The Effects of Aerobics and Greek Traditional Dances on Cardio-Respiratory Responses in Adult Women
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SYRTAKI Greek PRONUNCIATION
SYRTAKI Greek PRONUNCIATION: seer-TAH-kee TRANSLATION: Little dragging dance SOURCE: Dick Oakes learned this dance in the Greek community of Los Angeles. Athan Karras, a prominent Greek dance researcher, also has taught Syrtaki to folk dancers in the United States, as have many other teachers of Greek dance. BACKGROUND: The Syrtaki, or Sirtaki, was the name given to the combination of various Hasapika (or Hassapika) dances, both in style and the variation of tempo, after its popularization in the motion picture Alexis Zorbas (titled Zorba the Greek in America). The Syrtaki is danced mainly in the taverns of Greece with dances such as the Zeybekiko (Zeimbekiko), the Tsiftetelli, and the Karsilamas. It is a combination of either a slow hasapiko and fast hasapiko, or a slow hasapiko, hasaposerviko, and fast hasapiko. It is typical for the musicians to "wake things up" after a slow or heavy (vari or argo) hasapiko with a medium and / or fast Hasapiko. The name "Syrtaki" is a misnomer in that it is derived from the most common Greek dance "Syrtos" and this name is a recent invention. These "butcher dances" spread throughout the Balkans and the Near East and all across the Aegean islands, and entertained a great popularity. The origins of the dance are traced to Byzantium, but the Argo Hasapiko is an evolved idiom by Aegean fisherman and their languid lifestyle. The name "Syrtaki" is now embedded as a dance form (meaning "little Syrtos," though it is totally unlike any Syrto dance), but its international fame has made it a hallmark of Greek dancing. -
Greek Traditional Dances and Health Effects for Middle-Aged and Elderly People- a Review Approach
World Journal of Research and Review (WJRR) ISSN:2455-3956, Volume-6, Issue-6, June 2018 Pages 16-21 Greek Traditional Dances and Health Effects for Middle-Aged and Elderly People- A Review Approach Eir. Argiriadou Abstract— Greek traditional dances are an integral part in II. WHY MIDDLE-AGED AND ELDERLY PEOPLE Greek people’s lives, treated as a cultural element. Recently, CHOOSE OR/AND PREFER TO PARTICIPATE IN many middle-aged and elderly people participate in programs GREEK TRADITIONAL DANCES PROGRAMS? of Greek traditional dances due to internal and external motivation, but mainly for health improvement. From the Middle-aged and elderly people participate in programs of literature review it became clear that, indeed, Greek traditional dances incorporate effects and benefits for all the health GTD, because through their participation have the chance to dimensions, that is physical/somatic, psychological, mental and enjoy, as they used to when they were young [1]. social health effects. These beneficial effects on middle-aged and Additionally, dancing has been their basic social activity elderly people’s health may be due to the features of Greek from their adolescence to their aging [2], since Greek traditional dances. These are the music accompaniment, the traditional dancing is an integral part of Greek culture and fact that Greek traditional dances constitute an aerobic exercise their lives, too. Moreover, it is one of the most indicative mode, the rhythmical and repetitive movements, the hemicyclic dance shape, the variety of the performed steps, movements and characteristics of temperament, history and cultural identity dance directions, the absence of competition, the of Greeks because it is connected with the same spontaneous, enjoyment/pleasure that helps the participants to escape from instinctive expression of human mind and body. -
Music and Traditions of Thrace (Greece): a Trans-Cultural Teaching Tool 1
MUSIC AND TRADITIONS OF THRACE (GREECE): A TRANS-CULTURAL TEACHING TOOL 1 Kalliopi Stiga 2 Evangelia Kopsalidou 3 Abstract: The geopolitical location as well as the historical itinerary of Greece into time turned the country into a meeting place of the European, the Northern African and the Middle-Eastern cultures. Fables, beliefs and religious ceremonies, linguistic elements, traditional dances and music of different regions of Hellenic space testify this cultural convergence. One of these regions is Thrace. The aim of this paper is firstly, to deal with the music and the dances of Thrace and to highlight through them both the Balkan and the middle-eastern influence. Secondly, through a listing of music lessons that we have realized over the last years, in schools and universities of modern Thrace, we are going to prove if music is or not a useful communication tool – an international language – for pupils and students in Thrace. Finally, we will study the influence of these different “traditions” on pupils and students’ behavior. Key words: Thrace; music; dances; multi-cultural influence; national identity; trans-cultural teaching Resumo: A localização geopolítica, bem como o itinerário histórico da Grécia através do tempo, transformou o país num lugar de encontro das culturas europeias, norte-africanas e do Médio Oriente. Fábulas, crenças e cerimónias religiosas, elementos linguísticos, danças tradicionais e a música das diferentes regiões do espaço helénico são testemunho desta convergência cultural. Uma destas regiões é a Trácia. O objectivo deste artigo é, em primeiro lugar, tratar da música e das danças da Trácia e destacar através delas as influências tanto dos Balcãs como do Médio Oriente. -
Greek Dance and Everyday Nationalism in Contemporary Greece - Kalogeropoulou 55
Greek dance and everyday nationalism in contemporary Greece - Kalogeropoulou 55 Greek dance and everyday nationalism in contemporary Greece Sofia Kalogeropoulou The University of Otago ABSTRACT In this article I explore how dance as an everyday lived experience during community events contributes to constructing national identities. As a researcher living in New Zealand where issues of hybridity and fluidity of identities in relation to dance are currently a strong focus for discussion, I was inspired to examine dance in my homeland, Greece. In a combination of ethnography and autobiography I examine dance as an embodied practice that physically and culturally manifests the possession of a distinct national identity that can also be used as a means of differentiation. I also draw on the concept of banal nationalism by Michael Billig (1995), which looks at the mundane use of national symbols and its consequences. I argue that while folk dance acts as a uniting device amongst members of national communities, its practice of everyday nationalism can also be transformed into a political ritual that accentuates differences and projects chauvinism and extreme nationalism with a potential for conflict. INTRODUCTION A few years ago when I was still living in Greece I was invited to my cousin’s farewell party before he went to do his national service. This is a significant rite of passage for a Greek male marking his transition from childhood to manhood and also fulfilling his obligations towards his country and the state. This dance event celebrates the freedom of the civilian life and marks the beginning of a twelve-month period of military training in the Greek army. -
ACADEMY Music
January 12, 1954 #32 "' P 27 - ! Ä M ' ¡i Wi7 worn mil lOpp1i 3 1 u11.1 v w " 1111 111i11.. rn Ill I u B R OKflYN ACADEMY Music PANEGYRIS BROOKLYN INSTITUTE OF ARTS AND SCIENCES -------- - - ---- Vmtgtg-hh7zl.oTYm+m7zgTm+m4gTm+gTmTiirimvmTm+z§h+zg+7cYYT`g+mTzgrm-h7h-h7cTT-T7n 7 7cg4r7Y3roggu:3og7cYYuYzgsyoogtgti7g-hu+3g77c7g7wtrmx FIRE NOTICE: The exit indicated by a red light TUESDAY EVENING, JANUARY 12, 1954 and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire please do 7. a) KALAMATIANOS . Popular Greek dance not run -WALK TO THAT EXIT. JACOB GRUMET, Fire Commissioner b) TSAKONIKOS Symbolizing the exodus from the UNDER THE HIGH PATRONAGE OF HER MAJESTY It is urgent for the comfort and safety of all that labyrinth in the Palace of Knossos patrons refrain from lighting matches in this theater. c) TSAMIKOS Popular Greek dance QUEEN FREDERIKA OF THE HELLENES INTERMISSION PAnEGYRIS 8. a) KERKYRA -LEFKAS -KEPHALLONIA- ZAKINTHOS- KYTHIRA Dances and songs from the Ionian Islands recently devasted by earthquakes - THE ROYAL FESTIVAL COMPANY OF GREECE followed by b) MOIROLOGIA Laments for the dead DORA STRATOU ó Dora Stratou Producer and Director The Laments still used in Greece today derive from the ancient dirges of Greek tragedy. YANNIS TSAROUHIS A. FIVOS 9. KYPRIAKOI CHOROI -KARSILAMAS _ Dances from Cyprus Musical Supervisor Costumes 10. TRATA Fishing Song M. SVOLOPOULOU and V. PAPACHRISTOU A. PAPANIKOLAOU Soloist: Afrodifi Papanikolaou Solo Dancers Singer II. a) CHIOTIKOS .. Dances from the island of Chios II;;fli1 ALEKOS KARAVITIS b) KARPATHIOTIKOS ZERVOS Dances from the island of Karpathos The Cretan Soloist (Lyra- Songs) c) CHASSAPIKOS Butchers' dance Originated in Byzantium, as now danced in Salamis. -
Ö 10 - 1 Royal Empress Tango English Couple I A- 5
MVFD Listing by OLD Number CD Track Dance Name Nationality Type Inst Old # 9 - 20 Canadian Breakdown USA Contra A- 3 9 - 19 Petronella USA Contra I A- 3 ö 10 - 1 Royal Empress Tango English Couple I A- 5 9 - 21 Tango Waltz, The English Couple A- 5 10 - 2 Camptown Races USA Square I A- 8 10 - 3 Old Joe Clark USA Square A- 8 10 - 3 Old Joe Clark USA Contra A- 8 10 - 4 Bonfire (Fisher's Hornpipe) Irish Couple I A- 9 10 - 5 Come Up the Backstairs (Sacketts USA Contra I A- 9 10 - 4 Fisher's Hornpipe USA Contra I A- 9 10 - 5 Sacketts's Harbour (Come Up the USA Contra I A- 9 ö 81 - 17 Aird Of Coigah (Reel of Mey) Scottish Set 4 Couple I A-10 81 - 18 Cauld Kail in Aberdeen Scottish Set 4 Couple I A-10 81 - 15 Gates of Edinburgh (8x32 Reel) S Scottish Set 4 Couple A-10 81 - 13 Hooper's Jig (8x32 Jig) SKIPS Scottish Jig A-10 81 - 16 Jessie's Hornpipe (8x32 Reel) Scottish Contra I A-10 81 - 19 Kingussie Flower (8x40 Reel) Scottish Reel A-10 81 - 14 Macphersons of Edinburgh, The ( Scottish Set 4 Couple A-10 81 - 12 Mairi's Wedding (8x40 Reel) Scottish Set 4 Couple I A-10 81 - 19 Red House Reel (Kingussie Flow Scottish Set 4 Couple I A-10 ö 81 - 17 Reel of Hey, The (8x48 Reel) Scottish Set 4 Couple I A-10 81 - 19 White Heather Jig (Kingussie Flo Scottish Set 4 Couple I A-10 10 - 7 Geudman Of Ballangigh English Contra I A-11 10 - 6 Larusse English Square I A-11 10 - 8 Yorkshire Square Eight English Square I A-11 10 - 12 Dargason English Set 4 Couple I A-12 10 - 9 Little Man in a Fix Danish Set 2 Couple I A-12 Saturday, July 29, 2000 Page 1 of 96 MVFD -
Fall 2011 Magazine
VOLUME 34 • NUMBER 130 • FALL 2011 ΟΡΓΑΝΟΝ ΤΩΝ ΑΠΑΝΤΑΧΟΥ ΙΚΑΡΙΩΝ OFFICIAL MAGAZINE OF THE PAN-ICARIAN BROTHERHOOD OF AMERICA AND THE PAN-ICARIAN FOUNDATION 108th Supreme Convention Hosted by Oinoe Chapter #14 Beverly Hills, CA — September 2-5, 2011 CA — September Hills, Beverly Ikapia Magazine Page 1 IKARIA maGaZiNe iS a PUBLICATION oF the PAN-icariaN brotherhood oF america, “icaroS” PAN-ICARIAN BROTHERHOOD OF AMERICA NATIONAL HEADQUARTERS 1756 Gross Ave, Pennsauken, NJ 08110 Telephone: 609-502-0524 Email: [email protected] or [email protected] 2011-2012 Supreme oFFicerS oF the PAN-icariaN brotherhood SUPREME PRESIDENT NIKOLAOS J. PASAMIHALIS 1756 Gross Ave, Pennsauken, NJ 08110 Cell: 609-502-0524 Work: 215-925-6565 Fax: 215-925-9257 Email: [email protected] or [email protected] Supreme Vice preSideNt, GeorGe KoKlaNariS 22236 Harlan, Grosse Ile , MI 48138 Telephone: (w) 734-283-1277, (m) 313-929-2023 (h) 734-676-9307 Email: [email protected] Supreme Secretary, e. terry platiS 2745 N. Troy Chicago, IL 60647 Telephone: (h) 312-563-0036 (m) 917-941-4233 (w) 312-862-2044 Email: [email protected] Supreme treaSurer /databaSe mGr., GeorGe paralemoS 51 Meadow Ln, Roslyn Hts, NY 11577 Telephone: (m) 718-781-1491 Email: [email protected] couNSelor, aNthoNy horaiteS 212 S. Sixth Street, Alhambra, CA 91801 Telephone: (m) 626-755-7907 Email: [email protected] 2011-2012 FouNDATION oFFicerS: Chairman c.d. “Gus” yiakas, 1248 Via Coronel, Palos Verdes Estates, CA 90274 310-378-3984 [email protected] Vice chairman pSp John a. lygizos, 1150 Griswold, Suite 2400 Detroit, MI 48226 313-921-7477 [email protected] Director pSp emmanuel aivaliotis, 721 Eighth Street Oakmont, PA 15139 [email protected] [email protected] Director dr. -
Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI
DOCUMENT RESUME ED 429 050 SP 038 379 AUTHOR Weikart, Phyllis S. TITLE Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI. ISBN ISBN-1-57379-008-7 PUB DATE 1997-00-00 NOTE 674p.; Accompanying recorded music not available from EDRS. AVAILABLE FROM High/Scope Press, High/Scope Educational Research Foundation, 600 North River Street, Ypsilanti, MI 48198-2898; Tel: 313-485-2000; Fax: 313-485-0704. PUB TYPE Books (010)-- Guides - Non-Classroom (055) EDRS PRICE EDRS Price MF04 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Cultural Activities; Cultural Education; *Dance Education; Elementary Secondary Education; *Folk Culture; Music Education IDENTIFIERS *Folk Dance ABSTRACT This book is intended for all folk dancers and teachers of folk dance who wish to have a library of beginning and intermediatefolk dance. Rhythmic box notations And teaching suggestionsaccompany all of the beginning and intermediate folk dances in the book. Many choreographieshave been added to give beginning dancers more experience with basicdance movements. Along with each dance title is the pronunciation and translation of the dance title, the country of origin, and the "Rhythmically Moving"or "Changing Directions" recording on which the selectioncan be found. The dance descriptions in this book provide a quick recall of dances and suggested teaching strategies for those who wish to expand their repertoire of dances. The eight chapters include: (1) "Beginning and Intermediate Folk Dance: An Educational Experience"; (2) "Introducing Folk Dance to Beginners"; (3) "Introducing Even and Uneven Folk Dance Steps";(4) "Intermediate Folk Dance Steps"; (5) "Folk Dance--The Delivery System"; (6) "Folk Dance Descriptions"; (7) "Beginning Folk Dances"; and (8)"Intermediate Folk Dances." Six appendixes conclude the volume. -
Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër
GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string, -
Choreographic Pattern Analysis from Heterogeneous Motion Capture Systems Using Dynamic Time Warping
technologies Article Choreographic Pattern Analysis from Heterogeneous Motion Capture Systems Using Dynamic Time Warping Ioannis Rallis 1,*,†, Eftychios Protopapadakis 1,† , Athanasios Voulodimos 2,† , Nikolaos Doulamis 1,† , Anastasios Doulamis 1,† and Georgios Bardis 2,† 1 School of Rural and Surveying Engineering, National Technical University of Athens, 9, Heroon Polytechniou Str., 15773 Zografou, Greece 2 Department of Informatics and Computer Engineering, University of West Attica, Agiou Spyridonos Str., 12243 Egaleo, Greece * Correspondence: [email protected]; Tel.: +30-210-772-2664 † These authors contributed equally to this work. Received: 25 July 2019; Accepted: 14 August 2019; Published: 16 August 2019 Abstract: The convention for the safeguarding of Intangible Cultural Heritage (ICH) by UNESCO highlights the equal importance of intangible elements of cultural heritage to tangible ones. One of the most important domains of ICH is folkloric dances. A dance choreography is a time-varying 3D process (4D modelling), which includes dynamic co-interactions among different actors, emotional and style attributes, and supplementary elements, such as music tempo and costumes. Presently, research focuses on the use of depth acquisition sensors, to handle kinesiology issues. The extraction of skeleton data, in real time, contains a significant amount of information (data and metadata), allowing for various choreography-based analytics. In this paper, a trajectory interpretation method for Greek folkloric dances is presented. We focus on matching trajectories’ patterns, existing in a choreographic database, to new ones originating from different sensor types such as VICON and Kinect II. Then, a Dynamic Time Warping (DTW) algorithm is proposed to find out similarities/dissimilarities among the choreographic trajectories. -
RCA Victor International FPM/FSP 100 Series
RCA Discography Part 26 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor International FPM/FSP 100 Series FPM/FSP 100 – Neapolitan Mandolins – Various Artists [1961] Torna A Surriento/Anema E Core/'A Tazza 'E Caffe/Funiculi Funicula/Voce 'E Notte/Santa Lucia/'Na Marzianina A Napule/'O Sole Mio/Oi Mari/Guaglione/Lazzarella/'O Mare Canta/Marechiaro/Tarantella D'o Pazzariello FPM/FSP 101 – Josephine Baker – Josephine Baker [1961] J'ai Deux Amours/Ca C'est Paris/Sur Les Quais Du Vieux Paris/Sous Les Ponts De Paris/La Seine/Mon Paris/C'est Paris/En Avril À Paris, April In Paris, Paris Tour Eiffel/Medley: Sous Les Toits De Paris, Sous Le Ciel De Paris, La Romance De Paris, Fleur De Paris FPM/FSP 102 – Los Chakachas – Los Chakachas [1961] Never on Sunday/Chocolate/Ca C’est Du Poulet/Venus/Chouchou/Negra Mi Cha Cha Cha/I Ikosara/Mucho Tequila/Ay Mulata/Guapacha/Pollo De Carlitos/Asi Va La Vida FPM/FSP 103 – Magic Violins of Villa Fontana – Magic Violins of Villa Fontana [1961] Reissue of LPM 1291. Un Del di Vedremo/Rubrica de Amor/Gigi/Alborada/Tchaikovsky Piano Concerto No. 1/Medley/Estrellita/Xochimilco/Adolorido/Carousel Waltz/June is Bustin’ Out All Over/If I Loved You/O Sole Mio/Santa Lucia/Tarantella FPM/FSP 104 – Ave a Go Wiv the Buskers – Buskers [1961] Glorious Beer/The Sunshine of Paradise Alley/She Told Me to Meet Her at the Gate/Nellie Dean/After the Ball/I Do Like to Be Beside the Seaside//Any Old Iron/Down At the Old Bull and Bush/Boiled Beef and Carrots/The Sunshine of Your Smile/Wot Cher -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…