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brenopereira42 · 5 years ago

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Tudo que você precisa saber sobre a redação da Unesp

A segunda fase da Unesp vai rolar nos dias 15 e 16 de dezembro, e a prova de redação será aplicada no segundo dia. Ela tem valor de 28 pontos dentre os 100 totais (dos dois dias da segunda etapa). Por isso, mandar bem na redação é um passo muito importante para entrar na universidade.

A instituição exige o tipo dissertativo de texto, mais comum nos vestibulares. Esse gênero pede que você desenvolva uma ideia, um problema ou um questionamento com uma consideração final que deve estar de acordo com os argumentos expostos. Na redação da Unesp, não é obrigatório sugerir uma intervenção, como é cobrado no Enem.

Veja também

UniversidadesSaiu a lista de aprovados para a segunda fase do vestibular da Unesp4 dez 2019 – 10h12

As propostas de redação apresentam uma coletânea de textos motivadores. Eles servem como ponto de partida para a reflexão sobre o tema que deverá ser abordado. Use os trechos como base e nada de copiá-los ou fazer referências diretas como “segundo o autor do primeiro texto/ da coletânea/do texto I”. Isso pode zerar a prova.

Veja como usar a coletânea da melhor maneira. Afinal, os textos estão lá para te ajudar, mas é importante saber usá-los, viu?

Critérios de avaliação

Para evitar grandes deslizes, é importante ficar atento aos critérios nos quais a prova de redação será avaliada. Segundo a Vunesp, responsável pela prova, os textos precisam se adequar a três aspectos. Confira:

Tema: a fuga completa ao tema proposto é motivo suficiente para que a redação não seja corrigida em qualquer outro de seus aspectos, recebendo nota zero.

Estrutura (gênero/tipo de texto e coerência): avalia-se como o candidato sustenta sua tese em termos argumentativos e como essa argumentação está organizada (introdução, desenvolvimento e conclusão). Objetividade é essencial, sendo assim, o uso de primeira pessoa do singular e de segunda pessoa (singular e plural) poderá ser penalizado.

Na coerência, os avaliadores observarão, além da pertinência dos argumentos mobilizados para a defesa do ponto de vista, a capacidade do candidato de encadear as ideias de forma lógica e coerente.

Veja também

EstudoAs peculiaridades das redações na segunda fase da Fuvest, Unicamp e Unesp5 dez 2019 – 18h12

Expressão (coesão e modalidade): avalia-se, na coesão, o uso dos recursos coesivos da língua (anáforas, catáforas, substituições, conjunções etc.) de modo a tornar a relação entre frases e períodos e entre os parágrafos do texto mais clara e precisa.

Na modalidade, serão examinados os aspectos gramaticais como ortografia, morfologia, sintaxe e pontuação, bem como a escolha lexical (precisão vocabular) e o grau de formalidade/informalidade expressa em palavras e expressões.

Assim, a redação é anulada em casos de fuga do tema, letra ilegível, texto com menos de sete linhas ou identificação da autoria da redação em qualquer ponto da folha.

Temática

De acordo com os cinco últimos temas de redação do vestibular da Unesp, podemos traçar um perfil temático da prova de redação: a problematização social. Para exemplificar, temos propostas sobre racismo, imagens trágicas, concentração de renda, voto facultativo e consumo.

2015: A frase-tema “O legado da escravidão e o preconceito contra negros no Brasil” cobrava reflexões acerca da herança da escravidão presente no Brasil contemporâneo e sua relação com o racismo contra negros no país.

2016: A replicação da imagem de Aylan Kurdi – a criança síria de 3 anos que morreu afogada numa praia da Turquia – morto, com o rosto enterrado na areia, foi o ponto de partida para a discussão proposta: Publicação de imagens trágicas: banalização do sofrimento ou forma de sensibilização?.

2017: A extrema concentração de renda foi colocada em questão nesse ano. Na proposta “A riqueza de poucos beneficia a sociedade inteira?”, o candidato deveria discutir se o fato dos 10% dos mais ricos possuírem 85% da riqueza mundial (dados de 2000, citados na coletânea) beneficiaria a sociedade como um todo.

2018: Com base nas eleições nacionais de 2018, o sistema eleitoral foi mote para a discussão se “O voto deveria ser facultativo no Brasil?”. Questão comum em sociedades democráticas, o candidato deveria se posicionar frente à obrigatoriedade do voto nas eleições.

2019: Ao reescrever a frase do filósofo René Descartes (1596-1650) “Penso, logo existo”, e transformá-la numa pergunta associada ao consumo (“Compro, logo existo?”), a Unesp propõe reflexões a respeito da identidade do indivíduo contemporâneo ser baseada na compra de produtos.

Veja também

RedaçãoFuvest: o que não pode faltar na sua redação?4 dez 2019 – 12h12

Como ressalta o professor Marcelo Maluf, da Oficina do Estudante, para o vestibular da Unesp, o candidato precisa, então, estar inteirado sobre as discussões contemporâneas sobre o lugar do indivíduo no mundo e, por meio do texto, expressar como enxerga o funcionamento social nacional e mundialmente.

A professora Ana Cristina Campedelli, da Oficina, concorda e fala que a prova de redação é considerada justa, já que “relaciona-se sempre com algo atual e que o estudante teve acesso por meio da mídia e, portanto, ele sabe do que se trata o texto”. Ela ainda aconselha caso o candidato “ trave” diante da proposta: “a dica é transformar a frase temática em um pergunta, cujas respostas auxiliarão a sair do branco e elaborar o texto melhor”.

Para te ajudar a ficar antenado, confira o podcast Atualidades do GE.

Tudo que você precisa saber sobre a redação da Unesp Publicado primeiro em https://guiadoestudante.abril.com.br/

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secretarchives · 5 years ago

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The Age of Resistance - Secret Archives of the Vatican Podcast 145

The Age of Resistance – Secret Archives of the Vatican Podcast 145

Here is episode 145 of our podcast and we have some particularly fine tunes in this one!

Of particular note are the Massive Attack track, from a newly released remastered edition of Mezzanine which comes with a full CD of Mad Professor dubs and the Secret Archives of the Vatican track from our forthcoming release, Khorasan.

Tracks

1 VFM Style – Kurdi (Original Mix) 2 Secret Archives of the…

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#Autonomaton #drum and bass #dub #dubstep #Eastern beats #Fedayi Pacha #Flextronic #Halfred #Khorasan #Mad Professor #Martyn Zij #MAssive Attack #Music #Orientalist beats #Secret Archives of the Vatican #The Age of Resistance #Tikki Masala #VFM Style

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tyleroakley-obsessed · 6 years ago

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Ed. Note: Contributor Stacey Greenberg met up with local artist, muralist, and painter Frances Berry to learn more about her, her work, and her thoughts on Memphis. See a few other “Memphian To Meet” profiles here. “I’m drawing or painting on something every day,” says local artist Frances Berry. “I have over 100 sketchbooks and countless napkins.” Frances, 33 (“I made it to my Jesus birthday,” she jokes), estimates she’s created 12,000 pieces of art in the last three years. To say that she works fast would be an understatement. She’s always been a painter at heart, but until three years ago, she pursued photography. When the iconic photo of Aylan Kurdi (the three year old Syrian boy whose body washed ashore in Turkey during the humanitarian crisis in Syria) was published, she sold all of her cameras and transitioned into digital art. “I felt like if that photo couldn’t change things, then definitely nothing I photographed would either,” she said. “I didn’t feel connected.” (Interesting story on the impact of that photo you can read here.) In 2017, Frances did a mural at Crosstown and since then walls have become more and more available. She did 23 interior walls for various clients in a six week span and several outdoor murals. You can find her work in several public places around town, including the mural on the side of Mind Body Haus in Cooper-Young (pictured above) and inside Society Memphis Skatepark & Coffee. Fingers, mouths, and breasts are recurring themes in her work. View this post on Instagram A post shared by Society Skatepark & Coffee (@societymemphis) on Jan 26, 2019 at 8:23am PST “All of my work is me coping with my body in the world,” she explains. “I’ve been fixated on my hands my entire life because they don’t make me feel very feminine. I have disgusting hands. I bite my nails in my sleep. They don’t belong on my body.” Body dysmorphia is something Frances struggles with. Born and raised in Columbus, Mississippi, Frances says, “In the South, we all cope with femininity. It’s a central part of my work and it’s deeply subconscious.” She would like to say something with her work and points to her collaborative partner, “Captain” who visits often and most recently came to Memphis to work with her on a few murals for the Paint Memphis project on Vance, as someone who has helped that take shape. They met in upstate New York and were both very far out of their element. “People knew us on paper and made assumptions about us – he’s a big black dude from the west coast and I’m a woman from Mississippi. People were always asking us about our art through those lenses and it’s a weird question – not something that’s equally applied to all artists.” View this post on Instagram A post shared by Frances Berry (@where_is_frances) on Dec 13, 2018 at 7:17am PST Frances moved back home to Columbus for her last year of college and says it was transformative. She traveled for a year and then fully planned to move to Atlanta when her grandparents, who were living in Memphis on “the Island” (Mud Island), convinced Frances to take a look at a friend’s apartment in South Bluffs. It was in her budget, so she decided to move to Memphis instead. At the time, she had only heard that Memphis was scary and dangerous and there was nothing to do. She admits that she hated living here at first. She worked at home with her dog and played Scrabble with her grandparents. Eventually, she started making friends and found her way to Skateland in Raleigh. Roller skating has become an outlet for Frances and she’s a regular on Sunday nights at East End when the jam and rhythm skaters congregate. “I love it in a way that people love yoga. I lose myself in the fluidity. It’s good to have an outlet that isn’t art.” She puts on skates every day, and has been known to paint in them, but after doing 75 paintings in them for an event at Crosstown Arts she was worried it was becoming “an untenable gimmick that was taking away from both things.” She found her way to Al Town in May and says those guys are the best community ever. “Those guys have fed my soul,” she says. And yes, she plans to learn to skateboard next. Meet Frances 1. What’s always in your bag? Pens, pencils, markers, etc., including at least one that is missing its cap and bleeding through my bag. 87 lbs of change. Something random that I think I’ve lost. At least two pairs of sunglasses. 2. Guilty pleasure? I don’t feel guilty about anything that brings me joy. 3. Go to outfit? Canadian tuxedo (denim on denim). 4. How do you drink your coffee? Enthusiastically! Only kidding — with a splash of milk. 5. Favorite song right now? Just one? Can I do 3? “I just rage” by Spooky Mansion; “Graffiti on the high school wall” by People Under the Stairs; and “Neon” by Magdalena Bay. Frances is really happy with the way things are going and now loves living in Memphis. “There’s a lot of hungry people here, people hustling and making things happen. That’s the coolest part about Memphis. People make you feel like family and include you in the best possible way. I feel like I belong somewhere for the first time in my life.” Follow Frances on Instagram at @where_is_frances and see her work for sale at @where_is_frances_4_sale. You can listen to her interview on Walkabout Radio with Cecelia Lona, a local podcast from OAM Network here. About The Author Stacey Greenberg is a freelance writer who lives in Cooper Young with her two teenaged sons. She’s the Editor for the re-launched Edible Memphis and a contributor to Thrillist.com, Edible Memphis, I Love Memphis, and Memphis Travel. She’s also the author of the award winning blog, Dining with Monkeys (diningwithmonkeys.com). A lifelong Memphian, she loves the fact that she’s never met a stranger here. Are you a home owner in Memphis, with a broken garage door? Call ASAP garage door today at 901-461-0385 or checkout http://bit.ly/1B5z3Pc

http://ilovememphisblog.com/2019/02/memphian-to-meet-artist-frances-berry/

#I Love Memphis

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botantimes · 1 year ago

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Botan International dê Kargehên Rojnamegerîya Kurdî ya Dijîtal pêk bîne Botan International dê bi piştgirîya Fona Demokrasîyê ya Ewropayê (EED) 27-28-29ê Cotmehê, bi awayekî online, 6 Kargehên Rojnamegerîya Kurdî ya Dîjîtal pêk bîne. Kargeh û dersdarên kargehan ev in: Kargeha Hazirkirina Naverokên Podcastan: Omer Faruk Baran (Perxudres Pocdast) Kargeha Teknîkî ya Çêkirina Podcastan: Semiha Yıldız (BotanTimes Podcast) Kargeha Edîtorîya Medyaya https://botantimes.com/botan-international-de-kargehen-rojnamegeriya-kurdi-ya-dijital-pek-bine/?utm_source=tumblr&utm_medium=social&utm_campaign=BT

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mevlutoguz · 4 years ago

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Almanaka çand û hunera Kurdî ya 2020an

Min di beşa nû ya Derkenarê de behsa buyer û berhemên çandî, hunerî, akademî û ferhengî yên sala 2020ê kiriye û hewil daye bi çavekî din li sala borî bê nihêrin.

Tevî ku 2020 saleke zor û zehmet bû jî, wekî ku tê xuyakirin kurdan gelek çalakî li dar xistine û berhem sazkirine. Li wêneyê manşetê nenêrin, di almanakê de beşên muzîk, wêşangerî, pêsangeh, konser, sînema, şano, çapemenî, dîrok û erdnîgarîyê jî hene; herwiha xelatên hatine dayîn û hunermendên ku îsal wefat kirine jî di bernameyê de hene...

Îro 21ê Berfanbarê, dirêjtirîn roja salê ango Şeva Yeldayê ye û ji sersalê re tenê hefteyek-deh roja man... 2020 bi koronayê derbas bû û xuyaye ku dê sala 2021ê jî bi derzî û vaksîna koronayê derbas bibe.

Rêxistina tenduristiya Cîhanî (WHO), 11ê Adarê koronavirus (Covid-19) wekî pandemî ragihand. Li gorî daneyên malpera Worldmetersê, hejmara pêketiyên koronayê, ji 75 milyon borîye û li seranserê cîhanê, zêdetirî milyonek û şeşsed hezar kes jî bi wê nexweşiyê canê xwe ji dest dane… Beriya destpêka koronayê bi çend hefteyan, 11 û 12ê Çile, li Amedê, bi beşdariya zêdetir ji 300 aktorên civaka sivîl, Tora Ziman û Çanda Kurdî hat avakirin. Di komcivînê da biryar hate dayîn ku ji bo pêşxistin û parastina ziman û çanda kurdî sala 2020an bibe sala Baba Tahirê Uryan û seferberîya ji bo Kurdî û gavên şênber bên avêtin.

Piştî peydabûna yekem haleta tûşbûna Covid-19ê bi demeke kurt, rewş wekî pandemî hat ragihandin û koronayê kir ku hemû çalakî, pîrozbahî û organîzasyonên mezin bêne rawestandin; Newroz, 8ê Adarê, 1ê Gulanê, 1ê Îlonê, roja Aştiya Cîhanî ûwd. Her wiha hema bêje hemû çalakiyên çandî û hunerî sekinîn, yan jî bo demeke nediayr hatin taloqkirin; tenê beşek ji wan, bi awayê online hatin pêkanîn. Tevî ku saleke zor û zehmet bû jî, kurdan gelek çalakî lidarxistin û berhem sazkirin.

7ê Sibatê, li Amedê, pirtûkxane û mekanekî wêjeyî û hunerî bi navê Wêjegeh Amed vebû.

Li Wêjegeh Amedê ligel gelek çalakî û bernameyan, di navbera tarîxên 25ê îlonê û 30yê cotmehê de, bi hevkariya Weşanxaneya Lîsê û Navenda Hunerê ya Diyarbekirê û bi piştevanîya Qad bo Çandê, Rojên Wêjeya Berawirdî yên Amedê bo cara sêyem, bi temaya ‘Dahatûya Pêjnkar’ hat lidarxistin. Abdullah Peşêw, Bavê Nazê, Ehmed Huseynî, Cîhan Roj û Lal Laleş jî di nav de, gelek nivîskar û şa’iran beşdarî li bernameyê kirin.

MUZÎK: Enstîtûya Çandî ya Kurdî-Almanî, Hemû Stranên Arşîva Radyoya Erîvanê li ser platformên dîjîtal belav kirin. Stranên Radyoya Erîvanê bi enstrumanên klasîk bi navê “DÎSA” wekî albûmekê hatin belavkirin; 10 stranbêjên Kurd ji helbestên helbestvanê kurd Kadir Buyukkaya albûmeke Kirmanckî ya bi navê “Vengê Royî” (Dengê Robar) tomar kirin. Ciwan Haco, 11ê Adarê bi du singileyên bi navê “Şevên Spî” û “Wilo” û 30ê Mijdarê klîbeke bi navê “Ti Ciwan î” ku di sala 1992yan de hatiye kişandin, piştî 28 salan, cara pêşî bi temaşevanan re parve kir. Pervîn Çakar ligel Tara Jaff sîngileke bi navê “Qimil” çêkir. Aynur Dogan, Hedûr; Agit Işık, Hez; Hêja, Stranên Neşûştî; Rûşen Alkar, Hêdî Hêdî; Rewşan, Tov; Nîhal, Şev; Bilind Îbrahîm, Min Bes To Divêyî; Mehmet Atli, Morî û Mircan; Tara Mamedova, Xewna Giran û Harun Elkî albûma bi navê Rev belav kir. Herwiha Hunermendên wekî Ciwan Haco, Mehmûd Berazî, Harûn, Rûşen, Rewşan, Tara vîdeoklîpên nû weşandin.

PIRTÛK Û KOVAR: Li gorî daneyên PENaKurd, di sala 2020an de, 71 niviskarên kurd girtî ne. Bi edîtoriya Nesîm Doru, Ferhenga Têgehên Felsefî derket; Mehmet Oncu, 4 cîld Gotinên Pêşiyan weşandin ku tê de 50 hezar gotinên pêşiyan cih digirin. Weşanxaneya Sîtav ê ev berhem çap kir. Romana Îrfan Amîda, Derî Vekirî Bihêle Wê Hechecik Vegerin ji Lîsê, romana Şêrzad Hesen, Hesar û Kuçikên Bavê min ji Darayê, romana Firat Cewerî, Derz ji Avestayê gihişt ber destê xwendekaran. Şener özmen, Şêxo Fîlîk, Murad Dildar, Abdurrahman Elçek û Fewzî Bîlge kitêbeke çîrokan derxistin. Avestayê hemû berhemên şa’irê mezin Berken Bereh çapkirin. Herwiha Siwarekî Bêniştîman a Osman Mehmed, Xunçeyên Heyamê ya Rizgar Elegez, Tarantîno û Babê min a Şêxmus Kurt û ‘Destê Min Li Destê Te Digere’ a Mem Ronga çap û belav bûn. Nûbiharê Mem û Zîna Hewramî çap kir. Weqfa Îsmaîl Beşîkcî Erdnîgariya Kurdistanê-1: Agirî ya Evirehman Onen; Weqfa Mezopotamyayê, Duzimanî: Zarok û Perwerdehî ya Cemîl Guneş weşand. ERKAM SOFTê ji bo perwerdekirina zarokan seteke bi navê Bêjan çap kir û herwiha yekem lîstîka online ya zarokan çêkir. Weşanxaneya SELê ku bi Tirkî weşanê dike, hemû berhemên Mehmed Uzun ji nû ve çap kirin. Bloga Zinarê Xamo, Hindik û Rindik ket 14 saliya xwe ku heta niha 7 hezar nivîst weşandine û herwiha pirtûka wî ya bi navê Strirîyên Me ji Nameyê derket. Sewsa Necat Zivingî ji Darayê, Ezdaya Rengîn Kardelenê bi etîketa Lîsê derket.

WERGER: Abdullah Încekan, helbestên 8 helbestkarên almanî wergerandin Kurdî û Nûbiharê çap kir. “Bhagavad Gîta” (Stranên Xwedê) yek ji deqên girîng ên edebî ku, beriya îsa bi 200 salî, bi zimanê sanskrîtî hatiye nivîsandin, bi wergera Hasan Hüseyin Öztürk derket. Nameyên Tolstoy û Ghandî bi wergera Fexriya Adaya; yekem romana Dostoyevskî “Merivên Reben” bi wergera Hesenê Metê; romana Robert Louis Stevenson a “Meseleya Seyr a Dr. Jekyll û Mr. Hyde” jî bi wergera Ciwanmerd Kulek û Sûc û Cezaya Dostoyevski bi wergera Medeni Ogut derket. Helîm Yûsiv bo farisî hat wergerandin û biryar e Mehmed Uzun bo îtalî bê wergerandin. Her wiha biryar e di sala nû de kovarên bi navê Herd, Kurdeçîrokê û The Rexşan dest bi weşanê bikin û kovara Barê wekî kovara helbestê weşana xwe bidomîne. Her wiha di mehên Mijdar û Berfanbarê de, li Wêjegeh Amedê bi rêveberiya nivîskar û wergêr Samî Hêzîl, bi navê “Girava Wergerê” û “Bîra Hevpar” du kargehên cuda hatin lidarxistin.

KURDÎ: Li Amedê Tora Ziman û Çanda Kurdî, Li Stenbolê Hereketa Zimanê Kurdî li hat damezirandin. Bo cara ewil li Stenbolê di banê şaredariyê de, li ÎSMEKan dersên Kurdî hatin dayîn. Hejmara dersdarên Kurdî û kanalên fêrkirina Kurdî li ser platformên dîjîtal zêde bûn. Di serdema koronayê de jî sazî û dezgehên Kurdan xebatên xwe ranewestadin, bereksê wê xurt û şên kirin: Bi pêşengiya akademisyen û nivîskar Dr. Îbrahîm Seydo Aydogan, Zanîngeha Kurdî ya Onlinê hat lidarxistin. Akademiya Îsmaîl Beşîkcî, di serdema payîzê de, bi seranavê Tecrubeya Perwerdehiya Kurdî kargeheke Kurdî vekir. Weqfa Mezopotamyayê, bi beşdarîya akademîsyen û folklorzanên kurd "Kursa Çanda Devkî û Berhevkarîya Berhemên Folklorê" çêkir. Komeleya Lêkolînên Kurdî ligel dersen Kurmancî, Kirmanckî û Soranî dersên Hewramî jî dane destpêkirin û kanaleke Youtubeê bi navê “Kurt û Kurmancî” vekir. Bi pêşengiya Adnan Firat û bi mijara, Destpêkê Edebiyata Kurdî, Dersanaya Kurdolojiya Online ya Kurdî hat vekirin.

PÊŞANGEH/KONSER: Bi piştgiriya Odeya Bazirganî û Pîşesazîyê ya Amedê (DTSO), Hunermendê MA Muzîkê, bi navê Dengê Qedîm: Konserên Amîdayê, li cih û warên dîrokî wekî Şikeftên Hesûnê, Keleha Zêrzewanê û navçeya Gêla Amedê konser dan. Herwiha Tora Ziman û Çanda Kurdî û Wêjegeh Amed, Nûbihar, Amîdart û Chalak Eventsê jî çalakiyên online birêve birin. Pêşangeha Ahmet Guneştekin bi navê Jûra Bîrê li Stenbolê û Amedê; Nehatiye Dîtin a Zehra Dogan li Stenbolê hat lidarxistin. Herwiha hunermendê ciwan Hogir Ar jî pêşangeheke online li dar xist.

SÎNEMA Û MODE 21ê Çile, bi edîtoriya Leyla Arisoy û Ayşenur Ozelê kovara Modeyê Kubar dest bi weşanê kir. Hevkara me Fatoş Yildiz dest bi bernameyeke sînamê bi navê Kadraja Kurdî kir û heta niha 8 beş parve kirine. 7ê Tîrmehê bi edîtoriya Mehmûd Beyto û Cîhan Ulus Kovara Sînemayê, Temaşeyê dest bi weşanê kir. Kovara Kürt Tarihi di hejmara 40î de dosyeyeke taybet li ser Sînemaya Kurdî weşand. Derhêner Alî Kemal Çinar di dema koronayê de li mala xwe kurtfîlmekî bi navê Dilop kişand û li ser YouTubeê weşand. Bi produksiyona Mehmet Aktaş û derhêner Hisên Hesen di şert û mercên koronayê de fîlmekî bi navê Bûka Baranê hat kişandin. Di fîlmî de Şilan Duzdaban, Bengîn Elî jî tê de cî digirin.

ŞANO: 13ê Cotmehê, di demeke ku şanogerên Kurd derfetê nabînin derkevin ser dikê, bernameyeke bi navê Hinek Henek ku ji skeçên henek û yariyan pêk tê, dest bi weşanê kir û rastî eleqeyeke baş hat. Di tîma Hineke Henekê de, lîstikvanên Teatra Jîyana Nû, Teatra Mencer, Şanoya Bajarê Amedê û Teatra Yekta Hêvî hene. Derhêneriyê Nazmî Karaman dike û lîstikvanên wekî Yavuz Akkuz, Rugeş Kirici, Özcan Ateş û Abdullah Tarhan û Avşîn Adiguzel lîstikvaniyê dikin. Şanoger Berfîn Zenderlioglu, bi hevkariya Şermola Performans û Chalak Eventsê kargehekê şanoyê bi Kurdî lidarxist. Kargeh ji ber pandemiyê demekê online jî dewam kir. Lîstika yekem a ku Tuncay Ozel ku wî bi xwe nivîsiye û tê de lîstiye û mijara wê bendava Ilisuyê û Heskîfê e, Keypha12500, cara ewil, 27ê Mijdarê Stenbolê hat pêşandan.

Lîstîka Teatra Jiyana Nû ya bi navê ‘Bêrû’ ku ku ji aliye nivîskarê îtalî Dario Fo ve hatiye nivîsîn û derhêneriya wê Nazmî Karaman dikir, li Stenbolê û Rihayê bi hinceta ku propagandaya rêxistinê dike hat qedexekirin. Bi kordînatoriya Mîrza Metîn Komîteyeke Şanoyê Komîteya Kurdî a Eurodram ê, piştî damezirana xwe, çalakîya xwe ya pêşîn pêk anî û encama bijartina 2020an eşkere kir. Komîteyê, şanonameyên Mistoyê Heco, Kemal Orgun û Yusuf Unay hilbijartin.Ş anonameya Mîrza Metînî Dîsko 5 No’lu ji kurdî bo ingilîzî û Erdkêşî bo Almanî û Frensî hat wergerandin. Mîrza Metîn bi şanonameya xwe ya Dîsko 5 No’lu bo Festîvala MENA – Beyond The Mask Festival New Yord (online edition) hat vexwendin û şanoname bi performansa Sinan Eczacibaşi, bi ingilîzî hate xwendin. Hestû Tv, bernameyeke mîzahî bi navê Şildim Bildim û çend lîstikvanên ciwan ên batmanî rêzefîlmeke bi navê Îşev li ser înternetê weşandin. Danser û koreograf Dîlan Yogun, performanseke dansa modern ya bi navê Gav Bi Gav pêk anî û di çarçoveya WêjegehAmedê de helbest-fîlmekî bi navê Medûsayê çêkir.

ÇAPEMENÎ: Bi kordînatoriya Mihemed Salih Bedirxan û Rabîa Çetîn platforma podcastên bi Kurdî, Podcast Kurdî 21ê Adarê dest bi weşanê kir. Le Mond Diplomatika Kurdî, di bin banê Weşanên Rûpelê de û bi kordînatoriya Yado Ciwan ve ji nu ve dest bi weşanê kir, Dîplomatîka Kurdî mehane û wekî PDF tê weşandin. E-rojname hat girtin û Rojnameya Welat ji nû ve dest bi weşanê kir. 1ê Tebaxê, li Qazaxistanê cara yekem televizyoneke kurdî bi navê Yekbun TV dest bi weşanê kir. Weşanxaneyek din a Kurdî bi navê Weşanên Payîz dest bi weşanê kir. Botan International û Rêxistina Rojnamegerên Sînornenas (RSF) Kargeheke Rojnamegeriya Kurdi li dar xistin.

DÎROK-COGRAFYA: 9ê Çile, ava bendavê Ilisuyê gihişte Heskîfê; Navend 10ê Nîsanê di bin avê de ma û 5ê Tîrmehê bi tevahî di noqî ava bendavê bû. Keleha Zêrzevanê ya li navçeya Çinara Amedê, ket Lîsteya Mîrateya Dinyayê ya UNESCOyê. Pira Malabadê û Keleha Wanê ketine listeya demkî ya mîraten dinyayê. UNESCOyê parêzgeha Silêmaniyê, wekî ‘Bajarê Edebiyatê’ pesend kir.

XELAT: “Xelatên Mûsa Anter û Rojnamegeriya Şehîdên Çapemeniya Azad” bo cara 27an hatin dayîn û di beşa nûçeyên Kurdî de peyamnêrên Ajansa Mezopotamyayê (MA) Fahrettin Kiliç û Ayşe Surme wergirtin û herwiha Medya Uren a Jinnewsê layiqî xelatê hat dîtin. Suat Baran bi dosyeya xwe ya bi navê Kitêba Elbakof, Xelata Helbestê ya Arjen Arî wergirt. Xelata Çîrokan a Şêrzan Kurt jî Kenan Erdencî bi çîroka xwe ya bi navê Demên Xwerû qezenckir. Xelata taybet a Artissimayê îsal Zehra Dogan wergirt. Artissima yek ji pêşangeha hunera hevçerx a Îtalyayê ye û her sal li ser navê hunermenda îtalî Carol Rama didine hunermendên jin. Jina Kurd a bi navê Bijîn Hesen a 28 salî a ji Rojavayê Kurdistanê li Almanya Xelata Salê ya Entegrasyonê wergirt.Rojnamevanê Kurd Alan Kaval li Fransayê bi nûçe-analîza xwe ya derbarê girtiyên DAIŞî yên li Rojavayê Kurdistanê, xelata herî mezin a rojnamevaniyê li Fransayê "Xelata Albert Londres ya 2020an" wergirt. Nivîskara Kurd Sara Omar ku niha li Denmarkê dijî, xelata herî prestîj a edebiyata wî welatî ya bi navê Xelata Edebiyatê ya Laurusa Zêr wergirt. Xelata Edebiyatê ya Laurusa Zêr bi wergirtina Sara Omar, yekem car e ku nivîskarek ji Rojhilata Navîn wê xelatê distîne. Fîlmê ‘Barê Giran’ yê Yılmaz Özdil, di "Festîvala Navneteweyî ya Enqereyê" de xelata "Baştirîn KurteFîlmê Tirkiyeyê" wergirt. 3yê Adarê, Wezareta Rewşenbîrî ya Herêma Kurdistanê Xelata Pênûsa Zêrîn da nivîskar Firat Cewerî; Eta Nehayî bi romana xwe ya bi navê “Grewî Bextî Helale”, di bîstemîn Xelata Wêjeyê ya Mehrganê de ku li Îranê tê dayîn, di beşa “Romana bi Zimanê Zikmakî” de xelata romana herî baş a îsal wergirt.

WEFAT: Îsal gelek nivîskar û rewşenbîr û hunrmendên kurd ji naa me bar kirin ango kiras guherandin: Mîrê Bisqê Seid yusiv di 26ê Sibatê de li Stenbolê koça dawiyê kir. Hunermend Seîd Gabarî (Bavê Bêkes) 4ê Adarê di xwe de li Hewlêrê; Bilbilê Amedê Dengbêj Seyidxanê Boyaxcî 5ê tîrmehê li Amedê koça dawiyê kir. 7ê Tîrmehê, kemanjenê naskirî yê ji Kobaniyê, Hemedê Dûman ango (Mihemed Xelîl Xazî li Enqerê wefat kir. Nivîskar, zimanzan û siyasetmedar Hemîdê Smaîlaxa (Hamit Kılıçarslan) 27ê Mijdarê, li Enqerê wefat kir. Helbestkar Usênê Qeremanî (bi navê xwe yê naskirî Mehmet Çetin) 9ê Cotmehê li Stenbolê ji ber penceşêrê wefat kir û Seydayê Gurdilî (Mele Amadettin Yetiz) 3yê Berfanbarê, ji ber koronayê li Batmanê koça dawiyê kir.

Sala 2020an bi koronavirusê, bi amar û îstatîstîkan; bi haletên tûşbûnê û qedexeyên derketina derve (lockdown); bi rûpoş û dezenfektanan derbas bû û xuyaye wê 2021 jî bi vaksîn û derzîyên COVID-19e derbas bibe.

Bi hêvîya saleke xweş û geş; bi hêviya ku rojekê berî rojekê, ev şewba giran, bi temamî ji holê rabe. Di sala nû de, çi meqsed û miradên we hebin bên cî inşala. Ji niha ve sersala we pîroz be û di sala nû de jî, bila guhê we li Podcast Kurdiyê û Derkenerê be. Her şad û bextewer bin. Dembaş.

WEB: https://lnkd.in/d6Bs9cK

SOUNDCLOUD: https://lnkd.in/dTimjFT

SPOTIFY: https://lnkd.in/dWD6duR

*Ev almanak cara pêşî wekî podcast li ser Podcast Kurdiyê hatiye weşandin, piştî weşanê çend nav û berhem lê hatine zêdekirin. (M.O)

*Hemû beşên Derkenarê

#podcast kurdi #mewlûd oguz #mevlüt oğuz #derkenar #mevog #podcast #podcast kurdî #edebiyat #kurdî #kurd #almanak #almanak2020 #almanaka2020an #almanakakurdi

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my-artyavocado-me · 6 years ago

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Ai Wei Wei

In this essay I will argue that the essence of Ai WeiWei’s work as a contemporary artist simultaneously depicts the act of state brutality defying freedom and the political force behind his work as an artist with reference to the 2008 Sichuan Earthquake Tragedy and Wei’s self-published documentaries. Ai Weiwei has become a famous symbol of nonconformity worldwide for his activism and candid criticism of the Chinese Government, sometimes referred to as a martyr, his work has been displayed in the most prestigious modern art museums and are priced at millions of pounds apiece.

Majorly influenced by Duchampian ideals, Ai WeiWei came to New York in the 90’s as an art student in a time where the more anti-authoritarian you were, the better. Duchamp’s main purpose with his work was the act of provocation and very much believed that the concept was far more important than the artwork itself; Like Duchamp, Ai WeiWei takes pleasure in shocking the audience and is considered irreverent as seen in his Dropping of the Han Dynasty Urn 1995 (Figure 1) where Ai is seen dropping a 2000 year old ceremonial urn allowing it to smash, not only rich in monetary value but symbolic and cultural in terms of Chinese history and Civilisation. It was only when he returned to China after studying in New York that he saw the difference in cultures with china being an environment far less open to views and he refused to conform.

Stating himself on The Star Podcast earlier this year, after studying as an art student in New York Ai WeiWei never really knew how his work would function in the “so-called art world” at the time and often thought that no one would find his work important enough to take interest (WeiWei, 2018). Moving back to China in 2008 producing work without a meaning, Ai WeiWei hadn’t yet found his purpose as an artist; Until a devastating 7.9 magnitude earthquake struck Sichuan province and more than 80,000 lives disappeared including young children and students (BBC News, 2013). At this point in his career as a political activist Ai WeiWei had already been working on his blog for two years, distributing derisive social commentary and criticism of the Chinese government; However, it was only when this disaster came to be that silenced Ai WeiWei on his blog, devastated, he couldn’t find the right words not only as an activist but a political artist.

Delving deeper, Ai WeiWei noticed that the government was overly censoring and controlling all information presented on the earthquake. Angered, Ai WeiWei wanted people to know how many people had lost their lives and with the discovery of the lack of funding the province received for infrastructure which could have prevented many injuries and deaths, he made hundreds of phone calls and enquiries to different sectors in the government, but all refused to answer (WeiWei, 2018). It was six weeks after the disaster where it became more so apparent that the local governments ineptitude and venality was the definite reason for the collapse of the schools whilst other buildings with greater infrastructure withstood the earthquake (Yong, 2018).

Seeing the success of his blog WeiWei had the idea of organising his own investigation team with the help of the locals in Sichuan Province, asking questions such as ‘where are those lives lost?’. WeiWei and his team went out to crisis areas still suffering and requested the names, dates of birth, the school they lost their lives at and recorded all the details (WeiWei, 2018). Almost a year later, with many arrests, they managed to acquire over 5000 names and eventually the Chinese government shut down the blog due to the increase of the public viewing it; WeiWei was particularly critical when the Chinese government spent a considerable amount of money on the summer 2008 Olympics which they hosted only a year after the Sichuan earthquake (Ignelzi, A, 2016), an example of his candid criticism of his own government.

Not long after, WeiWei had a show coming up in Munich’s Haus Der Kunst (a global centre for contemporary art) where he opted to display his piece Remembering (2009) (Figure 2) on the façade of the gallery. The inspiration behind this work wasn’t just the tragedy itself, but a conversation WeiWei had with one of the mothers who lost her daughter:

“For seven years she lived happy on this earth” (Baker, 2015)

This installation was made with many materials that WeiWei found onsite after the destruction of the earthquake, backpacks with colours of white, green, yellow, blue and red representing the youth who lost their lives. The mural like installation gave Ai WeiWei international fame, because of its large-scale property many people were forced to interact with the piece and educate themselves about the corruption in the Chinese Government; After gaining international attention many journalists ad media institutions covered the story and magically, a disastrous event which the government tried to conceal has now been recognised globally and cannot be hidden (Baker H, 2015).

I argue that what gives this instillation the recognised success it has is that throughout the piece Weiwei has been the voice of many who have suffered, unlike other contemporary artists who create art for the sake of creating art, Ai Weiwei has recognised the loss of many and continues to warrant that their memories aren’t lost (Anguiano, 2016). Considering all of Ai Weiwei’s social and political instigations over the years presented on his blog, Remembering (2009) (Figure 2) I contest that this was the conclusion of Weiwei’s years of commenting on the censorship of Chinese society (Weiwei, 2018).

I would indicate that showcasing Remembering (2009) (figure 2) on the façade of Haus der Kunst was no coincidence for Ai Weiwei. The Haus der Kunst was founded in 1937 following the plans of architect Paul Ludwig and in result, the first building of Nazi architecture and propaganda for the Third Reich came to be; It showcased the finest German art at the time (Spottinghistroy.com, n.d) and a protest degenerate art, a term Hitler came up with to describe his distaste for modern art. The building was originally made with the purpose of publicity for Nazi ideals, therefore I would argue Ai Weiwei decided to showcase on this building as he realised the great publicity he would get in another country that isn’t censored in the same way China is, to cover the Haus der Kunst in this way is a very dramatic political act resonating with his depiction of state brutality.

I debate that displaying the piece on the façade where visitors to the gallery would walk through the entrance ensured that visitors to who didn’t know Chinese would actively go out of their way to research the piece thus making international visitors aware of the crisis in Sichuan. Of course, Ai Weiwei has been an artist for many years and has many other artworks related to the Sichuan earthquake, but remarking on Remembering (2009) (figure 2) himself, Ai Weiwei states that this piece had a profound impact on how he as an artist deals with political issues (Weiwei, 2018) when considering how the Chinese government defies freedom.

In relation to his other works I argue that this is not the first time Ai WeiWei has created a piece to reflect on the Sichuan Earthquake, in 2008 Weiwei created a snake ranging at 55 feet long made with 360 backpacks which he found amongst the fallout after the earthquake. As you can imagine, Snake Bag (2008) (Figure 3), being made with backpacks is a profound reflection on Chinese society which was sent out for the entire world to see (Kim, 2011) which in return helped him become a symbol of nonconformity. When looking at the installation from a side view, the pattern present looks very familiar to what we know as the Richter Scale, a scale used to describe the magnitude of an earthquake, and a straight seam representing the fault line of the earth (Figure 4).

I indicate the fault line represents the fault the Chinese government made for not providing better infrastructure in the schools destroyed by the earthquake. Furthermore, this instillation took an immense amount of material to make with such a great resource if further depicts that no matter the circumstance there was no protection provided at all. The spine of the snake was also made with material found in the fallout, reinforced steel bar which Ai and his team crafted into the frame; the purpose of this instillation according to WeiWei himself was to encourage people to stop being so spineless and to stand up against corruption (Block, 2013)

Ai Weiwei was named the ‘most powerful artist’ by ArtReview in 2011 for his profound political activism and has encouraged other modern contemporary artists to move away from conventional gallery spaces (BBC News, 2011). However, like many other controversial contemporary artists, being this globally renowned doesn’t come without criticism, it has often been commented that Ai Weiwei can take it too far when it comes to his activism. For example, after a photograph emerged in 2015 of drowned infant Alan Kurdi became the symbol of the predicament of Syria’s refugee crisis, Weiwei recreated that photo a year later and posed as the infant himself (Figure 5). After weeks of this image circulating the internet Ai Weiwei was met with many criticisms for his handling of the sensitivity around the original, it was met with distaste and the Spectator called it “crude, thoughtless and egotistical” (Fehily, 2016). It raises the question of credibility when it comes to Ai Weiwei’s work, there was never any useful comparisons between the artist himself and Alan Kurdi, therefore we must question Weiwei’s intention as an artist as for this piece it can be considered that he was using it for personal gain and nothing more; As an influential artist aware of the power of imagery Ai Weiwei should wield that power with caution (Fehily, 2016)

Contemporary art curator of international fame, Francesco Bonami is one of the most imposing critics on the world-wide scene, he stands by the statement that using language in the contemporary art scene must be exclusive (Elastica, n.d). In an interview with Artsy Editorial, Bonami stated:

“I hate Ai Weiwei…I think he should be put in jail for his art, and not for his dissidence. I think he exploits his dissidence in favour of promoting his art” (Ray, 2013) (Cashdan, 2013)

This supports the previous argument of Ai Weiwei exploiting world issues in favour of promoting his art, he may have been welcomed with open arms when commenting on the Sichuan earthquake, but it seems that in recent years it can be argued that being a political artist with a global profile he has the potential to do more harm than good. It raised the question of will Ai Weiwei’s passing headlines on global corruption matter to china and the future as much as it does today?

American critic Jed Perl commented on Ai Weiwei’s failure as a contemporary artist before the controversial 2016 photograph. In his 2013 article “Ai Weiwei: Wonderful dissident, terrible artist” he describes Ai Weiwei for having no aptitude for art and suggests that he has no originality:

“And to the objection that nearly everything he has done seems a version of something already done by an American artist- whether his boxes suggest Judd’s boxes, or his ambiguous furniture suggests Richards Artschwager’s furniture, or his piled pieces of steel rear that bring to mind Robert Morris and Carl Andre- would he reply that this is precisely his point, that the American ‘original’ idea becomes for him a readymade” (Perl, 2013)

To some extent I agree with Perl’s argument, however I argue that the majority of contemporary artists have taken inspiration from previous trends likewise to those before that.

In John Berger’s 1978 essay, The Work of Art, he argues that a painter is aware of the means available to him to produce said painting; Whether that is materials style or conventions, he is aware of the limits and challenges they could face. Although he is arguing about a painter, in relation to Ai Weiwei it holds true, his means are purely instrumental to the result of his work. It can be argued that Ai Weiwei isn’t aware of his limits and the means an opportunity (Berger 1978).

To conclude I argue that it is very true that at the time of the Sichuan Earthquake Ai Weiwei’s work as an artist and political activist, with reference to his instillations and documentaries, made him a symbol of nonconformity and a force to be reckoned with. Throughout researching this essay my opinion has changed, I argue that Ai Weiwei’s work only has political relevancy in relation to his own culture and government, in recent years it can be considered that his candid criticism has been for his own personal gain in order to keep his relevancy in the ever-evolving art world. With his diluted Dadaism his work is derivative of Duchamp and Gober’s but lacking in his own personal vigour, I will repeat my question once more: Will Ai Weiwei’s passing headlines on global corruption matter to china and the future as much as it did five years ago?

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helenmaybewriting · 6 years ago

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Children’s distress and the images that move us

A two year old Honduran girl cries inconsolably as her mother who is seeking asylum is searched and detained by US Border agents. The image is by John Moore for Getty Images, and it is everywhere these past days.

In my work I often talk about how children are rendered apolitical yet are profoundly politicised. Why is it images of children that move us? Why--as many on twitter have noted--is the US government only releasing photos of boys in detention facilities (answer: its both gender and age that play in to these political games)? Why are the breath-catching, heartbreaking, 'viral' images of crises seemingly always of children, rarely adults, in distress? Is it because even when we've forgotten our shared humanity as adults, children look enough like 'our children' to feel something for? What does this say about who we are as people, that we need images of suffering or dead children to prompt us in to any kind of action?

As part of my broader thinking on representations of children's suffering, I've presented my ongoing work on images of dead children in crises in a range of places in the past 18 months. I've been told on four occasions that it is good that I'm doing this project 'before I have kids', often with apologies from the colleague saying it - 'I couldn't do what you're doing now with my children'. Yet I listened to the recording today that ProPublica released of separated children crying 'mama' 'papi' over and over again. Mama, mama, please. Papi papi. They cry and cry. The border agents joke at their expense. Even without a child of my own it absolutely broke my heart. It is perhaps the hardest thing I've listened to connected to this project since the video of Abdul Hamid Youssef crying while clutching his 9 month old twins killed in the gas attack in Syria last year. But this isn't a post about hierarchies of entitlement to grief, at least not really. I think its really about collective rage and collective numbness.

We should be outraged. We should be furious. We should be incandescent with rage. If there was a red line we are so far past it its not visible in the rear view mirror, and yet this image is not new or different. We have been here with the grief and the anger and then it happens again: #Humanitywashedashore with Alan Kurdi and yet this week Oxfam released a report of French border guards deliberate cutting the soles off children's shoes and turning them back into Italy . #BringThemHere with Baby Asha in Australia and yet children are still on island prisons where a 26 year old killed himself out of desperation and a guttering of hope this week. The children killed in Khan Sheikhoun in Syria were "beautiful babies" according to Trump who added his voice to international condemnation and then bombed the country further. #TheBoyInTheAmbulance with Omran Daqneesh flitted on and off our screens seemingly overnight and yet how many children have been put - alive and dead - into ambulances amongst the rubble since. #GazaBaby trended last month as 8 month old Layla Ghandour died during Nakba protests and right wing pundits dismissed it as a "dead baby strategy" by Hamas.

In fact, four years ago, amidst a surge of young people fleeing unimaginable violence in the Northern Triangle into the US there was much reporting on how the children were kept in deliberately cold facilities, known as las hieleras - the freezers. This week, plans were announced to house child detainees in a ‘tent city’ in the middle of Texan summer. They are frozen and burnt, vilified and victimised, torn from their parents, and photographed in moments of utmost agony and distress. And while these photos and video and audio stop us in our tracks, the tactic of using the bodies of children as deterrents for seeking safety continues.

We insulate ourselves and tell ourselves these are things happening somewhere else in the world, but where does 'here' stop and 'somewhere else' begin? The only thing we have is our shared humanity. And children complicate the distance between ‘us’ and ‘them’. If we can make others ‘them’ we can dehumanise them, separate them from our experience of being human; trap them on island hellholes, tear their children from them and put them in camps, accept bombing and starvation as solutions to war and then turn back the wretched who have managed to escape and arrive to us. The mother and her daughter in that image had already been travelling for a month they told the photographer John Moore. It was too dangerous to stay. The only thing we have is our shared humanity. My old friend Hannah Arendt talks about our shared humanness existing in the in-between of each other. Judith Butler points to the fundamental sociality of our lives - this both makes us vulnerable but also allows us to live. Our vulnerability as human, Butler says, is predicated on our ability to recognise others, and to mourn them. We are not apart from this. These children are both apolitical and profoundly politicised. We have all called for our mama or papi at some point in our lives; these children are calling for theirs' and we are not separate from the institutions and decisions that mean their mothers and fathers cannot come to them.

These images, of two year old girls hysterical with fear and confusion, and dead boys on beaches, and terrified children covered in dust and blood, are the images that will define our time. And our reaction, or lack of, to them will be part of that story.

Today, on the train home, I was trying to pay attention to a podcast but really was just thinking about the ProPublica recording. Sitting there, I watched a small boy fall over and bump his head. He started crying and his mum came over to hug him and asked him 'where does it hurt?'. Warsan Shire's haunting poem came in to my head, and although its about other kinds of violence I've not been able to stop saying it to myself since.

Later that night

I held an atlas in my lap

Ran my fingers across the whole world

And whispered

Where does it hurt?

It answered

Everywhere

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ultrasfcb-blog · 6 years ago

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Dean Richards and Newcastle Falcons: From Premiership strugglers to title contenders

Brains and brawn: Dave Walder and Dean Richards have given Falcons silk and steel in their squad

Aviva Premiership semi-final – Exeter Chiefs v Newcastle Falcons Venue: Sandy Park Date: Saturday, 19 May Kick-off: 15:30 BST Coverage: Updates on BBC local radio and live scores on the BBC Sport website

When Dean Richards took over at Newcastle Falcons in the summer of 2012, both parties were at a crossroads.

After the Falcons enjoyed Premiership success in the early years of professionalism, the glories of the late 1990s were faded memories.

Years of battling to avoid the drop had taken their toll, and the inaugural champions were to start that season in the Championship after relegation.

Richards – huge in both reputation and stature as a player and coach – had been to the heights of multiple European successes with Leicester and turned Harlequins from a Championship outfit to a top-flight contender.

However, the scandal of ‘Bloodgate’ – using a blood capsule to facilitate a tactical substitution in which he hoped to gain an advantage – saw him sacked by Quins and disgraced, bringing his career to a shuddering halt.

Alone, both Newcastle and Richards were in the doldrums.

But together they have blossomed; reinvigorated and reborn.

On the eve of the club’s first play-off semi-final in Premiership history, BBC Sport looks at the factors behind the Falcons’ flight of fantasy.

The backroom

This year’s success saw Richards collect the Premiership director of rugby of the year prize, while winger Vereniki Goneva won player of the year – reward for the tangible improvement made across the board.

Richards’ ‘Midas touch’ at Newcastle was not an immediate one, but the measured overhaul of the club has been patient.

The 54-year-old arrived with trusted lieutenant John Wells – a colleague from his England and Leicester days – and their combination made Falcons a tougher proposition, building a close-knit culture and team ethic.

Adding the craft to their graft was achieved by the addition of former England, Falcons and Wasps fly-half Dave Walder.

The 40-year-old has been an inspired appointment since his return to Tyneside in 2014, was promoted to head coach last summer and has helped deliver a playing style that has entertained and brought success in equal measure.

More wins, more try bonus points and a higher league position all coincided with Dave Walder’s appointment

Having the confidence to delegate and allow others to take control comes with experience, and Richards takes more of an overview of the club.

“As a player I was unconventional,” Richards told BBC Radio 5 live. “As a director of rugby I still am a little bit. But there are boundaries you don’t cross.

“Those boundaries are less and less in terms of coaching or director of rugby style. I’m very different to most. I’m not a hands-on style, but a steering the ship style.

“There’s a lot of pushing and shoving from behind.”

Richards has also ensured there is a continuity and a relevance to the personnel, with another ex-Falcon in scrum coach Micky Ward and lock Scott McLeod taking responsibility for the line-outs.

‘Award shows remarkable longevity’

Analysis – Chris Jones, BBC rugby union reporter

Richards last won the director of rugby award in 2001 when in charge of Leicester, so the fact he is scooping it almost two decades later is a sign of his remarkable longevity and his ability to reinvent his squads, and himself as a coach.

Much like when he was at Harlequins, Richards has overseen a long-term plan at Newcastle, with canny recruitment and sensible delegation two of his many strengths.

Richards insists the England job is not for him; the Rugby Football Union may always wonder what might have been.

Recruitment

Matthew Burke was a megastar, but even he could not bring Falcons the success they enjoy now

Featuring an alumni that includes England World Cup winner Jonny Wilkinson, Australia full-back Matthew Burke and New Zealand front-rower Carl Hayman to name but three, it is not as if Newcastle fans have been forced to accept second-best in terms of players over the past 20 years.

However, not even those legends of the game have triggered the same success as the current crop at Kingston Park.

Season-by-season improvement has made the Falcons a far more attractive prospect, while the Richards effect is still a draw for top players.

“We’re confident in what we’re doing, we’re confident in training, our analysis, our preparation and that brings a more relaxed feel,” England international Mark Wilson told BBC Newcastle.

“We know we’re in good hands and everyone’s mucking in and doing their jobs.

“If you look after what you do and what you bring to the club, we all come together and reap the rewards.”

The mix of home-grown talents such as Wilson, recent England call-up Gary Graham and Chris Harris have dovetailed beautifully with carefully selected imports – Sinoti Sinoti, Goneva and scrum-half Sonatane Takulua.

Last summer also saw the shrewd capture of ‘local-boy done good’ Toby Flood, who having progressed his career away from Newcastle with giants Leicester, returned from a stint with Toulouse to guide the Falcons.

“You have to buy into Dean,” ex-England winger Ugo Monye told BBC Sport’s Rugby Union Weekly podcast. “You might not be his best mate. You have to put your ego to one side, he doesn’t want to get on with everyone and he shouldn’t.

“He’s so cocksure about what he wants to do, but he gets results.”

Already lined up for next season are Leicester’s ball-carrying prop Logovi’i Mulipola and London Irish centre Jonny Williams, as Richards continues to tinker and upgrade the player pool.

Mentality

Vereniki Goneva’s Alan Shearer celebration at St James’ Park was one of the enduring memories of the season

Not only are Flood and Goneva elite players with international experience, but they also came from winning cultures and have spread that winning mentality throughout the squad.

This campaign has seen Falcons break records on and off the pitch, with more than 30,000 fans attending a regular-season game at Newcastle United’s St James’ Park and the securing of Champions Cup rugby before their top-four efforts which ensured a highest finish in 20 years.

Their victory at Leicester in the penultimate game was Newcastle’s first at Welford Road in 21 years, fuelled by belief they can match anyone in the Premiership elite.

“It’s winning the big games, being competitive in the big matches,” Richards told BBC Newcastle.

“We’re doing that, we’ve shown we can beat the big sides from Exeter to Northampton, but ultimately we have to beat Wasps and Saracens.”

As much as Richards puts belief into his players, there is also the element of his personality, his will to win, that has another effect on the people under his management.

“He does instil a fear factor which does get the best out of not just the players, but the video analysts, the physio,” Monye said.

“If the physio says two weeks, Dean will be wanting him back in a week.

“He is always pushing the envelope, perhaps that was some of his downfall – look at ‘Bloodgate’. He’ll forever be remembered for that, and I hope that’s not the defining moment in his career.

“It shouldn’t be the defining moment, because he’s done so many good things.”

Semore’s success

Semore Kurdi (left) helped take Newcastle to Philadelphia to face Saracens in a showcase league game

Richards, Flood, Goneva – all key facets to the Falcons’ revival, but none of whom would be at Newcastle if were not for the impact of owner Semore Kurdi.

Little is known about the ‘Geordie Jordanian’, who established his business in the north east but has remained anonymous as the club he bankrolls charged up the Premiership table.

He has been helped by Richards’ rugby union nous and the business expertise of former Wigan rugby league chief executive Mick Hogan in off-the-field matters.

Kurdi’s intervention when Dave Thompson sought to sell the club in 2011 has coincided with the Falcons’ upturn.

Plans are in place for a new stand at the North Terrace of the ground, as the off-field side of the business seeks to keep pace with their on-field counterparts.

“It probably wouldn’t have survived if the truth be known,” Richards told BBC Radio 5 live.

“The club was on its last legs and you only have to look at the renovations within the club and the way the club is going to understand it’s gone a long way.”

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