In December 2013, the Intellectual Property Association of Bangladesh (IPAB) celebrated a major success as Bangladesh's Jamdani Sari weaving tradition, a labor-intensive and time-consuming form of hand loom weaving is recognized as Intangible Cultural Heritage of Humanity by the United Nations Educational, Scientific and Cultural Organization. Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District.
A sari is the traditional garment worn by women in the Indian subcontinent, made up of a long strip of unstitched cloth, ranging from five to nine yards in length, which can be draped in various styles. The most common style is for the sari to be wrapped around the waist with one end then draped over the shoulders with the other. The Jamdani Sari is among the oldest styles, at more than 5,000 years old! Some people think that the sari was influenced by Greek or Roman toga, which we see on ancient statues. However, there is no solid historical evidence to this effect.
The sari is essentially designed to suit local conditions in the subcontinent. There are at least six varieties of Bengal handlooms, each deriving its name from the village in which it originated, and each with its own distinctive style. Dhaka was especially renowed for saris of fine muslin, a tradtion that carries on today. Jamdani is basically a transformation of the world famous Dhakai Muslin. According to their variety, fineness and patterns the traditional Dhakai Muslins were divided into specific categories. Among them, Aab-E-Rouhan, Shabnam, Sarband and Jamdani muslin were the most famous. Over the years the first three of these have vanished from history.
The production, marketing and export of Jamdani has somehow maintained its continuity. Dhaka has a history of only four hundred years from 1610 A.D., but the history of the cotton clothes of the region reveals more ancient traditions. Although most of the history of Jamdani weaving os lost in the mists of antiquity, it's known that trade in the fabric was established at least 2,000 years ago.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
Portrait of a Bangladeshi weaver of Jamdani Saris in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
Portrait of a Bangladeshi weaver of Jamdani Saris in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A whole saller of Jamdani Saris shows a piece from his collection in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
Jamdani Saris are made from the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A whole saller of Jamdani Saris shows a piece from his collection in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A Bangladeshi weaver designs a Jamdani Sari in the village of Rupganj Thana in the outskirts of Dhaka.
Jamdani is the finest Muslin textile produced in Bangladesh's Dhaka District. This time consuming and labor-intensive form of hand loom weaving has been declared intagible cultural world heritage by UNESCO.
A model shows off a Bangladeshi traditional Jamdani Sari in Dhaka on 13 June 2015 when the Intellectual Property Association of Bangladesh (IPAB) celebrated the Jamdani Sari being recognized as an Intangible Cultural Heritage of Humanity by the United Nations Educational, Scientific and Cultural Organization.
A model shows off a Bangladeshi traditional Jamdani Sari in Dhaka on 13 June 2015 when the Intellectual Property Association of Bangladesh (IPAB) celebrated the Jamdani Sari being recognized as an Intangible Cultural Heritage of Humanity by the United Nations Educational, Scientific and Cultural Organization.
A model shows off a Bangladeshi traditional Jamdani Sari in Dhaka on 13 June 2015 when the Intellectual Property Association of Bangladesh (IPAB) celebrated the Jamdani Sari being recognized as an Intangible Cultural Heritage of Humanity by the United Nations Educational, Scientific and Cultural Organization.
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Basel Abbas and Ruanne Abou Rahme work collaboratively from their base in Ramallah, Palestine across a range of sound, image, installation, and performance. © Claudia Wiens/
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Gulsun Karamustafa's work is shown in SALT Gallery. © Claudia Wiens
Istanbul, Turkey. 11th September 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Art bei Sener Ozmen. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Basel Abbas and Ruanne Abou Rahme work collaboratively from their base in Ramallah, Palestine across a range of sound, image, installation, and performance. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Basel Abbas and Ruanne Abou Rahme work collaboratively from their base in Ramallah, Palestine across a range of sound, image, installation, and performance. © Claudia Wiens/
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Basel Abbas and Ruanne Abou Rahme work collaboratively from their base in Ramallah, Palestine across a range of sound, image, installation, and performance. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Diego Bianchi's art work, shown in SALT Gallery, emerged during the last decade as a magnifying and distorting lens of urban life that focused on the formal and mostly chaotic traces of consumerism. Bianchi's project for the 13th Istanbul Biennial is an installation inspired by any given city's brash.
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Gulsun Karamustafa's work is shown in SALT Gallery. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Diego Bianchi's art work, shown in SALT Gallery, emerged during the last decade as a magnifying and distorting lens of urban life that focused on the formal and mostly chaotic traces of consumerism. Bianchi's project for the 13th Istanbul Biennial is an installation inspired by any given city's brash.© Claudia Wiens
Istanbul, Turkey. 11th September 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Art bei Sener Ozmen. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Basel Abbas and Ruanne Abou Rahme work collaboratively from their base in Ramallah, Palestine across a range of sound, image, installation, and performance. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Diego Bianchi's art work, shown in SALT Gallery, emerged during the last decade as a magnifying and distorting lens of urban life that focused on the formal and mostly chaotic traces of consumerism. Bianchi's project for the 13th Istanbul Biennial is an installation inspired by any given city's brash. © Claudia Wiens
Istanbul, Turkey . 12th Sep, 2013. The 13th Istanbul Biennial, “Mom, am I barbarian?”, curated by Fulya Erdemci, runs from 14 September untill 20 October. Admission to the biennial exhibitions is free, overlapping with the biennial’s vision to create a public space and be accessible to everyone. Gulsun Karamustafa's work is shown in SALT Gallery. © Claudia Wiens
Journalist:
Taiwo Adeleke
CUE:
Fourteen years old Nigeria girl created a generator that produces electricity for six hours using a single liter of urine as fuel .
Headline:
Girl power generator with urine in Nigeria.
SLUG:
RAW-NIGERIA-ELECTRICITY-GENERATOR-:
Byline:
Taiwo Adeleke / --
SYNTHE:
Duro-Aina Adebola (Female), Urine power Generator initiator (Student)
Omotayo Fakinlede(Male), Professor of Engineering
Olatuji Araoye (Male), Engineer
Patrick Uloba (Male) Teacher.
SHOTLIST:
LAGOS, NIGERIA, JANUARY 2013
VAR of student starting the Generator.
VAR of cylinder and filters
VAR of bulb and socket with electricity
VAR of students talking
VAR of School University
VAR of Man in the Office
VAR of Lagos Street at Night
VAR of man starting generator
VAR of generator sounds
VAR of secondary school building
VAR of teacher with student in the classroom
SOUNDBITE 1, Duro-Aina Adebola (Female), Urine power Generator initiator (Student) (English, 00:14:18 seconds ):
"I got the idea when i went on net and i saw a family of five (5) killed by carbon-monoxide poison. its now stroke me that people are dying regularly from generator poison and that what could be done that wouldn't releases any harmful gases into the environment . Urine is a waste material definitely Nigerians will opt for urine since is a waste material, Nigerians like cheap things "
SOUNDBITE 2, Omotayo Fakinlede(Male), Professor of Engineering (English. 14:01 seconds)
"we can view hydrogen as the hydro carbon minus the carbon. There are very good properties that its as one of the most important thing is the environmental friendliness".
SOUNDBITE 3, Olatuji Araoye (Male), Engineer (English 10:18 seconds).
"Its depend on the cost of the generator first and i will look at the durability at the same time".
SOUNDBITE 4, Patrick Uloba (Male) Teacher.(English 20:18 seconds)
"We have done several other project before this, we are hoping that with the volume of information that as gone out on this project, we are trusting that somebody will come and pick up this project , so that it can be mass produce and it can be there in the market.
Hip Hop is a global phenomena that reaches nearly all corners of the Earth. Starting in the projects of NYC nearly 40 years ago, struggling youth from Mongolia to Rwanda use music as a weapon to express their situations, hopes, and dreams. Though Hip Hop culture is new to Uganda, it is becoming popular with people of all ages, but with the youth in particular. Hip Hop music is reaching the smallest of villages, as I witnessed in the war-torn area of Gulu. Access to music is free, which is an essential aspect of why Hip Hop is spreading like wildfire.
In 2009, End of the Weak (EOW), a collaboration of MCs, graffiti artists, break dancers and DJs that spans 17 countries, reached Uganda. All chapters of EOW are involved with community outreach, workshops for youth and exude positive influence in their communities through Hip Hop culture. The MC Challenge is a competition wherein the winners gather at the World Finals, which are held in a different country each year. The MC Challenge is held in the central, eastern, western and northern regions of Uganda so that many different languages are represented in the competition. Winners of the MC Challenge are provided studio time, video production and photo shoots as a way to share and promote their music.
Here are a few faces of EOW UG, the next generation of Hip Hop in East Africa.