A Time of Transformation
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TOC Page 1 TABLE of CONTENTS
Back to TOC Page 1 TABLE OF CONTENTS *** CLICK A TOPIC TO GO DIRECTLY TO THE PAGE *** DAYANG GROUP MEASUREMENT OPTIONS PARENT COMPANY 3 M4U - MADE FOR YOU 25 INTERNATIONAL PARTNERS 4 FIT TOOLS 26 PROPRIETARY FACTORIES 5 GARMENT MEASUREMENTS 27 PRODUCTION 6 POSTURE / BALANCE 28 CAPACITY 7 STYYLcart TAILORING QUALITY IMAGES ON DEMAND 29 UNPARALLELED VALUE 8 SELL WITH CONFIDENCE 30 CONSTRUCTION 9 CREATE SALES 31 GARMENT MAKES 10 SALES HISTORY 32 INTERIOR COMPONENTS 11 CUSTOM LINING FIT / PATTERN ULTIMATE PERSONALIZATION 33 MODERN FIT 12 SPECIAL OCCASIONS 34 RANGE OF FITS 13 CORPORATE SALES 35 JACKET 14 ART EXPRESSION 36 TROUSER 15 OVERCOAT 16 FABRICS IN STOCK 37 QUICK DELIVERY ITALIAN MILLS 38 IN STOCK / CMT FABRIC 17 ONLINE TRACKING 18 CMT WORK WITH THE FINEST 39 DESIGN DETAILS SELECTION 19 PRIVATE LABEL CATEGORY DETAILS 20 BRAND IDENTITY 40 MATERIALS PACKAGE 21 COMPETE 41 PRESET MODELS PRIVATE INVENTORY INCLUDED TEMPLATES 22 IMPROVED MARGIN 42 SAVE YOUR OWN 23 QUICK SAVE 24 WOMEN’S M4U NOT JUST FOR MEN 43 PRODUCTS 44 Back to TOC Page 2 DAYANG GROUP PARENT COMPANY Dayang Group is the Global Leader of MTM garment production. Founded in 1979 by Madam Li Giulian. Dayang now has 24 branch compa- nies. Back to TOC Page 3 DAYANG GROUP INTERNATIONAL PARTNERS Successful brands around the world choose Dayang as their manufacturing partner. Reliable, trustworthy and competent. Stability your business can count on. Back to TOC Page 4 DAYANG GROUP PROPRIETARY FACTORIES All factories are company-owned and operated. Garments are made to the company’s strict production standards. -
Square Feet 2013
Square Feet 2013 Wrap-up Report Square Feet 2013 : a wrap-up report Published by the Seattle Office of Arts & Culture in January 2014 Edited by Matthew Richter Event Photographs by Jenny Crooks Introduction Square Feet 2013 convened on Monday, November 18, 2013 to explore the idea of Cultural Districts as a way to support the work of artists and arts and cultural organizations in Seattle. The event was produced by the Seattle Office of Arts & Culture and 4Culture. Centered on a keynote address from creative placemaking expert Anne Gadwa Nicodemus, the day also featured presentations from twenty local projects in motion, and a working session that resulted in a $10,000 investment by the Office of Arts & Culture in an idea generated by the day’s attendees. Over 150 people, representing arts organizations, independent artists, funders, developers, property owners, architectural designers and consultants, universities, and local government took part in the day, which was hosted by the Lee Center for the Arts, the Northwest Film Forum, and the Velocity Dance Center, all on 12th Avenue on Capitol Hill. A note about the text of this report: We solicited the presenters’ remarks following the event for inclusion in this report. Some of the speakers had prepared remarks, some spoke from general notes, and some spoke extemporaneously. We have attempted to present all of these in a format that makes sense to the reader. Matthew Richter, Cultural Space Liaison from the Office of Arts & Culture, started the day with some opening remarks: Welcome to Square Feet 2013, a day-long event produced by the Seattle Office of Arts & Culture and 4Culture. -
Abstract African and African
ABSTRACT AFRICAN AND AFRICAN AMERICAN STUDIES HILL, ERNESS A. B.A. SPELMAN COLLEGE, 1998 REFLECTIONS OF THE PAST: THE CASE OF MOZAMBICAN ART. THE MACONDE AND THE SHETANI Advisor: Dr. Mustafah Dhada Thesis dated December, 2000 This thesis examines to what extent the shetani icon in Maconde Art has been elevated to the status of deity; and what powers it has been endowed with to transform the lives of its "worshippers." The investigation was based on the observation that, although not a recognized 'god' in the traditional Maconde form of worship, nor that of Mozambique, the shetani’s appearance in Mozambican art was consistent and abundant. The investigative approach used was a comparative analysis of three internationally known Mozambican artists, two of which are Maconde. The researcher found that with all three artists, the shetani was an obvious element in their artistic renderings and in each instance, their individual lives, though not unique, were charged with suffering and unhappiness. The conclusion drawn from this investigation suggests that, although created by a Maconde for the purpose of patronage, the shetani icon has become a 'deity' not only for the Maconde, but for Mozambicans, as well. While not 'worshipped' in the sense that Westerners worship, it has been endowed with powers that transform the lives of those who identify with it. At the very least, it has been endowed with the power to promote their artistic abilities with a view to catalyzing greater creativity. REFLECTIONS OF THE PAST: THE CASE OF MOZAMBICAN ART, THE MACONDE AND THE SHETANI A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ERNESS A. -
Black History Month February 2020
BLACK HISTORY MONTH FEBRUARY 2020 LITERARY FINE ARTS MUSIC ARTS Esperanza Rising by Frida Kahlo Pam Munoz Ryan Frida Kahlo and Her (grades 3 - 8) Animalitos by Monica Brown and John Parra What Can a Citizen Do? by Dave Eggers and Shawn Harris (K-2) MATH & CULINARY HISTORY SCIENCE ARTS BLACK HISTORY MONTH FEBRUARY 2020 FINE ARTS Alma Thomas Jacob Lawrence Faith Ringgold Alma Thomas was an Faith Ringgold works in a Expressionist painter who variety of mediums, but is most famous for her is best-known for her brightly colored, often narrative quilts. Create a geometric abstract colorful picture, leaving paintings composed of 1 or 2 inches empty along small lines and dot-like the edge of your paper marks. on all four sides. Cut colorful cardstock or Using Q-Tips and primary Jacob Lawrence created construction paper into colors, create a painted works of "dynamic squares to add a "quilt" pattern in the style of Cubism" inspired by the trim border to your Thomas. shapes and colors of piece. Harlem. His artwork told stories of the African- American experience in the 20th century, which defines him as an artist of social realism, or artwork based on real, modern life. Using oil pastels and block shapes, create a picture from a day in your life at school. What details stand out? BLACK HISTORY MONTH FEBRUARY 2020 MUSIC Creating a Music important to blues music, and pop to create and often feature timeless radio hits. Map melancholy tales. Famous Famous Motown With your students, fill blues musicians include B.B. -
Honorary Degree Recipients 1977 – Present
Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D. -
In the High Court of New Zealand Wellington Registry Civ 485-2003-2724
IN THE HIGH COURT OF NEW ZEALAND WELLINGTON REGISTRY CIV 485-2003-2724 UNDER Part 1 of the Judicature Amendment Act 1972 IN THE MATTER OF an application under the Wool Act 1997 and the Wool Board Disestablishment Act 2003 BETWEEN SAXMERE COMPANY LIMITED First Plaintiff AND THE ESCORIAL COMPANY LIMITED Second Plaintiff AND RICHARD KING AS REPRESENTATIVE Third Plaintiff AND RUSSELL STEWART EMMERSON & FOREST RANGE LIMITED AS REPRESENTATIVES Fourth Plaintiff AND THE WOOL BOARD DISESTABLISHMENT COMPANY LIMITED Defendant Hearing: 8-19 August 2005 3-4 November 2005 Appearances: F M R Cooke QC & L Theron & S Grey for Plaintiffs R Dobson QC & J Bates for Defendant Judgment: 6 December 2005 RESERVED JUDGMENT OF MILLER J SAXMERE COMPANY LIMITED AND OTHERS V THE WOOL BOARD DISESTABLISHMENT COMPANY LIMITED HC WN CIV 485-2003-2724 6 December 2005 TABLE OF CONTENTS The Saxon story The parties The pleadings Impetus for reform of the New Zealand Wool Industry in the 1990s The Wool Board Act 1997 The 1998 joint venture with MNZI The Saxmere business plan The state of Saxmere’s business in December 1997 Meeting of 17 December 1997 The Saxmere business plan The Board meeting of 5-6 May 1998 The Board’s reasons for declining the application: discussion The 2001 settlement and retrospective funding of Saxmere Failure of negotiations with MNZL and non-payment of levies Negotiations with the Board The Board’s decision to invite MNZL to fund Saxmere The settlement agreement Significance of the Board’s acknowledgement that Saxmere was an efficient and effective -
Louise Bourgeois Brochure
LOUISE BOURGEOIS American, French born (1911 - 2010) The Blind Leading The Blind 1947 - 49, painted wood 70⅜ × 96⅞ × 17⅜ in. Regents Collections Acquisition Program with Match- ing Funds from the Jerome L. Greene, Agnes Gund, Sydney and Frances Lewis, and Leonard C. Yaseen Purchase Fund, 1989 Living in New York during the mid 1940s, when World War II cut her off from friends and family in France, Louise Bourgeois created vertical wood sculptures that she exhibited as loosely grouped, solitary figures. These objects represented sorely missed people and her own loneliness and isolation in America. In 1948, Bourgeois made the first of five variations of The Blind Leading The Blind as pairs of legs which, unable to stand alone, were bound together for strength by lintel like boards. The figures appear to walk tentatively on tiptoe under the boards, the weight of which presses down on the individual pairs even as it holds them togeth- er as an uneasy collective. One of the artist’s most abstract works, this sculpture takes on an anthropomorphic presence by resting directly on the floor and sharing the viewer’s space. In 1949, after being called before the House Un-American Activities Commit- tee, Bourgeois named the series The Blind Leading the Blind. The title paraphras- es Jesus’s description of the hypocritical Pharisees and scribes (Matthew 15:14): “Let them alone, they are blind guides. And if a blind man leads a blind man, both will fall into a pit.” Exposing the folly of untested belief, unscrutinized ritual, and regimented thinking, the parable has been used as a subject by other artists. -
Ethnomathematics and Education in Africa
Copyright ©2014 by Paulus Gerdes www.lulu.com http://www.lulu.com/spotlight/pgerdes 2 Paulus Gerdes Second edition: ISTEG Belo Horizonte Boane Mozambique 2014 3 First Edition (January 1995): Institutionen för Internationell Pedagogik (Institute of International Education) Stockholms Universitet (University of Stockholm) Report 97 Second Edition (January 2014): Instituto Superior de Tecnologias e Gestão (ISTEG) (Higher Institute for Technology and Management) Av. de Namaacha 188, Belo Horizonte, Boane, Mozambique Distributed by: www.lulu.com http://www.lulu.com/spotlight/pgerdes Author: Paulus Gerdes African Academy of Sciences & ISTEG, Mozambique C.P. 915, Maputo, Mozambique ([email protected]) Photograph on the front cover: Detail of a Tonga basket acquired, in January 2014, by the author in Inhambane, Mozambique 4 CONTENTS page Preface (2014) 11 Chapter 1: Introduction 13 Chapter 2: Ethnomathematical research: preparing a 19 response to a major challenge to mathematics education in Africa Societal and educational background 19 A major challenge to mathematics education 21 Ethnomathematics Research Project in Mozambique 23 Chapter 3: On the concept of ethnomathematics 29 Ethnographers on ethnoscience 29 Genesis of the concept of ethnomathematics among 31 mathematicians and mathematics teachers Concept, accent or movement? 34 Bibliography 39 Chapter 4: How to recognize hidden geometrical thinking: 45 a contribution to the development of an anthropology of mathematics Confrontation 45 Introduction 46 First example 47 Second example -
Old Master Paintings Master Old
Wednesday 29 April 2015 Wednesday Knightsbridge, London OLD MASTER PAINTINGS OLD MASTER PAINTINGS | Knightsbridge, London | Wednesday 29 April 2015 22274 OLD MASTER PAINTINGS Wednesday 29 April 2015 at 13.00 Knightsbridge, London BONHAMS BIDS ENQUIRIES PRESS ENQUIRIES Montpelier Street +44 (0) 20 7447 7447 [email protected] [email protected] Knightsbridge +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8307 London SW7 1HH To bid via the internet please visit CUSTOMER SERVICES www.bonhams.com www.bonhams.com SPECIALISTS Monday to Friday 08.30 – 18.00 Andrew McKenzie +44 (0) 20 7447 7447 VIEWING TELEPHONE BIDDING +44 (0) 20 7468 8261 Sunday 26 April Bidding by telephone will only [email protected] Please see back of catalogue 11.00 – 15.00 be accepted on lots with a low for important notice to bidders Monday 27 April estimate in excess of £500. Caroline Oliphant 09.00 – 16.30 +44 (0) 20 7468 8271 ILLUSTRATIONS Tuesday 28 April Please note that bids should be [email protected] Front cover: Lot 84 (detail) 09.00 – 16.30 submitted no later than 4pm on Back cover: Lot 1 Wednesday 29 April the day prior to the sale. New Lisa Greaves 09.00 – 11.00 bidders must also provide proof +44 (0) 20 7468 8325 IMPORTANT INFORMATION of identity when submitting bids. [email protected] The United States Government SALE NUMBER Failure to do this may result in has banned the import of ivory 22274 your bid not being processed. Archie Parker into the USA. Lots containing +44 (0) 20 7468 5877 ivory are indicated by the symbol CATALOGUE LIVE ONLINE BIDDING IS [email protected] Ф printed beside the lot number £18 AVAILABLE FOR THIS SALE in this catalogue. -
National Identity and Post-Colonial Development: Dictatorial Zimbabwe and Democratic Republic of South Africa Master's Thesis
National Identity and Post-Colonial Development: Dictatorial Zimbabwe and Democratic Republic of South Africa Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Global Studies Chandler Rosenberger, Advisor Jasmine Waddell, Advisor Richard Parmentier, Chairman In Partial Fulfillment of the Requirements for Master’s Degree By Andrea Cohen August, 2011 Copyright by Andrea Cohen © 2011 Dedication I would like to dedicate this piece of work to my parents, Fran and Les Cohen. Their hard work and endless support has allowed me to take up any opportunity that comes my way, including my desire to earn a Master’s degree. My Dad has shown me through example the importance of a strong work ethic. His quotes comparing hard work to sports always hang above my desk. Both my parent’s high regard for the needs of others has in part inspired me with a passion to better the lives of those who live in poverty, fear and oppression. I am eternally grateful for their enduring love, guidance, support. Acknowledgements I would like to thank my graduate advisers for their role in my education and for their guidance and support throughout the process. Professors Jasmine Waddell and Chandler Rosenberger’s intellect always inspired me to keep learning, think harder, and dig deeper. I cannot possibly thank Professor Waddell enough for her enduring support throughout the writing process. Each conversation with her left me feeling renewed, validated, and ready to tackle the challenge ahead. Professor Rosenberger always pushed me to achieve the perfection he knew I was capable of, and for that I am thankful to him. -
A GLAZE of GLORY the Sweet Success of Top Pot Doughnuts JOIN US ANY TIME, EVERYWHERE
THE UNIVERSITY OF WASHINGTON ALUMNI MAGAZINE DEC 1 4 A GLAZE OF GLORY The Sweet Success of Top Pot Doughnuts JOIN US ANY TIME, EVERYWHERE 20 ADVANCED DEGREES + 50 CERTIFICATES + 100S OF COURSES AEROSPACE ENGINEERING // PUBLIC HEALTH // C# // APPLICATION DEVELOPMENT BIOSTATISTICS // COMPUTATIONAL FINANCE // MANAGEMENT // PROGRAMMING BUSINESS ADMINISTRATION // BUSINESS DEVELOPMENT // INFORMATION SECURITY ANALYTICS // GIS // DATA VISUALIZATION // SUSTAINABLE TRANSPORTATION RUBY // RISK MANAGEMENT // BUSINESS INTELLIGENCE // INFORMATION SYSTEMS PROJECT MANAGEMENT // CONTENT STRATEGY // ORACLE DATABASE ADMIN LOCALIZATION // PARALEGAL // MACHINE LEARNING // SUPPLY CHAIN LOGISTICS BEHAVIORAL HEALTH // GERONTOLOGY // BIOTECHNOLOGY // CIVIL ENGINEERING DEVOPS // DATA SCIENCE // MECHANICAL ENGINEERING // HEALTH CARE // HTML CONTENT STRATEGY // EDUCATION // PROJECT MANAGEMENT // INFORMATICS STATISTICAL ANALYSIS // E-LEARNING // CLOUD DATA MANAGEMENT // EDITING C++ // INFRASTRUCTURE PLANNING // LEADERSHIP // BIOSCIENCE // LINGUISTICS INFORMATION SCIENCE // AERONAUTICS & ASTRONAUTICS // APPLIED MATHEMATICS CONSTRUCTION ENGINEERING // GEOGRAPHIC INFORMATION SYSTEMS // PYTHON UW ONLINE 2 COLUMNS MAGAZINE ONLINE.UW.EDU JOIN US ANY TIME, EVERYWHERE 20 ADVANCED DEGREES + 50 CERTIFICATES + 100S OF COURSES AEROSPACE ENGINEERING // PUBLIC HEALTH // C# // APPLICATION DEVELOPMENT BIOSTATISTICS // COMPUTATIONAL FINANCE // MANAGEMENT // PROGRAMMING BUSINESS ADMINISTRATION // BUSINESS DEVELOPMENT // INFORMATION SECURITY ANALYTICS // GIS // DATA VISUALIZATION // -
IMAGES of POWER: AFRICAN ART and ARCHITECTURE (African Art from Before 1800) AFRICAN ART and ARCHITECTURE Before 1800
IMAGES OF POWER: AFRICAN ART and ARCHITECTURE (African Art from before 1800) AFRICAN ART and ARCHITECTURE before 1800 Online Links: Great Zimbabwe – Unesco Great Zimbabwe – Wikipedia Great Kingdoms of Africa - Great Zimbabwe - YouTube Great Mosque of Djenné – Wikipedia Great Mosque of Djenne - New York Times Great Mosque of Djenne - Sacred Destinations Golden Stool - Asanteman Association of the USA Documentary - Asante Kingdom – YouTube Ndop Portrait - Brooklyn Museum of Art AFRICAN ART and ARCHITECTURE before 1800 Online Links: Mysteries of Great Zimbabwe - PBS Nova Ashanti Stool - University of Texas Hyder Collection at Tarleton Nok head, fired clay, c. 500 BCE- 200 CE The earliest ceramic sculpture was unearthed in the vicinity around Nok, a small village around Nok, a small village in the Jos plateau of central Nigeria. The great majority of the more than fifteen hundred pieces of recovered sculpture represent human heads and bodies. This head has a much more typical arching brow and an elaborate coiffure of five buns. Four of the buns have a hole on top, probably for the insertion of feathers or other decoration. Although the use of these terracotta sculptures is uncertain, they probably functioned in ancestral worship practices. Some scholars have suggested that woman may have been responsible for modeling some of the ancient ceramic figurative sculpture usually attributed to male artists. Conical Tower and Circular Wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples, c. 1000-1400 C.E. Coursed granite blocks. The form of the Conical Tower, the most dramatic of all the symbols at Great Zimbabwe, suggests a grain bin. Traditionally, a Shona ruler receives tribute in grain and distributes this to guests, the needy, and in times of drought, making the grain bin a symbol of royal authority and generosity.