text:
The Top 50 African Artists according to Britain's The Independent
The following list of 50 African Artists comes from the article Art of Africa: The 50 Best African Artists, published on December 1st, 2006 for a special edition of Britain's The Independent marking World AIDS Day.
Novelists and Playwrights
OGA STEVE ABAH (Nigeria)
Oga Steve Abah is a tireless, prolific theatre activist whose work focuses on creating dramas based on the everyday lives of ordinary people: poor, powerless, without a channel for learning to cope with the pressures of contemporary life. In his work, he aims for a creative, aesthetic "empowering" theatre practice drawing on masquerade and dance, the existing forms of performance of both peasant society and urban workers. Through this technique, people address the inequalities in their lives and create exquisite dramas in open-air settings all over Africa.
CHINUA ACHEBE (Nigeria)
The father of the African novel, Achebe made his literary debut in 1958 with the classic Things Fall Apart, which has been translated into 50 languages. It is hard to resist his beguiling style, which infuses standard English with Igbo proverbs and speech patterns. As the founding editor of Heinemann's African writers series, he was instrumental in introducing the world to much new writing from Africa. Also an essayist, writer of short stories and university professor, he continues to inspire and teach, despite having been paralysed in a car accident in 1990. He could be considered literary godparent to several fledgling novelists (including Chimamanda Ngozi Adichie, the writer of Purple Hibiscus). In 2004, he declined to accept Nigeria's second-highest honour in protest at the state of affairs in his country. Many believe a Nobel Prize would be a more appropriate honour.
AMA ATA AIDOO (Ghana)
Ama Ata Aidoo is best known for her play Anowa, a complex tale of a husband and wife's relationship set against the background of the iniquities of the slavery and the disapproval of her conservative, resentful mother. Initially strong, Anowa eventually succumbs to madness and death as her husband finds himself disempowered by her strength. Aidoo's work, published in the 1960s, was ahead of its time, pointing to the contradictions and tensions in love and the abuse of power; her husband Kofi employs slave labour in their business, a practice Anowa despises.
AYI KWEI ARMAH (Ghana)
Born in 1939, and one of only a few Ghanaian novelists who have been published internationally since the 1960s, Ayi Kwei Armah is rather less known but is no less talented than his more widely feted Nigerian contemporaries. Variously based over the years in the United States, Algeria, Paris, Tanzania and Senegal, Armah has gathered a dedicated fan-base who might wish that his output had been somewhat greater than it has been. However, he has also worked as a translator, editor, scriptwriter and teacher. His novel The Beautyful Ones Are Not Yet Born burst on to the scene in 1968, to be followed by others that display his extraordinary way with prose, at once excoriating and spiritual: Two Thousand Seasons (1973), Osiris Rising: A Novel of Africa Past, Present and Future (1995) and The Healers (2000).
BIYI BANDELE (Nigeria)
Born in 1967, Bandele is one of the most versatile and prolific of the UK-based Nigerian writers, having turned his hand to theatre, journalism, television, film and radio, as well as the fiction with which he first made his name. His novels, which include The Man Who Came In From the Back of Beyond (1991) and The Street (2000), are rewarding reading, capable of wild surrealism and wit, as well as political engagement, as is all his writing. As a playwright, his ambition is admirable.
LUEEN CONNING/MALIKA NDLOVU (South Africa)
In her play A Coloured Place, Conning has produced an exciting piece of writing that explores the contradictions inherent in being "coloured" in post-apartheid South Africa. Using multi-media staging, the play is unrelenting as its barrage of images, perceptions and attitudes spill out on to the stage from bodyless voices.
Visit Malika Ndlovu's Website
TSITSI DANGAREMBGA (Zimbabwe)
When Dangarembga's first book, Nervous Conditions, won the Commonwealth Writers Prize for Fiction in 1989, Doris Lessing wrote: "Many good novels written by men have come out of Africa, but few black women. This is the novel we have been waiting for… it will become a classic." It was read by millions, and was among the top 12 titles in the project to identify Africa's 100 best books of the 20th century. The follow-up has been long coming (Dangaremgba turned her attention to film), but The Book of Not, just published by Ayebia Clarke Publishing, was worth the wait; it's a powerful story spanning the period from minority rule to the emergence of independent Zimbabwe.
DELIA JARRETT-MACAULEY (Sierra Leone)
Drawing on her Sierra Leonian background for an uplifting story about a child soldier, Moses, Citizen & Me (2005), Jarrett-Macauley's confident first novel did not enjoy the sort of hype that greeted, say, Helen Oyayemi. But a measure of her accomplishment in dealing with sensitivity, humour and empathy with disturbing material is that the novel won the George Orwell Prize for political writing. Already the author of The Life of Una Marson, 1905-65, a biography of the first black programme-maker at the BBC, Jarrett-Macauley exemplifies the African diasporic talent that has continued to invigorate mainstream English literature.
Visit Delia Jarrett-Macauley's Website
WOLE SOYINKA (Nigeria)
Soyinka is an iconic figure who, in 1986, became the first black (and first African) Nobel laureate. Outspoken against government oppression in his native Nigeria (like his cousin Fela Kuti), his writing career over 40 years has encompassed prison, exile and a death sentence for treason. He is the best-known playwright from the continent. His plays include Death and the King's Horseman, an exploration of morality, human weakness and pomposity within the performance of sacrificial rituals. Some of his most important writing is as an autobiographer, such as his 1970s prison memoir The Man Died and Aké: A Childhood Memoir. As a novelist he is less accessible.
NGUGI WA THIONG'O (Kenya)
Exiled from Kenya for 22 years because of his highly political work (including the best-selling novel Petals of Blood), one of Africa's greatest and most highly respected writers has just returned to attention with his first novel in 20 years, Wizard of the Crow, a magisterial, acerbic milestone work set in a fictional modern African state.
Visit Ngugi wa Thiong'o's Website
BINYAVANGA WAINANA (Kenya)
Born in Kenya, but with an imagination that transcends borders and cultures, Wainana won the Caine Prize for African Writing (the "African Booker") in 2002. His Granta-published essay, "How To Write About Africa", brilliantly satirising the clichés and stereotypes that can ensnare non-African writers, will make any but the guilty laugh out loud. As founder of the journal Kwani? he nurtures new writers, including Yvonne Adhiambo Owuor, the 2004 Caine winner.
ATHOL FUGARD (South Africa)
Fugard has written benchmark plays, statement plays and wonderful pieces that introduced us to the township. He was responsible for making a lot of people focus on South Africa in a theatrical context. The Road to Mecca affected the political thinking of everyone who saw it. The truthfulness of his writing strikes painfully at the heart. What he has to say makes him an international writer but, first and foremost, it convinces us that he is a great and good man.
DAVID ADJAYE (Tanzania/Ghana)
The 40-year-old is the head of Adjaye/ Associates, having received his Masters in architecture in 1993 from the Royal College of Art. Based in London, Adjaye has received commissions all over Europe and the United States. His work strives to create a sense of dialogue between the building and its space. He has given lectures around the world and has worked for the BBC, notably hosting a six-part TV series, Dreamspaces, about modern architecture. His company's designs include the east London projects Elektra House in Whitechapel and Idea Store in Poplar, and the Nobel Peace Center in Oslo.
Visit David Adjaye's Website
PIERRE ATEPA GOUDIABY (Senegal)
Through the African Scholarship Program, Goudiaby took a degree in architecture from the Rensselaer Polytechnic Institute in New York in 1973. Born in the village of Baila, his humble beginnings are a thing of the past; he is now among Africa's most respected and successful architects. His company, Atepa Group, is responsible for some of the most innovative and modern buildings in Senegal. His West Africa Central Bank in Dakar is modelled on the baobab tree. Elders in his culture gather round this sacred tree and have discussions. In 2003, the Africa-America Institute awarded Goudiaby the Special Recognition Award for Architecture and Business Enterprise in Africa.
Visit Pierre Atepa Goudiaby's Website
Visual Artists, Photographers and Fashion Designers
SOKARI DOUGLAS CAMP (Nigeria)
Sokari Douglas Camp is one of the first female African artists to have attracted the attention of the European art market. She left her country at the age of 21 to study in Oakland, California and at the London Royal College of Art. Her expressive man-high steel sculptures show her immediate relationship to her home country. She uses masks and ritual clothing as compositional themes in her work, reflecting the political and cultural relationship between Africa and the Western world.
Visit Sokari Douglas Camp's Website
DILOMPRIZULIKE (Nigeria)
Dilomprizulike, the self-proclaimed "junk man of Africa", is among the most enigmatic of artists. Dilom creates sculpture and performances tied deeply into traditional African masquerade, yet which are informed by a post-modern awareness. Dilom is the art. He lives in what seems to be a junkyard in a permanent performance, recycling the detritus of Lagos into artwork, clothes, a home and a way of life that questions much of what we take for granted. Yet the work wrought from rubbish is deeply beautiful, intriguing and has a real gravitas; he is a philosophical Gaudi for the 21st century.
SAMUEL FOSSO (Cameroon)
Samuel Fosso is a prolific and witty photographer, whose colourful and outlandish portraits range from African chiefs to American women. But they all have one thing in common; on close inspection, they can be seen to be self-portraits. His explorations of identity have featured in the Guggenheim in New York and the Photographers' Gallery in London.
ABDOULAYE KONATE (Mali)
The contemporary artist, 53, began his career as a graphic designer at the Musée National in Bamako and went on to be appointed director of the Palais de la Culture. In 2002, he received two awards: the Chevalier d'Ordre National du Mali and Chevalier de l'Ordre des Arts et des Lettres de France. Having started as a painter, his style has evolved into multi-medium and large installation work. His political, social and environmental views are expressed through his art. Recently, his work has depicted the devastating effects of Aids on society and individuals.
TRACEY ROSE (South Africa)
Tracey Rose makes Tracey Emin look like a Girl Guide. Rose is a mixed-race feminist who uses identity and sexual politics as incendiary devices, waging war on her fellow South Africans' sensibilities with almost narrative-less performances, films and artworks. It is hard to resist the crazy world she weaves, a car crash of popular culture and extreme sociology, so assuredly absurd that it has a kind of convincing intoxication that pulls you in. Even against a backdrop of the extremes of her home town Johannesburg, she is wild, seeming to weave a visual poetry across the polarities of South Africa's political landscape that can make you laugh, yet feel guilty for your collusion.
IBRAHIM EL SALAHI (Sudan)
It is difficult not to fall in love with the deeply serene El Salahi, the godfather of African modernism. He has created great work over five decades, has had as many chapters to his practice as Picasso, and has generated his own personal art-history. There's a story that when he worked as the Sudanese cultural minister in the Seventies he was imprisoned for six months, accused by the military dictator of anti-government activities. In prison, he asked the guard for paper and pencils. The guard laughed: "You're not in New York now!" Salahi managed to beg and steal the means to paint and draw, under threat of being beaten or worse. His work helps one to see why someone might be driven to take such risks.
OUMOU SY (Senegal)
The Senegalese designer is known as "Queen of Couture". Her bold avant-garde and Afrocentric fashions are her signature style, with a touch of Western glamour. The 55-year-old Sy is a Renaissance woman, she founded the Dakar Carnival and International Fashion Week and is also a teacher. Elaborate headdresses, vibrant colours, baskets, and even adorning CDs are her trademarks. She has pride for her culture and designs for the modern African woman, who has a bit of a fun side to her.
MAHMOUD AHMED (Ethiopia)
Little known outside his native country, Mahmoud Ahmed was born in the Mercato district of Addis Ababa and spent his formative years listening to music by the Imperial Body Guard Band and the famous Ethiopian singer Tlahoun Gessesse, before heading into the capital and shining shoes for a living. He found a job at the Arizona club, one of few "semi-legal" clubs permitted by Emperor Haile Selassie, which became a favourite haunt of the Imperial Body Guard Band, whom he eventually joined before recording in his own right. He was rediscovered by the West through the groundbreaking Ethiopiques series released by Buda Musique in the late 1990s.
AMADOU AND MARIAM (Mali)
Success was a long time coming for this talented, award-winning Malian couple who met in 1977 at the Institute for the Blind in Bamako. The guitarist and singer Amadou Bagayoko had served his apprenticeship by playing guitar in legendary band Les Ambassadeurs. After moving to Abidjan, Ivory Coast, in 1986, they recorded a series of cassette-only releases that made them stars in their homeland. These were recently re-released on the French label Because Records (1990-1995: The Best of the African Years). They recorded three successful major-label albums after moving to Paris in the late 1990s before meeting up with Manu Chao, who produced their biggest and (by general agreement) best album so far, Dimanche á Bamako.
Visit Amadou and Mariam's Website
TOUMANI DIABATE (Mali)
Perhaps the best-known kora player in the world, the Malian star Toumani Diabaté has released a string of albums alongside the likes of Ballake Sissoko (New Ancient Strings) and the late, great Ali Farke Touré (In the Heart of the Moon). Refusing to be pigeonholed, he's worked with the blues legend Taj Mahal and Spanish superstars Ketama, and is always willing to mix various styles with his Malian roots. This year saw the release of the critically acclaimed Boulevard de l'Independance with his band Symmetric Orchestra. Recorded at the same time as In the Heart of the Moon, it showcases the diversity of his playing.
CESARIA EVORA (Cape Verde)
This Grammy-winning singer hails from the port town of Mindelo, on Sao Vincente. She possesses one of the most powerful and alluring voices in the world, helped by a bitter-sweet style of singing called morna, a descendent of Portuguese fado, sung in Creole-Portuguese. Ostensibly a folk singer (although the style is known as Cape Verdean blues), she's accompanied by guitar, accordion, violin, cavaquinho (a small four-string guitar) and clarinet, and often sings of isolation, love and slavery.
Visit Cesaria Evora's Website
SALIF KEITA (Mali)
One of the founders of Afro-pop, Keita was born in Mali in 1949 to a noble family. He was born an albino, which led his mother to hide him for fear of reprisals from superstitious neighbours. His decision to become a singer met with hostility from his family because it was seen as an occupation beneath his noble standing. He stuck to his guns and left his village for the capital Bamako aged 18. He later played with the Rail Band and Les Ambassadeurs before becoming a solo artist, recording such classics as Soro and the Grammy-nominated Amen.
KHALED (Algeria)
Possibly the most famous Algerian rai singer of all time, Khaled is one of the few North African artists to have won wide acclaim, particularly in his adopted home of France, where his singles "Aicha" and "Didi" flew to the top of the charts. Born Khaled Hadj Brahim in Sidi-El-Houri in 1960, he left school at 16 to record his first single. Influenced by Arabic, Spanish and French music, as well as The Beatles and James Brown, his sound soon typified rai's smooth synth-pop output of the Eighties. Moving to France in 1986, he recorded a string of successful albums such as Kenza and Sahra before going back to his roots with his latest, Ya-Rayi.
Visit Khaled's Website in French
KONONO NO 1 (Democratic Republic of Congo)
Konono No 1 are a unique musical collective from Kinshasa. They use percussion instruments salvaged from junkyards, and combine electric likembé (a thumb piano) with percussion and voices, filtered though a PA system that consists of a microphone carved out of wood, fitted with a magnet from a car alternator and an oversized horn-shaped amp. The cacophony is unforgettable. Likembé player Mawangu Mingiedi is the leader of the band. A former truck driver, now in his seventies, he adapts trance-inducing zombo ritual music (from his homeland near the Angolan border), as heard on the band's critically acclaimed album Congotronics
FEMI KUTI (Nigeria)
He'll never quite escape the shadow of his father (the Afro-beat legend Fela Kuti), but Femi Anikulapo Kuti has done a creditable job of emulating his father's work, albeit in a much cleaner (and less risqué) way. Kuti was born in London in 1962, but grew up in Nigeria's former capital, Lagos. He quickly adapted to his new musical and politically active surroundings, learning various instruments as well as singing. He put this education to good use on a series of albums with his band Positive Force. He headlines the African Soul Rebels Tour next year.
SOUAD MASSI (Algeria)
This talented singer/songwriter fled her homeland after being hounded out by Islamic fundamentalists who took exception to her promotion of independence for young women. She ended up in Paris, where she started to create her own unique blend of folk, rock, flamenco and shaabi (Arabic street pop), releasing her acclaimed debut album Raoui ("Storyteller") in 2001. She's toured prolifically for the past few years, and won a Planet Award at the 2006 BBC world music awards. She is defiantly outspoken about the problems in Algeria: "Remaining silent would mean that terrorists have won and that all the intellectuals they murdered died for nothing," she says.
Visit Souad Massi's Website in French
YOUSSOU N'DOUR (Senegal)
Perhaps the best-known African singer of all, most people remember N'Dour for his hit "7 Seconds" with Neneh Cherry, but there is much more to him. With his band Super Etoile de Dakar, he changed the face of Senegalese music with a radical form of energetic, polyrhythmic music called mbalax, which spread across West Africa like wildfire. He's become a figurehead for Africa, campaigning for Aids awareness and speaking against corruption and genocide. His finest albums remain Immigrés and the Grammy-winning Egypt, a devotional album in praise of Islamic sages.
Visit Youssou N'Dour's Website
RACHID TAHA (Algeria)
Taha is the perfect foil to the sugary love songs sung by many modern rai artists. His music emulates the guttural, promiscuous and socially satirical rural rai style typified by the late great Cheikha Remitti, and also the shaabi singer Dahmane El Harrachi, whose song "Ya Rayah" he covered for his biggest hit. Taha started out in the French rock band Carte De Séjour, where his politically charged lyrics took shape. A string of solo albums followed, bursting with traditional Algerian rhythms and a healthy punk-rock attitude. His best-loved album Diwan, covering classic Algerian songs, was recently followed up with Diwan 2.
Visit Rachid Taha's Website in French
TINARIWEN (Mali)
Formed in 1982 in Muammar Gaddafi's Tuareg rebel camps, this celebrated Tuareg blues band gave up guns for guitars, singing in French and Tamashek and playing a style of music called tishmoumaren ("music of the unemployed"). Their creative heart is the vocalist and guitarist Ibrahim Ag Alhabib, who can strike a mean Chuck Berry riff. The band's first album, The Radio Tisdas Sessions, recorded in 2000, was followed by Amassakoul ("Traveller") in 2004. Their third album Aman Iman: Water Is Life is released in January on Independiente.
Visit Tinariwen's Website
ROKIA TRAORE (Mali)
One of the most distinctive new voices of Mali, and a tremendous live performer, Rokia Traoré came to UK attention at Womad in 2000. Although not a griot, her family encouraged her to sing at weddings, though her father was a wealthy diplomat and such things were frowned upon. While studying in France she sang with a rap group, and this led her to begin writing songs. She was discovered on the French festival circuit, and in 1997 became a protégé of Ali Farka Touré, who persuaded her to record her first album Mouneissa. A series of critically acclaimed albums have followed.
Visit Rokia Traore's Website in French
ZOLA (South Africa)
Born in Soweto, Bonginkosi Dlamini, known as Zola, is one of the most famous singers of kwaito (a form of dance music pitched somewhere between house and hip-hop). He performed the score and appeared in the Oscar-winning film Tsotsi. His father abandoned his mother and their three children in one of the roughest and most notorious areas, where unemployment, violence, alcoholism and drugs were rife. This helped him prepare for his role as the gangster Papa Action in Yizo Yizo 2. His music reflects his tough upbringing.
Visit Zola's Website
K'NAAN (Somalia)
A relative newcomer, this Somali rapper made a name in hip hop and world music circles with his inventive 2006 album The Dusty Foot Philosopher. Born in 1978, his spent his formative years trying to avoid Somalia's civil war and listening to hip-hop records sent to him by his father, who was working as a taxi driver in New York. At 13 he moved with his siblings to Harlem, and then on to Rexdale, Ontario, where he became part of a large Somali community and started rapping. A rapid rise ensued, including performing at the 50th anniversary of the UN High Commissioner for Refugees in 2001, and contributing to Youssou N'Dour's album Building Bridges.
Visit K'naan's Website
Dancers and Choreographers
LES BALLETS AFRICAINS (Guinea)
The Guinean choreographer Keita Fodeba formed the dance company in Paris in 1952. They successfully toured the world until Guinea's independence in 1958. On returning to their native country, the company became a national treasure; Les Ballets Africains, affectionately known as "roving ambassadors", are credited with enlightening their audiences about Guinean culture. The company strives to foster better understanding of Africa and build relationships with other countries. Their lively music is made by drums, flutes and Guinean castanets; audiences enjoy their elaborate costumes, dance and storytelling.
Visit Les Ballets Africains' Website
BOYZIE CEKWANA (South Africa)
The choreographer works mainly in South Africa but also presents a lot of work in Europe, mostly in France. Cekwana has taken contemporary dance to the next level in Africa. He is important because he has changed perceptions about dance, particularly in South Africa. Trained in classical ballet, he has found his own way of blending the heritage of his country with his work. He deals with identity and history, fusing politics with the mainstream of art and finding his South African forms within the classical form.
FAUSTIN LINYEKULA (Democratic Republic of Congo)
Born in Ubunvu in north-east Congo, Faustin Linyekula doesn't conform to any form or structure or place. He's inspired by nothing and creates something out of it. Coming from Congo, he's always worked under very difficult circumstances, but for him these circumstances have become a form of inspiration. After eight years in self-imposed exile (1993-2001), Linyekula returned to his homeland with a renewed desire to create art there and established a company, Les Studios Kabako, in Kinshasa. His work can best be described as experimental performance art, using text and theatre to examine the links between art and society and issues of identity.
Visit Faustin Linyekula's Website
VINCENT MANTSOE (South Africa)
Vincent Mantsoe grew up dancing in the township of Soweto, and trained at the Moving Into Dance school in Johannesburg. He is the pioneer of Afro-fusion – a blend of African aesthetics and traditions with European forms – bringing it to the world stage. His work draws on traditional African dance, the song and dance rituals of the sangomas (traditional healers) as well as modern, ballet and Asian forms.
Visit Vincent Mantsoe's Website
KETTLY NOEL (Haiti/Mali)
Kettly Noël, from Port au Prince, Haiti, began dancing seriously at the age of 17. In 1996, she moved to Benin, where she began giving training in contemporary dance to local youngsters, many of whom went on to become members of the Benin National Ballet. At the end of 1999, Noël relocated to Mali, with the intention of starting a similar project there. She's a female choreographer who deals with women's issues in Africa. Her work deals with identity and the fight for the position of women in the continent. She confronts issues other people are not willing to go near in their work. She likes to go deeply into dark areas in search of light
NEWTON ADUAKA (Nigeria)
Born in Ogidi, eastern Nigeria, in 1966, Newton Aduaka moved to Lagos in 1970 and then to England in 1985. After a diploma in video arts and post-production, he studied at the London International Film School, graduating in 1990. He wrote and published short stories while working as a sound mixer on a wide range of productions. In 1997, he set up Granite FilmWorks with Maria Elena L'Abbate to produce cutting-edge, uncompromising films. His debut feature Rage (2000) was released to acclaim, becoming the first independent film by a black film-maker to gain a national release in Britain. It won many festival prizes, including best director at the Pan African Film Festival in Los Angeles and the Oumarou Ganda Award at Fespaco, Africa's biggest film festival. Aduaka has directed commercials and several short films. Funeral (2002) was commissioned for the Cannes Film Festival alongside similarly-themed work from directors such as Walter Salles, Arturo Ripstein and Amos Gitai. The short film Aicha (2004) demonstrates his poetic and visual skills in telling a story.
SOULEYMANE CISSE (Mali)
Cissé has crafted a body of films that combine visual elegance with Marxist ideology and allegorical storytelling. His best-known film is Yeelen ("Brightness"), a Jury Prize-winner at Cannes in 1987 and one of the great experiences of world cinema. Born in 1940, Cissé began his career as a projectionist and photographer in Mali. After studying cinema in the Soviet Union for seven years, he returned to Mali, where he made newsreels and documentaries. His first fiction film, Cinq jours d'une vie ("Five Days in a Life", 1972), launched his career and gained attention for the burgeoning African film movement. In 1975, Cissé directed the first feature film in his native language of Bambara, The Girl, only to have the film banned. Drawing on indigenous lifestyles and folklore, Cissé attempts to explore conflicts in Malian society
FLORA GOMES (Guinea-Bissau)
Gomes is the only film-maker to emerge from Guinea-Bissau, a former Portuguese colony in West Africa. He attended a course in cinematography at the Institute of Cuban Art in Havana under the legendary Santiago Alvarez and qualified as a cameraman and director of photography in 1972. Gomes started working for television with the late Senegalese film-maker Paulin Vieyra. In 1973, he made his first news film about the second congress of PAIGC (African Party for the Independence of Portuguese Guinea and Cape Verde). In 1983, he made Mortu Nega, the first full-length film produced in Guinea-Bissau, a remarkable tale of love during the liberation and the struggles of independence.
Read The Woyingi Blogger's Profile of Flora Gomes
MAHAMAT SALEH HAROUN (Chad)
Born in N'Djamena in 1961, Haroun was forced to leave his home country at the start of the 1980s because of civil war, fleeing to Cameroon and later Paris. He studied in France – film, then journalism – and worked for five years as a reporter before directing his first short film in 1994. Among his early shorts are Maral Tanie (1994) and Goi-Goi, le nain (1995). His first documentary, Bord d'Africa (1995), focuses on African musicians living in Bordeaux. The second, Sotgui Kouyaté, un griot modern (1996), tells the story of a griot from Burkina Faso. The film explores the life of the famous griot in the different worlds of Africa and Europe. Haroun provides a new language and aesthetic for African cinema. Bye Bye Africa (1999) was the first film of its kind to be produced entirely in Chad; it's a "documentary fiction", a story about making a documentary in which he himself plays an exiled African film-maker. His latest film is Daratt ("Dry Season").
ZOLA MASEKO (South Africa)
During apartheid, the handful of South Africa's black film-makers were either unable to work in their country or were in exile. The end of apartheid provided opportunities to make films that were in synch with their history and realities. Maseko became the first South African to win the Etalon de Yennega, Africa's leading prize for fiction film, at Fespaco (2005) with his biopic Drum on the life and death of the journalist Henry Nxumalo. Maseko was born in exile in 1967 and educated in Swaziland and Tanzania. He studied at the National Film School at Beaconsfield, England. He also directed an 11-part series for the South African Broadcasting Corporation entitled In Search of Our History. The capturing of popular memory lies at the heart of his work.
IDRISSA OUEDRAOGO (Burkina Faso)
Born in Banfora in 1954, Ouedraogo's early knowledge of film came from the travelling cinemas that visited villages. He made his mark at the Cannes Film Festival with his 1990 film Tilai, which won the Jury Prize. His 1989 film Yaaba about a 10-year-old boy who befriended an older woman remains an international success. Having studied film in Paris, his style is dubbed "Francophone African cinema". His films are known for their visual charm and the attention he pays to the composition of each scene.
OUSMANE SEMBENE (Senegal)
Sembène is the "father" of African cinema. Best known for his historical-political works with strong social comment, Sembène was born in Senegal in 1923. He left school at 15 and worked as a plumber, bricklayer and apprentice mechanic. In 1944, he was called up to active duty to liberate France and was subsequently sent to the colony of Niger. After his discharge he took part in the Dakar-Niger railroad strike, which inspired his book Les bouts de bois de Dieu ("God's Bits of Wood") (1960). In 1948, Sembène went back to France, worked in Marseilles docks, became a trade union activist and joined the French Communist Party. In 1956, his first book Le docker noir ("The Black Docker") was published. Sembène began to realise the greater potential of cinema for a largely illiterate mass audience. He went to Moscow to study under Mark Donskoj at the Gorky Studios). His short film Borom Sarret (1963) is the cornerstone on which African cinema has been built.
ABDERRAHMANE SISSAKO (Mauritania/Mali)
Sissako is the most distinguished and inventive film-maker working in Africa today. Born in Kiffa, Mauritania, in 1961 and raised in Mali, his father's homeland, he returned to Mauritania in 1980. The difficulties of adjustment encouraged him to turn to literature and film. A study grant allowed him to attend the Institute of the University of Moscow. Le Jeu (1990), first presented as a graduation assignment, won the best short prize at the Giornate del Cinema Africano of Perugia in 1991. In 1993, Octobre was shown at Locarno and won prizes the world over. Waiting for Happiness was screened at Cannes 2002 and won best film in the Un Certain Regard section. It was shown at the New York Film Festival in 2002 and won the Grand Prize at Fespaco in 2003. His latest film Bamako, in which Western financial institutions are put on trial by African civil society, had its premiere in Cannes in May this year and its UK premiere at the London Film Festival last month.
African Artist Profile: Malangatana Ngwenya
Mozambican artist Malangatana , (pronounced mah-LANG-gah-tah-nah en-GWEN-yah), died following respiratory complications on January 5th of this year. I had an opportunity to learn about his life and work from the BBC African Perspective Podcast. I have decided to write my own profile of Malangatana in order to help me learn more about the man, his work, and his country.
Born Valente Malangatana Ngwenya (Ngwenya means crocodile) on June 6th 1936, Malangatana grew up in a village called Matalana, located about 30 km north of Maputo, Mozambique's capital. He helped his mother, who was a traditional healer, on her farm while attending first Swiss Protestant and then Roman Catholic mission schools. His father, like many men from the country's southern region, was often absent as he was away working in the gold mines of South Africa. While growing up in Matalana he worked herding cattle and studied traditional healing from two of his uncles.
At the age of 12, Malangatana moved to the capital to find work. At that time, the capital, now called Maputo, was called Lourenço Marques by the Portuguese colonial authorities. Marques was a Portuguese trader and explorer who settled in Mozambique. The capital was renamed Maputo, after the Maputo River, during independence in 1976. He first found work as a nanny, then, in 1953, Malangatana found work as a ball boy at a tennis club. It was here that he met Augusto Cabral and Pancho Guedes, both members of the tennis club, who would help to introduce him to Maputo's artistic community and support his education as an artist. As Joe Pollitt recounts how Cabral met Malangatana:
[Malangatana] asked Cabral, one of [the tennis club's] members, whether he had a pair of old sandals he could spare. The young biologist – and amateur painter – took him home. Malangatana asked to be taught painting, and Cabral gave him equipment and the advice to paint whatever was in his head. Putting aside his teenage training as a traditional healer, Malangatana did just that, encouraged by Cabral and the prolific Portuguese-born architect Pancho Guedes, another tennis club member.
Years later in 1981, when Cabral had become the director of the Natural History Museum in Maputo, he would give Malangatana a commission to create a mural in its gardens. Joe Pollitt describes the mural as follows: "In a celebration of the unity of humankind and the often brutal world of nature, the work depicts wide-eyed figures in earth-coloured pastels, with extended limbs and claw-like hands." Malangatana began to attend events organized by Nucleo de Arte. In 1959, he exhibited publicly for the first time as part of a group show organized by Nucleo. Alda Costa describes the formation of the Nucleo de Arte as follows:
In 1936, some of these individuals were involved in the creation of the Núcleo de Arte da Colónia de Moçambique, which was set up in the city of Lourenço Marques with the aim of spreading aesthetic education and promoting the progress of art in the colony. According to the association's statutes, its job was to organise art courses, put on art exhibitions, create an art museum (with an indigenous art section), and organise visits by artists from Portugal, who could create works of art in the colony inspired by local subjects. It was also its job to organise art exhibitions dealing with Mozambican subjects in Portugal and contribute, in every possible way, to the artistic exchange between Mozambique and the metrópole. Its sections included: Architecture, Fine and Decorative Arts; Music and Choreography; Theatre; Literature and History of Art; Indigenous Art and Ethnography and also Propaganda and Publicity. In the event of a situation not being covered by the association's statutes, the statutes of the metropóle's Sociedade Nacional de Belas Artes (Portuguese Fine Arts Society) would apply. The creation of the Núcleo de Arte was clearly the embodiment of imperial thinking and of the attempt to build closer relations between Portugal and its colonies, as were the large-scale propaganda campaigns carried out at the time. Its actions and importance in the colony, however, spread far beyond those interests…
In 1961, at the age of 25, he had his first solo exhibition. According to Joe Pollitt, writing Malangatana's obituary in The Guardian:
He courageously presented his ambitious Juízo Final (Final Judgment), a commentary on life under oppressive Portuguese rule. Mystical figures of many colours, including a black priest dressed in white, evoke a vision of hell. Some of the figures have sharp white fangs, a recurring motif in Malangatana's work, symbolising the ugliness of human savagery.
Malangatana also wrote poetry. In 1963, some of his poetry was included in the journal Black Orpheus and was included in the anthology Modern Poetry from Africa.
In 1964, Malangatana joined the struggle for Mozambican independence by becoming a member of the Liberation Front of Mozambique (FRELIMO). For his involvement, he was arrested by the Portuguese secret police (PIDE) and spent 18 months in jail. One of his fellow prisoners was Mozambique's leading poet, José Craveirinha.
In 1971, he received a grant from the Lisbon-based Gulbenkian Foundation (created by the Armenian oil magnate and art collector Calouste Gulbenkian, who played a key role in making the Middle East's oil reserves available to the Western world) and went to Portugal to study printmaking and ceramics. His art reached an international audience and he had exhibitions in Lisbon. Three years later, he returned to Mozambique. The Carnation Revolution of April 1974, the military coup in Portugal that forced its government from a dictatorship to a democracy, accelerated Mozambique's independence. He rejoined FRELIMO, which had developed from a guerrilla movement into a single-party Communist organization aimed at becoming the new ruling political power. However, a rival political party, the Mozambique Resistance Movement (RENAMO), supported by Rhodesia (Zimbabwe) and South Africa, came into conflict with FRELIMO, and a devastating civil war ensues costing the country about a million lives, as people died in combat, from starvation. About five million people were displaced. Many were made amputees by landmines, which are still a problem even after the civil war ended in 1992.
Malangatana was active in FRELIMO during this period but he also continued his work as an artist. His work during this time is a reflection on the horrors of the civil war. According to art critic Holland Cotter in his obituary for Malangatana:
Most of the paintings and drawings Mr. Ngwenya did during this period were a direct response to the violence he witnessed. Densely packed with figures, they presented lurid, Boschian visions of the Last Judgment and the torments of hell rooted in images related to healing and witchcraft remembered from childhood. It was only after peace was finally declared in 1992 that the content and the look of his work changed: he introduced landscape images and cooled a palette dominated by charred reds and stained whites with greens and blues.
In 1997 he was named a UNESCO Artist for Peace and received a Prince Claus Award.
He is survived by his wife, Sinkwenta Gelita Mhangwana, two daughters, and two sons.
According to Guardian journalist Duncan Campbell, who met Malangatana in 2005:
While on an assignment for the Guardian in Mozambique in 2005, I was fortunate enough to be introduced to Malangatana, who was then living in a large house near the airport which was part gallery and part archive. I had already been shown some of his work, which was not only in public galleries in Maputo, but also widely used for book covers and CDs. What was remarkable about him was that he brushed off questions about his own work and insisted instead on taking us on a magical conducted tour of local artists from painter to sculptor to batik-maker. He was anxious that they should receive publicity rather than him. For their part, they clearly held him in high esteem. "He is my general," one of the young artists told me.
He was a generous and entertaining host, telling us with a smile that his father had been a cook for the British in South Africa. A volume of his paintings, entitled Cumplicidades, published in 2004 with a foreword by the Mozambican writer Mia Couto, illustrates the impressive range of his work. I treasure my copy, which is inscribed "for Dunken Cambell from my heart".
Further Reading:
Obituary by Joe Pollitt from The Guardian available online
Obituary by Holland Cotter from The New York Times available online
Obituary from BBC News available online
Obituary by Pauline Wynter from Pambazuka News available online
Interview with Albie Sachs available online
Images of Malangatana's paintings at the Contemporary African Art Gallery available online
Images of Malangatan's paintings at Kulungwana available online
Malangatana, edited by Julio Navarro, "this superbly illustrated book of Malangatana's paintings is a showcase of his work. The paintings are accompanied by two introductory essays, one on the artist's biography, the other a critical essay situating the paintings and the importance of his work in context. To date only available in Portuguese, this English-language edition provides the opportunity for a wider audience to gain an in-depth appreciation and understanding of the background and meanings of the paintings" (description available online)
Webpage for the 2007 documentary film "Ngwenya, the Crocodile" about Malangatana
In search of new African art in the 1960s. Sponsorship and training in the decade of euphoria – Ulli Beier, Pancho Guedes and Julian Beinart by. A. Pomar (article available online)
Revisiting the Years When Pancho Guedes Lived in Mozambique: The Arts and the Artists by A. Costa (article available online)
Duncan Campbell's 2005 Maputo Photo Gallery for The Guardian, includes a picture of Malangatana, available online
British Artist Joe Pollitt's Blog
Portuguese Colonialism in Africa: The end of an Era by E. de Sousa Ferreira, with an Introduction by Basil Davidson (UNESCO Press history text available online)
Nigerian Lives: Aina Onabolu (1882-1963)
Aina Onabolu was the first Western-trained portrait artist in Nigeria. He also pioneered art education in the country.
Onabolu went to live in Lagos in order to study at Caxton House School. He finished his education in 1900 and began working at the Customs Department as a marine clerk. Onabolu did not give up his passion for art and studied on his own, teaching himself to paint in the European academic style.
Onabolu's Views on traditional West African art
Aina Onabolu had no interest in studying the art forms that were indigenous to his region. His opinions on these subjects were influenced by his missionary education. Western missionaries saw African arts and craftsmanship as inextricable from the practice of "pagan" religious traditions. They saw the figures as idols that needed to be destroyed in order to ensure that the newly converted were loyal to Christianity. In 1910, Nigerian Railways official J. Holloway wrote to Onabolu, saying:
I am happy that you yourself realize the danger of going your forefather's way…by creating the type of art that our church can quarrel with…I came back from Abeokuta a few days ago, and I must here bring to your knowledge what the Rev. in our church said. This Rev. gentleman strongly rebuked the congregation for their stubborn devotion to their idols which he regarded as heathen objects. They were considered ungrateful people who could not appreciate what God had done in their lives.
Onabolu also had contempt for traditional art forms because he saw them as primitive. At a time when his contemporaries, like Picasso, were being influenced by the simplicity of West African art, Onabolu rejected this style for the more realist depictions of figures in more traditional Western art. In his book, A Short Discource on Art, published in Nigeria in 1920, Onabolu writes:
What have we done to promote Art and Science? Our Geledes, Alapafajas, the Ibejis (sculptures) and our drawings are still crude destitute of Art and Science; our canoes remain as they were since the day, when first they came into use without the slightest improvement. Why! Are there not among us young men, or men of brain capable of improving our condition and surroundings? There are, I say emphatically a good number of young men among us with fine brain, but for want of self application and perseverance they cannot bring themselves forward, and therefore, remain unknown.
In contrast, at the time, a German anthropologist, Leo Frobenius , was visiting the regions of Yorubaland and Benin where he discovered traditional Bronze figures. These figures so struck him because of their complete lack of crudeness and the obvious knowledge of artistic techniques and science that would have been required for an artist to make them that he believed that they could not possibly be purely African in origin. He came up with the truly bizarre theory that these bronzes where Greco-Roman in origin and that their makers were the descendents of the lost island of Atlantis. The fact that this theory seemed more reasonable to him than to think that Africans could have had the intelligence and skill to design these figures all on their own demonstrates the intensity of the racist opinions held against African artists and their abilities. Frobenious lamented that these bronzes belonged to the Yoruba people. He said "I was moved to silent melancholy at the thought that this assembly of degenerate and feeble-minded posterity should be the legitimate guardians of so much loveliness." It was these racist opinions that Onabolu wanted to disprove by showing that he could paint in the European style just as well as a White man.
In 1935, Aina Onabolu, was commissioned to construct pews for the Lagos Cathedral of the Church of Christ.
Onabolu died in 1963.
The Exhibition Hall of the Nigerian Gallery of Art is named after him.
to be continued
Further Reading:
The intersection of modern art, anthropology, and international politics in colonial Nigeria, 1910-1914 by Olubukola A. Gbadegesin (essay available online)


text:
MagicJack (owned by YMax) say they have made a femtocell that plugs into a PC and then offers VoIP connectivity through the MagicJack network. They already manufacture a system for regular phone lines that does the same thing for fixed lines costing $40 for the MagicJack unit and $20 pa. The system is being demonstrated at CES in the US.
The femtocell detects the cell phone, connects to it and then the user enters a code to authenticate the connection. It then uses the connected PC to connect to the VoIP service.
MagicJack state this is legal as the mobile operators license doesn't extend into the home, which implies it's US only.
In the UK (and most of Europe) a license is required to transmit or receive radio signals and the MagicJack femtocell would certainly be illegal in the UK.
MagicJack jacks into GSM femtocell
No comments:
Subscribe to: Post Comments (Atom)

subset: commoncrawl


text:
Consultation On Falkirk Cuts
We see jobs lost and terms and conditions under attack which will have a negative impact on the services delivered to the people of Falkirk says GMB Scotland.
GMB Scotland, the union for public sector workers, is to consult 800 members employed by Falkirk Council over what they want to do over proposals to cut the terms and conditions as part of a spending cuts package which includes 330 full time equivalent job losses.
The proposed cut to terms and conditions of employment is part of Falkirk Council's Budget cuts to save £30.8 million in the two years over the financial years 2015/16 and 2016/17 rising to over £51 million in 2017/18. The cuts to terms and conditions are to save £1.5m per year.
The consultation opens on Tuesday 19 January 2016 and will be carried out at a series of workplace meetings over the next 3 weeks.
Christina Lambie, GMB Scotland organiser, said "This is a very difficult time for the workforce in Falkirk Council. Last year there was a loss of 100 full time equivalent (FTE) jobs. This year there will be the loss of a further 330 FTE jobs as well as the proposal to cut the terms and conditions package of our members by £1.5 million.
This is the reality for workers from the budget set by the Scottish Government. We see jobs lost and terms and conditions under attack. This will also have a negative impact on the services delivered to the people of Falkirk.
The outcome of the consultation is unpredictable as for the first time the workforce are being asked to reduce their income and in these difficult times and we don't know if our members are up for that but the consultations will tell us what members wish to do."
Contact: Christina Lambie 07775 571564 or Alex Mc Luckie 07885 348269 or 0141 332 8641 or GMB press office 07921 289880 or 07974 251 823


text:
- (Black & White, Manufactured on Demand)
- Format: DVD
- Rated: NR
- Release Date: 1/3/2012
|your cart is empty
Betty Lee takes a wagon train West, after her plantation is burned to the ground in the Civil War. Her party is attacked by Indians, but she is rescued by Ted Thorne, a dashing cavalry officer, and the two become friends. Investigating the attack, Ted learns that the indians are taking their orders from a white man named Rance. The trail of evidence leads to a shocking discovery - Rance and a band of ex-confederate soldiers are arming, intent on starting a new rebel country in the West!


text:
Stolichnaya Elit
- we96-100
The only ultra-luxury vodka. Elit is carefully crafted using a centuries-old Russian recipe and a revolutionary freeze filtration process. The result is an exquisite product that sets a new standard for consumers and creates the entirely new ultra-luxury category among imported vodkas. To fully appreciate the handcrafted excellence and purity of its taste, Stolichnaya elit should only be served chilled, on ice or in traditional martinis with premium ingredients. Its creators frown upon mixing it with juices or other sweet concoctions that would mask or tarnish the quality of this superior vodka. True to its genuine character, elit is distinguished by its elegant and sleek bottle, which creates an aura of confidence and distinction.
Wine Enthusiast
- we96-100
Aroma is dry, clean, and grainy, with background notes of parchment and litchi; later passes offer semisweet, mildly smoky/ashy scents of charcoal and smoldering embers. Palate entry is firm, moderately oily, bittersweet; at midpalate concentrated and spicy grain flavors mingle adroitly with the smoky, sap- and resin-sweet birch-charcoal filtering influence. Concludes sweetly and almost candy-like.
Featured Spirits
Berta Tre Soli Tre Grappa 1998 750mlAmber color. Rounded, with a great personality. Wonderful concert of different sensations in which come out the ripe fruit, black ribes, apricot, marasca cherry, cacao and vanilla on the nose. Full impact right from the first sip, it reflects the sincerity of the greatest grape of Piemonte. Here the sensations to be in the Nebbiolo vineyard come straight on your nose. It smells Piemonte from every single corner.
Mezcales de Leyenda Durango Silver Mezcal 750mlMezcales de Leyenda brings you a collection of silver, unblended mezcals of incomparable quality. Each year, we bottle only a limited production, assuring the finest premium spirit in each bottle. Our Mezcal is handcrafted by individual, family producers, who harvest wild agaves following sustainable practices. Its quality complies with the highest international standards and has been certified organic by CCOF / USDA. At Mezcales de Leyenda we have selected a representative mezcal of each one of the states in Mexico that currently has a Denomination of Origin. We only market silver mezcals, 100% agave, offering our customers the opportunity to taste the natural properties of each agave, their true, authentic flavor & texture.
Glenmorangie Milsean Private Edition Highland Single Malt Scotch Whisky 750mlAroma: Perfumed, sweet and spicy with hints of sugar cane, ripe fruits, sherbet lemons and fudge. Taste: A sweet, luscious candy-like flavour followed by a mix of tart plummy fruit, candied orange peel, cherries, and angelica. Finish: Long and spicy, but always with a sweetness in the background, with flavours of ginger, brown sugar, sweet tobacco and cake mix.
Antica Torino Vermouth 750mlRather than seeking out the exotic, often imported botanicals that go into more modern styled gins and vermouth of Italy, Antica Torino takes a page out of the history books, a time when vermouth was created utilizing what was readily available in the backyard. The decision was made to produce a vermouth that was "of the garden," packed with fresh rosemary, bay laurel, thyme, oregano, wormwood, gentian, rhubarb and more… As for the grapes, they troubleshot through different combinations, and tested both white and red varieties from Piedmont. They decided to go with white wines, including a small % of moscato (also of the region) for its floral elements. For color, burnt cane sugar was chosen rather than industrial caramel. Delicious on its own or mixed into cocktails, Antica Torino Vermouth di Torino will be a wonderful addition to any home or professional bar!
Antica Torino Amaro della Sacra NV 750mlWarm bright brownish color, rich and consistent in the glass, spicy with hints of cinnamom, cardamom and chinchona. Complex and wide in the palate, hot, bitter-sweet, with long finish. Amaro della Sacra with its spicy, complex and warm notes works very well in mixology, Rye whisky, bourbon, tequila and london dry gin are its best companions. It is a very interesting and unique sub of Campari bitter.
Mitchell and Son Red Spot Irish Whiskey 15 year old 750mlThis Single Pot Still Irish Whiskey has matured for over 15 years in a combination of American Bourbon casks, Spanish sherry butts and Sicilian Marsala wine casks, all contributing rich and complex flavours, making it the top spot in the range. Pot Still spices with rich cooked fruit, baked apple, mango and black cherry. Hazelnut and a touch of new leather fuse with toasted American oak. A mix of ripe fruit sweetness from the Marsala seasoned wine casks. While the fruit remains, sweet red pepper and cracked black pepper and some spiciness, finished by notes of American oak and barley.
Ardbeg Distillery Drum The Ultimate Limited Edition 750mlThis year's Limited Edition bottling, Ardbeg Drum, a scrumptious jamboree of flavours and the perfectly peaty excuse for a party. Inspired by Islay's rich history of carnivals, this whisky is a bottling imbued with the ultimate influence of carnival spirit, rum. In a first for the Distillery, we have taken Ardbeg single malt from ex-Bourbon casks, rested it awhile in ex-rum casks from the Americas, giving us…Ardbeg Drum. Discover a mass of complex flavours as they parade across the palate. Fragrant pine resin and woodsmoke dance alongside ripe banana and pineapple, before lavender, liquorice and vanilla strut into a long, smoky finish - a downright wondrous paradiddle of aromas. Color: Dark gold. Nose: Smoked apple and pineapple, ripe banana, fragrant pine resin and subtle woodsmoke. Dry coco powder, cinnamon and ginger spiced dates and 'floating' lavender notes. Taste: Peppery texture, huge smoky palate, oil, tar, creosote, rich dark chocolate. A treasure of spices - clove, liquorice and ginger mingles with smoked vanilla. Finish: Intense smoke on the finish, more spice with a sweet coffee liqueur finish.
Patron Barrel Select Anejo #134 750ml
Herradura Spirited Blend Double Barrel Reposado 750mlDouble rested for unmatched taste. Herradura Double Barrel Reposado is the product of a novel, two-step aging process. The first involves resting the tequila in charred American White Oak barrels for 11 months. It's then moved to new charred barrels and aged for an additional 30 days. This creates a rich, dark amber colored liquid and a smooth yet complex flavor profile not found in any other Reposado, with hints of cooked agave, vanilla, allspice, clove and oak.


text:
Angling Trust launches new 'home-grown' membership adverts
High-res, web ready and printed poster versions available below.
Press Release for immediate release: Monday 20th August 2012
Angling Trust launches new 'home-grown' membership adverts
The Angling Trust doesn't yet have big budgets for marketing campaigns but it does have a committed membership with a huge array of talents and expertise, many of whom are prepared to give generously of their time for the benefit of angling as a whole. The guys at the Leominster membership office were thrilled when Ian Sutton volunteered to help with the Trust's new membership campaign adverts, especially as Ian is a director of a top creative agency, Milestone Design, with first-hand experience of working with top brands including the RAC.
Ian has created three stunning posters promoting the Angling Trust's work to sea, game and coarse anglers featuring his young fishing fanatic son Max with a message to support the future of our sport.
Angling Trust National Campaigns Coordinator Martin Salter said:
"We constantly need to promote awareness of the Angling Trust's important work and to encourage more anglers to join up and support our campaigns for fish and fishing. We hope that Ian's new coarse, sea and game membership posters will encourage anglers of all disciplines to join together to protect our fish and fisheries for future generations. We are asking anyone who goes fishing, works at an angling publication or is involved in the angling trade to help us get these posters out there by displaying them at their business or by reproducing them in their printed publications".
Will Smith, Membership Manager at the Angling Trust explains how the posters came about:
"Ian and I decided to meet at 'The Big One' fishing show in Farnborough. Ian brought along three concepts for our new membership campaign - as well as his son, Max aged 9. All three adverts were striking and featured powerful imagery and strong calls to action. But one featured a photograph of Max with a large sea fish, a wrasse, he'd caught on holiday. With the headline, 'Protect the future of your fishing' we knew the message would really resonate with anglers.
Because the Angling Trust is about uniting all branches of angling, we asked Ian if he could get shots of Max with coarse and game fish as well. Ian explained that he and Max were both very keen all round fishermen, so that wouldn't be a problem. He also told us that Max suffered from epilepsy and that fishing was a fantastic way to build much needed confidence and self esteem."
Ian Sutton, from Milestone Design said:
"Max and I love all kinds of fishing, so it wasn't too tricky to come up with the range of photographs that the Angling Trust wanted for the campaign. In fact, the day we went carp fishing, Max caught one before I'd even got the camera out of the bag! I'm really pleased that by becoming the "face of the Angling Trust" Max will be doing his bit to encourage all anglers to join up and support their sport. For less than 50p a week it's a bargain that no fisherman can ignore!"
1] Printed A3 posters are available by emailing email@example.com Please specify the versions that you would like to receive. When the posters arrive please display them at your local venue or tackle shop.
2] These adverts are available for download as print ready PDF artwork for publications with crops and bleed at the following three links. Please include these in your magazine or newsletter whenever you have space available:
- Coarse Version for publications A4 full page- HERE (7MB File)
- Coarse Version for publications A4 half page - HERE (2.9MB File)
- Sea Version for publications A4 full page - HERE (4.5MB File)
- Game Version for publications A4 full page - HERE (3MB File)
3] Posters are available for download as PDF files for home printing at the following three links. Please print these and display them at your local venue or tackle shop:
- Coarse Version for home printing - HERE
- Sea Version for home printing - HERE
- Game Version for home printing - HERE
4] Jpeg versions for use on your website and Facebook (not suitable for print) are available for download at the following three links. Please post these on your website, Twitter, Facebook and on web forums with a link to this news article on our website about these adverts:
- Coarse Version for websites/Facebook - HERE
- Sea Version for websites/Facebook - HERE
- Game Version for websites/Facebook - HERE
Media Contacts:
Martin Salter - email@example.com
Will Smith - email@example.com
Download this press release as a Word Document - HERE
Milestone Design:
Ian Sutton - email@example.com
01494 676436
Sea version
Coarse version
Game version
Contact: Angling Trust Eastwood House, 6 Rainbow Street, Leominster, Herefordshire HR6 8DQ
Tel: 0343 5077006 (For Membership enquiries select Option 1) |
Calls to our 0343 number are charged at the same rate as normal landline numbers.
Office hours are Mon - Thu 9.00-5.00 and Fri 4.30. Please leave a message if you call outside these hours or email us.
Email: email@example.com
Angling Trust Limited is a company limited by guarantee, company number 05320350


text:
The Iraqi Architecture Prize; Tamayouz Excellence Award is delighted to announce the winners of the 3rd cycle of Tamayouz Excellence Award | Excellence in Graduation Projects category.
This category "Tamayouz Excellence Award / Excellence in Graduation Projects" aims to recognise and reward excellence in architectural design and education, showcase Iraqi talents, support academics' efforts of advancing architectural education in Iraq, promote a culture of excellence at an early stage amongst young Iraqis to advance the profession of architecture professional and academically.
In 2014 the award has witnessed an unprecedented success with the participation of 78% of final year students from all architecture departments in Iraqi universities, the participation has grown from 135 participants in 2012, 234 students in 2013 to 287 participants in 2014. 131 projects were received this year and 20 outstanding projects were shortlisted by the shortlisting panel of the award.
The judging panel of the 2014 award for Excellence in Graduation Projects:
- Ayad Al Tuhafi, owner and director of Ayad Al Tuhafi Architect, London.
- Fernando Olba Rallo, Principal Director of Fernando Olba Arquitectura + Urbanismo, Valencia.
- Marc Galudemans, Dean of Architecture and Urbanism at Fontys Academy, Eindhoven.
- Katherine McNeil, Director of Architecture for Humanity – London Chapter, London.
- Tom Billingham, Lead landscape architect and Urban designer at Atkins, Sweden.
- Jerome Goyard, architect and head of architecture competitions department at Fevre-Gaucher, Paris.
- Frazer Bufton, course director for architecture programme at Coventry University, Coventry.
- Manhal Abdulateef, Architect and Academic, Sydney.
- Mohamed Nazer, Owner of Inside out design and the co-founder of designbook.me the Middle East's first design platform, Amman.
- Turath Jamil, Architect and Urban researcher at the Sorbonne University, Paris.
The prizes of the 2014 Tamayouz Excellence award are:
- First Prize: A scholarship to study master's degree at Coventry University, this scholarship is funded by Majid Al-Sadi Scholarship Foundation + Tamayouz Excellence Award medal and certificate.
- Second Prize: A two month paid internship (5000 AED/ Month) at Dewan Architects and Engineers in Dubai in addition to another 5000AED to cover the accommodation in Dubai + Tamayouz Excellence Award medal and certificate.
- Third Prize: A two month paid internship (5000 AED/Month) at Dewan Architects and Engineers in Dubai + Tamayouz Excellence Award medal and certificate.
- Honourable Mentions: Tamayouz Excellence Award Medal and Certificate
- Supervisor of the year 2014 prize: An Honorary Visiting Research Fellow position at Coventry University, this prize is part of the Tamayouz Research Scheme + Tamayouz Excellence Award medal and certificate.
- Architecture School of the Year: Architecture School of the year Trophy.
To watch Dr David Pilsbury the PVC of International Development at Coventry University announcing the winners of this year please view the video below:
The winners of Tamayouz Excellence Award 2014:
This year Tamayouz Excellence Award will announce the Top 10 projects in order; the top three winners and seven honourable mentions, the ranking is based on the total score out of 1000 points received from all the judges.
The Winner of Tamayouz Excellence Award 2014 and the First Prize is Redha Hassan from the University of Technology in Baghdad for his project; the Basrah Aquarium, supervised by Dr Ali Muhsin. Redha Scored 742/1000 points.
Judges' Comments:
- Fernando Olba: "Smart and sophisticated concept well developed which beyond its complexity allows for a clear plan distribution. It shows an interesting solar chimney to achieve a high degree of sustainability, nicely worked sections. I find it a very intriguing building that suits its purpose and which it is well located. Good presentation and clear story telling".
- Tom Billingham: "An impressive piece of work. Solid concept with clearly developed design principles. Well-structured and logical layout. Excellent presentations".
- Marc Galudemans: "The design for an Aquatic exhibition and research centre is a beautiful project to be located in the confluence of two rivers in the city of Basra. The design is well thought of at all layers, from concept development, to urban design to the application of sustainable principles and so on, this makes this project to stand out for its overall quality and completeness".
It is worth mentioning that, the winners of Tamayouz Excellence Award since its first cycle are from the University of Technology and they are Anwar Sabah Abbas (2012), Khalid Riadh (2013) and this year's Redha Hassan.
The Second Prize goes to Huda Abdalkareem from the University of Technology for her work on the Interactive Centre for the Marshes Environment, Huda's work was supervised by Dr Khalil Al-Ali. Huda Scored 736/1000 Points
Judges' Comments:
- Katherine McNeil: "A beautiful project strongly connected with both the land and environment. The drawings display a real commitment to the cultural setting in which the building rests. We were especially impressed with the holistic visual and narrative description of the project. A sense of life and inhabitation which makes the project an exemplar for future architectural development in Iraq".
- Frazer Bufton: "The design demonstrates a clear concept and a subtle response to the demands of the brief which results in an accomplished and sensitive scheme appropriate to its context and use".
- Manhal Abdulateef: "This project takes you far away to the deep secrets of Marshes life and during analysing process of this project i felt that I'm really there in marshes environment, Wavy shapes & lines provides a total harmony with place. Material, colours, spaces and details reflect the best interaction between traditions and modernity. It's really a fantastic design effort to revive this unique environment".
The Third Prize goes to Rawand Abdullah from the University of Salahaddin for his work on the Mesopotamian Museum, Supervised by Mrs Ansam Saleh. Rawand scored 721/1000 points
Judges' Comments:
- Marc Galudemans: "Beautiful design for a Mesopotamian Museum in Erbil. The design is well conceived and has a number on integrated layers of meaning and functionality. The spectacular morphology is sufficient to make this museum stand out in Erbil, and the design becomes a bit more original by avoiding the hyper-fashionable application of curved, white buildings in most other nominations. A very nice proposal."
- Jerome Goyard: "Good integration in the site and the city. Good reinterpretation of the traditional sustainability concept with a modern form of the courtyard to refresh the whole building. Presentation is clear and drawings are beautiful".
Honourable Mentions:
The Fourth Place goes to Ghazwan Saad Salah from the Beirut Arab University for his work on the War Museum, Ghazawan scored 696/1000 points and he was supervised by Dr Ahmed Salahaddin Attiya.
Judges' Comments:
- Ayad Al-Tuhafi: "Simply love the concept, a war of thoughts, an art attack that created a very unique building"
- Frazer Bufton: "An engaging and dynamic scheme which combines a local and national context into a powerful and striking building. A thoughtful response to a difficult subject the design avoids the obvious posturing of war and conflict but offers something which is both evocative and potentially beautiful".
The Fifth place goes to Hassan Al-Karagully from the University of Technology for his Nano Technology Research Centre, Hassan's work was supervised by Dr Ali Muhsin. This project scored 694/1000 Points.
Judges' Comments:
-Tom Billingham: "Love this one, throw together nanotechnology, a butterfly wing and a UFO and see what you get...! Great concept, well researched, merges well to give a believable narrative. Design principles run consistently through the design. Clear functions and aims. Responds to the site at a road junction, moulds to the wind and responds to the environment. The project handles the balance between private/public space and function, so despite it being a fairly closed form it remains open, interesting and inviting. Great stuff, well done."
The Sixth place goes to Mohammed Siyamand from University of Salahaddin, his project Erbil Metro Station was supervised Mrs Ansam Saleh. Mohamme scored 679/1000 points.
Judges' Comments:
- Manhal Abdulateef: "This project is a model for an integrated design where organised thinking, design talent, accurate analysis of place potentials and attention to details were combined during design process to produce a unique architectural environment".
The Seventh place goes Lary Shawqi from the University of Salahaddin for his Public Aquarium Project which was supervised by Dr Salahaddin Yassin. Lary scored 665/1000 points.
Judges' Comments:
- Mohamed Nazer: "Strong form and the floor plans are well designed, circulation has a nice experience, excellent overall project".
The Eighth place goes to two students who scored exactly the same points (662/1000) and they are in alphabetical order:
- Ahmed Auday from the University of Baghdad for his Ministry of Communications project, Ahmed's work was supervised by Dr Shatha Abbas. Ayad Al-Tuhafi who is judging the this category for the 3rd year running commented on this entry and said: "Wow, What a piece of art and unlimited imagination".
- Ahmed Imad from Mosul University for his work on the College of Architecture and Construction, this project was supervised by Mr Nahith Al-Qemaqchi. Fernando Olba who was on the this year's panel commented on the project and said: "Good conceptual part, well explained which ends up with an interesting form. It is the only that shows interest in connecting the building with the city beyond its site. Very good presentation and a very serious work".
The Ninth place goes to Sanger Baxtyar from the University of Sulaimani for his work on the Association of Plastic Arts, Sanger's project scored 651/1000 points and was supervised by Dr Abudllah Yousif.
Judges' Comment:
- Jerome Goyard: "I appreciate the scale and the simplicity of this project, the form is beautiful and elegant, it shows a nice mixture between modernism and tradition. Presentation is clear".
- Turath Jamil: "one of the most interesting designs in this year's award".
The Tenth goes to Saman Sardar from the University of Koya for his work on the Religious Coexistence Centre project which was supervised by Dr Hussein Ali, Saman scored 646/1000 points.
Judges' Comment:
- Katherine: "A poetry of the human soul, the project demonstrates an intimacy of human scale, and the element of surprise in the larger spaces buried within the centre of the project. We enjoyed the sense of connectivity of the human spirit with the land, evident in the written description and described within the architectural language and drawings – delightful".
The Supervisor of the Year 2014 Award
The Supervisor of the Year 2014 Award goes to Dr Ali Muhsin from the University of Technology for his supervision, support and encouragement to two of the top 10 projects including the winning project and two other project that were in the Top 20 Shortlist.
The Honourable Mentions of the Supervisor of the Year award are:
- Dr Khalil Al-Ali - University of Technology
- Mrs Ansam Saleh - University of Salahaddin
The Architecture School of the Year 2014 Award
The Architecture School of the Year 2014 award goes for the 3rd year running to the University of Technology in Baghdad.
Tamayouz Founder, Ahmed Al-Mallak:
Our many congratulation to the winners, supervisors, honourable mentions, architecture departments, all the achievers of Tamayouz Excellence Award, the support for the 2014 cycle of the award has been remarkable despite the current situation in Iraq. As Tamayouz are proud to be spearheading the efforts to create opportunities for young talents and empower women architects in Iraq and at the same time setting a benchmark for excellence in volunteer and interdisciplinary collaboration. Today we empower another 11 remarkable young architects hoping that one day they will change the future of Iraqi architecture for the better".
Tamayouz Excellence Award sponsored by:
Coventry University, United Nations Global Compact, Dewan Architects and Engineers, Iraqi Business Council Jordan, Al-Dulaimi Business Group, Ayad Al-Tuhafi Architects, University of Kurdistan Hewler, Surchi Contracting, Eastern Holding Group and Al-Qabas Economical Group
Dr.Hamid Turki
1/10/2014 11:22:17 am
Well done Tamyouz award for the hard work and good pioneering achievement. Congratulations to Ahmad Al Mallak for his work. Congratulations to the winners students and supervisors. Well done our universities. I am proud of your works my colleagues. Hope things go well.
Your comment will be posted after it is approved.
Leave a Reply.


text:
In a letter published in the Times newspaper, ACE have highlighted the fact that monthly apprenticeship numbers are routinely below targets set out by the government as part of its industrial strategy and will woefully short of its pledge for three million apprentices by 2020. More than 60,000 new apprentices a month are needed, yet last week's figures show only 22,300 new apprentices started in the last month.
The joint signatories of the letter have called for the Institute of Apprentices to be able to design and approve apprenticeship standards much more quickly and for more flexibility in how employers can spend the apprenticeship levy contribution, including spending throughout the supply chain.
TAC additionally wrote to Anne Milton MP, Minister for Apprenticeships and Skills to raise a number of issues around apprenticeships, including the:
TAC will be meeting with her team to discuss these issues in person and in due course.
Please be patient while our server is processing your request.
If you encounter any errors please write us at


text:
Please rotate your device in landscape mode for a better navigation
Soir de Lune Perfumed Bath and Shower Gel is a foaming gel enriched with skin-softening and toning plant extracts (red vine extracts, pineappleweed and wild rose) that care for the skin. It cleans delicately without drying, leaving the skin satin-smooth and lightly fragranced with notes of Soir de Lune.
Application Tips
This perfumed gel can be used in the bath or shower. Simply press the dispenser a few times for a delicate, creamy lather.
SOIR DE LUNE PERFUMED BATH AND SHOWER GEL£57.00 Add to basket


text:
Last year when my in preschool, I was new on Pinterest and looked hard for healthy valentine fun treats. There are a ton of cute homemade treats you can give out, but our school has a no candy policy (which I like). Being a foodie, I wanted to do something healthy and did not include those goldfish crackers. After seeing a bag of cuties, it came to me. Cutie Pie? Here was last year's A Very Healthy Valentine's Day Idea.
I started by making hearts out of construction paper. I hand wrote all the messages, taped them onto cake pop sticks with the following sayings:
Cutie Patootie
Will You Be my Cutie?
Cutie Pie
Valentine's Cutie
I then wrapped the cuties in Valentine cake pop bags, placed on stick and tied them up to hold the Valentine's message. The only thing my daughter had to do was put them in her friend's mailbox. She did not have to address each Valentine, which made it super easy. We made some extras for the teachers, they need to be healthy too!
How easy is that? It was definitely a win-win and parents loved the healthy treat and message that went along with our healthy Valentine's Day. And they are heart healthy!
Do you have any healthy Valentine's Day treat ideas? I'd love to hear them.


text:
- Style Singlefamily
- Easy Walk to Village Yes
- View Real Estate for Sale in Hampsted Village
- Request to list your Hampsted Village New Albany Home
- Request Hampsted Village Sold Report
- Discover Your Home's Value
"Kate and Tony, along with their team, far exceeded any expectations we had." — Happy Client
Come Explore Life in Hampsted Village
The first neighborhood built by Showcase in New Albany, Hampsted Village first began construction in 1995 and was completed about nine years later. Since then, Hampsted Village has established a reputation for spacious, elegant living in an ideal location. Residents also enjoy a tightly knit community of neighbors that's made all the more close by regular community events, from pickup games of soccer to the annual garage sale.
Hampsted Village Homes for Sale
2:00 p.m. – 4:00 p.m.
There's an easier way to keep up with new listings in Hampsted Village. Save your searches, save favorite properties, and sign up for new listing alerts by creating your personal Property Organizer account today.
Selling Your Hampsted Village Home?
Selling a home in Hampsted Village? We can help! Learn more about listing your home with Thomas|Riddle, including the tools and resources we offer our sellers, our marketing strategies, and our featured listings.
Discover Hampsted Village
The Homes
Approximately 335 single-family homes, which offer anywhere from 3- to 5-bedroom floor plans, comprise the Hampsted Village community. Signature features of these beautiful homes include:
- generously sized lots
- gourmet kitchens
- granite countertops
- hardwood floors
- built-in shelving
- fireplaces
- extensive moldings
The Community
Neighbors tend to organize community events throughout the year, such as the Hampsted Village Garage Sale held in June. Spontaneous community gatherings are also common, including pickup games of soccer, football, baseball, or volleyball in the community's designated green spaces.
Hampsted Village's location is another reason for its desirability. Right across the street is a shopping plaza anchored by a grocery store, and around the corner are New Albany's village amenities, including the library and New Albany-Plain Local School District campus. Neighborhood sidewalks and paved trails allow residents to get around town without a car.
Hampsted Village Attractions
What's Nearby?
Nearby Attractions
You don't need a car to get around New Albany. From Hampsted Village, it's about a mile to New Albany High School's football stadium, Rose Run Park, Jeanne B. McCoy Community Center for the Arts, Philip Heit Center for Healthy New Albany, and a collection of shops and restaurants on Market Street.
Shopping & Dining
Whether you need to run errands or want to grab a bite to eat, you're not far from shops, restaurants, and professional services in New Albany. Hampsted Village is close to a Kroger grocery store, New Albany's downtown area, and Easton Town Center in Columbus.
Travel & Commute
Quick access to OH-161 makes a road trip or morning commute a breeze. This highway connects New Albany residents with other major thoroughfares in Central Ohio, including I-270 and I-71.
The Schools
If education is a priority in your home search, rest assured that Hampsted Village is close to top-notch schools in New Albany. Explore your options for public schools, private education, and pre-schools here, or contact us at 614.939.1234 for more information.
Let Us Handle the Details
Moving to a new home, whether it's across the street or across the state, is easier when you have access to the best resources. Our team of New Albany real estate experts is here to help! Contact us at 614.939.1234 and we'll provide you with all the information you need.


text:
Qubool Hai 18th March 2015 Written Episode Update
Warning: A non-numeric value encountered in /home/ftpusers/tellyu/public_html/wp-content/themes/publisher/includes/func-review-rating.php on line 212
Warning: A non-numeric value encountered in /home/ftpusers/tellyu/public_html/wp-content/themes/publisher/includes/func-review-rating.php on line 213
Qubool Hai 18th March 2015 Written Episode, Written Update on TellyUpdates.com
Scene 1:
Location: Shaad's residence, Faislabad, Lahore
sanam is extremely upset as she is changin, when shaad comes behind her. he apologises, while she asks if he even means what he says, and thought that what he did downstairs was so trivial. she asks if this is an excuse of helplessness. she asks if he has a better excuse. He stands complying. sanam says to Shaad that all men have this problem that they all know how to break hearts, but dont know how to apologise. she asks if this is the way to apologise, and it should feel a genuine heartfelt apology, straight from the heart, lamenting how he doesnt know how to say sorry. she asks him to get down on his ness, and catch his ears and apologise. He is disbelieving. she asks him to do so, or else she wont talk to him. he looks around, while she asks him to get down to business, as she is waiting. He gets down on his knees, cautious that noone sees him, he says I AM SORRY. sanam eyes him angrily. She asks if he is doing a favour, and asks him to catch his ears and repeat it again. he complies angrily. she pretends not to be able to hear and then makes him say that this wont happen again. he complies. she says that she forgave him then. He is shocked that she let go of her anger so easily. she says that a husband cant keep his wife mad for long. she assures him that she would set everything straight between him and his family. She leaves to change, while he feels guilty that he is using advantage of her, to get to the friend's murderer, so that he can bridge the gap between the two warring nations and any amount of apology is insufficient.
while misbah is changing, distraught and in tears, her mother apologises for what she is going through and vehemently tries to state, that she had no clue of this, and had she known, she would never have gotten her here. Aaftab, shaad's father stands outside, saying that she shouldnt apologise, instead he should as its his fault. he asks her to compose herself. Wazira asks what good his apology would do, and wants his help, saying that he doesnt know how important this marriage is for her, and her daughter's life. He says that pairs are made in heaven, and hence Misbah is meant to be with someone else, and promises that he shall get a betyter groom for misbah than shaad, and till it doesnt happen, she would stay here as his daughter. misbah hears this tensedly. He says that he is completely mortified and embarassed. Misbah asks why is he embarassed and apologising, as he isnt guilty of any mistake, and that when pairs are made in heaven, maybe she has someone else in her destiny, as god always does everything for the best, and if she had gotten married to Shaad, she would have become his Bahu, and she woulodnt have been able to be his daughter. he blesses her to be happy.
Scene 2:
Location: Mamta Maternity home, India
The nurse gives the doctor the report, who inspects it under the scanner, while the new bride is tensed. He finds a knife stabbed in the new bride's rib cage, in her X-ray films. He wonders how is this possible. Later, in darkness, as the lights start flickering, the new bride comes in her devilish form, and reminds the doctor that he had been instructed not to take the X-ray. she tells the doctor that the reason he didnt hear her heartbeat, is because her heart is dead. the doctor is scared and petrified. he asks who is she, and she smiles evilly. he says that she isnt a human, and she looks at him in a ghost like manner, while he clutches at his chest painfully, and finally collapses on the floor, under her steely gaze. She takes off his glasses, while he is severely palpitating. She says that whoever sees her dead heart, isnt able to control his own heart. he finally dies of cardiac arrest, and she lays the glasses beside him. she then takes the X-ray films, and shreds it to pieces with scissors. she meanwhile starts searching for her pregnancy reports.
Outside, ahil wonders impatiently whats taking sanam so long. shazia comes to tell him, that she had been to the washroom, which took time, and takes his permission to go to meet her friend. Ahil progresses towards the doctor's chamber. he starts knocking on the door, unaware that she is frantically searching for the papers, which she finally gets. Before she can open, ahil walks in, asking what happened. She says that everything is fine as all reports are normal. he asks for the doctor, and she lies that he just went out.he denies having seen him, but she insists that he went on an emergency case. He decides to call him. She says that it isnt needed, and the doctor has said, that if he gets the husban'ds love and attention, all would be okay. he is frustrated. he notices that she is hiding the X-ray films. he takes them from her, and asks her to come along. She is terribly nervous and tensed, thinking that if he reads them, he shall know the truth. Outside, ahil makes her sit in the car, and she asks him to give the reports but he doesnt comply. He sits, and gets a business call, and gets busy in talking, lying that he was in a meeting, while she eyes the reports. she accuses him of lying, as he doesnt want anyone to know that she is bearing his child. he says that isnt the case as he did come with her. she says that he didnt come for her, as he thinks that this child is a mistake which he isnt ready to admit. He is tensed as he has no answer. she pretends to be hurt. They finally arrive home, while she eyes the reports, that he kept in the car, and thinks that she would get the right time to take them out. just then, ahil turns around, and gets in the car, much to her surprise, and takes the reports out. She is irritated, as he goes inside with the reports.
Scene 3:
Location: Lahore, Pakistan
The lights start flickering in the middle of the night, and finally go off. Shashi Kapoor stealthily finds his way through Shaad's house, in the wee hours of the night, and eyes sanam sleeping peacefully in her room, unaware of his presence. The screen freezes on his face.
Precap: While he is embararsed to see sanam finding him bare torsoed, after taking a bath, she makes fun of him and his shy nature. He insists that she doesnt need his help in picking out clothes, and asks her to leave. she is amused and then boggled. meanwhile, ahil keeps the reports carelessly on the table, and leave. she is about to take them, when he comes back and takes them and opens it. She says that she shall keep it properly. He ignores her. She asks when he doesnt even care for the child, why does he want to read the reports. He says that had he not cared for the child, she wouldnt have been here. He is tensed as he reads the reports, while she is worried.
Update Credit to: Rimjhim
Warning: A non-numeric value encountered in /home/ftpusers/tellyu/public_html/wp-content/themes/publisher/includes/func-review-rating.php on line 212
Warning: A non-numeric value encountered in /home/ftpusers/tellyu/public_html/wp-content/themes/publisher/includes/func-review-rating.php on line 213