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Thabiso Sekgala
Gallery News for Thabiso Sekgala
Thabiso Sekgala at LagosPhoto Festival 2017
Thabiso Sekgala's photographic work is exhibited at the 2017 edition of the LagosPhoto Festival in Nigeria (24 November – 15 December). Works included on the festival's exhibition, The Regimes of Truth, examine the search for and presentation of truth in contemporary society by drawing on inspiration from the works of nineteenth and twentieth century thinkers, writers and philosophers.
Dhlamini, Goldblatt and Sekgala in Aperture's 'Platform Africa'
Jabulani Dhlamini, David Goldblatt and Thabiso Sekgala are included in Aperture's summer 2017 issue Platform Africa, which profiles the biennales, art spaces and educational workshops that are changing the shape of photography across Africa today. Edited in collaboration with John Fleetwood, former head of the Market Photo Workshop in Johannesburg, Bisi Silva, founder and director of the Centre for Contemporary Art, Lagos, and Aïcha Diallo, associate editor of the website Contemporary And, the issue is accompanied by an exhibition at the 1:54 Contemporary African Art Fair in New York (5 – 7 May).
Thabiso Sekgala at the Walther Collection
Sekgala features on the Walther Collection's group exhibition, Recent Histories – New African Photography (7 May – 29 October). Forming part of the collection's ongoing projects showcasing contemporary photography and video art from Africa, the show focuses on how African photographers are engaging with revolutionary and current photographic practices to respond to ideas and understandings of African diaspora.
Thabiso Sekgala at the Walther Collection
The Walther Collection presents the second exhibition in its series on contemporary photography and video art from Africa and the African Diaspora. The first opened in fall 2015 with The Lay of the Land, a group show presenting photographic approaches to the postcolonial African cityscape. The new project is titled Close to Home at the Walther Collection Project Space until 23 April. The exhibition, "Vividly document[s] the flawed beauty of everyday life … the five young photographers in Close to Home represent a powerful new vision of portrait photography in Africa." The photographs of the late Thabiso Sekgala are included in the exhibition that explores intense social relationships through intimate portrayals of friends and family, in-depth accounts of eclectic sub-cultures and communities, or typological studies of professions.
More news
Solo exhibitions
Thabiso Sekgala / Running / 2014
Because I always feel like running, not away, because there is no such place
Because, if there was I would have found it by now
Because it's easier to run, easier than staying and finding out
you're the only one who didn't run.
Because running will be the way your life and mine will be described,
As "in the long run" or as in having given someone a "run for his money"
Or as in "running out of time"
Because running makes me look like everyone else;
though I hope there will never be cause for that
Because I will be running in the other direction, not running for cover
Because if I knew where cover was, I would stay there and never have to run for it
Not running for my life, because I have to be running for something
of more value to be running and not in fear.
Because the thing I fear cannot be escaped, eluded, avoided, hidden from,
protected from, gotten away from,
Not without showing the fear as I see it now
Because closer, clearer, no sir, nearer
Because of you and because of that nice that you quietly, quickly be causing
And because you´re going to see me run soon and because you´re going to know
why I´m running then,
You will know then, because I´m not going to tell you now.
– Running, Gil Scott-Heron
In his first solo show with the Goodman Gallery, Thabiso Sekgala presents Running, a photographic exhibition bringing together three series: Running Amman, Running Bulawayo and Paradise. Although shot in highly disparate places – the cities of Amman, Bulawayo and Berlin – all three series are viewed by Sekgala as part of a similar trajectory of movement, displacement, transition; each photograph displaying a veneer of calm, that may or may not be on the verge of catastrophe. Considering both the notion of running towards and away from, Sekgala confronts perceptions surrounding place, influenced by sentiments such as aspiration and assumption, and ultimately destabilises these. Produced while Sekgala was on various international residencies, this is the first time these works are being exhibited in South Africa.
Running Amman was photographed in a city built around an old Palestinian refugee camp, which for Sekgala, "defines the idea of running… I was interested in the calmness, and the stillness of the place. I photographed these images during the period when America was still threatening to attack Syria, in my mind I was thinking if that could happen while I was in Jordan 'will I have a place to run to'… In my work I am fascinated by conditions that define people's home, that could be personal or political or economic." Within the series Sekgala focusses on parked cars, influenced by Walid Raad's series on car bombings during the Lebanese Civil war. These, as well as images of quiet streets, void landscapes and lone pedestrians may suggest the calm before a storm, or nothing at all.
Running Bulawayo, a bit closer to home, takes into account a shared history between Zimbabwe and South Africa, and the strange relationship the two countries currently share. Bulawayo was founded by the people led by Zulu Chief Mzilikazi, who left Zululand in the early 19th Century and settled in what came to be known as Matebeleland. Two centuries later, there is an inversion of migration, with millions of Zimbabweans fleeing to South Africa. "The town has become what I would call a ghost town," explains Sekgala, "because most Zimbabweans live between Bulawayo and Johannesburg. There are over 4 million Zimbabweans living in South Africa." In a series of images that depict dusty streets, seemingly abandoned mannequins, solemn backyards and dreary shopping centre interiors, Sekgala intimates a forgotten place.
In Paradise, Sekgala confronts the notion of the the West as a place that many want to run to – a perceived paradise. "Here," Simon Njami writes in his essay 'Heaven can Wait', "the light is gray and pale. It gives the feeling of a dying world facing its twilight. And even though there is one scene, in a park, in which we see two children running and smiling, one wearing a T-shirt where the word 'love' is apparent, and in the background, most of the images convey a certain feeling of sadness and despair. An homage to a lost young girl; small displays of oranges and plastic watering cans; public transportation showing the solitude and harshness of our modern times; old and lonely people… empty bars, terraces… everything seems to be photographed in order to reveal a contemporary misery. We are, as some billboards and inscriptions reveal, in Germany, the richest European country. And paradise is always associated with wealth, abundance, and eternal joy. What is depicted in these images through the South African photographer's gaze, however, is a portrait that fully contradicts these common preconceptions."
Njami goes on to explain that "being an African certainly plays a critical role in Sekgala's perception, which he charges with irony. Photography being a way of writing stories, and a language in itself, we are aware of the fact that there is a hidden message behind any image. Sekgala's take on the debate about developed and underdeveloped countries becomes clear when we realise that he is playing on the reversed gaze repertoire. He openly admits that, coming from Africa, there is nothing that he can expect from Europe but magnificence, beauty, and harmony. One would expect a poor African discovering Western magnificence to be overwhelmed by all those things that he is supposed to be missing back home. But here we are, confronted with a reality that has nothing to do with our expectations." In this interpretation of Sekgala's modus operandi, Njami encapsulates the photographer's ability to morph perception, making us question what we run away from, and what we run towards.
Group exhibitions
In Context: Where We Are
Goodman Gallery Cape Town
29 October – 7 December 2016
Kudzanai Chiurai • Nolan Oswald Dennis • Gabrielle Goliath • Haroon Gunn-Salie • Kiluanji Kia Henda • David Koloane • Moshekwa Langa • Gerhard Marx • Tracey Rose • Thabiso Sekgala • Jeremy Wafer
Goodman Gallery Cape Town's group show Where We Are is a partner exhibition to Africans in America at Goodman Gallery Johannesburg and the Johannesburg Art Gallery. Where We Are offers a counter conversation to Africans in America, which explores the shifts in perspective that are occurring among a new generation of artists from Africa and the Americas as they transverse between the two. The Cape Town exhibition presents work by African artists within Africa – many of whom are still based in their country of origin – as opposed to working in the context of the diaspora.
The artists' practice has either been rooted in or constantly drawn back to their places of origin – whether circumstantially or deliberately. Place is an inherent locus of the exhibition observable in a multitude of expressions, including map-making, borders, urban landscapes, migration and monuments.
Where We Are is a precursor to a larger exhibition that will take place in New York in 2017. It serves as a series of questions, interrogating history, geography and memory, both personal and collective. The artists examine the systems of place that define the daily lives and recent histories of people across the continent and find them wanting, resulting in many attempts at re-imagining. In the proposal of ideals and alternatives, the status quo is indicted and the past held accountable, as we attempt to understand where we are, how we got here and how to move forward.
Housed in an edifice of large wooden shipping crates, Angolan artist Kiluanji Kia Henda's video installation Concrete Affection – Zopo Lady references the mass exodus of Luanda's inhabitants after Angola's independence from Portugal's colonial rule in 1975. The cityscape becomes a vivid fabric of motion and colour in an expansive drawing by David Koloane, for whom the city of Johannesburg is a muse.
Gabrielle Goliath's chilling audio installation, Roulette, points to a defining feature of South Africa – the ever-present threat of violence. A stream of amplified static is punctured by a point-blank recording of a gunshot once every six hours (the damaging effects of which the participant is warned about before listening) – bringing to life femicide statistics showing that every six hours a woman in South Africa is killed by an intimate or ex-intimate partner, one of the highest rates in the world. Rather than confront the violence head-on, two photographs by the late Thabiso Sekgala look beneath the surface at the devastation in the mining towns of Rustenburg and nearby Marikana.
Drenched in red, Haroon Gunn-Salie's sculptures of dismembered hands cast from public statues of Captain Carl von Brandis, Johannesburg's first magistrate, and Portuguese explorer Bartolomeu Dias are a powerful indictment of colonialist expansion. Zimbabwean artist Kudzanai Chiurai engages in a similar re-contextualisation of colonial imagery in his Genesis series, which takes as a departure point stone reliefs commemorating the expeditions of David Livingstone and counters them by imagining an Africa reconnected with its rich traditional past. Tracey Rose also subverts historical assumptions of whiteness by recasting the role of the messiah as a challenge to canonical religious iconography.
The ideas of land and memory are central to Nolan Oswald Dennis' triptych, which contains extracts from Wikipedia entries for the term "Azania" and points to the limits of and Western bias still so prevalent in human encyclopedic knowledge.
Jeremy Wafer explores the arbitrariness of the physical barriers and boundaries that define country, specifically the demarcation between Mozambique and South Africa. Similarly, Gerhard Marx deconstructs the borders defined in mapping to question notions of territory and the place of the human in the abstracted aerial view.
The abstraction of the landscape is taken to its end point in Moshekwa Langa's work, an expressive evocation of distance and horizon offering a personal perspective on migration, loss of place and the bittersweet experience of return.
The exhibition includes a video programme hosted in Goodman Gallery Cape Town's new street-level video room on Sir Lowry Road, echoing the thematic content of Where We Are with a focus on the individual as an anchor to place.
New Revolutions: Goodman Gallery at 50
Goodman Gallery Johannesburg
4 June – 6 August 2016
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery's history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery's history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery's ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
The Artists
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world's most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery's programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery's transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
[Working Title] / 2012
Goodman Gallery Cape presents [Working Title] – a group exhibition of young artists working in South Africa, brought together in a way that allows multiple and perhaps surprising dialogues to emerge, and foregrounding questions of authorship, authority and notions of the relational.
Reshma Chhiba's Kundalini Shakti and Linga-yoni – a slashed canvas and an unsettlingly organic sculpture, both informed by the artist's ongoing interest in the Hindu goddess Kali as an embodiment of unbridled feminine creativity – act as a complement and counterpoint to the cool, Apollonian rationalism of Kyle Morland's Double-Ended Saddle Cut, a suspended sculpture of welded steel. Both are also concerned, in different ways, with the act and effects of making. Murray Kruger, too, plays with concepts of creativity and authorship in his recreation of, and extrapolation from, Walter Battiss' 1973 performance piece Open tent for contemplating the cosmic origins of art, while at the same time raising questions about the nature of the artwork, its evolution over time, and the ways in which its audiences are implicated in its inscription into history.
Gerald Machona's origami-based installation Bling Bling: Blood diamonds are a girl's best friend, a cynical comment on the abuses of power in postcolonial African politics, resonates with Monique Pelser's Conversations with my Father, a searingly intimate attempt, in an installation and set of photographs, to understand her father's death and life in the larger context of the dark and complex history of the South African police. A solemn photographic installation by Gabrielle Goliath titled Berenice 10-28 speaks poignantly of personal issues of loss and grief, while uncompromisingly confronting questions of violence and abuse in South African society.
Thabiso Sekgala's photographs of the workers and inhabitants of a housing estate in Ghent are a refreshing and original take on the questions of identity that inform so much contemporary South African practice, and a provocative inversion of the usual dynamics of 'othering', while his stark images of domestic objects, at once intimate and abject, are a compelling reflection on contemporary urban life.
[Working Title] is a showcase of young artists whose work, while ranging in media and crossing disciplines, shares an uncommon and original approach to contemporary practice.
Text by Katrin Lewinsky
The art exhibition Basic Reality is not a curated exhibition. As the artistic
positions existed prior to the invitation, it is the artists' present context that
relates to this exhibition. The exhibiting group of South African artists provide
examples of contemporary art mainly produced in South Africa between
2010-2011. The exhibition exists alongside current creative processes and
contributes to their development within a public interface. It is at the same
time to be seen as a medium in itself, created and completed by the artists.
This exhibition is unique and can't be repeated. Goodman Gallery takes the
position of a commercial production partner offering the artists advice and
curatorial dialogue.
In this sense Basic Reality is a conceptual exhibition. It is formulating a liberal
progress of reference for contemporary art. It contains a neutral perspective
towards the possibilities of exchange between the media art and public in
order to relate to and establish processes of reality.
In the following conceptual text a theory on reality is introduced as part of a
greater philosophical discourse and as a consideration for statements on
contemporary art, like this exhibition. For the interest of relating to the artists
and the exhibited artwork outside of the theoretical concept on reality, selfreferential
artistic statements form a main component of this exhibition.
Theoretical text as a philosophical background and basis of discussion
The world can be seen as completely catalogued and analysed and then,
almost as compensation, artificially regenerated as if this were the reality. And
it is by these artificial strategies that we, all being specimen of ethnology,
here, in a metropolis, in all forms of society, try to live with representations of
reality. This common state assumes that none of our societies know how to
manage their social self, their power, their reality.
In this sense, the real that we experience is not reality. A basis for the
development of various structures: a growth of the true, of the lived
understanding for anthropological structures such as religion, technology,
language etc. There is a utopian culture that is conditional to human
awareness of, for example, a return of the metaphorical without object and
substance; of creations of idealistic models such as melancholy, of myths of
origin and signs of reality; of truth, objectivity and established authenticity.
Furthermore, a frantic production of the real and the referential exists, greater
than and similar to the madness of material production. We create visible
continua, visible myths of origin as existential evidence for the ultimate belief.
We correlate to productions of systems, commodities, of political economy
and of over-production. This is the restitution of the real that society has
developed to remove itself from. This is a hyperreality.
This hyperreality implicates an anti-form to every principle and objective.
And thus also to an interesting current principle in our society: the code of
capital. Capital is a challenge to society. It was capital that was the first to
feed, throughout history, on the destruction of every referential, of every
human goal, which crushed every ideal separation of the good and the truth
and their counterparts in order to establish a radical law of equivalence and
exchange, its law of power. It was the first to practice abstraction, severance,
deterritorialisation, etc. If capital has generated reality, its reality principle
exterminates the use of value, of real equivalence, of production and wealth.
In this system another evaluating strategy is simultaneously manifested:
power. This capacity shall be mentioned here as for a certain period it has the
disposition to assemble only signs of an affinity and the figure of a collective
demand for its signs. Those signs are equivalent to a setting, which is not a
principle, and more substantially not an ideology, as ideology does not relate
to reality or power, only to its infidelity.
Reality is evident in modes of power, as it is real in anything that is situational.
While ideology aims to restore the objective process, especially those of
common standards, this causes pretentious problems with restoring the truth
beneath a setting. This dynamic leads to the reason why power is so in
agreement with ideological discourses, for these are all discourses of truth
that always establish a good and avant-garde quality.
Art, and contemporary art in this context, of the matter of reality and its
structures of acceptance, manipulation and anticipation in our society, has
the power to create realities. In the existing scenarios art is closer to reality
than any other form of artificial production. Art inherently expresses critical
conditions, abstraction and redemption of the status quo. As a creative selfreferential
system it is not dependant on any form of power, reality, hyper
structure and capital, on any existential and ethnological conditions. Art has
thus by its immanent reduced artificial conditions, have the ability to settle the
basic conditions of the society to participate and create reality. Every art
exhibition is an opportunity to experience the visualised expressions of this
basic reality.
Thabiso Sekgala (b. 1981 in Johannesburg, South Africa) was a photographer whose work explores themes of abandonment, memory, spatial politics and concept of home. 'In photography I am inspired by looking at human experience whether lived or imagined,' Sekgala once expressed. 'Images capture our history and who we are, our presence and absence. Growing up in both rural and urban South Africa influences my work. The dualities of these both environments inform the stories I am telling through my photographs, by engaging issues around land, peoples' movement, identity and the notion of home.'
Sekgala held solo exhibitions in South Africa and Europe and has exhibited in group shows internationally, including Les Rencontres D'Arles, LagosPhoto Festival and Bamako Biennale. In 2013 he had residencies in both the Kunsterhaus Bethanien, Berlin, and at HIWAR/Durant Al Funun, Jordan.
He studied at Johannesburg's Market Photo Workshop in 2007 to 2008 and was awarded the Tierney Fellowship in 2010.
Sekgala died in Johannesburg in 2014.
Solo Exhibitions
2014 Running, Goodman Gallery, Cape Town, South Africa
2013 No place like this, Epicentro, Berlin, Germany
2013 Paradise, Kunslerhaus, Berlin, Germany
2011 Homeland, Market Photo Workshop, Johannesburg, South Africa.
2011 Homeland, Recyclart & The vieuwer, Brussel, Belgium.
Group Exhibitions
2017 Recent Histories – New African Photography, Walther Collection, Ulm, Germany
2016 In Context: Where We Are, Goodman Gallery, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Johannesburg, South Africa
2015 10th Rencontres de Bamako Biennale panafricaine de Photographie, Bamako, Mali
2015 LagosPhoto festival, Lagos, Nigeria
2014 Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, Museum Africa, Johannesburg, South Africa
2013 Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, Haus der Kunst, Munich, Germany
2013 Transition, Les Rencontres D'Arles 2013, Arles, France
2013 Homestories, KFW, Frankfurt, Germany
2013 My Joburg, La maison rouge, Paris, France
2013 Photoquai, Musee Du Quai Branly, Paris, France
2013 The space between us, IFA Gallery, Berlin, Germany
2013 Conversation in Amman, Durant Al Funun, Amman, Jordan
2012 Working Title, Goodman Gallery, Johannesburg, South Africa.
2012 The rise and fall of Apartheid, ICP, New York, USA.
2012 Shoe shop, Goethe Institute, Johannesburg, South Africa.
2012 Transition, Bus Factory (France Institute), Johannesburg, South Africa.
2012 Expo sure Now, Speke Gallery, Johannesburg, South Africa.
2011 NYPH'11, Photo Festival NewYork,USA.
2011 Basic Reality, Goodman Gallery, Johannesburg, South Africa.
2011 Joburg Art Fair, Johannesburg, South Africa.
2010 10 (Borders Masterclass), Market Photo Workshop, Johannesburg, South Africa.
2010 Considering documentary, Market Photo Workshop, Johannesburg, South Africa.
2010 Re-found, Re-groupshow, Drongen, Belgium.
2009 Borders, Market Photo Workshop, Johannesburg, South Africa.
2009 Cetavoir Image Singuliere a photographic festival in Sete, France.
Awards and Merits
2011 Honerable mention Ernest Cole Award.
2011 Nominated Paul Huff Award.
2010 Awarded Tierney Fellowship.
Academic Record and Residencies
2013 Künstlerhaus Bethanien, Berlin, Germany.
2013 HIWAR/ Durant Al Funun, Amman, Jordan.
2012 History Matters Residency, CCA Lagos, Nigeria.
2012 Photographic portfolio meeting, by Goethe Institute, Lumombashi, DRC.
2011 Photographic portfolio meeting, by Goethe Institute, Bamako, Mali.
2010 Borders Master class, Market Photo Workshop, Johannesburg, South Africa.
Download CV
Press for Thabiso Sekgala
Thabiso Sekgala / The Con / South Africa / 23 October 2014Thabiso Sekgala - The Runaway by Musa Nxumalo (443.5 KB)
Thabiso Sekgala / Mail and Guardian / South Africa / 24 - 30 October 2014Suicide stills another rising star by Sean O'Toole (292.2 KB)


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In partnership with Fair Trade certifiers in the United States, Patagonia has begun to convert its entire collection – starting with 10 pieces of women's athletic and fall apparel. By fall of next year it will include 165 styles.
Patagonia's pursuit of Fair Trade is part of a larger strategy in addressing fair wages in their supply chain.
Currently, Patagonia has certified Pratibha, an Indian-based factory, a factory they've had a relationship with for a long time. Nguyen visited Pratibha in May and saw the workers empowered
As part of a longer-term strategy, Patagonia plans to pursue Fair Trade certification at both the factory and farm level.
Patagonia is not currently passing any of the costs of Fair Trade to the customer. And they don't exactly know how the conversion will impact ROI or their bottom line. But Fair Trade reflects their mission, their values and who they are and to them—that's all that matters.
(READ more from Just Means)

subset: commoncrawl


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Moistboyz 2015 Tour Shirt
Holy crisis & vices! Hog Island Press is mondo stoked to bring you the official 2015 Moistboyz tour shirt, available in very limited quantities right here, right now. Grip em while you can - and do yourself a favor and check out the Brothers Moist on stage this summer.
White ink on an olive Gildan Ultra Cotton shirt. Model credit: Guy Heller.


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SIDON, Lebanon – Residents of south Lebanon's biggest city and the refugees who have joined them are staying put despite warnings from Israel that it plans to bomb "Hezbollah rocket launching sites" in Sidon, according to the city's mayor.
Sidon's normal population of 125,000 has swelled as more than 100,000 refugees have fled here from war zones farther south.
"People were definitely worried, but nobody left the city," Mayor Abdul Rahman Bizri said in an interview.
Bizri said that on Saturday, Israel dropped flyers nearby, calling on the people in the province to leave because it wanted to target Hezbollah rocket launching sites there. Bizri, however, denied that Hezbollah were in the area.
"We don't have any Hezbollah bases in Sidon," he said. "We don't have any launching pads for rockets." He added: "This is a city where everybody feels more or less at home. Whoever wants to stay can stay, and we're staying."
Many of Sidon's newcomers say they do not have much choice. Salima Salman fled to Sidon from her home in the southern city Qana in mid-July with only the clothes she was wearing. Now she, her husband, and their two teenage children sleep every night in a classroom with 37 other people at Sidon's Lebanese Kuwaiti Elementary School, which been turned into a refugee center.
"It's either return to our village or stay here," Salman said. "There's no other option. We either die here or return to our village."
Despite a widespread feeling of fatalism, many refugees here say they are thankful for the help they are receiving in Sidon.
Refugees started coming here the day after Israelis began bombing southern Lebanon in retaliation for the seizure of two of their soldiers by the Lebanese Hezbollah. With help from non-governmental organizations, the city has been working to identify the growing number of refugees and to place them in 88 refugee centers.
Even a chic villa belonging to the sister of the late prime minister Rafik Hariri, who was from Sidon, has been transformed into a mass kitchen. Volunteers there cook daily meals such as rice, chicken, and vegetables, and distribute them to the refugees.
All of these demands, however, have been putting a strain on the city's resources.
"To have more than 100,000 people come here and almost double our population practically overnight has added an extra stress on our infrastructure, especially on the water services and electricity," Bizri said.
He said the showers and sewage systems in the makeshift refugee centers do not have the capacity to serve so many people. And although Sidon's infrastructure has not been damaged much in this conflict, Israeli forces have destroyed the bridges connecting the city with other parts of Lebanon, making the delivery of supplies difficult.
Sidon's hospitals are also struggling with the influx of refugee patients.
"We're hanging on, we're exhausted," said Dr. Khalil Hamad, a 27-year-old medical resident at the city's largest hospital, Hammoud Hospital. "We're seeing four times as many patients as usual."
The hospital has treated 350 people who were injured in the fighting farther south, as well as many refugees with usual illnesses. Hamad said the hospital has enough medicine now, but the situation could get much worse if the conflict continues.
"Our medicine can last two to three weeks but not more," he said. "We're also going to have a problem with power in a few days because we have only seven days of power left."
Other challenges are more psychological than logistical. Ghareiba Solaiman, a 54-year-old housewife who fled from Qana, says many here feel Western countries could have stopped this conflict much sooner by demanding an immediate cease-fire.
"I stayed in Qana through two other conflicts before," she said. "But this time we couldn't stay there. It was unbearable."
"We would like the Western countries to sympathize with us and deal with us as we are: we are just human beings," she added.
Most of the refugees here are Shia Muslim, as are the Hezbollah. In contrast, about 90 percent of Sidon's population is Sunni Muslim; the other 10 percent are Shia and Christian.
Sidon's mayor says his city has been known for its religious tolerance in a country that was devastated by a civil war from 1975 to 1990.
"We try to consider Sidon as a melting pot, in a way that all ideologies are accepted," Bizri said. "So this is why everyone feels relaxed and why everyone wants to stay in the city."
But some Sidon inhabitants say they feel caught in the middle of a conflict that should never have begun.
Twenty-three-year-old Ayman Bouz, who manages the refugee center at the Lebanese Kuwaiti School, says some local residents are angry with both Hezbollah and the Israelis.
"I'm angry at Hezbollah, but of course I'm angrier at Israel because its response has been extremely disproportionate," he said. "But we also have to know that we have internal problems that we should solve."


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How To Recover Data Easily?October 11, 2017
One stores many files in an electronic device. These files can consist of personal data, corporate data, daily work data etc. It is very important to protect this data which otherwise can result in a huge loss for the person who uses it. To minimize the loss that occurs due to the deletion of data, there is a need to install a recovery software. The advantages of this software can vary to different people. For instance, for a person serving of a company, the data in his computer or laptop will be very sensitive for him and the loss of that data may lead to his loss for the company.
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There has to be awareness among people about these softwares which are available free of cost online. The devices from which recovery can be made are computers, smart phones, digital cameras, storage devices etc. The EaseUS recovery software gives an option to use all these devices for recovery.


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Box Office Opening Hours May 14th-19th
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Here you can quickly buy online tickets, merchandise, artworks and more. Simply select from one of the shop categories or take a look at some of the featured items further down the page.
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Category Archives: frontpage
Besides helping the University, through the grants financed from subscriptions, members enjoy a full programme of events. Twice-yearly talks from eminent members of the University are acompanied by tea at which members have time to meet old friends and make new acquaintances. At our Yearly Meeting in June members are invited to visit areas in the University not usually accessible to the general public.
In addition we arrange trips to external venues with University of Reading connections.
The Friends' biennial, themed Heritage Trails are also open to the public. The event in 2012 focused on the London Road campus and attracted over 260 members and visitors. In 2014 the theme was 'Reading and The Great War', held on the London Road campus.
Members receive: Connected magazine for alumni and Friends, mailed annually and supplemented by Connected online, a quarterly email newsletter; and all the generous benefits available to alumni such as discounts on hotels, car rental and University Library and Sports Centre membership.
Membership, open to anyone, is by subscription of £20 p.a. for individuals, £30 for couples living at the same address, although we welcome larger subscriptions from those who feel able to contribute. New members are always welcome. please contact Mrs Brenda Morris, Membership Secretary, The Friends of The University, c/o ASEO, Blandford Lodge 1st Floor, PO Box 201, Whiteknights, Reading RG6 6AH, tel 0740128717, e-mail email@example.com
Click to download a grant application form (MS Word)
If you have trouble accessing the form or need further information, please email firstname.lastname@example.com
Normally, the closing date for applications is early in the Summer Term. The exact date will be advertised towards the end of the Spring Term. Decisions are confirmed by The Friends normally by mid-June.
Each year we give out around half a dozen grants normally ranging from a few hundred to a (very!) few thousand pounds, responding to applications for projects which would not normally be funded from University academic resources. In this way we enrich students' experiences, provide additional social and cultural amenities, enhance the University's landscape and support its outreach into the community.
Students across University life benefit from contributions. Examples include musical instruments, covers and a synthetic cricket wicket and boats and sets of oars for the University Boat Club.
Donations to Departments and Schools include the purchase of paintings and other works of art, storage facilities, display cabinets, garden seats and trees. The ceremonial furniture seen in the Great Hall at London Road at Graduation ceremonies was among our earliest grants; we have since since contributed to the refurbishment of its organ.
Our funding has enhanced University landmarks enjoyed by the general public, including The Friends' Bridge over Whiteknights Lake, plantings around the lake, and the cloisters that characterise London Road campus. The fine stained-glass window at the Museum of English Rural Life and music stands for concerts by Music at Reading are other examples.
The Friends are particularly interested in projects which support the University's outreach into the wider community. Past examples of such grants include a 3D model of a DNA molecule which can be used both for University teaching and in schools, support of community events such as the Big Band Picnic and completion of an African Drum circle to enable workshops to be held outside the normal curriculum, with local schools and at community events.
Analysis of grants by decade to 2015
Email: thefriends [usual at sign] reading.ac.uk
The Friends of the University of Reading
c/o ASEO
LO11, London Road Campus
4 Redlands Road
- watch the afternoon Head of the River Races on Saturday 9 March from the Canoe Club, The Warren, Caversham, Reading RG4 7TF, and to take tea there afterwards (parking along The Warren). Could those wishing to come please let Brenda Morris know by Friday 1 March (email@example.com)? Members are asked to arrive at the Club about 2 pm with the first race starting at 2.30 pm.
- Dr Jaqui Turner of the History Department, who recently advised the Suffrage exhibition in Parliament, will speak on early female MPs alongside a recreation of her Nancy Astor exhibit informed by the University's extensive Astor archive. Venue Palmer Building. Please book for the accompanying tea which starts at 3pm.
- This trail will cover the gate lodges before moving on to describe the background to the Temporary Office Buildings, the Citadel and more recent development of the Earley Gate by the University (Agriculture, Psychology etc), and ending at the site of the Victorian house, Erlegh Park, and the nearby ice house. (Photo from University Special Collections) Please return to this page in nearer the time for more details and booking information.
- Members of The Friends have once again contributed generously to this popular event. Bring a picnic to the lovely London Rd campus anytime 12noon-4pm, be entertained by the student band and dancers or help out at our stall. All welcome and an excellent family day out.
- Once again we will have a stall at this popular local event on Palmer Park. Members who would like to volunteer to help out would be most welcome.
- The Annual General Meeting will start with a talk by Professor Shirley Reynolds and Dr Faith Orchard of the Charlie Waller Institute about the Institute and its work relating to mental health in young people. It will be held in Room G09, Allen Building, at 2.30 pm, with tea in the Meadow Suite from 4.00 pm followed by the Annual General Meeting at 5.00 pm. Full details and a booking form will be sent round nearer the time.
- We will be continuing our series of Heritage Days with our trail around the historic London Road campus. Members who would like to volunteer as helpers would be most welcome.
- Our coach trips are extremely popular and a new venue will be chosen for 2019. Members will be sent details nearer the time. (Photo: Wikimedia)
Some Past Events
- Visit to The Cole Museum, Animal and Microbial Sciences Building at 2.15 pm and tour at 2.30 pm followed by a talk at 3.15pm in the AMS Lecture Theatre and then tea in the Meadow Suite.
- The Friends Visit Tour of Naval and Royal Greenwich (a steadily paced walking tour, including rest stops). BOOKING ESSENTIAL.
- Longstanding member of the Friends, Jenny Halstead, is curating an exhibition from local artists. Private view with wine, books, museum and optional lunch.
- This year our annual general meeting and reception will be at Aberleigh courtesy of Sir David and Lady Bell. This is a good occasion to catch up with what's going on both within The Friends' Association and more broadly to hear from the Vice-Chancellor about developments within the University, have your say on what the Friends are doing and consider the applications made to our annual grants round. Oh, and there's also a delicious tea. Details will be updated here and sent to all members three weeks before the meeting.
- The University received its charter 90 years ago. Members of the Friends were invited to join alumni at the University Homecoming event. We manned a stand at this special event – showing the wide variety of grants we have made over nine decades and our Heritage Trails.
- Lord Carrington, our President emeritus, has kindly invited us again to visit his magnificent gardens at the Manor House, Bledlow. Davina Palmer will provide tea for the party at 4.15 pm. Booking is essential.
- East Reading Festival 19 June 2016
- Everyone welcome at this University event on the London Rd campus 12 noon Sunday 5 June 2016. Bring your own picnic or enjoy a tasty treat from the BBQ grill, and try some of the beers and ciders in the Real Ale Festival at Eat at London Road. If you fancy something a bit different, the University will be showcasing some of its food science research, with a special 'Ready, Steady, Nutritional Cook' demonstration.
- The Friends has supported the Ure Museum with several grants over the years. This visit is by kind invitation of Amy Smith, Professor of Classics and Curator of the Museum. The visit starts at 2.30pm in the Ure Museum, Classics Department, Faculty of Arts, Humanities and Social Science, Whiteknights campus, Building 1 on the Campus Map. It will be followed by tea at 4.15pm in the Meadow Suite (behind Park House). Please click the photo of Professor Smith for more information, parking permit and campus map. Please email firstname.lastname@example.com if you would like to attend. You are welcome to bring guests ...
The Friends of the University of Reading was formed as a charitable association in 1927. In 2017 it was registered with the Charity Commission for England and Wales as an Association Charitable Incorporated Organisation (number 1173347). In July 2017 The Friends was inducted into the University's College of Benefactors in recognition of 90 years continuous support of the University.
Membership of The Friends is open to anyone with an interest in supporting the University.
The Association thrives with a membership of over 400 drawn from the neighbourhood and the wider community as well as from former and present members of the University. In this way we provide a companionable means of cultivating contacts between the University and those interested in its educational goals, history, current activities and future development. Membership of The Friends gives access to an array of social and cultural events. The subscription income that we generate is applied to grants, financing various amenities and activities throughout the University.


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Check out Excel Sports Fitness Training in Action
Excel's Sports Fitness Training programs are geared towards the speed, strength, power, agility, lateral movement, quickness and mental preparation that is needed to a build a complete athlete in any sport. Our Sports Fitness Programs start at age 9 and go all the way up to Professional Athletes.
The best way to find out if Excel's Sports Fitness Training is for you is to click above or below and schedule a FREE Sports Fitness Trial to see for yourself how we make better athletes. CLICK HERE to watch a preview of some of the training that we do with our athletes.
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Click here for a FREE No Obligation Trial Session or call 636-625-3100


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La Trobe Journalism grad Harriet Edmund talks to fellow alum Clare Pullar about her outstanding career in philanthropy.
When Clare Pullar studied Arts and Education at La Trobe University in the early 1970s, she recalls how grateful she was to afford essentials like a toothbrush.
"I grew up as one of seven children in a very poor family," she says.
"We came to Australia as immigrants and I have never forgotten how fortunate I was to go to university."
Since then, Ms Pullar has helped institutions build programs resulting in almost $300 million in philanthropic contributions at The University of Queensland (UQ) and The University of Melbourne (Trinity College and Melbourne Business School).
When she was appointed to the position of Pro-Vice-Chancellor (Advancement) at UQ in 2009, it was the first time an Australian university had employed a fundraiser and advancement professional as a senior executive reporting directly to the Vice-Chancellor.
It was an appointment the institution got right.
Before Ms Pullar began, fundraising at UQ peaked at $8 million per annum. In 2015, the University raised more than $65 million in philanthropic contributions.
"My appointment really signalled that the university sector was beginning to get serious about the need to drive more private investment. It was a huge cultural change that started with the engagement of the community," she says.
Perhaps it's been Ms Pullar's love of philosophy and history, first studied at La Trobe, that's led to her work in changing the lives of so many young Australians.
She says, the most rewarding aspect of her work is creating opportunity for disadvantaged students – particularly Indigenous Australians.
"It's given me a huge amount of personal satisfaction to do a little bit to recognise Australia's first nation. And, to try and level the playing field when it comes to education."
This was most notable during her tenure at The University of Melbourne, which included 10-years as Director Advancement with Trinity College from 1997. Here she led a campaign which raised $30 million, in part, to make the College more welcoming of indigenous students.
"I can remember the great mentorship given by professor Marcia Langton, founding Indigenous professor, to make sure that our Indigenous scholarship program was absolutely tailored to the needs of Indigenous students," says Ms Pullar.
"Other colleges have now come on board with a BA extended program for Indigenous students, which is a huge success."
A three-year stint at Melbourne Business School followed, where Ms Pullar established the School's first endowed chair and scholarship program.
Another great influence in Ms Pullar's career is her partner David, who she met while studying at La Trobe.
After university, Ms Pullar followed David back to his family's Goulburn Valley fruit growing and export operation where she worked while also teaching at the local high school.
It was during this time that Ms Pullar was offered her first philanthropic appointment almost 30-years ago.
With her passion for education and knowledge of local private industry, she led the fundraising effort needed to build the Goulburn Valley region's first grammar school. The school now boasts an enrolment of more than 800 students.
Whatever the catalyst for such a stellar career to date, the next chapter will begin in August this year, when Ms Pullar will join US-based Marts & Lundy as a senior consultant. She is just the second Australian to join the global philanthropy advising firm.
"I planned towards the end of my career that if I had learnt enough to share my knowledge and skills on a broader canvass, then I would take the opportunity," she says.
"We're in a new golden age of philanthropy. We all have a responsibility to support and sustain the institutions we want to have."
Image courtesy of The University of Queensland.


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We are unable to provide Rapid HIV tests over the Christmas period as we are closed for some days. You can still get tested at LASS until 21st December as usual, and then from 2nd January 2013.
Just walk in for an appointment or you may phone in advance to book one.
If you need information or HIV / STI tests over the holiday period please visit the Sexual Health Clinic at Leicester Royal Infirmary, Jarvis Building. Their opening hours are as follows;
- Christmas Eve, 24th December from 08.30 until 13.00 hours.
- Christmas day and Boxing day – Closed
- 27th – 29th – open normal hours
- New Year's Eve, 31st December from 08.30 until 13.00 hours
- New Year's day – Closed
- 2nd January onwards – usual opening hours
LASS Rapid HIV Test Times from 2nd January 2013
We offer a confidential Rapid HIV testing service at LASS (53, Regent Road, LE1 6YF). You can phone to make an appointment (0116 255 9995) or drop in for a test during any of the following times:
|09:30 – 16:30
|09:30 – 16:30
|09:30 – 16:30
|09:30 – 16:30
|09:30 – 11:30
Unfortunately we are unable to offer testing at weekends.
Call in and get yourself tested – put your mind at ease.
If you live outside Leicestershire visit Do It Right to find a testing site close to you.
If you are interested in finding out more about Rapid HIV Testing in community settings we do run training courses. Contact us to find out more.


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Sri Lanka Army (SLA)'s 58 division, spearheaded by commando units, have moved into the LTTE stronghold of Pooneryn. SLA units have now entered the Pooneryn town area and several groups of LTTE cadres have fallen back further north towards Kalmunai Point (K-Point). Fighting is still going on.
Meanwhile the 57 division operating south of Kilinochchi have reached the town's outer borders. On another front, Task Force 3 have made advances into Kokavil area. More updates as we get them.


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HARTING OOO has been at the leading edge of connection technology in Russia for over 20 years. Established since 1993, and located in the most beautiful city of Russia – Saint-Petersburg, HARTING OOO represents high technology, HARTING worldwide reputation for technological and service excellence to all its customers in Russia.
Our success is based upon unparalleled service, quality, an innovative and broad product range, and belief in and support of our People. At HARTING we also promote open Partnership with our customers. We recognize and embrace the notion that continuous dialogue with customers produces better products and values for people.
More information on HARTING's products can be found in our Product Center.
Direct link to the Product Center
Customer information for your daily business can be found here.
With more information on topics like innovation, careers, tradition and social responsibility.
Please find here any information of Connectivity and Networks products on our eCatalogue.


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Cancer Woman II
Cancer Woman II
Zodiacs II. 297 x 210mm / A4 unframed, printed onto 215gsm white felt card
Postage. Single prints will be wrapped in tissue and sent in a thin cardboard box. Multiple prints will be wrapped together.
Shipping. All Domestic Orders will be sent via Australia Post within 2-3 business days. See our conditions here.
This item is unframed.


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The Beautiful, brand new Mungo Homes Arbor Springs Community in Irmo, SC features a Beautiful Stone Covered Bridge upon entering. In addition to a nice entrance, this community has Common Areas and a Playground for the kids! This community has a total of 105 lots. The Arbor Springs Subdivision is located in Irmo, SC and offers a variety of homes ranging in price from $126,900 to $198,900! Every home is different, varying in style, with no two exactly the same and each ranging from a single story 1100 sq. ft. floorplan to a 2-story spacious 3,000 sq. ft. floorplan! Whether you are looking for a small, medium, or large home this neighborhood has it all! And it is all BRAND NEW! Every one of the Arbor Springs homes uses Low VOC carpet and LOW VOC paint. Mungo Homes is a leading builder in the greater Columbia area and is environmentally conscious of what they put in each home they build!
To See all homes for sale in Irmo, SC, click HERE
Mungo Homes offers upgraded details in each floorplan such as 9' ceilings, carriage lights, and designer paint schemes. In addition to house upgrades, many of these homes also have a nice sized yard. Because every home in Arbor Springs is unique, you are sure to find one that fits your style. The Arbor Springs Community does have a homeowners association run by a professional management company with the monthly fees including all maintenance for the Community Sidewalks, Entrance and Common Areas, Playgrounds and Street Lighting!
The school zone for the Arbor Springs Subdivision is Lexington/Richland Five, which includes the following award winning schools: Ballentine Elementary, Dutch Fork Middle School and Dutch Fork High School.
In addition to award winning schools, the Arbor Springs subdivision in Irmo, SC is conveniently located near major roadways including I-26 (less than 2 miles away) and Highways 176 and 80. Irmo, SC is one of the best shopping locations around the greater Columbia area. The Arbor Springs Subdivision in Irmo, SC offers a variety in Shopping, Dining, and Recreation including the Ballentine Market, Irmo Village Shopping Center, and Columbia's premier mall, the Columbiana Center. For those who love the outdoors, Lake Murray and Harbison State Forestare only a few minutes away. Arbor Springs in Irmo, SC is very comfortable and convenient drive to Columbia's Downtown Center, the State Capital. The Riverbanks Zoo is also just 12 miles away via I-26. The nearest hospital, Lexington Medical Center – Irmo, is only 5 miles away.
My name is Dena Mixon and I would love to be your IRMO, SC REALTOR! I am professionally trained and experienced to help home buyers and home sellers in the Midlands of South Carolina. I work very hard to help clients achieve tjeir real estate goals. I can promise that I will always give you the care and best possible service that I can give! Whether you are selling, buying, or just have a questions, please call or text me at (803) 348-1155. EXIT Real Estate Consultatnts.
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Document Type
Publication details
Hughes, A 2016, 'The last refuge : food stories from Myanmar to Coffs Harbour', PhD thesis, Southern Cross University, Lismore, NSW.
Copyright A Hughes 2016
Imagine you have spent more than 20 years of your life living in a refugee camp. You have fled your homeland with only your family and your stories. You have faced trauma, abuse, poverty and hunger. You yearn to reconnect to your culture, especially when you arrive in your new home, one that is unfamiliar and daunting. This is the scenario faced by many of the participants in this study. Somewhat surprisingly, it is food that can serve to reconnect people and rebuild lives.
This study maps the food journeys of people from Myanmar to the regional1 city of Coffs Harbour, Australia. The original contribution to knowledge is identified in both the topic and the research product. The project is unique in that it focuses on the social and cultural role of food in the lives of former refugees from Myanmar now resident in Coffs Harbour. Existing food related studies in Australia depict more established settler communities, such as those from African countries, and these studies come largely from health sciences, often focusing on nutritional outcomes. This interdisciplinary study used focused ethnography and participatory/collaborative visual research methods to produce a documentary and written thesis.
The creation of a documentary allowed the food journeys of Myanmar settlers to be conveyed in a multi-dimensional, textural way that depicts and engages multiple senses associated with food interactions. Whilst having academic value, the documentary is also aimed at a wider audience through screenings at local, national and international film festivals. The use of participatory research methods has allowed the film to develop into a product that is deeply connected to the participants. It has become their film, their medium to tell their stories; as well as an opportunity to stand up in front of the Coffs Harbour community and be proud of their culture. This research tells a positive settlement story, one where differences and challenges have been overcome and a resilient community has utilised networks built to confidently mark out its place in a new home.
1 For the purpose of this research, regional Australia is defined as 'all of the towns, small cities and areas that lie beyond the major capital cities' (Regional Australia Institute n.d.)
Additional information
Documentary: The last refuge: food stories from Myanmar to Coffs Harbour
Included in
Arts and Humanities Commons, Civic and Community Engagement Commons, Regional Sociology Commons, Social Psychology and Interaction Commons


text: Jerry Geis wrote: > I tried to install alsa 1.0.19 on centos 5.3 64 - did not work - compile > errors. > > I need to re-install alsa-lib and alsa-util . > I dont want to do rpm -e first on those packages as dependcy is crazy. > I know they were installed (rpm -qa | grep alsa tells me so) I just want > to re-install ? > How do I do that? > You can remove them with "rpm -e pkgnames --nodeps" and then reinstall them with yum. I had to do this recently with some strangeness that was goign on with kpartx and device-mapper-multipath of al things. hope this helps Vernard


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The Interglactiv Trans-Dimensional Space Whale Whailers Kollektiv (CAn/CH)
The Interglactiv Trans-Dimensional Space Whale Whailers Kollektiv
The Intergalactic Trans-Dimensional Space Whale Whailers Kollektiv (TITSWWK) is a Basel-based group of five that emerged in 2012 around the Canadian singer Sarah Reid. Though coming from a strong jazz background, their music can hardly be defined as wholly "Jazz". If someone were to ask the Whailers to describe their sound in two words, the answer would be "not possible". It is said that if someone cannot explain a thing briefly, it is because they do not truly understand what they are talking about. This is a trait that the Space Whale Whailers embrace with excitement as they journey together through the dimensions of sound and experiment, making mouth noises and fancy-tool-racket, in the hopes of one day attracting the deep horn bellow of the Great Cosmic Whale.
Download PressKit


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I'm exploring the web to find sites I like
Carretera Sosua Cabarete 10.5 km, Kite Beach, Cabarete, Dominican Republic
"lots of beach activities"
Posted by: liam on Nov 16, 2014
see all reviews
Extreme Hotels Cabarete is a 22 room boutique environmentally friendly hotel in the center of all the action. This is where everyone chooses their Cabarete Accomodation to kiteboard, surf, workout or hangout from, when given the choice.
Share your experiences with others. Don't forget to send your review to Debbie by using an easy form.
"lots of beach activities"
Posted by:
liam on Nov 16, 2014 >
1 contribution(s) GERMANY
Visited on: Oct, 2014 | Leisure | Solo
334 people found this review helpful
This is an amazing hotel, it is located very close to everywhere, not far from the airport and easy access to everywhere. This hotel has a unique ambience to it, everything about it is of quality and I have no regret coming to this place even though I was here on a business trip, it was more than that for me, my business meeting was just for two days and after that, I was inclined to spend an extra 5 days just for the fun of it. I will be coming here with my family for the Christmas vacation so that they can also have the experience that I had. It is not such a luxurious place but yet the rooms are basic and clean at the same time. The room sizes are adequate and have a high ceiling with fans. The balconies are clean but small and adequate; I usually just stood there to get fresh air. The thing that got me and made me decides to stay an extra five days was the activities that they had all lined up just for the satisfaction of their guests and everything was on site. There was the fitness area as well as the yoga section which was very relaxing and refreshing at the same time. There are lots of amazing beach activities to join and they were all fun for me. The location of course is great, great staff crew as well as nice restaurant. This is a place to be.


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Video: Wunder Wunder – Coastline *upbeat retro psychadeliaApril 3rd, 2014 by Siegz | Alternative/Indie, Music Video, Rock |
We initially introduced you to Wunder Wunder through "Sure Stuck" which was a very fun track that I wanted to listen to while cruising on a long board through a beach town. Their latest "Coastline" makes you want to ride your longboard skateboard to the beach.
This song makes me want to run to a beach and see how far I go until I'm annoyed by all the salt water and call it quits and say, "fuck sand" as I inevitably will say at some point when I go to the beach. Anyways, shouts to Noisey for premiering Wunder Wunder's latest video for "Coastline", it's a fun beach rock retro psychadelia type of song that's easy to enjoy.
Watch "Coastline" below.


text:
Jesusegun Alagbe, Olaleye Aluko and Enyioha Opara
Akwa Ibom State Governor, Mr. Udom Emmanuel; the Committee for the Defence of Human Rights; and the Campaign for Democracy, among others, have condemned the alleged police attack on the Ekiti State Governor, Mr. Ayo Fayose.
In a statement, Emmanuel said such action portended grave danger for the sustenance of democracy in the country.
Fayose had on Wednesday claimed he was brutalised by policemen who allegedly stormed the main entrance to the Ekiti State Government House to stop a rally by the Peoples Democratic Party.
Residents said gunshots were fired at the main entrance to the Government House, while tear gas canisters were reportedly shot to disperse the crowd at the rally.
The governor also alleged he was hit with the butt of a gun by one of the mobile policemen.
Reacting to the incident, Emmanuel, who is the national coordinator of the PDP's election team in Ekiti, said all governors from the party saw the police's action as an abuse of the Constitution.
He said, "It is not about Fayose or Ekiti State, it is about every one of us. If it can happen to Fayose, it means it can happen to anybody. We should not just look at Fayose today, we should not just look at Ekiti State, let us look at Nigeria. So what is happening?
"Elections will come and go, faces will come and go, but Nigeria will remain. Let us not do something that will bring down this country."
In his reaction, the CDHR President, Malachy Ugwummadu, said the legitimacy of the Ekiti governorship election was the popular participation of the people without police harassment or assault.
"We do not need the narrative that the police tried to paint. That interruption exposes the police as being partisan. I hope that this police action will not undermine the credibility of Saturday's election," he said.
The CD President, Usman Abdul, described the police's "crude" intervention as unfortunate.
"The withdrawal of security personnel from the Ekiti State Government House is rather unfortunate. I believe the civil societies will mobilise fully to ensure that democracy, due process and credibility are not truncated in the Ekiti election," he said.
Similarly, the President General, Ohanaeze Igbo Women Organisation Worldwide, Mrs. Calista Adimachukwu, tagged the alleged attack on Fayose as an attack on democracy and the people of Ekiti State.
"I call on the Federal Government to ensure that those involved in this crime are brought to justice, regardless of their status and rank, because we cannot continue to allow this country to drift into a lawless state," she said.
Also condemning the incident, the Niger State Chapter of the Peoples Democratic Party, said the police action was a violation of the 1999 Constitution, which grants immunity and protection to a serving governor.
In the letter by the State Working Committee, chaired by Tanko Beji, the party said Nigerians must rise against the police action.
The party also said it had sent a protest letter to the Inspector General of Police, Ibrahim Idris, through the Niger State Commissioner of Police, Mr. Paul Yakadi.
Confirming the receipt of the letter, Yakadi promised to forward it to the IGP.
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|Sparky is awestruck by the Onion Creek salt diapir.
Onion Creek is short little creek, flowing less than 10 miles before entering the Colorado River northeast of Moab, Utah. It was named for its fragrance, most notable at Stinking Spring. The drainage was not always so short. Fisher Creek, which flows off the north side of the La Sal Mountains, used to turn and continue west along this route. Then about 3 million years ago, it was blocked by a rising dome of salt.
|Modern-day Fisher Creek flows northeast through Cottonwood Canyon to the Dolores River, leaving Onion Creek to drain the area to the west. Base map from ArcGIS Online (click to view details).
Salt tectonics, aka halokinesis
Salt has played a prominent role in the spectacular scenery of southeast Utah and adjacent Colorado. It has moved around underground, enough to produce surface features such as domes, ridges and valleys. This is the phenomenon of "salt tectonics", but it isn't necessarily associated with the more common type of tectonics -- movement of crustal plates. In fact, salt can migrate and change the landscape even in areas of tectonic quiescence. Perhaps it's better to use the term "halokinesis" -- "a fine word" as Ole Nielsen pointed out in his fine post on Salt Tectonics. Halokinesis also was featured at Evelyn Mervine's Geology Word of the Week last summer. (She briefly discussed psychic halokinesis -- moving salt with one's mind -- but we won't go there in this post!)
Halokinesis happens because salt doesn't compact, in contrast with most sediments. Sand, silt, etc. become more dense under pressure, due to loss of pore space, but the crystalline structure of salt means there is little pore space to lose. While other strata increase in density as sediment accumulates above, a salt layer becomes relatively more buoyant. Under pressure, it can become plastic and flow, initially laterally but then upward as well, due to greater buoyancy. If the salt layer is sufficiently thick, it will change the landscape.
|Cross-section through the Salt Valley anticline (uplift) north of Arches National Park, Utah, pushed up by moving salt. The crest was breached, forming a valley. Modified from Fillmore 2010.
Salt is highly soluble and will disappear quickly if groundwater gets to it. Salt anticline valleys are uplifts that later collapsed when the underlying salt was dissolved (diagram above, photo below).
|Paradox Valley, a collapsed salt anticline in southwest Colorado.
Photo by Geotripper; for details, see his Yellow Line Fever.
Paradox Formation (Pennsylvanian)
There is no shortage of underground salt in southeast Utah and southwest Colorado. This was the Paradox Basin 300 million years ago, an extensive downwarp that developed southwest of the Uncompahgre Uplift of the Ancestral Rocky Mountains. Seawater periodically flooded restricted basins, followed by evaporation and deposition of evaporites. The cycle was repeated many times producing thick beds of evaporites, mostly salt, that would be come the Paradox Formation.
|Ancestral Rocky Mountains showing Paradox Basin and Uncompahgre Uplift; after Trudgill 2011.
Salt anticlines (uplifts) are especially common in the vicinity of the Colorado - Utah state line, where the Paradox Formation is thickest (below, after Gutiérrez 2004).
Onion Creek salt diapir
The Onion Creek salt diapir is located about 17 air miles east-northeast of Moab, Utah, just south of the Fisher Towers. Here the migrating Paradox Formation gathered into a blob, creating a dome on the surface. The uplift subsequently collapsed, revealing underlying evaporites. The exposure is about 2 miles in length and 3/4 mile across.
|Pale area lower center is the Paradox Formation along Onion Creek. From Google Earth, click to view details.
|Portion of the Geologic map of the Fisher Towers quadrangle (Doelling 2002). The Paradox Formation (IPp, light purple) is in the lower right quadrant. Click to view.
This is a halokinetic feature we all can enjoy, as a decent dirt road runs through it. The visuals are spectacular! Then there is the memorable fragrance of Onion Creek, best appreciated at Stinking Spring, which reeks of sulfuric acid.
|Looking east into the Onion Creek salt diapir. From here, the road quickly drops down to the canyon bottom.
|Scenic drive through Paradox strata, Onion Creek on left.
|Deformed rocks of the Paradox Formation.
Rocks of the Paradox Formation along Onion Creek include gypsum, anhydrite and darker shales from the cap rock of the diapir. Salt was the most abundant mineral originally, but it was dissolved and carried off by groundwater, leaving the resistant cap rock collapsed and deformed.
Right: hints of sulfur in cap rock. Both gypsum and anhydride contain sulfur. This explains the aroma of Stinking Spring, where sulfur-reducing bacteria produce hydrogen sulfide gas. For more on cap rock minerals, see the recent post by Sandatlas on Sulfur, gypsum, and hydrocarbons.
Below: Section through a salt diapir showing sulfur-rich cap rock. From Damon Mound at Geocaching, no source given.
Rising salt is powerful enough to deform the rigid rocks it moves into, causing fractures and folding. Sloping beds of the Cutler Formation, tilted by the salt diapir, are often visible on the north side of Onion Valley (see photo at beginning of post).
|Looking west down Onion Creek. Tilted red Cutler strata are visible on the right side of the valley in the distance. In the center of the photo is a large block that has slid down from the left.
The Onion Creek salt diapir is young, only 2-3 million years old, and there is evidence that there was a pulse of activity just 250,000 years ago. Apparently the 300-million-year-old Paradox salt hasn't stopped moving, and is going to continue to affect the landscapes of southeast Utah.
Fisher Valley
Fisher Valley
Heading east, the Onion Creek road leaves the drainage bottom and follows narrow ridges up to Fisher Valley. This basin contains over 400 feet of fill, deposited after the salt dome dammed Fisher Creek. After driving through the tortured strata along Onion Creek, the flat landscape is striking!
Fisher Valley has all the amenities -- flat land, water and arable alluvial soil. Combine this with great scenery and you have a lovely place for a ranch (note center pivot and ag fields in aerial photo above, about halfway through post). But the Fisher Valley of today is not long for this world, for little Onion Creek is steadily eroding headward, excavating the basin. Given no more interference from halokinesis, it will reach Fisher Creek in less than a mile, and connect it once again with the Colorado River, ending its three-million-year-long diversion.
|Headwaters of Onion Creek, looking southeast; tip of La Sal Mountains on horizon. Click photo to view fields of Fisher Valley Ranch in distance -- little Onion Creek is going to take them all!
For additional information:
For detailed descriptions of strata, structure and history of the diapir and surrounding area:
Doelling, H.H. 2002. Geologic map of the Fisher Towers quadrangle, Grand County, Utah. Utah Geological Survey. 22 p., 2 pl. Available at http://geology.utah.gov/maps/geomap/7_5/pdf/m-183.pdf
Doelling, H.H. 2002. Geologic map of the Fisher Towers quadrangle, Grand County, Utah. Utah Geological Survey. 22 p., 2 pl. Available at http://geology.utah.gov/maps/geomap/7_5/pdf/m-183.pdf
For thorough and interesting discussions of salt structures of the Colorado Plateau, including the Onion Creek diapir:
Fillmore, Robert. 2011. Geological evolution of the Colorado Plateau of eastern Utah and western Colorado. Salt Lake City: University of Utah Press.
Evelyn Mervine's post on halokinesis includes a glimpse at the power of underground salt. In an exploratory well in Louisiana, Texaco drilled through an underground salt mine (oops!), allowing water in. It dissolved the salt, of course, causing all kinds of havoc -- the Jefferson Salt Mine disaster.
Salt and sediment: A brief history of ideas at Hindered Settling is an interesting account of the history of salt tectonics.
While planning my trip to the Paradox Basin last spring, I put together a post about it: Field Trip Plans -- the Land of Paradoxes.
Other literature cited:
Gutiérrez, F. 2004. Origin of the salt valleys in the Canyonlands section of the Colorado Plateau Evaporite-dissolution collapse versus tectonic subsidence. Geomorphology 57: 423–435.
Trudgill, B.D. 2011. Evolution of salt structures in the northern Paradox Basin: controls on evaporite deposition, salt wall growth and supra-salt stratigraphic architecture. Basin Research 23: 208-238.