Kachinas are gods or spirits. Hopi dancers often emulate them in their rituals.
Hopi tradition maintains that Kachina costumes bestow magical powers upon the wearer.
Katsinas of Hopi Powamu Ceremony, Walpi Pueblo, Arizona, 1893, James Mooney, Bureau of American Ethnology.
If grandmothers around the world had a rallying cry, it would probably sound something like “You need to eat!”
Photographer Gabriele Galimberti’s grandmother said something similar to him before one of his many globetrotting work trips. To ensure he had at least one good meal, she prepared for him a dish of ravioli before he departed on one of his adventures.
“In that occasion I said to my grandma ‘You know, Grandma, there are many other grandmas around the world and most of them are really good cooks,” Galimberti wrote via email. “I’m going to meet them and ask them to cook for me so I can show you that you don’t have to be worried for me and the food that I will eat!’ This is the way my project was born!”
The project, “Delicatessen With Love”, took Galimberti to 58 countries where he photographed grandmothers with both the ingredients and finished signature dishes.
Galimberti said many of the subjects for the project were selected serendipitously, picked while he was working on a project about couch surfing that explored the global phenomenon of staying in other people’s houses. Since Galimberti never slept in hotels while working on the project, he was able to come into contact with people who introduced him to grandmothers in the area.
Galimberti acted as photographer and stylist during each shoot with the grandmothers, taking a portrait of both the women and the food they made for him.
From top to bottom:
Inara Runtule, 68, Kekava, Latvia. Silke (herring with potatoes and cottage cheese).
Grace Estibero, 82, Mumbai, India. Chicken vindaloo.Susann Soresen, 81, Homer, Alaska. Moose steak.
Serette Charles, 63, Saint-Jean du Sud, Haiti. Lambi in creole sauce.
The photographer’s grandmother Marisa Batini, 80, Castiglion Fiorentino, Italy. Swiss chard and ricotta Ravioli with meat sauce.
Normita Sambu Arap, 65, Oltepessi (Masaai Mara), Kenya. Mboga and orgali (white corn polenta with vegetables and goat).
Julia Enaigua, 71, La Paz, Bolivia. Queso Humacha (vegetables and fresh cheese soup).
Fifi Makhmer, 62, Cairo, Egypt. Kuoshry (pasta, rice and legumes pie).
Isolina Perez De Vargas, 83, Mendoza, Argentina. Asado criollo (mixed meats barbecue).
Bisrat Melake, 60, Addis Ababa, Ethiopia. Enjera with curry and vegetables.
[ I was going to post a long rant about some arrogant white yoga girl who insist people are ignorant for using olive oil to cook and should not eat fish or drink milk or eat cheese because of all sorts of problematic food issues, instead I said, let me focus on those who celebrate food. If you still want to see the link of the article she was waving on her Facebook, there you go. Privileged white people…ugh]So cool:)
the third set is calling my name. i’m calling my mama after work.
I wanna try ALL of them.
this is a really beautiful celebration of women and the nourishing foods they make with such love and care.
There was a party on May 3rd at the University of Southern California with the majority of attendees being African-American and Hispanic USC students. The party was registered with the school, and there was another party directly across the street being attended by mostly Caucasian/White students. Both parties had similar noise levels according to dozens of accounts from both sides (source).
Two cops arrived to the party with the minorities and told them to lower their noise level; the party’s host told the attendees to go inside the house and they resumed the party in there with lower volume. A few minutes later the cops came back and students began leaving, and the cops arrested the host. More and more cops began to arrive and soon a helicopter came. All of this was while the students were filing out and more and more cops entered the home; furthermore, the white party continued across the street and some officers even went there to tell them to stay inside and safe. A white student told reporters that “basically they didn’t stop our party at all. They had no problem with us.” (source).
As the minority students saw all the cops and attempted to leave, some were tased, and some were slammed to the ground and arrested. Many resisted on the grounds that they had no idea why they were being arrested seeing as they were leaving peacefully and were over the drinking age (the party required ID). Even more cops arrived (source)(video).
Later that night at about 4:30am, a resident at the house where the white party was thrown was awoken by thudding. He rose to see two LAPD officers trying to speak to his roommate. They ordered him to wake up everybody in the (co-ed) house and as they did so they stumbled into two female residents shirtless and asleep, and one of the officers simply stared. (source)
The reason that they were in that house was to gather statements about how LAPD acted correctly against the minority students but the students at the white party’s house gave factual statements that did not incriminate the minority students how the officers wanted. They have complained about their home being entered without a warrant in the middle of the night but have yet to hear back.
On Tuesday USC will have an open forum in regards to the racial profiling that happened (at the party and in the past) at the school but that is not enough; this has to be more than a local issue and should be made known nationally. USC has issues with racial profiling and it is time that it stops. Anyone can help by signing this petition and making it big. (Photograph source)
This month, in our annual Photo Issue, The FADER is publishing a feature on the epidemic of youth violence in Chicago, photographed by Daniel Shea. It’s no exaggeration to say this has been one of the most fulfilling projects that Daniel and I have ever worked on.
The feature is live online today. Over the duration of the week four extended edits will be posted along with conversations between Daniel and I.
This essay was a deviation from past photo issues. Instead of publishing preexisting work we decided to commission one large essay with ambitious goals. Our choice to shoot on the ground in Chicago stemmed from the idea that the violent rhetoric that permeates contemporary rap music has a human cost that is too often overlooked. The FADER and many other magazines covering new music feature musicians that propagate cultures of violence (like Chief Keef, who Daniel shot for The FADER’s cover less than a year ago). With the magazine’s audience of young people in mind, we wanted to face that head on.
What resulted is 16 pages of photographs and a Q&A with veteran Chicago reporter Alex Kotlowitz. We aimed to depict what life in the South Side is like for young people, through individuals affected by violence, those participating in it and the grassroots effort to curb the spread of retaliatory crime which seems to have no end.
I would like to personally thank Daniel, my friend, for his incredible effort and determination working on this project, as well as the staff and publishers of The FADER for believing in it and to the men and women of CeaseFire who opened countless doors for us. Please spread the word and consider donating to their incredible effort.
viα death-and-necromancy: Hanging Coffins.
Hanging coffins are coffins which have been placed on cliffs. They can be found in various locations, including China and the Philippines. In China, they are known as Xuanguan which also means “hanging coffin”.
Hanging coffins are an ancient funeral custom of some minority groups, especially the Bo people of southern China. Coffins of various shapes were mostly carved from one whole piece of wood. Hanging coffins either lie on beams projecting outward from vertical faces such as mountains, are placed in caves in the face of cliffs, or sit on natural rock projections on mountain faces.
How A Female Photographer Sees Her Afghanistan
Born in Kandahar, Afghanistan, in 1984, photographer Farzana Wahidy was only a teenager when the Taliban took over the country in 1996. At age 13 she was beaten in the street for not wearing a burqa, she recalls, and she describes those years as a “very closed, very dark time.” To carry a camera would have been unthinkable.
And yet, she says, “I felt lucky compared to other women at that time.” Women were banned from continuing their education during Taliban rule. But some, like Farzana, found ways to keep studying. She would carry books under her burqa and attended what she calls an “underground school” with about 300 other students in a residential area of Kabul.
When U.S.-led forces ended Taliban rule in 2001, Wahidy was able to attend high school. A friend encouraged her to apply for a photojournalism program, knowing that she had hopes of sharing her experiences with the world.
“Day by day, as I started learning about photography, I fell more in love with it,” she says. “There was a huge need for women photographers in Afghanistan.”
Wahidy became the first Afghan female photographer to work for the AFP and later AP, two leading wire agencies, and eventually received a scholarship to continue studies in a photojournalism program in Canada. In 2010, Wahidy returned home to Afghanistan.
“I try to show the bigger image, not just show we have problems,” she says. “And we do have a lot of problems, but I do want to show normal daily life.”
Wahidy focuses on women. “This subject was important to me because I am a woman,” she says, recognizing an advantage that gives her. When she wants to document their lives, “it’s easier for a woman to get access,” she says.
Her photos of daily life range from men selling balloons on the streets to the secret lives of female prostitutes. And Wahidy was not the only one to recognize the need for this type of photography in Afghanistan. She is now part of the recently created Afghan Photography Network.
“Many Afghan photographers are not well-connected,” she explains. “We hope it will create a better connection and show Afghanistan by Afghan photographers.”
It is a young website, still in development, but the Afghan Photography Network is already bringing increased visibility to the work of Afghan photographers.
Of the eight women in her original photojournalism program, Wahidy is the only one working as a full-time photographer. Some got married, and others stopped working for reasons unknown to Wahidy. Wahidy, meanwhile, plans to continue for a very long time.
“When I shoot and I get a good photo,” she says, “that is a beautiful day.”
Ganga Aarti is a Hindu religious ritual of worship, a part of puja, in which light from wicks soaked in ghee (purified butter) or camphor is offered to one or more deities. Aartis also refer to the songs sung in praise of the deity, when lamps are being offered.
When aarti is performed, the performer faces the deity of God (or divine element, e.g. Ganges river) and concentrates on the form of God by looking into the eyes of the deity (it is said that eyes are the windows to the soul) to get immersed. The flame of the aarti illuminates the various parts of the deity so that the performer and onlookers may better see and concentrate on the form. Aarti is waved in circular fashion, in clockwise manner around the deity. After every circle (or second or third circle), when Aarti has reached the bottom (6-8 o’ clock position), the performer waves it backwards while remaining in the bottom (4-6 o’ clock position) and then continues waving it in clockwise fashion. The idea here is that aarti represents our daily activities, which revolves around God, a center of our life. Looking at God while performing aarti reminds the performer (and the attendees of the aarti) to keep God at the center of all activities and reinforces the understanding that routine worldly activities are secondary in importance. This understanding would give the believers strength to withstand the unexpected grief and keeps them humble and remindful of God during happy moments. Apart from worldly activities aarti also represents one’s self - thus, aarti signifies that one is peripheral to Godhead or divinity. This would keep one’s ego down and help one remain humble in spite of high social and economic rank. A third commonly held understanding of the ritual is that aarti serves as a reminder to stay vigilant so that the forces of material pleasures and desires cannot overcome the individual. Just as the lighted wick provides light and chases away darkness, the vigilance of an individual can keep away the influence of the material world.
Aarti is not only limited to God. Aarti can performed not only to all forms of life, but also inanimate objects which help in progress of the culture. This is exemplified by performer of the aarti waving aarti to all the devotees as the aarti comes to the end - signifying that everyone has a part of God within that the performer respects and bows down to. It is also a common practice to perform aarti to inanimate objects like vehicles, electronics etc. at least when a Hindu starts using it, just as a gesture of showing respect and praying that this object would help one excel in the work one would use it for.
The Living Residents of Manila’s North Cemetery via Amusing Planet
Housing is so scarce in the Filipino capital of Manila, that thousands of residents have found an alternative to their housing woes by making the cemetery their home.
Metro Manila is a bustling city with a population of around 12 million. It ranks as the world’s eleventh largest metropolitan area and the fifth largest urban area by population. It is also ranked as one of the most densely populated cities in the world. But the vast majority of the city’s residents are poor. As much as 40% of the population lives below the poverty line, often squatting in shantytowns, unable to afford anything better.
One on One - Steve McCurry
The internationally renowned photographer talks to Riz Khan about documenting humanity in times of war and peace.
