of outstripping the influence of the Odonii). Imperial Wardin is a young entity, and the royalty has not yet managed to exert absolute hard control over its provinces, much less fully undermine this priesthood's constant potential threat.

Odomache is NOT the most important Face to the everyday practice of common people, however (and is among the bottom three). This status belongs mostly to Ganmache, Mitlamache, Anaemache (and Inyamache to a lesser extent)- all four have strong agricultural associations and preside over aspects of basic day to day subsistence, and are by far the most relevant to the lives of the average person.

This actually contributes to their respective priesthoods Not being as powerful as might be expected. Rural laborers whose practice revolves around the agriculture-fertility Faces also have the least access to state official priests and temples, and therefore make their own. If you're a farmer living far from any population center and growing crops/herding to sustain only your own community (or to give in tribute to your distant rulers in return for your continued unoccupied existence), you don't need constant access to spiritual authorities of the death Face or the sovereignty Face or the mercantilism/ocean Face, but you DO need that for the Faces that help your crops grow and animals breed and bring back the rains every year. Thus, the worship of these agriculture-fertility Faces is BY FAR the most fragmented into localized sects and unofficial priesthoods, making their OFFICIAL priesthoods less powerful than the veneration of their Face would suggest. (I should note they're still quite powerful overall, just not proportionately to the importance of their deity-aspect).

[scotianostra]

On June 23rd 1927 the singer Kenneth McKellar was born.

One of the most accomplished classical tenors of his generation, Kenneth McKellar was born in Paisley, the son of a grocer his earliest musical experiences came from the family gramophone, but he was also taken toconcerts at St Andrew’s Halls, Glasgow.

Kenneth was soon entertaining family friends by impersonating his favourite singers. But his greatest pleasure in his early years was exploring the Scottish Highlands. The depletion of Scotland’s forest reserves during the World War II left him with a burning desire to help restore them, and after leaving the John Neilson school, Paisley,

Despite a keen interest in music, McKellar initially studied forestry at Aberdeen University. He also joined the university choir, where his vocal talent was apparent, and he received individual coaching from the university’s director of music. While still a student, McKellar made his first broadcast, from the BBC studios in Glasgow, after gaining his degree he joined the Scottish Forestry Commission. Over the next two years he took part in a research and survey programme on the woodlands travelling by horseback up and down the Scottish countryside.

After two years as a forester, McKellar decided to switch careers and take up a scholarship at the Royal College of Music in London. While still a student, he made a private recording in a booth at the HMV record shop in Oxford Street singing Roger Quilter’s O Mistress Mine and a few Scottish ballads. HMV sent the recording to Parlophone, which immediately gave him a recording contract. He recorded eight sides of songs and ballads on 78 rpm’s.

These records helped him to get a job in the chorus of the Carl Rosa opera company after graduation. There, he was given an opportunity to sing the opening aria from Rossini’s Barber of Seville so well that he was promoted to principal tenor.

After two years of touring, McKellar decided that a career in opera was “like living in a goldfish bowl, and I thought, I don’t need this. All I want to do is sing.” A few months after leaving, he signed a new recording contract with Decca, for whom he went on to make more than 30 LPs between the mid-1950s and the early 80s. These encompassed a huge range, from mainstream classical and religious songs through excerpts from Broadway musicals to the Scottish popular tradition of Robert Burns, Harry Lauder and well-known folk pieces.

With his 1960 album, Songs of Robert Burns, McKellar was among the first contemporary singers to revisit the poet’s whole body of work. He also recorded and performed more recent songs by Scottish composers, notably The Song of the Clyde by RY Bell and Ian Gourlay. If you have watched the 60’s film Billy Liar you will have heard Kenneth belting out Song of the Clyde at the start of the film! Another fact on this song is it was the very first record played on Scotland’s first commercial radio station on 31st December 1973.

McKellar occasionally wrote songs too, including the comic piece The Midges and the patriotic The Tartan, he was not averse to participating in the “tartanry” side of Scottish culture, which emphasised the more kitsch elements of national song, dance, dress and cuisine. With Jimmy Shand and his band plus the hosts Andy Stewart and Moira Anderson, he is indelibly associated with the White Heather Club, the BBC TV show that saw in the New Year in the late 1950s and 60s.

McKellar supported a number of charities, was an honorary president of Burns societies around the world and was a trustee of the Scottish International Education Trust.

As we await the crucial game tonight against Hungary it is only fitting I post this song......

[jasminewalkerauthor]

Deep dives into folklore: Welsh folklore

Welsh folklore is a rich tapestry of myths, legends, and traditional stories that have been passed down through generations, shaping the cultural identity of the Welsh people. Rooted in a landscape steeped in history and mysticism, Welsh folklore reflects the unique character of Wales and its people. Let's take a deep dive into some key aspects of Welsh folklore:

The Mabinogion:

The Mabinogion is a collection of Welsh prose tales, comprising some of the earliest literary works in the Welsh language. It consists of four branches: Pwyll Pendefig Dyfed, Branwen ferch Llŷr, Manawydan fab Llŷr, and Math fab Mathonwy.

These tales are a blend of mythology, legend, and fantasy, featuring gods, heroes, and magical elements. Notable characters include Pryderi, Rhiannon, and Bran the Blessed.

The Red Dragon:

The Red Dragon is a symbol deeply ingrained in Welsh folklore and mythology. Legend has it that the red dragon was the emblem of Cadwaladr, a legendary king of Gwynedd. The dragon is associated with Welsh identity and pride and is prominently featured on the national flag of Wales.

King Arthur and the Welsh Connection:

The legendary King Arthur has strong ties to Welsh folklore. While the broader Arthurian legend is widespread, some key elements, such as the magical sword Excalibur and the wizard Merlin, have roots in Welsh tales like the Mabinogion.

Places like Caerleon and the ruins of Castell Dinas Bran in Llangollen are often linked to Arthurian legends.

Y Tylwyth Teg (The Fair Folk):

The Tylwyth Teg are Welsh fairies or magical beings often associated with mounds or fairy rings. They are known for their beauty and magical abilities. Crossing paths with them could lead to both blessings and misfortune, depending on the encounter.

Tales warn of the Tylwyth Teg taking humans to their underground realm, where time passes differently.

The Legend of Gelert:

The legend of Gelert is a poignant tale of loyalty and tragedy. It tells the story of Llywelyn the Great, a medieval Welsh prince, and his faithful hound Gelert. The dog is mistakenly killed by Llywelyn, who later discovers that Gelert had actually saved his son from a wolf.

The Mari Lwyd:

The Mari Lwyd is a traditional Welsh custom associated with the winter season. It involves a horse's skull mounted on a pole, decorated with ribbons and bells, carried by individuals who go from house to house, engaging in a form of door-to-door singing and challenge.

Celtic Water Spirits:

Wales, with its rivers, lakes, and coastline, has numerous tales of water spirits. Creatures like the Afanc, a lake monster, and the Gwragedd Annwn, beautiful water maidens, are part of Welsh folklore. These spirits often play pivotal roles in cautionary tales and myths.

Branwen Uerch Lyr:

The tragic tale of Branwen, the sister of the legendary King Bran the Blessed, is another prominent story in Welsh folklore. It involves betrayal, war, and the symbolic connection between Wales and Ireland.

Welsh folklore continues to inspire contemporary literature, art, and cultural expressions, maintaining a strong connection to the country's past. The tales and mythical elements contribute to the unique identity of Wales and its people, adding a layer of enchantment to the historical and natural landscape.

Taglist (reply or reblog to be added): @axl-ul @crow-flower @thoughts-fromthevoid @alderwoodbooks @harleyacoincidence @tuberosumtater @sonic-spade @theonlygardenia @holymzogynybatman @nulliel-tres @w0rkah0licz @sylvanthorn @tigertaurus22 @profiterole-reads @mathias-musings @1899adgg1997tbmd @grimmparanormalinvestigations

[bigfootbeat]

Reimagining Bigfoot in Harry and the Hendersons

Harry and the Hendersons, a 1987 film directed by William Dear, is a family comedy that reimagines the legendary creature Bigfoot, diverging significantly from traditional narratives. Often portrayed as an enigmatic and elusive character in legend, Bigfoot, sometimes referred to as Sasquatch, has long been a source of fascination and anxiety. But Hollywood's depiction in this movie presents a quite different picture, turning the beast from a menacing and mysterious presence into a kind and misunderstood colossus. The Henderson family, who are on a camping trip and unintentionally come upon Bigfoot, is the main focus of the movie. Rather than being the menacing entity frequently portrayed in stories, Harry, as they call him, is shown to be compassionate and exhibiting behavior that is almost human. This portrayal twists the conventional story, transforming Bigfoot from a mysterious and terrifying figure into a sympathetic and humorous one. By humanizing mythological creatures, the film follows a larger Hollywood practice of making them approachable to viewers and appropriate for family viewing.

The Hollywood version of Bigfoot in Harry and the Hendersons marks a dramatic shift from the terrifying stereotype of the monster. In folklore, Bigfoot is often a solitary, mysterious entity, generating both curiosity and alarm due to its elusive nature and potential menace. The film, however, emphasizes themes of acceptance and understanding, depicting Harry as a creature deserving of compassion rather than terror. This transformation serves to make Bigfoot accessible and endearing, aligning with the film’s comedic and heartwarming tone. The way that Hollywood has been reinterpreting mythical creatures to fit family-friendly narratives is evident in the film's distortion of Bigfoot's traditional story. In order to make them more appealing to a wide range of consumers, this strategy frequently entails softening their edges and giving them human characteristics. This tactic can increase a movie's appeal, but it also runs the risk of commercializing and oversimplifying intricate folklore, which would take away from it its inherent mystique and cultural significance. Moreover, the film uses this reimagined Bigfoot narrative to explore themes of coexistence and understanding between different beings. Ultimately, the movie portrays Harry as a creature who becomes a part of the Henderson family, thereby promoting harmony and acceptance. In stark contrast to traditional stories that emphasize fear and the unknown, this positive portrayal suggests a shift in how audiences view the unfamiliar.

Despite its success in telling a touching tale, Harry and the Hendersons is a prime example of how Hollywood frequently modifies classic stories to appeal to modern audiences and business needs. This distortion may lead to the loss of the depth and complexity of the original folklore, transforming rich cultural legends into straightforward narratives with clichéd moral teachings. It also illustrates how storytelling is a dynamic art form, where new interpretations can provide novel insights and interpretations. In conclusion, Harry and the Hendersons depicts how Hollywood can modify traditional myths, converting a character of fear and mystery into a symbol of benevolence and acceptance. This distortion furthers the film's family-friendly objectives and highlights the tension between preserving the essential elements of folklore and adapting it for modern audiences. Despite these alterations, the film remains an enduring example of how mythical creatures may be reinterpreted to reflect contemporary ideals and ideas.

[laraactive]

Embracing Modesty: The Rise of Modest Activewear in the UAE

In recent years, the fashion industry has witnessed a remarkable shift towards inclusivity and diversity, catering to the varying needs and preferences of women worldwide. Among these evolving trends, the surge in demand for modest activewear has been particularly notable, especially in regions like the United Arab Emirates (UAE).

Modesty, deeply rooted in cultural and religious values, has long been a significant aspect of dressing in the UAE. However, traditional modest attire often lacked options for women seeking comfortable and stylish activewear suitable for their active lifestyles. Recognizing this gap, several brands have emerged, offering a diverse range of modest activewear in the UAE.

Modest Activewear Training Pants:

Gone are the days when modesty was perceived as a barrier to active pursuits. Today, women in the UAE can effortlessly find modest activewear training pants that combine functionality with modesty. Crafted from breathable fabrics and designed with modest silhouettes, these pants offer the flexibility and coverage women desire during workouts without compromising on style.

Modest Activewear Hoodies:

Whether it's a brisk morning jog or a post-workout cooldown, modest activewear hoodies provide the perfect blend of comfort and coverage. With innovative designs and thoughtful details, these hoodies not only protect from the elements but also exude a sense of style and sophistication, making them a staple in every modest dresser's wardrobe.

Modest Activewear Sets:

For the ultimate convenience and style, modest activewear sets are a must-have. These coordinated ensembles take the guesswork out of styling, offering a seamless and chic look for any workout session. From performance-oriented fabrics to fashion-forward designs, these sets cater to the diverse tastes of women in Dubai and beyond, empowering them to embrace their modesty without compromising on fashion or function.

Modest Activewear Tops:

From lightweight tunics to modest crop tops with extended lengths, the options for modest activewear tops in the UAE are endless. These tops are designed to provide ample coverage while allowing for ease of movement, ensuring that women can pursue their fitness goals with confidence and comfort.

Modest Activewear Brands in the UAE:

In response to the growing demand for modest activewear, numerous brands have emerged in the UAE, catering specifically to the needs of modest dressers. These brands combine traditional values with contemporary designs, offering a diverse array of options for women seeking modest yet stylish activewear. From established names to emerging labels, the UAE boasts a vibrant and thriving modest activewear scene, providing women with the freedom to express themselves while staying true to their values.

In conclusion, the rise of modest activewear in the UAE, including brands like Lara Active, represents a significant step towards inclusivity and empowerment in the world of fashion. By offering women stylish yet modest options for their active lifestyles, these brands are not only meeting a demand but also championing diversity and self-expression. As the modest fashion movement continues to gain momentum, the future looks bright for women seeking to embrace their modesty while pursuing their passions.