May 29, 2025
A Dance (2011) - Rustam Yakhikhanov. Chechnya, Russia.
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A Dance (2011) - Rustam Yakhikhanov. Chechnya, Russia.
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Traditional Armenian Jewelry
Historical Armenian clothing
[Top: Cilician Bride; Bottom: Woman from the Bagratid Dynasty between the 9th and 13th century]
you cant be making this shit up.
the government thugs are trying everything to falsify the votes.
cesko implemented new electronic ballot machines so most of the thugs have gone to the more remote regions where the new machines couldn't be placed, to falsify votes.
and the few that stayed in the city figured out a way to cheat the new machines.
Azerbaijan State Dance Ensemble
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Muslim Lak Women and Children From The Village of Balkhar, Dagestan, Russia
Baku - Azerbaijan
Fairy-tale about revenge and fear, and about loneliness of an abrek. [From Maria Mussova’s folkloric series “Circassian Fairy-tales”]
"Blood-revenge led to the common North Caucasian phenomenon of the abrek (абрэдж; abrej; protector of the weak and poor), the outlaw horseman who would live in the wild and without the norms of society until the feud was resolved, which could be never. In the Russian and Soviet eras the reference was extended to those wanted by the authorities, in this context becoming local and sometimes national heroes, eulogized in music and verse. North Caucasian literati were duly obliged to denigrate the abreks as anti-heroes.
“Abrekhood” evokes notions that corresponded to Western romanticism regarding Robin Hood and his eternal quest and struggle for social justice, and in general it had the same positive connotations in the Circassian ethos."
"These [ten] pictures are of large size, and are printed on canvas-like paper, making them look almost like paintings. Each item in the series represents a personal fairytale for the author, her allusions and impressions born in the depths of the national self-identity. Here we find chrestomathic characters (e.g., Sataney), cultural phenomena (e.g., ажэгъафэ – a jester in a mask of a he-goat), images inspired by folklore and literature (“abrek”, horseman), and some light associations from the depths of consciousness (boy with a wheel, wood nymph, prayer to a tree). They are all devoid of stereotypes: The author pays much attention to detail, retouching is moderate, and the composition and the content of each picture follow strict rules. Sataney-Guashe is as if unguarded and, with all her perfection, she is very human, clear, and close to one’s heart. A young girl staring off into the distance symbolizes the eternal waiting of women – waiting for love and for the loved ones, for the winds of change, and for destiny. The fully-armed horseman is in hesitation, and he is with his horse – the only creature that will ever see him in these moments of weakness. His sabre is casually hanging behind his back, and, with all his vital energy, his hand caresses his horse’s muzzle. Maria Mussova appeals to origins as they exist in her own imagination. This personal approach helps her create works that communicate with a wide range of spectators."