#marukus

[fafameow]

marx and co (aka jester trio)

[kazeofthemagun]

Gaze into your muse's eyes

[tagged: yöïnked from @shiroi---kumo ]

[tagging: y'all]

[Kiddo Kaze, otherwise known as "Maruku". He's practicing the murder glare. We all gotta start somewhere, right?]

[valuvrarte]

Adult Ren (Akira) be looking like Maruki. In a good way

That's good! Thank you ^-^

I do think Maruku and Akira/Ren resemble eachother a lot, with all the parallels between them.

I've always thought Maruki was Akira if he didn't let go of Akechi and decided to stay in his confort zone instead of fighting for his justice. So i guess he had a good impact to him :))

(Well, despite you know, all the stuff that happened)

[hollylu-ships-it]

Commissioned by Maruku

Thank you for this order, was so much fun creating!

[1-mini-1]

Curiou Cat Q+A Compilation

So since Curious Cat is officially dead (rip), I decided to put some of the Q+A's I answered in like 2019 here. Most of them are Mafumafu-related song analyses and some of my basic opinions on Vocaloid and utaite, so if you wanna read some yap, knock yourself out. Also, I like yapping. So feel free to submit more asks LOL

What are your thoughts on 'last stop' by mafu (lyrically n musically) ?

Sometimes I feel like Shuuten (Last Stop) has lyrics that are really dark compared to Mafumafu's other songs, but then I listen to them and realize that they're not really haha. I think, to me at least, that they come off darker, because of the song's execution and composition. I think Mafumafu mentioned that when he was writing this song, he was basically having an existentialism crisis but then realized that, "oh, well, in the end we all die anyways…". So yes it's really dark, but then in end it's kind of comforting? I mean I don't think anything's harder than this life, honestly haha. And I think another thing Mafumafu said is that he realized it doesn't matter who we are, we all get off at the same last stop. I think the song follows this thought process, as it goes from rolling in angst, to reveling in angst, to accepting that angst.

The one thing that did stand out to me in the lyrics is that he referenced "Swaying from Season to Season". In my head, I divide Mafumafu's songs into different categories. So we have songs that are more rock and dark (like Shuuten), songs that are related to Yume Hanabi, and then… I guess I just stick Swaying from Season to Season with Ouka ni Tsukuyo to Sodeshigure lol. Anyways, my point is, he doesn't mix the lyrics he uses with songs in these separate categories too often, but for some reason he referenced Swaying from Season to Season in Shuuten. Why he did that? I really don't know lol. It might just be another contrast thing, since that song is everything Shuuten isn't.

Musically, Shuuten is fantastic. The whole song seems to be built on contrasts. I love how the verses are sung low and fast and are paired with an uncomplicated instrumental that has no bass guitar. I think this makes it sound like mumbling and causes the chorus to be that much more startling. When bass is introduced, the instrumental gets more complicated and Mafumafu starts screaming (lol). Usually in music, high notes and melodies are associated with fast tempos, but I like how Mafumafu did the opposite in Shuuten by having the lyrics slow down when he reaches the chorus. Not only is there a build up when the chorus is reached, but there's one continuous build up throughout the whole song until it reaches the last chorus but then falls again. I guess you could say that the chorus is our… Last Stop *ba dum tsh*

What are your thoughts on Sekai Shikku ni Shounen Shoujo?

Ahhhh I really like this song. Yes, while it is full of existentialism like mafu's other songs, it still makes me feel happy. For me, I really think about it as a song that ties all of us fans together. We're all sick of the world, and nameless boys and girls who haven't really found our place in the world. I also like how the lyrics mention the Summer Triangle. When I think of the summer triangle, I think of the Japanese holiday Tanabata. In the Tanabata story, Orihime and Hikoboshi (represented by the stars Vega and Altair, which are two corners of the Summer Triangle) can only meet once a year. I think it's really similar to how fans and After the Rain don't meet very often and basically only do through their live concerts. So it's bittersweet but something every one looks forward to every year.

Since people are asking about your thoughts on certain songs, I was wondering what your thoughts are on Mafumafu's Nuko series?

I probably don't have as much to say about this series as I do about others lol. I think they're really cute and fun songs. My favorite song in the series is Neko ga Maruku Natta (actually, is this song even in the series haha). It's a lot calmer compared to the other songs but surprisingly deep. I love it's message about how we should try to do our best with the life we're given and make the world rounder by trying to understand each other. This may be different than what Mafumafu means, but I'm literally trying to do that by studying and translating Japanese lol. Also, it has all of Mafu's friends as cats in the MV???? And that's super adorable???

What are your thoughts on Antivirus from Izanaware Traveler?

I mentioned this in my translation, but I feel like Antivirus has a similar meaning to Merry Bad End and Hello Dystopia. I don't want to assume anything, but to me at least it seems like the lyrics talk about toxic fans.

I feel like AtR had a really rough year last year. I mean, they've written a couple other songs before last year that were kinda calling out how their fans conduct themselves online, but I think last year had about 4 songs that were like that…

Um, so, I guess rather than going through Antivirus and highlighting what destructive behavior fans could be doing, I rather talk about what good things fans can do. I think it's important to not just be a fan, but also a supporter of your favorite artists. It's good to send them good messages, fanart, etc. In fact, I'm sure they love it so much! I wanna just shower everyone in good vibes and affection gah. On the other hand though, it's not ok to treat them like they're an anime character. They are very real people. This has kind of been on my mind since I started translating and interacting more with the international utaite fandom, but I think we're just as accountable, if not more, for what we post online about utaite. I feel like the English fandom is kind of like the wild west and people can get away with saying a lot of things because most utaites don't speak English. However, this also means that they can't address problems that may arise in the fandom. I've been really surprised about some of the things I've seen posted, and if the same things were posted in Japanese, I know that they would affect utaites and their fans. More than anything though, I get really sad about it because I respect these musicians so much because they've played such a positive influence in my life. It's also good to be mindful of what content we post because perpetuating misleading or toxic ideas doesn't set a good example to new international utaite fans. I want a lot of artists to get popular and perform internationally (and in the states, where I'm from), but when that time comes, I want to welcome them as a proud international utaite fan and not someone that is embarrassed about what their peers post online.

Sorry, this got really heavy and long :< On a lighter note, I thought Mafumafu's choice of using the word "Antivirus" was really funny because I work in cyber security and the song was using the definition as more as medical term. But then again, maybe it was intentional, considering that the virus AtR has had to deal with is online.

Who is your favorite utaite and why? (Or I guess who are your favorites, if it's too hard to choose one!)

EASY. My favorite utaite is Soraru and everyone that knows me knows that LOL. My friends ask me "How's Soraru?" instead of asking how I am. It's been super fun seeing how much he's improved over the years and how hard he works. I'm also just very used to his voice so I guess out of all utaites I prefer his.

I think I got attached to him pretty fast forever ago because we had similar interests? Like idk, a lot of the games he played and songs he recorded were my favorites too. I didn't understand Japanese when I first became his fan, but after learning Japanese I've come to really appreciate his personality. I've had tooooooo many times in my life where I would be struggling with an issue or feeling down, and somehow Soraru would say something that would help me out. And he's just so nice and takes care of his friends and is really thoughtful and considerate towards his fans but still blunt and true to himself.

I mentioned this in a previous ask, but yeah I learned Japanese because of Soraru. And Japanese has had such a huge influence on my life, that I can't imagine my life without it. I've made so many good friends, and ended up focusing my career and schooling on Japanese. I literally have no idea where I would be if I didn't learn Japanese because of him. He ruined my life because I was supposed to be a STEM girlie XD but I love him for it :D

What are your favorite vocaloid songs and who are your favorite vocaloid producers (and why)?

To make it easier for me to answer, I'm going to focus on your second question first lol. My favorite producer's are Deco*27 and MikitoP.

When I was in 7th grade, I was convinced that I would never need to fall in love if Deco*27 kept writing music. Love seems like a really basic feeling, but Deco*27 never fails to capture both the good and bad sides of it. It's been fun seeing how his songs have progressed from cute/normal/sad love songs, to twisted ones. I like how his songs are both pop but rock at the same time? And while his music has definitely changed a lot from when he first started, he somehow still manages to use the same distinguishing synths lol. Also, his lyrics are just straight up amazing. They have so many puns and double meanings. He references and recycles the same words a lot, so it's fun listening to recent songs and then hearing him reference a song he wrote 10 years ago. Also, in terms of actual Vocaloid usage, I like how his songs still sound like they use Vocaloid (like he doesn't try to make them sound human) but are still really easy to listen to. My favorite songs by him include Chocolate Beats, Mukashi Mukashi no Kyou no Boku, Dokusenyoku, Starlight Girl… there are too many lol

MikitoP is my other favorite because I feel like his music is really similar to classical Japanese poetry. Instead of telling a story, he captures a single moment and uses that scene to convey a certain emotion. His use of seasonal words really help in painting the scene and making the songs more Japanese-y too. In his songs that do tell a story, they're never super specific and so it's fun to speculate what's going on. So lyrically wise, they're amazing enough, but then he somehow manages to create the perfect instrumentals and melodies to go along with everything. Also, I feel like a lot of his songs are summer themed and summer's my favorite season :D Idk how he makes his music so chill, but then manages write freaking bangers too. My favorite songs by him include Yuugure Twitter, Yuudachi no Ribbon, Shutter Chance, Natsu no Hanken, Ballerina Girl, and Boku wa Hatsune Miku to Kiss wo Shita.

What's your favorite song written by Soraru and what's your favorite Soraru song regardless of the writer?

My favorite song written by Soraru is poco from After Rain Quest and my favorite Soraru song in general is... oof that's a really tough question XD I'm pretty sure I've heard like 500 or something songs by him. Yeah, I don't think I can answer haha. Sorry! There's just too many and I love them all

Do you have any advice for someone who also wants to start posting covers online? Also, what's your favorite Vocaloid/Utaite song to sing?

I might not be the best person to ask about this, considering I've only posted one video, but Soraru said something before in an interview that helped push me to upload something. He said that it's really hard and scary in the beginning to post things because you're a beginner and obviously not perfect or the best, so what he did was find one thing that he really liked about his cover that no other cover had, and used that as motivation to upload and contribute to the community. It could be something really small, like just one note or how you pronounce something, but take that and embrace it so you don't get scared of putting yourself out there.

However, even though no one's perfect in the beginning, I think that's one of the things that's the most fun about utaites. I love going back through utaite mylists and seeing how much they're improved over the years. It makes me excited to see how much I'll improve in the future and uploading stuff will give me an easy way to track my progress.

To answer your other question, I really like singing everything by MikitoP and Deco*27 hahaha. But aside from them, I really like singing songs by Ishifuro like Yuugure Sensei :D

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part III:  Poem 65.

〽 Nakatsugi ha dō wo yoko-te ni kakete-tore          chashaku ha sugu ni oku-mono zo kashi

    [中次は胴を橫手に掛けて取れ          茶杓は直に置く物ぞ可し].

    “With respect to the nakatsugi, the body should be held from the side when it is taken up; and the chashaku should be lowered horizontally onto it.”

    This verse, which considers the nakatsugi, was intended to contrast with poem 57¹, which discussed the way to handle the natsume.  The natsume, as has been mentioned before, was created by Jōō, while the nakatsugi is attributed to Shukō².

    The way to handle the nakatsugi was traditionally based on the use of the katatsuki.

    So the tea container was supposed to be held from the side (like a katatsuki -- and without a finger kept underneath).

    And the chashaku was to be lowered onto the lid horizontally (again, the way the chashaku was lowered onto the relatively wider lid of the classical katatsuki³).

    Of the several versions of this poem found across the various collections, Jōō’s version (as preserved in the Matsu-ya manuscript, and translated and discussed under footnote 1, below) differs from the better known version⁴ in that the kami-no-ku [上の句] (the first “half” of the poem) is focused on the proper way to handle the lid with the right hand, not hold the nakatsugi in the left hand.  This is why it is shaded in purple.  The teachings it contains, however, do not really challenge the accepted way to do these things.

    No such claims can be made for the 1752 block-printed collection that the editors claimed was based on a Rikyū manuscript (dated 1580), since this version (which was also copied by Katagiri Sekishū, in his archived manuscript of the poems) seems to have been edited to reflect the teachings found in the discredited Hosokawa chanoyu no sho [細川茶湯之書], that was published circa 1641⁵.

_________________________

¹And, indeed, Jōō’s original version (as found in the Matsu-ya manuscript) does so more exactly than does the version found in Hosokawa Sansai’s collection (i.e., the Kyūshū manuscript).

    Jōō’s version of this poem reads:

〽 nakatsugi no futa ha ue-yori kakete-tore          chashaku ha sugu ni oku-mono zo kashi

    [中次のふたはうへよりかけてとれ          茶杓はすぐに置くものぞかし].

    “The lid of the nakatsugi is held from above when it is closed or opened*; while the chashaku is something that should be rested horizontally [upon the lid].”

    His version of poem 57, meanwhile, reads:

〽 natsume wo ba futa ha yoko-yori kakete-tore          chashaku ha maruku-oku to koso shire

    [なつめをば蓋は横よりかけてとれ          茶杓はまるく置くとこそ知れ].

    “In the case of the natsume, the lid is opened and closed while holding it from the side, and the chashaku is rested upon it with a rounded motion, so you should understand.”

    So, the lid of the nakatsugi was to be held from above, while that of the natsume was to be held from the side†.  In both instances, the front edge of the lid would have been lifted upward slightly by rotating the wrist, as is done with the lid of the chaire -- not far enough that it seems that the host is trying to look at the underside of the lid, but rather as if the lid were hinged, with the hinge located on the far side, as seen below‡.

    In the case of the nakatsugi, the chashaku is lowered onto to the lid horizontally, while it first touches the lid on the far side and then is lowered with a rounded motion when serving tea with a natsume -- all of which has been described elsewhere as well**. ___________ *Kakete-tore [掛けて取れ]:  the verb kakeru [掛ける] means to rest on, or lean (something) against (another thing) -- in other words, put (the lid) on (the body of the nakatsugi); while toreru [取れる] means to take off or detach -- that is, lift (the lid) off (the body).  While we would say open and close, the reversal of the verbs is natural in Japanese.

†This appears to be a deliberate effort at contrasting the shape of the hand with the shape of the lid:  the square-profiled nakatsugi lid was lifted off from above, meaning that the hand would arch over the lid in a semi-circle; the rounded natsume lid was lifted off from the side, so the top of the hand and thumb would appear to be a flattened plane.

‡The reason for this being so that the lid does not hit the rim of the body when it is moved away.

    The natsume or nakatsugi is held beside the chawan.  Then the lid is lifted off as described above, and moved to the right of the chawan (because of the shape of these lids, they are placed directly on the mat, while things like the lid of a chaire need to be leaned against something, such as the handle of the hishaku, or rested on something like the tana or shiki-ita), following the path shown in the sketch.  After the tea has been transferred into the chawan, the lid is closed following the reverse course.

**The way the chashaku was lowered onto the lid was a matter of practicality, rather than contrast.  Because the chashaku is usually bent at the node, at least by a little, touching it to the far side of the natsume lid and then lowering it onto the lid prevents the chashaku from wobbling; lowering it horizontally onto the nakatsugi lid allows it to rest without rocking, for the same reason.

    Recall, too, that the chashaku was originally newly made for each gathering, and its shape was supposed to take into account the shape of the lid.  Usually chashaku made for use with a natsume (or a ko-tsubo) had a more pronounced bend in the middle, while those made for a gathering when a nakatsugi would be used (or a katatsuki, or when the chaire was resting on a tray) were nearly straight.

²While Japanese oral tradition* ascribes the creation of the nakatsugi to Shukō, Jōō owned an ancient nakatsugi (made of lacquer-rubbed bamboo:  this nakatsugi, along with Jōō’s shifuku, are shown below), that clearly predated Shukō’s period by decades, if not centuries.

    The way containers of this sort were made provided the most air-tight sort of storage container for something like matcha possible, given the technology available at that time. ___________ *Which is largely based on Kanamori Sōwa’s histories of chanoyu (the purpose of which was to turn chanoyu into a uniquely Japanese tradition with little connection to the continent -- so that the Tokugawa bakufu could legitimize their requirement of chanoyu as a component of every official interaction between the government and the daimyō and wealthy merchants)..

³The classical katatsuki typically have mouths wider than 1-sun.  Mouths this wide allowed the tea to be scooped (kumu [汲む]*) out without fear of brushing off some of the tea from the mound of matcha as the chashaku was drawn out of the chaire. ___________ *In the case of the classical ko-tsubo [小壺], the matcha was pulled out of the chaire using the side of the chashaku (sukuu [掬う]) precisely because the narrowness of the mouth prevented the mound of tea from exiting intact.

    The reader should recall that, when preparing koicha, three scoops of tea were to be used for a single portion (and five for a double portion, according to Rikyū’s way of serving koicha).  However, even though the chashaku was intended as a measuring scoop, since Jōō the rule had been that the first scoop should be slightly less than full, the second rounded, and the third mounded up more than usual -- shō [小], chū [中], and dai [大] -- (in the case of five scoops, the fourth and fifth would have been like the third), as shown above.

⁴The “better known” version was usually similar to the version that was preserved in the Sen family archives, which were, in turn, based on the collection that Hosokawa Sansai had received (and likely edited*) from Rikyū.

    While the Sen family collections were occasionally available to their closest disciples, depending on who was leading the school, it seems that the earliest forms available to the public (i.e., through block printed texts) more generally were those found in Hosokawa Sansai’s (purported†) writings. ___________ *Whether intentionally or otherwise.

    The idea was that these poems were intended as a sort of mnemonic device, to be committed to memory during the early stage of one’s training.  As a result, when a copy was required for some purpose, this was more likely produced from memory, rather than by referring to an archived copy of the document.  It was here, then, that changes occasionally made their way into the text -- and these were not necessarily deliberate modifications, but due to the way that the person remembered the poem that they had learned decades before.  Though this does not mean that people like Sansai did not occasionally edit the text intentionally, when things like the grammar or syntax of the original did not sit well with their Edo period linguistic sensibilities (or the way they were performing the temae at that point in their professional tea lives).

†As mentioned before, the divergence between the best know of these and Rikyū’s own writings suggests that at least some of Sansai’s published collections of teachings were at least in part spurious.

⁵This version appears to be the source of the confusion between the correct way to handle the nakatsugi, and the appropriate use of the natsume.

    It was around the same time (in the middle of the seventeenth century) that the word “natsume” started to be used as a  sort of omnibus for usucha-ki in general.  This probably reflected a more general conflation of the way to handle what were originally two distinctly different tea containers -- containers that were not necessarily intended to be used exclusively for the service of usucha.

==============================================

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[karolldr1]

Its time

its finally time

its finally time to release the true power

ITS TIME TO SAY HELLO

TO

HATSUNE MARUKU

[kovopedia]

Magical Vacation trivia - Twigadamus

I've brought this up to a few people before, but I might as well leave it here so the word can be spread ;)

Twigadamus's Japanese name is プーレグ Pūregu, which comes from グレープ Gurēpu (grape). While this may just seem like another food-based name at first, one particular line of dialogue reveals something rather interesting.

When talking to Corduroy, an NPC standing outside Ambergris Prep on Cassia, she says that Rogan Josh, Twigadamus, Biscotti, and Biek Fowler all graduated from the institution.

In Japanese, however, the people she lists are Jin Reo (Kale), Yuga Tāba (Rogan Josh), Pūregu Lakeside, Gran Dragée (Biscotti), Bie Maruku (Biek Fowler), and Blueberry Lakeside.

The English version of Magical Starsign doesn't want you to know that Twigadamus is actually related to Blueberry from Magical Vacation.

[oxikell]

Maruku and Toshio being cutties together

[eclipsednewmoon]

this guy specializes a unique hypnosis to help others sleep if they are having a really bad day. He often sleeps way too much, even during the night. There are some rumors that Noddy is related to Maruku. He is often playing with Shrill.

[mybeingthere]

Kumanara Niningka LewisAUSTRALIAN. 

PITJANTJATJARA, 1945 - 2020

Niningka was born in the bush in 1945 at a place north of Areyonga. Her parents had previously come to live at Ernabella but were on holiday on foot, as people would do every year still at that time. As a baby she came to Ernabella and grew up here, accompanying her family on annual holidays to many places such as Angus Downs, Curtin Springs and Imanpa. After school she worked at the Ernabella Mission craft room, where Winifred Hilliard taught her how to spin sheep’s wool and weave rugs. She moved to Amata as a young woman and worked in the clinic before settling in Kalka where she married and had one son. She moved to nearby Kalka where she developed her skills in batik, and went on to be one of the supervisors for the Kalka women’s center. It was around the same time, in 1997, that Niningka was introduced to coiled basketry.

Niningka is also an expert woodcarver, who made punu carvings for Maruku Arts at Uluru. She often decorates her baskets with these small figurative carvings, or other applied decorations like emu feathers, ininti seeds, and overstitched or embroidered designs, as well as brightly colored wool/raffia patterns woven into her baskets. Her talents as a sculptor are also apparent in the range of forms she creates from baskets, hats, sandals, cups, saucepans, birds and even small motor cars. Niningka made the first life-sized grass figure for the Tjanpi Manguri Weaving exhibition in 2000 that anticipated the Tjanpi Desert Weavers' move into figurative sculpture-making. This saw them win the NATSIAAs with their tjanpi Toyota sculpture.

https://www.nomadart.com.au/?p=10993

[kurumiiko]

dear latte: do you koyoi tsuki ga kirei desu ne Shall we DJ odorimasho hatoba no neko no me mo maruku hikaru mikazuki wa waratteru no izayoi wa tameratte shingetsu wa machi tsuzukeru

tsuki ni moeru ima nara dare mo mitenai yo himitsu no paatii kimi to gin no enban mawasō

tsuki ga uinku shiteru Midnight DJ mimamotteru sabishige nettaigyo ga oyoide ikuno tsukiakari abinagara kurukuru miraa booru kimi wa yozora wo miageta

tsuki ni moeru ima nara dare mo mitenai no kono mama kimi to futari gin no enban mawasou tsuki ni Fall in love ano hi mitsuketa takaramono naisho no himitsu kichi de toki no enban mawasou

michiteiku oogetsu nanokame ni wa Half moon michiteiku totsu getsu ginka mitai Harvest kaketeiku totsu getsu nakanaka rea Moonrise kaketeiku oogetsu oyasuminasai New moon

tsuki wa fushigi uragawa dou natte iru no? getsumen ryokou kibun gin no enban mawasou tsuki wo Turn it up! mawaritsuzukeru takaramono getsumen chūgaeri de toki no enban mawasō　

tsuki ni soeru odango tabetakatta kara kono mama kimi to futari gin no enban mawasō tsuki ni Fall in love ano hi mitsuketa takaramono naisho no himitsu kichi de toki no enban mawasou kimi to futari gin no enban mawasō

Moonlight Moonlight Fall in love

it literally only took me 2 lines to notice that this was the kurumiiko song™️ anyways yes i do 💪💪💪

[trueromajilyrics]

Ringing evil phone - EVIL NUM+ (Ensemble Stars!!)

★ True Romaji Lyrics ★

Ringingu iivuru fon

Haroo

Himitsu no daiyaru wo tamerau yubi ga ittari-kitari Risei no boodaarain ayaui boodaarain Fuan yori kitai ga uwa-mawaru no mo mou sugu da ne Fumidasu boodaarain tsunagaru sekai-sen

Juwaki goshi no iki wo nomu kuuki Omowazu emi ga koboreru Koboreru Furueru koe de kiridasezu ni iru no? Chiguhagu na yuuki tataete Fuuzu kooringu, puriizu? Hanashi wo kikou ka Saa Ringingu iivuru fon

Dare ni mo ienai negai wo kokoro ni kakushi motta Aa nante oishi-sou na tamashii nan darou Kooringu-Kooringu Irai wa dekiru dake seikaku ni･･･ Kanaete hoshiin desho? Taika wa sono tsudo fea ni damashi tari nanka shinai Kakugo ga dekitara kikasete yo Keiyaku IESU no VOISU

Kami-danomi kurai ni shi tokeba maruku-osamaru no ni Nite-hinaru shiikuretto rain unmei shiikuretto rai Maga-sashita tte kinku ne, jiko-seki-nin tte memo shi toite Eranda shiikuretto rain youkoso un-no-tsuki

Hon no sukoshi uchitoketa koe ga Abunakkashi-kute kawaii Kawaii Girigiri de mada ii ko butte naide Waru-dakumi tanoshi mou ka Fuuzu fooruto izu itto? Koko kara hondai Saa Ringingu iivuru fon

Akirame kirenai negai wo kokoro ni kakushi motte Aa nante sabishi-sou na tamashii nan darou Kooringu-Kooringu Makasete, nozomidoori ni zenbu Kanaete ageru kara Kono mama kuchi yakusoku de koushou seiritsu ni shiyou Sono kuchibiru kara kikasete yo

Ringingu iivuru fon... Ringingu iivuru fon... Keiyaku IESU no VOISU, keiyaku IESU no VOISU Ringingu iivuru fon... Ringingu iivuru fon...

Nee, donna ii wake demo Atsumete mitomereba ii sa Nee, sonna gamandzuyoku Kokoro mo Karada mo

Dekitenai kizuiteru desho?

Ringingu iivuru fon

Dare ni mo ienai negai wo kokoro ni kakushi motta Aa nante oishi-sou na tamashii nan darou (Saa) Kooringu-Kooringu Makasete, nozomidoori ni zenbu Kanaete ageru kara Kono mama kuchi yakusoku de Koushou seiritsu ni shiyou Sono kuchibiru kara kikasete yo Keiyaku IESU no VOISU

Ringingu iivuru fon

★ Song link || Base romaji || Resource 1 || Resource 2 ★

[kkb285-a1]

Step 3: similar existing project in Uluru

Dot painting workshops and classes are easy to come by in the Northern Territory. One of the most well known ones is the "Maruku dot painting experience" in Uluru which is done by a local Anangu artist and interpreter.

The Muruku website states that "through our workshops our artists would like to share a part of their culture with you, so you can learn something, create something and show your family" (Dot-painting experience).

You also learn basic phrases and words in Pitjantjatjara (local language spoken by Anangu), and the cultural significance dot painting and art is which is bought down through generations to keep the land, culture and people strong.

References: 'Dot-painting experience' https://maruku.com.au/tours-workshops/dot-painting/

[lilykunincreativejournal]

Pitch

(Maruku Arts, 2021). 

Youth at Yerrol - Indigenous Art and Culture Workshops for Children:  

Why should adults be the only ones enjoying Yerrol? Enter: ‘Youth at Yerrol.’  This after-school workshop for children aged 5-12 at Maritime Green celebrates Indigenous art, storytelling, and culture. Not only would the workshops encourage reconciliation and respect amongst younger generations, but it would also provide chances of collaboration with schools, the current tenants, and provide a special experience for tourists to create their own Brisbane-unique souvenir in a workshop. 

Required skills:

Research – it will be essential to become knowledgeable about First Nations’ art and what resources are needed. 

Knowledge/appreciation of visual arts – we need to make this as enjoyable as possible for art students. 

Budgeting skills – the scheduled workshop structure will produce a non-conventional budget. 

Knowledge of working with children – they are the target audience.

Compassion and respect – this project centres around First Nations culture; we must be respectful of the customs and beliefs of the Turrbal and Yuggera peoples. 

[danganronpasurvivoraskblog]

Hey Hifumi, sing Queen’s Funk!

♪ Zumu zumu zumu zumu Zumu zumu zumu zumu Zumu zumu zumu zumu Zumu zumu zumu zumu Yase chimattara mote sugirukara〜♪ Aete yasenai taipu no “FUNK”!! Maruku mieruga kin'nikudakara〜♪ Utatte odoreru taipu no “FUNK”!! ♪