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PTSD and Addiction, Emotional Abuse, Types of PTSD, Symptoms, Signs of Drug Abuse & Dual Diagnosis Treatment
What is PTSD?
Post-traumatic stress disorder (PTSD) is a mental health disorder caused by witnessing or experiencing a traumatic event. This disorder has a strong connection to drug addiction because those experiencing PTSD might turn to drugs or alcohol to self-medicate feelings of fear, anxiety, and stress. In this piece, you will learn about the strong connection between PTSD and Addiction.
As stated by the scientific piece ‘Substance use, childhood traumatic experience, and Posttraumatic Stress Disorder in an urban civilian population’, published by the U.S. National Library of Medicine, exposure to traumatic experiences, especially those occurring in childhood, has been linked to substance use disorders (SUDs), including abuse and dependence. SUDs are also highly comorbid with Posttraumatic Stress Disorder (PTSD) and other mood-related psychopathology.
Most people who have suffered through traumatic events eventually overcome the anxiety, depression, and agitation caused by those experiences. But when PTSD develops, these symptoms don’t just go away. They might last for months or years after the event. PTSD can emerge as a result of witnessing or experiencing:
- Military combat
- Serious accidents and injury
- Natural disasters
- Acts of terrorism
- Sexual or physical assault during childhood or as an adult
- The death of a loved one
PTSD and Addiction often co-occur in response to serious trauma. Getting a proper dual diagnosis treatment is crucial to treating both conditions and getting sober.
Post-traumatic stress disorder (PTSD) is an anxiety disorder that is caused by a traumatic experience in a person’s life, such as military combat, sexual abuse, or car accidents. According to the National Center of PTSD, about 8 out of 100 Americans will suffer from PTSD. Some may experience symptoms that include flashbacks of the traumatic event, fighting thoughts, and bad dreams.
Types of PTSD
PTSD from emotional abuse can be considered complex post-traumatic stress disorder (C-PTSD). This is not an official diagnosis in the Diagnostic and Statistical Manual of Mental Disorders (DSM-5), but many health professionals have distinguished C-PTSD from PTSD. It is included in the International Classification of Diseases (ICD) as its condition.
PTSD tends to refer to a response to one-time or short-term trauma, such as rape or terrorist attack. On the other hand, C-PTSD happens because of ongoing trauma without the ability to leave the situation. This category includes emotional abuse, as well as other ongoing trauma such as being a prisoner of war, experiencing human trafficking or prostitution, or facing repeated violence.
Someone with C-PTSD may have the same symptoms as someone with PTSD, such as reliving the trauma, avoiding trauma, and experiencing hyperarousal. Nonetheless, complex PTSD may cause its symptoms, such as a negative self-perception and inaccurate views of the perpetrator.
The Emotional Component of PTSD
PTSD from emotional abuse is not distinguished as C-PTSD because of its emotional rather than physical nature. All PTSD, even from physical forms of trauma, is based on emotional and psychological reactions to trauma, which develop because of fear and distress.
Also, regular PTSD can happen because of any event the person finds disturbing or distressing, even when the person witnesses it or hears about it rather than experiencing it first-hand. PTSD can come from emotional responses to experiences such as:
- Hearing about a terrorist attack
- Going through a hurricane without experiencing any physical harm
- The sudden death of a loved one
- Witnessing a murder
The distinction between PTSD and C-PTSD is not because of a difference between physical and emotional trauma. The difference has to do with the ongoing nature of the trauma involved in C-PTSD.
Short-term effects of emotional abuse
You might be in denial at first. It can be shocking to find yourself in such a situation. It’s natural to hope you’re wrong. You may also have feelings of:
- Confusion
- Fear
- Hopelessness
- Shame
This emotional toll can also result in behavioral and physical side effects. You may experience:
- Difficulty concentrating
- Moodiness
- Muscle tension
- Nightmares
- Racing heartbeat
- Various aches and pains
Long-term effects of emotional abuse
Studies show that severe emotional abuse can be as powerful as physical abuse. Over time, both can contribute to low self-esteem and depression. You may also develop:
- Anxiety
- Chronic pain
- Guilt
- Insomnia
- Social withdrawal or loneliness
Some researchers theorize that emotional abuse may contribute to the development of conditions such as chronic fatigue syndrome and fibromyalgia.
Signs and Symptoms of PTSD
Symptoms of PTSD can change over time. Some symptoms might appear within three months of a traumatic episode, or it might take years until the disorder fully comes about.
PTSD impacts the parts of the brain associated with memory and emotions. A healthy brain can tell the difference between past memories and present experiences, but PTSD interferes with this process. Someone with PTSD might react to a current environment that reminds them of past trauma. The brain responds as though the person is still in the past, triggering fear, anxiety, and stress.
Alcohol and drug addiction are also affected by memory. An addicted person’s brain is susceptible to triggers, places, and people associated with drug use that can lead to cravings. PTSD and Addiction triggers can intertwine and intensify symptoms of both disorders.
Categories Of PTSD Symptoms:
Intrusive Memories
- Repeated memories of the traumatic episode
- Night terrors about the event
- Vivid flashbacks of traumatic episodes
- Extreme physical reactions to reminders of the traumatic event
Avoidance
- Attempting to avoid talking or thinking about the traumatic episode
- Trying to avoid people, places and activities that trigger memories of the event
Drastic Changes in Thinking or Mood
- Emotional numbness
- Difficulty keeping close relationships
- Being incapable of positive emotions
- Lapses in memory
- Negative feelings about self or others
Changes in Emotional Reactions
- Irritability
- Feeling “on guard” at all times
- Overwhelming guilt or shame
- Insomnia
- Trouble concentrating
- Self-destructive behavior (binge drinking or reckless driving)
Signs and symptoms of Drug Abuse
Someone misusing or abusing drugs can have the following signs and symptoms:
- Being argumentative when asked about substance use
- Changes in spending habits and issues with finances
- Noticeable changes in behavior
- Decreased appetite and weight loss
- Lack of motivation and poor work performance
- Looking sick, such as bloodshot eyes and changes in skin tone
How does PTSD and Addiction work?
Substance abuse and addiction are commonly connected to co-occurring disorders like PTSD, depression, and anxiety. People seeking treatment for PTSD are 14 times more likely to also be diagnosed with a substance abuse disorder (SUD). Attempting to self-medicate can be a cause of why many people with PTSD also abuse substances. The thought is that by abusing substances, a person with PTSD will null or avoid PTSD symptoms. Those suffering from PTSD and Addiction are more likely to abuse alcohol and drugs, such as cocaine.
The research ‘PTSD and Substance Abuse in Veterans’, published by the U.S. Department of Veterans Affairs, has found that service members and veterans that have heavy drinking tendencies are more likely to have PTSD and depression. War veterans with a PTSD diagnosis, who also drink alcohol, tend to be diagnosed with binge drinking.
Military and Veterans suffering from PTSD
One of the highest risk groups for both PTSD and Addiction is the veteran population. According to the U.S. Department of Veteran Affairs, veterans who seek out treatment for a SUD are often diagnosed with PTSD. This is most likely due to the emotional stress, physical demand, and mental strain of combat. Service members that were deployed overseas to Iraq and Afghanistan are at a higher risk of developing PTSD.
In addition, PTSD has also been linked to veterans that have been sexually assaulted or harassed during their military service or experience. Military service trauma can happen to any service member, of any gender, during their military service. Sexual trauma includes sexual assault, sexual abuse, or sexual harassment. About 1 in 5 female veterans have been diagnosed with military sexual trauma by Veteran Affairs (VA).
PTSD and Addiction Treatment
Prolonged alcohol and drug abuse eventually rewire the brain’s neurocircuitry. Over time, the user needs the drug to feel normal. With enough time and use, the PTSD sufferer can become addicted. Both disorders have a complex impact on the brain. It’s crucial to treat PTSD and drug addiction simultaneously to undo this damage.
Cognitive-behavioral therapy (CBT) can help those with PTSD cope with their painful memories. Many inpatient and outpatient drug rehabs use CBT to treat addiction, as well. Clinics specializing in PTSD and Addiction can coordinate CBT treatment plans for both disorders.
Physical exercise can be an effective part of PTSD and drug addiction recovery. The endorphins released during physical activity can soothe depression and anxiety. Doctors in specialized drug rehabs can also prescribe antidepressants to manage withdrawal symptoms and anxiety during detox.
Reclaim your life from PTSD and Addiction
PTSD and Addiction are conditions that can cause major health, social, and economic problems that should not be taken lightly. We Level Up Washington treatment center can provide you, or someone you love, the tools to recover from PTSD and Addiction with professional and safe treatment. Feel free to call us to speak with one of our counselors. We can inform you about this condition by giving you relevant information. Our specialists know what you are going through. Please know that each call is private and confidential. | https://welevelupwa.com/rehab/ptsd-and-addiction/ |
Traumatic experiences can have a lasting impact on quality of life, with ill-effects often experienced even years after a traumatic event. Our skilled therapists can help patients to process the difficult emotions associated with the trauma, and learn more useful coping skills that will help them to move on.
How does Post Traumatic Stress Disorder and Trauma arise?
PTSD (Post Traumatic Stress Disorder) can result after someone experiences a deeply traumatic event, or a series of traumas. The specific type of event varies; for example, a car crash, an assault (sexual or otherwise), being involved in war or violence, or even seeing terrible things happen to someone else, can all lead to PSTD symptoms. These symptoms can include flashbacks, difficulty remembering the event, and problems such as elevated heart rate and stress responses, even in the absence of danger. Often, people with PTSD avoid thinking about the stressful event, and might even have difficulty recalling it, while periodically experiencing involuntary flashbacks. When people with PSTD experience a flashback or a recurrence of stress, they go through much of the original trauma, and experience similar levels of stress, without resolution.
PTSD also implies some distance from the event; while a stress reaction to an event that is still ongoing is normal and healthy, continuing to experience serious stress long afterwards is a problem, and can have a massive impact on quality of life, and on the ability to form positive relationships, and even parent.
While anyone who experiences trauma can develop PTSD in response, there might also be a genetic element, with some people being naturally more susceptible to the condition than others.
PTSD clearly has serious psychological repercussions, and it can also impact on one’s physical health, as it can lead to people experiencing all the symptoms of severe stress – secretion of high levels of adrenaline, elevated heart rate, etc. – even in the absence of a threat. This puts the body under strain and can aggravate underlying physical conditions. Moreover, people with untreated PTSD are vulnerable to misusing alcohol and drugs, often in an attempt to “treat” their symptoms.
As a general rule, the earlier the sufferer is treated, the more effective therapy is likely to be. However, even in cases when the original trauma happened a long time ago, psychotherapy can have a very dramatic impact. In the short term, there may be a benefit in using medication, such as an anti-depressant, but for the long term treatment of PTSD and trauma, therapies that work on changing reactions and behaviours, such as cognitive behavioural therapy (CBT) and eye movement desensitisation reprocessing (EMDR), are the best approaches, often in tandem with learning how to identify “avoidance behaviour”, and acquiring techniques that can help to keep anxiety levels under control. It may also be useful to avail of help available in the community, such as a support group, and to work on physical wellbeing and health as well as addressing psychological issues.
How can I get PTSD and Trauma Treatment in London? | https://theprivatetherapyclinic.co.uk/post-traumatic-stress-disorder/ |
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Posttraumatic Stress Disorder (PTSD)
Louise
Burkhart
Jaime Hamm
Jessica Mungro
Erin Schultz
Overview
Posttraumatic stress disorder (PTSD) is an anxiety disorder that a person may develop after experiencing or witnessing an extreme, overwhelming traumatic event during which they felt intense fear, helplessness, or horror.
The dominant features of posttraumatic stress disorder are emotional numbing (i.e., emotional nonresponsiveness), hyperarousal (e.g., irritability, on constant alert for danger), and reexperiencing of the trauma (e.g., flashbacks, intrusive emotions).
PTSD is as an anxiety disorder. Anxiety disorders cover several different forms of abnormal, pathological anxiety, fears, phobias and nervous conditions that may come on suddenly or gradually over a period of several years, and may impair or prevent the pursuing of normal daily routines.
Overview Continued
Acute stress disorder (duration of up to 4 weeks)
Adjustment disorder (less severe stressor or different symptom pattern)
Mood disorder or other anxiety disorder (symptoms of avoidance, numbing, or hyperarousal are present before exposure to the stressor)
Other disorders with intrusive thoughts or perceptual disturbances (obsessive compulsive disorder, schizophrenia, other psychotic disorder)
Substance abuse or dependence disorder
Furthermore, malingerers — that is, people who falsely claim to be traumatized—sometimes feign PTSD symptoms in order to win money in a court case as compensation for "emotional suffering."
Some of the disorders that must be ruled out when diagnosing PTSD include the following:
Criterion for PTSD
The person has been exposed to a traumatic event in which both of the
following have been present:
The person has experienced, witnessed, or been confronted with an event or events that involve actual or threatened death or serious injury, or a threat to the physical integrity of oneself or others.
The person’s response involved intense fear, helplessness, or horror.
Note: in children, it may be expressed instead by disorganized or agitated behavior.
Symptoms of PTSD are grouped into 3 Categories
Intrusive elements:
Recurrent and intrusive distressing recollections of the event.
Recurrent dreams of the event
Sudden acting or feeling as if the traumatic event were recurring
Intense psychological distress at exposure to things that symbolizes or resembles an aspect of the trauma, including anniversaries thereof.
Physiological reactivity when exposed to internal or external cues of the event.
At least one of these symptoms to be diagnosed with Post Traumatic
Stress Disorder
Avoidance Features
Efforts to avoid the thought or feelings associated with the trauma
Efforts to avoid activities, places, people or situations that arouse recollection of the trauma.
Inability to recall an important aspect of the trauma (psychological amnesia)
Markedly diminish interest in significant activities
Feelings of detachment or estrangement from others
Restricted range of affect-unable to have loving feelings
Sense of foreshortened future- does not expect to have career, marriage, children or normal life span.
At least three of these symptoms
to be diagnosed with PTSD
Persistent symptoms of increased arousal (not present before trauma)
Difficulty falling asleep or staying asleep
Irritability or outburst of anger-irritability can progress to rage
Difficulty concentrating
Hypervigilence- resembles frank paranoia
Exaggerated startled response
At least two of these symptoms to be diagnosed with PTSD
Recap…
1 or more Re-experiencing symptom
3 or more Avoidance symptoms
2 or more Increased arousal symptoms
All of which must be present for a duration of more than 1 month and causes clinically significant distress or impairment in social, occupational, or other important areas of functioning.
Types of PTSD
Acute PTSD - symptoms less than three months
Chronic PTSD - symptoms more than three months
Although symptoms usually begin within 3 months of exposure, a delayed onset is possible months or even years after the event has occurred.
[Can J Psychiatry, Vol 51, Suppl 2, July 2006]
Diagnosis of PTSD
There are no laboratory tests to detect PTSD. To diagnose PTSD, a healthcare provider will consider the above symptoms together with history of trauma. He or she will likely also use psychological assessment tools to confirm the diagnosis and involve an appropriately trained specialist
Although it may be tempting to diagnosis yourself, the diagnosis should be made by a mental health professional. This usually involves a a formal evaluation.
Age of Onset and Cultural Features
Can occur at any age, including childhood, and can affect anyone.
Individuals who have recently immigrated from areas of considerable social unrest and civil conflict may have elevated rates of PTSD.
No clear evidence that members of different ethnic or minority groups are more or less susceptible than others.
Onset
Symptoms usually begin within the first 3 months after the trauma, although there may be a delay of months, or even years, before symptoms appear.
Immediate Onset
Better response to treatment
Better prognosis (i.e., less severe symptoms)
Fewer associated symptoms or complications
Symptoms are resolved within 6 months
Delayed Onset
Characterized by an onset of symptoms at least 6 months after the stressor
Associated symptoms and conditions develop
Condition more likely to become chronic
Possible repressed memories
Worse prognosis
Course
The symptoms and the relative predominance of re-experiencing, avoidance, and increased arousal symptoms may vary over time.
Duration of symptoms also varies: Complete recovery occurs within 3 months after the trauma in approximately half of the cases. Others can have persisting symptoms for longer than 12 months after the trauma.
Symptom reactivation may occur in response to reminders of the original trauma,
life stressors
, or new traumatic events.
Course Continued
The severity, duration, and proximity of an individual’s exposure to a traumatic event are the most important factors affecting the likelihood of developing PTSD.
Social supports, family history, childhood experiences, personality variables, and pre-existing mental disorders may influence the development of PTSD.
PTSD can also develop in individuals without any predisposing conditions, particularly if the stressor is extreme.
The disorder may be especially severe or long lasting when the stressor is of human design (torture, rape).
Possible Causes
A person develops PTSD in response to exposure to an extreme
traumatic stressor involving direct personal experience of an event.
This includes:
actual or threatened death or serious injury
threat to one’s physical integrity
witnessing an event that involves death, injury, or a threat to the physical integrity of another person
learning about unexpected or violent death, serious harm, or threat of death or injury experienced by a family member or other close associate
Examples of Traumatic Events Experienced Directly
Military combat
Violent personal assault (sexual assault, physical attack, robbery, mugging)
Being kidnapped
Being taken hostage
Terrorist attack
Torture
Incarceration as a prisoner of war or in a concentration camp
Natural or manmade disasters
Severe automobile accidents
Being diagnosed with a life-threatening illness
Examples of Witnessed Traumatic Events
Observing the serious injury or unnatural death of another person due to violent assault, accident, war, or disaster
Unexpectedly witnessing a dead body or body parts
Examples of Events Experienced by Others that are Learned About
Learning of a violent personal assault, serious accident, or serious injury experienced by a family
member or a close friend
Learning of a sudden, unexpected death of a family member or a close friend
Learning that one’s child has a life-threatening disease
Chance of Developing PTSD
Likelihood of developing this disorder may increase as the intensity of and physical proximity to the stressors increase.
There is evidence of a heritable component to the transmission of PTSD
- A history of depression in relatives has been related to an increased vulnerability to developing PTSD.
Prevalence
Approximately 70% of adults in the United States have experienced a traumatic event at least once in their lifetime. Up to 20% of these people will go on to develop PTSD.
An estimated 5.2 million American adults ages 18-54 have PTSD (or approximately 3.6%).
Women are about twice as likely as men to develop PTSD.
Approximately 30% of Vietnam veterans developed PTSD at some point after the war and 8% after the Persian Gulf War.
Estimated Risk for Developing PTSD Based on Event
Rape (49%)
Severe beating or physical assault (31.9%)
Other sexual assault (23.7%)
Serious accident or injury (i.e. car or train accident) (16.8%)
Shooting or stabbing (15.4%)
Sudden, unexpected death of family member or friend (14.3%)
Child’s life-threatening illness (10.4%)
Witness to killing of serious injury (7.3%)
Natural Disaster (3.8%)
www.ptsdalliance.org
www.nimh.nih.gov/pulicat/reliving.cfm
The Evaluation
The nature of the evaluation for PTSD can vary widely depending on how the evaluation will be used and the training of the professional evaluator. An interviewer may take anywhere from 15 minutes to eight or more 1 hour sessions when the information is needed for legal or disability claims. Regardless of the length of the evaluation, it will include in-depth questioning of the traumatic event and symptoms being experienced as a result of these experiences.
www. ncptsd.va.gov
Evaluation Continued
More thorough assessments are likely to include:
Detailed structured interviews and psychological tests on which you record your thoughts and feelings
Close family member may be asked to provide more information
Client may undergo a procedure that examines your physiological reactions (heart rate, blood pressure, plasma NE measurements) to mild reminders of your trauma.
www.ncptsd.va.gov
Assessment Tools
Two main categories of PTSD evaluations are structured interviews and self report questionnaires.
Interviews
Clinician Administered PTSD Scale (CAPS) developed by National Center for PTSD
It has a format that requests information about the frequency and intensity of the core PTSD symptoms and common associated symptoms which may have implications on treatment and recovery. The CAPS-1 yields both continuous and dichotomous scores for current and lifetime PTSD symptoms.
www.ncptsd.va.gov
Treatment Outcome PTSD Scale (TOP-8)
It is shorter, is easier to use, and is highly correlated with the CAPS, which is more time-consuming and less practical for use in clinical practice
Scores:
- 5 or less reflects no or minimal PTSD symptoms
- 7 equals mild symptoms
- 15 moderate symptoms
- 21 indicates severe symptoms
Remission in PTSD should be defined as no longer meeting the diagnostic criteria for the disorder, full functionality, and no or minimal anxiety and depression symptoms.
Can J Psychiatry, Vol 51, Suppl 2 July 2006
Other Interviews
Structured Clinical interview for DSM (SCID) used in assessment of a range of psychiatric disorder including PTSD
Anxiety Disorder Interview Schedule revised (ADIS)
Structured Interview for PTSD (SI-PTSD)
PTSD Symptom Scale Interview (PSS-I)
Each has unique features
www.ncptsd.va.gov
Self Report Questionnaires
Several self-report measures have been developed as a cost and time efficient way of obtaining information about PTSD distress.
These measures provide a single score representing the amount of distress an individual is experiencing.
PTSD Checklist-- This measure comes in two versions. One is for civilians and another specifically designed for military personnel and veterans.
Impact of Event Scale-Revised (IES-R)
Kean PTSD Scale of the MMPI-2
Mississippi Scale for Combat Related PTSD and the Mississippi Scale for Civilians
The Post traumatic Diagnostic Scale (PDS)
And many more…
Assessment Specific to Children
As current diagnostic criteria are not developmentally sensitive (Tierney, 2000), diagnosis of PTSD in children and adolescents depends on the psychologist's careful integration of knowledge regarding child development and symptom expression.
Generally, symptoms become increasingly similar to that explicated by the adult criteria as children age.
Preschoolers
For the verbally developing preschooler, symptoms are expressed in nonverbal channels. This age-specific, developmental feature creates diagnostic difficulties because more than one-half of the DSM-IV criteria for PTSD require a verbal description of a subjective state
(Scheeringa, Peebles, Cook, & Zeanah, 2001).
Preschoolers Continued
Symptomatic expression may include:
acting out or internalized behaviors
nightmare and disturbed sleep patterns
developmental regression
and clinging behavior
(Pullis, 1998; Yule, 2001)
Re-experiencing trauma may be expressed as:
generalized nightmares of monsters, rescuing others, or threats to self or others
(APA, 2000; Yule, 2001)
Traumatic play is often linked to themes of the traumatic events, is compulsive and repetitive in nature, and fails to relieve any of the accompanying anxiety (Cohen et al., 2000; Yule, 2001).
School-Age Children
At school-age, cognitive development presents with increasing verbal
ability and difficulty with abstract conceptualization.
To a notable degree, symptoms continue to be expressed behaviorally
and may include:
regressions (e.g., bed wetting, clinging behavior or anxious attachment, school refusal)
(Terr et al., 1999; Webb, 1994; Yule, 2001)
less emotional regulation, and increases in externalizing or internalizing behavioral expression (e.g., fighting with peers, withdrawal from friends, poor attention, declining academic performance)
(Cook-Cottone, 2000; Yule, 2001)
School-Age Children Continued
In addition, school-age children may not yet be capable of abstractly interpreting somatic, affective experiences inherent in PTSD symptomatology (e.g., anxiety, reexperiencing) and consequently describes these experiences by listing concrete physiological complaints (e.g., stomach aches and headaches). (
Cook-Cottone, 2000)
Fears of going to sleep or being alone, sleep disturbance, clinging to
others, and event-specific fears have also been reported.
(Cohen et al., 2000; Terr et al., 1999; Webb, 1994; Yule, 2001)
Symptoms in Preadolescents and Adolescents
With age, symptoms become increasingly similar to adult manifestations
(Cohen et al., 2000).
However, for adolescents, abstract conceptions of identity, future, safety, and connection are vulnerable to alterations.
(Cook-Cottone, 2000; Johnson, 1998)
For example—a sense of foreshortened future (e.g., diminished expectations of getting married, establishing a career, and experiencing a normal life span).
Those with chronic PTSD may present with self-injurious behaviors, suicidal ideation, conduct problems, dissociation, derealization, depersonalization, and/or
substance abuse
, which can mask the posttraumatic etiology of the disorder.
(Cohen et al., 2000; Johnson, 1998)
Childhood Posttraumatic Stress Disorder: Diagnosis, Treatment, and School Reintegration.
, By: Cook-Cottone, Catherine, School Psychology Review, 02796015, 2004, Vol. 33, Issue 1
Post-trauma Assessment
Post-trauma assessment involves a complete review of the child's pre- and post-trauma presentation based on multiple sources of input and using multiple formats (i.e., direct observation, oral-report, test, interview, and questionnaire data; and reports of those familiar with the child)
To assess the complete spectrum of trauma, comprehensive structured and/or semi-structured interviews as well as trauma-specific measures are recommended
Finalized reports should include:
academic functioning (i.e., review of records; cognitive and academic assessments; and parent, child, and teacher reports)
behavioral functioning (i.e., behavioral assessments, observations, PTSD measures; and parent, child, and teacher reports)
Post-trauma Assessment Continued
symptom severity (i.e., PTSD measures)
diagnosis (i.e., comparison of child's presentation to age-specific diagnostic features, DSM-IV-TR criteria, and PTSD measures)
developmentally sensitive recommendations including referral and/or in-school supports
Childhood Posttraumatic Stress Disorder: Diagnosis, Treatment, and
Reintegration., By: Cook-Cottone, Catherine, School
Psychology Review, 02796015, 2004, Vol. 33, Issue 1
PTSD and General Symptom Measures
Clinician-Administered PTSD Scale for Children and Adolescents (CAPS-CA)
The Child PTSD Symptom Scale (CPSS)
The CPTS-RI Revision 2
Trauma Symptom Checklist for Children (TSCC)
Trauma Symptom Checklist for Young Children (TSCYC)
Child Posttraumatic Stress Reaction Index (CPTS-RI)
Children's Impact of Traumatic Events Scale-Revised (CITES-2)
Parent Report of Child's Reaction to Stress
http://www.ncptsd.va.gov/ncmain/assessment/childmeas.jsp
Differential Diagnosis
Differential diagnosis of the disorder or problem; that is, what other
disorders or problems may account for some or all of the symptoms or
features.
PTSD is frequently co-morbid with other psychiatric disorders including:
Anxiety disorders
Acute Stress Disorder
Obsessive compulsive disorder
Adjustment disorder
Depressive disorders
Substance Abuse disorders
www.healthyplace.net
PTSD Compared to Other Disorders
While the symptoms of posttraumatic stress disorder (PTSD) may
seem similar to those of other disorders, there are differences.
Acute stress disorder
Obsessive-compulsive disorder
Adjustment disorder
Differences between Acute Stress Disorder
In general, the symptoms of acute stress disorder must occur within four weeks of a traumatic event and come to an end within that four-week time period.
If symptoms last longer than one month and follow other patterns common to PTSD, a person’s diagnosis may change from acute stress disorder to PTSD.
http://psychcentral.com/lib/2006/differential-diagnosis-of-ptsd-symptoms/
Differences between PTSD and Obsessive-Compulsive Disorder
Both have recurrent, intrusive thoughts as a symptom, but the types of thoughts are one way to distinguish these disorders. Thoughts present in obsessive-compulsive disorder do not usually relate to a past traumatic event. With PTSD, the thoughts are invariably connected to a past traumatic event.
http://psychcentral.com/lib/2006/differential-diagnosis-of-ptsd-symptoms/
Differences Between PTSD and Adjustment Disorder
PTSD symptoms can also seem similar to adjustment disorder because both are linked with anxiety that develops after exposure to a stressor. With PTSD, this stressor is a traumatic event. With adjustment disorder, the stressor does not have to be severe or outside the “normal” human experience.
http://psychcentral.com/lib/2006/differential-diagnosis-of-ptsd-symptoms/
Differences Between PTSD and Depression
Depression after trauma and PTSD both may present numbing and avoidance features, but depression would not induce hyperarousal or intrusive symptoms
(FoCUS journal of lifelong learning in psychiatry summer 2003 vol1. no. 3)
PTSD Information
It is important to ask all patients with mental health symptoms about trauma, particularly women suffering from treatment –resistant depression and those with general medical complaints, since patients with PTSD often present with somatic symptoms.
Can J Psychiatry, Vol 51, Sppl 2 July 2006
NOTE:
Although many who experience severe trauma will develop symptoms of PTSD, most individuals exposed to a traumatic event do not develop a psychiatric illness.
J Clin Psychiatry. Volume: 67Suppl2, Issue: 2006,
Date: 2006 04 10, Pages: 26-33
Why PTSD Victims Might Be Resistant to Getting Help
Sometimes hard because people expect to be able to handle a traumatic even on their own
People may blame themselves
Traumatic experience might be too painful to discuss
Some people avoid the event all together
PTSD can make some people feel isolated making it hard for them to get help
People don’t always make the connection between the traumatic event and the symptoms; anxiety, anger, and possible physical symptoms
People often have more than one anxiety disorder or may suffer from
depression or substance abuse
During a Traumatic Event
Norepinephrine- Mobilizing fear, the flight response, sympathetic activation, consolidating memory
Too much = hypervigalence, autonomic arousal, flashbacks, and intrusive memories
Serotonin- self- defense, rage and attenuation of fear
Too little = aggression, violence, impulsivity, depression, anxiety
PTSD victims – switch is stuck on
Causal Attributions
“PTSD is typified by both automatic, involuntary symptoms, (e.g. flashbacks, intrusive thoughts, autonomic hyperarousal) and consciously mediated attempts to make meaning of the trauma experience. The automatic and involuntary symptoms appear to represent conditioned responding to environmental triggers associated with the trauma.”
However, much less is known about the origins and consequences of victims’ efforts to understand their traumas or about how best to treat the symptoms associated with personal beliefs about traumas. The most comprehensive and widely cited guidelines for treating PTSD include using variants of cognitive therapy (including attribution retraining and cognitive restructuring).”
Massas., Phillip M and Hulsey, Timothy L. (2006)Causal Attributions in Posttraumatic Stress Disorder: Implications for Clinical Research and Practice,
Psychotherapy: Theory, Research, Practice, Training
43, 201-215.
Treatment
Individual Therapy
Group Support (especially for Chronic PTSD)
Medication
Treatment Continued
Acute PTSD - Stress debriefing and psychotherapy
Severe Acute PTSD - Stress debriefing, medication, group and individual psychotherapy
Chronic PTSD - Stress debriefing, medication, group and individual psychotherapy
For
PTSD in children
, adolescents, and geriatrics the preferred treatment is psychotherapy
Treatment Continued
Exposure Therapy- Education about common reactions to trauma, breathing retraining, and repeated exposure to the past trauma in graduated doses. The goal is for the traumatic event to be remembered without anxiety or panic resulting.
Cognitive Therapy- Separating the intrusive thoughts from the associated anxiety that they produce.
Stress inoculation training- variant of exposure training teaches client to relax. Helps the client relax when thinking about traumatic event exposure by providing client a script.
Treatment Continued
“Cognitive Restructuring involved teaching and reinforcing self-monitoring or thoughts and emotions, identifying automatic thoughts that accompany distressing emotions, learning about different types of cognitive distortions, and working to dispute the distress-enhancing cognitions, with a particular focus on abuse-related cognitions, for which the therapist remained alert during the personal experience work.”
“In summary for women who did not drop out, CBT treatment was highly effective for achieving remission of PTSD diagnosis, ameliorating PTSD symptom severity, and reducing trauma-related cognitive distortions, compared with a WL control Group.”
(McDonagh, A., McHugo, G., Sengupta, A, Demment C.C., et al., (2005) Randomized Trial of Cognitive-Behavioral Therapy for Chronic Posttraumatic Stress Disorder in Adult Female Survivors of Childhood Sexual Abuse.
Journal of Consulting and Clinical Psychology
, 73, 515-524.)
Medications
SSRIs – Sertraline (Zoloft), Paroxetine (Paxil), Escitalorpram (Lexapro), Fluvoxamine (Luvox), Fluxetine (Prozac)
Affects the concentration and activity of the neurotransmitter serotonin
May reduce depression, intrusive and avoidant symptoms, anger, explosive outbursts, hyperarousal symptoms, and numbing
FDA approved for the treatment of Anxiety Disorders including PTSD
Medications Continued
Tricyclic Antidepressants- Clomiprimine (Anafranil), Doxepin (Sinequan) Nortriptyline (Aventyl), Amitriptyline (Elavil), Maprotiline (Ludiomil) Desipramine (Norpramin)
Affects concentration and activity of neurotransmitters serotonin and norepinephrine
Have been shown to reduce insomnia, dream disturbance, anxiety, guild, flashbacks, and depression
Treatment for Children
FDA approved Prozac for depression in children
FDA approved Zoloft for OCD in children
Cognitive-Behavioral therapy- exposure,
anxiety management
, Cognitive restructuring
Play Therapy
Parental influence and involvement in very important
Treatment
With treatment, symptoms should improve after 3 months
In Chronic PTSD cases, 1-2 years
Future Direction of Treatment
Noradrenergic Agents
Beta Blockers – Propranolol
Future Direction of Treatment Continued
“Early Diagnosis and intervention- either psychotherapeutic or pharmacological- following trauma may some day reduce symptoms of posttraumatic stress disorder.”
“Cognitive models- how the victim understands and appraises the stressful experience- are influential, and cognitive style also helps predict the occurrence of PTSD.”
(Levin, Aaron, Experts Seek Best Way To Treat Trauma Reactions,
Psychiatric News
, 2006, 41)
Treatment in Schools
Primary – Anxiety/Stress management education
Secondary- Stress debriefings
Tertiary- Referral for psychotherapy and medical treatment
PTSD Myths
PTSD is a complex disorder that often is misunderstood. Not everyone
who experiences a traumatic event will develop PTSD, but many
people do.
MYTH:
PTSD only affects war veterans.
FACT:
Although PTSD does affect war veterans, PTSD can affect anyone. Almost 70 percent of Americans will be exposed to a traumatic event in their lifetime. Of those people, up to 20 percent will go on to develop PTSD. An estimated one out of 10 women will develop PTSD at sometime in their lives.
Victims of trauma related to physical and sexual assault face the greatest risk of developing PTSD. Women are about twice as likely to develop PTSD as men, perhaps because women are more likely to experience trauma that involves these types of interpersonal violence, including rape and severe beatings. Victims of domestic violence and childhood abuse also are at tremendous risk for PTSD.
PTSD Myths Continued
MYTH:
People should be able to move on with their lives after a traumatic event. Those who can’t cope are weak.
FACT:
Many people who experience an extremely traumatic event go through an adjustment period following the experience. Most of these people are able to return to leading a normal life. However, the stress caused by trauma can affect all aspects of a person’s life, including mental, emotional and physical well-being. Research suggests that prolonged trauma may disrupt and alter brain chemistry. For some people, a traumatic event changes their views about themselves and the world around them. This may lead to the development of PTSD.
PTSD Myths Continued
MYTH:
People suffer from PTSD right after they experience a traumatic event.
FACT:
PTSD symptoms usually develop within the first three months after trauma but may not appear until months or years have passed. These symptoms may continue for years following the trauma or, in some cases, symptoms may subside and reoccur later in life, which often is the case with victims of childhood abuse.
Some people don't recognize that they have PTSD because they may not associate their current symptoms with past trauma. In domestic violence situations, the victim may not realize that their prolonged, constant exposure to abuse puts them at risk.
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Can post traumatic stress disorder lead to suicide?
The ones who experienced, or have been witnesses to a natural disaster, traumatic event, or violent attack are at great risk of suffering from post-traumatic stress disorder. Depending on the type of event they experienced this anxiety disorder can be severe or mild. The ones who experience a severe form of post-traumatic stress disorder are also at a high risk of suicide. Studies show that only in the United States of America around 50,000 people commit suicide every year. Statistics state that more women than men attempt to commit suicide, but men are the ones who are more likely to succeed to do it.
What is the connection between PTSD and suicide?
Surveys show that the persons who found themselves at a moment in a critical situation, they have been assaulted, they have been witnesses in a traumatic event, or they have been involved in a life-threatening situation, are more likely to try to take their own life. Sexual assault can be one of the critical events in a person’s life that can trigger them PTSD. Around 25% of the persons who were raped at a moment in their life try to commit suicide. The rates of suicide attempts vary according to the type of event that triggers the PTSD.
- When a person is diagnosed with PTSD their family is informed if they are at risk to commit suicide or not, because they are the ones who can prevent this situation from happening.
- Studies show that approximately 30% of the persons who suffer from PTSD are at risk to want to take their life.
Post-traumatic stress disorder patients can reduce the risk of suicidal thoughts
The persons who have experienced a traumatic event state that it can have a great impact on their lives and it often causes PTSD. After the event, they start feeling constantly afraid, and the fear makes them isolate themselves from the others. Even if there are people who can support them, they may have no idea that they experienced a life-threatening event and now they are heading towards PTSD.
The majority of people who experience a traumatic event develop depression. Untreated depression is often the cause of suicide, so if you worry that someone is at risk to commit suicide, you should ask for professional help. The persons, who suffer from PTSD and are at risk to commit suicide, consider that this is the only way to escape from their symptoms.
How can PTSD patients safeguard themselves?
If you have experienced a traumatic event and you suffer from PTSD, then there are certain ways to manage your symptoms.
- You should seek professional help, because there are experts who understand what you are going through and they can prevent your symptoms from getting worse.
- You should also look for a way to relieve your stress. One effective way is to exercise. Also, you can attend yoga classes because they can help you relax.
- It is important to talk with your loved ones about your condition, because they will be there for you unconditionally. | https://www.artpulse.org/can-post-traumatic-stress-disorder-lead-to-suicide-2/ |
CoLab translates its vision and mission into knowledge-creation, practice, teaching, service, and professional education by:
- Providing a space for students, faculty, and community partners to improve local and regional practice through inquiry, dialogue, collaboration, and reflection.
- Generating new and relevant knowledge about urban sustainability and co-crafting theories of community engagement, development, and social change.
- Preparing new cadres of planners with the commitment, skills, and agency to lead innovation across sectors and address systemic failures.
Download the 2016 annual report to learn more about CoLab’s recent projects and initiatives.
Working With Communities
CoLab’s work is grounded in the belief that ideas and lived experiences of people at the margins of society provide important insights into institutional failure and social exclusion in cities. Through collaborative learning processes, community and academic co-researchers can generate new knowledge and innovative planning and development approaches to address these challenges.
Connecting to Our Values
CoLab’s work is values-driven. We encourage staff, students and community partners to connect their work to a deep inner intention and their own personal growth trajectory using reflective practice and methods developed by Otto Scharmer and the Presencing Institute.
Identifying CoLab's Contribution
Once we understand of our collaborators’ context, needs, and their own conception of their problems, staff and students work to identify the skills, tools, and resources that can support collaborators’ work. We are guided by collaborators’ knowledge, insight, and instincts in defining project parameters and goals, while offering the skills, resources and technical skills of MIT.
Knowledge Sharing and Theory Building
As projects move forward, we document our experiences and those of our collaborators, capturing lessons and creating new knowledge about critical issues in the planning and urban studies discipline.
Active Listening and Observation
CoLab staff and students seek to practice deep active listening through which we hear collaborators’ experiences in their words and on their terms. We seek to understand the problems that are meaningful to them, the challenges they face, and where they find inspiration. We combine active listening with close, empathetic observation through which we experience the community context for ourselves, identify key players and relationships, attend to power imbalances, and connect to the essence of places
Collaborative Learning
With our collaborators we identify key areas in which CoLab can make a meaningful contribution and then together embark on collaborative learning processes applying relevant skills, resources, and tools to the problem. We employ a range of methods for collaborative learning, many adapted from former CoLab Visiting Scholar Sebastiao Ferreira, an expert in social cognition and collaborative learning processes. | https://www.colab.mit.edu/methods |
At St. Mary’s we aim to provide motivating and stimulating first hand experiences which build upon learning from home and experiences in other settings, we aim to understand and follow the children’s interests. We promote resilience, inquisitiveness, ambition and engender a life-long love of learning. We recognise that all children are unique; we celebrate and welcome the differences within our school community engendering a sense of belonging in our school community and the wider community. We work in partnership with parents and carers to share each child’s learning journey and celebrate the remarkable moments in their journey.
At St. Mary’s we strive to ensure children feel safe and confident to be able to explore, play and learn. We encourage our children to start their learning journey by accepting them individually and creating a learning environment based around the characteristics of effective learning which encourage challenge, determination, being positive, taking a risk, building relationships, problem solving, creativity and being independent.
We provide a curriculum that accesses learning opportunities both inside and outside, we work on broadening experiences encouraging the children to try new things and enjoy the challenge of a new experience. This enabling environment supported by skilful adult interactions provides the building block for the children to link learning to their exploration and enables the children to develop their own interests and ideas. Our curriculum has been designed to enable children to succeed through cooperative and collaborative learning principles. As such, we promote Personal, Social and Emotional Development, Physical Development and Communication and Language, including oracy in all aspects of the curriculum. At St. Mary’s we recognise that oracy not only improves academic outcomes, but is a life skill to ensure success beyond school.
It is our intent for all children to reach the Early Leaning Goals at the end of the Foundation Stage as well as ensuring a smooth transition into the next Key Stage.
Implementation
Our approach is influenced by the work of educationalists, researchers, psychologists and practitioners who have guided our knowledge of how young children learn and how adults can support their learning.
St.Mary’s provision is underpinned by a complementary relationship between adult led, adult-initiated and child led learning.
We are ambitious in our approach using a continuous cycle of observation and assessment, planning/teaching, alongside structured and systematic lessons and guided group work.
Throughout EYFS at St Mary’s, we follow the Early Years Statutory Framework for the Early Years Foundation Stage, updated in September, 2021, by the DfE. This framework specifies the requirements for learning and development in the Early Years and provides prime and specific areas of learning.
We have a curriculum that is child-centred and that is based on themes which engage the children. We encourage active learning to ensure that the children are motivated and interested. We take time to get to know the children’s interests and their likes to support learning. All areas of the EYFS curriculum are planned for to ensure that there is a broad, balanced and progressive learning environment and curriculum.
The children will learn new skills, acquire new knowledge and demonstrate understanding through the seven areas of the EYFS curriculum:
- Personal, Social and Emotional Development
- Physical Development
- Communication and Language
- Literacy
- Mathematics
- Understanding the World
- Expressive Arts and Design
Weaving throughout the EYFS curriculum at St.Mary’s are three Characteristics of Effective Learning.
• playing and exploring – children investigate and experience things, and ‘have a go’
• active learning – children concentrate and keep on trying if they encounter difficulties, and enjoy achievements
• creating and thinking critically – children have and develop their own ideas, make links between ideas, and develop strategies for doing things
These elements underpin how we reflect on each child’s development and adjust our practice accordingly. Supporting children in their individual learning behaviour and observing the context of children’s play is essential.
Linked provision
Each day children experience sessions of engaging, active learning linked to their next steps.
Adult led focused groups
Whole class shared input is used in Nursery and Reception throughout the day when felt appropriate, this could be to introduce a new theme, feedback on learning from the day, share a story or ask a visitor questions.
Short focused groups are planned for writing, reading and maths and immediately follow a shared input. These sessions are planned with care, meeting the needs of all children, using prior knowledge of the child’s learning experiences and guidance from the EYFS framework (DfE).
Daily guided activities are also planned to cover different areas of the curriculum and allow children to develop their next steps in learning. The timetable is carefully structured so that children have rigorous, directed teaching in Maths and Phonics each day in Reception and when developmentally appropriate in Nursery. These sessions are followed by group work with a member of staff.
Continuous Provision
Continuous provision both in the classroom and the outside area allows the children to develop new skills, taking responsibility for their own learning and is an enabling environment in which the children can safely explore independently. Our continuous provision also enables children to return to their explorations and return to their learning over a longer period of time.
Continuous provision transcends all areas of learning and provides children with the opportunity to demonstrate the three characteristics of effective learning. Children are given the freedom to make independent choices and are encouraged to be active learners and take control of their own learning.
Planned continuous provision and staff knowledge of the children also provides the opportunity for staff to engage the children in activities that are based on next step learning, designed to enhance potential for new learning and consolidate prior learning. This independent learning means that the children are using and developing skills taught throughout the year on a daily basis. They develop key life skills such as independence, resilience, innovation, creativity, enquiry, analysis and problem solving. During the school day, the children have the opportunity to work independently, collaboratively and with their friends or a member of staff.
Assessment
- Observation
Throughout ‘continuous provision’ observation forms a fundamental aspect of the pedagogy of EYFS at St.Mary’s Primary School.
Observation and responding to children’s thinking inform our planning of experiences and opportunities, how we create our environment for thinking, the strategies the adults use to extend learning (modelling, scaffolding, questioning, discussion, shared sustained thinking) and how we capitalise knowledge of children’s interests to ensure high levels of engagement. All adults record ‘Wow!’ moments – when a child does or says something that demonstrates progress or skill in a particular area.
A continuous cycle of observation, assessment and planning is embedded throughout our EYFS provision.
- Summative Assessments
In addition to the continuous cycle of observation and formative assessment which informs each child’s next steps, summative assessments are carried out for phonic development, the stable order principle in number and an assessment of each child’s stage of development for each of the 7 areas of learning. These take place termly and informs planning of subsequent teaching and learning.
The role of the adult
Research shows that progress will be significantly enhanced by the effective support and role models of adults within a high-quality learning environment.
Within our setting interactions between children and adults will look like this:
• Tuning in to what is happening or a child’s thinking.
• Showing genuine interest.
• Respecting children’s own decisions and choices.
• Inviting children to elaborate.
• Recapping on what has happened so far.
• Offering personal experience.
• Clarifying ideas.
• Reminding.
• Using specific praise e.g. that is a good idea because…
• Offering an alternative viewpoint.
• Speculating/ using ‘I wonder if…’
(Marion Dowling, Supporting Sustained Shared Thinking (2005).
The definition of teaching in the Early Years as stated by OFSTED (2015);
Teaching should not be taken to imply a ‘top down’ or formal way of working. It is a broad term which covers the many ways in which adults help young children learn. It includes their interactions with children during planned and child-initiated play and activities:
communicating and modelling language, showing, explaining, demonstrating, exploring ideas, encouraging, questioning, recalling, providing a narrative for what they are doing, facilitating and setting challenges.
It takes account of the equipment they provide and the attention to the physical environment as well as the structure and routines of the day that establish expectations. Integral to teaching is how practitioners assess what children know, understand and can do as well as take account of their interests and dispositions to learning (characteristics of effective learning), and use this information to plan children’s next steps in learning and monitor their progress.
Interact, don’t interfere
The role of the environment
The importance of each adult to support progression is crucial however, we equally understand that in times when a child is on their own independent learning journey the environment plays a significant role in development.
At St.Mary’s each area of the classroom is informed by assessment. As the needs of the children change, as they grow and develop, so does their learning space. Using resources that are open ended encourage creativity, imagination and high order thinking skills. For example, the workshop may contain ribbon, lace, pinecones or lolly sticks. Outside role play is deconstructed with access to logs, planks, sheets and crates. These resources can become anything and have unlimited potential. Our timetable allows for long uninterrupted periods of continuous provision that allow the children time to reach a deep level of involvement as they engage, play, investigate and talk.
EYFS Curriculum 2021
At St.Mary’s we follow the EYFS Early Adopter framework (2020). Within this framework there are four guiding principles which shape are practice.
These are:
1. Every child is a unique child, who is constantly learning and can be resilient, capable, confident, and self-assured.
2. Children learn to be strong and independent through positive relationships.
3. Children learn and develop well in enabling environments with teaching and support from adults, who respond to their individual interests and needs and help them to build their learning over time. Children benefit from a strong partnership between practitioners and parents and/or carers.
4. Children develop and learn at different rates. The framework covers the education and care of all children in early years provision, including children with special educational needs and disabilities (SEND).
Early Reading and Phonics
Reading is at the heart of our curriculum. Our themes are focused around high quality stories and books. By delving into these texts we build vocabulary, find out about people and lands and inspire discussions and exploration. We explicitly teaching high quality vocabulary each week through stories and experience, then repeating the key words throughout the day/week/month/ term to ensure the learning is embedded. The children in Reception follow the rigorous and highly successful, Read, Write Inc programme, faithfully, making good progress in spelling, reading and writing.
Systematic synthetic phonics is taught using Read Write Inc Phonics scheme. Whole-class or small group teaching takes place daily.
Early sound discrimination skills are taught in Nursery and continue into Reception and KS1. In Nursery children are taught about:
• Environmental sounds
• Instrumental sounds
• Body percussion (e.g. clapping and stamping)
• Rhythm and rhyme
• Alliteration
• Voice sounds
• Oral blending and segmenting (e.g. hearing that d-o-g makes ‘dog’)
Typical activities for teaching early phonics include ‘listening’ walks, playing and identifying instruments, action songs, learning rhymes and playing games like I Spy. This phase is intended to develop children’s listening, vocabulary and speaking skills.
Read Write Inc phonics starts when children are ready. This might be in Nursery for some in the Spring/Summer term or the beginning of Reception. For more information, please watch the videos below.
Maths
In Maths in Nursery and Reception we follow the White Rose Maths scheme, which emphasises the deep and thorough understanding of number and number patterns required by the curriculum. Pupils learn through games, rhymes, outdoor learning, computer programmes and tasks using concrete manipulatives.
Assessment
Through observation and discussion, areas of need and next steps are identified for all children to ensure that good progress is made. In the EYFS, observations of the children’s learning and WOW moments are added to our online learning journeys. We regularly assess where the children are, using ‘Development Matters’ and ‘I can/I know’ statements, then ensure our planning , adult interactions and learning environment reflect our observations. These termly judgements are logged on the school’s online network, Scholarpack and the Early Years practitioners complete gap analysis grids which helps us to plan our future provision and ensure that children are working to meet their targets.
Additional Support
Our inclusive approach means that all children learn together but we have a range of additional interventions to support children who may not be reaching their full potential. This includes the NELI Programme which focuses on early listening, attention and vocabulary acquisition; Move-to-Write improves gross and fine motor skills; and ‘Pinny-Time’ focuses on quick, on the spot interventions to boost the acquisition of letter sounds, number retention or colours, depending on the needs of the individual. One to one speech support is provided weekly by our Reception TA who is a Speech and Language specialist.
Parent Engagement
Parents are the first and most important influence on their child’s development and future outcomes.
Children have two main educators in their lives – their parents and their teachers. Therefore, the school and the parents all have crucial roles to play. The impact on a child’s education is greater if parents and schools work in partnership.
At St.Mary’s, parents are invited to be involved in every step of a child’s journey in education. Beginning with a pre- starting nursery or school visit, followed up with the invitation for their child to attend several ‘transition’ sessions before the term commences. We use an online learning journal, ‘Tapestry’ to record, track and celebrate progress made by each child. Tapestry enhances this special time in a child’s life and captures children’s experiences as well as monitors development and learning. Text, images and videos can be uploaded by parents to share learning and experiences from home via PC, tablet or our mobile app – anywhere there’s an online connection. Every entry helps to create a complete story of a child’s time at school.
We pride ourselves on building positive relationships with the families of St.Mary’s. Creating a ‘triangle of trust’ (Elfer et al.) between children, parents and practitioners. We understand that when parents relinquish part of the care and teaching of their child to the staff in our setting it is a big step. We create an environment that is conducive to interactions where all feelings can be taken into account. A warm welcome each day often leads to a deeper knowledge and understanding of each child and their family.
Transitions
Transition from Nursery to Reception is a carefully planned next step. Adults work together to support children and parents with transition days, meetings and information. The children know the adults well before they start in Reception, whether this is children from our Nursery or from feeder nurseries e.g. SMILE. Parents are kept informed of the transition events and very much a part of the stage. Sharing the outdoor area helps children transition well from Nursery to Reception.
We also support the transition into Year 1 and Key Stage 1 for both the child and their parents. We prepare children for Year 1 with visits to their new class, meeting the teacher and ensuring that the environments are similar at the end of EYFS and the start of Year 1.
Impact
The impact of our EYFS curriculum at St. Mary’s School is reflected in having well rounded, happy and confident children who embody our school values and carry with them the knowledge, skills and attitudes which will make them lifelong learners and valuable future citizens.
We strive to ensure that our children’s progress across the EYFS curriculum is good from their varied starting points. We aim for children to reach the Early Learning Goals at the end of Reception and that all children are at least in line with National Expectations. We have consistently exceeded this.
Children will demonstrate high levels of engagement in activities, developing their speaking and listening skills, enabling them to access more areas of the learning and communicate to both adults and children. Children will develop skills across all areas of the curriculum including Literacy, Mathematics and Physical Development using these in different ways. Children will have developed a wider sense of the world around them and can draw on these experiences during interactions with others and link this to new learning. Children will have developed their Characteristics of Learning and be able to apply their knowledge to a range of situations making links and explaining their ideas and understanding. Children will be confident to take risks and be able to solve problems and work together with friends because of the rich and stimulating curriculum that has been put in place at St. Mary’s.
Children enter Key Stage One ready to begin the next chapter of the educational journey. They are equipped with a broad range of knowledge and skills that provide the right foundation for future progress through school and life.
Documents
Due to the size of the document we have published the Long term plan for Nursery via ISSUU. | https://www.stmarys-kl.cumbria.sch.uk/early-years-foundation-stage/ |
Excellent language skills are an essential requirement for performing well in education and research. Leiden University’s Academic Language Centre provides high-quality language courses for students and staff of the University, enabling them to engage optimally in reading, writing, listening and speaking about knowledge and expertise within academic communities in Leiden and worldwide. The language courses of the Academic Language Centre are also open to organisations and individuals who are not connected with the University.
Mission
Leiden University’s Academic Language Centre offers excellent language courses for learners with a higher education background. Active learning, blended learning and a communicative approach yield outstanding results and encourage participants to put the target language into practice in everyday situations at work, in their studies or in social activities. The language courses of the Academic Language Centre are primarily intended for the University’s own students and staff, but they are also open to external clients from the public sector, non-profit organisations and the private sector, and to individuals.
Language courses at the Academic Language Centre
- There are three types of language courses: group courses with open registration, custom-made training courses (individual or group) and acculturation courses.
- The classes are designed on the basis of a communicative approach, and cover both oral skills (speaking and listening) and written skills (reading and writing). Grammar is an important element, but it serves to support communication.
- The contact hours are intensive and involve a variety of learning methods. Where possible, participants also work on individual online learning assignments.
- Active learning is central to the process: participants play an active role in their own learning.
- The CEFR levels provide the guidelines for the four skills: speaking, listening, reading and writing.
- Each participant takes a test to determine their entry level before the start of the course.
- Group courses have no more than 18 participants, which encourages each student to take an active approach and gives the teachers the opportunity to provide sufficient individual attention.
- As far as possible, the language used within the groups is the target language.
- The precise details of the curriculum are determined partly on the basis of the group’s specific needs.
- All the teachers are university graduates.
- The Academic Language Centre collaborates with linguists from the Leiden University Centre for Linguistics to incorporate the latest research data in the language skills training.
- The Academic Language Centre also offers translation and interpreting services (NL-EN and EN-NL).
- Custom-made language services are always a possibility. | https://www.universiteitleiden.nl/en/language-centre/about-atc/vision-and-mission |
Our mission is to provide social services and programs that empower individuals and promote community respect and self determination for all.
JK Woodall Ministries has become a comprehensive aid to the community by delivering a network of social and educational services and activities. Our services and activities are driven by the purpose of:
Promoting healthy eating while reducing hunger and striving to understand and prevent the root causes of hunger.
Strengthening and Supporting Individuals and Families and Building Community
Preventing Violence and Crime, in the Community and in the Home
Empower the community to meet its own needs
Providing Job Training and Creating Job Opportunities
Helping Seniors stay Active and Engaged
Our Vision-
JK Woodall Ministries vision is to transform a Community Center into a state-of-the-art resource empowerment center, representative of the community’s greatest desires and objectives.
Our Values-
The values of JK Woodall Ministries are to continue to inspire and guide the staff, volunteers and community in the 5 following ways:
Engage and involve a network of community members.
Set high expectations and expect excellence
Hear the communities realized and unrealized needs
Shape the programs to meet them
Understand the diverse individual and cultural needs in our community. | https://jkwoodallministries.com/mission-vision-and-values.html |
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Welcome to Highpoint
Our Unique Approach
Our ethos is to take our clients on a journey and to provide the best support at each stage. This is through active listening, being flexible and responsive. We understand that each organisation has different needs, and adapt to suit each client. | https://highpoint-services.co.uk/ |
5 Characteristics of Effective Business Analysts
“Business Analyst” is not just a title. Is not a job. It is a mindset, a concept and a structured process executed by people in different positions inside an organization. It’s more like, an approach of making the things happen from the realization of business need towards the final implementation.
It’s easy to call yourself business analyst but difficult to be a good and effective business analyst. The field can be great fun, and very rewarding, but you need to be prepared. People who take on business analysis roles typically believe they need three things: skills and experience, a bit of marketing, and an interest in working in a variety of environments. However successful business analysts know they need much more than a technical expertise and specific skills. They need a mindset and a specific attitude in order to serve with the best possible and feasibly way their clients business needs.
What is expected from business analysts can vary widely. And what they actually need you to do can be completely different from what they expect. Business analysis is an exciting, dynamic form of work. You can have a positive impact on your clients and be well paid for your effort. But you have to be appropriately equipped.
To be an effective and successful business analysis you need to continuously develop some specific characteristics.
The first is technical depth. It’s critical that you have the technical background to satisfy your clients’ needs. This means you have experience in a variety of environments. The more breadth of experience you have in your technical area, the easier it will be to apply your skill as a business analyst.
Second, effective business analysts need to understand quickly and accurately what’s happening in their client’s environment. Your power of observation needs to be well tuned. Being able to listen carefully and patiently, observe the behavior of your clients, and make sense of what is happening is very important.
Third, effective business analyst care about the welfare of their client’s business and the clients themselves. You need to be able to put yourself in your client’s shoes and appreciate the difficulties they may be facing or have faced. While what you do may seem routine to you, it probably isn’t routine for your client. You need to appreciate that fact and behave accordingly.
Another important characteristic is emotional intelligence. Often clients will engage you because they’ve had substantial difficulties. They may have a skill shortage, or they may not be sure how to manage what you’ve been asked to deliver. All these conditions create stress. On top of that, you’ll be striving to learn as much as you can as quickly as you can, so you’ll be under stress as well. Dealing with all that requires personal emotional maturity and the ability to assess and deal with the emotional state of your client.
Also, you have to develop the observation and effective listening as a personal characteristic, make recommendations based on sound business judgment, and be patient. As trust builds, the direction your client provides will likely become more reasonable. Work out your contract. Understand your client’s needs and desires, and establish a good relationship with your contract manager, and you could put on your superhero costume to celebrate your success. Observation helps towards a really robust problem definition statement. So as you look at your problem-solving, and you’re getting ready to start pursuing that initial set of ideas, you need to go through that prioritization and pick the highest value one that’s going to have the biggest impact on your overall solution.
Business analysis is performed on a variety of initiatives within an enterprise. Initiatives may be strategic, tactical, or operational. Business analysis may be performed within the boundaries of a project or throughout enterprise evolution and continuous improvement. No matter their job title or organizational role business analysts are responsible for discovering, synthesizing, and analyzing information in order the best solutions to be derived and the clients’ needs to be accommodated in the best possible way. | https://www.batimes.com/articles/5-characteristics-of-effective-business-analysts/ |
In 1971, an estimated 3 million persons were living with cancer. In 2001, an estimated 9.8 million persons were cancer survivors. By January 2016, more than 15.5 million persons in the U.S. with a history of cancer were alive. The large number of persons living with cancer poses challenges for institutions and individuals to understand and address the physical, psychosocial, and economic effects of surviving cancer. After a cancer diagnosis, patients need support to manage care and achieve quality of life. Support, which considers the needs of the whole patient throughout the cancer journey, is termed supportive oncology care.
are informed and empowered by personalized care plans which are adjusted throughout cancer treatment and supportive care.
In 2014, the Coleman Supportive Oncology Collaborative (CSOC) was created to help improve supportive oncology care delivery across Chicagoland institutions. The Collaborative includes over 100 representatives from 30+: cancer treatment sites – academic, community and safety net, cancer support centers, and hospice organizations. The representatives/clinicians participate in design teams to improvement processes to deliver supportive care. These clinicians work together to implement consistent supportive care screening and alignment of services to support cancer patients. Efforts focus on helping survivors understand and access treatment; manage their ongoing physical and psychosocial issues; and engage in behaviors to optimize wellness.
During the last four years, the Collaborative has been very successful in achieving its objectives and enabling oncology care teams across ten hospital sites to identify supportive oncology needs and deliver supportive care. Having participated in process improvement efforts, sites are positioned to continue the focus on supportive oncology, while addressing a critical component of care i.e. empowering the patient / family to understand their cancer care. In 2019, the Collaborative is embarking on a new initiative, termed Coleman 4R Patient Care Sequences for Cancer and Supportive Care, to pilot an effective method to engage the care team to produce treatment plans with the whole patient at the center of care.
The Coleman 4R Cancer Patient Care Sequences is designed to build on the American Society of Clinical Oncology’s (ASCO) guideline outlined in the “Criteria for High-Quality Clinical Pathways in Oncology”. The guideline directed at providers, calls for comprehensive pathways – care plans that incorporate multidisciplinary care. While most clinical pathways are directed at providers, multiple National Academy of Medicine (NAM) reports call for providing all newly diagnosed cancer patients and their caregivers with an individualized multi-specialty care plan that the patient and care team can use as the roadmap throughout the cancer care continuum. Per NAM, the care plan should be updated as needed during treatment and shared by patient/family and the clinical team for optimal care delivery.
Notwithstanding these recommendations, patients rarely receive an individualized written plan at diagnosis that outlines what care they will receive during treatment, and in what order or sequence care events should occur. Through the Coleman 4R Cancer Patient Care Sequences project, the Foundation aims to address this matter at the institutional level with the patient being the beneficiary of the 4R approach. The 4R Cancer Patient Care Sequences project is intended to put a process in place that engages and empowers cancer patients with written care plans from diagnosis throughout the continuum of care. Cancer Patient Care Sequences will be developed and administered using the 4R model designed to provide the Right Information and Right Care for the Right Patient at the Right time. 4R is an innovative approach to facilitate personalized cancer care planning, as a vehicle to enable patients / families to better manage care, and to help care teams deliver “right” care to “right” patients at the “right time”, according to the care plan.
The 4R model is a patient focused approach that results in a personalized plan, which empowers the patient to self-manage care with input from the oncology team. The model helps patients understand and manage timing and sequencing of care events across specialties; and engage caregivers and families with the care team to understand ongoing care and plan accordingly.
Each identify two cancer types (either lung, breast or colorectal) and select oncology teams to engage in the creation and adjustment of treatment plans.
Inform staff of patient’s need for written care sequences/plans and educate staff on the 4R model.
Participate in working groups to further design/refine oncology processes, tools and training with a focus on patient materials and education.
Pilot, then implement patient written care sequences/plans at diagnosis, and update at transition points in care.
Implement written care plans/sequences at the point of diagnosis (using the 4R model) and implement updated care plans at key transitions in care.
Share practices between sites through collaborative working teams.
Develop and implement patient education materials to support understanding of written care sequences.
Measure impact of quality improvement of providing patients with written care plan, specifically the impact on (a) patient enablement and usage, (b) clinician satisfaction and effort, (c) impact on care timeliness and appropriateness, (d) financial impact of 4R.
Consistent patient care sequences provided to patients at treatment initiation and updated at specific points/transitions in care.
Improve patient ability to access and utilize oncology and supportive care that addresses their needs.
Enhance utilization of cancer support centers and other community resources across Chicagoland through integration in 4R care plans.
Data/Metrics available to support quality improvement and staff budgets. | https://www.colemanfoundation.org/what_we_fund/cancer/4r-patient-care.html |
Our Approach to Care
Our personalised care plans are shaped around each resident. From daily support with routine activities and personal care, to round-the-clock assistance and specialist care, our experienced team provide a sense of support that enables and inspires each resident to continue to live a meaningful life.
Care personalised to you
Our approach to care is centred around family values and we place great importance in working with families and friends as part of the caring process.
We aim to make a difference to the lives of each and every one of our residents, by providing the highest level of care and moments of joy, in a way that is personalised to meet individual needs, interests and preferences. Our residents have the freedom and flexibility to live the life they choose, with as much or as little support as needed.
Personalised care plans are shaped around the needs of each individual resident. From daily support with routine activities and personal care to round-the-clock assistance and specialist care, our care team provide a sense of support that enables each resident to continue to live a meaningful life.
Dementia Strategy
The Future Care Group is working with the University of Worcester’s Association for Dementia Studies to implement a new strategy demonstrating its commitment to providing high quality care for all residents living with dementia.
The Future Care Group has the mission of becoming a leading Care Homes Group in the UK focused on providing the highest standards of care based on the needs and choice of the individuals, offering an active lifestyle in a warm and comfortable environment for residents and staff while adopting innovative concepts for care.
Sue Roberts, Group Head of Quality and Compliance, said: “Providing moments of joy for our residents is at the heart of everything we do, because at The Future Care Group we understand how important it is to work alongside you and understand the person within. We are pleased to be working with the Association for Dementia studies on our strategy which is being implemented across all our homes and will have a positive effect on the well-being of all our residents.”
“We will have a positive effect on the well-being of all of our residents”
The Association for Dementia Studies, led by Professor Dawn Brooker, is a multi-professional university research centre with many years of experience in the field of person-centred dementia care and support. The Association delivers education programmes that empower people to provide skilled, competent and compassionate care.
Through research, education, consultancy and scholarship, the Association makes a cutting-edge contribution to building evidence-based practical ways of working with people living with dementia and their families that enables them to live well.
Our promise to you
As part of meeting the Care Quality Commission regulations and the CCG & Local Authority requirements, monitor and evaluate outcomes for our residents through effective auditing – observation, feedback and surveys.
Ensure our Dementia Culture statement and dementia audits are completed by our Dementia Champions and actions implemented to meet the desired outcomes and provide a high-quality care service.
Work in collaboration with GP`s, specialist dementia and mental health services, dentistry, pharmacy and local community services to offer a wide scope of advice, intervention, care and support.
Attend Provider and commissioning events to maintain current initiatives, trends and ideas in dementia care locally.
Home Managers to identify at least two Dementia Champions in each home who will take responsibility for improving quality and ensuring people within our care homes have access to a range of activities and social opportunities, including families.
Ensure our Residents have access 24/7 to drinks, meals and snacks which are nutritionally balanced and presented to enable the person with dementia to maintain optimum health and are presented in a professional manner.
Provide catering staff with the opportunity to plan and implement practical solutions to improve the mealtime experience and nutritional intake of residents by redesigning texture-modified food on a larger scale within a residential aged care setting. Use of Puree Food Molds designed to assist in improving the appearance of puree and texture modified meals for individuals with dysphagia.
Create environments that are designed to engage people with dementia; ensuring people are safe, comfortable and have space for privacy or to mix with others as they choose. Aligned to our dementia culture statement for in house decoration and destination areas with meaningful and appropriate furnishings, interior design and ornaments.
Ensure our Staff are trained in experiential learning and have an enriched level of understanding of dementia progression and outcomes.
Our Dementia champions will provide advice, practical and coaching support to our teams in house.
Support with ‘Purposeful Days’ and `Moments of Joy`; enabling people to make choices and take risks within a safe environment; helping them to retain their independence for as long as possible.
Employ staff that embrace our Values – Care, Comfort, Compassion and Credibility.
Ensure our Resident policies will reflect our Dementia Standard.
Click below to download our Dementia Culture Statement incorporating the 3 Standards. | https://www.futurecaregroup.com/about-us/our-approach-to-care/ |
Observation is a core piece of the assessment process and continuous quality improvement (CQI) planning. ECE professionals use observation to document a child’s learning and to inform teaching practices. But another reason for observation is to spark learning and development.
Interactions come first
Research shows that young children’s learning occurs best within relationships and with rich interactions. Children need stimulating and focused interactions to learn. Researchers find that boosting children’s thinking skills through quality interactions is critical to children’s learning.
“Children benefit most when teachers engage in stimulating interactions that support learning and are emotionally supportive. Interactions that help children acquire new knowledge and skills provide input to children, elicit verbal responses and reactions from them, and foster engagement in and enjoyment of learning.” (Yoshikawa et al. 2013)
Quality interactions happen when a teacher intentionally plans and carefully thinks about how she approaches and responds to children. Emotionally supportive interactions help children develop a strong sense of well-being and security. Responsive interactions are responses and communication with children that meet their needs in the moment.
Most interactions with children offer ECE professionals the opportunity to engage, interact, instruct, and exchange information that supports healthy development and learning. Relationships between children and teachers grow stronger during everyday interactions. As children gain new information and ideas, ECE professionals can encourage them to share what they think and learn. Deeper thinking and learning engage children in the joy of learning and help to prepare children for new experiences and challenges.
Observation nurtures relationships and learning
Observation helps ECE professionals look at their interactions with children, and discover how important interactions are as they get to know and support children. Observation is a way to connect with children, to discover their connections to others and to their environment. Children who feel cared for, safe, and secure interact with others and engage in their world to learn. They are more likely to gain skills, and to do better as they enter school.
Use observation for an objective view of a child. When you really see the child, you get to know her and see more of her abilities, interests, and personal characteristics. Knowing each child helps you to plan individualized and developmentally informed activities. Look at what the child does and says without evaluating or labeling.
Find ways to build each child’s self-confidence. Reinforce success and effort. He may not be successful in all things but he can learn from failure as well as success. Encourage persistence, curiosity, taking on challenges, and trying new things.
Strengthen relationships as you learn more about the child. Talk to her about what she likes, and discuss shared interests to connect with her. Take her moods and approaches to situations into consideration, and let her know that you understand her perspective.
Observe to engage a child with you, other children, and the learning environment. Set up the environment with activities and materials that appeal to him, address his individual needs, and support his development.
Reflect on observations to assess each child’s progress, understand her needs and personality, improve teaching practices, and plan curriculum. Put ideas into practice to enhance learning and relationships.
Verify questions and concerns about a child. Talk to families and staff about him. Follow up if development or behavior is not typical.
Be aware of the quality of interactions with each child. Step back and consider how and why you and other staff interact with her. Do all interactions nurture relationships and learning?
Make tweaks, or small changes, while observing and afterwards. If something doesn’t work, try another approach or activity instead of “pushing through” with plans. Reflect on why something didn’t work, brainstorm ways to improve activities, and think of new activities to try.
Use information from observations to inform program practices and policies. Take a broad look at how the program supports all children and learning. Use the information for CQI plans.
Make observation an ongoing practice, a part of all interactions and activities, and watch for small changes and individual traits. Ongoing observation offers a chance to be proactive, to prevent problems.
Take notes, either during activities or shortly afterwards. It is easy to forget the quick “aha” moments when you are busy with teaching and care tasks, not to mention all the unplanned interruptions that pop up! Notes also make it easier to identify patterns and growth.
Interaction, relationships, and connections offer the deepest support to learning. Observation connects many pieces of information to give ECE professionals a better picture of each child. Observation is an ongoing, integral part of a quality ECE program, and professionals play an important part. | https://townsquarecentral.org/keyword/planning/ |
Established in 1887 as a school for the education of American Indians, The University of North Carolina at Pembroke serves a distinctly diverse student body and encourages inclusion and appreciation of the values of all people. Located in the heart of Pembroke, N.C., UNCP boasts an enrollment of 7,500 in 41 undergraduate and 18 graduate programs and offers a personalized learning environment where faculty and staff are dedicated to engaged scholarship, high academic standards, creative activity, and public service. Spread over 281 acres, the campus offers a sense of community and belonging-–a place where faculty and staff feel supported, take pride in the university’s mission, and are devoted to excellence in teaching, learning and research, and to developing leaders who make a difference in their communities.
The Director of Career Services provides leadership and guidance for the Career Center with a mission to support student development and success by providing opportunities and resources for students to explore professional and career goals, participate in self-assessments, and develop skills that help prepare them for future careers. The Director of Career Services serves as the leader of the Career Center by managing the Center’s budget, four full-time professional staff, developing Center goals and assessment with their team, coordinating and planning career-related programs through the Center and on and off-campus partnerships, and maintaining policies and procedures.
The Director of Career Services is responsible for developing, implementing, and assessing programs that teach and encourage self-analysis and realistic career planning. This position serves as a major resource for students, alumni, faculty, staff, and members of the university community by building partnerships with stakeholders, employers, and faculty that promote experiential learning opportunities such as internships and student employment, to support student development, learning, and success. The Director will work with Career Center staff to enhance marketing strategies to encourage utilization of services. The Director will actively engage with campus and community stakeholders and employers to expand student opportunities for experiential learning and employment. In addition, the Director will maintain, enhance, and expand partnerships with Academic Affairs to identify opportunities for students to engage in internships and experiential learning opportunities that support student learning in their discipline. This will include developing a system to inventory and maintain information about internship opportunities. The Director will provide oversight for an on-campus student employment initiative. This will include maintaining Handshake, an online job search system to which on-campus positions are posted and developing and implementing an onboarding curriculum and training for student employees including but not limited to students working within the division of Student Affairs.
This position provides instructional leadership to the university’s effort to prepare students for diverse professions that meet the workforce needs of our area. The Director will develop and instruct a wide range of career development and planning educational opportunities in formal classes, group and individual counseling sessions, seminars/workshops, clubs/organizations, and local agencies. The Director will work with staff to provide individual and group career consulting and counseling to UNCP students (undergraduate and graduate) and alumni and participate in and/or present at various campus events to promote career planning awareness among students, alumni, faculty, staff, and guests visiting the university.
In addition to these duties, the Director will serve as an active member of various university committees, provide instruction, direction, and performance appraisal for professional and student staff, maintain the Career Center website and ensure ongoing access to a variety of career-related online resources. The Director will assess Career Center programs and initiatives and be responsible for reporting these assessment results to university administrators and others as needed. Other duties as assigned.
Minimum Training and Experience Requirements: Earned Master’s degree required with three years of professional experience required in career services.
Three years of experience in career and employer services or related experience required.
Knowledge of career development theory, application, and current trends.
Must have excellent supervisory, budgeting, communication, writing, planning, problem-solving, technology, leadership, team building, partnership building, and organizational skills.
Ability to seek innovative solutions to problems is expected.
Must be student-oriented and have a commitment to working in a team-based, collaborative environment along with the ability to work with a culturally diverse student population.
Management Preferences: Preference for those with additional years of experience and demonstrating progressive leadership and responsibility in the career field within higher education. Preference for proven record of successfully implementing, enhancing, and developing partnerships to build career programs including strong internship pathways.
Knowledge of student development theory, application, and current trends. Familiarity and/or engagement with career related professional organizations at a national, regional, and/or state level.
Special Instructions to Applicants: This position is subject to the successful completion of an employment background check. An employment background check includes a criminal background check, employment verification, reference checks, license verification (if applicable) and credit history check (if applicable). In compliance with federal law, all persons hired will be required to verify identity and eligibility to work in the United States and to complete the required employment eligibility verification form upon hire. New employees are paid only by direct deposit to the financial institution of their choice. Candidates claiming Veterans Preference must attach a copy of their DD-214 as a part of the online application process.
UNC Pembroke is an Equal Opportunity Employer. The University prohibits discrimination against qualified individuals based on their status as protected veterans or individuals with disabilities, and prohibits discrimination against all individuals based on their age, race, color, genetic information, religion, sex, sexual orientation, gender identity or expression and national origin. UNC Pembroke is a VEVRAA Federal Contractor and seeks priority referrals of protected veterans for our openings. | https://jobs.chronicle.com/job/37311273/director-career-services-484 |
Play It Forward Wake Forest
"Play It Forward Wake Forest" is an initiative by the Wake Forest Parks, Recreation & Cultural Resources Department's designed to encourage participation in the development of a new Parks and Recreation Master Plan. The effort urges all residents and visitors to provide input, ideas, solutions and support.
The Master Plan reflects the town's vision of a vibrant community that responds to the needs and desires of its residents, friends, and visitors for fun, healthy, exciting and diverse activities. The purpose of the plan is to look at where we are now, what the anticipated needs are for the future and how we can improve and upgrade our existing facilities and programs to effectively serve residents and visitors in years to come.
History & Background
Once every 10 years the PRCR updates and develops the long-range planning document called the Wake Forest Parks and Recreation Master Plan. We are currently undertaking an eight-month comprehensive process that will shape the direction, development and delivery of the town's parks, recreation and cultural resources system over the next 10 years - until 2025.
We are contracting with GreenPlay, LLC, to assist with the process. GreenPlay is a national leader in comprehensive park planning and has a strong reputation for being innovative while creating realistic plans that will allow the PRCR to continue to provide excellent services to residents and visitors. GreenPlay will inventory and assess the town's existing facilities and program offerings to determine how they can be updated, expanded and improved to meet the current and future needs of the community.
Project Scope
Community input is the cornerstone of "Play It Forward Wake Forest." Over the next several months, the public will have several opportunities to provide input in a variety of ways:
- Public Meetings & Workshops
- Wednesday, Sept. 3 - The PRCR hosted several focus groups and a public meeting designed to evaluate the town's parks and recreation services. During the focus groups participants were invited to weigh in on the extent to which Wake Forest parks and recreation facilities, programs and services meet the needs of the community. Attendees were also asked to offer input concerning the need for additional facilities, amenities, programs and services.
- Wednesday, Nov. 19 - GreenPlay will return to host a Youth Focus Group from 5-6 p.m. and a public meeting from 6:30-8:30 p.m. to report preliminary findings. Both sessions will be held at the Wake Forest Renaissance Centre, 405 S. Brooks St.
- Engage Wake Forest
- The Town of Wake Forest has created a comprehensive community engagement website, developed by MindMixer, to encourage public interaction and solicit feedback. Located at www.engage.wakeforestnc.gov the new site invites area residents to learn more about the Master Plan project, share new ideas, upload photos, expand upon existing ideas, and provide feedback on a variety of topics related to the project.
- Household Survey
- On Oct. 22 the Town of Wake Forest and RRC Associates will mail a survey to approximately 3,000 randomly selected households in Wake Forest. The survey will provide critical information in determining community values, satisfaction levels, needs and priorities and demographics for the town's long-range planning efforts. The data obtained from the mailed survey will be statistically summarized and used to inform recommendations within the master plan.
- Online Survey
The Town of Wake Forest is conducting an online survey to better learn about the community's desires for parks, recreation, and cultural resources. Your participation in this assessment will help form a vision for the future facilities, programs and services.
A draft Master Plan document will be presented for public comment as part of a community-wide open house in early 2015. The Parks and Recreation Master Plan public involvement has been designed to be inclusionary and transparent. Final approval is anticipated to occur in mid-2015.
Get Involved!
The Town of Wake Forest encourages you to "Play It Forward" by staying active in this process. Check this page often for information on opportunities to contribute to your parks and recreation master plan.
Draft Plan Available for Public Review & Comment
The draft PRCR Master Plan is now available for your review and comment: | https://www.wakeforestnc.gov/parks-recreation-cultural-resources/2015-prcr-master-plan/play-it-forward-wake-forest |
Position Description:
Wellist is seeking a Patient Support Liaison to be at the forefront of improving the lives of patients and caregivers as a key ambassador for Wellist’s Consumer Navigation Program. This position requires on-site attendance at our client hospital site in Boston, MA. Patient Support Liaisons are responsible for rounding on patients, connecting with RNs, and ensuring every patient receives a warm introduction to the Wellist program and enrollment in the platform.
This team member will work closely with our Client Success and Patient Support organizations. The Support Liaison will also work closely with staff at the hospital to ensure thoughtful and organized daily setup, distribution and storage of Wellist collateral (i.e. informational packets, signage).
Key Deliverables:
Delivers truly empathetic and empowering support to patients and caregivers
- Responsible for rounding on patients on-site to assist them with enrollment in Wellist’s program and the development of a personalized, non-clinical support plan
- Clearly and effectively communicates options with patients and caregivers; provides follow-up support if necessary
- Supports clients and those they serve with non-standard needs when they arise; delivers creative solutions to ensure all members are supported
- Facilitates connections between patients, Wellist and clients to ensure seamless experience across on-site, web and call center interactions
- Manages influx of patients, strong communication skills, being proactive, helping to manage environment, answering patient questions, and proactively engages others to ensure continuous improvement
- Communicates effectively across Wellist and client teams
- Quickly learns and adapts to changing needs, while always upholding Wellist values and integrity
- Captures best practices and metrics from the field to help identify opportunities for process improvement; shares challenges, learnings, and recommendations with Wellist colleagues
Position Competencies:
- Empathy: Able to understand and address evolving patient and caregiver needs throughout the patient journey
- Communication: Exhibits succinct and clear written and oral communication skills; capable of focusing on high impact messaging
- Resilience: Able to practice patience and the active listening skills required to provide patients and caregivers with necessary tools to enhance their experience
- Enthusiasm: Demonstrates a passion for the Wellist mission, and a commitment to improving the lives of patients and caregivers
- Safety: Able to adhere to CDC and client COVID-19 guidelines regarding PPE, sanitation and hygiene, and patient interactions
Additional Requirements:
- Authorized to work in United States
- Able to travel work on site at Boston based hospital.
- Must show proof of COVID -19 vaccination
- Conversational Spanish speaker (preferred)
- Some experience in a clinical setting (preferred)
- Ability to demonstrate proven track record of success
Other
- Flexible, full-time and part-time work arrangements available
About Wellist:
Wellist partners with hospitals that truly care about the patient experience to personally guide families to the support they need - from non-medical support services, to hospital resources and information, and personal social support. Our patient and caregiver engagement programs amplify the compassionate care delivered by front line staff to drive patient satisfaction, optimize staff productivity and address barriers to adherence across the care continuum.
Wellist’s outstanding contributions have been recognized by organizations including MassTLC (Most Innovative Technology of the Year – Healthcare), Rock Health (Top 50 in Digital Health honoree, Diversity Leadership), American Business Awards (Company of the Year, Silver Stevie – Health Products and Service) and BostInno (50onFire, Health and Medicine winner).
Why work here:
- A meaningful mission. Join a growing team that is making a difference in healthcare by improving the lives of patients and families.
- Interesting, diverse team members. Whether it’s book club, daily trivia or an international potluck, Wellist is an amazing community of caring people.
- Outstanding benefits. We offer excellent medical and dental insurance coverage, life & disability insurance, 3 weeks of PTO and a generous parental leave policy.
- Opportunities to develop your career. Learn from executives and expand your resume with a Series A stage healthcare company. | https://boards.greenhouse.io/wellist/jobs/5305132002 |
Given the rising expression of student anxiety, depression, and other emotional struggles, faculty and staff across campuses increasingly find themselves in supportive roles for distressed students. Dr. Irene Kraegel, director of the Center for Counseling and Wellness at Calvin University (Grand Rapids, MI), offered strategies for off-campus study leaders and new faculty at two CCCU summer events. We’ve compiled some of her guidelines as a resource for all leaders.
Levels of Emotional Distress (and What to Do)
Understanding the kind of crisis a student is experiencing can help you understand how best to meet their needs.
Level 1: Uncomfortable Emotions | A student is going through periods of sadness, anxiety, irritability, or social withdrawal, perhaps related to transitional stress, academic pressures, or relationship issues. While these fluctuations may be “normal,” they can be particularly distressing for a student with undeveloped coping skills.
What to do
- Engage in active and reflective listening, providing empathy and encouragement.
- Encourage them to seek support from peers and other campus supports.
- Make the student aware of available mental health resources.
Level 2: Intense and/or Chronic Uncomfortable Emotions | A student is experiencing strong, extended bouts of anxiety, depression, or social isolation, or they are exhibiting non-lethal self-harming behavior (such as cutting) or vague suicidal thinking (with no intent to follow through).
What to do
- Engage in active, reflective listening, and inquire about methods they are use to manage their stress. If you are concerned about safety, also ask directly if they are considering suicide. (If yes, go to Level 3.)
- Ask if they are receiving support from a counselor or other health professional. If not, encourage them to make an appointment (and offer to help them do so, if needed).
- Make note of the conversation, consult with your supervisor or department chair, and inform wellnessrelated staff on your campus.
- Follow up with the student to express care and ongoing encouragement to seek treatment.
Level 3: Danger to Self or Others | A student is expressing evidence of being a danger to self or to others, or has disconnected from reality and is exhibiting psychotic behaviors.
What to do
- Maintain a calm demeanor with the student, but engage appropriate emergency personnel immediately. Do NOT attempt to manage the situation on your own.
- Contact all appropriate parties as dictated by your campus’s emergency protocol.
But What Do I Say?
Sometimes the toughest part is starting the conversation. Here are a few guidelines that can help.
Getting the Conversation Going: Start with open-ended questions to give the opportunity to open up: “It seems like you might be having a hard time – can we talk?” “I’m concerned about your absences from class – how are you doing?” “Part of my role is taking time to check in with students – do you have a couple minutes to touch base?”
Keeping the Conversation Going: Use phrases that reflect thoughts and feelings and provide empathy and validation (“I understand why you would feel that – this is a busy and challenging time in your life”), and highlight strengths and supports you’ve observed (“You have many people who care for you”).
Offering the Next Step: When making a treatment referral, start by asking what they’ve done in the past, and be sure to normalize the help-seeking experience (“I know a lot of students find it helpful to talk to a counselor when they’re feeling like this”). If they express reluctance to seek help, explore their reasons nonjudgmentally (“What would keep you from talking to a counselor about these things?”) and provide both hope and support (“Could it be worth trying just one session to see what it’s like?”). Offer to help them make the appointment, if needed.
Things to Remember
Never promise confidentiality to a student, and remain within the boundaries of your role. Always be up front and honest about your reasons for concern with a student. And remember that good listening is the most important thing you can do – it may not feel like much to you, but having authentic connection with others goes a long way for all of us during times of struggle. | https://www.cccu.org/magazine/engaging-students-in-distress/ |
About Us:
We believe taking care of Americas aging population is not only a moral obligation but a true honor and privilege. With over 230 communities, we are striving to be the nations most trusted senior living provider. Our staff treats residents like family and serves them with the utmost integrity and compassion.
We are a certified Great Place to Work and we believe in not only making an impact in our industry but also with our employees. Our Benefits Plan is designed to recognize the diverse needs of our workforce with competitive medical, dental, vision packages, and a 401k with a company match. We also offer a generous paid time off for eligible employees.
Development is one of our highest priorities and we provide personalized training, both face-to-face and online, to ensure employees are prepared for their roles. Through our Learning Management System (LMS), all employees have access to state-required regulatory courses, professional development and soft skills courses, and Continuing Education courses.
We invite you to start a rewarding career and make a difference in the lives of seniors today!
Position Summary:
As an Administrative Coordinator, you will be responsible for providing excellent customer service to our visitors, residents, families and team members by generally being the first point of contact.
Responsibilities:
Answers phone and greet all guests in the community
Under the direction of the Executive Director, assists in compliance with all laws, rules, regulations, policies, and procedures within the community
Assists with coordinating new hire orientation and training / in-services for all team members
Coordinates and assists in the administration and the accuracy of personnel records
Additional duties as assigned
Required Qualifications
A minimum of one year of experience in customer service or an office support role
Ability to build and maintain relationships with potential residents and their families, provide excellent customer service and follow-up to assist with meeting our residents and their families expectations
The ability to work a full shift, come to work on time and work overtime as needed
The ability to work according to the necessary schedule to meet job requirements with or without reasonable accommodation
Preferred Qualifications
Previous experience as an Administrative Assistant, Front Desk Receptionist or Office Coordinator role
Exemplify and be an influential team player
Exude confidence and self-awareness
Engage personal style with strong interpersonal insight
Exhibit listening and communication skills
Possess good time management and organizational skills
Remain flexible and adaptable
Work harmoniously with other employees and develop/maintain good employee relations and employee morale
Uphold the principles of our mission: to enrich life through meaningful relationships and vibrant communities
Express compassion for residents, staff, and guests on a consistent basis
Engage others in fun and creative activities
Strive for excellence in all aspects of the job
Work with integrity in all interactions
Demonstrate humility
Enlivant provides equal employment opportunities for qualified individuals and does not discriminate in employment on the basis of race, color, national origin, age, disability or other prohibited bases.
Where required by state law and/or city ordinance; this employer will provide the Social Security Administration (SSA) and, if necessary, the Department of Homeland Security (DHS), with information from each new employees Form I-9 to confirm work authorization. | https://restorejobs.com/job/enlivant-administrative-coordinator-receptionist-2 |
Greater Birmingham Engage for Success network to share + learn + inspire, 30th April 2020
Facilitated by:
Fiona Anderson, Founder and volunteer & Ann Terry, volunteer
On 13th March we realised that our face to face network meeting scheduled for 17th March, was no longer appropriate, and agreed with our host, Hays HR, that the event should go online.
At very short notice my colleague and fellow volunteer, Ann Terry and I upskilled in zoom techniques and security, and offered on line conversations instead. Unlike webinars, the aim is to provide a safe space to have free flowing conversations.
Feedback has been so enthusiastic, so much so that since 17th March, we have been hosting fortnightly conversations. Participants have been invited to:
- Share employee engagement techniques
- Learn from each other
- Be inspired to take techniques back into their workplace
In mid April we recognised the need to Focus Forward, beyond lockdown. Here is a summary of the insights shared during our online conversations to Share + Learn + Inspire on 30th April.
The questions we explored:
What does this mean for employee engagement going forward?
Summary:
Recognising that economic needs and company survival may be prioritised over employee engagement, here is a summary of the key themes and behaviours for us to focus on for each of the Engage for Success enablers:
Strategic Narrative. Leaders:
- Navigate the new world, provide purpose, clarify direction and priorities.
- Embrace the behavioural changes needed for open and honest two way conversations to share reality of business performance and seek employee input.
- Share their feelings, seek to understand and respond to the emotions within their company.
- Grow business and personal resilience, by tapping into the human connections that have been achieved, involving people in developing solutions to survive and thrive (personal and company)
Engaging Managers:
- Identify the behaviours that contributed to the speed of transformation and thread these behaviours through new ways of working for self and team.
- Understand and respond to individual differences, wellbeing and needs.
- Trust staff to develop and implement solutions.
- Value outputs not hours at work.
- Value flexible working patterns.
- Align systems and processes to embed the new culture needed to survive and thrive.
Employee Voice:
- Encourage open and frank conversations, so your people can bring their best self to work.
- Demonstrate active listening, response and action.
Organisation Integrity:
- Enhance wellbeing, individual and company resilience by encouraging individuals to explore how their own life purpose and values contribute to the company purpose and values going forward.
- Develop a change in mindset and behaviours to focus on human connection and experience for employees and customers.
- Expand greater appreciation of differences, to achieve inclusion and equal opportunity.
Our approach is now being offered by other Regional Ambassadors and I am delighted to say that our conversations on 30th April attracted participants from across the UK. We were also joined by a participant from Turkey and one from Kenya.
To join in the conversations, you can find the details here. | https://engageforsuccess.org/tag-events/employee-engagement-beyond-lockdown/ |
The Art Specialist plays a crucial role in:
- Evaluating, preparing, and adapting art interventions to support our guests’ recovery process.
- Enabling guests to communicate in a safe environment and helping them reflect on emotional issues and gain confidence and self-awareness.
- Working with other departments to ensure all services and activities offered by Isuarsivik are culturally relevant and safe.
Purpose of position
Under the direction of the Inuit Values and Practices Manager, and the day to day supervision of the Culture Coordinator of Inuit Values and Practices, the Art Specialist is responsible for using various Inuit art forms to support the recovery program and contribute to our guests’ overall experience.
Essential duties
and responsibilities
Guests
- Selects appropriate media of artistic expression to assist guests in expressing themselves and processing trauma (painting, carving, music, singing, etc.).
- Maintains a supportive relationship with guests by providing them with a secure and stable therapeutic space.
- Explains the benefits of therapeutic art to guests.
- Communicates through art and art experiences to support the guests and facilitate positive changes in their behaviour, communication skills, and wellbeing.
- Addresses concerns and forwards them to the supervisor if needed.
- Ensures guests abide by House Rules and participate in the recovery program.
- Contributes to maintaining assigned guest files, records, and reports.
- Maintains guests confidentiality up to and including the destruction of records according to the Records Management process.
Facilitation Skills
- Manages art space and materials, and therefore also takes care of inventory and procurement.
- Encourages guests to experiment with a range of art materials such as clay, paint, ink, paper, sewing material and enables them to explore their artwork and the process they used to create it.
- Facilitates group discussion and activities around Inuit art and crafting.
- Constantly develops Inuit art knowledge by attending seminars, lectures, and workshops.
- Assists in the creation of program projects and delivers sessions to guests
- Ensures the guests understand the presentation/lecture and material.
- Observes and participates in group discussions and counselling with guests.
- Plans, implements, and participates in group activities.
Teamwork
- Attends daily clinical team meeting and provides feedback to other counselling staff.
- Completes the required incident reports and submits them to supervisors.
- Protects the privacy and personal information of staff and guests.
- Performs other related tasks and duties assigned by the Inuit Values and Practices Manager.
Qualifications
Education
- Post-secondary training in art.
- Post-secondary training in a discipline of social intervention (an asset).
Work experience
- Experience in the arts at a professional level.
- Experience in psychosocial intervention (an asset).
- Experience in group facilitation.
Knowledge and Skills
- Excellent verbal and written communication skills.
- Excellent critical thinking, judgment, and decision-making skills.
- Strong observation and listening skills.
- Ability to gain the guest’s trust, facilitate learning, and encourage participation.
- Ability to guide and teach guests thanks to an in-depth knowledge of Inuit art.
- Capacity to empathize with people who may have difficulty communicating their feelings and pain.
- Good knowledge of confidentiality requirements and ability to handle sensitive issues.
- Ability to remain calm in distressing and emotional situations.
- Knowledge of psychology, therapy, and counselling.
- Knowledge of Microsoft Office or related software (an asset).
- Personal and professional experience in a cross-cultural setting.
- Strong ability to work independently and in a team.
- Ability to work outside standard hours.
- Candidate must be willing to submit to a criminal records check.
Language
- Ability to read, write, and speak Inuktitut as well as English (mandatory).
- Ability to read, write, and speak French (an asset).
Work environment
- Isuarsivik is undergoing a major transition that requires flexibility, creativity, and adaptability.
- The incumbent must balance multiple demands and urgent requests from guests, staff, and partners.
- The incumbent must also be prepared to meet the personal and professional challenges associated with living in a northern, isolated community with limited resources.
Salary / Benefits
- Working conditions are based on Nunavik’s health and social services network.
- Salary will be determined depending on qualifications and experience.
- Probation period.
- Mentorship or training program available (if requirements are not met).
It is the Centre’s objective to favor and promote the employment of beneficiaries from one of the Inuit land claims agreements. Therefore, it is at the discretion of the Board to waive any of the qualification requirements and implement a training or mentoring plan if necessary. | https://isuarsivik.ca/job-postings/art-specialist/ |
Home - CTS Networks, LLC.
CTS was founded in 2003 with two main goals in mind. First, to provide quality technology solution and second provide dependable service.
Our diversified solutions continue to grow by following industry trends, improving our standard products, and listening to the customer feedback. Whether you need assistance with a complex BGP deployment, Global VPN solution, or help selecting an Internet T1provider, CTS is there to help.
We take great efforts to provide our customers with personalized, top quality service and support. Our talented and dependable staff will work with you to resolve your technology issue in a timely and professional manor.
We invite you to take a few minutes to review our current service and solution offerings. We would also appreciate any feedback or recommendations you may have. | http://ctsnetworks.com/ |
From our beautiful office in San Luis Obispo, our staff is committed to your individual attention and strive to provide personalized oral health care tailored to your unique dental needs and goals. We work hard to create the ultimate stress-free and comfortable dental experience. Your health and comfort are our top priorities, and we do what it takes to help every patient understand their symptoms and treatment options in a relaxed office setting.
We strive to provide a unique service in that we are very personalized, offering gentle care, one patient at a time. Our practice focuses on the patient's needs and desires, with plenty of time during appointments to ask and answer questions. Dr. Manning will guide you through a treatment plan that meets your comfort level and budget and then perform any necessary cleanings and treatment.
Feel free to contact our office with any questions. We look forward to making each visit our office a positive experience. | http://www.dentistsanluisobispo.com/ |
Job Responsibilities:
- Present personalized solutions that match the prioritized needs of the customer.
- Maintain product knowledge around our training programs and study abroad opportunities
- Proactively pursue new businesses, clients, and opportunities to add incremental revenue
- Leverage innovative sales strategies and forecasts short and long term pipeline business;
- Consistently demonstrate effective questioning and active listening; be able to clarify and prioritize customers' short and long term goals, needs, and challenges, and helps customers realize the risk of inaction.
- Present appropriate solutions and evidence to gain acceptance and move the call forward.
- Present solutions dynamically through features, advantages and benefits.
- Consistently gain acceptance and commitments for the next steps in the sales process.
- Effectively use resources and tools available to support your selling activities.
- Effectively adapt the Vecademy value proposition for different customer situations and articulate in a compelling manner.
- Capable of coaching colleagues to understand and articulate the value proposition.
- Demonstrates understanding of competitor capabilities and can differentiate Vecademy’s key offerings against them in a manner that drives sales.
- Exhibits ability to communicate with customers in a compelling and clear manner.
- Consistently responds to customers in a timely, concise, impactful and customer-focused way within 24 hours.
- Adopts an approach that is engaging and resonates with customers. Handles customer problems with professionalism and compassion.
- Effectively identifies relevant challenges/opportunities, concisely frames the details and collaborates with colleagues as needed on potential solutions.
- Uses learned knowledge, emotional intelligence and common sense when making decisions and engaging with customers and colleagues. | https://www.cameroondesks.com/2021/12/Job-Opportunity-Education-Sales-Representative%20.html |
Visit us in our store in Antigua and live the experience of getting to know the significance behind each and every Mayan symbol and how every symbol is used in Mayan culture. Below, we have a few samples of some commonly used symbols from the designers of our textiles.
In San Martin Jilotepeque, Chimaltenango, the Serpent represents the protection of human beings and serves as a guide on the road that we walk in life. The Serpent plays a very important role in Mayan Culture.
In San Pedro Sacatepequez, Guatemala this beautiful symbol represents the life of man: birth, growth, reproduction, and death as a union between two people that become one in the form of a branched tree. The fruits of this tree symbolize fertility and children.
The Lion of Wealth: “Good Luck"
From Nahualá, Sololá, this animal is seen as the ruler of the forest and represents a symbol of strength, power, and richness of life in nahual, one of the Mayan dialects. These characteristics of the Lion are also linked to good luck that manifests itself in different ways throughout our lives.
In Tactic, Alta Verapaz, the Butterfly represents freedom that an artist has when viewing a spool of thread before the weaving process begins and the pattern of the cloth unfolds. The same goes for life; while we might have our plans in how we want to shape our life, the path of life is free to take us wherever it wants like the Butterfly flying in the wind from flower to flower. | https://casadelalgodon.com/en/symbols/ |
Maya numbers are based around the number 20, so in Maya numbers , 20 is a 1 and a 0. So write a dot for the 1 and leave a gap below it. Then below the gap, draw a clamshell – the Mayan symbol for zero. To write numbers from 21–39, think of them as 20 plus something.
The Maya used the following names for their powers of twenty: kal (20), bak (400), pic (8,000), calab (160,000), kinchil (3,200,000) and alau (64,000,000).
The Mayan numeral system was the system to represent numbers and calendar dates in the Maya civilization. It was a vigesimal (base- 20 ) positional numeral system. The numerals are made up of three symbols; zero (shell shape, with the plastron uppermost), one (a dot) and five (a bar).
The first recorded zero appeared in Mesopotamia around 3 B.C. The Mayans invented it independently circa 4 A.D. It was later devised in India in the mid-fifth century, spread to Cambodia near the end of the seventh century, and into China and the Islamic countries at the end of the eighth.
Similar to the number system we use today , the Mayan system operated with place values. To achieve this place value system they developed the idea of a zero placeholder. The Mayan system is in base 20 (vigesimal) rather than base 10 (decimal). This system also uses a different digit representation.
The Babylonian cuneiform method of recording quantities, approximately 5000 years old, is among the oldest numeral systems in existence. They developed a base-60 (sexidecimal) system with numbers less than sixty represented in base-ten.
Maya mathematics constituted the most sophisticated mathematical system ever developed in the Americas. The Maya counting system required only three symbols: a dot representing a value of one, a bar representing five, and a shell representing zero.
So where we learn to count on our fingers, Maya children counted on their fingers and toes. The numbers above nineteen are indicated on the basis of their vertical position. The Maya used a vigesimal ( Base – 20 ) system, so each position is a power of twenty .
Two thousand years ago, the ancient Maya developed one of the most advanced civilizations in the Americas. They developed a written language of hieroglyphs and invented the mathematical concept of zero. With their expertise in astronomy and mathematics, the Maya developed a complex and accurate calendar system.
Pyramids were used not only as temples and focal points for Maya religious practices where offerings were made to the gods but also as gigantic tombs for deceased rulers, their partners, sacrificial victims, and precious goods.
The Mayan civilization is generally dated from 1500 BCE to 1700 CE. The Yucatan Peninsula (see figure 16) in Mexico was the scene for the development of one of the most advanced civilizations of the ancient world. The Mayans had a sophisticated ritual system that was overseen by a priestly class.
Beginning in the 6th century BC with the Pythagoreans , with Greek mathematics the Ancient Greeks began a systematic study of mathematics as a subject in its own right. Around 300 BC, Euclid introduced the axiomatic method still used in mathematics today, consisting of definition, axiom, theorem, and proof. | https://www.mundomayafoundation.org/mayan/mayan-number-chart.html |
The New York Times described the decipherment of the Maya hieroglyphs as “one of the great stories of twentieth century scientific discovery.” Tragically, this decipherment was only necessary because of a one-man Spanish Inquisition, a deliberate, decades-long campaign by a single Catholic priest to destroy the Mayan language and culture. The priest, Diego de Landa, wiped out all knowledge of the written language, and nearly destroyed the spoken language too.
Diego de Landa’s one-man inquisition perfectly illustrates the power of the Intolerance Meme, an idea that evolved in the Jewish religion a few centuries before the birth of Jesus, and was taken up with a vengeance by Christians in the third and fourth centuries AD. The Intolerance Meme declares that not only is Yahweh the only god, but in addition, anyone who worships other gods is committing a sin. The Intolerance Meme justifies all sorts of atrocities in Yahweh’s name: Murder, slavery, forced conversion, suppression and destruction of other religions, racism, and many other immoral acts.
This was Diego de Landa’s background when he discovered that many of his Mayan “converts” had actually incorporated the Catholic Yahweh/Jesus/Spirit, along with the various saints and angels, into their own traditional religion. When Landa discovered “idol worship” among some of his converts, he felt that his “children” had turned their backs on him, and his life’s work was a failure.
Being a good Roman Catholic, and a carrier of the Intolerance Meme, Landa was furious – he saw this as a betrayal, and started an inquisition that resulted in torture and death across the Yucatan region. He was determined to wipe out all knowledge of the Mayan religion, and saw the Mayan language and hieroglyphs as a key. Fifty years later, in 1699, Spanish soldiers burned a town that had the last school of scribes who knew the Mayan hieroglyphs. By 1720, not a single person alive knew what the hieroglyphs meant.
The Roman Catholic church’s response? They punished Landa. But not for murder, not for torture, and not for destroying an entire culture’s history. No, none of these things were worthy of the Church’s sanctions. Diego de Landa’s crime was that he carried out an inquisition without authorization.
It took over two hundred years, and an international team of linguists, anthropologists, archeologists, mathematicians, an architect, a few brilliant hobbyists, and one twelve-year-old child prodigy hieroglyphics expert, to undo the damage that Landa caused. Armed with their fierce determination and perseverance, they recovered the written language, bit by bit, word by word, symbol by symbol. Thanks to this dedicated group, the meaning of almost 90% of the hieroglyphs is now recovered.
As for Landa, he had to spend a few years under house arrest in Spain, contemplating his disobedience and praying. Once he’d done his penance, he was promoted to Bishop of Yucatan, and sent back to Central America where he lived out the remainder of his life.
Special thanks to filmmakers David Lebrun and Amy Halpern-Lebrun, who graciously agreed to be interviewed during my trip to the Red Rock Film Festival in Utah. I highly recommend their excellent film, Breaking the Maya Code. You can also watch the shorter one-hour Nova version online, courtesy of PBS and WGBH Boston.
Craig A. James is a writer, computer scientist, evolutionist, and movie producer. He lives in Southern California. | https://churchandstate.org.uk/2016/11/one-catholic-priest-destroyed-the-entire-mayan-written-language/ |
The scarlet letter and transcendentalism katy clayton espoused by the great transcendental thinkers civil disobedience, self-reliance, and nature this lesson takes a day and a half and will come the day after lesson three and our discussion on the symbolism in hester's scarlet. What is the significance of nature in the scarlet letter what are some of the ways in which hawthorne use aspects of nature or natural settings in the novel, and what do you make of these representations what do you make of hawthorne's character pearl. Pearl's twilight nature in the scarlet letter : emblem of sin or not even hawthorne can restrain himself in reminding us constantly about the symbolic and functional nature of this work will raise the question of pearl's true nature and examine whether her character in hawthorne's. In the scarlet letter, nathanial hawthorne made it quite evident that pearl was a very symbolic character as we know, following hester's act. Nature plays a crucial role in nathaniel hawthorne's 1850 masterpiece, 'the scarlet letter' as a leading figure in the american romantic movement.
Nature and the wild- scarlet letter (ch 17-20) though humanity can be punished and given punishment like the scarlet letter, nature will not listen the symbolism in the woods and nature describing sin continues to the end of the novel. The scarlet letter, written by nathaniel hawthorne hester has kept her symbol of shame, the scarlet letter without nature, the scarlet letter could not portray the story as much intensity or fervency as it could with nature. -hawthorne as a romantic writer = reveals the romantic belief in the beauty and sympathy of nature pearl has been the living symbol of the scarlet letter she looks like the letter this emphasizes the symbolic association of dimmesdale with hester's scarlet letter. In hawthrone's use of symbol in the scarlet letter we observe the author's making one of his most distinctive and significant contribution to the sun is also used as a symbol of untroubled guilt free happiness or perhaps the approval of god and nature the sun shines on pearl, even in. What might be the symbolic meanings of hester's new lifestyle does hawthorne use this symbol of nature to affirm their decision chapter 23: the revelation of the scarlet letter.
The rose bush at the prison door is an important symbol in nathaniel hawthorne's 1850 novel 'the scarlet letter' this lesson argues that the rose bush signifies hawthorne's romantic views of nature as passionate, beautiful, and free. Symbolic character names in the scarlet letter discuss the symbolism of the names dimmesdale and chillingworth the names dimmesdale and chillingsworth are symbolic to the nature of their personality and actions. The scarlet letter represents hester's adulterous sin the color red is symbolic of frustration and anger the red also stands out and that is what wearing the a is meant to do. Symbols, society and the individual hester prynne vs the puritan community nathaniel hawthorne's the scarlet letter seems to be created around hawthorne's obsession with the forbidding quality of the scarlet a, the symbol from which the novel takes its title. A brief study on the symbolic meaning of the main characters' name in the scarlet letter index terms the scarlet letter, symbol, symbolism, character, name i it seeks to discover the rational world hidden in nature and tries to create supernatural art.
She had wandered, without rules or guidance, in a moral wilderness: as vas, as intricate and shadowy, as the untamed forest (180) nature plays an essential part in this american romance novel by nathaniel hawthorne, the scarlet letter. Symbolism of the forest in the scarlet letter in the house of the forest is a symbol to epitomize free will in the scarlet letter by presenting the forest as a safe haven with no rules or individuals who the forest also brings out her personality because of her connection with nature. Pearl in hawthorne's romance the scarlet letter dan qin written in this symbol, all plainly manifest contact with nature which enables her to preserve her spotless soul from society's deleterious conventions and lies.
The scarlet letter: one evening, pulling the sleeping dimmesdale's vestment aside, chillingworth sees a symbol that represents his shame on the minister throughout the work, the nature images contrast with the stark darkness of the puritans and their systems chillingworth's. Famous novelists on symbolism in their work and whether it was intentional by lucas reilly in the scarlet letter there are four major characters some say that hawthorne meant those four to be nature, religion. The symbolic nature of the scarlet letter nathaniel hawthorne's the scarlet letter introduces themes within the story that recur in several settings and serve as metaphors for the underlying conflicts. A summary of chapters 9-10 in nathaniel hawthorne's the scarlet letter learn exactly what happened in this chapter, scene, or section of the scarlet letter and what it means perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. The scarlet letter symbols: nature/the natural world post in part of the book people start to see the scarlet letter as a symbol of hope and power that could this shows the purity of pearl and that she is a part of nature an opposite symbol is the town where it is all. | http://uzpaperfrka.ameriquote.us/the-symbolic-nature-of-the-scarlett.html |
The project for this new building presents itself as a box containing and telling the story of a group of Jewish kids, who were welcomed during the Second World War in Villa Emma, which became their shelter and their home for a couple of years.
The pavilion is conceived as an isolated and sculptural object that assumes a symbolic and representative value for the Villa itself. The concept that lies behind the design is the one of the «pavilion surrounded by green”, resulting in a clear structure distributed on one level that achieves a perfect integration with the green environment surrounding it.
The area where the pavilion stands used to be crossed by the kids to reach the center of the village of Nonantola from the Villa. In order to resemble that path, the pavilion is designed as a completely permeable space to be crossed.
Beyond the mirror
The aim is to create a space from where the Villa the place of memories completely visible. The facade is thus developed around the idea of transparency and reflection; it is entirely glazed and covered with films according to a progressive mirror gradient in order to maintain, physically and metaphorically, the visual connection with Villa Emma The pavilion becomes a filter more or less intense through which the historical memory can survive and be read.
The seasons of the kids of Villa Emma
The idea of seasonality plays the main role in the development of the concept; through the definition of a dynamic image that represents the march of time, the different times of the year have been displayed as the symbol of the seasons spent by the kids at Villa Emma.
The seasonal garden offers different types of plants: the garden and the courtyard are composed of a mix of evergreen, deciduous plants, shrubs and flowers with different blooming.
Consequently, each season is strongly characterised by different colors and shades, using the immediacy of color as a form of communication. Thanks to this concept the exhibition pavilion gives the visitors always a multiple and different image of itself, susceptible to the time changing the different points of view. | https://www.beta-architecture.com/davanti-a-villa-emma-fernweh-architettura/ |
Spiritual Meaning Of Raven
From dark messengers of death to blackbirds bringing tragedy, ravens have gained an undeserved reputation over time. We will discover, however, that at its origin the raven was considered a solar symbol and was differently perceived by the nomadic people.
According to a study comparing the customs and beliefs of many peoples, the symbolism of the raven in its purely negative form was accepted recently and almost exclusively in Europe.
Indeed, its appearance in dreams is not considered auspicious, and it evokes the fear that you will suffer misfortune.
It’s the blackbird of the romantics, flying over the battlefields to devour the bodies.
This concept seems to be recent and is found in India, where in Mahabharata, the ravens are compared to the messengers of death. And maybe in Laos, where the water touched by ravens can no longer be used in rituals.
Almost everywhere, however, in the Orient as well as in the West, the positive virtues of the raven are the basis on which its symbolism is built.
Therefore, in China and Japan, it is the symbol of filial gratitude; caring for one’s parents was considered the sign of a miraculous restoration of social order during the Han Dynasty.
In Japan, it symbolizes family love.
It is also a divine messenger and auspicious bird, as it was considered in the Zhou era (a Chinese dynasty that followed the Shang dynasty and preceded the Qin dynasty) – the harbinger of victory and sign of virtue. It’s true that the raven in question was red, not black.
In China, the raven is a sunbird. Ten ravens brought the light of the world, a symbol that seems to belong to Shintoism.
Myths & Legends
A symbol of perspicacity in the Making, the raven is the one who checks whether, after the flood, the earth begins to rise above the waters. In Greece, it is considered a solar symbol and is dedicated to Apollo.
A raven with three claws appears in the sun, according to the carved stones dating back to the Han Dynasty. It may be the one that animated the sun and possibly a representation of yang.
Similar to the tripod, the three claws (the emblem of China’s emperors) correspond to the symbol of the sun: sunrise, zenith, twilight.
The raven often appears in Celtic legends where it plays a prophetic role. Many toponyms contain its name. In Ireland, the war goddess Bodb is called the crow.
In fact, it plays a fundamental role in the Gallic tale called Ronabwy’s Dream. Owein’s ravens, after they were massacred by Arthur’s soldiers, react violently and kill the soldiers in turn.
The raven is often a subject of folklore. The Welshmen considered the raven a sacred bird. German mythology turns the Ravens into Wotan’s birds and companions.
In Scandinavian mythology, two ravens sit on Odin’s throne, one is Hugin – the spirit and the other, Munnin – the memory. The two ravens might represent the principle of creation, and the two wolves – the principle of destruction.
As a messenger of the god of thunder, the raven appears in the Maya tribes (Popol Vuh). Its roles as a guardian and guide are also seen in Africa.
The likuba and likuala tribes in Congo consider the raven a bird that warns people about the dangers that lurk. It may also be the symbol of loneliness, or rather the willful isolation of the one who has decided to live on a higher plane.
Moreover, it can be an attribute of hope, according to Suetonius. Alchemists have associated a phase of transmutation with the raven’s head.
In Native American folklore, there is an emphasis on this bird’s ability to metamorphose, symbolizing change. The spiritual healers conjure it in various rituals to clarify visions, because what is seen with the physical eye is not necessarily real, and the raven can provide clarification.
The Tlingit Indians on the Pacific West Coast consider the raven the central divine figure, the primordial demiurge, who spreads culture and civilization, adding a dynamic and organizing element.
READ MORE: Spiritual Meaning of a Pair of Doves
Raven Dream Meaning and Interpretations
It is said that dreaming about a raven means you will have negative thoughts that will mess your love life, but if you dream of killing this bird, then you will enjoy friendship, affection, and harmony.
A very big raven in your dream indicates a loss and dreaming about hearing these birds may predict sadness, a great misfortune, or the fact that someone plots against you. But, a flying raven generally represents a good sign.
According to the Romanian tradition, many ravens in one place indicate hunger and the possibility of having many shortcomings in your life.
In other traditions, a raven predicts a divorce or a death in the family. If the raven in your dream looks into your eyes, you will meet a man who is lying a lot and is always mean to others; this person may be a common friend or a colleague.
Dreaming about hunting a raven represents others’ hatred against you and the fact that no one will appreciate what you are doing.
Also, if you dream about a raven sitting on your shoulder, you will have a lot of bad luck, while dreaming it in your house indicates that the people who can not stand you will do their best to spoil your peace, especially within the family.
However, a raven that speaks to you in the dream brings good news because it is the equivalent of a spirit whose presence is auspicious.
A raven playing with a baby or a younger child may represent a warning to protect your children from diseases, and if you dream about a wounded raven, with broken wings, you will have to be patient because you are about to get a lucky chance. | https://www.insightstate.com/spirituality/raven/ |
In simple terms, stairs are structures built to bridge a vertical distance between higher and lower levels. It divides this big gap into smaller spaces through a series of horizontal platforms called steps, arranged diagonally to enable easy passage.
Its appearance and purpose are synonymous with levels and layers. As such, stairs are a symbolic representation of these concepts and the idea of ascent and descent.
Over the years, they have also gained powerful meanings in several cultures, which extend beyond their functionality.
What Does A Flight Of Stairs Symbolize?
From ancient traditions to pop culture, stairs have played various roles, such as a religious emblem or a status symbol. Here are the different meanings and symbolisms that have been linked with stairs over time:
1. Connecting Heaven And Earth
Stairs have been used by mankind since the early Stone Age, but the first aesthetically designed stairs were built around 10,000 BC as part of the Göbekli Tepe in Turkey.
This archeological pre-historic site is known for its tiered temple towers that are accessible only via a steep staircase. Other famous religious archeological sites, such as the Chichén Itzá or El Castillo pyramid in Mexico built by the Mayan civilization, also make use of steep stairs reaching up to the sky.
Through these significant pieces of architecture, stairs have been seen as the link between heaven and earth. Because of this symbolism, stairs were mainly used in sacred and important buildings during ancient times.
While they are now a common sight at present, this symbolism has been carried over in pop culture, such as the famous song from the rock band Led Zeppelin, entitled “Stairway to Heaven”.
Related Article: Meaning And Symbolism Of Waves
2. Challenges And Roadblocks
It can be challenging to climb stairs, especially steeply inclined ones or those with too many steps, before reaching the peak.
In general, the higher the staircase is, the harder it is to complete it, and you may even need to take one or two breaks in between. This experience is a direct metaphor for life. While a staircase always leads somewhere and thus represents your goal or destination, the journey will not always be smooth or fast.
You need to take each step with care and conviction, careful not to fall and start back at the beginning. At the end of the staircase, there is also a sense of accomplishment for going through all that and reaching the top.
Related Article: Meaning and Symbolism of Watches
3. Life Path Or Stages
Each step in a staircase can also represent the different stages in your life.
Like how you use a staircase, your path in life is not always going upwards. You need to go through ups and downs, and these experiences help you grow as a person. As such, visual arts have used stairs to communicate this symbolic journey through life. One example is the movie The Great Gatsby, where the staircase represents the characters’ past, present, and future.
When Gatsby, the main character, looks back from the top of the stairs, he sees a past he wants to forget. Meanwhile, when the secondary character, Nick, looks up at Gatsby and Daisy from the bottom of the stairs, he sees a future that he longs to have.
Related Article: Meaning And Symbolism Of Teddy Bears
4. Path To Knowledge
In works of art and literature, stairs have been used to signify a person’s path toward higher knowledge.
It also helps to visualize the journey that one must take to achieve one’s goals, including the challenges and increasing difficulty that comes with it. An example is the novel Mrs. Dalloway by author Virginia Woolf, published in 1925, which has a staircase scene that represents the main character’s life journey.
The act of climbing has often been used as a metaphor to represent the growth of human knowledge and the progress towards scientific progress. Reaching the top means getting a broader and clearer view of the world and a better understanding of one’s environment or circumstances.
5. New Beginnings
Stairs are typically perceived as a means to climb to new heights or move up in the world.
Someone standing at the bottom of a staircase would often look to the top and see the peak as the culmination of his goals and aspirations.
As such, climbing up a staircase could indicate the start of a new journey or the beginning of a fresh chapter in your life. It signifies transition and change at a personal level or an indicator of your progress on your way to reaching new heights.
6. Financial Status And Material Growth
The upward or downward path of staircases is also symbolic of worldly gains, successes, or failures.
This is why the metaphor “climbing up the stairs” is often used as a visual representation of leveling up or achieving a better status in life.
In business, the steps on a staircase represent the building blocks that lead a company to its significant accomplishments. The staircase signifies sequential growth, while the steps are the skills, capabilities, experiences, and opportunities taken to bring the company to its peak.
7. Enlightenment And Higher Consciousness
Walking up the stairs can be seen as an effort to reach a higher level of consciousness or awareness.
In the Hindu religion, the upstairs climb in a temple is symbolic of spiritual ascension or spiritual enlightenment. At the same time, the steps represent the individual stages you must go through to reach this goal.
In the film the Truman Show, a staircase is used in the final scene to illustrate the main character’s epiphany, a realization of his identity as a character in a play. This scene showed him ascending the stairs to what seems to be the afterlife, with the staircase ending up in a door leading to a new world beyond the confines of the story he grew up in.
8. Duality And Contradiction
A flight of stairs can be used both ways – going up or down, without making any changes in its structure.
At the same time, it is easily accessible and even offers convenience for able-bodied people, but it presents a big hurdle for people with disabilities. Thus, it can be both a passage facilitator and a passage barrier at the same time.
Because of these factors, stairs have also become a symbol of duality and contradiction. Even the language used about stairs has opposite effects or meanings, such as ascent and descent. Visually, staircases can be an object of grandeur and elegance or something that inspires fear and horror, and it has been used both in films and art pieces.
9. Death, Birth, And Resurrection
As the staircase signifies your life journey, its end symbolizes your life’s starting and ending points.
The bottom of the stairs represents your birth and the start of your life’s journey, while the last step stands for your death or the end of your journey. Each step in between symbolizes your experiences or the specific events in your life.
Where the road leads after you reach the top depends on your own faith and beliefs. For some, their life ends with death, while others believe in the afterlife or resurrection. In a sense, the end of the staircase can represent a gateway to another world or a way to depart from this world for good.
10. Power And Might
From a visual perspective, someone standing at the top of the stairs would seem taller, mightier, and more imposing.
They are standing in a superior position and looking down at those below them. With this, it can be deduced that those at the top of the stairs are deemed powerful, while those at the bottom are seen as struggling. As the staircase separates those with power from those without, it can also symbolize the divide between socio-economic classes.
This was evident in the Baroque times, where people of higher social status would build opulent and extravagant staircases to show off their influence. One example is the staircase at the Würzburg Residenz, designed by the famous architect Balthasar Neumann.
Conclusion
Stairs allow ease of passage from one level to another, but at the same time, they can also serve as a roadblock for people with physical disabilities. As such, stairs can symbolize your life journey along with its challenges.
At the same time, it also represents the duality and contradiction of being an enabler and a deterrent without changing its structure.
Aside from this, stairs represent birth and death, which everyone has to go through. Depending on your beliefs, however, the end of the stairs can mean the start of a new life, such as rebirth or resurrection.
It can also symbolize the path to enlightenment and the challenges one must go through to grow and improve.
Hi! I’m Jessica and I’m a Gemini. My spirit animal is the mighty barn owl. It brings me wisdom when I need it most and guides me through the darkness. Thanks for reading this article! | https://symbolismandmetaphor.com/symbolism-of-stairs/ |
A reflection on a book cover.
I have to say, I struggled with the cover design of book two of my series, Daughter of Odysseus: Searching for Ithaka.
I know book covers are important; they are the introduction to the book, the image and design that encapsulates the words within the pages. They can entice, inspire and fascinate. They can be truly illustrious or downright tacky.
I hope I don’t fall into the second category.
I ahhed and ummed about the final product and still do, to be honest. But I believe the book cover for Daughter of Odysseus: Searching for Ithaka, captures the story, its themes and motifs in vivid ways.
It is a cover rich in symbolism, from the owl sitting on top of the Greek column, to the mask floating within the waters of the sea; floating within the trail that represents the ship travelling and searching for home, for Ithaka.
Bird symbolism plays an important role in book two. Each part has a bird symbol: the cardinal, the owl, the peacock and the eagle. I chose the owl for the book cover because of its supernatural connotations, its association with the goddess Athena and its links to the concepts of Wisdom.
Athena was she who guided Odysseus throughout his journeys. She encouraged him, protected him, ensured he grew in wisdom and certainly stature. She transformed him physically many times, from a lowly beggar to a man akin more to a god.
The idea of Wisdom is also important. It is a theological and philosophical concept, appearing in the Old Testament through the Book of Proverbs, for example. Wisdom is symbolised as a woman calling passers-by to hear her voice, to discern truth and to walk in the paths of righteousness and justice. She is the opposite of Woman Folly and indeed is so important that the Bible says that she was with God at the beginning of Creation. Thus, Wisdom is associated with creation and her principles and laws can be found even in the lowliest of ants.
Although bird symbolism plays a key role, it does so in a subtle way, enhancing the theme and motifs of each part and giving us further insight into the life of Christine, the people around her and her journeys. The bird can appear at any given moment; in a painting, on a necklace, within the embrace of a lush forest:
From this scenery of pure loveliness, Christine caught a glimpse of a bird arrayed in the robes of heaven. She rubbed her eyes and looked again; sure enough, she could discern none other than a peacock standing erect; his dazzling cloak of feathers lying flat and encircling his body, his head with its shimmering blue upright and looking towards the bus, his coat of a hundred eyes that her ancestors would have seen as symbolising the ‘all-seeing God’—eyes that encapsulated the glories of the heavens above.
Such nobility, such grace, such confidence! This image of the peacock infused within her vivacity of spirit, mind and body. It inspired her to believe in her own self, to embrace the dignity and self-assurance that, surely, was buried deep within her and now ready to find fruition.
The column, of course, represents Greece. What could it represent otherwise? A land of crumbling ancient columns from temples dedicated to the gods and goddesses worshipped by my ancestors. Majestic structures of symmetrical perfection and aesthetic wonder. This is a book in Greece, about Greece, and ultimately the role Greece plays and has played in the history of humanity, as well as in the life of Christine. A mysterious land, multi-faceted, ancient yet intensely secular and materialistic. A world of pure spirituality and terrible moral corruption. A land of holy monks and not so holy people. A land rich in natural beauty, yet oftentimes full of people blind to this beauty.
The musical notes emanating from the trail of the ship, from within the deep recesses of the waters, symbolise the Sirens. The Sirens were water nymphs who, although bewitching to sailors, had the power to lure and destroy. It was their singing that held the power and that so entranced the traveller of the sea to forget their homes, their wives and children, only to be led to their death.
‘Woe to the innocent who hears that sound!’ Odysseus is warned.
Indeed, so powerful was their beauty and bewitching charm that Odysseus had to be tied to the mast in order to still be able to hear the Sirens singing. Of course, he begged to be untied upon hearing their voices, as he succumbed to feminine temptation and all its trappings.
There are metaphorical sirens in Searching for Ithaka trying to lull Christine away from her journey and from that which she is searching for. These sirens manifest themselves in many ways: through the people she meets, the moral corruption permeating Greece (and enticing her), the promises of pleasure and hedonism and materialistic superficiality. The temptation to not be who she truly is, to find a false Ithaka detrimental to her well-being and her soul. A temptation that leads to her spiritual death.
Parallel to these musical notes, on the back cover, is a golden mask floating menacingly in the waters. It is gold and shimmering and brilliant.
The symbolism of the mask is well-known: concealment, falsehood, illusion, disguise, deceit. There are masks all around Christine: on the people she meets, within herself, and ultimately, the mask she has created about the land of her ancestors, Greece. Masks that she must tear away and find the truth; masks that reveal a rotting body and a distortion of reality:
‘Look beyond the veil Christine,’ she could almost hear it say. ‘With Wisdom by your side, learn to see what others do not; tear off the masks of those around you—of the world around you. But most importantly, tear off the mask you are now wearing and look deep into your own self.’
A Book Cover should never be just a pretty picture or an afterthought. It must capture the story within and in a sense, be its own story. I hope I have achieved this.
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To find out more about me, go to 'About'. You can also follow me on Facebook: | http://www.vasilikim.com/blog/the-story-behind-the-image |
Following the “Metamorphosis” exhibition, The Blender Gallery hosts for the second time a solo exhibition by Dimitris Ntokos entitled "Alphabet". This new line of artwork includes 26 wall pieces with the characteristic hieroglyphic designs of the artist, presented in a more "individualistic" way, as well as floor sculptures that create an imposing play of shadows. The visitors of the exhibition will have the opportunity to enjoy a street art installation in the venue, accompanied by an audiovisual recording of the artsts’ 'journeys”.
Dimitris Dokos was introduced in the Greek art scene as a street artist deeply influenced by the symbols of ancient Egypt, firstly with the motif of the scarab and then at a later stage with the hieroglyphs that take over his compositions. One can discover his art by chance, when a shop owner in the center of Athens closes his business’s shutters, at the basketball court in Kifissia, the floor of which is “occupied” by a huge mural or whilst driving a countryside road on the side of which an abandoned or burned car with symbols on it lies. His art is also found in foreign countries on the walls of abandoned buildings in Berlin, Belgium and Italy.
The artist works mainly with acrylics and oils in bright colors. What is striking is that most of the symbols are not repeated on the surface he has chosen to work on, be it a canvas, a car, a wall or a mirror. One symbol follows the other, therefore unfolding a mysterious papyrus, a cryptic letter, a coded diary the symbols of which are interpreted through the eyes of each viewer.
The peculiarity of Ntoko’s new series is that each ideogram is isolated in the square composition of the canvas, in contrast to previous series where the ideograms flood the surface, one after the other. Those who have been following Ntokos since the beginning of his career experience a shift of focus from the story to the letter. As if looking through the magnifying glass at his older works, the viewers are invited to look thoroughly at the form of each letter, at the details of the original "texts". They find themselves observing the very beginning of Dimitris Ntokos’ linguistic labyrinth. With the works placed next to each other, in horizontal but also vertical arrangements, the space of The Blender Gallery functions as a "Tabula Rasa", where the artist’s new collection unfolds on the walls, mapping a new viewing path / text line for the “reader” of his works.
Through his new exhibition "Alphabet", the artist turns our gaze to the "beginning" of his characteristic artistic identity and reveals to us that each of the symbols is a letter and that its alphabet consists of 26 letters. There are alphabets with more letters, with different characters, with a strange writing direction, with specific ways of imprinting, even particular writing tools. But there are also alphabets like Ntokos’ hieroglyphs that are not decoded. Each representation hides a letter from the Latin alphabet without expressing a note or a syllable. Whether each of them represents a whole concept, retelling a story, remains an open question.
Dimitris Ntokos (b. 1984) lives and works in Athens. He is a graduate of the Department of Graphic Design and Architectural Design where he has worked for six consecutive years. Since 2011 he has participated in solo and group art exhibitions around the world. In 2017 he was a speaker at the Art History Week held at the College of Athens, while his last solo exhibition was in 2019 in Palermo, Italy.
Dimitris Ntokos takes us on a journey back at the beginning of his linguistic labyrinths. | https://www.theblendergallery.com/exhibitions.php?article=46&ALPHABET=&lang=en |
In the last week of April, I took a tour from Cozumel to the Yucatán peninsula to visit the ancient Mayan archaeological site, Chichen Itza. Even though each way took three hours because of a ferry ride to the mainland and a shuttle service, it was well worth it.
Chichen Itza (At the edge of the well of the Itzaes) used to be one of the main Mayan cities. The site was settled largely in its present location because of its close vicinity to two cenotes, which are accessible areas that lead to underground pools of water. The site is historically significant due to the synthesis of Mayan and Mexican architectural stylization. The stonework and hieroglyphs on the buildings were painted with local colors, some residual colors can still be faintly seen.
The Kukulkan Pyramid or El Castillo is the iconic, large pyramid that attracts millions of tourists each year to learn about Mayan history and culture. Recently in 2017, it was established as a Wonder of the World. Although tourists are no longer able to climb up the stairs of El Castillo, the site is still impressive. A quirky feature to El Castillo is that if a group of people clap before it, the sound of a squawking bird will echo back.
Temple of Warriors with its many columns and a statue of Chacmool, where human sacrifices occurred.
The Observatory is a tower with a circular staircase that is thought to be used by the Mayan people to study astronomy.
When I visited a few days ago, the temperature was beyond 90 degrees Fahrenheit It’s important to frequently drink water and apply sunblock. The ideal time to go is in the morning because the site will be overwhelmed by tourists in the afternoon. I heard the site was commercialized, however I was stunned by the persistent vendors that lined many main pathways on the outskirts of the site.
Don’t forget to taste Xtabentún, a local liquor made from honey and anise seed. | https://asmalladventurer.com/2018/04/30/chichen-itza-a-slice-of-the-mayan-world/ |
They meet; they pledge their love; they elope; they commit suicide. The storm can also be seen as a raging warning against the plotter's devious plan to murder their leader. Weather and the Seasons Shakespeare employed the pathetic fallacy, or the attribution of human characteristics or emotions to elements in nature or inanimate objects, throughout his plays. One way a writer could keep his tongue was to use symbolism. She moves away from the town, but remains near. The company s leаdershіp іs one of the old ones аre aссeptablе.
Roses held a special meaning in Elizabethan thought, beyond merely beauty or romance. When you're overweight and more fruits and vegetables. He married the heiress-daughter of landowner Robert Arden, from a well-known family of minor gentry. Fortunately, theгe aгe ѕοme vегy potent antioxidants withіn grееn tea that promotеs іncreased metabοlism and fat buгnіng propеrties. The love is expressed not only through his admiration for the winter season, but also through the last lines of this poem. If circumstances lead me, I will find Where truth is hid, though it were hid indeed Within the centre.
Second, the powerful emotion, passion, love, and beauty on display in Shakespeare's plays stand for all of the noble aspects of humanity that have been sacrificed by the World State in its effort to make sure all of its citizens are always happy. Light and Darkness One of the most often repeated image patterns in the play involves the interplay of light and darkness. I am a certifiable Language Arts teacher, working in education, social services, and mental health. Was he or was he not to be…a Freemason? But for our young lovers, the nighttime itself is an important motif as well. To find a suitor with similar values for Portia, he devised a contest.
The movement had a deep impact on literature. He loses Portia's hand and is told 'All that glisters is not gold, often have you heard that told. The ingrеdients in these tablets perform thе еssentіal functions incгeaѕing thе body's mobility of fat and pushing up metabolic rate. Taming of the Shrew, Act V, s. By examining the structure, symbolism, and imagery of this piece, one can better understand why Shakespeare remains one of the best writers of all time. Lesson Summary In his play Julius Caesar, Shakespeare uses symbols to express multiple ideas at once. Symbolism is when a writer uses one idea to stand for another.
Imagery, the art of making images, the products of imagination. For example, the Naziad swastika, which is a symbol of the Nazi Party, can be used as a symbol for evil, death and genocide. In this way, the reader is held by the quality of work, the unique sounds and images that the words create. The use of symbol is popular among the poets as it lends charm and significance to a piece of poetry. A graduate of the University of Pittsburgh and St. They, the witches, shall meet again when the king has been done away with. According to Elizabethan astrology, a cosmic order determined the place of everything in the universe, from planets and stars to people.
And secondly, because I find Merchant of Venice, a simple play with subtle complex ideas. This includes the symbol of death. It is significant that the story starts out right in the yard, which shows how important it probably is to Mama. He is persistent in trying to make sense of what has happened to the world. Traditionally, roses signify romantic love, a symbol Shakespeare employs in the sonnets, discussing their attractiveness and fragrance in relation to the young man. Shakespeare then glorifies sleep as he considers it to be the great healer of life. The garden is described by Hawthorne in such a way that the reader can almost picture a garden that is alive with vibrant colors and an array of flowering plants and shrubs.
He tells Hamlet that he must get Claudius for what he has done which makes the spirit the drving force behind Hamlet's revenge to kill Claudius. In a way this yard represents freedom for Mama, as it is the only place where she can get away and maybe forget for a second about her difficult hard-working life and many negative events of the past. False Love - It is hard to say who had true feelings for another person in the play becasue emotions and moods changed so often with different situations. To prove thеiг effеctivenеsѕ and possible sidе effects. Othello also claimed that the handkerchief belong to her late mother. Macbeth held such potential for himself. Technically Juliet stabbed herself, but that never would have happened if not for the sleeping potion.
Many sonneteers resort to employing fate, symbolized by the stars, to prove that their love is permanent and predestined. An analysis of these, in my book reveals that their placement is not a casual matter but clearly predicated by Masonic considerations of a very exact and specific nature. Watchіng ωhаt you еat and the numbеr of lеukemia cellѕ in the body that you want to losе fat. Ghost of his father's spirit - The spirit of his father is the main cause behind the plot of this story because he tells Hamlet of what has happened to him which causes Hamlet to do most of his actions throughout the play. Herе is my web site - Anonymous said.
Cambridge: At the University Press, 1962. The symbols used in his earlier poems are elementary and cause no obstacles in the way of the readers. Shakespeare uses this imagery and symbolism so that the reader may gain a deeper understanding and feeling for the happenings of this tragedy. The still exists and continues to approve coats of arms to this day. Eyes are commonly depicted as the medium through which love flows. The song lyrics are about man and woman who are unfaithful to each other. | http://roundtaiwanround.com/shakespeare-symbols.html |
Freemasonry is steeped in history with influences from the Middle Ages of Europe and the mathematical world found in their intellectual works of art.
The single most recognisable symbol of Freemasonry is the compass. It serves as a reminder to stay in the bounds of all humankind as loyalty to the lodge. It is also a symbol of geometry, which has a central place in the art of Freemasonry.
The Acacia tree has a rich symbolism, with spiritual and occult significances. Parts of the plant are used for their psychoactive properties in ritual practices. The Acacia was a plant found in abundance in biblical passages and in Jerusalem. There are religious references to this plant as a holy wood, and is used in Freemason art as a symbol of the soul’s immortal nature.
The Beehive is a rich symbol. It represents hard working and organised effort of a collective as well as the harmony of subservient labour under an authority or king. This resonates with the very hierarchical nature of Freemasonry.
Another mathematical symbol employed in Freemasonry is the 47th problem of Euclid. Euclid reportedly played a significant role in the growth of the fraternity in Egypt. Some Masonic books describe the symbols as an affection of the sciences and arts a special harmony.
Symbols are also used regularly in online casino games (such as ones found at 247casinoapps.org), the most common symbols being horseshoes, diamonds, spades, hearts, and a Liberty Bell.
Ashlars are large square-shaped stones that are used in Freemasonry as symbols of the present and the future. They remind each individual Mason to evaluate themselves and their behavior so that their path within the institution will be honourable.
The last symbol referred to here is the all-seeing Masonic eye also referred to as the Eye of Providence. It is a symbol for God and represents the total knowledge of the deity over all human affairs. | http://minervalodge.co.uk/freemasonry-symbolism/ |
Analysis of Cummings’ Poem I Carry Your Heart with Me
Have you ever met someone whom you feel you are in love with? Cumming published a poem that explains how heartfelt and fervent a special connection between two people can be. In 1952, Cummings published the “i carry your heart with me.” His use of parentheses and grammar astonished the public and gave a uniqueness to his writing. This is because his poetry defied the rules of the language of his century. Cummings wrote “i carry your heart with me” to advocate the beauty and unity of love to his readers.
Having a clear apprehension of the poem’s plot will is imperative to understanding Cumming’s purpose for writing “i carry your heart with me.” The poem is about two people, the narrator and his lover. Throughout the poem, a conversation is being held between the two lovers about their everlasting devotion for each other. In the first stanza, the narrator tells his beloved that he will always carry her in his heart. “i carry your heart with me (i carry it in/ my heart) i am never without it”. In this quote, the narrator is describing how his love for his partner runs so deep that he always yearns to be with her. He wants to hold her close to his heart, so he will never lose her. The lovers then express how they are equivalent to the world to each other. “i want/ no world(for beautiful you are my world, my true)”. In this quote, the narrator and his beloved continue their conversation. They compare each other to “the world.” This is significant because they are stating that their love is so potent for each other, they mean everything to each other. Their conversation then shifts to how their love, and love universally, is the foundation of life. Cummings ends his poem with the same line he started with. “i carry your heart(i carry it in my heart)”. This is noteworthy because it brings the reader back to the basis of the poem, that love is infinite.
Cumming’s genius use of language engages the reader to a finer basis on the unity of love. This is most notable in his use of parentheses. He uses parentheses after the narrator makes a statement. The reason for that is to show a conversation between the relater and his lover. “i fear/ no fate(for you are my fate,my sweet)”. In this quote, the narrator is revealing a personal fear and his lover comforts him by informing him that he is her fate. This quote shows the unity of a strong love because it represents that love can overcome challenges. In this quote, Cummings uses parentheses to show communication between the soulmates. Cummings also purposely wrote his poem using a lack of space between his clauses. He does this to show the symbolism of how love unites two people. This point is also supported by the fact Cummings uses the uses of parentheses to show a conversation between the speaker and his lover.
Analyzing the symbolism and theme within “i carry your heart with me” will assist in the understanding of how Cummings interprets love as a source of unity for eternity. Cummings incorporates the typical, romantic “sun” and “moon” reference into his poem. The “sun” and “moon” symbol represents how love will never die and will last forever. “and it’s you are whatever a moon has always meant/ and whatever a sun will always sing is you”. During this quote, the speaker tells his soulmate that she is everything to him. This quote exemplifies the symbolism between the “sun” and “moon” because it represents how their love will never fade. The sun will always be the center of the solar system and the moon will always revolve around the earth. Cummings uses symbolism by using their love to represent the “sun” and “moon” and how it will never end. In “i carry your heart with me,” the symbolic reference that love is the key to the foundation to life is shown when Cummings states, “(here is the root of the root and the bud of the bud/ and the sky of the sky of a tree called life; which grows”. The narrator brings up a symbolic reference to the “tree of life.” In this “tree of life,” the buds represent the coming of life and the top of the tree represents where we will end up in life. Love plays a role in the “tree of life” because it makes us who we are as we are gradually venturing to our journey’s end. This correlates with the theme of love being everlasting. This is mainly because even from the “bud” stage to the “sky” stage, love travels with us the whole time. It shapes us into who we are.
In 1952, Cummings published a poem that would open the eyes of the public to how ravishing love can be. It told the story that love can unite two people together and will last for an eternity. The purpose of Cumming’s writing “i carry your heart with me” was to inform his readers of what being in true love feels like. Apprehending the plot, use of language, symbolism, and theme of “i carry your heart with me” aids the readers in analyzing the poem’s meaning. Cumming’s poem “i carry your heart with me” is sure to touch the hearts of his readers with the deep, emotional references found within it. | https://literatureessaysamples.com/analysis-of-cummings-poem-i-carry-your-heart-with-me/ |
A Discussion on Terminology:
When I was making the videos this week, I quickly found myself using some terminology that may be unfamiliar to you. Here are some of the terms I want you to be familiar with:
Observations/Variables
First, lets talk about observations and variables. Observations are just individual data elements (datum) in data. They could be individual experiments (imagine coin flips), which is how they got their name. They are an instance of something happening. Variables are bits of information we have for each observation. Variables can also be called features.
|Variable 1||Variable 2|
|Observation 1|
|Observation 2|
|Observation 3|
Continuous/Categorical
Some variables are continuous, and some are categorical. Imagine a variable that contains the result of a coin flip. Lets call that variable flip. Flip could equal 1 for a head, or 0 for a tail. It’s important to note though, that for categorical variables, heads isn’t ‘greater than’ tails, just because 1 > 0. It’s also important to note that the distance between a head and a tail isn’t |1-0| = 1. Categorical variables don’t have any ordinal properties. They’re just labels.
Independent/Dependent variables
When we’re building models, we typically care to try to predict some dependent variable, based on the independent variables in the dataset.
Independence is pretty rigorously defined. Simply though, if A and B are independent then P(A,B) = P(A) * P(B) and P(B|A) = P(B). In real life, it’s really hard to know if A and B are truly independent, and we have to make assumptions about those variables. Careful though, A and B are dependent, and both find our way into our model, that’s called collinearity. If you have too much collinearity in your dataset, you’re going to have a bad time. We will talk about that more later.
Lets put this all together in an example:
|obs. num||bedrooms||basement||price|
|house1||3||1||200k|
|house2||2||1||150k|
|house3||3||0||180k|
In this dataset, there are two independent variables (bedrooms and basement) and three observations. Basement is categorical. The dependent variable would be price. | http://bernico.net/tag/uis/ |
What can we use to predict the value of a home? Some factors are easily quantifiable, such as number of bedrooms and square feet, while others are hard to find and harder to quantify, such as the amount of sunlight that illuminates the kitchen on a Saturday morning.
Using R, a statistical programming language, I looked at 48,526 records of single-family houses and 19,453 condominiums sold mostly in Massachusetts over the past twelve months, and checked correlations1 between the sale price and various data points available on their listing sheets.
The property’s location, measured by zip code, had the single strongest relationship to the final sale price. This gives credence to our mantra “Location Location Location!”
|Zip code||Bathrooms||Rooms||Square feet||Bedrooms||Garage spaces||Central air?||Lot size||Lender owned?|
|0.73||0.63||0.54||0.52||0.45||0.32||0.31||0.02||-0.13|
(Significance: p-value < 2.2e-16).
Limiting to just parts of the Boston area2, the strongest relationships are number of bathrooms and zip code. Garage spaces and lot size jump in importance, highlighting how those are not taken for granted in this area. Surprisingly, the age of the house did not have a linear relationship to the sale price.
|Bathrooms||Zip code||Rooms||Square feet||Bedrooms||Garage spaces||Central air?||Lot size||Age||Lender owned?|
|0.73||0.72||0.63||0.51||0.51||0.42||0.35||0.31||0.0||-0.07|
(Significance: p-value < 2.2e-16, except for age p-value = 0.8528, and lender owned p-value = 9.395e-05).
Okay, so can we use these to help predict the value of a particular house? Using the strongest factors, I was able to build (with help from my sister, thanks Elana!) a linear regression model which predicts 86% of the variability in price. (R-squared = 0.862)
Only 86%? That’s actually not bad as far as these things go, but it does leave a lot of unaccounted for variability in the sale prices. That’s where those harder to quantify factors come in. Was the kitchen updated? Is a bidding war expected? Is there a lot of clutter? Are the sellers in a rush? Why is there a replica of the Manneken-Pis statue in the backyard? (-0.45…just kidding)
This is why site unseen estimates that you find online should be considered only as starting points. An experienced REALTOR® will consider a range of factors such as these and may consult multiple models when advising you on the the value of your home, or a fair offer price for a property you wish to buy. Email me at [email protected] to learn more.
1. What do those correlation numbers mean? A correlation coefficient measures the statistical relationship between two variables and runs from +1 to -1. A positive value means that as one variable (eg. square feet) increases, so does the other variable (eg. price). A negative value means that as one variable increases (eg. crime rate), the other variable (eg. sale price) decreases. A value of 0 means that there is no linear relationship (eg. house color and sale price.)
2. Boston, Brookline, Cambridge, Somerville, Medford, Newton, Waltham, Watertown, Natick, and Wellesley.
3. Data set includes 46,808 records from Massachusetts, 896 from New Hampshire, 664 from Rhode Island, 142 from Connecticut, and 2 from Maine, for single-family homes sold in the past twelve months.
Coming soon: Using these statistical models, Phil Ganz (a top-rated Boston-based mortgage broker) and I are developing an innovative search tool to help prospective buyers identify homes. It’s still under development, but I’ll let you know when it’s ready for testing!
Previous reports: In previous reports we’ve discussed market performance in 2015, seasonality, and price-to-rent ratios.
Questions? Email me and let's set up a time to discuss your real estate needs.
AVI KAUFMAN is a top broker who lives in Brookline, Massachusetts and works there and surrounding communities, assisting buyers and sellers of residential property. He is building a unique practice dedicated to serving the best interest of his clients - see how he's different. | http://blog.avirealestate.com/reports/2015/08/26/housing-prices-correlations.html |
Tutor profile: Rachel B.
Questions
Subject: Psychology
Your company is developing a new drug that is claimed to lower heart rates. To test the effectiveness of this drug you collect a simple random sample of adults and randomly assign each to either a placebo group or the drug group. What are the null and alternate hypotheses in this study? Identify the independent and dependent variables.
I know that the null hypothesis states that there is no difference between the groups. Applying that to this specific study, I would say that the null hypothesis states, "The average heart rate of the drug group is not significantly different than the average heart rate of the placebo group." The alternate hypothesis, on the other hand, states what I predict will happen. Again, applying this to the specific study, I would say that the alternate hypothesis states, "The average heart rate of the drug group is lower than the average heart rate of the placebo group." An independent variable is the variable that is being manipulated or changed between the two groups. In this case, one group receives a placebo pill while the other group receives a drug. Therefore, my independent variable is the medication (or placebo) received. A dependent variable "depends" on the independent variable, or tells me what is being measured. In this example, I am comparing the average heart rate for each group. I expect that the heart rate depends on whether or not the participant received a placebo or the drug. Therefore, my dependent variable is heart rate.
Subject: Statistics
You predict that your class performed better than average on the last test you took. The average grade on this test is an 80, with a standard deviation of 5. Your class average was 88. Is your prediction correct? Use a 95% confidence level and assume it's a normal distribution.
Our first step is to identify our variables, or write down what we know. This can help guide you on where to start if you feel lost or confused. First, I am told that the average grade on the test is 80. In this scenario, I am going to assume that is the "population" average, which we denote with mu. So, mu = 80. Next, I am told that the standard deviation is 5. Again, assuming this is a population standard deviation, I am going to assign this value to my variable sigma. So, sigma = 5. Now, I know that my class average was 88. If the population is everyone that has taken the test, then my class would be a sample of that population. The average of a sample is called the sample mean, which we notate as x-bar. So, x-bar = 88. The final bit of information I am given tells me what I want my cutoff, or critical value to be. We'll come back to that in just a minute. Using the information I'm given, I'm going to sketch a normal, bell-shaped curve, labeling my mean in the middle and my critical region in the tail. In this problem, we are predicting that the class performed "better", this means that I'm predicting a direction and will be using a one-tailed test. Since I said "better" I am specifically going to shade the right tail of the distribution as my critical region. If my confidence level is 95%, that means only 5% of the data can fall into that shaded region. My task is to determine if my sample mean is in that 5%, or if it's in the 95%. Now that I have a visual of the problem, I can start plugging my values into my formula. Since we are told this is a normal distribution, I know I will be using z-scores to test this hypothesis. The formula for finding a z-score is: z = (x-bar - mu)/sigma. Basically, I want to subtract the population mean from my sample mean, then divide the difference by the population standard deviation. Plugging in the values I labeled at the beginning that becomes: z = (88-80)/5. Simplifying this equation I get: z = 8/5 = 1.60. I make a habit of rounding z-scores to two decimal places because the z-table uses two decimal places. When I look this z-score up in the table, I find the p-value to be p = .9452. An important thing to remember about the z-table is that it reports the area under the curve to the left of the z-score. Looking back at my drawing of the normal distribution, I see that I shaded the area to the right of the critical z-score. Finding the area to the right is simple when I remember that all probabilities add up to 1. If the area to the left of my test statistic is .9452, then I can find the area to the right by subtracting that value from 1: 1-.9452 = .0548. All that's left to do is compare our test value to the cutoff. There's a few ways to do this, but we'll go with the simplest one. We know that our critical region represents the upper 5% of the distribution. Rewriting 5% as a decimal I get .0500. In order for my prediction to be correct, my p-value needs to be less than .0500, which means it falls inside that critical region. The p-value we got from our calculations was .0548, which is greater than .0500. That means that my prediction is not correct, my class did not do better than average on the test because an average score of 88 falls within the 95% of scores we would expect to obtain by chance.
Subject: Algebra
Solve for x: 2x-10 = -x+2
Our goal when solving for the x variable is to isolate the x (get it by itself) on one side of the equals sign and the integers (numbers) on the other side. We do this by moving terms across the equals sign through inverse functions (that's a fancy way of saying "do the opposite"). While it doesn't matter which side we choose to put the "x" variable on, I like to choose the side that results in the fewest negative values. Traditionally, we write equations with the variable on the left, so let's go with that option. This means I want to move all of my x-terms to the left of the equals sign and all of my numbers to the right side. Let's move the x-terms first. In this problem, there is already one x-term (2x) on the left. We're going to leave that there. There is also an x-term (-x) on the right side. We need to move that across the equals sign by "making 0" or performing the opposite function. Since it is a negative x, that means it is being "subtracted" or we could make 0 by adding "x" to it (-x+x=0). We need to keep our equation balanced, so if we add "x" to one side, we need to add "x" to the other side too. So, just looking at the x-terms on the left side we have "x+2x". These are "like terms" which means we can add them. Any time we see "x" by itself we know it really means "1x," so this really reads "1x+2x". We can combine this to be one term: 3x. Now that we have all the x-terms on the same side, let's move the integer terms. There is one integer term on the left (-10) that we want to move to the right. Just like with our "-x" term, we need to perform the opposite function, or make 0, to move that 10. Adding "10" to both sides (again to keep our equation balanced) will move the "-10" to the right side of the equation. When we do this we are left with 3x on the left side and "2+10" on the right side, or 3x = 2+10. Again, we can combine like terms, so 2+10 can be rewritten as 12. So, we have 3x = 12. Our final step is to isolate the "x", or get it by itself, by moving the "3" to the other side of the equals. We will do this by performing the opposite function. We know that "3x" means "3 times x", so our current function is multiplication. The opposite of multiplication is division, that means I need to divide both sides by 3 to move the 3 to the other side. 3x divided by 3 becomes 1x, or just x. 12 divided by 3 reduces to 4. Therefore, x = 4.
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Regression Analysis (Tom’s Used Mustangs) Irving Campus GM 533: Applied Managerial Statistics 04/19/2012 Memo To: From: Date: April 19st, 2012 Re: Statistic Analysis on price settings Various hypothesis tests were compared as well as several multiple regressions in order to identify the factors that would manipulate the selling price of Ford Mustangs. The data being used contains observations on 35 used Mustangs and 10 different characteristics. The test hypothesis that...
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Quick Stab Collection Agency: A Regression Analysis Gerald P. Ifurung 04/11/2011 Keller School of Management Executive Summary Every portfolio has a set of delinquent customers who do not make their payments on time. The financial institution has to undertake collection activities on these customers to recover the amounts due. A lot of collection resources are wasted on customers who are difficult or impossible to recover. Predictive analytics can help optimize the allocation of...
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Regression Analysis Abstract Quantile regression. The Journal of Economic Perspectives This paper is formulated towards that of regression analysis use in the business world. The article used for this paper was written in order to understand the meaning of regression as a measurement tool and how the tool uses past business data for the purpose of future business economics. The research mentioned in this article pertained to quantile regression, or how percentiles of specific data are used in... | http://photoxgear.com/subjects/regression-analysis-page1.html |
In the 1970s, they created new form derivations with the shape grammar and rule sets used by Stiny and Gibs as the form generation method. Conventional production methods were later used in design with many disciplines.
With the help of the discipline of shape grammar, Islamic geometric patterns, which are the subject of the study, have been tried to be produced with rules. Until today, many people have tried to draw Islamic geometric patterns with different rules. In this study, it has been tried to formulate the regular Islamic rosette and star patterns with ten, six, eight and twelve arms after examining their formal and drawing features. In addition, the set of rules was revealed by using the unit triangle arising from the number of arms and angular relations in drawing rosettes or stars. In the first part, after the aim, scope and method of the study were explained, in the second part, the historical development of the subject of Islamic art, the architectural works with geometric patterns and the ornamental arabesque were mentioned on a period basis and examples from history were tried to be introduced.
The formal features of the patterns were tried to be explained through the architectural ornamentation examples of the Early Islamic period and the Umayyads, Abbasids, Anatolian Seljuk and Ottoman states. On the basis of other design disciplines, besides architecture, examples of geometric forms seen in certain areas such as ceramics, tiles, carpet-weaving, and calligraphy are also shown. In this way, the characteristics of arabesque, which is an ornamental art, were tried to be understood through Islamic art.
In the next section, after the definition of language and its regular set grammar, the definition of morphology and examples in different disciplines where it is used are given. After giving examples of the productions created by Kaplan, Salesin, Lee, Abas and Salman, in which shape grammar is applied on Islamic geometric shapes, seven frieze groups derived linearly from symmetry and symmetry groups and seventeen wallpaper groups derived from x and y axis are explained. Islamic patterns as template creation are studied and exemplified by drawings by Ostromoukhov, Schattscheider, and Kaplan.
In the fourth chapter, a new production style has been tried to be created with the shape grammar rule of the star-armed badges. The unit triangle drawn depending on the number of arms establishes an angular relationship in the creation of stars and rosettes. The rosette motif is thought and drawn as two separate parts, the star in the center and the ring around it. In the next stage, the production of badges and stars with irregular arms and different angles is shown with rule sets. As a result, the motifs in the new forms created in this section could be created with the number of arms and angular differences. It is aimed to create the produced rosette and star motifs together. The design logic is to create the new with modern tools by taking the old as a reference.
The next step was to create my own templates using these symmetry groups. The next step after the creation of these templates was to fill them with various rosette or star motifs. Motifs that can be arranged at different angles can be embroidered on the template.
Finally, it is aimed to add different meanings and perceptions to the pattern with the line thicknesses, gaps at the intersections and coloring of the patterns created. In the last part, the conclusion part, a general evaluation of the study was made and information was given about how a program that could be produced in the future could be, and the study was concluded. | https://www.volkandalagan.com/thesis |
Islam is a rigid religion and demands complete obedience to the way life is mentioned in the Holy book of Islam, the Qur’an.
I feel grateful that I finally am able to write about this topic in particular, since the Qur’an was the inspiration behind my practice in Islamic art. After every obligatory Islamic prayer (Salah), I take some time out to reflect on the beauty of the Qur’an.
Qur’an manuscripts have played a vital role in the rituals involving the recitation of the holy text. Since Islam prohibits the representation of the human or animal form in religious contexts, Islamic art finds its ultimate spiritual expression in beautiful calligraphy and illumination of the sacred script. The richly illuminated frontispieces of the Qur’an would emanate a golden and blue shine; this effect would collectively lift up the spirits of the congregation and inspire the believers to enter the doorway to paradise- the symbolism that is said to be the purpose of the illumination of the Qur’an manuscripts. The artists would render their different concepts of paradise visually through the art of illumination, either in the frontispieces or in the opening chapters of the Quran manuscripts. The language of illumination has widely expanded over centuries to include influences from cultures from various parts of the world. However, the main inspiration has been derived from certain themes mentioned in the Qur’an.
The language of illumination of the Qur’an is a vast subject and in this essay, I have drawn attention to the aspect of Qur’an frontispieces- about their history, production and rituals behind the ornamentation and its symbolisms, with examples from India and other parts of the world.
Illumination and Islamic Illumination- Meaning
Illumination is the art of applying gold or other metals to add reflection (illuminates) to the surface when light hits it. In the Arabic/ Persian culture, the art of illumination is known as Tezhip/ Tazhip/ Tadhhib which means ‘gilding’. An illuminated work is referred to only that which has been ornamented/decorated with gold. Islamic illumination simply means illuminating the Qur’an and other sacred manuscripts by the use of gold and decorating with geometric or biomorphic patterns, which usually follows hidden underlying geometric grids and ratios.
Art of Qur’an Frontispieces
Over the course of ten centuries, Islam has developed a rich heritage that is visible in paintings, calligraphies and manuscripts. Since Islam prohibits the representation of the human or animal form in religious contexts, one reason for getting rid of human and animal-like identifiable forms is to emphasize the negative “namely, that of eliminating a ‘presence’ which might set itself up against the Presence- albeit invisible- of God, and which might in addition become a source of error because of the imperfection of all symbols”. Essentially, this avoids limiting God, in His Infiniteness of Space, Time or Form. The second reason is positive, which is to affirm God’s transcendence, according to what He says in the Quran (2:11)
“To God belong the East and the West; whithersoever you turn, there is the Face of God; God is All-embracing, All-knowing.”
Hence, Islamic aniconism, by getting rid of this solidification of the Divine Presence in an image, ascertains the spiritual significance of the void in the Muslim mind. God is not to be associated with a particular plane of time, space or material sold because His Presence is all-encompassing and ubiquitous.
Islamic art finds its ultimate spiritual expression in beautiful calligraphy and illumination. The art of Qur’an illumination developed long after the art of calligraphy. Beautifying the Qur’an manuscript can be considered as an act of religious devotion and also has the function of facilitating the recitation of the Qur’an.
The Qur’an itself holds certain opportunities for the illumination of the text and the expression of the artist. The opening pages of the Qur’an, known as the Frontispieces, the opening pages of the first two Suras, and the subsequent Sura headings along with the marginal ornaments and the finispieces (the last two Suras)— these are the parts in the Qur’an which are commonly illuminated. Qur’an illumination emphasizes key words and headings. These are generally illuminated in gold or other colours, or written in a different script from the rest of the text, or sometimes even with a combination of all the three. The task of decorating the Qur’an is not a one-man’s job; it includes an illuminator to embellish the Qur’an and a calligrapher to write the Qur’an verses.
The Qur’an manuscript emerged as a thoroughly physical entity: a container
for divine revelation and on occasion, non-Qur’anic prayers, a material vehicle for the transmission of baraka (divine blessing), a bearer of the calligrapher’s trace, a site for the negotiation of and experimentation with aesthetic and linguistic practices and a statement of filial and political loyalty
Qur’an manuscripts are deeply layered objects; they are mediums for the divine words of God but they can also give voice to a diverse range of sectarian, devotional, artisanal and dynastic claims. Early kufic Qur’ans from the 9th century CE exhibit the beginning of illumination and decoration but from the late 10th century onwards, these were accompanied by more elaborate illumination. As the decoration became progressively complex, certain pages, such as the frontispiece, were treated more elaborately than others. Due to its lavish and costly production, an ornate Qur’an required a wealthy patron – usually a ruling sultan or an influential courtier – who gifted it to a mosque or other religious institution. The name of the patron is often documented in the volume, testifying to their power and piety.
In architectural terms, opening a Qur’an resembles entering the mosque or any sacred building, which opens the door to the paradise.
Symbolisms
Numbers
In the Islamic art and architectural world, it has often been said that the usage of geometry represents fear or awe of God, Arabesque represents the love of God and calligraphy, the knowledge of God.
Geometry was widely used in Mamluk Qur’an frontispieces. The idea was to use something that will not diminish the sacredness of the holy book. Lings quotes “if a sufficiently powerful centrifugal movement can be set up in a given space, then it can be circumscribed without fear of limitation” , which means that the design is not limited to the barriers and the eye is forced to move across the page. Geometry itself is connected with numbers, and numbers in the Islamic world have deep symbolic meanings. For example, the number one forms a point, two points generates a line, and three points, a triangle and also symbolize heaven. Furthermore, the circle defines the unity of the unmanifested and the square signifies the unity of the manifested and a number of creation (the earth). Ardalan and Bakhtiar describe, “the square, the most externalized form of creation, represents, as earth, the polar condition of quantity, whereas the circle, as heaven, represents quality; the integration of the two is through the triangle, which embodies both aspects. The square of earth is the base upon which the intellect acts in order to reintegrate the earthly into circle of heaven.” Five relates to man, eight to the eight-pointed star that represents the Throne of Heaven in Surah al-Haqqa [Qur’an:69:17] wherein stated that “On the day of Judgement, His Throne will be carried by eight angels”.
Also, eight, the octagonal structure is a common symbolism in architecture; examples include the Dome of the Rock in Jerusalem and the Taj Mahal in India —the octagonal structure and the square base represent the heaven and the earth respectively. The number twelve represents the rhythm of the day and night, the monthly cycle.
In the above example, one can see a clear representation of an intricate frontispiece with an eight-pointed star combining geometric patterns with ornamental script. The eight-pointed star is also known as Khatam and this specific pattern depicted above, is also known as the “Breath of the compassionate”—the preparedness within a thing, its inner archetype, actualised in an intelligible form the moment when its name flows into it through a word. The Divine Spirit of the logos flows into a thing through the process of the Divine Breath, the Breath of the Divine Name Rahman, Compassionate
Colours used in the Frontispieces
Regarding the symbolism of colours, the main element used in Qur’an illumination is gold (therefore called ‘illumination’). It is the art of decorating the work with gold and various earth-based colours. As far as the illumination of the Qur’an was concerned, the Qur’an often speaks of itself as being as radiant as Light. The expenses of production was not a matter of concern and the illuminators lavishly used genuine gold for illumination. Lapis-lazuli (a semi-precious stone, crushed to make paints) was commonly used. Blue and gold were the primary colours usually used in Qur’an illumination, which also pose as symbols; blue is the colour of heaven and gold represents the sun, the source of light, a symbol of the spirit and a symbol of knowledge. Lings quotes, “blue in the presence of gold is therefore Mercy inclined to reveal itself ”.
Gold is also mentioned several times in connection with the objects that are part of the Garden of Paradise. Blue and gold are contrasting enough to enhance each other greatly but it has often been said that a third colour brings the perfect balance and, in that case,, red is often used with blue and gold. “Perfect balance cannot come by two but only by three”
Gold was used either as a gold leaf or by crushing the gold leaves with gum Arabic to make shell gold. Shell gold can be used just like paint. Burnishing the gold with a burnisher or agate stone helps to render its brilliance and it illuminates✨ (An example of a Qur’an with all of its frontispieces is seen in the next page, which highlights the symbolism that has been discussed above)
Forms of patterns used
Apart from geometrical patterns, the ones most commonly visible in the Qur’an frontispieces are the swirling and scrolling patterns. The patterns of flowers and vines are termed as ‘arabesque’ in the west and ‘islimi’ in the eastern world (Turkey, Iran and the Indo-Pak subcontinent). In Arabic, the pattern is known as tawrik meaning leaves, foliage or flora and consists of highly stylised forms that have developed from the abstraction of classical vegetal themes such as acanthus leaf, fruit, flowers and so on. It appears that this swirling pattern of flowers and vines has been inspired from a number of sources and events. The Arabs were conscious of the movements and rotation of the heavenly bodies: the earth revolves around the sun, the moon revolves around the earth, birds make their nests in a circular pattern, most of the fruits are in circular shape and not to forget, the circumambulation around the Ka’ba (the ritual movement around the Ka’ba known as the Tawaaf) which takes place throughout the year by millions of pilgrims visiting the Mecca Masjid.
In its more stylised versions, an arabesque in plant forms bears no more than a distant likeness to a plant, but it does represent a perfect transcription of the laws of rhythm into visual terms. Its unfolding is continuous, like a wave, with contrasting phrases having various degrees of resonance. The design need not be symmetrical, but to make up for this, it always has certain repetitions, whose rhythmic character is accentuated by the fact that the sounds and the silences are aesthetically equivalent. That rhythm does not belong to space but to time, of which it is not the quantitative measure but the qualitative one. It is by the mediation of movement that rhythm is re-established in the spatial dimension (T.B, pg-66).
In the Arabic/ Persian culture, the art of illumination is known as Tezhip which means ‘gilding’ and it was taken very seriously in manuscript illumination as it increased the value and amount of energy expended according to the status of the authority or the person who had commissioned the artists to make the Qur’an.
The arabesque is not a substitute for producing art without icons. In fact, it is a proactive effort of diffusing images in the mind, as the recitation of the Quran dissolves the obsession of the mind on an object of desire. The repetition of patterns in the architectural designs hints at the infiniteness of God. Islamic art, while fulfilling the negative implications of Tauhid (there is no God but God and there is no one like Him), also asserts the positive dimension which emphasizes not what God is not, but what God is. He is infinite (find verse) in every aspect- justice, knowledge, mercy, love and kindness. That is also why arabesque is also referred to as ‘infinity-art’. On the other hand, one should keep in mind that the motifs that remain same in all decorative arts and constitute the building stones of drawing, have been taken from the nature in a realistic way and complements the personal tastes and views of the artist. With the help of this stylisation or ‘bringing in of a style’, the motifs are neither copied from the nature nor are completely artificial figures created and therefore one can see both the nature and the artist’s work on them. These might be some of the forms that have inspired the artists.
Format of the Frontispieces
The formatting of the frontispiece is often done in a double page format. The double pages are an image of harmony wherein the eye travels through the beautiful ornamented pages, which subconsciously brightens up the mind with all the light that hits the illuminated pages and prepares oneself to recite the holy book. Ah the feeling, so pure!
Michael Sells quotes “but rather interiorising the inner rhythms of the Qur’an, sound patterns and textual dynamics—taking it to heart in the deepest manner”. He draws attention to the rhythming quality of the chapters of the Qur’an and states that the complex sound patterns and relation of sound to
meaning “what we call the sound vision of the Qur’an are brought out and cultivated in the Qur’anic recitation”, which is melodious and hymnic.
Laleh Bakhtiar suggests that the different patterns of the arabesque are a reflection of spiritual states, which are to be achieved during Qur’an reading and recitation.Furthermore, there are verses in the Qur’an that refer to the heavens being like a scroll which will be ‘rolled up’ on the day of judgement [Surah al-Anbiya, Q 21:104].
History, Production and Rituals
The art of the frontispieces speaks outside of the Qur’an, that the frontispiece often resembles the gateway to heaven. The elaborate frontispieces, with full-page illuminations, are sometimes referred to as ‘carpet’ pages since their appearance resembles oriental carpet— an unfortunate term to describe the art of the frontispieces. Referring this sacred art to ‘carpet pages’ reduces this highly spiritual art to a simple decorative device. The term carpet page is also an offensive term to use for this spiritual art as the carpet is a floor covering and it defeats the purpose of these opening pages.
The story began with the Qur’an’s compilation as a written text during the seventh through tenth centuries. The first step in creating a book was to make the paper. During the ancient and medieval times, instead of paper, parchment (a thin material taken from the skin of an animal, usually a sheep or goat, which was used as a durable writing surface) was most commonly used, which only came into use in the broader Islamic world around the tenth century. In the Islamic world, paper was made from rags of linen and hemp, not tree pulp. The rags were cut into strips and softened in limewater, then pounded into a pulp and soaked in a vat.
To form a sheet of paper, a rectangular mould was placed into the vat and then left to dry. The water seeped out and the page hardened in the mould. Decorative touches were often added to the paper- some were tinted, some were sprinkled with gold and others were marbled.
After the paper was dried, it was prepared to receive ink and paint for further ornamentation by applying a thin layer of starchy liquid onto the surface of the paper, followed by burnishing the paper to make the surface smooth and non- porous. A scribe then prepared his ink (made of carbon boiled with gallnuts), made his pens and pressed guidelines into the paper. After the content of the Qur’an was written in beautiful script, the pages were passed to the illuminators. Most manuscripts are the work of a number of artists. A single page might sometimes represent a collaborative effort. Before starting to paint, the artist laid out the composition with a very fine brush. To create the pigments, the nature was the main source. Mineral sources were gold, silver, lapis lazuli, ground cinnabar (for vermilion), orpiment (for yellow) and malachite (for green).
These materials were expensive and sometimes even substitutes were used. Indigo was a common source of dark blue and azurite was used for a lighter blue. Verdigris produced green, and lead or a combination of mercury and sulphur created red. The pigment had to be suspended in a medium that allowed it to be brushed on to the page. Originally this was albumen or glue, which gave a glossy sheen to the paintings; after the sixteenth century, gum arabic, with a more matte finish, was used instead.
The brushes used were usually handmade using the hair of squirrels or horses or even kittens. The brush has been referred to as kilkalam (hair pen) in old references.
Illuminators and gilders added flourishes to the text, created frontispieces and finispieces and chapter headings, coloured frames and rulings. Finally, each of the gold illuminations was burnished with a hard stone or glass.
Regarding the rituals concerning the opening of the Qur’an, the first to be considered is the rightful way of touching the sacred book. Before it is opened, an intention (niyya) has to be made and then the ablution is performed by every Muslim prior to the obligatory prayer. The reason for this purification and niyya is not only to clean oneself with water but to spiritually prepare oneself to enter the Divine presence.
Styles used in Qur’an Frontispieces
Indian Qur’an
The Indian Qur’ans are extensively ornamented and decorated that at first glance, it seems difficult to notice whether there is any writing in the decoration or not. Also, we notice that the illuminated pages highly resemble the rugs and carpets of the culture. The forms used resemble the classic stylised and repetitive free flowing patterns of Tezhip that resemble the nature (flowers, folios and leaves) and the colours used are also very common among Qur’an manuscripts, such as the gold, Lapis Lazuli (blue), white and red.
The centre text pages of the Indian Qur'an are distinguished by their carpet page design. The text here is split up with alternating scripts in various coloured inks. The first, middle and last lines are written in muhaqqaq script, a popular style for large illuminated Qur'ans as its angular and cursive features gives the calligrapher an opportunity to combine fluidity with rigidity. These lines alternate in gold and blue on a white ground. | https://www.shadiyamohammed.com/post/art-of-qur-an-frontispiece-illumination-of-the-sacred-text |
Barangay Oring-oring is a village in Brooke’s Point, Palawan, where women weave mats. These women belong to the Jama Mapun, an Islamicized group of people related to the Sama, an ethnolinguistic group found predominantly in Southern Philippines. Most of them had spent their early years in Cagayan de Sulu. The promise of land to till and a better life away from strife and armed conflict brought them and their families to this piece of paradise underneath coconut trees; here they work the land and find time to make mats after their daily chores.
One morning some five years ago, the women were gathered in the home of an older woman called Jamalan. It was a thatch-roofed wooden house built on posts typical of most of Southeast Asia, with a veranda to receive visitors and an enclosed elevated area reserved for privacy – not what one might ordinarily think of as Islamic although its inhabitants were.
Islam, after all, did not impose its forms in this part of the world, adapting instead to existing cultures, including one that, at its height, produced the exquisite stupa of Borobudur and the Hindu shrine (or candi) in Prambanan, Java, Indonesia. The marks of Islamic art in Southeast Asia are subtly embedded in expressions of an artistic heritage that preceded waves of foreign influences from the Asian mainland and beyond. Southeast Asia is, in fact, noted for strong cultural moorings, with influences from China, India, and other parts overlaid on the indigenous without diminishing it.
Southeast Asia was not always at the receiving end of exogenous, or foreign, cultures. The great seafarers of the islands rode the waves across the seas, reaching as far as the island of Madagascar off the African continent, sharing their culture along the way. In Madagascar, for instance, the art of textile weaving is more akin to the craft of women in the Indonesian archipelago than to techniques used by women on the African mainland. The “Malay” forge was also adapted in Madagascar, its metallurgical tradition closer to those of the T’boli of Lake Sebu than to the traditions of other African tribes.
Back in Barangay Oring-oring, the women weave pandanus mats of vibrant colors in various types of patterns – from simple checks and plaids to more intricate combinations of zigzag, trapezoids, triangles, and other geometric shapes in tapestry-like weave. Like their sisters in Laminusa and Ungus Matata in Sulu, the Oring-oring women weave beauty into a domestic article that can lure even the moon and stars with its intricacy and delicacy.
Without Icons
There is a saying or hadith, “God is beautiful and He loves beauty.” Beauty in the Islamic sense is, however, not beauty in the modern sense. Titus Burckhardt, a scholar of Islam and the sacred arts who was once adviser to the Unesco on the preservation of the Islamic city of Fez, says: “Art to the Muslim is a ‘proof of the Divine existence’ only to the extent that it is beautiful, without showing the marks of subjective, individualistic inspiration. Its beauty must be impersonal like that of the starry sky.” Such a statement may not sit comfortably in the modern mindset’s “art is for art’s sake” where the genius of an artist relies on individual imagination and “originality.”
Instead, Islamic art is directed toward the experience of Divine Unity in multiplicity and multiplicity in Divine Unity. One gets a sense of this art in Burckhardt’s words – “the entirety of plastic arts in Islam [as] essentially the projection into the visual order, of certain aspects or dimensions of Divine Unity.”
The attempt to find clear visual patterns of Islamic art in Oring-oring may not have been successful. A pattern of another kind has already begun to emerge in the simple flow of a life with apparently less dichotomy between the sacred and the profane as one observes in the mosques, indistinguishable from homes and similarly embellished domestic and religious articles.
Another eminent Islamic scholar, Seyyed Hossein Nasr, says art in Islam “is not considered a luxury, but an integral part of life itself… everything has its special art [fann] by virtue of which it can be made or done correctly.” The mat is a case in point – its own special art as an integral part of life in many communities like Oring-oring. It is “aniconic”—without icons – withdrawing from any attempt at representing the images of humans and animals, even of casting their shadows, if for no other reason than to simplify, rather than distract, human approach to the Divine.
Relief panels in a sixteenth-century mosque in Mantingan, Eastern Java, for instance, adapts a florid interpretation of plant and animal forms similar to Hindu and Buddhist motifs. Such stylization conforms to the Islamic aniconism, instead resonating with the rhythm and flow of the biomorphic patterns of islimi, the arabesque intended to lead the eye, heart, and mind toward the Divine. Such a tradition of artistic carving depicting plant form motifs is found in the Southern Philippines, particularly in Maranao and Sulu.
Gentle Islam
David Szanton, an American who surveyed the art of Sulu in the 1970s, noted okir as “the act of carving, and a particular type of curvilinear design, which combines stylized scroll, leaf and vine elements in a seemingly infinite range of abstract variation.” This type of carving is found in objects such as Quran stands and containers and also as ornamentation in Maranao houses. Like the okir, awan larat, a traditional Malay form of wood carving, conforms with Islamic principles of aniconism as well as of space, proportion, and beauty beyond the physical, toward art’s spiritual dimension.
It is replete with calligraphy, geometry, and islimi. The absence of representational figures is an attempt at an objective approach to ornamentation emanating from sacred geometry. Although this intent may be present in Southeast Asia, these elements may not be as visible or as clear as they are in Middle Eastern countries. This is because Southeast Asian Islamic art is the product of adaptation and culturally sensitive application of Islamic principles. Its origins are after all a very special kind of Islam – Sufism, also known as the “gentle Islam” that arrived in the islands of Southeast Asia with Muslim traders and holy men, many of them from Gujarat in India, as early as the twelfth century.
Many of them settled in the entrepots of trade and commerce that grew into the great port cities of the Malay world. It was, however, not until the conversion of the Sultan of Malacca to Islam in the fifteenth century that it flourished throughout Island Southeast Asia.
Sufi teachers who first came to this region respected the Malay language, translating many Sufi classics from Arabic and Persian to Malay, making it one of the major Islamic languages. Arabic script in the Malay language is inscribed in tombstones of the first Muslim settlers.
Embodying the written word of the Quran, Arabic script or calligraphy is in the highest order of expression in Islamic art. Martin Lings, former keeper of Islamic Manuscripts at the British Museum, often reminds audiences at his annual lectures on Islamic Illumination that if the Word was made Flesh for Christianity, the Word was made Book in Islam. Fine examples of Southeast Asian Quranic manuscripts are found at the Islamic Arts Museum in Kuala Lumpur, Malaysia.
Cultural Diversity
The first mosques (masjid) in Southeast Asia were made of timber, built on a square base and capped with multitiered thatched roofs, quite unlike what one oriented to the better-known models of Islamic architecture in the Near and Middle East might expect.
In the Far East, where the climate is tropical and before the advent of air conditioning, the mosque was typically built as a house elevated on four posts. There are even accounts claiming that the floor plan and elevation of early Southeast Asian mosques were not unlike those of early cockfight arenas.
Art historians cite various examples of Islamic architecture in Southeast Asia as a continuation of earlier traditions. The artistic traditions of Majapahit live on in the sixteenth-century minaret of Kudus in Java and the gateway to the mosque at Sendang Duwur in East Java, filled with the nature motifs found in East Javanese relief.
A traditional mosque in Aceh, dated to about the nineteenth century, has a roof reminiscent of an older one in Brunei, its five tiers symbolizing the Five Pillars of Islam.
Unlike their Middle Eastern counterparts, the juxtaposition of calligraphy, geometric patterns, and islimi is not featured in the timber buildings of early Southeast Asian mosques. Many contemporary mosques, however, echo this feature in their interiors.
The regional character of Islamic art in Southeast Asia instead mirrors respect for cultural diversity in the ummah. Thus, the region’s early art and architecture evidence Islamic integration with older religious traditions. Here, through the centuries, Islam continued to receive and evolve with other cultural influences, much as it did in the past. Today its greatest challenge is how to retain its universal, sacred language as it moves into the post-modern, post-industrial Information Age. | https://kyotoreview.org/issue-5/in-search-of-islamic-art-in-southeast-asia/ |
The time period Islamic historically means that work that was designed in a region that was dominated by Muslims. This religion has been in existence when you consider that 600 AD in what is at present known as Saudi Arabia. The Islamic faith spread out in the seventh century first in the Arabian Peninsula, before being taken to center east and Asia as well as some parts of North Africa and Europe. The Islamic structure comprises of two important section of the building. First is the Madrasah (a combination of law and religion school). The architecture in this context has transformed over time, and it relies upon on the geographical location. In many cases, it is a structure which is four sided and contains a large central court. And the second important building is the mosque. The mosques have entrances of semi-circular arches and large central domes. The Minaret is also present; this is a narrow tower that contains come stairs that direct people a location where prayers are held. The minaret remains a symbol of Islam and can be seen from a distance. Inside the mosques, walls are decorated with forms of decorations that range from human or animal form.
Then Islamic art originated from the 7th century and was done by those people who existed at a point in time and ruled by the Islamic population. Islamic art isn’t a restricted religion but entails all the arts of varied cultures and rich Islamic community. It sometimes includes other forms secular elements. The Islamic art developed from numerous sources: Byzantine, early Christian art, and Roman style were adopted in early Islamic architecture and art. The Sassan art of the pre-Islamic Persia had a great influence on Islamic art; those styles that exist in central Asia came as a result of the nomadic Invasion, and the Chinese also had some impact on the Islamic textiles, pottery, and paintings. From the 18th century, the Islamic art elites have increasingly been influenced by the styles from Europe. The Islamic carpet remains to be significant today and even large, the designed that are adopted today coined before the 1700 century.
Calligraphy, Geometric and Vegitative Motif
The vegetal pattern used alone or together with other greater ornaments figural representation, geometric pattern and calligraphy adorn a vast number of textiles, objects manuscripts, and buildings that are produced with the Islamic states. The early century of the Islamic era has accompanied the adoption of semi-naturalistic pre-Islamic patterns and motifs followed by highly diverse and widespread by tastes of the current Muslim patrons and aesthetic interests. It was in the 20th century that a fully developed and highly abstract Islamic art arose featuring that most ubiquitous and original that is known as “arabesque.”
When the Mongol invaded Western Asia in the 19th century an after settling established a court system in Iraq in the twentieth century, so many chinese patterns and motifs were sometimes accepted in a more revised form; this was an important period because it signified the changes in the decorative Islamic art the would stand out for so many centuries. In the seventeenth and sixteenth century empires Mughals, Safavids and Ottomans and India complicated versions of established patterns were used at times using new interests in the naturalistic looking blossoms or flowers. Based on this exception of the garden patterns and motifs in the Islamic art are greatly symbolic features.
Why Calligraphy Become Part of the Islamic Art
Caligragrapghy is entirely an artistic practice of calligraphy or handwriting that is based on the alphabets in the lands and also shares a mutual cultural heritage of Islam. It includes Persian calligraphy, Ottoman, and Arabic. In the Arabic language, it is known as khatt Islami meaning construction, design and Islamic line. The primary source of the Islamic calligraphy can be traced on the Quran, excerpts from the Quran and chapters; this continues to accepted text upon which the Islamic Calligraphy can be traced. Calligraphy has transformed to become a major form of artistic expression in the culture of Islam. As the Islamic calligraphy it remains to be a greatly revered work that was set by calligraphers.
The Islamic calligraphy is presented in many mediums other than paper such as inscriptions, carpets, vessels, and tiles. Before the paper came into existence parchment and papyrus were utilized for writing. With the introduction of paper, calligrapghy was revolutionized. Coins were later on used to spread the Islamic calligraphy. In the early 692, the caliphate of Islam reformed the coin by replacing visual portrait with words. This was true for gold or dinner coins of greater value. Many of the coins were made with quotes that came from the Quran. Those persons who had embraced Islam in the tenth century were responsible for weaving inscriptions in the wider silk pattern. The textiles which were brought in Europe and were inscribed by calligraphy were taken to be prized possessions.
Calligraphy is the most fundamental and regarded element of the Islamic art. The use of Calligraphy had some significant impact and also included an underlying talismanic component. Different regions and origins vary in the way they adopt calligraphy in their entire design, showing the creative potentials of calligraphy as the ornament. Calligraphy has transformed to become an essential element in decoration. It is because of this reason that artists that artists of the Arabic script to create the pieces of writing as an ornament. The overall world can give the impression of a single letter, or random brushstrokes can grow into a decorative knot. In other examples, the calligraphy is often used with vegetal scrolls creating an interaction of decorative element.
According to the Islamic faith, an individual who has clear through and the high level of spiritual devotion could attain the skill that is needed to create the present calligraphic work. Those people who have the talent to develop these calligraphies often achieve some status in the society. The foundation of the globally recognized calligraphy was initiated by three great geniuses of 3 calligraphers from Baghdad: Orkut al-Musta’simi, Ibn al-Bawwab and Vizier Ibn Muqla. Vizier Ibn Muqla was responsible for coming up with the principles calligraphy that was in 886–940. From that point to date the present Caligraphers have adopted the theory of proportion based on three core components: circle, Alif, and dot. The relationship of the three items is determined by the width of the rhomboid dot that shaped by the nib of the pen.
Bibliography
Ahmed, Ar Sayed. 2014. “THE SPIRITUAL SEARCH OF ART OVER ISLAMIC ARCHITECTURE WITH NON-FIGURATIVE REPRESENTATIONS.” Journal Of Islamic Architecture 3 (1): 1. doi:10.18860/jia.v3i1.2538.
Alraouf, Ali A. 2012. “THE ROLE OF MUSEUM’S ARCHITECTURE IN ISLAMIC COMMUNITY: MUSEUM OF ISLAMIC ART, DOHA.” Journal Of Islamic Architecture 1 (2). doi:10.18860/jia.v1i2.1721.
Ettinghausen, Richard, Oleg Grabar, and Marilyn Jenkins. 2001. The Art And Architecture Of Islam 650-1250. 1st ed. New Haven, CT: Yale University Press.
Honour, Hugh, and John Fleming. 2017. The Visual Arts: A History. 7th ed. Laurence King Publishing.
Johnson, Walter M., Ernst Kuhnel, and Katherine Watson. 1968. “Islamic Art And Architecture.” Art Education 21 (5): 32. doi:10.2307/3191154.
Sinclair, Susan, C. H Bleaney, and Pablo García Suárez. 2012. Bibliography Of Art And Architecture In The Islamic World. 1st ed. Leiden: Brill. | https://writinguniverse.com/islamic-architecture-and-art/ |
Visitors to the provence of Andalusia in southern Spain will immediately notice the beautiful Moorish architecture of many of its ancient mosques, palaces, and fortresses. From the time the Moors invaded Spain in 711 until they were finally defeated and expelled by the Catholic monarchs, Ferdinand and Isabella, in 1492, the Moorish influence dominated local architecture.
Presented here are my examples of these often dramatic influences. Although copied perhaps from the Visigoths, Persians, or Byzantines, the famous horseshoe arch is a popular feature of most of these structures. Domes are another significant feature and often contained stalactite ceiling decorations. It has been said that fractal geometry has been a key utility, especially for mosques and palaces. These are distinguished by the extent and variety of decoration, including mosaics, wall painting, sculpture and carved reliefs with Islamic motifs.
The Great Mosque at Córdoba in 785 marked the beginning of Moorish architecture in the Iberian peninsula and is noted for its commanding interior arches. Moorish architecture reached its peak with the construction of the Alhambra, the magnificent palace/fortress of Granada, with its open and breezy interior spaces. The walls are decorated with stylized foliage motifs, Arabic inscriptions, and arabesque design work, with walls covered in glazed tile. These mosques are square or rectangular in plan with an enclosed courtyard and a covered prayer hall.
Islamic art, the arabesque, was an elaborate application of repeating geometric forms that often echo the shapes of plants, and sometimes animals, such as birds, instead of using pictures of humans which is forbidden in Islam. The choice of which geometric forms were to be used and how they were to be formatted was based upon the Islamic view of the world. These symbolize the infinite nature of the creation of the one God.
Arabic calligraphy, geometric Islamic art, can also be seen on the walls and ceilings of mosques. A common, prevalent inscription is often replicated and states “The world is for God”.
My project is a simple attempt to depict the progression of the Moorish architectural influences from the Great Mosque at Córdoba to the final grandeur of Islamic art in the Alhambra. I hope you enjoy the ordered repetition, radiating structures, and rhythmic, metric patterns that form the basis of the architectural influences of Moorish history in southern Spain. | https://jerrygrasso.com/moorish-influences/ |
The arabesque is a form of artistic decoration consisting of “surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils” or plain lines, often combined with other elements. Another definition is “Foliate ornament, used in the Islamic world, typically using leaves, derived from stylised half-palmettes, which were combined with spiralling stems”. It usually consists of a single design which can be ’tiled’ or seamlessly repeated as many times as desired. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition, the term “arabesque” is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Interlace and scroll decoration are terms used for most other types of similar patterns.
Arabesques are a fundamental element of Islamic art but they develop what was already a long tradition by the coming of Islam. The past and current usage of the term in respect of European art can only be described as confused and inconsistent. Some Western arabesques derive from Islamic art, but others are closely based on ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art, arabesque decoration is there often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.
Claims are often made regarding the theological significance of the arabesque, and its origin in a specifically Islamic view of the world; however these are without support from written historical sources as, like most medieval cultures, the Islamic world has not left us documentation of their intentions in using the decorative motifs they did. At the popular level such theories often appear uninformed as to the wider context of the arabesque. In similar fashion, proposed connections between the arabesque and Arabic knowledge of geometry remains a subject of debate; not all art historians are persuaded that such knowledge had reached, or was needed by, those creating arabesque designs, although in certain cases there is evidence that such a connection did exist. The case for a connection with Islamic mathematics is much stronger for the development of the geometric patterns with which arabesques are often combined in art. Geometric decoration often uses patterns that are made up of straight lines and regular angles that somewhat resemble curvilinear arabesque patterns; the extent to which these too are described as arabesque varies between different writers.
Western arabesque
The term arabesque was first used in the West in Italian, where rabeschi was used in the 16th century as a term for “pilaster ornaments featuring acanthus decoration”, specifically “running scrolls” that ran vertically up a panel or pilaster, rather than horizontally along a frieze. The book Opera nuova che insegna a le donne a cuscire … laqual e intitolata Esempio di raccammi (A New Work that Teaches Women how to Sew … Entitled “Samples of Embroidery”), published in Venice in 1530, includes “groppi moreschi e rabeschi”, Moorish knots and arabesques.
From there it spread to England, where Henry VIII owned, in an inventory of 1549, an agate cup with a “fote and Couer of siluer and guilt enbossed with Rebeske worke”, and William Herne or Heron, Serjeant Painter from 1572 to 1580, was paid for painting Elizabeth I’s barge with “rebeske work”. Unfortunately the styles so described can only be guessed at, although the design by Hans Holbein for a covered cup for Jane Seymour in 1536 (see gallery) already has zones in both Islamic-derived arabesque/moresque style (see below) and classically derived acanthus volutes.
Another related term is moresque, meaning “Moorish”; Randle Cotgrave’s A Dictionarie of the French and English Tongues of 1611 defines this as: “a rude or anticke painting, or carving, wherin the feet and tayles of beasts, &c, are intermingled with, or made to resemble, a kind of wild leaves, &c.” and “arabesque”, in its earliest use cited in the OED (but as a French word), as “Rebeske work; a small and curious flourishing”. In France “arabesque” first appears in 1546, and “was first applied in the latter part of the 17th century” to grotesque ornament, “despite the classical origin of the latter”, especially if without human figures in it – a distinction still often made, but not consistently observed,
Over the following centuries the three terms grotesque, moresque and arabesque were used largely interchangeably in English, French and German for styles of decoration derived at least as much from the European past as the Islamic world, with “grotesque” gradually acquiring its main modern meaning, related more to Gothic gargoyles and caricature than to either Pompeii-style Roman painting or Islamic patterns. Meanwhile, the word “arabesque” was now being applied to Islamic art itself, by 1851 at the latest, when John Ruskin uses it in The Stones of Venice. Writers over the last decades have attempted to salvage meaningful distinctions between the words from the confused wreckage of historical sources.
Peter Fuhring, a specialist in the history of ornament, says that (also in a French context):
The ornament known as moresque in the fifteenth and sixteenth centuries (but now more commonly called arabesque) is characterized by bifurcated scrolls composed of branches forming interlaced foliage patterns. These basic motifs gave rise to numerous variants, for example, where the branches, generally of a linear character, were turned into straps or bands. … It is characteristic of the moresque, which is essentially a surface ornament, that it is impossible to locate the pattern’s beginning or end. … Originating in the Middle East, they were introduced to continental Europe via Italy and Spain … Italian examples of this ornament, which was often used for bookbindings and embroidery, are known from as early as the late fifteenth century.
Fuhring notes that grotesques were “confusingly called arabesques in eighteenth century France”, but in his terminology “the major types of ornament that appear in French sixteenth century etchings and engraving… can be divided into two groups. The first includes ornaments adopted from antiquity: grotesques, architectural ornaments such as the orders, foliage scrolls and self-contained elements such as trophies, terms and vases. A second group, far smaller than the first, comprises modern ornaments: moresques, interlaced bands, strapwork, and elements such as cartouches…”, categories he goes on to discuss individually.
The moresque or arabesque style was especially popular and long-lived in the Western arts of the book: bookbindings decorated in gold tooling, borders for illustrations, and printer’s ornaments for decorating empty spaces on the page. In this field the technique of gold tooling had also arrived in the 15th century from the Islamic world, and indeed much of the leather itself was imported from there. Small motifs in this style have continued to be used by conservative book designers up to the present day.
According to Harold Osborne, in France, the “characteristic development of the French arabesque combined bandwork deriving from the moresque with decorative acanthus foliage radiating from C-scrolls connected by short bars”. Apparently starting in embroidery, it then appears in garden design before being used in Northern Mannerist painted decorative schemes “with a central medallion combined with acanthus and other forms” by Simon Vouet and then Charles Lebrun who used “scrolls of flat bandwork joined by horizontal bars and contrasting with ancanthus scrolls and palmette.” More exuberant arabesque designs by Jean Bérain the Elder are an early “intimation” of the Rococo, which was to take the arabesque into three dimensions in reliefs.
The use of “arabesque” as an English noun first appears, in relation to painting, in William Beckford’s novel Vathek in 1786. Arabesque is also used as a term for complex freehand pen flourishes in drawing or other graphic media. The Grove Dictionary of Art will have none of this confusion, and says flatly: “Over the centuries the word has been applied to a wide variety of winding and twining vegetal decoration in art and meandering themes in music, but it properly applies only to Islamic art”, so contradicting the definition of 1888 still found in the Oxford English Dictionary: “A species of mural or surface decoration in colour or low relief, composed in flowing lines of branches, leaves, and scroll-work fancifully intertwined. Also fig[uratively]. As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael, founded on the ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque, as well as vases, armour, and objects of art, are freely introduced; to this the term is now usually applied, the other being distinguished as Moorish Arabesque, or Moresque.”
Printing
A major use of the arabesque style has been artistic printing, for example of book covers and page decoration. Repeating geometric patterns worked well with traditional printing, since they could be printed from metal type like letters if the type was placed together; as the designs have no specific connection to the meaning of a text, the type can be reused in many different editions of different works. Robert Granjon, a French printer of the sixteenth century, has been credited with the first truly interlocking arabesque printing, but other printers had used many other kinds of ornaments in the past. The idea was rapidly used by many other printers. After a period of disuse in the nineteenth century, when a more minimal page layout became popular with printers like Bodoni and Didot, the concept returned to popularity with the arrival of the Arts and Crafts movement, Many fine books from the period 1890-1960 have arabesque decorations, sometimes on paperback covers. Many digital serif fonts include arabesque pattern elements thought to be complementary to the mood of the font; they are also often sold as separate designs. | https://www.hisour.com/western-arabesque-27620/ |
script and was probably commissioned by a royal patron in North Africa in the early tenth century.
Among scientific works in the AKM collection, Mr Merchant spoke about the earliest extant copy of the
Qanun fi’l-tibb
(The Canon of Medicine) by Ibn Sina. To show how this encyclopaedic text became the standard reference of medical knowledge in the western world, Mr Merchant presented an early 17
th
century Latin translation of the Canon from the IIS’ collection.
Besides manuscripts, patrons supported other artistic creations including glassware, metalwork, textiles, and ceramics, which were often adorned with calligraphy, arabesque, and figural motifs of birds, animals and even human faces. One of these ceramics includes an inscription comprising a tradition of Prophet Muhammad:
‘Generosity is a disposition of the dwellers of paradise.’
It was also noted in the lecture that, “A most significant visual element, even today, is the patronage of buildings.” He went on to say that craftsmen were recruited from across the Muslim world to build impressive monuments that demanded superb decorations, tiled interiors and painted exteriors. This led to a discussion on geometric patterns, which were sometimes used in combination with calligraphy, arabesque, and figural motifs.
Turning to the Aga Khan Museum, which is due to open in Toronto, Canada, Mr Merchant noted that it will be dedicated to the acquisition, preservation and display of artefacts from various periods and geographies, relating to the intellectual, cultural, artistic and religious heritage of Muslim communities. His Highness the Aga Khan “has identified the need for greater engagement between the East and West,” said Mr Merchant. “The primary objective of this museum is to use culture and art towards creating an educational understanding between communities; to show the diversity and the pluralism that exist within the artistic traditions of Islam.”
The lectures were made possible through the support of The Institute of Ismaili Studies, in collaboration with the Aga Khan Trust for Culture and the Ismaili Council for the United States of America. | https://www.iis.ac.uk/news/2011/july/iis-head-librarian-speaks-on-patronage-in-islamic-art/ |
In islamic architecture representational imagery
What is the Bismillah in Islamic texts?
The Basmala (Arabic: بَسْمَلَة, basmalah), also known by its incipit Bism Allah (بِسْمِ ٱللَّٰهِ, “In the name of God”), or Classical Arabic Tasmiyah (تَسْمِيَّة), is the Islamic phrase bi-smi llāhi r-raḥmāni r-raḥīmi (بِسْمِ ٱللَّٰهِ ٱلرَّحْمَٰنِ ٱلرَّحِيمِ), “In the name of God, the Most Gracious, the Most Merciful.
What is the content of a work of nonobjective art?
Non-objective art is defined as having no recognizable subject matter. The starting point takes nothing from visual reality. Instead of drawing people, trees, buildings or any other observable things, non-objective artists use the elements of art as their subject; lines, shapes, forms, values, colors and textures.
What are the unifying themes of Islamic art?
This guide highlights these themes while preserving an understanding of the unique cultural and artistic heritage of each region. Religion . Perhaps the most significant shared feature of these regions is the presence of Islam. Ornament. Interconnections. Diversity of Patronage. Technical Innovation.
What Islamic art must be non representational?
Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy , rather than human or animal figures, because it is believed by many Muslims that the depiction of the human form is idolatry and thereby a sin against God that is forbidden in the Qur’an.
What does 786 mean?
The number 786 that many Muslims from the Sub-Continent use to signify “in the name of Allah, the ever merciful, the ever compassionate,” is derived from an ancient system of Arabic numerology called abjad.
What does Bismillah mean?
Bismillah (Arabic: بسم الله) is a phrase in Arabic meaning “in the name of God”, it is also the first word in the Qur’an, and refers to the Qur’an’s opening phrase, the Basmala.
What are the four elements of content in art?
Elements of art are stylistic features that are included within an art piece to help the artist communicate. The seven most common elements include line, shape , texture , form, space, colour and value, with the additions of mark making, and materiality.
What are the four major steps in art criticism?
Art criticism involves four basic steps , including: Look at the obvious. Analyze the artwork . Decide on an interpretation. Make a judgment call.
Who started non objective art?
Wassily Kandinsky
What are the 3 forms of Islamic decoration?
The Islamic geometric patterns derived from simpler designs used in earlier cultures: Greek, Roman, and Sasanian. They are one of three forms of Islamic decoration , the others being the arabesque based on curving and branching plant forms , and Islamic calligraphy; all three are frequently used together.
What are the two main themes of Islam?
What are the two main themes of Islam ? The first theme is monotheism. The second theme is taking care of those who are less fortunate.
What is unique about Islamic art?
Islamic art is often vibrant and distinctive. Unlike Christian art , Islamic art isn’t restricted to religious work, but includes all the artistic traditions in Muslim culture. Its strong aesthetic appeal transcends time and space, as well as differences in language and culture.
Why is art Haram in Islam?
Art is not haram per se. The representation of Allah is forbidden, and many natural images are also forbidden. So basically Islam is against the creation of images of sentient beings. So you would not find many statues or portraits in the islamic world.
Is drawing anime Haram in Islam?
It is not permitted to draw anything that depicts animate beings, because the Prophet (peace and blessings of Allaah be upon him) said, according to the saheeh hadeeth: “Every image maker will be in the Fire.” And he (peace and blessings of Allaah be upon him) said: “The most severely punished of people on the Day of
Is it haram to draw humans?
Usually his family. Islam is a religion that is based in human nature. If something is so fundamental in our nature as drawing , why would Allah make it haram ? The only thing that is not allowed is to make ANYTHING, whether of human form or otherwise, with the intention of worshiping it. | https://www.aabbarchitectes.com/interesting/in-islamic-architecture-representational-imagery.html |
Though M.C. Escher contended that he knew virtually nothing about mathematics, even having gone as far as to declare that he was ?absolutely innocent of training or knowledge in the exact sciences,? (Schattschneider 67), his art work commonly incorporates the use of many recognized elements of science and mathematics. It has been argued that Escher?s natural accessibility and his popularity with young art patrons is due to the Escher?s use of symmetry, his use of metamorphosis, and his focus on representational elements of science in his work (Donato 31).
Though Escher appeared unwilling to address it during his lifetime, it was evident that his work was supported by elements of science, including the use of mathematic formulations and specific geometrical patterns. If he did not study science, he at least studied visual constructions, and determined his artistic perspective after evaluating the distinct nature and geometry and color configurations of ancient arts. The link between Escher?s creations and tile patterns of the Alhambra in Grenada as well Islamic art demonstrates the imbedded nature of his developments and the focus on science and math (Schattschneider 67; Watson-Newlin 43).
II. Escher?s Perspective
Even as a child, art historians suggest that M.C. Escher had a visual focus that directed him towards the study of patterns and symmetry (Schattschneider 67). In his younger years, Escher had an affinity for creating patterned drawings that led him to the study of patterns in the tiles of the Alhambra in Grenada, as well as to study the geometric drawings in mathematical papers and in the need, to pursue his own perspective and unique ideas for the tiling of a plane (Schattschneider 67).
It was Escher?s focus on the coloring in his drawings of interlocked tiles that later interested mathematicians and crystallographers when evaluating his color symmetry (Schattschneider 67). As a result of his focus on these elements, Escher?s work has actually been utilized since the late 1950s to illustrate some of these mathematical and scientific concepts (Schattschneider 67). In 1954, at the International Congress of Mathematicians in Amsterdam, Escher?s works were prominently displayed as representations of particular mathematical concepts, and the publication of his first book The Graphic Work of M.C. Escher in 1959 marked his further insurgence into the world of math and science (Schattschneider 67).
Though Escher contended that his focus on these elements came not from a knowledge of science, but from a keen understanding of the geometric laws demonstrated in nature, the preciseness of his work and the way that many pieces express specific scientific premises has been a major element of evaluation and speculation in terms of Escher?s work (Schattschneider 67). Escher was fascinated by what he considered to be the ?regular division of the plane? which provided the scientific basis for his conceptualization of symmetry in art (Schattschneider 68). During his lifetime, Escher created over 150 color drawings that demonstrated hi scarcity to draw nature, especially animal forms, into symmetrical and non-representational works of art. His drawing Triangle System 1B3, Type 2 (1948), for example, is a colorful and systematrical drawing of butterflies that links the abstract and nature inextricably through Escher?s perspectives on the symmetry in nature (Schattschneider 68). His artistic creations often provide a sense of dichotomy or paradox both in nature and in the world of man (Duran 239). The resulting art works demonstrated the link between the progression of his design of symmetry and his representational process. Some have argued that the direct nature of Escher?s designs are linked to the way Escher perceived nature, more than as demonstrations of a knowledge of math or science.
III. The Use of Symmetry
Symmetry is the structural concept that shapes many mathematical and scientific processes (Schattschneider 68). Though Escher liked to make his drawings appear to have a random construction, a closer look at the particulars of his design orientation demonstrate a clear sense of symmetry (Schattschneider 68). In the example of Triangle System 1B3, Type 2 (1948), Escher?s butterfly design is based on six alternating colored butterflies that move around the flow of the drawing in a circle. Though the symmetry is not immediately perceivable, it is directed through circular symmetry, and provides a unique visual perspective and continuity in the drawing.
Escher is also famous for using symmetry as a means of demonstrating the infinite, and his drawing Circle Limit IV (1960) uses negative space and the picture of a gargoyle incorporated into circular symmetry in such a away that it appears that the circular construction continues with out end (Schattschneider 68). Escher also considered this element of negative space as a representation of duality, which corresponds with the mathematical concept of negation, that each statement has a counterpart or negative correlate (Schattschneider 68). In math and in the drawings of Escher, this concept of duality suggests that each element has a complement, and that the link between both provides a complete definition (Schattschneider 68).
This concept of duality is also the fundamental element in what has been described as Escher?s technique of tessellation, which features patterns that have equivalent weight given to both the positive and the negative images (Walczak 29). Tessellations have been defined as ?repetitive designs in which positive and negative shapes are of equal importance and consume the entire surface? (Walczak 29).
As an extension of his perspective on symmetry, Escher also pursued the use of self-similarity, based on the mathematical concept of the recursive algorithm (Schattschneider 68). Escher?s illustration entitled Square Limit (1964) is constructed using a recursive scheme, or a set of directions that is applied to each new object on and on so that the representations and the transformations appear without end (Schattschneider 68). The final product is a picture that is self-similar, but that has a clearly differentiated final objects when compared to the first image transformed (Schattschneider 68).
Escher addressed many other scientific principles in the design of his work, including dimension, relativity, reflection, and infinity, and underscored the way in which art can demonstrated more complex scientific principles (Schattschneider 69). But it was also Escher?s contention that this was not his intent, and instead, that this link was simply the culmination of his individualized perspectives on the particulars of nature and focused on the way that other cultures recognized these same scientific and mathematical elelemts within their artistry.
IV. The Geometric Shapes, Escher?s Perspective and Islamic Art
The geometry of nature and of art were primary concerns for Escher, who demonstrated these elements through the use of metamorphosis, geometric progression and visual plane distortion techniques to demonstrate these elements (Doornek 25). Escher demonstrated and understanding of differential special perceptions that were designed by considering the spatial circumstances within which elements of nature come into correlation and underscoring an artistic depiction based on these elements (Doornek 25).
Two of Escher?s more popular works, Day and Night and Three Spheres II are both artistic creations the underscore this defining focus on form over substance (Doornek 25). They also demonstrate the process by which Escher extends mathematics and scientific concepts into his artistry, and underscore the emergence as a reflection of his understanding of nature and of other cultures. Perhaps the most notable element of both of these works is the process of applying different spatial perceptions to the specific elements of his artistry, based on the desire to demonstrate a particular visual effect (Doorneck 25).
But one of the most notable elements of Escher?s work, especially in its earlier development, came as a relationship between his evaluations of systematic and patterned tilings created in ethnic and religious communities, that utilized geometric shapes. The study of the
repeated geometric shapes in a number of his works based on Islamic influenced mathematical variations as well as the influence of the Alhambra of Grenada and the Le Mesquita of Cordoba underscored the prevalence of this kind of artistic design (Watson-Newlin 43; Schattschneider 17).
Escher began his study of the complex weavings of cultural artistry when he traveled to the Alhambra in Spain and discovered the centuries of Islamic artistry developed through the use of geometrical shapes, often in configurations that were both repetitive and symmetrical. But the standard notion of symmetry was also challenged within these constructs, and it was evident that there were elements that supported a more complex element to the nature of symmetry, perhaps rooted in an understanding of complex mathematics and their implications for art (Watson-Newlin 43).
From September of 1936 until the following March, Escher evaluated the Islamic sketches of as well as Moorish designs that he has attained from designs in majolica tiles in order to determine the importance of these elements in creating a specific artistic design (Schattschneider 17). The design for his first attempt at creating a complex, symmetrical and geometrically complex and repetitive design was based on the tile images recovered from the Alhambra (Schattschneider 17). An explanation of his symmetry of this initial drawing entitled ?weightlifters? provides some insight into the process for Escher: ?It was not the geometric shape of a single majolica tile that led to Escher?s human shape, but rather the relationship of a single tile to ever other copy surrounding it. Each single weightlifter in Escher?s drawing can be transformed into one of the five weightlifters which ajoin it by making either a quarter turn (where elbows touch) or an 180 degree turn (where two heads meet)? (Schattschneider 18).
At the Alhambra, Escher determined that the Islamic artists had used repetitive geometric patterns and shapes in colorful mathematical variations and that the general base for their representations was deeply imbedded in a cultural and religious affinity for nature (Watson-Newlin 43). The Islamic art that became a foundation for the work of Escher presented no humans or animals, and instead focused solely on natural elements and shape representations in the art (Watson-Newlin 43). The Islam?s believed that the presentation of geometric shapes, flora and even calligraphy provided a reverence for God and a demonstration of the preservation of God?s ideals (Watson-Newlin 43).
Though Escher did not necessarily embrace the ideological focus of the representations at Alhambra, he did focus on the artistry and based many of his subsequent drawings on the complex and challenging designs that he experienced. He learned that the basic elements of their designs were not so difficult to understand if they could be evaluated in terms of the repetition rather than simply on the basis of the primary element. He also copied patterns from the Alhambra and utilized them to create some of his most significant works, including metamorphosis (I) in 1937, a woodcut print that was based on the geometric tilings of the Alhambra (Schattschneider 19).
V. Conclusion
The essential nature and complexity of the developed drawings and artistic creations of Escher were linked not only to his study of the Islam at Alhambra and the Moors, but also through the demonstration of what has been described as the metaphor of Escher. Though the artist contended that his work was not the product of a complex study of the mathematics and scientific principles surrounding the symmetric and recursive nature of the artistry, it became evident that Escher?s drawings systematically underscored basic principles of math and created a dichotomous view between Escher the artist and Escher the mathematician.
The progression of examples like Escher Metamorphosis, for example allow for the demonstration of the principles of symmetry, dimension, relativity, and the use of negative space to provide a distinct visual experience that leads the viewer through the progression of the piece of art. Escher was famous for bringing art lovers into his pictures and enhancing their experience by requiring them to evaluate and re-evacuate what they have seen. The imbedded nature of his developments in the knowledge and application of mathematical and scientific principles is an imperative element in understanding Escher?s creation.
In the years that have passed since Escher?s death, a number of artists have not only turned to his work for inspiration, but also have utilized his work as starting point for the development of complex and mathematically based artistic developments (Nickell 2). Escher focused on many different and complex systems of design for his artwork, which ranged from drawings and block prints to origami (Nickell 2), and the differentiation in his artistic pursuits were almost as complex as the designs he created.
6ae
Donato, Beverly Brand. ?The Escher Experience.? School Arts, (1994): March, pp. 31-32.
Doornek, Richard. ?M.C. Escher: beyond the craft.? School Arts, (1994): March, pp. 25-28.
Duran, Jane. ?Escher and Parmigianino: a study in paradox.? The British Journal of Aesthetics, (1993): July, pp. 239-245.
Nickell, Joe. ?Gardnerfest: Admirers ?Gather for Gardner? to fete the modest genius.? Skeptical Inquirer, (1996): May-June, pp. 2-3.
Schattschneider, Doris. ?Escher?s Metaphors.? Scientific American, (1994): November, pp. 66-71.
Schattschneider, Doris. Visions of Symmetry: Notebooks, Periodic Drawings and Related Works of M.C. Escher. (New York, NY: W.H. Freeman and Company, 1990).
Watson-Newlin, Karen. ?Stairways to Integrated Learning.? School Arts, (1995): October, pp. 43-44.
Walczak, Jan. ?Escher tesselations.? School Arts, (1994): March, pp. 29-30.
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It is easy to see how any urban development endeavor in the city of Makkah would be no small feat. With around two million pilgrims and twelve million visitors per year, projects in Islam’s holiest city are always high-stake and high profile. This is clearly reflected in the design of the 2002 competition brief for the development of a new access corridor in the city. More kit than document, the brief comprises a hard-cover book and supplementary material presented in a custom-designed box, and is adorned with traditional elements such as calligraphy and arabesque with distinctly modernizing treatments based on the pixel/square, as well as lavish production techniques. It stands as a visual work with careful attention to information design and a thoughtful negotiation of the ornament. | https://mindthegap.agency/client/makkah-western-gateway |
In Malaysia, Islam is one of the major religions practised by Malays and a small percentage of other races. They perform their daily prayers in mosques that feature stunning Islamic design elements.
Here are Malaysia’s top 10 most beautiful mosques.
1. Jamek Mosque
Jamek Mosque, also known as the Friday Mosque, was built in 1907 on the first Malay burial ground in Kuala Lumpur. It is the oldest mosque in Malaysia, offering a sense of peace and tranquillity and is located near the Klang and Gombak rivers. The mosque’s architecture is a mix of Moorish, Islamic, and Magul elements.
2. Putra Mosque
Putra Mosque faces the scenic Putrajaya Lake. It is one of Putrajaya’s most visited landmarks. The mosque features a blend of modern and traditional designs created with local artisans and indigenous materials. The design is based on the Sheikh Omar Mosque in Baghdad. Following that, the Putra Mosque’s design incorporates Malaysian, Persian-Islamic, and Arab-Islamic architectural elements.
3. Federal Territory Mosque
The Federal Territory Mosque is located close to the Government Office Complex. The Blue Mosque in Turkey influenced the mosque’s design, which is a mix of Ottomon and Malay architectural details. The garden of the mosque, surrounded by a moat, adds to the beauty of this holy place.
4. Malacca Straits Mosque
Malacca Straits Mosque is a floating mosque built on stilts on Melaka’s shores in Bandar Hilir. The mosque features a Middle-Eastern dome with four turret corners decorated with Malaysian roof lines. The brightly coloured arch with blue trim symbolises its significance in Islamic culture. It is even more stunning when the mosque is illuminated in the evenings.
5. Sultan Salahuddin Abdul Aziz Mosque
It is the state mosque of Selangor, and it is located in Shah Alam. Because of its magnificent blue dome and blue-stained-glass panels on the windows, this mosque is known as the Blue Mosque. It is Southeast Asia’s largest mosque, with the largest dome and tallest minarets. Its architecture is a magnificent blend of modern and traditional styles, with Middle Eastern and Malay influences. A well-known Egyptian calligrapher created detailed Arabic calligraphy on the main dome and walls.
6. Tengku Tengah Zaharah Mosque
Tengku Tengah Zaharah Mosque is Malaysia’s first floating mosque. The mosque is located in Kuala Ibai, 4 kilometres from Kuala Terengganu’s town centre. It is situated on a platform surrounded by water. From a distance, you can see the beautiful mosque reflected in the lake. It is built in traditional Malay and Moorish style, with marble, ceramics, mosaics, and bomanite paving.
7. Kota Kinabalu City Mosque
The Kota Kinabalu City Mosque has its contemporary Islam architectural design similar to Nabaqi Mosque in Medina. The stunning white mosque is surrounded by a man-made lagoon. Non-Muslims can visit the mosque except during prayers.
8. Sultan Abu Bakar State Mosque
Sultan Abu Bakar State Mosque is Johor’s state mosque, and it is located on Jalan Skudai. It is located at the top of a hill overlooking the city of Johor. It has two distinct architectural details with Malay influences – Victorian and Moorish styles. The mosque’s materials were imported from Turkey, Czechoslovakia, and Italy. The Department of Museums and Antiquities has designated the mosque as a protected heritage monument.
9. Kapitan Keling Mosque
Kapitan Keling Mosque is built by Penang’s first Indian Muslim settlers in 1801. It is Georgetown’s largest mosque. The mosque is distinguished by its large golden-yellow Mughal-style domes, crescents, and stars. Prayer rugs cover the polished white marble floor, and calligraphy panels adorn the walls. Geometrical patterns and floral motifs adorn the stained-glass windows.
10. Al-Bukhary Mosque
Al-Bukary Mosque is located in Alor Setar, Kedah, and is part of the Al-Bukhary Complex, which also includes a medical centre, a community centre, an old people’s academy, an orphanage, and a learning centre. The stunning interior and exterior design was inspired by mosques in Iran and Turkey. The five-layered archway represents Islam’s five pillars. In front of the mosque’s entrance is a stunning reflecting pool with Arabesque motifs. | https://theasiapress.com/top-10-most-beautiful-mosques-in-malaysia/ |
A selection of 10th to 16th century embroideries from the Newberry collection at the Ashmolean by Marianne Ellis (published Oxford, 2001).
In the 1940s Professor Percy Newberry gave the Ashmolean Museum a collection of almost 2300 textiles that he and his wife, Essie, had acquired in Egypt. They range in date from the 10th to the 19th century; and among them are more than a thousand Islamic fragments. Most of these are decorated with embroidery, but there are also some woven striped silks, a few painted fabrics and a piece of knitting. When they came to the Ashmolean Museum in 1946, most of the fragments were stuck onto large portfolio sheets. Accompanying a few, in Professor Newberry's handwriting, were brief pencilled comments regarding the stitch, possible date or place of origin.
It is likely that these textiles were Professor Newberry's special interest, as he was a distinguished Egyptologist who spent much of his working life in Cairo; However, they were only part of a larger collection of embroideries that he and his wife had assembled. These included Ottoman, Greek Island, Balkan, Persian, Algerian, Moroccan, Syrian and Central Asian pieces, the majority of which are now in the Whitworth Art Gallery in Manchester. Essie Newberry also gave some especially attractive and finely worked items to the Embroiderers’ Guild to add to the portfolios loaned to members to study and enjoy. Her interest and expertise in embroidery was widely recognised, and it was she who was asked to repair the linen pall embellished with marguerites of gilded bronze that had been found in Tutankhamun’s tomb. She served on the Executive Committee of the Guild for many years and her enthusiasm and love for the craft were instrumental in the expansion of the organisation. In their lifetimes the Newberrys encouraged others to share their interest in historical ernbroideries and enjoy their unique and wonderful collection.
Provenance
The embroideries illustrated in this book are from the Tulunid period (A.D. 868-905), Fatimid period (A.D. 969-1171), the Ayyubid period (A.D. 1172- 1249) and the Mamluk Sultanate of Egypt and Syria, ending with the Ottoman conquest in 1517. The majority date from the Mamluk period, during which embroidery was used to decorate a wide range of textiles. The Newberry collection is most unusual in that it contains sufficient examples to give us a glimpse, if not a complete picture, of the textile production at these times.
Accurate dating of the examples illustrated is in fact difficult. Two tiraz fragments are dated by their inscriptions (cat. 1, 2). A second group has been approximately dated through radiocarbon, the work being done at the Radiocarbon Accelerator Unit in Oxford University. The fact that the radiocarbon date of the tiraz piece (cat. 2) is at variance with its inscription indicates that all is not as straightforward as one might have hoped. Most dates, however, depend on stylistic comparisons; the wide dating parameters given for most of these pieces illustrate the difficulties. Dating might have been more precise if the pieces had come from scientifically recorded excavations, but as far as we know they were purchased from dealers. In an article written for the journal Embroidery in 1940, Essie Newberry recorded that the textiles came from graves and from the rubbish mounds of al-Fustat and Old Cairo, in the southern quarter of the city, and that the greatest number were acquired in the 1920s and 1930s. Professor Newberry left a notebook in which he recorded places from which a few of them came, but it is impossible to know whether this information was personally known to him or supplied by dealers. He also wrote some locations on the portfolio sheets and occasionally there are tantalislng clues, such as the label on the back of sampler marked “Fustat 14.7.32” (cat. 13) and a note referring to a splendid depiction of a lion, or possibly a leopard, in appliqué work that reads “found on the rubbish heaps of Old Cairo”.
For garment and household
Most of the embroideries are apparently from light clothing and furnishings, but many of them are fragments, so it is difficult to identify exactly what garment or cloth they once decorated. Inevitably they have suffered from damage caused by the conditions in graves and rubbish mounds; this has been compounded by the way illicit excavators or dealers cut the embroidery from the plain sections of the textiles. The majority of the items have a linen or cotton ground fabric, embroidered with silk thread. The quality of spin and weave is generally good, and the linen has often been carefully bleached, suggesting that the textiles were for everyday use by prosperous middle class citizens.
Those from the Mamluk period show us that needlework was used widely to decorate all manner of garments including tunics, the ends of trouser legs, girdles, waist tie-bands, scarves, caps, slippers and kerchiefs kept in the wide sleeves of the tunics. Items of household linen were also embroidered and include towels, pillow covers, and cloths of different shapes and sizes used as wrappers and covers. Many such cloths were required for household use to act as dust covers for all manner of objects including trays, baskets, cooling jugs for water and ceramic jars of the type known as albarelli or drug jars. Cushions were essential to provide comfort in homes which did not use chairs or beds. In Mamluk paintings curtains are depicted knotted or drawn aside and evidently played an important part in the interior furnishings as wall-hangings and room-dividers. Two of the more unusual items in the collection are tabs which were hung as ornamental edges around tents and canopies and an embroidered cover for a padded glass bottle.
Embroidery designs
Many of the embroideries are worked in geometric patterns but there are also examples of scrolling and arabesque designs, figurative motifs and calligraphy. Beautiful writing is considered a major art form in Islamic culture, and the collection includes an embroidered tiraz band (cat. 2) from Iraq or Iran with an elegant flowing script worked in a variation of chain stitch. In complete contrast, the forms derived from letters on some pre-Mamluk fragments (cat. 6, 7), have become illegible repeating patterns contained within compartments; this ordered arrangement of two patterns alternating along a band continued in use throughout the medieval period. Sometimes calligraphy was set against an intricate background of decorated scrolls and interlaced knots (cat. 9). Examples from the Mamluk period have words repeated as patterns like “glory” on a roundel (cat. 40) and the phrase “glory and eternity” on a long strip of linen (cat. 48). A motif which occurs with slight variations on no less than nine of the embroideries is derived from Arabic letters (cat. 18, 55); the frequency with which it appears suggests it was a 'good luck' symbol. It is one of a number of Islamic designs included in Western European pattern books published in the 16th century. The collection provides several interesting parallels between Newberry examples and pattern book illustrations, raising the question of how much European amateur needlework owes to Islamic Egyptian medieval embroidery. More evidence of its influence is also clearly shown on designs and stitches on later Greek Island embroidery.
The number of figural images may cause surprise, but whereas theological disapproval prevented their use for Quranic illuminations, religious architecture and furnishings, they can be seen on many objects for personal use. We find attractive animal and fish motifs worked on the embroideries but birds were by far the favourite subjects. They can be seen on tapestry-woven textiles before and after the arrival of Islam and feature on embroideries dating from the 12th to the 15th century demonstrating some of the different ways designers and embroiderers chose to portray them. The treatment of a paired bird and tree design on an embroidery from a 10th or 11th century band (cat. 3) affords an interesting comparison with that on a 15th century one (cat. 30). Convention dictated the stance of a small lion with raised front paw and upright curved tail (cat. 40) because this is a heraldic device associated with Sultan Baybars (d. 1277). Heraldic motifs and other design parallels between Mamluk objects occur across the media including glass, ceramics and metalwork; it seems as if the craftsmen drew on a common fund of decorative themes.
Many of the embroidery designs from the 12th century onwards in the Newberry collection are geometric in character often a regular repeat of a unit of pattern. We see straight and angular lines zigzags and hooks replacing the curves on earlier embroideries; for instance, it is noticeable that the earlier curvilinear S and reverse S forms have become rigid S- and Z-shapes. Some forms are new such as the large and small cartouches in the shape of elongated hexagons, whirling rosettes, double pointed arrows and eight-pointed stars. These were arranged in seemingly endless combinations made more complicated by the introduction of mirror image repeats and counterchange compositions. There are some beautiful examples of arabesque and stylised floral or plant-like designs. While these are fewer in number than the geometric ones, we cannot make any assumptions as to whether this is a true reflection of the needlework produced at this time or because such embroidery as survived was fortuitous.
Stitches
The use of design or stitch on its own as the criterion for classifying the embroideries is not satisfactory because it is not sufficiently selective. However it is fascinating to see that pieces sharing both the same types of design and stitch fall into groups. In this book examples from these categories are described and illustrated but the order in which they have been arranged can only be approximately chronological; some of them were contemporary with each other and many factors remain unknown, such as whether they were produced over a short or long period of years. By far the largest number of fragments is embroidered in 'counted thread' stitches, These include pattern darning in running stitch, double running, and close counted herringbone stitches worked over and under a predetermined number of threads. The collection contains many samplers with patterns for such counted works and sometimes identical designs can be found on other fragments in the collection (cat. 26, 36, 37). Each of the counted thread stitches has its own particular qualities, so the reason why a particular stitch was chosen depended on such factors as the visual effect, utility and the amount of labour involved. Sometimes combinations of different techniques were worked on the same embroidery. In general earlier examples used fewer stitches, often employing just one type, whereas as marry as four can be found on later more intricate work. For example, on a 14th century sampler (cat. 28) we see a simple form of drawn-thread work, while a variety of stitches producing both pulled and drawn-thread work were used on embroideries dating from at least the 15th century and possibly earlier. It is likely that these comparatively simple openwork techniques, imported to Italy via trade, became the basis for the development of needlelace in Europe.
The size and direction of the stitches worked on counted thread embroidery are limited by having to stitch over and under a chosen number of warp and weft threads, whereas no such constraints are imposed on freestyle work where the size and direction of the stitch can be varied at will to suit the marked pattern. We find linear designs worked in such fundamental stitches as stem and split stitch, with a variation of the latter producing a jagged line (cat. 43). An example of a successful adaptation is the way slanted buttonhole stitch has been used to interpret a beautiful flowing arabesque design (cat. 42). When stitches are analysed it becomes apparent that many are simply variations of fundamental ones; the fascination of studying embroidery techniques is in trying to discover the reason why such variations developed.
The presence of interlaced herringbone stitch on some fragments raises the question of whether these were worked in Cairo by Armenians, for whom this stitch is traditional, or whether they were imported (cat. 53). Both patchwork and quilting are represented by some particularly fine examples; inlaid patchwork has been used to interpret a striking design with great effect (cat. 50) and onlay patchwork to create a charming little silk cap (cat. 65). Its silk patchwork and linen backing were quilted with parallel diagonal lines of running stitch and adorned with motifs composed of tiny eyelets in buttonhole stitch. A type of cord quilting, known as 'ltalian', was used to form a raised pattern of diamonds on the band of a cap (cat. 64).
In her article published in 1840, Essie Newberry remarked that these stitches and techniques were well known to the embroiderers of her day and the same is true some sixty years later. Fortunately for us, both Professor Newberry and his wife appreciated the value of these archaeological textiles that amazingly survived the hazards of burial, rushed excavations and the hands of dealers to show us some of the skilful and diverse ways embroiderers decorated textiles in Islamic medieval Egypt with a wide variety of designs and patterns. Ibn Khaldun, the ldth century Arab historian wrote that “all crafts are customs and colours of civilizations” and that when the culture falls into ruins “only people who know are able to discern these remnants [of the culture]. They will find, however, traces of the crafts [there] showing what once existed there, like faded writing in a book."
Object information may not accurately reflect the actual contents of the original publication, since our online objects contain current information held in our collections database. Click on 'buy this publication' to purchase printed versions of our online publications, where available, or contact the Jameel Study Centre to arrange access to books on our collections that are now out of print. | http://jameelcentre.ashmolean.org/collection/7/1252 |
Residents and visitors to Port Franklin will have a new platform to admire the view, spot birds and watch the comings and goings of boats thanks to an $80,000 grant from the State Government, The Nationals Member for Gippsland South Danny O’Brien said today.
Mr O’Brien said Walkerville Foreshore Reserve Committee of Management would also receive $20,000 under the latest round of the Coastal Environments Program to provide safe foreshore access and make it easier for people of all abilities to access the water.
“Locals know that it’s important to protect the natural environment and ensure that it’s accessible for all people, as many of these coastal communities relay on the tourist trade,” Mr O’Brien said.
“In addition, residents in South Gippsland live in the best part of the state for a reason, and that is it’s magnificent, therefore it’s important that areas such as Walkerville and Port Franklin are protected for generations to come.”
Mr O’Brien said the new timber platform would replace the current structure alongside the Franklin River and would enable people in wheelchairs a safe vantage point to take in the surrounds.
“The current platform on the corner of Bowen and South streets does not allow those using wheelchairs and walkers to safely access the platform, therefore it will be dismantled and replaced with a new all-abilities access structure,” Mr O’Brien said.
“Providing locals and visitors with safe and easy access to the area’s waterways and coastal locations is vital and these projects will make it more enjoyable for people of all abilities to relax by the water. | http://www.dannyobrienmp.com.au/grants_provide_better_access_to_local_waterways |
Charity’s report outlines lack of access to mobility equipment is leading to isolation
After conducting extensive research, the British Red Cross is calling on the UK Government to introduce a statutory duty for the provision of short-term wheelchairs, in the same way that it exists for long-term provision.
Providing insight into the scale of unmet needs across the UK, the research found that short-term provision of wheelchairs is inconsistent and varies from place to place, impacting on large amounts of people.
The report highlights some of the main issues regarding not getting a wheelchair when it is needed, such as social isolation, inability to get to important places like hospital appointments or work, and the fear of falling.
Due to the ageing population, the number of people with long-term and complex needs will grow. The British Red Cross is concerned that with this, the level of unmet needs will also increase.
In light of this, the charity makes suggestions in its report for simple improvements to ensure that anyone who requires a wheelchair can access one that is right for them for as long as they need it.
The study
The British Red Cross surveyed 4,236 individuals aged 16 upwards from across the UK.
Additionally, the charity called 139 publicly listed statutory wheelchair providers in the UK to request information surrounding their provision of short-term wheelchairs.
Key findings
- Less than 25 percent of NHS wheelchair providers currently loan short-term wheelchairs.
- Out of 139 listed NHS wheelchair providers only 25 confirmed that they provide short-term wheelchairs, with many saying that the reason they did not provide short-term wheelchairs was because there was not a statutory duty to do so.
- Due to a lack of access to mobility equipment, 65 percent of those with an unmet mobility need experienced significant negative impact on their quality of life, including not being able to go to work and becoming housebound.
- Out of those who borrowed a short-term wheelchair, 9 out of 10 people said it was very helpful and enabled them to manage daily activities, while 87 percent said it made it easier for family and friends to help them.
- Almost half of the participants said that using a wheelchair sped up their recovery time.
- Both healthcare professionals and individuals themselves had low awareness of the potential benefits of using a wheelchair when experiencing a temporary mobility restriction.
- Only half of the people asked who had experienced a mobility issue and did not have a mobility aid thought it could have been useful.
- Just over 40 percent said that they did not want to use a wheelchair, commenting that it is a sign of a weakness or ageing.
- From its research, the British Red Cross estimated that 4.3 million people across the UK had a mobility issue which could have been met by a mobility aid.
- 44 percent of respondents who had a short-term mobility issue but had no access to a wheelchair felt that they would have benefitted from a wheelchair loan.
Suggestions
- The British Red Cross suggests that the Government should introduce a statutory duty to provide short-term wheelchair provision.
- Health and care services should introduce holistic mobility assessments for people with short-term mobility difficulties.
- Information and training should be provided to health and care professionals to ensure that they can advise people with short-term mobility needs on appropriate mobility aids, including wheelchairs.
- Statutory health and social care services should improve the provision of short-term wheelchairs in their area by exploring ways to deliver short-term wheelchair loans in a more consistent way to the people who need them. | https://thiis.co.uk/charitys-report-outlines-lack-of-access-to-mobility-equipment-is-leading-to-isolation/?rel=author |
According to the Australian Network on Disability, 4.4% of people with disability in the country are wheelchair users. This means that out of the more than 4.4 million people in Australia who report some form of disability, around 193,600 use wheelchairs.
Wheelchair users are a very specific group of people with disability, with their own set of needs. Because of their wheelchair, they can find navigating both their home, workplace and community quite challenging without the appropriate structures and sufficient space.
If you or a loved one need to use a wheelchair to get around, it makes sense to make some necessary wheelchair accessible modifications to your home. With proper planning and the right design, your house can facilitate freedom and ease of movement for those who are wheelchair-bound.
Moreover, some homeowners planning for aging in place deliberately introduce certain design changes that would create an accessible home that is aging-friendly. In doing so, they can significantly prolong the time they can spend in their current home, even as they grow older, retire and start to develop mobility problems.
And whether the wheelchair use is temporary or long-term, there are specific steps you can take to create an accessible home and make life a little easier for everyone.
Removing Barriers to Mobility With an Accessible Home
Creating a home that can accommodate a wheelchair essentially involves minimising or getting rid of barriers. By creating a universal design, you make daily necessities more accessible and most tasks manageable and easier to do for people with mobility issues.
Getting rid of physical barriers could mean changing a few sections of or your entire home.
Single-storey residences are understandably more wheelchair-friendly as access to all sections of the home is easier to facilitate. But if your house has more than one storey, it would help to ensure the wheelchair user has access to all necessary spaces on the ground floor.
Below are 5 ways to create a more wheelchair-friendly home.
1. Make Doors and Narrow Entryways Wider
Wheelchair-friendly and accessible homes provide wheelchair and walker users or people with specific needs ample space to make manoeuvring doorways, hallways and corners easier.
To be wheelchair-accessible, a door should at least be 81.28 centimetres (32 inches) wide, although easy passage is assured at 91.44 centimetres (36 inches) wide.
Some accessible home solutions to consider include installing offset hinges that can add about 2.54 centimetres (1 inch) of clearance, and getting rid of the doors or trim altogether. Installing French doors is also another good alternative and offers very wide entry points in a home.
While replacing or widening a doorway can be an expensive job, there are disabled access doors that can be installed on existing entrances or doors. If you want to take the high-tech route, these disabled access doors can be integrated with an access control system, intercom hardware and other types of door or access technology to create a more accessible home design.
It’s also important to ensure all hallways and rooms are well lit with accessible light switches and lighting options.
2. Install Ramps and Grab Bars or Handrails
Ramps and grab bars or handrails are among the other important home modifications for wheelchair users. However, installing these involves knowing elevation changes.
Some homes have a few steps, while others have an entire flight of stairs. While children using wheelchairs can be conveniently carried up a couple of steps, this may not be possible nor safe and practical as they grow older.
Aside from the weight of the user, you also need to calculate the wheelchair weight if you plan to carry both or one by one; either way, carrying will always be a laborious process.
To give you an idea, a standard manual wheelchair can weigh up to 23 kilograms; an ultra-lightweight wheelchair from 7 to 14 kilograms; and a regular motorised wheelchair between 23 and 113 kilograms.
Therefore, installing strategic ramps as an alternative to steps or stairs is an important modification. Rails alongside ramps, stairs and walls are useful as they provide additional support. Also, look into using a non-slip surface material in your home design and a cover for added safety.
If space is a big concern, you could also look into using a vertical platform lift instead of a ramp, where appropriate. Stairway lifts can be installed in places where there’s a staircase. But again, if the wheelchair user can access all necessities on the ground floor, there would be no need for a stairway lift at all.
Grab bars are a great addition to any home and make any existing or new home more accessible. Consider adding grab bars to your accessible bathroom, kitchen, living room and incorporate them into the overall design of your house.
3. Add More Legroom and Clear Pathways Everywhere
It takes strength and a lot of skill to manoeuvre a wheelchair expertly around sharp corners and narrow hallways. So, if knocking down walls to add more space in every room is deemed too expensive or impractical, consider keeping all paths clear or free from clutter, dirt and obstructions.
This means no shoes or racks near doorways or toys and other messes in your home.
By ensuring all pathways are clear, you’re making it easier for your wheelchair-using family member or friends to move about independently.
You also need to designate spots in your home where the user can park their wheelchair when it is not in use.
4. Adjust Sink and Counter Heights
Look into making height adjustments to your bathroom sink to ensure the wheelchair user can roll their chair underneath to use the sink. Also, consider putting another mirror that they can use or just lowering the height of the existing one.
In the kitchen, store basic items like dishes, pots and pans in accessible drawers at a lower height. This way, even if you need to leave your wheelchair-using family member alone for a few days, they’d have no trouble preparing their own meals.
Small design changes like this create more accessible homes and make all the difference.
5. Use Wheelchair Accessible Flooring
Carpets and rugs do not only pose a tripping hazard but can also make it harder to drive a wheelchair around. If you need to have carpets, shift to using low-pile carpet. If you have the budget, you can get your flooring changed to hardwood, ceramic tiles or vinyl.
Watch out for exposed cords and threshold safety issues and see if installing rubber ramps would make your place a lot safer for a wheelchair user.
Creating Wheelchair Friendly Homes
Turning your home into a wheelchair-friendly space takes planning, time and some investment. But part of making your house a proper home for everyone is ensuring all who live there have the freedom to move around independently, including wheelchair users.
But why stop there?
If you have a business or are a decision-maker in your place of work, why not look at ways you can make your business more accessible to wheelchair users.
To get started, contact the team at Go Doors for a consultation. As registered NDIS providers, we have many years of experience in creating a wheelchair-friendly home and can guide you through creating a more accessible property. | https://www.godoors.com.au/blog/wheelchair-friendly-homes/ |
Growing older can come with many challenges and changes. According to the U.S. Centers for Disease Control and Prevention, every year, one in four Americans over the age of 65 fall. Even worse, every 11 seconds, an older adult is treated in the emergency room for a fall, and every 19 minutes, an older adult dies from a fall.
According to National Institute on Aging, the majority of falls take place in the bathroom — 80% to be exact. The floor can get wet and slippery, and there’s an increased risk of tripping or falling getting in and out of the tub or shower.
The International Code Council’s priority is safety. While there have always been provisions for accessibility for persons with disabilities in the codes, these provisions were based on allowing independent access into and throughout a building, including independent use of the fixtures in a bathroom. As people age, they may not be strong enough for total independence. It is critically important not to overlook the need for up-to-date requirements to ensure the safety of older adults — and the strongest need for this exists in assisted living facilities, nursing homes and rehabilitation centers.
The 2021 edition of the ICC’s set of building codes include new criteria for assisted toileting and bathing. This will have a vital impact on the safety of our elders.
The ICC Committee on Healthcare (CHC) utilized new research from the Mayer-Rothschild Foundation to help develop several successful proposals for the 2021 International Building Code (IBC). The Mayer-Rothschild Foundation is a national philanthropy exclusively committed to person-centered care in long-term communities. Their study worked with residents that used a variety of mobility aids, including canes, walkers and wheelchairs; as well as asked for input from the caregivers. The resulting changes in the codes are new options for the bathrooms to be designed to allow for both access with mobility aids and assisted use of the toilet and shower in assisted living facilities, nursing homes and rehabilitation facilities.
The intent for assisted toileting and bathing is to allow for someone who has a physical disability to still feel as independent as possible, and at the same time, address the need for additional safety. For example, some elders lose their strength or have stability issues, which makes it difficult for them to stand up and down. However, having some assistance when needed will help their confidence and provide a level of independence.
Feeling safe when moving on and off the toilet is important for residents as well as caregivers. Assisting someone from the front when using the toilet has become a safety concern for both residents and caregivers over the years. Instead, having fold-down grab bars on both sides of the toilet and moving the toilet away from the wall so assistance can be offered from one or both sides will make it easier, as well as safer, for both residents and caregivers. Space for a resident using a wheelchair to maneuver for a side transfer is still provided adjacent to the toilet.
Research also looked at assisted bathing. It was found that mounted seats within the shower created a challenge for caregivers to access parts of the body of the resident they are assisting, such as their back. Whereas, a moveable seat will provide more options and easier access to assist with bathing. Grab bars on three walls provided stability for residents that preferred to stand for all or part of the shower. Space for a resident using a wheelchair is provided in front of the shower.
The bathroom as a whole will still require other accessibility features, such as a 32-inch clear-width door with maneuvering clearances, an accessible sink and a turning space within the room. These new options will be viewed as designs that are specific to the needs of the population they serve as well as provide a higher level of accessibility. The intent is to allow for design flexibility and address the safety of both residents and caregivers.
With Americans living longer and in greater numbers, building codes continue to evolve to assure the utmost comfort and accessibility for these generations. According to the CDC, 10,000 people are turning 65 years old each day. As that number grows, it is critical to have a plan in place for this group as well as the best assistance they can get. | https://www.supplyht.com/articles/102913-new-criteria-for-assisted-toileting-and-bathing-options-gives-elders-extra-protection-in-2021-building-codes |
Accessible meetings and events
On this Page:
Introduction
Organising meetings and events so that everyone can participate as much as possible and attendees’ diverse needs are accommodated requires early planning and considered thought.
There are many details to consider when planning an event where disabled people will be attending. These include finding a suitable venue, creating a relevant agenda, designing communication materials and promoting the event.
This guide outlines key points to consider before, during and after an event. It provides best-practice principles, strategies to support different participant needs and checklists to ensure your event provides reasonable accommodation for disabled people.
Important considerations for organising and running an inclusive event:
- Be sure to know what physical accommodations attendees
may need in order to fully participate – do not make
assumptions.
- Before an event, provide attendees with opportunities
to share information about their specific needs.
- Be respectful and kind – show all participants that they
are valued and that their views are equally important.
- Design the event to be accessible to those attending. For example, do not expect attendees with visual impairments to be able to read a PowerPoint presentation.
Section 1: Planning
A well-planned event ensures that every participant has an equal opportunity to participate.
Understanding and responding to people's needs takes time. Building these timeframes into the planning will help ensure that the event runs smoothly.
Event-planning checklist
- Disabled people often face financial barriers to taking part in workshops and events. Do you have arrangements in place to meet these costs?
- Have funds been allocated to make the event accessible to everyone?
- Have you allowed enough lead time to book New Zealand Sign Language (NZSL) interpreters, to get materials prepared in a variety of accessible formats, to review the material and to arrange any other necessary supports?
- If you have an attendee with an intellectual or learning disability, have you booked a Meeting Assistant and allowed time for them to read the material and discuss it with the person they are supporting?
- Do the starting times allow disabled attendees enough time to get prepared and find transport to meetings?
- Has material been sent in advance to NZSL interpreters, Meeting Assistants, people with learning disabilities and people who are blind or visually impaired?
- Are sufficient power points available for attendees’ equipment, such as laptops?
- If this is a larger meeting or event, have NZSL interpreters, note takers, and at least one personal assistant been booked?
Section 2: Venue
Choosing a suitable venue is a key decision when setting up an accessible event. A venue should easily accommodate a full range of disabled people attending the event.
Few venues may be completely accessible, but if organisers know what to look for and the questions to ask beforehand, many venues can be improved to better serve the needs of disabled participants.
Venue checklist
- Have you had an accessibility expert or a barrier-free auditor check the venue?
- Is the venue likely to have any building work going on between the time you have had an access check completed and the event itself?
- Do you have a list of nearby cafes and restaurants that are fully accessible?
- Is seating provided for those who cannot stand for a long time?
- Is there adequate parking for disabled people with clearly marked mobility parking spaces?
- Is signage for the street address and building name clearly visible from the street?
Getting to and from venue checklist
- Is accessible public transport available?
- If mobility taxis are needed, are the start and finish times outside of school runs (as mobility taxis are often fully booked at these times)?
- Does the venue have clearly signed pick-up and drop-off points?
- Is there a barrier-free path of travel from the parking area, bus stop or drop-off points into the building (no stairs, no uneven surfaces or loose gravel)?
- Have you provided a map locating the venue, parking and entrance (and possibly also the internal layout of the venue, including reception, toilets, meeting rooms and reception) and is the map in an accessible format?
Entry to venue checklist
- Can the main entry be used by everyone, or are disabled people expected to use a back entry, or go through a restaurant kitchen or building garage?
- Are entrance doors accessible (automatic preferable, if not then secured in an open position, with ramp and hand rails)?
- Do elevators have braille buttons; are the lifts large enough for power wheelchairs and scooters; are lift controls at wheelchair height; is there an auditory signal for people who are blind or have low vision?
- Do any entrances lead to doors where a buzzer or bell needs to be pushed to gain entrance?
- Have hazards been identified, and if so, is there signage to alert people to such things as slippery entry and foyer areas?
In the venue checklist
- Is the reception area large enough to enable people using mobility scooters, wheelchairs, guide or mobility dogs and other mobility aids to move about easily and safely?
- Are there tables at reception and registration with accessible height and knee recess space?
- Are chairs (including with arms) available at registration and reception?
- Are staff or volunteers available to assist participants with registration and to direct them to the relevant parts of the venue?
- Is there a quiet rest area with couches and some privacy?
- If the conference is at a hotel venue and is for more than one day, have you reserved a room for people who need to rest or to have personal-care needs met?
Emergency evacuation checklist
- Can people easily leave the venue in an emergency?
- Have participants been briefed about emergency procedures and do they know how they will be assisted?
Disability assistance dogs and guide dogs checklist
- Is there an outside grassed area for disability assistance dogs and guide dogs to use during the day?
- Are water bowls available for dogs?
Room set up and seating checklist
- Is a variety of seating available, including chairs with and without arms, and extra cushions?
- Are power sockets and leads (preferably taped down) available for participants’ equipment and have they been told where they are available?
- Have interspersed spaces (not just at end of a row or at the back of the room) for wheelchairs and other mobility aids been provided?
- Is a hearing loop available and is it working?
- Are tables available for participants?
- Will the presenter be visible to everyone?
- If a stage or podium will be used, are they accessible to all speakers? If temporary ramps are used, do they have a rail?
- Does the venue have noisy or distracting background sounds (heaters, air conditioning units, background music)? If, so, can these be mitigated?
- Is there a height adjustable electronic whiteboard set up?
Toilets checklist
- Are there accessible toilets and are they near to meeting rooms (on the same floor)?
- Are accessible toilets being used for other purposes (cleaning equipment, spare chairs)? If so, can these be relocated?
- Are the accessible toilets large enough to accommodate power wheelchairs and scooters?
- Do the doors to the toilet areas (not just the accessible ones) have a raised tactile male or female sign (preferably with braille lettering as well) that is colour contrasted?
- Are toilet doors easy to open and lock for those with limited hand movement?
- Is the washbasin at wheelchair height and does it have space underneath for a wheelchair?
- Is the tap easy to operate for those with limited hand movement?
- Are the paper towels or hand dryer at wheelchair height?
Meal and refreshment breaks checklist
- Are the meeting rooms near to the reception/refreshment area?
- Is the reception/refreshment area large enough to provide easy circulation for participants who use wheelchair, scooters, guide dogs or other mobility aids?
- Have you allowed enough time for meal and refreshment breaks?
- Are staff or volunteers available to assist people with meals and refreshments, especially self-serve buffets?
- Are drinking straws and a variety of cups (not just small tea cups) supplied?
- Are sufficient seats (including chairs with arms) and tables available around the refreshment area?
- Are the tables accessible to people using wheelchairs?
- Has the catering service received a list of dietary needs well in advance (from information provided on registration forms or invitations) and will all items be clearly labelled?
- Has one staff person or volunteer been assigned to manage refreshment and meal services? Has that person been introduced and do people know where to find that person?
Venue staff checklist
- Do venue staff understand how to offer assistance to a disabled person and has someone (preferably a disabled person) briefed them?
- Have venue staff orientated attendees to the layout of the building with precise instructions (not waving hands)?
- Are staff available to escort people to the meeting room?
Section 3: Registration form and pre-event information
The way the registration form and pre-event information are written is the first signal to disabled people that your organisation values their participation.
Your pre-event communications should clearly demonstrate your commitment to inclusion. Be sure to include a section asking participants to list what accommodations, services, and supports they require.
Registration checklist
- Is the registration form available in a variety of formats, including Easy Read, NZSL, large print, braille, audio visual, online?
- Does the invitation or notice of meeting include information about the accessibility of the event, including access and accommodation needed, without focusing on the disability of the participant?
For small events, the following wording may be useful:
Please let us know what supports you will require so we can make arrangements in advance. We would also appreciate being notified of any specific assistance you may require in the event of an emergency evacuation. For more detailed information, questions or concerns please contact (name of contact) at (email address or phone number).
See following sample registration form that could be used or adapted for planning accessible events.
Section 4: Workshop presenters and facilitators
Some of the most important factors in creating an inclusive and accessible event include accessibly presented materials, a venue where the layout of the room encourages participation, and facilitators who ensure that any activities are inclusive.
Accessibility tips for workshop presenters and facilitators:
The following guidelines are also available online and in PDF and Word format on the Health and Disability Commission web site links given in the Resource section.
- At the beginning of your presentation, provide both a visual and verbal overview of the presentation outline.
- Verbally describe all graphics on the slides including tables, charts, and images during your presentation.
- Verbally indicate when you are changing slides so that everyone can follow along and anticipate topic changes.
- Verbally indicate when you are linking to an external website. Describe the website you are connecting to and how it is relevant to your presentation.
- Verbally indicate when you are about to play a video or audio file. This will prevent audience members who are blind or visually impaired from being startled or confused when the multimedia file starts. It will also allow them to put on their headsets if the described video is available.
- If the video description is not available, verbally recap what occurred in videos after the audience has viewed them.
- Ask attendees to wait until any Deaf person(s) are seated and the interpreters are in place before others sit. (Make sure the room is set up so that the interpreters have a space to be seated, especially near the presenter.) There should be a clear line of sight from the Deaf person to the interpreter and seating should be reserved.
- At the beginning of a meeting or small forum ask all participants to introduce themselves, using a microphone. This lets people who are blind or have a visual impairment know who is at the meeting and is helpful for all participants.
- Only one person should speak at a time before the next speaker begins. Participants should introduce themselves before they speak.
- During presentations, meetings and workshops ask people to identify themselves during discussion.
- During discussions, supply a roving mike to enable people with hearing impairments to participate.
- Make sure any icebreakers or interactive activities include disabled people.
- Avoid using abbreviations, jargon, and technical or specialist terms during your presentation, which may not be understood by all participants.
- Speak clearly and at a moderate pace and modulation to make the information easier to understand and communication easier for NZSL interpreters and note takers.
- When decision making involves interactive methods (flip charts, use of coloured stickers, cards etc), choose methods so that everyone at the meeting can participate independently (eg. use differently shaped, instead of differently coloured, cards, and use inclusive ways to indicate choices).
Accessible seating arrangements
The U-shape arrangement is good for relatively small groups where attendees are expected to participate. It is best practice to leave a minimum of 1-2 meters (2-3 meters is ideal) between the presenter’s table or podium and tables where participants are seated. This allows individuals with mobility devices to freely navigate between the tables and into the centre of the arrangement should they wish to speak with individuals located in hard-to-reach spots, such as the corners.
Presenter’s table arrangement
The U-shape and Hollow circle seating arrangements are often used when participants are expected to engage in an interactive discussion. Both require a large room, even for relatively small numbers. These arrangements can be accomplished using chairs alone or with chairs behind tables.
Hollow circle seating arrangement
The Parallel tables arrangement can be used for small group meetings and events. It is especially useful for when a presentation is being given or a PowerPoint or video is being projected towards one end of the room. Projectors or teleconference equipment can be placed into the centre of the tables preventing anyone’s view from being blocked and allowing cords to be run in between the tables to save space and prevent tripping. As always, ensure that there is space around all of the tables and chairs for individuals with mobility devices to move around freely.
Parallel tables seating arrangement
NZSL interpreters
- If a NZSL interpreter will be signing at the event, please note the following:
- Give the interpreters regular breaks
- Provide them with the material prior to the meeting
- Give them a list of people attending, both Deaf and hearing
- Make sure the room is set up so that the interpreters have a space to be seated, especially near the presenter. There should be a clear line of sight from the Deaf person to the interpreter and seating reserved.
Meeting Assistants
Many people with learning disability benefit from having a Meeting Assistant alongside them. This role is a reasonable accommodation and is used to ensure equal participation in meetings. This role is usually required when people with learning disability are participating in meetings with other disabled people and non-disabled people. A Meeting Assistant’s role varies depending on people’s support needs. These needs are identified prior to the meeting and worked out between the person and the Assistant.
A Meeting Assistant’s role is to be interpreter and translator of information. Meetings often run at a faster pace and use complex conceptual information which can be a barrier to participation for a person with a learning disability. Meeting Assistants can be seen talking quietly to the person. They are assisting the person to get a better understanding of conceptual information – this can involve relaying real life experiences.
Another role of the Meeting Assistants is to assist the person with the complex social skills sometimes required to be engaged within a large group at a meeting. People may also need additional support outside of meeting time, such as during break times or with tasks or items to be discussed after meetings.
Meeting Assistants aim to help the person build confidence and trusting relationships to enable effective group participation. They may use different techniques to help the person have their say. One style is an “interview” style of question and answers, where the Meeting Assistant conducts mini interviews with the person to help them have their say at the meeting. Time must be given for people to have a say in whatever way suits them to participate.
Workshops and break-out groups
- Are separate areas provided for break-out groups so that multiple groups are not working in the same space?
- Are there group facilitators who can ensure everyone has space and time to speak?
- Have NZSL interpreters and Meeting Assistants received notes about any break-out activities, or have worked with attendees prior to the meeting(s), so they are prepared?
Post-meeting follow-up
- Is key post-meeting information accessible and provided in NZSL, Easy Read and online?
- Have any follow-up actions and responsibility lines been clearly identified?
- Have you developed an accessible evaluation form which includes information about the event and the supports and services provided?
Section 5: Accessible information
To ensure presentations delivered at your event are accessible, consider these aspects:
- Visual presentations (slideshows, videos, audio files)
- Handouts
- Verbal presentations
Creating accessible PowerPoint presentations
Slideshows are a powerful communication tool but they are often inaccessible to people who are blind or visually impaired. Fortunately, there are ways you can create slideshows that are accessible to a wider audience:
- Keep the design simple and use a simple, uncluttered design template.
- Utilise the pre-defined text boxes, title boxes, and image boxes already incorporated into templates rather than creating your own.
- Use sans-serif fonts such as Arial, Verdana, or APHont (a font developed specifically for low-vision readers), in minimum 24pt.
- Be mindful of colour contrast issues. Most PowerPoint text is on coloured backgrounds. Light text on a dark background is best (white on dark blue, white on black, or yellow on black).
- Do not convey information with colour alone as some individuals may be colour-blind. Bolding, italicizing, or underlining words will make them stand out, but do not overuse these font effects as they will make your slides too visually distracting for anyone to easily read.
- Limit the number of bullet points and total quantity of text per slide. We recommend 5 words per bullet and 5-7 bullets per slide.
- If using Microsoft PowerPoint, consider incorporating audible slide transitions that notify audience members that you are moving to a new slide.
- Disable automatic slide transitions and ensure slides change “on click”. This allows audience members who want to review your slides at a later time to control the speed with which slides change.
- Minimise the number of transitions or animations used in your presentation. These features can limit the functionality of adaptive technology.
- For version 2010 or later, once you have finished creating your slideshow, use the “Document Accessibility Checker” to check for accessibility issues. This tool is able to scan the slideshow for elements that are missing descriptive text, elements that have no assigned order for adaptive technologies, slides that have no assigned titles and other accessibility issues.
Creating accessible videos
Showing a video during your presentation? It is best to present videos that have captions and audio description. Captions can be manually added to videos you produce in a number of programs, or you can hire an online captioning service to add captions to any video and then host it on their server. It’s best to have audio description done by a professional contractor.
Creating accessible handouts
It is always helpful to have handouts to accompany a presentation. These provide more detailed information than your slides do and they allow participants to take better notes, refer back to material and follow along at their own speed. Key handouts requiring action should be available in a variety of formats including online large print, Easy Read and braille.
- Body text should be 12pt or greater. Use a serif font such as Times Roman, Bookman or Garamond for body text.
- Count the number of words in several sample lines of body text. If there are 15 words or more, increase your font size.
- Use sans serif fonts, such as Arial and Verdana, for headings and captions.
- Use white space on a page to break up dense text and make the content more readable.
- Watch your line lengths and make sure they are not too long.
- The right margins of your text should be “ragged” so that the lines end at different points. Ragged right justification helps readers better follow the text. Avoid a straight line on the right, or “full justification,” which is harder to read because it creates hyphens and uneven spaces between words.
- Use highlighting carefully, such as boldface and different colours. Using too many highlighting methods can make text less readable. | https://www.msd.govt.nz/about-msd-and-our-work/work-programmes/lead-programme-work/information-and-support/accessible-meetings-and-events.html |
Highlights of the Final Rule to Amend the Department of Justice's Regulation Implementing Title II of the ADA
The Department of Justice (the Department) has amended its regulation implementing title II of the Americans with Disabilities Act (ADA), which applies to public entities. The ADA requires the Department to publish ADA design standards that are consistent with the guidelines published by the U.S. Architectural and Transportation Barriers Compliance Board (Access Board). Therefore, the title II rule adopts new Standards for Accessible Design that are consistent with the ADA/ABA Accessibility Guidelines developed by the Access Board. The final rule also amends the existing title II regulation to make it consistent with current policies and published guidance, to reflect the Department's experience since the regulation was first published in 1991, and to address and respond to comments received from the public in response to the Department's 2008 Notice of Proposed Rulemaking (NPRM). These revisions take effect on March 15, 2011.
SUMMARY OF CHANGES:
- Adoption of the 2010 ADA Standards for Accessible Design. The Department has adopted revised ADA design standards that include the relevant chapters of the Access Board´s 2004 ADA/ABA Accessibility Guidelines as modified by specific provisions of this rule. To minimize compliance burdens on entities subject to more than one legal standard, these design standards have been harmonized with the Federal standards implementing the Architectural Barriers Act and with the private sector model codes that are adopted by most States.
- Effective Date. The rule will become effective on March 15, 2011. On March 15, 2012, compliance with the 2010 Standards will be required for new construction and alterations. In the period between September 15, 2010 and March 15, 2012, covered entities may choose between the 1991 Standards, the Uniform Federal Accessibility Standards (UFAS), and the 2010 Standards. Covered entities that should have complied with the 1991 Standards or the UFAS during any new construction or alteration of facilities or elements, but have not done so by March 15, 2012, must comply with the 2010 Standards.
- Element by Element Safe Harbor. The rule includes a general "safe harbor" under which elements in covered facilities that were built or altered in compliance with the 1991 Standards or the UFAS would not be required to be brought into compliance with the 2010 Standards until the elements were subject to a planned alteration. Similar safe harbors were adopted for elements associated with the "path of travel" to an altered area.
- Ticketing. The rule provides guidance on the sale of tickets for accessible seating, the sale of season tickets, the hold and release of accessible seating to persons other that those who need accessible seating, ticket pricing, prevention of the fraudulent purchase of accessible seating, and the ability to purchase multiple tickets when buying accessible seating. It requires a venue operator to accommodate an individual with a disability who acquired inaccessible seating on the secondary ticket market only when there is unsold accessible seating for that event.
- Service Animals. The rule defines "service animal" as a dog that has been individually trained to do work or perform tasks for the benefit of an individual with a disability. The rule states that other animals, whether wild or domestic, do not qualify as service animals. Dogs that are not trained to perform tasks that mitigate the effects of a disability, including dogs that are used purely for emotional support, are not service animals. The final rule also clarifies that individuals with mental disabilities who use service animals that are trained to perform a specific task are protected by the ADA. The rule permits the use of trained miniature horses as alternatives to dogs, subject to certain limitations. To allow flexibility in situations where using a horse would not be appropriate, the final rule does not include miniature horses in the definition of "service animal."
- Wheelchairs and Other Power-Driven Mobility Devices. The rule adopts a two-tiered approach to mobility devices, drawing distinctions between wheelchairs and "other power-driven mobility devices." "Other power-driven mobility devices" include a range of devices not designed for individuals with mobility impairments, such as the Segway® PT, but which are often used by individuals with disabilities as their mobility device of choice. Wheelchairs (and other devices designed for use by people with mobility impairments) must be permitted in all areas open to pedestrian use. "Other power-driven mobility devices" must be permitted to be used unless the covered entity can demonstrate that such use would fundamentally alter its programs, services, or activities, create a direct threat, or create a safety hazard. The rule also lists factors to consider in making this determination. This approach accommodates both the legitimate business interests in the safe operation of a facility and the growing use of the Segway® PT as a mobility device by returning veterans and others who are using the Segway® PT as their mobility aid of choice.
- Effective Communication. The rule includes video remote interpreting (VRI) services as a kind of auxiliary aid that may be used to provide effective communication. VRI is an interpreting service that uses video conference technology over dedicated lines or wireless technology offering a high-speed, wide-bandwidth video connection that delivers high-quality video images. To ensure that VRI is effective, the Department has established performance standards for VRI and requires training for users of the technology and other involved individuals so that they may quickly and efficiently set up and operate the VRI system.
- Residential Housing Offered for Sale to Individual Owners. Residential housing programs provided by title II entities are covered by the ADA. For the first time, however, the final rule establishes design requirements for residential dwelling units built by or on behalf of public entities with the intent that the finished units will be sold to individual owners. These design requirements are set forth in the 2010 Standards.
- Detention and Correctional Facilities. The final rule clarifies the requirements that apply to correctional facilities. It requires three percent of newly constructed or altered cells to be accessible.
For more information: Copies of this rule, the 2010 Standards, and this fact sheet are available in an accessible electronic format on the Internet at http://www.ada.gov/. For additional information or to order copies of any documents, call the ADA Information Line (800) 514-0301 (voice) or (800) 514-0383 (TTY). Copies of this notice will be available in accessible formats. | https://www.reachcils.org/disability/disability-information/2011-ada-changes |
How to Use A Basic ADA Inspection Checklist for Existing Facilities?Wednesday, February 12th, 2020
Existing facilities still have to adhere to the ADA and ensure that they are able to pass an inspection at any point in time. Accessibility is important to society as a whole. You can do your part by ensuring your facility stays ready to make appropriate accommodations for employees and clients alike. Here are the most basic components of an ADA inspection checklist for existing facilities to help you prepare your business.
1. Accessible Entrances
All businesses must have entrances that are accessible to anyone who wants to use them. Proper grading and well-maintained access are important to the entrance. Ensure that proper signage is both posted and fully visible. Entrances should not be placed in different areas than non-accessible entrances so as to single out those with mobility related disabilities. If at all possible, existing entrances should be modified to make them more user friendly.
2. Parking Spaces
Parking spaces must be big enough for a standard accessible van. Acceptable sizes vary by region, but all must be at least big enough for two people to fit into the space. Enough room outside of the space itself for unloading must also be provided. The signage and painted space markers must be well maintained and fully visible.
3. Door Size and Weight
Doors must be big enough for a standard wheelchair to fit through. Ensure that you measure from the top to bottom and side to side. Ensure that the door swings wide enough to allow for complete access. Ensure the door can be opened with a single hand. Anything heavier without an automatic switch is considered a barrier and must be replaced. Handles should be at an appropriate height to allow users in wheelchairs to grab them without having to shift or otherwise put themselves in danger.
4. Ramp Angles
Ramps must have 12 inches of space for even inch of incline. Measure each ramp and ensure the incline is not too steep for users. Ramps must also come flush with the ground above and below them. If you observe any gaps, make sure to note them so they can be repaired and re-inspected. Ramps that do not have enough run before the incline can be fixed by adding length to the ramp.
5. Bathrooms
Check that the bathrooms fit all the above requirements and then ensure that all fixtures are within easy reach. People in wheelchairs should be able to wash their hands, reach the door handles, lock the stalls, etc. Ensure that the handicapped stall is big enough as required by law, that the mobility assistive fixtures are both positioned correctly and at the correct height. Pull on them as hard as you can to make sure that they are properly anchored and will not come off or cause a fall.
Aside from these, make sure that all proper signage is available through-out the location. Ensure that accessible rooms are available for employees and that there are no barriers to employment with your company as well. It doesn’t hurt to make sure that areas that might become slick when wet have anti-slip strips or that there are policies in place to quickly clean up any kind of spills that might happen.
When working through the checklist make sure to both record everything you are doing in writing, but also to photograph your results. If you need to open a door to check, make sure that you photograph it both closed and then open, showing the different states of use. This will help ensure that you have all the necessary documentation if your facility is selected to undergo an inspection. | https://questarcorp.com/author/david-lopresti/ |
Stairwell usage during an emergency is for the safe evacuation of personnel, as well as access for emergency responders. In order to be as prepared as possible for the needs of everyone, the emergency plan must consider those persons needing extra assistance, as well as the responders assisting them.
- People with disabilities should be consulted and be part of the decision making process with regard to the evacuation plan when possible--particularly when related to emergency movement in stairwells.
- Evacuation chairs are not a singular answer to evacuating employees with mobility impairments. Because people have different needs during an emergency evacuation, consult with employees with disabilities to determine what kind of evacuation device would work for them. While many types of evacuation and transport chairs exist, there are no established standards for these devices.
- Planning for the use of evacuation chairs must be based on a person's location and the staff available to assist during an emergency. (e.g., certain evacuation chairs only descend stairways, so they would not be helpful for a person in evacuating from a basement or parking garage)
- For some emergencies (e.g., fire, hazardous material or viral outbreak), the proximity of the hazard to the people who must be evacuated will determine what would be the best response. In cases in which there is a significant distance between the person and the emergency, alternate means of evacuation, horizontal evacuation, and areas of refuge may be an alternative to evacuation through the stairwell. (In the case of hazardous material emergencies, pressure ventilation, filtration control, air control and HVAC systems may be factors in the decision to evacuate.)
People with disabilities may need additional assistance evacuating if stairways are a part of their evacuation route. A multi-faceted approach, including evacuation devices, wheelchairs, transfer devices and staff support, may be required.
- Plan for a person's personal mobility either as soon as they exit the stairwell or once the evacuation is complete, particularly for personnel with mobility impairments. (Employees may need to go home or return to the office once the evacuation is complete.) Many transportation chairs and evacuation devices do not allow for independent mobility of the person being transported. In such instances, the person with a disability would need an assistant to operate the device.
Examples:
- The U.S. Department of Agriculture uses a plan of evacuation that includes transportation chairs, as well as different types of evacuation chairs and staff assistance to evacuate people with mobility impairments from different sections of the building. Because they have to evacuate people from the basement as well as upper floors, the plan addresses the needs of employees regardless of their location in the building.
- At the Access Board, employees who are not providing assistance have been encouraged to exit with the manual wheelchairs belonging to those individuals using evacuation chairs. It is understood that this may not be practical in all cases. When it is, individuals in evacuation chairs will have the opportunity to transfer back into their wheelchairs and move further away from the building in a more efficient and independent manner.
- At the U.S. Department of Labor, manual wheelchairs have been stored in strategic locations on the ground floor of the building. These chairs provide a readily accessible means of quickly evacuating staff with mobility disabilities, as well as provide an alternative method of mobility for any personnel that may have been evacuated from upper floors on evacuation devices.
All safety routes, including stairwells, should provide safe passage, have the facilities necessary for evacuees to find their way, and (in the case of extreme emergency) provide a means for all occupants to effectively communicate their location to emergency personnel.
- Encourage all who work in the building or visit regularly to familiarize themselves with multiple ways out. This should include the stairwells. Blind or low vision personnel should also be encouraged to practice “way-finding” and other methods for learning egress routes.
- Added structures (e.g., reinforcement, emergency lighting, signage and fire doors) may be required to ensure the route to safety remains clear, adequate emergency lighting is available, and standardized accessible signage is readily accessible in the stairwell.
Consult the National Fire Protection Association (NFPA), and State and local government standards and regulations for stairwells. Additional guidance related to stairways and stairwells is also located in the Uniform Federal Accessibility Standards, and the Architectural Barriers Accessibilities Standard. Because each facility is unique, refer to the code specifically affecting your workplace when developing an evacuation plan using stairways and stairwells. (Some examples below.)
- 2006 NFPA Life Safety Codes (2006 NFPA 101- 7)
- NFPA Emergency Evacuation Planning Guide for People with Disabilities. NFPA, March 2007
- OSHA Standard 29 CFR 1910, Subpart B, Means of Egress
- Uniform Federal Accessibility Standards (UFAS)
Glossary
- Evacuation devices: These devices help quickly evacuate people with mobility limitations down or up stairs or across rough terrain. Not all of these devices are designed to be used independently by the evacuee, and in most cases require the assistance of another person to operate. Types of evacuation devices include transport chairs, evacuation chairs, or any device specifically designed to aid personal mobility during an evacuation (e.g., wheelchairs).
- Transport Chair: Device for moving a person with a mobility disability over a flat surface. It is often a chair with very small wheels or any other wheeled device. It allows very limited personal mobility and is not appropriate for travel over any rough terrain.
- Evacuation Chair: Device designed to allow a person with a mobility disability to be transported down stairs. Most evacuation chairs are not able to be solely operated by the occupant, may only be used to travel downstairs, and offers no independent mobility for occupants once travel downstairs has been completed.
- Transfer device: Any device to aid in the lifting, moving, and transferring of a person with a mobility disability from one device to another.
- Wheelchair: Wheeled mobility device which is propelled either manually (by pushing the wheels with the hands) or by automation, the path of which is determined by the occupant.
- Egress: The act of going or coming out.
Critical Questions
- Have employees with disabilities been consulted in relation to the purchase and use of evacuation devices to ensure the devices are appropriate for their specific disability, particularly during evacuations using stairwells? Does your evacuation plan consider the independent mobility needs of employees after they have used the evacuation devices? Have the possible evacuation needs of visitors with disabilities also been considered?
- Have blind or low-vision personnel been encouraged to learn and practice multiple stairwell egress routes using way-finding or other methods?
- Are there redundant emergency notification systems in place that are accessible to employees who are deaf or hard of hearing (e.g., text messaging, vibrating paging devices, pop-up messaging on computers, enunciators, etc.)? Were employees with disabilities consulted during the planning and implementation phases of these systems?
- Do the emergency communication options in place take into consideration the needs of people with disabilities, particularly with regard to the capability of two-way communication from within stairwells?
- Has consistent accessible signage been placed in the stairwells that identifies the specific location of the stairwell, so that an individual in need of assistance may communicate their location clearly to emergency responders? Are the locations of exits also clearly posted with accessible signage such as audible, directional, or tactile signage?
- Recognizing that there is no way to predict how egress routes (the way out) will be affected in an emergency, have the following been adequately considered to ensure the egress route is as clear as possible prior to an emergency?
- Accessible routes to the emergency egress stairwells via the corridors are clear;
- The stairwells are not blocked;
- There is adequate emergency lighting, in the case of power failure; and
- The stairwell entrance and exit doors are unlocked.
- Do the plan and training exercises provide multiple evacuation routes in case the stairway is blocked or planned assistance is unavailable? How are alternate means of evacuation, horizontal evacuation, or areas of refuge for persons with disabilities addressed in the plan?
- Does the Agency's emergency plan include guidance and training on stairway evacuation from all areas of the building (i.e., garages, basements, cafeterias and training areas, etc.)? Does the training include use of all stairwell evacuation equipment?
- Do the stairwells meet the applicable stairwell guidelines and standards defined by the National Fire Protection Association (NFPA), the Uniform Federal Accessibility Standards, and the Architectural Barriers Act Accessibilities Standard? If they do not, what are the short and long-term next steps to ensure the stairwells in the building meet all applicable standards and guidelines? | https://www.dol.gov/agencies/odep/publications/reports/stairwell-use-during-an-emergency |
A manual wheelchair is the one you push.
All wheelchairs are supplied to individuals via a recognised organisation e.g. hospital, clinic, non-profit organisation (NPO), disabled person’s organisation (DPO), faith based organisation (FBO) etc. to ensure the person is receiving other services needed and to ensure regular monitoring of the wheelchairs.
(In exceptional cases wheelchairs will be provided via an individual, where access to some of these services are not available, or are not easily accessible, due to the mobility problem of the individual.These will be kept to a minimum.)
We do not provide a large number of wheelchairs to any organisation to distribute – we need to know about the individuals receiving the wheelchairs.
The most suitable basic type of wheelchair for the person is provided where possible to improve the quality of life of the person with a mobility problem and that of their families.
Recipients of the wheelchairs must meet the following basic requirements:
Consideration will be given to people who are not on a government pension (eg disability pension or old age pension), but are on a limited income (eg using the amount defined as “living below the bread line” at the time), even if they do have a “medical aid” of some kind (these people often are not provided with wheelchairs, as these do not form part of the prescribed minimum benefits laid down by the government.)
Imigomo yokufaka isicelo se-wheelchair ejwayelekile
Wonke umuntu uyakwazi ukuthola i-wheelchair uma ezoba ngaphansi kwenhlangano ebhaliswe ngokomthetho kahulumeni isib. Izibhedlela, imitholampilo, ezimele noma eyomphakathi (NPO/CBO), eyabakhubazekile (DPO), eyezenkolo (FBO) njlnjl.
U-Operation Jumpstart Association akanikeli ngama-wheelchair ezinhlanganweni ukuthi kube yizona ezizonikeza abantu. Sifuna ukumazi umuntu ozothola i-wheelchair.
Nakhu okubalulekile esikubhekayo ngomuntu odinga i-wheelchair ukuthi: | https://www.operationjumpstart.co.za/application-procedure-manual/ |
Quadrant maps indicating barrier free and partially accessible routes across the Grounds. Also noted are accessible entrances to University buildings along with accessible parking areas and accessible emergency telephones.
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Maintained by the University Registrar, a listing of all classroom buildings. Each building should be considered accessible by people who use mobility aids such as wheelchairs, unless otherwise noted.
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View current construction alerts around grounds. | https://accessibility.virginia.edu/building-access-accessible-routes |
Ridgeland Recreation & Parks, in partnership with the Miracle League of Central Mississippi, registration for the spring season will begin March 4th and go through March 25th.
The Miracle League is designed to give individuals with limited abilities the opportunity to play baseball in a safe, inclusive and welcome environment. We can accommodate all players by using adaptive equipment, such as a tee for hitting the baseball and Buddies for swinging the bat. The complex has accessible parking and restroom facilities.
The Miracle League Field is built using specialized rubber that is latex free, completely flat, and has no barriers; it allows easy access for wheelchairs, canes, walkers, crutches and prosthetic limbs. The dugouts will allow extra space for equipment as well as protective shade.
This league is designed for ages 5 & up and anyone who has developmental and/or physical challenges that prevent them from playing in a mainstream league. Children, youth and adults with disabilities will benefit from playing on the Miracle League Field.
For more information please call City of Ridgeland Recreation & Parks, 601-853-2011. | https://ridgelandsportsandevents.com/miracle-league-baseball/ |
Brooklyn Botanic Garden is committed to making its gardens, exhibitions, programs, and facilities accessible to all who visit.
Garden Entrances
Visitors using wheelchairs can enter the Garden using any of the public entrances when the Garden is open. The nearby Prospect Park and Eastern Parkway/Brooklyn Museum MTA stations have elevators. Paid parking is located at the 990 Washington Avenue entrance. After hours, persons using wheelchairs should exit through the Administration Building at 1000 Washington Avenue.
Wheelchairs for visitor use are available at each public entrance on a first-come-first-served basis. A government-issued picture ID card will be held and returned to you when you return the wheelchair.
Personal Care Attendants (PCA) assisting visitors with disabilities are admitted free of charge.
Accessible Paths
BBG’s grounds are accessible by paved pathways throughout the Garden. Garden areas can be reached in a variety of ways, including stair-free options for most specialty gardens. However, due to the historic nature of the Garden, certain paths may be narrow, rough, uneven, or steep.
Alice Recknagel Ireys Fragrance Garden
Created in 1955 and enjoyed by all visitors to Brooklyn Botanic Garden, this was the first garden in the country designed for the visually impaired. Visitors are encouraged to touch and smell the plants, which have been selected for fragrant or tactile qualities and are all nontoxic. Plants are grown in elevated beds for accessibility by persons in wheelchairs. A continuous metal railing offers guidance, and Braille labels identify the specimens.
Find out more about the Alice Recknagel Ireys Fragrance Garden.
Education Programs
The Garden provides learning opportunities for visitors of all ages. Experienced educators work with both children and adults at all developmental and cognitive levels. Education greenhouses have hydraulic, height-adjustable potting tables that enable all students to work comfortably.
The Garden periodically offers special early-morning programs of facilitated, multisensory activities in the Discovery Garden for families who have children with disabilities. See bbg.org/earlyopening for details.
When scheduling a school visit to BBG, please notify Registration about the learning or physical needs of your students. BBG offers discounted fees for special-needs programs; please ask about this when you register. For more information, call 718-623-7220.
Garden Tours, Public Programs & Festivals
Guided tours, led by extensively trained Garden Guides, are available for all exhibitions and special programs to ensure that individuals of all abilities have a rewarding experience. Tours tailored to visitors with physical or developmental challenges can also be arranged. Call 718-623-7220 for more information.
The Garden offers free special guided tours designed for individuals with memory loss and their caregivers, as well as free group tours for caregivers only. Call 718-623-7267 for more information.
Accommodations for visitors with disabilities can be arranged with two weeks advance notice.
Visitor Services
The Visitor Center, cafés, and Garden Shop are all accessible by wheelchair. An elevator providing access to the Auditorium and the Library is located in the Administration Building at 1000 Washington Avenue.
The lower level of the Conservatory, including the gallery, Desert Pavilion, and Tropical Pavilion, can be reached by elevator.
Uniformed security guards, stationed at each entrance and throughout the Garden, can help direct visitors to appropriate facilities and resources.
Each entrance and information booth is equipped with induction loops that transmit directly to hearing aids with T-coils.
Restrooms
Wheelchair accessible restrooms are located in the Visitor Center, Conservatory, outside Yellow Magnolia Café, and at the Flatbush Avenue entrance.
Service Animals
Brooklyn Botanic Garden does not allow visitors to bring pets into the Garden. The Garden does allow service animals onto the premises, consistent with the Americans with Disabilities Act (ADA) and NYC Human Rights Law. Service animals are defined by the ADA as “dogs that are individually trained to do work or perform tasks for people with disabilities.”
Questions concerning Brooklyn Botanic Garden’s service animal policy should be directed to [email protected].
In accordance with Section 36.302(c)(2) of the ADA, the following criteria must be met:
- The animal must be harnessed, leashed, or tethered, unless these devices interfere with the animal’s work or the individual’s disability prevents using the devices.
- The individual with the disability must maintain control of the service animal through voice, signal, or other effective controls.
- The animal must be housebroken.
- The animal must not demonstrate agitated or aggressive behavior, including but not limited to barking, whining, biting, growling, jumping, scratching, leash pulling, and sniffing other visitors.
If a service animal does not appear to meet these criteria, BBG Security personnel will request that the handler correct the animal’s behavior, or in some cases, may request that the animal be removed from the Garden.
bbg.org
The Garden is committed to making its website accessible to all by meeting or exceeding the requirements of Section 508 of the federal Rehabilitation Act and WCAG 2.0 level AA.
If you have any feedback or concerns related to the accessibility of any content on bbg.org, please contact [email protected]. Please include the webpage URL and a description of any specific problems you have encountered.
Contact Us
If you have questions or comments about accessibility at BBG, please email [email protected] or call 718-623-7260. | https://stage.bbg.org/visit/accessibility |
Several experiences and areas within Gatlinburg SkyLift Park are wheelchair accessible.
The SkyLift is accessible to guests with disabilities if the guests are able to stand to load onto and off of the lift's chair. Upon request, the chairlift can be slowed down or stopped for loading and unloading. Wheelchairs and other mobility equipment are not permitted on the chairlift; those items may be checked at the base of the lift. Wheelchairs are available without charge near the load/unload area at the top of the lift.
The SkyDeck, the main level of the SkyCenter snack bar and gift shop, and the elevated boardwalk portion of the SkyTrail are wheelchair accessible.
Due to the steep grade of Crockett Mountain and safety issues related to the use of wheelchairs and other mobility devises on the bridge deck, the SkyBridge is not wheelchair accessible. Guests who are required to use wheelchairs or mobility devises such as walkers or crutches are able to purchase Restricted Access tickets at the SkyLift Park ticket window.
Web Accessibility
Gatlinburg SkyLift Park is committed to providing users a website that is accessible to the widest possible audience. This website seeks to comply with best practices and standards, as defined by level AA of the World Wide Web Consortium (W3C) Web Content Accessibility Guidelines 2.0. These guidelines set forth how to make the internet user-friendly and content accessible for individuals with disabilities. The pages of this website are being assessed with the WAVE validation tool from WebAIM and checkmycolours.com, to evaluate for compliance to accessibility guidelines. This is an ongoing process to improve the content accessibility of the website.
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This website includes the following accessibility features:
- Inclusion of meaningful alternative text for images.
- Using text in place of images when possible.
- Descriptive copy used for text links.
- Stylizing links to display with underline.
- Navigation built user-friendly for keyboards.
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We are currently working to fix the following issues:
- Skip to content.
- Color contrast between content and background color in select location.
- Closed Captions on videos.
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W3C accessibility guidelines: These explain the reasons behind each guideline.
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- JAWS: Screen reader for Windows.
- HTML Validator: Service for checking whether web pages conform to published HTML standards.
- Web Page Backward Compatibility Viewer: Tool for viewing web pages without a variety of modern browser features.
- Lynx Viewer: Service for viewing what your web pages look like in Lynx.
Web Page Backward Compatibility Viewer
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- WebAIM: Non-profit organization dedicated to improving accessibility to online learning materials. | https://www.gatlinburgskylift.com/accessibility |
Accessibility at NMHM
NMHM is committed to accessibility for all visitors. For general access information, call 301-319-3312.
Parking:
- NMHM's parking lot contains two accessible spaces for use. The marked spaces are located near the fence line of the parking lot.
Entrance:
- The museum, its grounds, and parking areas were designed to meet the requirements of the American with Disabilities Act, along with other regulatory guidelines.
- The museum entrance is a considerable distance from the nearest handicapped parking space so plan accordingly.
Information for visitors with limited mobility:
- In order to assist those with limited mobility in reaching the museum's entrance, wheelchairs are available via advance request. Call 301-319-3300 to request a wheelchair brought to the car.
- Wheelchairs and light-weight accessible stools (maximum weight 250 lbs.) are available free of charge on a first-come, first-served basis from the Information Desk. Return wheelchairs and stools at the end of your visit.
- NMHM also welcomes personal walkers, wheelchairs, and scooters.
- NMHM is fully accessible by wheelchair. NMHM galleries and hallways have a limited number of benches in different locations.
- All museum restrooms are equipped with accessible doors and have fully accessible handicapped stalls.
Information for visitors who are blind or visually impaired:
- For visitors who are blind or have low vision, a variety of resources are available to borrow at the Information Desk.
- Braille and Tactile Anatomy Atlas: Individuals interested in learning more about human anatomy may request the Braille and Tactile Anatomy Atlas at the Information Desk.
Information for visitors with hearing loss or who are deaf:
- Closed captioning is available for all video programs in the museum's exhibitions.
- ASL Interpretation can be provided for tours or public programs upon request. Requests must be placed at least two weeks in advance of the program.
Service Animals:
- Service animals are welcome in the museum. Pets are prohibited. | https://www.medicalmuseum.mil/index.cfm?p=visit.accessibility |
Millennium Park is one of Chicago’s most iconic attractions — and it’s also one of its most accessible. The downtown green space was specifically designed to be inclusive and accessible to all patrons, regardless of mobility or disability. Learn more about the accessible features available throughout Millennium Park, from getting to the park to experiencing everything it has to offer.
Getting to Millennium Park
Taking the bus: Chicago’s public transportation system offers several ways to get to Millennium Park. If you’d like to take the bus, you can use several Chicago Transit Authority (CTA) bus lines: No. 3, 4, 6, 26, 60, 124, 143, 147, 151, 157, 850, 851, 855, and J14 have stops around Millennium Park.
All of Chicago’s CTA bus routes use accessible buses for riders with disabilities. Lifts and ramps on all buses are available for use upon request. See bus schedules and routes and accessibility FAQs.
Taking the train: There are two accessible CTA trains stops located less than one half mile from Millennium Park:
- Clark/Lake (Brown/Pink/Blue/Green/Orange/Purple Lines)
- Washington/Wabash (Pink/Green/Brown/Orange/Purple Lines)
All CTA trains have accessible features, including locations inside cars where a wheelchair can be secured and ramps that can be lowered upon request. Check CTA System Status before you go for information about events (including service changes and elevator notices) that may affect your trip. See train schedules and routes and accessibility FAQs.
Parking: There is accessible parking available in the underground Millennium Garages – Grant Park North, Grant Park South, Millennium Park, and Millennium Lakeside. Spaces are limited. Visit Millennium Garages to purchase parking online before your visit.
Getting dropped off/entering the park: All entrances to Millennium Park are accessible. The west walkway at 201 E. Randolph St. offers easy access to the Patron Services Center and the Welcome Center, where you can find assistive listening devices, courtesy wheelchair rentals, helpful staff, and more. For events at Pritzker Pavilion, the 238 E. Randolph St. drop off point is nearest to a security checkpoint and entry to the seating bowl and Great Lawn.
Experiencing Millennium Park
Accessibility amenities
The following amenities and features are available for guests to use:
- Complimentary wheelchairs are available while visiting Millennium Park and during events from the Welcome Center (201 E. Randolph St.) or Patron Services Center (west walkway of the Jay Pritzker Pavilion) on a first come, first served basis. They can be conveniently returned to any usher or security guard by the end of the event or before park closure.
- American Sign Language (ASL) interpreters are available at all Department of Cultural Affairs and Special Events (DCASE) programs in Millennium Park. You can request an ASL interpreter via email.
- Assistive listening devices are available at the Patron Services Center (west walkway of the Jay Pritzker Pavilion).
- All movie screenings include captions during the Millennium Park Summer Film Series.
- Text scripts of audio tours are available at the Welcome Center (201 E. Randolph St.) for those with low or no hearing.
- Large print copies of program books are available at the Patron Services Center (west walkway of the Jay Pritzker Pavilion).
Crown Fountain
The interactive Crown Fountain was designed without edges or deep water areas, so people with wheelchairs and mobility devices can fully participate in the experience.
Pritzker Pavilion
The iconic Pritzker Pavilion hosts a variety of events throughout the year, including free movie screenings, music festivals, and scenic evening concerts. Security gates and seating open 90 minutes before the event start time. The distance from the security checkpoints to the seating bowl ranges from 395 to 575 feet.
The space is divided into two main seating areas: the Seating Bowl and the Great Lawn. There is wheelchair seating available throughout the Seating Bowl. Certain aisle seats feature movable armrests to allow for easy movement in and out of the seat for guests using a wheelchair, walker, or cane. Wheelchair and companion seating is available around the perimeter of the seating bowl (one companion per guest).
ASL interpretation is available for Jay Pritzker Pavilion concerts. While the city tries to provide an interpreter for all events, please email DCASE to request an ASL interpreter at least 72 hours before the start of the show. Seats near the ASL interpreter are located on the east end of the Seating Bowl (audience right).
If you need a seat near the stage because of low vision and/or needing to see the ASL interpreter/captions, please see a staff member at the Patron Services Center.
The grass on the Great Lawn meets ADA Accessibility Guidelines (short cut with firm and stable soil foundation) allowing for easier access. Wheelchairs and mobility devices are allowed on the lawn, but factors such as rain and mud can potentially make access more difficult. There is no riser seating on the lawn.
If you need help finding a seat, stop by the Patron Services Center on the west walkway of the Jay Pritzker Pavilion or ask one of the ushers in light blue shirts stationed around the seating area. Please note that staff members are not available to push wheelchairs.
Lurie Garden
These serene gardens are an excellent spot to step away from the crowds and noise of the park for guests with sensory needs. No loud music playing or music is allowed in the gardens, though some performances or events may be partially heard from there.
Restrooms
Wheelchair accessible restrooms are located:
- On the east and west side of the Jay Pritzker Pavilion, including a single-stall accessible restroom on the east side.
- In the McCormick Tribune Plaza near the Park Grill on Michigan Avenue.
Maggie Daley Park
- Getting to and around Maggie Daley Park: The BP Pedestrian Bridge that connects Millennium Park to Maggie Daley Park has a gentler slope than is required by the ADA, making it more accessible for people using wheelchairs or other mobility devices. All park entrances and walkways are paved and wheelchair/stroller friendly. There is designated accessible parking available on Randolph Street to the north of the park. Parking garages with street level elevator access are also available.
- The Play Garden: There are soft surface bases and play elements in the Play Garden that meet or exceed ADA standards.
- Skating Ribbon: In the winter, guests can access a skate assist sled designed for skaters with physical disabilities and their companion skater.
- The Fieldhouse: The Fieldhouse entrances, hallways, and bathrooms are designed to be easily accessible for people with wheelchairs or mobility limitations.
Other accessible features at Millennium Park:
- Service animals are allowed in the park.
- Picnic tables have wheelchair space.
- Holes in tree gates are too small to snag a white cane.
- All vending locations have accessible concession windows.
Learn more about the Chicago Park District’s accessibility policies. If you require accommodations in order to fully experience a DCASE event at Millennium Park, please send your requests via email at least 72 hours before the event.
Attractions near Millennium Park Campus
Millennium Park is so much more than just a park. The campus is also home to iconic museums and cultural attractions that offer a variety of accessibility resources and accommodations. | http://yalaishiye.com/index-661.html |
Accessible routes to beaches will help people using mobility aids travel over sand. They can also provide a distinguishable path for people with visual disabilities.
Permanent, accessible beach access routes can be made from materials such as concrete, wood boards or crushed gravel. Alternatively, beach access may be achieved through other measures such as specially designed mats that allow wheelchairs to be rolled over the sand.
This section outlines the minimum requirements for designing new or redeveloping existing beach access routes that organizations intend to maintain. The requirements represent a baseline for accessibility. Organizations are free to exceed the minimum requirements and provide greater accessibility based on local need, topographical conditions, design and/or available budgets. | https://gaates.org/DOPS/section_2_3_0.php |
COMMITMENT TO ACCESSIBILITY AT ALTERNATIVES
Alternatives 2019 (#Alternatives2019) strives to be a welcoming, accessible, and inclusive place for everyone. We value each person’s gifts, inner strength, life experiences, and capacity to grow.
The Alternatives Accessibility Services (TAAS) is committed to addressing the inclusion of all people, whatever their abilities, in all activities. Beyond the physical accessibility of the facilities, we endeavor to welcome all individuals—including those with mobility, visual, hearing, chemical and sensory, developmental, addiction, and other ability issues—into every facet of the conference.
We have evaluated the accessibility of the conference area and dorms. The Catholic University of America (CUA), where the conference will be held, will complete an initial screening for Americans with Disabilities Act (ADA) compliance, and an onsite follow-up accessibilities survey.
Reserving Accessible Housing
Those in need of accessible accommodations will make their reservation using the same housing reservations system as all other Alternatives 2019 attendees. Please know that staff will be monitoring all dorm room reservations made with ADA requests to ensure people get an appropriate room for their level of need as availability allows. So please make your needs known and reserve early.
Be sure to list required assistive features needed. Please request what you require, keeping in mind there are limited resources so requesting at your level of need and not beyond will allow more people to participate in Alternatives 2019.
Bringing your Service Animal or Emotional Support Animal to Alternatives
Service Animals at Alternatives
The Service Animal must be in good health. Service Animals to be housed in campus housing must have an annual clean bill of health from a licensed veterinarian. A Service Animal must be clean and well groomed, and measures should be taken at all times for flea and odor control. The Service Animal must have current vaccinations and immunizations against diseases common to that type of animal. All Service Animals must wear a current rabies vaccination tag.
Handlers are responsible for ensuring the immediate clean-up and proper disposal of all animal waste, and for any damage caused by the waste or its removal.
The Catholic University of America is committed to promoting full participation and equal access to University programs and activities for individuals with disabilities, and to complying with the Americans with Disabilities Act and the Rehabilitation Act. Pursuant to these commitments, Service Animals are permitted on campus for persons with disabilities in accordance with the requirements of this policy. http://policies.cua.edu/eeo/serviceanimals.cfm
Support Animals at Alternatives
Definition: Support Animal means an animal that provides emotional support, well-being, or companionship that alleviates or mitigates symptoms of a disability. The presence of the Support Animal must be necessary in order to provide the guest with a disability the use and enjoyment of the dwelling. There must be an identifiable relationship between the disability and the support the Support Animal provides to the guest.
If you wish to bring your support animal to Alternatives,
1) Please read the Guidelines and return to CUA.
2) If you are staying in the campus dorm complete the accommodations request at this link.
3) Email the required documentation (detail below) one month before the conference to [email protected]
(At least 10 business days are required to review requests for a Support Animal and supporting documentation.)
Submit supporting documentationfrom a licensed, treating clinician. The documentation should include diagnosis, provide explanations from the treating professional regarding the guest’s disability or condition, the impact of the disability or condition on a major life activity, the necessity of the Support Animal for the guest to use or enjoy campus housing, and the relationship between the guest’s disability and the relief the assistance animal provides. This documentation must come from the guest’s current treating clinician and include date, signature, and licensing information.
It is strongly recommended that the guest submit all required materials to ECS at least one month prior to his or her stay on campus.
If the University determines that a Support Animal is a reasonable accommodation, the guest must then submit current vaccination and licensing documentation(if applicable).
ACCESSIBILITY SERVICES AT ALTERNATIVES
Alternatives 2019 strives to meet individual accessibility needs to the best of our ability. On your registration form, please let us know of any particular needs you have.
Some information about CUA and accessibility:
· CUA is on a Metro stop, and all Metro stops are ADA-accessible. The newly remodeled Metro stop is open; the pathway to CUA is completed; and signage directs people to the Pryz Center.
· All the dorms are equipped with elevators and snack machines. Reservations can be made for rooms with accessible showers. Please make those reservations early.
· We will provide transportation to and from the dorms by golf carts or accessible vans for those who need it.
· There are accessible, all-gender/family bathrooms in the conference space.
· CUA offers affordable meal plans to fit various dietary needs, and there are a variety of restaurants and shops within walking distance.
· We will conduct a multicultural/disability awareness training for CUA staff in advance of the conference.
· We will have a clear plan for reporting/responding to problems.
Washington Metro Accessibility
The Metro is one of the most accessible public transportation systems in the world. Each Metro station is equipped with an elevator to the train platforms and extra-wide fare gates for wheelchair users.
Nearly all of the Metrobuses have wheelchair lifts and kneel at the curb.
Travelers who have a disability can obtain a Metro Disability ID card that entitles them to discounted fares. (Call 202-962-1558, TTY 202-962-2033 at least 3 weeks in advance.) The Metro Disability ID card is valid on Metrobus, Metrorail, MARC train, Virginia Railway Express (VRE), Fairfax Connector, CUE bus, DC Circulator, The GEORGE bus, Arlington Transit (ART), and Amtrak. Montgomery County Ride On and Prince George’s County TheBus allow people with disabilities to ride free with a valid ID card. Read more about public transportation in Washington, DC.
For people who cannot use public transportation due to a disability, MetroAccess provides a shared-ride, door-to-door, paratransit service from 5:30 a.m. to midnight. Some late-night service is available until 3 a.m. on weekends. The MetroAccess customer service number is (301) 562-5360.
The Washington Metropolitan Transit Authority publishes accessibility information on its website: www.wmata.com. You can also call (202) 962-1245 with questions about Metro services for travelers with disabilities.
Registration for Personal Aides
Personal aides who are attending solely to facilitate the attendance of another may register at a special $55 full-time rate. This personal attendant registration rate is only for those whose presence is required to assist an Alternatives attendee with disabilities or limitations that would preclude them from attending without assistance. Contact [email protected] to arrange registration for a personal aide.
Planning for Accessibility
We recognize that some Alternatives participants may have needs that might not be apparent, such as those related to traumatic brain injury, some effects of chemotherapy, heart ailments, chronic pain, chronic fatigue syndrome—also known as myalgic encephalomyelitis (ME) or systemic exertion intolerance disease (SEID)—epilepsy, fibromyalgia, etc.
Alternatives can be a fatiguing experience for anyone. We encourage you to take care of yourself. If you need to take a break (or are feeling creative), you may take advantage of the art drop-in center; and if you are feeling some emotional distress, a comfort suite staffed by trained peer supporters is available.
Please bring whatever makes you independent at home, such as assistive devices, including wheelchairs, walkers, and electric scooters. Bring comfortable walking shoes and mobility devices.
Take a virtual tour of Catholic University’s campus. See what it’s like to travel across campus, tour a residence hall room, and more: https://bit.ly/2StJFDs.
If you have mobility or other physical access concerns, here are some places where you can rent assistive devices in Washington, DC:
Scooters and Wheelchair Rentals
Scootaround - (888) 441-7575. Scooter and wheelchair rentals available daily, weekly or longer periods of time. Take a tour of DC and the National Mall on a mobility scooter.
DC Tours - (888) 878-9870. Rent a mobility scooter or a manual wheelchair. Daily rates.
Bike and Roll - (202) 842-BIKE. Electric scooters and manual wheelchairs available. Two-hour, half-day, daily, and multi-day rentals.
Lenox Medical - (202) 387-1960. Provides short-term scooter, wheelchair and knee walker rentals to tourists and local residents.
Orthopaedic Mobility Rentals provides service daily, weekly or monthly rentals throughout the DC Metro area. Call 571-340-8961 for more information.
Wheelchair Accessible Van Rentals and Sales
Ride-Away - (888) 743-3292
Wheelchair Van Rentals - (800) 910-8267
Accessible Vehicles - 1119 Taft Street, Rockville, MD, (301) 838-9700
Accessible Parking in Washington, DC
Two ADA-accessible parking meters are located on every block that has government operated parking meters. The DC Department of Motor Vehicles honors “handicap parking permits” from other states.
Cars bearing disabled parking tags may park in designated spaces, and park for double the posted time in metered or time-restricted spaces.
Accessible Passenger Loading Zones on the National Mall
National Museum of American History: Mall and Constitution Avenue entrances
National Museum of Natural History: Mall entrance
National Air and Space Museum: Mall entrance
S. Dillon Ripley Center: Mall entrance
Freer Gallery of Art: Independence Avenue entrance
Parking Garages Close to the National Mall With Accessible Parking Spaces
Colonial Parking in Capital Gallery (6th Street and Maryland Avenue, SW)
Colonial Parking in the Holiday Inn (6th Street and C Streets, SW)
Ronald Reagan Building (14th Street and Pennsylvania Avenue, NW)
Access to Washington, DC’s Major Attractions
While all of DC’s attractions and cultural venues are welcoming and accessible to visitors, the following attractions maintain dedicated web pages outlining their accessibility features, including ramps, sign language-interpreted tours, and wheelchairs. Visit www.si.edu for details, including downloadable maps that identify accessible entrances, curb cuts, designated parking, and more. For questions about programs for people with disabilities, call (202) 633-2921 or TTY (202) 633-4353.
Click on an attraction name to learn more.
On the National Mall and in the memorial parks, you’ll find permit-only parking adjacent to the FDR Memorial. A limited number of wheelchairs are available for loan at the Vietnam Veterans Memorial. You can reach the interiors of the Lincoln Memorial and Jefferson Memorial using elevators located in the memorials’ ground-level lobbies. | https://www.alternatives-conference.org/accessibility |
Recent research work carried out on 10 year-long set of reported civil incidents involving drones around the world has found that technical problems (most notably, broken communication links) rather than errors by operators are the major cause of those incidents (circa 64% of the total). This evidence points to the need for adequate airworthiness rules for drone safety and better reporting of accidents.
Whilst multiple local or regional initiatives by aviation safety regulators have emerged worldwide to address this issue, they have been often impacted by the needs for providing timely responses to regional market demands, eventually resulting in significant regional differences in the technical requirements of recreational, professional-grade and specialized industrial drones. The growth in the number and diversity of mass-market drone operations – cf. delivering packages, taking photos, geo-surveying, firefighting or search and rescue – make it essential that safety regulations, including relevant technical aspects, ultimately keep-up with this buoyant and rapidly-growing industry.
In parallel, penetration in the Europe market is often hampered by a lack of mutual recognition of drones-based products and services between States – obliging manufacturers and operators to seek certifications with multiple national authorities.
The EU, through EASA, is currently developing a harmonised performance-driven regulatory framework building upon "best practice". This framework should ultimately ensure safe and environmentally sound operations and reduce the barriers to market entry for businesses that would like to integrate drones in their value chain. The implementation and effectiveness of such a framework will depend eventually on a relevant body of appropriate technical standards – supporting demonstration of compliance of product features or technologies with applicable requirements. Such over-arching framework could equally serve as an input for global standards and procedures.Scope:
Gather comprehensive global information on on-going and planned work on technical rules, standards and procedures for civilian markets and/or use in civilian airspaces,;
Critically assess and benchmark the gathered information, providing a knowledge-base of "best practice" and data aimed at supporting the EASA's regulatory due-process; particular emphasis shall be given to the provision of data for purposes of validation of specific product or technical requirements;
Contribute to the development and subsequent validation of a well-reasoned set of technical standards that are appropriate for all relevant categories of drones.
Consortia should include organisations from all parts of the drone value-chain – drone/part suppliers, operators, academia, and safety regulators – to ensure the triplet of user-producer-oversight competences required for full performance and swift delivery of the work.
The Commission considers that proposals requesting a contribution from the EU of between EUR 2 and 3 million each would allow this specific challenge to be addressed appropriately. Nonetheless, this does not preclude submission and selection of proposals requesting other amounts.Expected Impact:
Support to the on-going EU regulatory process for technical rules, standards and procedures for civilian drones to enable safe, environmentally sound and reliable operations in Europe with a view to accelerate the timing and enhance the quality of such due-process. Generate additional leverage for Europe in the international negotiations for global rules and standards.
Increase the acceptance of EU standards in the global drone product and service marketplace, generating economies of scale towards reducing costs whilst de-risking customer choice.
Offer better opportunities for European drone designers, manufacturers and operators in accessing global markets.Cross-cutting Priorities: | https://www.up2europe.eu/calls/airworthiness-of-mass-market-drones-csa-coordination-and-support-action-mg-2-3-2018_2387.html |
This week, the Federal Aviation Administration (FAA) announced its Unmanned Aircraft Systems (UAS) Support Center Case Management System (CMS), designed to streamline how industry stakeholders’ questions are answered and provide responses in a more timely manner. This new process will use a Contact Customer Support form that allows the public as well as stakeholders to submit their questions to the FAA and more easily obtain the appropriate answer or information necessary to operate drones safely and in accordance with FAA regulations. Inquiries must include the stakeholder’s name, preferred method of communications, email address, phone number, zip code, and type of UAS so that the Support Center Analysts can more efficiently answer the specific question or concern. This is yet another step towards more widespread integration of drones into the national airspace. For the FAA and stakeholders, ease (and speed) of communication is key to success.
Tag: Federal Aviation Administration
The Federal Aviation Administration’s (FAA) Remote ID rule for drones (Part 89) became effective on April 21, 2021. Part 89 will likely increase commercial drone operations while promoting safety and security. With the drone industry predicted to grow to $63.6 billion by 2025 (particularly in agriculture, construction and mining, insurance, telecommunications, and law enforcement), new regulations such as Part 89 are vital to maintaining that momentum.
As I previously wrote, Part 89 includes new operating requirements for drone operators, including a requirement to operate only unmanned aircraft systems (UAS) that meet the remote identification design and production standards set out in the rule, and contains three (3) remote identification classifications:
- Standard Remote Identification: Requires the UAS to transmit identification and location information to an FAA-contracted UAS Service Supplier (USS) and locally broadcast that information in unrestricted, unprotected Bluetooth signals. The FAA plans to leverage the Low Altitude Authorization and Notification Capability (LAANC) system that it is currently using to provide authorization for drones to fly in restricted airspace.
- Limited Remote Identification: Requires the UAS to transmit identification and location to an FAA-contracted USS only, but is applicable only to visual-line-of-sight operations occurring within 400 feet of the operator.
- No Remote Identification: Drones would not be required to transmit remote identification when operating within an FAA-Recognized Identification area (FRIA), the designation of which can be requested by community-based organizations, such as model aircraft clubs and associations.
The production and design rules are effective as of September 16, 2022 (with a few exceptions). The operational requirements are effective as of September 16, 2023.
While many of these new requirements will mainly affect drone operators, manufacturers will need to take the most action to comply with the production and design rules over the next year. We’ll watch the progress of these rules and the implementation closely over the next few months.
The Federal Aviation Administration (FAA) announced last week that it will be working with industry leaders and public stakeholders to develop a traffic management system for unmanned aircraft systems (UAS or drones). UAS traffic management (UTM) requires a framework for systems to safely operate multiple UAS at once. The FAA wants to first establish operating rules before industry service providers and operators would coordinate the execution of flights.
For example, operators want to use smart-phone applications to map routes for drone flights and to check flight restrictions. The FAA has been working on UTM for drones since about 2015, when it first partnered with the National Aeronautics and Space Administration (NASA).
In November 2020, the FAA conducted flight tests through its UTM pilot program in Virginia and is working on an implementation plan based on that research. However, industry stakeholders have asked for more information on the next steps, and it is uncertain whether the FAA’s plan will include performance goals and measures (which is not statutorily required).
The FAA says it will use results from the pilot program to assist it in creating its implementation plan. However, the industry has voiced concern about the limited release of information related to UTM technology.
The U.S. Government Accountability Office (GAO) is recommending that the FAA: (1) provide stakeholders with additional information on the timing and substance of UTM testing and implementation efforts via the FAA’s UTM website or other appropriate means, and (2) develop performance goals and measures for its UTM implementation plan. The Department of Transportation agreed with those recommendations.
With more available data from the FAA’s research in its pilot program, members of the UAS industry and public stakeholders will be able to better align their own activities with those of the FAA and make better decisions for UTM testing and implementation.
Last week, the Executive Order on Protecting the United States from Certain Unmanned Aircraft Systems (UAS) expanded the U.S.-China drone controversy to North Korea, Iran, and Russia.
The Order also provides the Secretary of Commerce with the authority to designate “any other foreign nation, foreign area, or foreign non-government entity engaging in long-term patterns or serious instances of conduct significantly adverse to the national or economic security of the United States,” in addition to China, North Korea, Iran, and Russia.
The purpose of the Order is to, “prevent the use of taxpayer dollars to procure UAS that present unacceptable risks and are manufactured by, or contain software or critical electronic components from, foreign adversaries, and to encourage the use of domestically produced UAS.” However, this Order is not necessarily a “cease-and-desist” order; instead, it requires federal agencies to review their “authority to cease” procuring, funding or contracting the “covered UAS” of such foreign adversaries within the next 60 days. A “covered UAS” includes a drone that:
- is manufactured, in whole or in part, by an entity domiciled in an adversary country;
- uses critical electronic components installed in flight controllers, ground control system processors, radios, digital transmission devices, cameras, or gimbals manufactured, in whole or in part, in an adversary country;
- uses operating software (including cell phone or tablet applications, but not cell phone or tablet operating systems) developed, in whole or in part, by an entity domiciled in an adversary country;
- uses network connectivity or data storage located outside the United States, or administered by any entity domiciled in an adversary country; or
- contains hardware and/or software components used for transmitting photographs, videos, location information, flight paths, or any other data collected by the UAS manufactured by an entity domiciled in an adversary country.
The Order also requires federal agencies to inventory covered UAS that already are owned or operated by the agency, and to then report their existing security protocols. However, and particularly with respect to China, several federal agencies have already conducted this inventory and assessment. No later than 120 days after the inventory reports are completed, the Director of National Intelligence, the Secretary of Defense, the Attorney General, the Secretary of Homeland Security, the Director of the Office of Science and Technology Policy, and the heads of other agencies will review the reports and submit a security assessment to the President, including recommended mitigation steps for decreasing the risks associated with these UAS and whether any UAS’ use should be discontinued completely by federal agencies.
The Federal Aviation Administration (FAA) must also lay out restrictions on the use of UAS on or over critical infrastructure within 270 days of the Order; the FAA already has the power to issue a Temporary Flight Restriction (TFR). At present, TFRs can be requested only by national defense, national security, and federal intelligence departments and agencies. However, other government or private sector entities can, in the interest of national security, request those agencies to sponsor a TFR over critical infrastructure, (e.g., oil refineries and chemical facilities). The goal of the Order is perhaps to provide a direct line from private industry to the FAA.
We’ll see if the Order has staying power and the funding to support it. Stay tuned.
The Federal Aviation Administration (FAA) issued final rules for unmanned aircrafts (or drones) for remote identification and the operation of drones at night and above people.
The Remote Identification Rule (Remote ID Rule) will allow operators of small drones to fly over people and at night under certain conditions. The FAA hopes that these rules will support technological and operational innovation and advancement.
Remote ID provides identification of drones in flight as well as the location of their local control stations, which will provide important information for national security agencies and law enforcement. The Remote ID Rule will apply to all operators of drones that require FAA registration. There are three ways that an operator can comply with the Remote ID Rule:
- Operate a standard Remote ID drone that broadcasts identification and location information of the drone and control station;
- Operate a drone with a Remote ID broadcast module (may be a separate device attached to the drone), which broadcasts identification, location, and take-off information; or
- Operate a drone without Remote ID but at specific FAA-recognized identification areas.
The Operations Over People and at Night Rule will apply to Part 107 drone operators. Under Part 107, flights over people and at night are prohibited unless the operator seeks a waiver from the FAA. With this new Rule, the ability to fly over people and moving vehicles will be based on the level of risk that the operation poses on people below. There are four categories of risk, which can be found in the FAA’s execute summary here.
Both Rules will become effective within 60 days of their publication in the Federal Register. The Remote ID Rule has two important deadlines: drone manufacturers will have 18 months to begin producing drones with Remote ID and operators will have an additional year to start using drones with Remote ID.
Elaine L. Chao, U.S. Secretary of Transportation, said that these final rules “carefully address safety, security and privacy concerns while advancing opportunities for innovation and utilization of drone technology.”
With over 1.7 million drone registrations and 203,000 FAA-certified remote pilots, this industry’s growth is only on the way up.
The Federal Aviation Administration (FAA) issued an $182,000 fine to a drone pilot for multiple (continued) violations of Part 107 -at least 26 violations to be more precise. Between December 2019 and August 2020, the drone pilot flew his drone around Philadelphia in violation of FAA regulations, sometimes violating more than one part of the regulations during a single flight. Before issuing the fine, the FAA sent a warning letter in October 2019. In November 2019, the FAA provided the drone pilot with counseling and education regarding requirements for safe drone operations.
The drone pilot put a number of videos on YouTube showing screenshots of the ground control station that has all sorts of things like altitude, the drone’s distance from the pilot, the drone’s location on a map, direction of flight, and other information. The FAA was able to use these videos to prosecute this individual.
Part 107 requires operators to obtain an authorization for Class B, C, D, or E2 controlled airspace. All authorizations are done through the FAA’s Drone Zone portal or through LAANC. If there are no authorizations through those means in Philadelphia at the time of the video footage, then the FAA knows that the drone pilot did not fly in accordance with Part 107. Additionally, accordingly to the FAA the drone pilot also committed the following violations:
- Drone flights at night, “in heavy fog” and “while it was raining,” “while it was snowing,” and “during strong winds.” (Part 107 prohibits night flying and flying with visibility less than 3 statute miles).
- Multiple drone flights that were very close to multiple buildings and structures. (Part 107 does not allow you to cause undue hazard to people’s property if a loss of control were to happen for any reason during the drone operation).
- Some of the flights were over the Philadelphia downtown area over moving vehicles and people. (Part 107 prohibits flying over people and, as noted above, prohibits causing undue hazard to people on the ground).
- The drone pilot did not have a remote pilot certification.
Overall, the FAA alleges that the pilot violated 12 Part 17 regulations over 26 different flights, with each subsection of Part 107 a separate violation. The lesson here -follow Part 107, know the rules and operate safely. Happy flying.
As our previous post stated, the commercial use of drones, or small unmanned aerial systems (sUAS), for urban real estate and construction has gained some traction with the passage of the New York City Council’s bill requiring the Department of Buildings (DOB) to study the feasibility of using sUAS to inspect building facades. With this new bill, as well as other metropolitan cities that will surely follow suit, one of the biggest issues on the forefront for the public at large is privacy.
Think about it: how would you feel if a drone flew over your house while you were in your private backyard, enclosed by a fence, sunbathing? Watering your garden? Playing soccer with your kids? Or sitting at your desk and a drone hovered by your window? Your answer probably rests on who was flying the drone and the reason for flying the drone. However, if you are like many others across the U.S., you would probably have some privacy concerns. As bills like the New York City Council’s pass, the public wants to know how the proliferation of such drones will affect their privacy and what the legal limits are for these drones.
The Federal Aviation Administration’s (FAA) sUAS regulations (Part 107) do not address privacy issues. Essentially, as long as the drone operator is compliant with operational restrictions and has obtained appropriate waivers and permissions as needed, there are no other federal restrictions regarding flights when it comes to preserving public privacy -even over your backyard or in front of your office window in the skyscraper in which you work.
If you look at the public perception of drones and privacy, of 1,047 participants cited in a 2019study by the College of Aviation at Embry-Riddle Aeronautical University, most people said they were not concerned about hobbyists, construction or real estate companies, but were more concerned with drones operated by the government, military or law enforcement, with unmarked drones generating the most privacy concerns.
So where do we stand on privacy and drones in the United States? Well, it’s a gray area. As noted above, the FAA’s Part 107 rule does not specifically deal with privacy issues, and the FAA does not (and has not agreed to) regulate how sUAS gather data on people or property. The FAA says that it “strongly encourages all [s]UAS pilots to check local and state laws before gathering information through remote sensing technology or photography.” Where does that leave us? Where should companies look for guidance?
In 2016, privacy groups and industry stakeholders participating in the National Telecommunications & Information Administration (NTIA) Multi-Stakeholder process released a set of best practices for commercial and private drone use. Participants included Amazon, AUVSI, Center for Democracy and Technology, Consumer Technology Association, CTIA, FPF, Intel, X (formerly Google X), New America’s Open Technology Institute, PrecisionHawk, SIIA, Small UAV Coalition, and many media organizations. Those ”best practices” included:
- Informing others of your use of drones (i.e., where reasonable, providing prior notice to individuals of the general timeframe and area where you may anticipate using a drone to collect identifiable data);
- Showing care when operating drones or collecting and storing personally identifiable data (i.e., retaining only information that you must retain and de-identifying information when possible);
- Limiting the use and sharing of identifiable data;
- Securing identifiable data; and
- Monitoring and complying with evolving federal, state and local drone laws and regulations.
This is a great place to start as it brings us back to the basics of privacy. Whether it’s the collection of information from consumers or employees or data gathered through the use of a drone, it all comes down to transparency. However, these are only best practices – not laws or regulations. So, is there any accountability? The industry, the FAA, and local and state lawmakers are working on it. Right now, we have to look to a smorgasbord of privacy and aviation laws and apply them to drone flights and data collection.
From a federal perspective, the FAA Part 107 rules do not allow for flights over people unless the pilot obtains a special waiver. In New York City for example, you’d be hard pressed to find a street that isn’t densely packed with people. Further, most of New York City is controlled Class B airspace because of its airports. Again, to fly in these areas, the pilot would need FAA authorization. This is not to say that the FAA won’t issue a waiver or provide the authorization.
But, the FAA has now proposed a rule for flights over people, Which would allow drone flights over people if the drone falls within one of three new categories, which are based on injury-risk factors. Drones in the highest-risk category would be prohibited from hovering over open-air assemblies of people unless they are in a closed or restricted-access area, such as a stadium, and have been notified authorities of the drone operation. Further, any drone that will fly over people must bear a label identifying its category, except those in the lowest-risk category (i.e., drones weighing .55 pounds or less). Manufacturers of drones weighing more than .55 pounds that want them to qualify for flights over people must certify that the drones meet specified impact-force thresholds and will not contain exposed propellers or rotating parts that will cut human skin. They also must provide pilot instructions, allow FAA inspections, have procedures to notify the FAA and the public of safety defects, and keep records related to the drones. NOTE: nowhere in this proposed rule is the issue of privacy addressed. Again, the industry and stakeholders must weigh in and create a standard if the law lags behind.
However, recently, the FAA also proposed a rule on remote identification of sUAS. The rule would facilitate the collection and storage of certain data such as identity, location, and altitude regarding an unmanned aircraft and its control station. The period for comment on the FAA’s published notice of proposed rulemaking on remote identification closed on March 2, 2020. The FAA is now targeting 2021 as the launch of its remote ID program, which would permit police officers, aviation authorities and other public officials to search for a drone by a broadcast unique identifier to find out who the operator is. Will this put the public more at ease? If a drone is hovering, with no markings, and you call your local police department, presumably they’d be able to identity the individual operator and take action. We’ll see what the future holds.
While the future of drones and privacy is unclear and still evolving, one thing is certain – to ensure that drone technology benefits society as a whole, any proposed frameworks should include an eye towards privacy. | https://www.checkadblocker.com/tag/federal-aviation-administration/ |
The Commerical UAV Expo, taking place in Las Vegas from September 6-8, is the premier trade show concentrating on commercial unmanned aerial systems. Bringing together the commercial drone community, the show will host 2,000 drone experts to learn, engage and connect.
During the conference, Immervision VP Technology, Patrice Roulet Fontani will share his expertise in the session ‘Drone Innovations for the Enterprise’ on September 7th at 11:00 a.m. PDT in the Exhibit Hall Theatre.
The session also includes speakers from RN Technologies, On the Go Video, SKYTRAC and Global Aerial Management Group. The speakers will explore the strategy associated with creating a successful drone program and what specific tools and innovations required to make a difference in a commercial drone program or operation.
This session comes as Immervision is in process of completing a wide-angle camera for small Unmanned Aerial Systems (sUAS) as part of the Defense Innovation Unit (DIU) Blue UAS Framework Project. This wide-angle drone vision system enables advanced low-light vision and autonomous flight.
Thousands of end users, hardware manufacturers, software developers, service providers, and innovators will gather in Las Vegas at Commercial UAV Expo to gather relevant education from industry leaders, networking opportunities and connect with colleagues, and learn about the latest technology in the area.
Speaker Session Details: | https://www.immervision.com/uav-expo2022/ |
Although by no means the final step required for the long-term authority needed by the Federal Aviation Administration (FAA) to ensure strong, continued growth of the commercial drone industry in the USA, the passing of H.R. 4, the FAA Reauthorization Act of 2018 in the House of Representatives last Friday has been met with applause from various members of the American drone community.
The bill, which will bring an end to the short-term extensions that have limited the long-term planning sorely needed by the FAA to establish certainty in the unmanned aviation industry, covers a range of issues relating to hobby and commercial drone use. It was passed on Friday 27th April, 2018 with a nearly unanimous bipartisan vote of 398-13.
The rules concerning unmanned aircraft which the House considered in the passing of this Bill include:
- 26. Modifies existing prohibition in regard to FAA issuing any regulation on model aircraft flown for hobby/recreational purposes and provides FAA flexibility to collaborate with industry to update operational parameters needed for unmanned aircraft flown for hobby/recreational purposes, to mitigate risks to aviation safety and national Security.
- 27. Ensures the role of state and local government is considered during an emergency situation where an unmanned aircraft system may pose a threat to public Safety.
- 28. Codifies the Department of Transportation’s Unmanned Aircraft Systems Integration Pilot Program
- 29. Directs FAA to establish a program to utilize available remote detection and identification technologies for safety oversight, including enforcement actions against operators of unmanned aircraft systems that are not in compliance with applicable Federal aviation laws, including regulations. Requires annual reporting by FAA to Congress to report the number of drones entering restricted airspace, the number of enforcement cases brought by FAA or other agencies, and recommendations by FAA for detection and mitigation systems.
- 30. Requires the Administrator of the Federal Aviation Administration to issue regulations necessary to authorize the use of certain actively tethered public unmanned aircraft systems by government public safety agencies without any requirement to obtain a certification of waiver, certificate of authorization, or other approval by the Federal Aviation Administration.
- 33. Directs the FAA to partner with nongovernmental organizations, state, and local agencies to prevent recreational unmanned aircrafts from interfering with the efforts of emergency responders.
- 47. Establishes prohibitions to prevent the use of unmanned aircraft systems as a weapon while operating in the national airspace.
The next step required before the FAA Reauthorization Act becomes law will be for the Senate to discuss and formulate their own version of the bill. Then, both the House and the Senate bills will be considered by a Joint Committee so that a final Act may be drafted for legislation.
Several organisations concerned with all things UAV have come forward with statements confirming their support of the Bill’s approval.
Jenny Rosenberg, Executive Director of the recently formed voice for unmanned manufacturers, suppliers and developers, the Alliance for Drone Innovation (ADI), said, “With the passage of H.R. 4, the House of Representatives is standing firmly behind innovation in aviation and the future of unmanned flight. We are grateful to Chairman Shuster and Reps. Sanford and Davis for shepherding language that promotes aviation safety among recreational drone users while allowing for continued growth in this exciting sector. We look forward to working with leaders of both parties in the Senate to ensure adoption of this important provision.”
The Small UAV Coalition, which represents a group of companies whose interests lie strongly in keeping the USA at the forefront of drone technology, also expressed support of the Bill, and “looks forward to working with all stakeholders to ensure that the bill that reaches the President’s desk supports industry-driven UTM development and implementation and does not spur unnecessary or unintentional regulatory action related to spectrum.”
While the Academy of Model Aeronautics (AMA) expresses that certain provisions have cause for concern (although they don’t explicitly say which ones), in a statement on their blog they say, “We are happy to share that Section 336, also known as the Special Rule for Model Aircraft, is included in this bill with meaningful refinements that we supported to help make it stronger.”
'Protecting our hobby is AMA’s top priority and we will do everything possible to ensure your ability and freedom to fly.' Click To Tweet
It is expected to be some months before the Senate is ready to commit their own version for consideration by the Joint Committee but there are strong motivations to do so before the current legislative authorisation of the FAA expires this September.
The FAA’s ability to continue its work in the safe and secure integration of UAVs into managed airspace will benefit greatly from being able to take a long-term approach to planning.
In September of 2017, the FAA Small Drone Rule (Part 107) saw 80,000 individual drones registered and given the ability to fly for commercial and government purposes. By January of this year over a million drones were registered, a strong indication of the incredible growth this industry is experiencing in the USA.
Several more recent decisions by the FAA such as a waiver to fly at night for the Property Drone Consortium, and the first BVLOS authorization in the USA awarded to Xcel Energy are important moves in establishing a strong and thriving drone industry.
The commencement of a nationwide beta test today of the Low Altitude Authorization and Notification Capability (LAANC) across approximately 500 airports means to improve facilitation of approvals under the Part 107 rule through data sharing. With the final deployment of the LAANC expected to commence on September 13, 2018, one thing is sure – the approval of the FAA Reauthorization Act by the House of Representatives has come not a moment too soon.
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Tell us how we can improve this post? | https://dronebelow.com/2018/04/30/drone-community-applauds-overwhelming-approval-of-faa-reauthorization-bill/ |
The FAA released their choice of participants of the Drone Advisory Committee (DAC) which failed to represent actual drone pilots or drone service providers on the key panel that advises the FAA on how to handle unmanned aerial regulations.
Each year, the FAA holds a few Drone Advisory Committee meetings to help make decisions that affect regulation, rules, and operations as a whole. The FAA defines the DAC as:
“long-term Federal advisory committee that provides the FAA with advice on key UAS integration issues by helping to identify challenges and prioritize improvements. The committee helps to create broad support for an overall integration strategy and vision. Membership (PDF) is comprised of CEO/COO-level executives from a cross-section of stakeholders representing the wide variety of UAS interests, including industry, research and academia, retail, and technology.”
These meetings would have offered a direct line of communication from actual drone pilots to the FAA to help counter real-world sUAS problems. Instead, these meetings seem to only offer a way for large companies to control the conversation. While the FAA states that the committee consists of a wide variety of UAS interests, including the industry. NO working sUAS pilot from the community is represented.
It seems that the FAA/DOT does not care or value true knowledge gained from actual hands-on experience in the field.
Not. One. Single. Bit.
How can I possibly say that? Because there is not a single DSP on the committee. This even after numerous incredibly qualified DSPs applied for this committee. Yet the committee is still made upon the upper echelon of the drone industry. Don’t get me wrong, there are some great people on this committee, but I don’t see a single one that flies drones for a living. Many have to deal with drones (or operators) every single day and have a great take on things, but not a single one depends on putting the hands on a controller in order to make a living. NOT ONE!!!!
Because drone service providers, aka actual pilots, make up the VAST majority of drone pilots, and every single decision made by the DAC affect our bottom line. And if none of us are on the Drone Advisory Committee, it’s obvious the DAC and FAA leadership just don’t care what we think.
How about unless you have money, the agencies don’t care what you think? Again, the people on the DAC are there to protect the interests of their piece of the UAS pie. We get that. Congratulations to them for being selected. We don’t have a beef with any of you, except that you don’t represent the interests of small businesses and actual UAS operators aka..pilots.
But what about us Secretary Chao? Don’t we matter?
I don’t mean to sound whiney, but I don’t care if I do. This is a kick in the gut (feel free to use your own preferred body part here) to every DSP in the nation.
I implore Secretary Chao to add additional members. If that means adjusting the charter to include more than 35 members, then so be it.
Certain industry sectors are over-represented anyway, so you can reconsider and cut those members. There is even a UAS Operator section, but even the two members in that group represent large corporations. Yes, CNN and BNSF are large players in the UAS Operator sector. But they don’t represent the DPS. BNSF actually hires mostly Part 61 pilots to fly UAS, not part 107 pilots..aka drone pilots.
How about removing a couple from the Traditional Manned Aviation Operators sector? Do we really need two different people to represent helicopters? I have no doubt they could work together and provide a united front to advocate for their industry. And why is UPS there as Manned? Certainly, they can effectively represent the concerns that segment possesses. And if they can’t, ALPA can take up the slack.
You also have American Airlines and the AOPA. AOPA and ALPA should be an “either/or”, not an “and”. Certainly, their dog in this fight is closely related enough to be considered the same breed. If UPS is there as an unmanned aviation representative instead, couldn’t they work with Wing? They’re competitors, I get that, but have the same goal in mind. Working together is something we DSPs have to do daily.
Let’s discuss Manufacturer and Software segments. There are 8 of those members on the Drone Advisory Committee. Granted one is also the DAC Chair (Michael Chasen) but does 1?4 of the committee really need to come from that sector? Yes, they all have something to add, but at what cost to the DSPs?
Secretary Chao should be required to reconvene the selection process and make this a much more fair representation of the actual makeup of the UAS industry. Or add 3 spots for DSPs.
Drone Pilots and DSP’s deserve better than this. We can’t have the Drone Advisory Committee made up exclusively of people who have virtually no idea of what happens in the day-to-day activities and operations of the average drone Pilot. They just don’t understand our struggles as well as we do. Nor should they be expected to.
We can (must) figure out a way to provide that voice to the Drone Advisory Committee.
Okay, now that I’ve emoted (or at least about as much as I feel I can safely emote in a public venue), let’s talk about what can realistically be done.It’s fair to say that no DAC member is going to be removed and that the DAC charter is not going to be expanded within the next 3 weeks (the first DAC meeting is June 6th). Secretary Chao certainly can’t be expected to add new members between meetings. That would probably put a kink in the colon of the processes the Drone Advisory Committee is tasked with. Bringing new players to the table means they’d have to be brought up to speed and that would slow the process down. There are usually only 3 DAC meetings a year, so playing catch up at one won’t logistically work.
But we can still make our voices known. Go to the meeting as an observer. The next meeting is in Arlington, VA on June 6th. You can RSVP [email protected]
You can send in your comments on items they’ll discuss. Meeting details are published at least 15 days before the scheduled date in the Federal Register. We’ll do our part to get that information public as soon as we hear.
If you can’t make it to the Drone Advisory Committee meeting, you can submit your comments via email. The process for that isn’t readily available yet, but once it is we’ll make sure everyone knows it as well. If you know someone on the DAC, reach out to them and ask them to please keep the needs and requests of the DSP community in front of the Committee. I certainly plan on doing that.
I have no idea why Secretary Chao didn’t want DSPs on the committee, maybe she did or maybe she didn’t understand how valuable our input could be ! The suspected ideas (conspiracies?!?!) are running rampant on the forums this morning. Some are probably close to the truth. My favorites include “money talks”, government agencies don’t care about small operators (even though we’re the largest segment in terms of sheer numbers), DAC doesn’t care about small operators or Secretary Chao is like a mother hen who knows better for her “baby chicks”.
Maybe this is the catalyst that this industry needs to finally get an organization off the ground that can officially speak for the Remote Pilots and business owners. Many have tried, and all have failed. Someone with about $250K-$300K lying around could really use this decision as a platform to start herding all of us cats called DSPs.
And at least two of the current Drone Advisory Committee members are already trying to reach out to DSPs to join their organization. Maybe one of them (AOPA???) would be willing to go that extra mile and really push for our rights. I think most DSPs have given up on AMA to honestly do that. They’re focused on hobbyists (as demonstrated by getting their fields exempt from the current ban on hobby flights in controlled airspace), and that’s fine. Protect the interest of your members, that’s your job.
But AOPA, now is your chance to step up to the plate for us.
If you don’t, you’re missing a golden opportunity. And of course, DJI is there being represented by Brendan Schulman. And the vast majority of their commercial clients are DSPs. So I know Brendan is doing his best to represent us. But even then, he has to put DJI’s interests first. They pay his salary, and that’s what he needs to do.
There is no truly independent voice for the small independent drone service providers that make up the vast majority of 107 operators in the NAS today.
Best industry guess are anywhere from 75-90% of all 107 operators are DSPs. As of 5/1/19, there are 130,551 Remote Pilots in the United States. That means as many as 117,500 107 Pilots do not have a seat at the table.
How does the FAA expect to maintain authority and credibility within the drone community when they fail to represent the interests of the very people they’re expected to govern?
Let’s all figure out how to move forward together.
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On 31st July 2018, the Senate Rural and Regional Affairs and Transport Reference Committee released its Inquiry Report: ‘Current and future regulatory requirements that impact on the safe commercial and recreational use of Remotely Piloted Aircraft Systems (RPAS), Unmanned Aerial Systems (UAS) and associated systems’.
On 2 August 2018, AAUS released a brief statement welcoming the Senate Inquiry Report and its intent to provide a detailed industry response. That statement can be found at: https://aaus.org.au/aaus-response-to-senate-inquiry/.
AAUS has since actively engaged its members towards the preparation of a comprehensive industry response to each of the ten recommendations contained within the Report. This release provides an initial summary of the findings from this stakeholder engagement activity.
AAUS is Australia’s largest representative body for the unmanned / drone sector. Its 900 membership spans small-to-large enterprise, manufacturers, licensed and unlicensed operators, training providers, academic institutions, Government, and other supporting services to the Australian drone / Remotely Piloted Aircraft System (RPAS) industry. Thus, the summary contained in the attached document offers a truly comprehensive industry response to the recommendations.
Industry’s response to the individual recommendations was varied, with industry holding both strong positive and strong negative viewpoints in relation to all of the recommendations. These positions and underlying concerns are detailed in the attached statement.
Based on the industry response, AAUS is generally supportive of all of the recommendations made in the Senate Inquiry Report subject to the clarifications and concerns detailed in the attached statement.
AAUS welcomes further opportunities to engage with Government towards its objective to promote a safe, viable, and beneficial drone industry in Australia. | https://aaus.org.au/aaus-detailed-response-to-senate-inquiry-report/ |
This report forecasts the global drone market for 2022-2030, broken down by segment, industry, application method, region, and country. The figures, based on the DRONEII bottom-up market model, help stakeholders in the drone industry make short and long-term strategic business decisions. Get access to this and all of our reports through a drone research subscription.
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6 min. Drone laws are set to have a big year in 2023. Many countries around the globe are now preparing for advanced operations (BVLOS, OOP) as well as UTM systems.
7 min. With several changes in drone regulation, both in the UA and in the EU, drone operation becomes even more regulated on the one side but offers more opportunities on the other. | https://droneii.com/ |
Editorial | Open Access | Published ?
GUEST EDITORIAL - Reflection paper on Good Manufacturing Practice and Marketing Authorisation Holders
There has been comment in the press about the possibility of medical supplies being delivered via drones. With the COVID-19 pandemic currently causing queues at Pharmacies and an increase in the need to get supplies speedily to the point of use, is this a time to seriously consider whether the use of drones would be appropriate and meet the requirements of Good Distribution Practice (GDP) required by the Medicines and Healthcare Products Regulatory Agency (MHRA) in the UK in all or specific parts of the supply chain.
Within the US, drone deliveries of Pharmaceuticals have become a reality with AmerisourceBergen signing a deal with UPS in 2019 to deliver drugs to hospitals and distribution hubs whilst the deal with CVS Pharmacy will allow delivery direct to patients. Although both deals were announced in the press it is unclear the range of products that will be despatched using drone. Will those products requiring specialist storage conditions, and those that require special licensing e.g. controlled drugs be out of scope? Is this likely to be the new way in which the distribution of medical supplies such as urgently needed pharmaceutical products, organs for transplant blood etc occur?
The UK government has announced that drones will be used to carry medical supplies from Hampshire to the Isle of Wight, due in part to the delays being experienced by the significant reduction in frequency of ferry services to the Island during the COVID-19 Pandemic (https://dronelife.com/2020/04/30/medical-delivery-drones-uk/). The proposed trial will use a drone capable of carrying up to 10kg for up to 621 miles and will initially provide supplies for the one Hospital Trust on the island.
The legislation regarding Pharmaceuticals is not the only legislation to be considered when discussing the use of such drones to deliver pharmaceuticals, the Civil Aviation Authority must also approve the route. Currently the Regulation that legislates drones is an EU regulation with the requirement that a small drone remote pilot must only fly the aircraft if reasonably satisfied that the flight can safely be made. For longer journeys will a requirement for a Flight Plan to be filed be made? In addition, SUA operators and remote pilots that collect personal data must comply with the Data Protection Act 2018 (DPA), unless a relevant exemption applies. To deliver a medicinal product directly to a patient then exemptions to GDPR (General Data Protection Regulations) will need to be made. The Air Navigation Amendment (2018) and a consultation on the use of drones ‘Taking Flight the future of Drones in the UK’, was concluded on the 17th September 2018 both are available for review on the government website. Any company using a drone for commercial purposes must receive permission from the Civil Aviation Authority. However, both the consultation and the amendment do not consider the impact of the use of drones on other industries. As such is the use of a drone compatible with the current legislation regarding the distribution of medicinal products.
The Guidelines of 5 November 2013 on Good Distribution Practice of medicinal products for human use (Text with EEA relevance) (2013/C 343/01) states the following:
Where transportation is performed by a third party, the contract in place should encompass the requirements of Chapter 7. Transportation providers should be made aware by the wholesale distributor of the relevant transport conditions applicable to the consignment. Where the transportation route includes unloading and reloading or transit storage at a transportation hub, particular attention should be paid to temperature monitoring, cleanliness, and the security of any intermediate storage facilities.
As such the drone providers must ship in a manner to ensure that the product temperature is maintained throughout the shipment. The current requirement to hold a Wholesale Dealers Authorisation if cold chain products are held or if 15- 25°C , store below 30°C and ambient products are held for more than 72 hours may mean that drone providers do not want to transport these products in case delays in flights means that they have to hold the products. Delivery to hospitals and pharmacies will allow the downloading and verification of temperature data to ensure that the product is transported at the correct temperature, however, if delivered direct to patients this will be problematic. Returns of products would also need to be carefully reviewed and the current legislation updated to ensure that it reflected the new supply chain scenarios that may be used. Verification of the supply chain for controlled drugs and licensing by the Home Office may also be barriers to the entry of drones into the standard pharmaceutical supply chain. For new and innovative treatments such as ATMPs would the risk of a temperature excursion and the consequence of such an occurrence mean that the risk of using a drone outweighs any benefit
There are certainly advantages to innovations in the supply chain and the potential benefits that the use of drones could bring to the the pharmaceutical supply chain from the pharmaceutical industry itself through to pharmacies, hospitals, clinics and patients. There will also be impacts on the drone designers and operators as they move into this new field of operation. Any changes would require legislative changes to both the drone legislation and the pharmaceutical GDP legislation, whilst ensuring that there are sufficient controls regarding bona fides and storage temperatures of medicinal products within the supply chain are maintained. Currently although used in the US and other countries there are barriers that need to be overcome to allow this technology to be used on a routine basis within the UK. Pharmaceutical manufacturers and wholesale dealers need to explore the risks versus the benefits of using drones in their supply chains to determine if they are suitable for their products under routine or exceptional circumstances. If the answer to either or both is yes, then there will be a need to lobby governments directly or via trade organisations etc for urgent consideration of change to legislation.
The Pharma industry needs to innovate and keep up with technological opportunities within its supply chains as well as within manufacturing. The potential to use drones as an unmanned courier service with the potential to be used for delivery direct to patient or point of need, particularly in remote areas around the world could and perhaps should be taken up by both the pharma supply chain and regulatory bodies around the world
Pam Turner
Director and QP at PNR Pharma Services Ltd. | https://www.ejpps.online/post/vol25-2-guest-editorial-delivery-of-medical-supplies-pharmaceuticals-by-drone-within-the-uk |
Policy formulation for emerging technology is a complex process. The dangers of inadequate regulation are matched by the potential harms of a heavy-handed approach. While the present government has oft been accused of the latter, the Directorate General of Civil Aviation’s (DGCA) draft circular on the regulation of unmanned aerial systems (UAS, a.k.a. drones) suffers from both ailments in equal measure. The circular was first released for comments in April-May 2016 and we currently await the final notification.
While most naturally associated with military applications, drones today are as common for civilian purposes ranging from aerial photography and mapping to delivery of products and recreation. This proliferation of uses raises a number of regulatory issues including safety – both in the air and on the ground – privacy, and security. While the DGCA’s recent efforts to initiate a public consultation on these aspects are a welcome step, the draft circular, if implemented in its current form, will stifle innovation, raise operational risks, and create substantial uncertainty for organisations, individuals and enforcement agencies alike. We highlight four of the numerous issues with the draft.
At the outset, the very regulatory basis of the circular is misguided and difficult to implement. While most UAS regulations around the world use weight (of the drone) as the primary basis for regulation (as there is a clear nexus between weight and risk in the air and on the ground), the DGCA attempts to use altitude of the drone as the primary criterion. While weight is constant, altitude of the drone is a constantly changing variable which the DGCA has no ability to monitor in flight. Going forward, the DGCA’s proposed framework requires obtaining of a permit based on the altitude at which a drone is to be flown prior to the operation. In other words, drone operators could simply claim to not require a permit on the assumption that would not fly above a certain threshold (200ft under the present draft) – ensuring exclusion from oversight to a large extent. In addition, by ignoring the weight of drones, the DGCA equates the smallest of recreational drones with much larger devices potentially weighing hundreds of kilos and with much starker safety implications.
Second, the draft tends to over-regulate. For example, users of all drones – including micro drones (under 2kgs) – are subject to the same compliances required of larger drones including the obligation to intimate the local administration before every flight in addition to a complete ban on flights in Delhi, and most parts of Gurgaon and Noida. This treatment is incongruous with internationally-accepted practices. The assumption across the world is that smaller drones pose less severe operational risks and warrant lighter (if any) regulation. The circular however assumes that smaller drones pose the same security risks as larger drones, an assumption belied by common sense.
Third, the circular suffers from a number of drafting flaws. For instance, the application for a UAS operator’s permit requires applicants to specify drone landing or take-off areas as well as obtain permission from all property owners whose land the drone may fly over. At the same time, the circular provides that each permit would be valid for a period of two years. This is internally inconsistent and overly onerous as the locations of drone operations are likely to constantly vary – especially over a two-year period.
The regulations also fail to elaborate on issues of privacy and enforcement. Apart from a cursory statement that “privacy and protection of personnel/ property/ data shall be given due importance“, no further guidance is provided. Given the patchwork privacy protection in India, it cannot be easily assumed that existing frameworks will be adequate to address issues of privacy raised by the use of drones. The draft circular proposes suspension and revocation of operators permits as an enforcement measure. However, it is silent on penalties for operators failing to obtain a license in the first place.
Lastly, the DGCA seems to have grossly miscalculated the administrative overhead that would be required to implement the present framework. Every aspect of drone use from registration, to loss, to accidents and application for permits require DGCA clearance while most even the most mundane drone operations require clearances from a minimum of three other government entities. In the absence of a single-window clearance system with time-bound processing, the proposed framework will bring the fledgling industry to a standstill.
With the commercial and recreational use of drones becoming ubiquitous, it is necessary to have in place balanced, comprehensive and robust regulations that govern their use. The draft circular is far from adequate in this regard. While the date for public comments on the draft has elapsed, it can only be hoped that the DGCA will use this intervening period to consider all inputs carefully and come out with a framework that is not only robust and practical but also internally consistent and well-drafted.
Shashank Reddy is a Researcher with the Carnegie Endowment India and Tarun Krishnakumar is a lawyer working on issues relating to technology law and policy. Both are based in New Delhi. All views expressed are personal. | https://thewire.in/tech/dgca-drone-framework-civil-aviation |
A Senate Bill, now on the President’s desk, would require changes in the membership composition of the influential Drone Advisory Committee (DAC). The Drone Advisory Committee was established to provide “independent advice and recommendations” to the U.S. Dept. of Transportation and FAA on drone regulations, according to the DAC charter.
S.2730 is titled “Drone Advisory Committee for the 21st Century Act.” The Summary of the proposal is simple:
This bill requires the Federal Aviation Administration (FAA) to take appropriate steps to encourage direct representation of county and tribal governments, as well as agriculture, forestry, rangeland sectors, and other rural interests on the Drone Advisory Committee.
The FAA must include public participation in the process of nominating individuals for membership on the committee.
The Drone Advisory Committee bill, introduced more than a year ago, is sponsored by Sen. Gary Peters (D-MI) and co-sponsored by Sen. John Thune (R-SD) and Sen. Pat Roberts (R-KS).
New Members
The current membership is led by former CEO and Advisory Board Chair at Precision Hawk, Michael Chasen. The committee includes members of the drone industry including software and hardware solution providers, pilots, local government representatives, and emergency services stakeholders. Earlier this year, the FAA asked for applications for new membership: the 75 eligible applications received before August 18, 2020, will be considered for vacant positions. (See full list of current members below.)
If signed by the President, S.2730 may influence the choices of new members – and the way that they are made.
Transparency
The DAC was a major move towards the public and private collaboration on drone integration. Since then, the DAC has done a lot of hard work in making recommendations for regulations, but has occasionally been criticized for operating without full transparency and leaning to heavily on stakeholders from the drone industry. (DAC meetings are open to the public, indivual task groups work together and then report their findings to the group at the public meetings. Videos of the last two meetings, held virtually, are available online: meeting minutes of all other meetings are also available.)
It’s unclear how the FAA might include the public in the process of nominating members to the DAC, but S. 2730 does make the “Sense of Congress” on the issue of greater public participation clear:
(2) Full transparency in the work of the Drone Advisory Committee is vital to ensuring the public can effectively participate and contribute to the development of sound Federal policies. The Administrator of the Federal Aviation Administration should, to the maximum extent practicable, ensure the work of the Drone Advisory Committee is shared with and easily accessible to the public and shall ensure transparency and openness in the manner in which the affairs of the Committee are conducted.
Current Membership
Chair
Michael Chasen, Chairman of the Advisory Board, PrecisionHawk USA, Inc.
Designated Federal Officer
Arjun Garg, Acting Deputy Administrator, Federal Aviation Administration
Airports and Airport Communities
- Vacant
- Vacant
Labor (controllers, pilots)
- Trish Gilbert, Executive Vice President, National Air Traffic Controllers Association pilots)
- Joseph DePete, President, Air Line Pilots Association (ALPA)
Local Government
- David Greene, Bureau of Aeronautics Director, Wisconsin Department of Transportation
- WadeTroxell, Mayor of Fort Collins, Colorado, and the National League of Cities
- Bob Brock, Director of Aviation and UAS, Kansas Department of Transportation
- Mark Colborn, Senior Corporal, Dallas Police Department
- Michael Leo, Captain, New York City Fire Department
- Vacant
Navigation, Communication, Surveillance, and Air Traffic Management Capability Providers
- Vacant
- Vacant
- Mariah Scott, President, Skyward (a Verizon company)
Research, Development, and Academia
- Robie Samanta Roy, Vice President of Technology, Lockheed Martin Corporation
Traditional Manned Aviation Operators
- Mark Baker, President and Chief Executive Officer, Aircraft Owners and Pilots Association
- Houston Mills, Vice President, Flight Operations and Safety, United Parcel Service (UPS)
- Lorne Cass, President, Aero NowGen Solutions, LLC
- Vacant
UAS Hardware Component Manufacturers
- Vacant
- Christian Ramsey, President, uAvionix Corporation
UAS Manufacturers
- James Burgess, Chief Executive Officer, Wing (an Alphabet company)
- Michael Chasen, Chairman, Advisory Board, PrecisionHawk USA Inc.
- Vacant
- Brendan Schulman, Vice President of Policy and Legal Affairs, DJI Technology
- Michael Sinnett, Vice President Product Development and Strategy, Boeing Commercial Airplanes
UAS Operators
- Greg Agvent, Senior Director of National News Technology, CNN
- Todd Graetz, Director, Technology Services, UAS Program, BNSF Railway
UAS Software Application Manufacturers
- Jaz Banga, Co-Founder and Chief Executive Officer, Airspace Systems, Inc.
- Chris Anderson, Chief Executive Officer, 3DR
- Vacant
Other
- Rich Hanson, President, Academy of Model Aeronautics
- Brian Wynne, President and Chief Executive Officer, Association for Unmanned Vehicle Systems International
Stakeholder Group
- Thomas Karol, General Counsel, National Association of Mutual Insurance Companies
- David Silver, Vice President for Civil Aviation, Aerospace Industries Association
- Lee Moak, Founder & Chief Executive Officer of The Moak Group
Miriam McNabb is the Editor-in-Chief of DRONELIFE and CEO of JobForDrones, a professional drone services marketplace, and a fascinated observer of the emerging drone industry and the regulatory environment for drones. Miriam has penned over 3,000 articles focused on the commercial drone space and is an international speaker and recognized figure in the industry. Miriam has a degree from the University of Chicago and over 20 years of experience in high tech sales and marketing for new technologies.
For drone industry consulting or writing, Email Miriam.
TWITTER:@spaldingbarker
Subscribe to DroneLife here. | https://dronelife.com/2020/12/27/drone-advisory-committee-new-senate-bill-would-require-greater-transparency-representation/ |
ALBANY, N.Y. — On September 27, the North American Sustainable Refrigeration Council (NASRC) and the New York State Department of Environmental Conservation (DEC) will co-host a free educational workshop to help supermarket stakeholders prepare for future refrigerant regulations in New York State. The workshop will feature an update from the DEC on proposed regulation, expert presentations on low-GWP technology options, and opportunities for funding the industry’s transition.
“Our goal is to engage stakeholders early in the regulatory process and bring all parties to the table,” said Danielle Wright, executive director of the NASRC. “The sooner we can identify challenges, the sooner we can begin to work on solutions that will ultimately bring divergent goals into alignment.”
New York is one of a growing number of states who have committed to phase down HFCs as part of its larger climate goals. For the time being, the DEC has proposed to adopt the vacated U.S. Environmental Protection Agency SNAP rules. However, in June, the state passed what has been referred to as the most ambitious climate targets in the U.S., which include entirely carbon-free electricity by 2040 and economy-wide, net-zero carbon emissions by 2050.
“Given the state’s ambitious climate targets, we’re thinking big picture about what the regulations will look like in the future and what role energy efficiency will play,” said Wright.
Supermarket refrigeration represents an important opportunity to make considerable progress on climate goals. In addition to potential greenhouse gas (GHG) emissions reductions from the use of low-GWP refrigerants, there is an equally significant opportunity to simultaneously reduce emissions and energy demand by optimizing refrigeration technologies for energy efficiency.
“We see a tremendous opportunity to align and make progress on the goals of all key stakeholders through this workshop,” said Wright. “Reducing emissions from refrigerant leaks and increasing energy efficiency is a win-win, but it’s going to take a collective effort and dialogue between all stakeholders to get there.”
This workshop will provide a platform to bring stakeholders together to discuss challenges associated with natural refrigerants and identify actionable solutions. The NASRC intends to implement those solutions to move the needle on natural refrigerant adoption and reduce the regulatory burdens for New York supermarkets.
Workshop attendees will hear from expert presenters who will provide a comprehensive overview of low-GWP refrigerant solutions, the latest technology innovations, strategies to optimize energy efficiency, and opportunities for low-GWP financial incentives. The workshop will also provide stakeholders with an opportunity to engage in the regulatory process and provide input on New York’s phasedown plan.
The event is generously sponsored by CoolSys, Danfoss, and Dorin. Attendees will include supermarket retailers, service contractors, equipment manufacturers and suppliers, government agencies, utilities, engineering and design firms, consultants, nongovernmental organizations, and other stakeholders. For more information or to register for the workshop, visit www.nasrc.org/low-gwp-ny-workshop.
Interested in submitting a press release for publication? Contact us! | https://www.achrnews.com/articles/141704-nasrc-workshop-to-address-hfc-phasedown-in-new-york |
Maasai Mara National Reserve – Narok County – Kenya
The Masai Mara is a large game reserve in south-western Kenya, which is effectively the northern continuation of the Serengeti National Park game reserve in Tanzania an its administered by Narok County. Named after the Maasai people (the traditional inhabitants of the area) and their description of the area when looked at from a viewpoint – “Mara”, which is Maa (Maasai language) for spotted: an apt description for the circles of trees, scrub, savannah and cloud shadows that mark the area. It is famous for its exceptional population of Big Cats, game, and the annual migration of zebra, Thomson’s gazelle and wildebeest from the Serengeti every year from July to October, a migration so immense it is called the Great Migration.
Masai Mara National Reserve about 1510 sq km is the most famous and most visited reserve in Kenya. It offers breathtaking views and extraordinary density of animals including the “Big Five” and many varieties of plains game.
An impressive feature is the annual migration of wildebeest, zebra and gazelle from the plains of the Serengeti that cross the Tanzanian border and rivers to reach the Mara’s lush grassland from late June, hunted by the predators: lion, leopard, cheetah, hyena and circled by vultures as the journey unfolds. Their dramatic river crossings are a reality for tourists visiting in July – August.
One can take a breathtaking balloon ride usually done very early in the morning before the winds get hoarse and gives you an experience of a life time viewing game from above coupled with a champagne breakfast. Many of this can be done from most lodges in the Masai Mara
The Masai Mara Wildlife
Apart from the seasonal migration, gameviewing is excellent year round. Game includes: elephant, Black Rhino, buffalo, plains zebra, roan antelope in small numbers, white-bearded gnu, Oribi, warthog, Thomson’s and Grant’s gazelle, hartebeest and the big cats; the rivers are home to hippo and crocodiles. Maasai Mara has the largest population of lion compared to other parks in Kenya.
Bird life in Masai Mara
Mara is known to habour profuse birdlife as well as wildlife. However many waterfowls abound as well as savannah fowls. These include red winged schalow’s turaco, white-tipped crest, rosses turaco, orange buff pel’s fishing owl, wary guinea fowl. The open plains birds include Jackson’s bustard, black-bellied hartlaubs bustard. 53 species of birds of prey have been recorded. Secretary birds are common.
Accommodation
Accommodation ranges from stone lodges to luxury tented camps, to camping sites. Some of them include Keekorok lodge, Sarova Mara Tented Camp, Fig Tree Tented Camp, Mara Simba Lodge, Mara Serena lodge, Kichwa Tembo Camp, Mara Sopa Lodge, Siana Springs, Ol tome Resort, Mara Intrepids, Mara Explorer, Governors camp, Cottars 1920 among others. | https://abanasafaris.com/masai-mara-national-reserve/ |
DAY 1: NAIROBI
Jambo! Upon arrival at Jomo Kenyatta International Airport in Nairobi, you will be met by a representative who will greet you and assist with the transfer to your Hotel.
Meal Plan: Bed and Breakfast
DAY 2 & 3: SAMBURU GAME RESERVE
After breakfast, drive north via Nanyuki to the Samburu National Reserve. Arrive for lunch at your camp followed by an afternoon game drive. Later as the sun sets, you will be transferred back to your camp for dinner and overnight. You will have one more day of game viewing with all meals and overnight included. The reserve is rich in wildlife with an abundance of rare northern specialist species such as the Grevy’s zebra, Somali ostrich, reticulated giraffe, gerenuk and the Beisa oryx (also referred to as (also referred to as Samburu Special Five).
Meal Plan: Full Board
DAY 4: LAKE NAKURU NATIONAL PARK
Continue with your journey this morning as you drive to Lake Nakuru National Park. The park boasts a huge variety of animals, including leopard which is often found snoozing on the branches of the magnificent yellow-barked acacias, lion, buffalo, hippo, waterbuck, warthog, baboon, the endangered Rothschild’s giraffe only found in this park in Kenya, white rhino and the rare black rhino which is protected and guarded here.
Meal Plan: Full Board
DAY 5 & 6: MAASAI MARA GAME RESERVE
Your journey now takes you to the Maasai Mara, Kenya’s most famous wildlife reserve. Arrive and embark on a game viewing drive before later being transferred to your camp for dinner and overnight.
The Maasai Mara is arguably Kenya’s most popular game reserve. It is most famous and most visited game reserve in Kenya. The film “Out of Africa” was made to a great extend in this sanctuary. There is a profusion of all types of wildlife including the big five. A spectacle worth seeing is the annual migration of millions of wildebeests, zebras, and the gazelles from the Serengeti plains across the Tanzania border and the Mara River to reach Maasai Mara grazing fields from late June. The game reserve abounds with birdlife since close to about four hundred and fifty two odd species have been recorded.
Spend the next day on a full day game viewing drive.
Meal Plan: Full Board
DAY 7: DEPARTURE
After breakfast at the camp, bid farewell to the Masai Mara as you set on your journey back to Nairobi. Drive back down the Great Rift Valley to Nairobi, passing the dormant volcano, Mount Longonot, and lakes Elementaita and Naivasha on the way. Keep an eye out for herds of giraffe and gazelle and head up the escarpment. You will arrive in Kenya’s bustling capital city Nairobi in the early afternoon where you will be transferred to the Jomo Kenyatta International airport for your departure flight back home. | http://tuliadestination.com/view/tour/package/2 |
Tarangire, at a glance
Tarangire National Park boasts some of the highest animal densities and most stunning landscapes in Tanzania. Its proximity to Arusha makes it easily accessible, and it's often combined with the Serengeti and the Ngorongoro Conservation Area, completing Tanzania's northern safari circuit.
Tarangire is the sixth biggest park in Tanzania at 2,850 km².
It takes its name - as well as its game wealth - from the Tarangire River which flows through the park, attracting elephants and many other animals.
Reasons to visit Tarangire
Tarangire has some of the highest elephant populations in the country. During peak migration from July to October, around 5,000 of these gentle giants will migrate to Tarangire - you can sometimes see groups of 300 elephants at once.
It's not just elephants that migrate across these plains. You'll also find plenty of other mammals including lions, zebras and antelopes.
The vast grasslands and Baobab trees create a rugged, 'Out of Africa' feel that's quite distinct amongst Tanzania's national parks.
It is only a short drive from Arusha on tarmac roads, making for a relatively easy-going journey, and perfect for a short safari of one or two days after a Kili hike or other safaris across Tanzania.
Wildlife in Tarangire National Park
Tarangire National Park is famous for the thousands of elephants that come down to the park during the dry season in search of water, but there are also plenty of wildebeest, zebras, giraffes, buffalo and hippos.
Lions are often sighted, and you might see leopards and cheetahs patrolling the grasslands, or perched in a tree. Wild dogs have been spotted before, but you have to get lucky to find them.
The park is also a great birding destination, with over 500 species living in Tarangire.
Roadblock, Tarangire National Park
When to visit Tarangire National Park
The best time to visit Tarangire National Park is during the dry season from June to October. These are the best months for wildlife due to migratory patterns, and the short grasses make game viewing even easier.
The animals flock towards the Tarangire river for water, allowing for easy sightings.
In order to see the big herds of elephants, we recommend visiting towards the latter period of the dry season (September/October).
November can be especially cheap, as it is out of peak season but tends to still be quite dry before the short rains hit. The low season, from late November to May, is great for bird watching as the area is wet, green and luscious.
A day's end, Tarangire National Park
Accommodation in Tarangire National Park
Most travellers tend to remain in the north of the park near the Tarangire river, but the south is equally beautiful.
Your accommodation will normally be luxury tented camps. Some of our favourites here include:
- Kuro Tarangire, Swala Safari Camp and Oliver's Camp are high-end options, and some of the best bases in the park.
- Mbali Mbali Tarangire River Camp offers stunning views over the river and a pool for a moderate price in the northern part of the park.
- Tarangire Treetops is one of the most unique accommodation options in the park, with rooms built amongst thousand-year-old Baobab trees.
Popular Trips to Tanzania
The tours below showcase just some of what is possible. Use these itineraries as starting points, or to draw inspiration. Then get in touch, and let our expert team help craft the perfect itinerary for you.
Epic Tanzania
Combine the northern safari circuit with a trip south to Ruaha National Park, finishing at Dar es Salaam. Along the way, discover the beautiful landscapes and incredible wildlife that make Tanzania so special.…
- 9 Days
- $7,035
Honeymoon in Tanzania
Stay in romantic lodges in the heart of the Serengeti before heading east to the Zanzibar archipelago for a few days at Matemwe Retreat. East Africa safari meets tropical island paradise.…
- 7 Days
- $4,788
Kenya and Tanzania Combined
The ultimate East African adventure. Starting in the Maasai Mara in Kenya, work your way south through the Serengeti towards Ruaha National Park in Tanzania. Close out your trip with a couple of days on the island paradise of Zanzibar.…
- 13 Days
- $7,740
Southern Tanzania and Zanzibar
Combine the wilder side of Tanzania with the tropical beaches of Zanzibar. Journey through the southern safari circuit of Ruaha National Park and Selous Game Reserve, before a short flight brings you to the border between Africa and the Indian…
- 10 Days
- $5,500
Tanzania’s Northern Circuit & Zanzibar
The classic northern safari circuit in Tanzania. From the verdant slopes of the Ngorongoro crater to the vast savannahs of the Serengeti, there's enough wildlife experiences here to last a lifetime. Close out your adventure on the island paradise of…
- 12 Days
- $7,728
Ngorongoro to Serengeti Walking Safari
9 days hiking through the savannah plains and grasslands of northern Tanzania, from the Ngorongoro Highlands to the Namiri Plains in the east of the Serengeti.…
- 9 Days
- $10,353
Tanzania's Northern Safari Circuit
The northern circuit is the most popular safari route in Tanzania. Explore the national parks of Tarangire and Lake Manyara, before meandering northwest to the beautiful Ngorongoro Crater. Finally, you'll arrive in the world's most famous safari destination, the endless…
- 8 Days
- $4,818
Maasai Mara & Zanzibar
Combine two very different sides of East Africa. Head to the Maasai Mara for a few days of safari, before crossing the border and heading south-east to the island paradise of Zanzibar. …
- 10 Days
- $8,363
The Great Wildebeest Migration
The annual wildebeest migration in northern Tanzania and Kenya is one of the most incredible wildlife events in the world. Head to the Serengeti and stay in mobile tented camps to follow the action.…
- 7 Days
- $4,730
Walk Among the Great Migration
A unique way to experience the great migration on the plains of the Serengeti. Stand amongst giants, and experience the migration of 2 million wildebeest as you hike from central Serengeti to the southern plains. …
- 7 Days
- $7,599
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Whatever your budget, group size, length of stay, preferred activity or appetite for adventure, we can help. | https://www.brilliant-africa.com/tanzania/tarangire-national-park |
The Great Migration is the largest mass migration of large mammals on earth and occurs year round within the Serengeti National Park and Greater Ngorongoro Conservation Area within Tanzania; extending into Kenya's Maasai Mara Reserve between late July and early October. About 2 million mammals are involved, mainly comprised of an average 1.3 million Blue Wildebeest (Connochaetes taurinus), 200,000 Plains or Burchell's Zebra (Equus burchelli) and 400,00 Thomson's gazelles (Gazella tomsoni).
Timings for each stage of the migration vary slightly each year, but usually starting sometime in July or early August, the great migratory herds of wildebeest journey from the north western Serengeti into the northern Serengeti and Kenya's Maasai Mara - an area where we also offer safaris. The herds will usually concentrate either side of the Mara River, so in both the Serengeti and Maasai Mara; and then at some stage in late October or early November start heading south.
This late October and early November is an interesting transition period in which grasses will be dry and hence low, so great for big cat observation; but wildebeest will appear in harems either in the north east or western Grumeti River areas, waiting in anticipation of the rains. Sometimes the detect rain from the south east and will begin walking towards it. Sometimes it rains behind them in the west at Lake Victoria, so they turn around. Sometimes you can see a line of them walking one way and another line walking in the opposite direction.
As the rainy season develops, the migration continues south east and the wildebeest, zebra and antelopes arrive at the signature short grass plains in the south east of the Serengeti. They also spread beyond the confines of the Serengeti National Park and into the Ngorongoro Conservation Area. Here they share the land with Maasai and their cattle.
The south eastern area holds more than just fresh grass. The soils here have a high phosphate content, created by volcanic ashes which were last topped up in 1966 when the volcano Ol Doinyo Lengai erupted, sweeping ash across the area. Phosphates not only fertilize the grasses, but help to build strong bones in the animals which eat it. Experiments have shown that wildebeest are able to select grass rich in phosphates at the expense of similar grasses beside it in which phosphate levels are low.
With rich grass to feed on, the south east of the reserve is where the zebra and the wildebeest give birth en masse (late January to the end of March). The plains fill with young animals taking the first tentative steps in a rich but unforgiving environment. A feast now begins for the region's carnivores, whilst hyenas and other scavengers can gorge on ubiquitous afterbirth. Throughout this time the animals keep moving, always looking for new grass. The animals seem to always follow the shortest, most direct route to green grass, sometimes swimming across lakes such as Lake Ndutu, rather than walking around it shores.
Leaving the Southern Plains in late April to May the migration makes it's way once again to the North, passing into the Western Corridor and perhaps, most spectacularly across the dangerous Grumeti River. In June and July, crossings can claim large numbers of reluctant swimmers. By late July and August, the migration is likely to be crossing the Mara River in the far north of the Serengeti. The best chances of seeing dramatic river crossings is late August / September, which is when we operate small group and private safaris aiming to catch this event (click HERE for details). | https://www.aqua-firma.com/travel-guides/tanzania-national-park-reserves-safari-travel-guide/wildebeest-great-migration-africa-serengeti |
The maasai Mara is without a doubt the most popular national park in Kenya and one of the biggest tourist destinations in Africa. Maasai mara was established in 1961 and covers an area of 1520 square kilometres.
The Maasai mara is divided into two, the Maasai Mara national reserve and the Mara Triangle.
There are several accommodation hotels within and outside the Maasai Mara. There are also several public and private camping sites within the maasai mara.
The Maasai Mara is surrounded with other conservancies run by the locals of the area and they include Koiyaki, Lemek, Kimintet, Oloirien, Mara North, maji moti among others.
Attractions
The biggest attraction in Maasai Mara is the wildebeest migration which is in the 10 wonders of the world. This migration takes place twice every year when the wildebeests migrate to Serengeti park which is in Tanzania around November and they migrate back to Kenya around July. Besides the great migration, Maasai mara also has several other animals to view including the big five although you will have to be lucky to see the Rhinos. There are more than 450 bird species in the mara and the rare roan antelope and bat eared fox which is very hard to spot in other parks in Kenya.
The maasai mara is mostly a plain grassland which gives it spectacular views all year round.
Other activities that can be done are night drives and hot air balloon rides.
The weather conditions in the maasai mara are favourable with temperatures being 30 degrees on very hot days and 20 degrees when it's cold.
Access
Maasai mara is easily accessible via the sekenani gate which is after narok town. If visiting from Western Kenya, the closest access gate will be Oloololo gate.
Cost
Here is a form showing you the cost. Entry of Maasai mara also gives you access to the Mara triangle.
Reference: | https://ninaform.com/listing/masai-mara-national-reserve/ |
Tanzania’s oldest national park is also one of the world’s best known wildlife sanctuaries. At 14,763 sq. Kms, Serengeti is second in size only to Ruaha National Park and is certainly one of Tanzania’s most precious jewels. Protected for almost a century now, the sanctuary was declared a national park in 1959 and is also a world heritage site and an international biosphere reserve, alongside Ngorongoro.
The Serengeti is home to the world’s largest and most spectacular wildlife migration, at the peak of which it contains the largest concentration of mammals on earth. Bordering Ngorongoro to the south and south east, Kenya’s Maasai Mara to the North, Maswa Game Reserve to the west and south west, Loliondo Game Reserve to the east and reaching within 8km of Lake Victoria to the North West, any safari here promises wildlife galore, especially when the annual migration of plains game and their attending predators is in residence.
Serengeti is derived from the Maasai word “Siringet” meaning the endless plains. Recently claimed the 7th world wide wonder, Serengeti owes its legendary fame to the annual 800km migration of over 2.5 million animals, forming columns of animals up to 40kms long! The migration offers visitors with one of nature’s most staggering displays, one in which the ever watchful predators play vital part. In this epic journey, the migration has to cross their biggest obstacles, the river crossings, to get to the green pastures on the other side. These rivers, the Grumeti in Serengeti and the Mara along the border with Kenya to the North, can both be the scenes of true carnage, as weak, panicked and old animals fail to cross the raging tides ending up in the jaws of crocs or get piled in a writhing mass of bodies where they are left at the mercy of the vultures and other scavengers. The migration’s never ending cycle is fueled by a seasonal search for green, fresh pastures and water dictated by the rains.
The endless sun burnt savannah that turns into a shimmering golden horizon during the dry season and covers only a third of the park isn’t the only thing that the Serengeti has on offer. Seronera, with its wooded hills, lightly wooded valleys, rivers lined with fig trees and acacia woodland stained orange by dust offers some excellent year round game viewing even when the migration isn’t in residence. To the north along the border with Kenya, the country is dominated by thorny acacia woodlands. To west, the corridor that runs along the Grumeti River reaches very close to Lake Victoria, and the evergreen forests flanking the river provide a home to a variety of primates and leopards whilst the river itself is excellent habitat for water birds and crocodiles which in turn prey on the thirsty animals that come down to drink during the dry season.
Wildlife, of course is what brings people to the Serengeti, and at that, the park isn’t lacking. All of the big five can be spotted while on safari in Serengeti, with an abundance of other animal species that include cheetah, Thomson’s and Grant’s gazelle, topi, eland, waterbuck, hyena, baboon, impala, African wild dogs and giraffe, jackals, Serval cats and many more. The park also boasts about 500 bird species, including Ostrich, Secretary bird, Kori bustard, Crowned crane, Marabou stork, Martial eagle, Lovebirds and the many species of vultures. As popular as Serengeti might be, it’s so vast that you might well be the only visitor around when a Leopard silently crouches in the tall grass towards unsuspecting impala, or when a Cheetah chases down a Thompson gazelle at a break neck speed across the golden plains in an epic struggle to fulfill the ancient adage of survival for the fittest in one of the world’s most beautiful wildlife sanctuaries. | http://www.megaadventurestravel.com/serengeti/ |
Maasai mara national reserve is found in Narok county where it shares border with Serengeti National park in Tanzania hence making it a continuation of the park.it is a reserve meaning its totally unfenced and its run by the local county of narok.The park experiences hot and dry climate with a regular rainfall season twice an year. Most rain falls between march and may and during the short rainy season in November and December. Between july and October the weather is dry making it the best time to see wildlife especially the wildebeests which are by then migrating from Serengeti national park to maasai mara reserve as they search for greener pastures. The reserve has four entry gates which are ololomutiek,sekenani,talek and musiara.one can get to the reserve by road or by air. By road from Nairobi its about five hours and by air one can take a scheduled flight from Wilson airport and jomo Kenyatta international airport in Nairobi which is about 45 minutes.The flight lands either at keekorok,olkiombo or musiara airstrip that serves at the park.
Maasai mara national reserve is found in Narok county where it shares border with Serengeti National park in Tanzania hence making it a continuation of the park.it is a reserve meaning its totally unfenced and its run by the local county of narok.The park experiences hot and dry climate with a regular rainfall season twice an year. Most rain falls between march and may and during the short rainy season in November and December.
Between july and October the weather is dry making it the best time to see wildlife especially the wildebeests which are by then migrating from Serengeti national park to maasai mara reserve as they search for greener pastures.
The reserve has four entry gates which are ololomutiek,sekenani,talek and musiara.one can get to the reserve by road or by air. By road from Nairobi its about five hours and by air one can take a scheduled flight from Wilson airport and jomo Kenyatta international airport in Nairobi which is about 45 minutes.The flight lands either at keekorok,olkiombo or musiara airstrip that serves at the park. | https://bisonsafaris.co.ke/tag/maasai-mara-reserve/ |
Maasai Mara National Reserve
Nestled in the Great Rift Valley, Maasai Mara National Reserve is a must-see in Kenya. It consists of a wide and towering escarpment that is home to multiple wild animal species and plant life.
Its huge areas give more space for wild animals to roam around in search of good pastures. The park is not only occupied by wildlife, but also several Maasai villages in some parts.
Locals who occupy these villages have a synergetic relationship with the wildlife and are well informed about how important wildlife is to the tourism industry.
The terrain types
Maasai Mara is composed of four main terrain types including the Ngama hills to the east, Oloololo escarpment that forms the western boundary, Mara Triangle that borders the Mara River with its lush grasslands and acacia woodlands together with the Central plains, an area that forms the largest part of the reserve. It is scattered with bushes and boulders on rolling grasslands.
Great Wildebeest Migration.
Usually from July, millions of arriving Wildebeest from Serengeti scatter the great plains of Maasai Mara National Reserve. When you combine the park’s Wilderness and these animals, it makes for a spectacular sight that is hard to find anywhere else.
The park’s scenic views are awesome. This migration is annual and therefore don’t hesitate to go for it at any time of the year (basing on the movement patterns). The event starts from Serengeti in the north to Kenya’s notable Maasai Mara in the north.
Nothing is more breathtaking than seeing millions of Wild animals strolling around. The migratory routes for this migration depend on the rain patterns as these animals move from Serengeti National Park to Maasai Mara mainly in search of water and fresh grass. It starts with calving in February and after three weeks the migration starts.
The death roll during the migration
The arrival of Wildebeests is an advantage for the predators of Masai Mara. Big cats usually have a lot to eat during the migration season since they feed on these animals.
Availability of these migrating animals means that lions, cheetah and leopards will have plenty to feed, therefore it’s no wonder that they grow strong and are healthy during this period of time.
What to do in Maasai Mara
Experience the Wildebeest Migration
Without a doubt, this is the main reason for most trips to Maasai Mara National Reserve. This annual event is exceptional and invites thousands of travelers who flock in to see millions of gazelles, wildebeest, and zebras that migrate from Tanzania’s Serengeti to Kenya’s Maasai Mara. It takes place between the months of July and October.
Game Drives
If you are still not sure of the best way to take in Maasai Mara’s panorama, game driving around the park suburbs is the best option. This excursion takes you out and into the Maasai Mara in search of notable wild animals.
With a trained guide, enjoy remarkable game viewing at some of the Park’s best safari camps like Private Governors Camp, Little Governors camp, and more.
Game drives in Maasai Mara take place in 4×4 vehicles with a pop-up roof. These Safari jeeps are suited to the environment and operated by highly trained drivers who offer detailed information about the park with its Wildlife.
You can do a day game drive or night game drive for nocturnal species. Some of the animals that you see on game drives are the African big fives, giraffes, hippos, hyenas, Zebras, Wildebeests, antelopes and more.
Other than game drives, Hot Air Ballooning is an incredible way to take in Maasai Mara’s natural wonders. This option rewards travelers a chance to admire the park’s beauty from the sky.
It departs from the Little Governors camp and balloon rises as the first sunlight hits the Mara. From the basket of the balloon, you will appreciate the awe-inspiring views of forests, rivers, rolling hills, and many wild animals.
It lasts for about an hour in the sky while tourists enjoy the fantastic sights. They also take many photographs and videos for their gallery. Once the balloon lands back, tourists receive a champagne breakfast. Thereafter, they continue with a drive back to their hotel of residence.
Don’t miss to explore the Park on foot. With an experienced guide to lead you around, you will have a lot to relish. Walking Safaris usually offer adventurers sweeping views of wild animals, sunset/rise, birds, and rolling hills.
In addition, you can have a walking safari at Little Governors Camp as an extra activity. You may then have a champagne bush breakfast. | https://africasafaritravellers.com/maasai-mara-national-reserve/ |
Maasai Mara national park in Kenya, Kenya’s wildebeest migration tour destination, world-renowned for its exceptional populations of the Big Five and Wildlife, where Maasai culture and fashion catches the eye a breathtaking climate and geography.
Maasai Mara also known as Masaai Mara, and locally simply as The Mara, is a large game reserve in Narok County, Kenya, contiguous with the Serengeti National Park in Tanzania. It is named in honor of the Maasai people, the ancestral inhabitants of the area. Their description of the area when looked at from afar: “Mara” means “spotted” in the local Maasai language, due to the many trees which dot the landscape.
Apart from wildlife, the landscapes of the Maasai Mara are stunningly beautiful: the classic Out of Africa backdrops of seemingly never-ending savanna studded with photogenic acacia trees. To the west, the park is bordered by the Oloololo Escarpment, a dramatic plateau, while the rest of the park is made up of rolling grasslands, acacia woodlands, riverine forest and rocky hills.
Two major rivers – the Talek and the Mara – cut through the Maasai Mara National Reserve, splitting it into three sectors: the Sekenani Sector, which lies to the east of the Talek River, the Musiara Sector, which is sandwiched between the two rivers, and the Mara Triangle, which is west of the Mara River. The Musiara and Sekenani Sectors are controlled by the Narok County Council, while the more remote Mara Triangle is administered by a non-profit conservancy company, the Trans Mara County Council.
Musiara Sector offers great game viewing in the Musiara Marsh, as well as some of the most spectacular wildebeest crossings at the Mara River. In the southeast of the park and bordered by the Sand, Talek and Mara Rivers, the Central Plains makes up the largest part of the reserve. The expansive grasslands of the Central Plains attract vast herds of plains animals, especially during the Great Migration from August to October, while the area is also famed for exciting big cat sightings.
Within the Central Plains, the savanna of Paradise Plain is prime cheetah territory, while Rhino Ridge for black-backed jackals, spotted hyena and bat-eared foxes. Head to Lookout Hill for incredible panoramas of the Olpunyaia Swamp and sightings of hippo, as well as for scenes of wildebeest crossing the river during the months of the migration. As the closest area to Nairobi and with a huge number of lodges, hotels and camps, the Central Plains is the most popular area of the reserve for tourists.
The Maasai Mara’s rivers are home to hippos and massive Nile crocodiles, as well as many species of water birds, while the Mara River, which wends its way through the national reserve, plays host to the biggest pods of hippos and also to the perilous crossings of wildebeest during the Great Migration.
The great wildebeest migration is one of the most phenomenal natural spectacles in the world. It is an annual movement by millions of wildebeest, accompanied by large numbers of zebra, Grant’s gazelle, Thompson’s gazelle, elands and impalas across the greater Maasai Mara-Serengeti ecosystem.
Every year more than 2 million animals (wildebeest, zebra, and gazelle) migrate in a clockwise direction across the ecosystems of the Serengeti National Park in Tanzania and the Maasai Mara National Park in Kenya. The annual migration northwest, at the end of the rainy season (usually in May or June) is recognized as one of the Seven Wonders of the Natural World.
Wildebeest often graze in mixed herds with zebra, which gives heightened awareness of potential predators. They are also alert to the warning signals emitted by other animals such as baboons. Wildebeest are a tourist attraction but compete with domesticated livestock for pasture and are sometimes blamed by farmers for transferring diseases and parasites to their cattle. Some illegal hunting goes on but the population trend is fairly stable and some populations are in national parks or on private land.
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The Maasai Mara covers some 1,510 km2 (580 sq mi) in south-western Kenya. It is the northernmost section of the Mara-Serengeti ecosystem, which covers some 25,000 km2 (9,700 sq mi) in Tanzania and Kenya. It is bounded by the Serengeti Park to the south, the Siria / Oloololo escarpment to the west, and Maasai pastoral ranches to the north, east and west. Rainfall in the ecosystem increases markedly along a southeast-northwest gradient, varies in space and time, and is markedly bimodal. The Sand, Talek River, and Mara River are the major rivers draining the reserve. Shrubs and trees fringe most drainage lines and cover hillslopes and hilltops.
When it was originally established in 1961 as a wildlife sanctuary the Mara covered only 520 km2 (200 sq mi) of the current area, including the Mara Triangle. The area was extended to the east in 1961 to cover 1,821 km2 (703 sq mi) and converted to a game reserve. The Narok County Council (NCC) took over the management of the reserve at this time. Part of the reserve was given National Reserve status in 1974, and the remaining area of 159 km2 (61 sq mi) was returned to local communities. An additional 162 km2 (63 sq mi) were removed from the reserve in 1976, and the park was reduced to 1,510 km2 (580 sq mi) in 1984.
The Maasai Mara is a major research centre for the spotted hyena. With two field offices in the Mara, the Michigan State University based Kay E. Holekamp Lab studies the behavior and physiology of this predator, as well as doing comparison studies between large predators in the Mara Triangle and their counterparts in the eastern part of the Mara. A flow assessment and trans-boundary river basin management plan between Kenya and Tanzania was completed for the river to sustain the ecosystem and the basic needs of 1 million people who depend on its water.
The Mara Predator Project also operates in the Maasai Mara, cataloging and monitoring lion populations throughout the region. Concentrating on the northern conservancies where communities coexist with wildlife, the project aims to identify population trends and responses to changes in land management, human settlements, livestock movements and tourism. Sara Blackburn, the project manager, works in partnership with a number of lodges in the region by training guides to identify lions and report sightings. Guests are also encouraged to participate in the project by photographing lions seen on game drives. An online database of individual lions is openly accessible, and features information on project participants and focus areas
Wildebeest, topi, zebra, and Thomson’s gazelle migrate into and occupy the Maasai Mara reserve, from the Serengeti plains to the south and Loita Plains in the pastoral ranches to the north-east, from July to October or later. Herds of all three species are also resident in the reserve.
All members of the “Big Five” (lion, leopard, elephant, cape buffalo, and rhinoceros) are found here. The population of black rhinos was fairly numerous until 1960, but it was severely depleted by poaching in the 1970s and early 1980s, dropping to a low of 15 individuals. Numbers have been slowly increasing, but the population was still only up to an estimated 23 in 1999.
Hippopotami and crocodiles are found in large groups in the Mara and Talek rivers. Hyenas, cheetahs, jackals, and bat-eared foxes can also be found in the reserve. The plains between the Mara River and the Esoit Siria Escarpment are probably the best area for game viewing, in particular regarding lion and cheetah.
Antelopes can be found, including Grant’s gazelles, impalas, duikers and Coke’s hartebeests. The plains are also home to the distinctive Masai giraffe. The large roan antelope and the nocturnal bat-eared fox, rarely present elsewhere in Kenya, can be seen within the reserve borders.
More than 470 species of birds have been identified in the park, many of which are migrants, with almost 60 species being raptors. Birds that call this area home for at least part of the year include: vultures, marabou storks, secretary birds, hornbills, crowned cranes, ostriches, long-crested eagles, African pygmy-falcons and the lilac-breasted roller, which is the national bird of Kenya.
There’s less rain in January than in December, with an average of 15 days of rainfall in the month. If it does rain then it’s usually a short shower in the afternoon. January is one of the warmest months of the year, and day time temperatures can reach 28C, with nights dropping to a minimum of 12C.
January is a great month to visit the Masai Mara if you’re a birder: the birdwatching at this time of year is superb and there are many migratory species to spot.
It’s also the birthing season, so this is the time to go to the Mara if you’d like to see baby animals taking their first steps.
February gets more rain than January, with an average of 17 rainy days a month. Temperature wise, it’s the same as January: average highs of 28C and average night-time lows of 12C February is a good month to visit the Maasai Mara if you want to see lots of baby animals (up to half a million wildebeest are born this month), and you don’t mind afternoon thundershowers. Wildlife viewing is good, and birdwatching is excellent, with many migratory species present in the park.
March is a rainy month. Nearly every day of the month will have afternoon thundershowers and there may be continuous rain.
High rainfall in March means that roads get very muddy and can be challenging to drive on, and some camps close down until May. The park sees fewer visitors this month, while the landscapes are lush and green. A highlight in March is spotting migratory birds.
April is the wettest month of the year, and even though there’s rain almost every day of the month, it rarely rains all day. April is slightly cooler than March, but it’s still warm during the day, with average highs of 28C. While calving season has ended, the herds of wildebeest are still in the Southern Serengeti and Ndutu Region, sustained by the lush grass on the plains. However, the herds have also started moving northwards, so you can catch them on the move in the Seronera/Central Serengeti region too. Because of the amount of rainfall that April receives, it’s one of the least popular months to visit the park, which means that you can get discounted rates on lodging and packages. A plus is that the park is very quiet, so you’ll have sightings without any crowds.
There’s slightly less rain in May than in April, but it’s still one of the wettest months of the year. May marks the start of several slightly cooler months (with average daytime highs are 25C), lasting until September.
May isn’t an ideal time to visit the Masai Mara because of the amount of rainfall making wildlife viewing and driving around the park more challenging. Some lodges and camps are also closed because of the rain. One plus of visiting at this time of year is discounted rates for package tours and lodging and far fewer visitors to share sightings with.
After the rainy season months of March to May, June is much drier – down from 20 days of rain to an average of 12 days of rain during the month. June marks the start of the busy season in the Maasai Mara – the weather is dry, and the days are cooler than at other times of the year, and the wildlife viewing is excellent, although the majority of the herds of the Great Migration have not yet arrived.
Along with August, July is the coolest month of the year, and night times can dip below 10C so bring along warm clothes and lots of layers for early morning game drives. Day time temperatures are pleasantly warm. July is also the driest month of the year, with an average of only 11 days of rain.
In July the herds start moving into the Masai Mara from the Serengeti at the start of the Great Migration so it’s an ideal month to travel to the park if you want to witness the thrilling spectacle. The lack of rain at this time of year also means that the bush is thinning, making it easier to see animals. The downside of travelling in July is that it’s one of the busiest months of the year: prices go up and sightings can be very crowded.
August is one of the driest months of the year, and has the same cooler temperatures of July: average lows at night of 11C and highs during the day of 25C. August is very popular time for people to visit the park to witness the daily dramas of the Great Migration. As the dry season progresses, it becomes easier to see animals in the thinning bush.
In terms of wildlife viewing, it’s hard to beat. Along with September, it’s the busiest and most expensive month to visit the reserve.
September is slightly warmer than August, going up to an average daytime high of 27C, however, nights can be as chilly as 12C so bring along warm gear. September remains in the dry period, with little rain to disrupt game viewing.
Together with August, September is the most popular month to visit the Maasai Mara (expect lots of other tourists and the highest prices of the year), as the spectacle of millions of animals moving in the Great Migration is in full swing.
October marks the end of the dry season, and the “short rains” can sometimes start this month. It’s one of the warmer months of the year, with day time highs averaging at 29C. Some of the Great Migration herds are still in the Northern Serengeti (and still making Mara River crossings), but sometimes this month (depending on when the rains start), the herds start to move back down into the Serengeti from the Maasai Mara this month, passing through the Loliondo Game Controlled Area (a concession outside of the park’s northern section).
Depending on when the rains start in October, the herds of the Great Migration will start to make their way from the Masai Mara back down south into the Serengeti, however the exact timing of this movement is unpredictable. There is a chance that you can still catch the last of the river crossings in the Northern Serengeti this month. Falling at the end of the dry season, October’s very dry and thin vegetation means that this is an excellent month for seeing resident game.
November marks the start of the second rainy season of the year – the so-called “short rains”. With an average of 20 days of rain this month, you’ll likely to see thundershowers on most days of your visit, although they are often only short afternoon rain showers, after which the skies clear up.
November is a good time to visit the Maasai Mara to catch the end of the migration as the herds start making their way back down to the Serengeti in Tanzania. It’s a good month for birders too, as migratory bird species begin to arrive in the park. The only downside can be the rain but the thundershowers are usually short bursts of rain in the afternoon and are unlikely to disrupt your game viewing too much.
December falls during the “short rains” – the second rainy season of the year – in the Maasai Mara, and sees and average of 17 days of rain during the month. While the rain can be heavy, it usually only pours for a short time in the late afternoon and shouldn’t affect your game viewing too much. Longer grass from the rain makes wildlife viewing a little more challenging this month, although December is a fantastic month for birdwatching in the Maasai Mara as the migratory species can be spotted.
The birthing season which is called “Toto Time” starts this month, so if you fancy seeing baby animals being born and taking their first steps then plan on visiting the park between December and February. It’s less busy in early December than during the peak months of June to October, but it gets very busy in the park during the Christmas holidays.
The flight from Jomo Kenyatta International Airport can give visitors a beautiful aerial view of the park. The Kenya Aviation organizes flights from the park to Maasai Mara and back.
Maasai Mara national park has a number of lodges and tented camps (there are over 100 accommodations) catering for tourists inside or bordering the Reserve and within the Conservancy borders.
Although one third of the whole Maasai Mara, The Mara Triangle has only two lodges within its boundaries (compared to the numerous camps and lodges on the Narok side) and has well maintained, all weather roads. The rangers patrol regularly which means that there is less poaching and excellent game viewing. There is also strict control over vehicle numbers around animal sightings, allowing for a better experience when out on a game drive.
There are several airfields which serve the camps and lodges in the Maasai Mara, including Mara Serena Airport, Musiara Airport and Keekorok, Kichwa Tembo, Ngerende Airport, Ol Kiombo and Angama Mara Airfield, and several airlines such as SafariLink and AirKenya fly scheduled services from Nairobi and elsewhere multiple times a day. Helicopter flights over the reserve are limited to a minimum height of 1,500 ft.
If you want a unique experience in the Maasai Mara, consider a Maasai homestay: spending a night or two in a Maasai manyatta just outside the reserve’s gates. You’ll get to see what daily life is really like for a Maasai community by helping out with village chores such as milking cows, and learning to make jewellery, but you’ll also get to spend time in nature doing bush walks with a Maasai guide.
After your wildlife experience in Maasai Mara, you can go to other national parks in Kenya, parks such as Lake Nakuru National Park, Amboseli National Park and other national parks.
Other activities outside the park:
There are a couple of activities that visitors can take part in near the park and in Nairobi the capital. visiting the following places;
Those interested in buying souvenirs can stop by one of the local art and craft shops along the way to the park.
Outside Kenya:
Balloon Safari
Going for a hot air balloon ride at dawn above the plains of the Maasai Mara is an unamicable experience. Getting a bird’s eye view of the endless savanna dotted with game is definitely one way of taking your safari up a notch. There are several companies that offer sunrise balloon flights and trips can be booked through your lodge and the price includes transfers from your lodge as well as a champagne breakfast when you land.
Game Drives:
Game drives in Maasai Mara national park are done in safari vehicles starting the early morning in search of the leopards, hyenas, and the re-introduced lions. This is because the predators prefer to hunt at night or early morning and usually go into hiding as the heat from the sun increases. Along with the carnivores, enjoy the scenery of this beautiful park and several other big mammals like Elephants, buffaloes, antelopes, Zebra, and Giraffes. The landscape and beautiful wildflowers will make for good pictures for the interested photographer.
Bird Washing:
The Masai Mara’s birdlife, although less well known is equally impressive. There are over 470 species of birds recorded, which includes an impressive 46 different birds of prey. These birds range from the World’s largest bird the ostrich, to tiny sunbirds.
Cultural And Traditional Interactions:
Experience the rural Maasai life around the cattle keeping communities in Maasai village. During these cultural visits, you have the opportunity to observe and or participate in;
You then go through the process of converting milk into different products like traditional yogurt, ghee, and lastly take part in preparing a meal with some of the ingredients from the milk products.
This is an authentic cultural experience shared by the locals living adjacent to the park, they get to earn from this supplementing their agricultural income. This eventually contributes to conservation culture and wild animals in the park. | https://kubwafive-safaris.com/maasai-mara-national-park-in-kenya/ |
Maasai Mara National Reserve commonly known as Maasai Mara or just the Mara is the largest game reserve in Kenya and globally famous for its exceptional population of the Big five with more emphasis to the cat family including the Lion, Cheetah and Leopard family.
The reserve is a photographer’s and naturalist’s paradise, with abundant elephant, buffalo, giraffe, lion and cheetah alongside the migratory wildebeest and zebra. Leopards are frequently encountered, endangered black rhino hide in the dense thickets and large rafts of hippo and enormous crocodiles are found in the Mara River. The park is also home to over 450 bird species.
The reserve lies at between 4,875 and 7,052 feet (1486 and 2149 meters) in elevation and extends south to Serengeti National Park. The name comes from the local Maasai people, who called this expanse of land "Mara," or spotted, in their native language of Maa, because of the way the acacia trees and wildlife dotted the plains.
“Legendary” is the best word to describe the herds and predators of the Mara. | https://www.africanplateauexp.com/masai-mara-national-reserve.html |
From the slopes of Mt. Kilimanjaro, to the grassy lion-filled plains of the Serengeti, to the Maasai people of the North region, Tanzania is home to not just a few, but countless natural and cultural phenomena. We sat down with Holbrook’s in-country operations director Lucas Mhina to get some insights on the beautiful country he calls home.
On Safari: The Great Migration
The Great Migration is arguably Tanzania’s biggest draw, and with good reason. The “longest and largest land migration in the world,” states Lucas, it is truly one of nature’s most outstanding marvels. The actual migration is about a year-long cyclical process where more than two million animals travel 500 miles from southern Serengeti to the Masai Mara Reserve in Kenya. The migration features about 1.5 million wildebeest, 750,000 zebra and 200,000 antelope that are usually joined for some of the journey by lions, cheetahs, leopards, hyenas and other carnivores.
“People often inquire when is the best time to go and see the Migration, and I answer it depends on which part you want to see,” says Lucas. It is not a singular event, but an ongoing journey, and each part of the journey contains different events; for example calving season in February and the river crossing in July.
Zebra in Ngorongoro Crater by Laurie McLaughlin
Ngorongoro Crater
Home to over 25,000 large animals, such as wildebeest, zebras, hyenas and over 26 endangered black rhinoceros, the Ngorongoro Crater is the world’s largest intact volcanic caldera. The crater reaches 2,000 feet deep at its lowest point, stretches 12.5 miles wide and is the result of a volcanic explosion and subsequent collapse that took place some 3 million years ago.
Game viewing and birding are both popular activities here. Year-round residents of the Ngorongoro Crater include black rhinoceros, black-maned lion, “the continent’s densest population of spotted hyena” notes Lucas, and occasionally even elephants. Both the highlands and the crater provide excellent birding, with 500-plus species, both endemic and migratory.
Olduvai Gorge
Known worldwide as the “Cradle of Civilization,” Olduvai Gorge (actually pronounced Oldu-pai according to Lucas) is the site where Louis and Mary Leakey unearthed a 1.8-million-year-old fossil hominid skull of an Australopithecus boisei. The site also contains sediments interspersed with layers of lava that date back over 2 million years, chronicles the evolutionary history of stone-tool-using ancestors, houses fossils of vertebrate fauna, and shows evidence of changing environments over the past 2 million years. All encapsulated in a museum that pays homage to this historic site, says Lucas, Olduvai Gorge is also conveniently located en route between Ngorongoro Crater and the Serengeti, perfect for a few hours' stop en route to the next location.
Cultural Tourism: The Maasai People
“Tanzania ranks among the most ethnically diverse countries in the world with more than 120 tribes and about 1 million Maasai living in Kenya and Tanzania combined,” explains Lucas. Despite an ever-advancing society, the Maasai have held to their traditional way of life, residing along the game parks of Tanzania and Kenya, living a semi-nomadic lifestyle, and holding fast to their customs centered on song and dance. As a result, the Maasai have become a symbol of Tanzanian culture. Spending time visiting one of these villages puts culture in context and provides an experience that can add richness and dimension to your trip.
Lilac-breasted Roller by Lou Newman
A little known birding paradise
A look at the gems of Tanzania would be incomplete without calling attention to Tanzania’s abundant avifauna. Often overshadowed by the larger mammals that dominate the country’s landscape, the country is in fact a hidden haven for bird lovers. With over 1,000 recorded species (21 endemic to Tanzania)—the second largest bird checklist in Africa—Tanzania is certainly not lacking in regards to biodiversity.
A few favorite hotspots include the Lake Manyara National Park, Ngorongoro Crater, and Serengeti National Park.
Lake Manyara National Park is home to 400-plus species, such as the Silvery-cheeked Hornbill, Northern Carmine Bee-eater, and Yellow-billed Kite. Ngorongoro Crater is also a beloved birding spot. Known for its cranes, Secretarybirds and Ostriches, there’s potential to spot most of Africa’s largest birds in a single trip. Finally, Serengeti National Park boasts impressive numbers of bird species, topping off at just over 500, with “must-see’s” such as Grey-breasted Spurfowl, Lilac-breasted Roller, and Red-billed Teal. | https://www.holbrooktravel.com/blog/where-we-travel/tanzania-pride-africa |
Serengeti National Park
The park covers 14,750 km2 (5,700 sq mi) of grassland plains, savanna, riverine forest and woodlands. The park lies in northwestern Tanzania, bordered to the north by the Kenyan border, where it is continuous with the Maasai Mara National Reserve and the area became a national park in 1940. The Park is divided into 3 sections; The popular southern/central part (Seronera Valley), is what the Maasai called the “serengit”, the land of endless plains and its classic savannah, dotted with acacias and filled with wildlife. The western corridor is marked by the Grumeti River, and has more forests and dense bush. The north, Lobo area, meets up with Kenya’s Masai Mara Reserve, is the least visited section. The Mara River, which flows through Maasai Mara National Reserve from the Kenyan highlands to Lake Victoria, is the only permanently-flowing river in the Serengeti ecosystem. The park has over one million wildebeest thousands of zebras, more than 10 species of Antelopes and over 500 species of birds not forgetting two species of primates those are olive baboons and black faced monkeys and it’s the migration for which Serengeti is most famous. Over a million wildebeest and about 200,000 zebras flow south from the northern hills to the southern plains for the short rains every October and November and then swirl west and north after the long rains in April, May and June. The wildebeest travel through a variety of parks, reserves and protected areas and through a variety of habitant.
Location
Serengeti National Park is found on the Northern part of Tanzania 7 hours’ drive away from Tourist town Arusha along the well Tarmac good road that runs crossing different towns like Karatu and others. The drivers also passes through the Great Rift Valley in L. Manyara national park popularly known for the tree climbing lions and baboons. After reaching the Karatu we will enter to the Ngorongoro crater where we get our clearance as we pay transit fees to pass through this unique beautiful park. View of the crater with your good camera and binoculars you see animals down the crater which rises to 600 meters deep.
Attractions in Serengeti National Park
This park is endowed with multiplicities of what to see and what to do include;
The wildebeest migration
This activity is one of the 7 wonders of the world and one of the major attractions in Serengeti National Park. This is a yearly journey of over 1 million wildebeest, zebras and other animals and it can only be a great experience in this park and may be its extension the Masai Mara National Park in Kenya. As these animals trek for miles in search of greener pastures, fresh water and there’s no better attraction than this. In April and May, the wildebeest can be seen in the western part of Serengeti National Park. Around August to September, the wildebeest cross to the Masai Mara National reserve via Mara River where some of the wildebeest don’t cross the river, crocodiles also feast on the wildebeest as well predators attack the wildebeest during migration.
Wildlife
This park is well endowed by Mother Nature and its major attraction is wildlife. This park habits the highest concentration of large mammals in the world and chances you will most likely spot animals like lions, zebras, giraffes, wildebeests, hippos, elephants, cheetah, caracal, striped hyena, aardvark, serval, African wildcat, African striped weasel, bat-eared fox, seven species of mongooses, three species of hyraxes and two species of otters. Primates such as yellow and olive baboons, black-and-white colobus, vervet monkey and patas monkey. Reptiles include; tortoise, rainbow agama, Nile crocodile, chameleon, black-necked spitting cobra, Nile monitor, black mamba, puff adder and African python.
Masai mara people
This park is also a home of the maasai mara people whose tribe and traditional practices have barely been touched just like the park itself. These people still carry out their rituals and practices which makes them an exciting and authentic attraction. The maasai have unique homesteads known as “manyattas” made using local materials such as dung. When you visit the maasai villages, you get to see these homesteads and know more about the culture and traditions of the maasai.
Bird species
The park has over 500 bird species that call this place home. This park hosts species like lesser flamingos, secretary birds, red-billed buffalo weaver, sacred ibis, goliath herons, black herons, crowned cranes, shoebills, hamerkops, martial eagles, spur-winged geese, hadada hornbill, saddle-billed stork, blacksmith lapwing, masai ostrich, African fish eagles, oxpeckers, Egyptian geese, Tanzanian red-billed hornbill, pink-backed pelicans, spotted thick-knees, marabou storks, cattle egrets and African collared dove and many species of vultures.
Moru Kopjes
The Moru Kopjes around the Serengeti are a perfect place to catch the black rhinos. These protruding rocks around the park shade and disguise for the many animals and predators.
Grumeti River
This is a popular attraction especially during the wildebeest migration, the site is spectacular as millions of beasts try to cross the river to masai mara and the river is infected by many crocodiles and it is survival for the fittest as animals try to make it across.
Olduvai Gorge
This is another attraction that is significant and is located in this park. This is where the oldest remains of the early man were dug from about a million years ago by Dr. Louis leaky the famous E. African archaeologist and this discovery change the understanding of the evolution of man.
Seronera River Valley
This provides postcard perfect views of the Serengeti and the whole region, surrounding the river, is overflowing with unique flora and fauna. This valley is a summary of the entire Serengeti-there are rivers, gorges, mountains and the animals.
Activities in Serengeti National Park
Different activities can be enjoyed in this park like;
Cultural experience
This is an interesting activity in Serengeti with an interesting culture and norms across Africa. The Maasai is the cultural group in which modernization has failed to change though they live in towns and cities. They are a very unique in that they are the only group of people who have managed to leave together with wildlife with little complain or effects on either side. They have their traditional belief in their small good which is called Engai or Enkai and they stick on their traditional way of life. They put on the red-colored maasai dress that is used at day time as cloth and at night its turned as a bed sheet. Dressing code depends on the age of the person from black for the young ones to red or blue for the elder people.
Hot air balloon rides
This is a unique way to enjoy seeking the different attractions around Serengeti National Park. This activity can be carried out in the morning after being briefed before proceeding to engage in this activity. You will enjoy seeing the different wildlife species such as rhinos, elephants, lions, giraffes among others. This activity starts early in the morning at around 5am as float on air as you observe wildlife takes between 1hr to 4hrs and concluded with bush breakfast. This activity is conducted in 4 sectors, central seronera part, the northern Serengeti maasai circuit and finally the southern Ndutu sector.
Game drives
In this park game drives can be carried out in the morning, afternoon, evening or for a full day. This activity is popular among tourists and visitors to this park as they enjoy driving around the endless savannah plains in search of the different wildlife species such as lions, zebras, giraffes, wildebeests, hippos, elephants, cheetah, caracal, striped hyena, aardvark, serval, African wildcat, African striped weasel, bat-eared fox.
Bird watching
There are over 500 bird species in this national park and they include; grey crowned cranes, yellow billed storks, lesser flamingos black herons, crowned cranes, shoebills, hamerkops, martial eagles, spur-winged geese, hadada hornbill, saddle-billed stork, blacksmith lapwing, masai ostrich, African fish eagles, oxpeckers, Egyptian geese and Tanzanian red-billed hornbill.
Best time to visit
The best time to visit this park is in late June-October or during the dry season vary. During June-July, it’s the best time to view the great wildebeest migration. April and May are the rainy season months registering the highest rainfall and may lodges and camps close for this slower season.
Park entry fees
Tanzania National Park Authority (TNPA) is in charge of collecting all the park entry fees and fees vary for 24hours if one stays inside the park and valid for the time one is inside and park but as soon as you check out of the gate the park entry fees are invalid hence on return you pay for more. If one is staying outside the park you pay entry fees every time you want to enter the park.
- Foreigners above 16 years of age $60 per person
- Foreign residents and expatriates above 16 years of age $30
- East African citizen 10000+sh
- Children between 5-15 years 20usd (non E. Africans)
- Foreign children residents 5-15 years 10usd
- Children below age of 5 years – free
- Cost excludes 18%
Accommodation in Serengeti National Park
This park has got different kinds of accommodation ranging from luxury, midrange and budget accommodation. | https://www.africanwildernesstours.com/serengeti-national-park/ |
Last year July, I had the opportunity to witness the spectacular phenomenon of the wildebeest migration from the Mara to the Serengeti.
The wildebeest, also called gnus, are a genus of antelopes. They look more like cattle with their large built and dark skin.
Some perform an annual migration to new grazing grounds, but the black wildebeest is merely nomadic.
Wildebeest are a tourist attraction in places like the Masai Mara in Kenya 🇰🇪 and the Serengeti in Tanzania 🇹🇿. They move in herds for protection.
I was lucky that when my fellow travelers were relaxing at the Serena Lodge, to go out on a game drive with Paul, our assigned very competent game warden, to see the migration of the wildebeest from the Mara south to the Serengeti.
Every year over 1.5 million wildebeest cross East Africa. Each yearly cycle the animals travel over 1,000 km.
Wildebeest inhabit the plains and open woodlands of parts of Africa.
It is a notable feature of the Serengeti National Park in Tanzania, the Maasai Mara National Reserve in Kenya and the Liuwa Plain National Park in Zambia.
Each year, some East African populations of blue wildebeest have a long-distance migration, seemingly timed to coincide with the annual pattern of rainfall and grass growth.
The timing of their migrations in both the rainy and dry seasons can vary considerably (by months) from year to year. At the end of the wet season (May or June in East Africa), wildebeest migrate to dry-season areas in response to a lack of surface (drinking) water. When the rainy season begins again (months later), animals quickly move back to their wet-season ranges.
Factors suspected to affect migration include food abundance, surface water availability, predators, and phosphorus content in grasses.
Phosphorus is a crucial element for all life forms, particularly for lactating female bovids. As a result, during the rainy season, wildebeest select grazing areas that contain particularly high phosphorus levels.One study found, in addition to phosphorus, wildebeest select ranges containing grass with relatively high nitrogen content.
Below we watched thousands of wildebeest after they crossed the Mara river heading to the Serengeti where rainfall was expected.
Paul said that it was the only crossing that week and that there was one the previous week. It was expected that at the end of July there would be many more migrating to the Serengeti joined by antelopes and zebras. However they are at a risk for predators such as lions and hyenas and crocodiles in the river.
It’s one thing seeing the Great Migration on The National Geographic Channel but to see it in person is another. I strongly recommend the later.
*All photos are mine except for the featured image – photographer unknown.
I could only imagine how it must have felt to see the wildebeest migration in person. This piece was very informative. Thanks for taking the time to include such a detailed description.
I am eager awaiting your next segment.
Thanks for reading and commenting Jo. Really appreciate it. | https://comewithg.blog/2018/07/29/wildebeest-migration-from-the-mara/ |
# Maasai Mara
Maasai Mara, also sometimes spelled Masai Mara and locally known simply as The Mara, is a large national game reserve in Narok, Kenya, contiguous with the Serengeti National Park in Tanzania. It is named in honor of the Maasai people, the ancestral inhabitants of the area, who migrated to the area from the Nile Basin. Their description of the area when looked at from afar: "Mara" means "spotted" in the local Maasai language, due to the many short bushy trees which dot the landscape.
Maasai Mara is one of the most famous and important wildlife conservation and wilderness areas in Africa, world-renowned for its exceptional populations of lion, leopard, cheetah and African bush elephant. It also hosts the Great Migration, which secured it as one of the Seven Natural Wonders of Africa, and as one of the ten Wonders of the World.
The Greater Mara ecosystem encompasses areas known as the Maasai Mara National Reserve, the Mara Triangle, and several Maasai Conservancies, including Koiyaki, Lemek, Ol Chorro Oirowua, Mara North, Olkinyei, Siana, Maji Moto, Naikara, Ol Derkesi, Kerinkani, Oloirien, and Kimintet.
## History
When it was originally established in 1961 as a wildlife sanctuary the Mara covered only 520 km2 (200 sq mi) of the current area, including the Mara Triangle. The area was extended to the east in 1961 to cover 1,821 km2 (703 sq mi) and converted to a Game Reserve. The Narok County Council (NCC) took over management of the reserve at this time. Part of the reserve was given National Reserve status in 1974, and the remaining area of 159 km2 (61 sq mi) was returned to local communities. An additional 162 km2 (63 sq mi) were removed from the reserve in 1976, and the park was reduced to 1,510 km2 (580 sq mi) in 1984.
In 1994, the TransMara County Council (TMCC) was formed in the western part of the reserve, and control was divided between the new council and the existing Narok County Council. In May 2001, the not-for-profit Mara Conservancy took over management of the Mara Triangle which covers the western part of the reserve.
The Maasai people make up a community that spans across northern, central and southern Kenya and northern parts of Tanzania. As pastoralists, the community holds the belief that they own all of the cattle in the world. The Maasai rely off of their lands to sustain their cattle, as well as themselves and their families. Prior to the establishment of the reserve as a protected area for the conservation of wildlife and wilderness, the Maasai were forced to move out of their native lands.
Tradition continues to play a major role in the lives of modern-day Maasai people, who are known for their tall stature, patterned shukas and beadwork. It is estimated that there are approximately half a million individuals that speak the Maa language and this number includes not only the Maasai but also Samburu and Camus people in Kenya.
## Geography
The total area under conservation in the Greater Maasai Mara ecosystem amounts to almost 1,510 km2 (580 sq mi). It is the northernmost section of the Mara-Serengeti ecosystem, which covers some 25,000 km2 (9,700 sq mi) in Tanzania and Kenya. It is bounded by the Serengeti Park to the south, the Siria / Oloololo escarpment to the west, and Maasai pastoral ranches to the north, east and west. Rainfall in the ecosystem increases markedly along a southeast–northwest gradient, varies in space and time, and is markedly bimodal. The Sand, Talek River and Mara River are the major rivers draining the reserve. Shrubs and trees fringe most drainage lines and cover hillslopes and hilltops.
The terrain of the reserve is primarily open grassland with seasonal riverlets. In the south-east region are clumps of the distinctive acacia tree. The western border is the Esoit (Siria) Escarpment of the East African Rift, which is a system of rifts some 5,600 km (3,500 mi) long, from Ethiopia's Red Sea through Kenya, Tanzania, Malawi and into Mozambique. Wildlife tends to be most concentrated here, as the swampy ground means that access to water is always good, while tourist disruption is minimal. The easternmost border is 224 km (139.2 mi) from Nairobi, and hence it is the eastern regions which are most visited by tourists.
It has a semi-arid climate with biannual rains and two distinct rainy seasons. Local farmers have referred to these as the 'long rains' which last approximately six to eight weeks in April and May and the 'short rains' in November and December which last approximately four weeks.
Elevation: 1,500–2,180 m (4,920–7,150 ft); Rainfall: 83 mm (3.3 in)/month; Temperature range: 12–30 °C (54–86 °F)
## Wildlife
Blue wildebeest, topi, plains zebra and Thomson's gazelle migrate into and occupy the Mara reserve, from the Serengeti plains to the south and Loita Plains in the pastoral ranches to the north-east, from July to October or later. Herds of all three species are also resident in the reserve.
All members of the "Big Five" – lion, African leopard, African bush elephant, African buffalo, black and white rhinos – are found here all year round. The population of black rhinos was fairly numerous until 1960, but it was severely depleted by poaching in the 1970s and early 1980s, dropping to a low of 15 individuals. Numbers have been slowly increasing, but the population was still only up to an estimated 23 in 1999. The Maasai Mara is the only protected area in Kenya with an indigenous black rhino population, unaffected by translocations, and due to its size, is able to support one of the largest populations in Africa.
Hippopotamuses and Nile crocodiles are found in large groups in the Mara and Talek rivers. The plains between the Mara River and the Esoit Siria Escarpment are probably the best area for game viewing, in particular regarding lion and cheetah.
There are many large carnivores found here in the reserve. Lions are the most dominant and are found here in large numbers. Spotted hyenas are another abundant carnivore, and will often compete with lions for food. Leopards are found anywhere in the reserve where there are trees for them to escape to. East African cheetahs are also found in high numbers on the open savanna, hunting gazelles and wildebeest. African wild dogs are quite rare here due to the widespread transmission of diseases like canine distemper and the heavy competition they face with lions, who can often decimate their populations. Their packs also roam around a lot and travel far distances throughout the plains, making it hard to track them. Smaller carnivores that don't directly compete with the latter include African wolves, black-backed jackals, African striped weasels, caracals, servals, honey badgers, aardwolves, African wildcats, side-striped jackals, bat-eared foxes, Striped polecats, African civets, genets, several mongoose species, and African clawless otters.
Wildebeest are the dominant inhabitants of the Maasai Mara, and their numbers are estimated in the millions. Around July of each year, these animals migrate north from the Serengeti plains in search of fresh pasture, and return to the south around October. The Great Migration is one of the most impressive natural events worldwide, involving some 1,300,000 blue wildebeest, 500,000 Thomson's gazelles, 97,000 topi, 18,000 common elands, and 200,000 Grant's zebras.
Antelopes can be found, including Grant's gazelles, impalas, duikers and Coke's hartebeests. The plains are also home to the distinctive Masai giraffe. The large roan antelope and the nocturnal bat-eared fox, rarely present elsewhere in Kenya, can be seen within the reserve borders.
More than 470 species of birds have been identified in the park, many of which are migrants, with almost 60 species being raptors. Birds that call this area home for at least part of the year include: vultures, marabou storks, secretary birds, hornbills, crowned cranes, ostriches, long-crested eagles, African pygmy-falcons and the lilac-breasted roller, which is the national bird of Kenya.
## Administration
The Maasai Mara is administered by the Narok County government. The more visited eastern part of the park known as the Maasai Mara National Reserve is managed by the Narok County Council. The Mara Triangle in the western part is managed by the Trans-Mara county council, which has contracted management to the Mara Conservancy since the early 2000s.
The outer areas are conservancies that are administered by Group Ranch Trusts of the Maasai community, although this approach has been criticised for benefitting just a few powerful individuals rather than the majority of landowners. Although there has been a rise in fencing on private land in recent years, the wildlife roam freely across both the reserve and conservancies.
## Research
The Maasai Mara is a major research centre for the spotted hyena. With two field offices in the Mara, the Michigan State University based Kay E. Holekamp Lab studies the behaviour and physiology of this predator, as well as doing comparison studies between large predators in the Mara Triangle and their counterparts in the eastern part of the Mara.
A flow assessment and trans-boundary river basin management plan between Kenya and Tanzania was completed for the river to sustain the ecosystem and the basic needs of 1 million people who depend on its water.
The Mara Predator Project also operates in the Maasai Mara, cataloging and monitoring lion populations throughout the region. Concentrating on the northern conservancies where communities coexist with wildlife, the project aims to identify population trends and responses to changes in land management, human settlements, livestock movements and tourism.
Since October 2012, the Mara-Meru Cheetah Project has worked in the Mara monitoring cheetah population, estimating population status and dynamics, and evaluating the predator impact and human activity on cheetah behavior and survival. The head of the Project, Elena Chelysheva, was working in 2001–2002 as Assistant Researcher at the Kenya Wildlife Service (KWS) Maasai-Mara Cheetah Conservation Project. At that time, she developed original method of cheetah identification based on visual analysis of the unique spot patterns on front limbs (from toes to shoulder) and hind limbs (from toes to the hip), and spots and rings on the tail. Collected over the years, photographic data allows the project team to trace kinship between generations and build Mara cheetah pedigree. The data collected helps to reveal parental relationship between individuals, survival rate of cubs, cheetah lifespan and personal reproductive history.
## Tourism
The Maasai Mara is one of the most famous safari destinations in Africa. Entry fees are currently US$ 70 for adult non-East African Residents per 24 hours (if staying at a property inside the Reserve) or US$80 if outside the reserve, and $40 for children. There are a number of lodges and tented camps catering for tourists inside or bordering the Reserve and within the various separate Conservancies which border the main reserve. However, the main reserve is unfenced even along the border with Serengeti (Tanzania) which means there is free movement of wildlife throughout the ecosystem.
Although one third of the whole Maasai Mara in the western part of the larger reserve, The Mara Triangle has only two permanent lodges within its boundaries, namely the Mara Serena Lodge and Little Governors Camp (compared to the numerous camps and lodges on the Narok side) and has well maintained, all weather gravel roads. The rangers patrol regularly which means that there is less poaching and excellent game viewing. There is also strict control over vehicle numbers around animal sightings, allowing for a better experience when out on a game drive. Most lodges within the region charge higher rates during the Migration season, although the Maasai Mara is home to prolific wildlife year-round.
There are several airfields which serve the camps and lodges in the Maasai Mara, including Mara Serena Airstrip, Musiara Airstrip and Keekorok, Kichwa Tembo, Ngerende Airport, Ol Kiombo and Angama Mara Airstrips, and several airlines such as SafariLink and AirKenya fly scheduled services from Nairobi and elsewhere multiple times a day. Helicopter flights over the reserve are limited to a minimum height of 1,500 ft.
Game drives are the most popular activity in the Maasai Mara, but other activities include hot air ballooning, nature walks, photographic safaris and cultural experiences.
## Big Cat Diary
The BBC Television show titled "Big Cat Diary" was filmed in the Maasai Mara. The show followed the lives of the big cats living in the reserve. The show highlighted scenes from the Reserve's Musiara marsh area and the Leopard Gorge, the Fig Tree Ridge areas and the Mara River, separating the Serengeti and the Maasai Mara.
## Photography competition
In 2018, the Angama Foundation, a non-profit affiliated with Angama Mara, one of the Mara's luxury safari camps, launched the Greatest Maasai Mara Photographer of the Year competition, showcasing the Mara as a year-round destination and raise funds for conservation initiatives active in the Mara. The inaugural winner was British photographer Anup Shah. The 2019 winner was Lee-Anne Robertson from South Africa.
## Threats
A study funded by WWF and conducted by ILRI between 1989 and 2003 monitored hoofed species in the Mara on a monthly basis, and found that losses were as high as 75 percent for giraffes, 80 percent for common warthogs, 76 percent for hartebeest, and 67 percent for impala. The study blames the loss of animals on increased human settlement in and around the reserve. The higher human population density leads to an increased number of livestock grazing in the park and an increase in poaching. The article claims, "The study provides the most detailed evidence to date on the declines in the ungulate (hoofed animals) populations in the Mara and how this phenomenon is linked to the rapid expansion of human populations near the boundaries of the reserve."
The rise of local populations in areas neighbouring the reserve has led to the formation of conservation organisations such as the Mara Elephant Project who aim to ensure the peaceful and prosperous co-existence of humans alongside wildlife. Human wildlife conflict is seen as a leading threat to the reserve as the population continues to grow. | https://en.wikipedia.org/wiki/Masai_Mara |
Why the Maasai Mara? I grew up watching a series of VHS videotapes called the Big Cat Diaries, These videos helped expand my passion for wildlife, especially outside of Southern Africa. The Big Cat Diaries were filmed in the Maasai Mara (Also known as the Masai Mara, or just the Mara). I had the whole series of original episodes. It followed Cheetah, Leopard and Lion on the Maasai Mara Reserve during the Great Migration, which happens between the Mara and the Serengeti National Park. Becoming familiar with these predators, and seeing a variety of other animal species made me obsessed with the idea of going to Maasai Mara.
The Great Migration is a huge drew card, where hundreds of thousand of Wildebeest move from one grazing pasture to another, all as one mega herd. It is often mixed with Thomson’s Gazelle, Topi, Zebra and Buffalo as well. This is a huge attraction everyone should see and read up upon.
Why Not Go To The Serengeti Instead?
My love for the Mara had my mind made up a long time a go, that during the months between July and October, I would prefer to watch the Great Migration in the Maasai Mara opposed to the Serengeti. The Big cat Diaries series was the main influence in this regard.
Maasai Mara General Information
The Mara is in Kenya, and borders Tanzania and the Serengeti National Park. It is roughly 151 000 hectares in size and was established as an official game reserve in the 1970’s. There are around 1 million Blue Wildebeest (Brindled Gnu) that migrate to and from the Masai Mara each year. The reserve is very well known for its larger predators, being Lion, Leopard, Cheetah and Spotted Hyaena. There is an ongoing research project on the Spotted Hyaena’s that occur within the Mara. There are also Jackals, Bat-eared Foxes, Serval and numerous other smaller predators.
Antelope are plentiful, and other species such as Giraffe, Elephant and Black Rhino can be found as well. The highest Black Rhino population in Kenya can be found in the reserve. They are not very common, and poaching has really taken a toll on these magnificent creatures.
- The Mara River is home to a number of Hippo and Crocodiles – which have a feast over the Great Migration period.
- There are over 470 species of birds in the Maasai, which include Kenya’s National Bird, the Lilac-breasted Roller.
- The habitat is mainly grassland, with riverine woodland and clumps of acacias scattered around the reserve.
All in all I would love to visit the Maasai Mara some day, and who knows what the future holds! If you can get there, book your trip, you wont regret it!
*Featured image from http://maronytravel.co.ke/project/maasai-mara/
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Home of the Maasai people, safaris and the annual migration of millions of animals.
The concept of going on safari originated in Kenya. This is where the Maasai people live. It's one of the countries where you can see the Big Five, and the migration of many animals. But there's even more to see in Kenya.
Kenya has many famous nature reserves, and the most famous is the Maasai Mara. It’s where the Maasai people live, who are well known because they reside near these famous animal reserves. And the Maasai Mara National Reserve (together with the Serengeti National Park in Tanzania) is famous for the migration of millions of zebras and wildebeests.
When you tour Kenya people often visit the Lake Nakuru National Park, famous for its large population of flamingos. They offer great photo opportunities. You can find plenty of other birds here such as the pelicans and great cormorants. And safari wildlife is well represented here too by the hippo, rhino, giraffe, baboon, lion and leopard.
A nice place to visit is Watamu, a village south of the large seaside town of Malindi. Watamu is famous for the Watamu Marine National Park with quite a pristine coral reef. After your safari inland you can head here for some relaxing time enjoying the sun and the sea.
You can also do this in Lamu, the oldest city of Kenya, located on an island. It’s a fishing city where the population is mainly Muslim. There are no cars on the island, so there are no roads only narrow paths. The most used form of transport is by dhow (an ancient kind of sailboat), or by donkey. | https://www.amazingplaces.com/kenya/ |
Day 1: NAIROBI >> TSAVO WEST NATIONAL PARK: 295 kms 4hrs.
Arrive am at Jomo Kenyatta International Airport, met by our representative, and a briefing on the safari itinerary will be given. Depart and drive to Tsavo West National Park with game drive en route via Chyulu Hills arriving in time for lunch. Afternoon game drive and a visit to Mzima Springs (the source of drinking water for Mombasa). At Mzima, all sorts of animals gather for a drink particularly in the dry season. You may also be able to view hippo and crocodile from the underwater glass tank.
Here you find pride of lions mostly known as man eaters due to the historical events of 1900 when they used to enter the railway work constructing the Kenya Uganda Railway Line, hippos and even the cheetahs.
Dinner and overnight at Voyager Ziwani Camp.
Meal Plan (Breakfast, Lunch, Dinner)
Day 2: Explore Tsavo West National Park
Two game drives are scheduled for this day. The extensive diverse habitats offer ideal area to search for pride of Lions, Buffaloes, Cheetahs, Giraffe, Zebras, Hippos and Wildebeests. Mzima Spring, underground water seepage from Chyulu hills is a good place to watch the Hippos. There is also a wealth and diversity of birds’ species.
Dinner and overnight at Voyager Ziwani Camp.
Meal Plan (Breakfast, Lunch, Dinner)
Day 3: TSAVO WEST >> AMBOSELI NATIONAL PARK: 257 kms 3 hrs.
Depart after breakfast at 0730 hrs to Amboseli National Park, arriving in time for lunch at Kibo Safari Camp then proceed for your afternoon game drive till dusk.
Amboseli is Kenya’s most sought park, located at the foot of Africa’s highest mountain Mt Kilimanjaro. It is against the backdrop of the snow-capped Kilimanjaro that you will find the big five i.e. the lion, elephant, buffalo, rhino and leopard among other plains game.
Dinner and overnight at Kibo Safari Camp
Meal Plan (Breakfast, Lunch, Dinner)
Day 4: AMBOSELI >> LAKE NAKURU NATIONAL PARK: 410 kms 5hrs
Early morning game drive before breakfast at 0600 hrs to see the peaks and snow of Mount Kilimanjaro when the weather is clear and animals are active. There after return for breakfast. After breakfast at 0800 hrs drive to Lake Nakuru for game drive to see one of the largest ornithological spots, Flamingo, and a variety of wildlife not forgetting the famous white Rhino and black rhino found in this park. You will have a picnic lunch and later drive back to the lodge for dinner and overnight. The lake itself is a soda lake on the floor of the rift valley. The sight of the at times millions of flamingos is quite spectacular. From a distance the lake appears ringed in pink. The Lake has also earned a reputation as an important haven for endangered species- particularly the Rothschild Giraffe and the black and white rhino. Lions, waterbuck, buffalo and baboons are all residents here.
Dinner and overnight at Kongoni Lodge.
Meal Plan (Breakfast, Lunch, Dinner)
Day 5: LAKE NAIVASHA >> MAASAI MARA : 320 Kms 5hrs.
Morning boat safari at Lake Naivasha then breakfast, after breakfast depart and drive to Maasai Mara via the Great Rift Valley with picnic lunch then go for an afternoon game drive till dusk. Later back to the camp for dinner and overnight at Mara Leisure Camp
The Mara offers wildlife in such variety and abundance that it is difficult to believe: over 450 species of animals have been recorded here. You will easily see lions, rhinos, hippos, crocodiles, giraffe, wildebeests, zebras, buffalo, warthogs, hyenas, jackals, wild dogs, buffalo, leopard, many kinds of antelopes and elephant. It is in the Mara that perhaps the most spectacular event of the natural world takes place. This is the annual migration of millions of wildebeest and zebra from the Serengeti (Tanzania) in search of water and pasture. Following on their heels are the predators of the savanna- lion, cheetah, wild dog, jackal, hyena and vultures.
Dinner and overnight at Mara Leisure Camp
Meal Plan (Breakfast, Lunch, Dinner)
Days 6-7: MASAI MARA NATIONAL RESERVE
Two full days game drives in the Masai Mara National Reserve. Full days spent exploring the park in trailing the wildebeest migration and the Big 5 with a drive to Mara river where the crossing takes place.
The Maasai Mara Game Reserve is arguably Kenya’s most popular game sanctuary. It is the most famous and most visited game reserve in Kenya. The film ‘Out of Africa’ was made to a great extent in this reserve. Virtually every type of wildlife can be seen at the Mara. A spectacle worth seeing is the annual migration of millions of wildebeest, zebra and gazelle from Serengeti plains across the Tanzania border and the Mara River to reach Maasai Mara grazing fields from late June. The dramatic crossing of the river and the preying on the migrants by predators can be viewed from early July to August. The reserve abounds with birdlife since dose to about 452 species have been recorded. Hot air balloon safaris are readily available in this park
Dinner and overnight at Mara Leisure Camp
Meal Plan (Breakfast, Lunch, Dinner)
Day 8: MASAI MARA >> NAIROBI-WILSON: 280 kms 5 hrs and fly to Diani Beach depart depart 14:00 hrs – arrive 15:00 hrs
After breakfast at 0730 hrs, drive through the Great Rift Valley to Nairobi Wilson airport for 14:00 hrs flight to Diani Beach – on arrival transfer to the hotel
Days 9-11. Relax on Diani Beach
Day 12: Transfer to Airport for 15:30 flight, arrive 17:10 – on arrival transfer to Jomo Kenyatta International Airport.
Package Includes:-
Package Excludes:
– Extras at the lodges –tips, drinks, telephone, laundry or any other personal expenses
KARIBU KENYA!!!!
With long years of experience in leading Safaris throughout Tanzania, the staffs of Gecko Adventure know how to please you.
Our guides are trained professionals committed to offering you the most exciting and informative Tanzania safari experience. | https://gecko-adventure.com/package/12-days-kenya-wildlife-safari-diani-beach/ |
ß What makes these science mysteries special? The stories are unique in the way they integrate science into the suspenseful storyline, use characters to break up exposition, and employ a second-person narrative to bring the school-age reader directly into the action.
ß What are these science mysteries like? Each mystery takes the form of an illustrated short story, with the reader included as a character in the narrative. The opening establishes the setting, characters, and the problem(s) to be solved. In the middle pages, the reader gathers data ("clues") about the problem by talking to characters, performing experiments, and so on. The story builds to a "solve-it" page, where the reader is asked to submit a solution to the problem. Doing so directs the reader to an individual appropriate outcome and an exciting conclusion to the story (or in some mysteries, the next episode). See our Mystery Notes for Teachers, below.
ß Do the mysteries support inquiry- and standards-based learning? Yes. We're looking to upgrade our support for standards this year.
ß How does this format take advantage of the Web medium? The Web allows our mystery story to be more visual, interactive, and non-linear, which make the mystery more engaging and fun. The reader can conduct virtual experiments, question characters and experts, receive email replies, and so on.
ß Who sponsored these science mysteries, and why? Our most recent mystery was funded by the Burns Telecom Center to augment the value that Montana JASON could offer its subscribers. Prior to that, we created an "art mystery" to increase children's interest and appreciation in the pre-Columbian exhibits at the North Carolina Museum of Art. We created and produced seven of these online science mysteries for Access Excellence, a high school teachers enhancement site. Genentech, Inc. funded three mysteries with biological themes, The National Health Museum has funded three with human health themes, and the Institute of Food Technologists (IFT) funded one with a human health/food safety theme.
Suitable for: grades 5 to 8 and up. Flash and HTML versions.
Key themes: Augments the "Disappearing Wetlands theme of the 2004-5 JASON Expedition.
Key concepts: wetlands and riparian ecology, animal biology, infectious diseases, deductive reasoning.
Format: STRANGE DEAD BIRD is a single-episode mystery. The reader makes choices to solve the mystery; if incorrect, they receive a hint and the story rewinds so that they may try again. If correct, they are congratulated and go on to read the epilog.
Interactivity: The story poses realistic choices to the student, and the story plays out according to his or her choices.
Suitable for: grades 5 to 8 and up - in English and Spanish. Flash is required.
Key themes: Costa Rican art, culture, history and natural history; social science.
Key concepts: Arts and artistry, ancient cultures, wildlife, anthropology.
Format: POISON DART FROG is a single-episode mystery. The reader fills out a form to solve the mystery; if incorrect, they receive a hint and encouragement to try again. If correct, they are congratulated and go on to read the epilog.
Interactivity: Students should peruse the Research Information about art works, Costa Rica, its art works and animals BEFORE they begin the mystery.
Suitable for: grades 6 to 12 and up.
Key themes: ecology, ecosystems, life science, biology.
Key concepts: amphibian/frog extinction, exotic invaders, pollution, predators and predation, interpreting graphs, life cycles, wildlife preservation and management.
Format: CROAK is a single-episode story. The reader submits their solution and an email address; we email back the solution and a "final chapter" in one week, based on the solution they proposed.
Interactivity: In the story, the reader has a number of people to interview and limited time and opportunity to do the interviews. The reader is free to choose the people they wish to interview, and the order of the interviews.
Suitable for: grades 8 to 12 and up.
Key themes: human health, food and nutrition, microbiology.
Key concepts: foodborne and waterborne diseases, disease reservoirs and vectors, food handling safety, epidemiology.
Format: TWO FORKS, IDAHO is a single-episode mystery. The reader fills out a form to solve the mystery; if incorrect, they review the clues and try again. If correct, they are congratulated and read the epilog.
Interactivity: The reader has the option to get additional clues within the story. After the key clues have been presented, the reader may choose to solve the mystery, or continue and receive more clues. If they continue, they again get an option to solve the mystery, or continue for a last set of clues.
Key themes: human health, epidemiology.
Key concepts: physiological effects of stress and dehydration, infectious diseases (tuberculosis, influenza, pneumonia).
Format: YELLOW JACKIE is a single-episode mystery. The reader fills out a form to solve the mystery; if incorrect, they receive a hint and encouragement to try again. If correct, they are congratulated and read the epilog.
Interactivity: After the intro, the reader can choose whether or not to board a ship with infected people on it. The story is different depending on which choice is made. The solve-it system is also interactive; if the reader chooses an incorrect answer, Jackie delivers a hint and invites the reader to review the clues and try again.
Key themes: exploration, medicine and human health, life science, extreme environments, biology.
Key concepts: Arctic exploration, archaeology, medicine, diseases and vaccination, metal poisoning.
Format: ARCTICA is a three-part mystery (it was originally introduced as a three-week web serial, with a new mystery episode and cliffhanger solve-it question posted every week).
Interactivity: The mystery incorporates the reader's proposed solution seamlessly into the story. If the answer is incorrect, the story turns to show why it's incorrect; the correct answer is given, and the story continues.
Key concepts: respiration, photosynthesis, biospheres and closed ecosystems, biochemistry, life cycles, interpreting graphical data.
Format: ANGRY RED PLANET is a single-episode mystery. The reader fills out a form to solve the mystery; if incorrect, they receive a hint and encouragement to try again. If correct, they are congratulated and read the epilog.
Interactivity: The solve-it system is interactive; if the reader chooses an incorrect answer, one of the story characters delivers a hint and invites the reader to review the clues and try again.
Key themes: microbiology, life science.
Key concepts: diseases, disease vectors, epidemiology, infection, tests and control groups, interpreting tabulated data.
Format: THE BLACKOUT SYNDROME is a three-part mystery (it was originally introduced as a three-week web serial, with a new mystery episode and cliffhanger solve-it question posted every week).
Key themes: human health, life science, biology.
Key concepts: allergies, anaphylactic shock, insect stings.
Format: RIVER OF VENOM is a two-part mystery (it was originally introduced as a two-week web serial, with a new mystery episode and cliffhanger solve-it question posted every week).
Interactivity: The mystery incorporates the reader's proposed solution seamlessly into the story. Also, the reader has two opportunities to request information from a "friend," and will get an actual email in response. | http://www.writerguy.com/sciencemystery/teachers.htm |
We will start class with ten minutes of silent reading time. My teaching partner is out at a training for today, so we will also need to use this time to introduce our substitute teacher and to collect an assignment for his class.
Yesterday, students received a startling piece of evidence in the case against Charles Darnay. His own father-in-law, Dr. Manette, seemingly sealed Darnay's fate by cursing the entire Evermonde family. His letter, discovered in the Bastille, is one of many clues (i.e. flashback, foreshadowing, symbolism, parallel plot lines) that Dickens provides over the course of the novel to create a sense of mystery or suspense (CCSS.ELA-Literacy.RL.9-10.5). Now that students see what he was doing more clearly, I will ask them to analyze how he did it.
To do this, students will take on the role of the prosecution or defense in this case and use the evidence gathered from over the book to determine if Darnay deserves to be punished or if he should be cleared of all charges.
I will ask students to work in small groups of their choosing (no more than four and no fewer than three students per group) to create crime scene investigation boards using clues I provide. I will allow students to determine which side of the court case they would like to argue, but they must do so prior to receiving their set of clues.
To give them a frame of reference for what their investigation should look like, I will show them a short clip (and advertisement for a crime investigation series, Cold Case Files -- see video below). If time allows, I may show some still images from my favorite show, Breaking Bad too (sorry--they are copyrighted, so I can't post them here). After watching this brief clip, I will ask them to comment on what they noticed in regards to clues and guide them towards the understanding that sometimes clues can be misleading or can be used by both sides of a case. I will ask them to brainstorm strategies for analyzing evidence before I send them off to their groups to dive into their cases.
I will allow a few minutes for students to move into their groups, then I will go around and have them choose seven random clues from the 21 available. I am doing this to make sure there is some variety and varied levels of challenge for each group.
While they work, I will be monitoring their functionality as a team. One reason I am letting them choose their own partners today is to see if that allows them to navigate some of the group dynamics differently than when we choose their groups for them. Today, specifically, I will be assessing the following standards through my observation of their collaborative efforts:
After they have worked for a chunk of time on the clues that I provided to them, I will stop the class and tell them that they have just been given a whole mess of evidence (i.e. their novels) that they need to cull through for their investigation. I will ask them to find at least three additional "clues", or pieces of textual evidence (CCSS.ELA-Literacy.RL.9-10.1), to add to their evidence boards. I will then give them additional time to work on their analysis.
Once it looks like the majority of the class has finished their analysis of the evidence, I will ask them to work on creating a written summary of their findings. This synthesis should take the form of an opening statement that shows whether or not they are prosecuting or defending Charles Darnay.
I will be looking for their ability to write persuasively as well a clear synthesis of their clues/evidence (CCSS.ELA-Literacy.W.9-10.1). To do this, I will ask them to provide a clear thesis statement and then a detailed summary of their evidence. I will collect this opening statement in addition to their evidence boards at the end of class.
To ensure they are able to answer the question of how Dickens used his plot structure to create a sense of tension or mystery, I will save the last 20 minutes of class for a debrief and discussion. I will ask three groups to voluntarily read their opening statements and then ask the students to push their thinking towards the style analysis level and think about how Dickens laid out the clues we have been analyzing all day. I will then ask them to make a prediction about what Darnay's fate will be by the end of the novel.
I will end class by reminding them of what they need to read over the weekend. | https://betterlesson.com/lesson/553749/tale-of-two-cities-crime-scene-investigation?from=master_teacher_curriculum |
Join detective Bray Utley as he is called out to the scene of a crime, across from a rural bar in Modesto, California. Review the witness statements and the clues to determine who is responsible.
Left for Dead Murder Mystery Box
One-Time orders go to post approximately two business days of ordering. USPS Priority Mail usually takes 2-3 postal days to deliver.
Quantities are limited. At this time, we only ship within the United States.
Order today to take part in a previously released adventure
Each Murder Mystery Box is a self-contained mystery. Follow the journal, review the evidence & clues, deduce your conclusion, and then continue on to the reveal of the resolution to the case. You need not order mystery boxes in a certain order and one does not depend upon another. | http://www.murdermysterybox.com/store/p3/SLAM.html |
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