Hungary - Historical Flags 1981

Stamp series is described as follows:

Historical flags - Polychromatic - Perforated 12 (i.e. 12 perforations /2 cm)

40 filler - Arpadian dynasty, XIth century
This flag was the flag of the Árpád House, the House of the first Hungarian kings. It based on a picture on a stamp from 1981.
The title is: Flag of the Árpád House in the 11th century.

The first known member of the Árpáds was Prince Ügyek. His son, Álmos and Álmos's son Árpád werethe leaders of the Hungarians at the time of the Hungarian Conquest in the Carpathian Basin at the end of the 9th century. The Árpáds reigned in Hungary till 1301.
István Molnár, 24 November 2000

The flag with the "Arpad Stripes" was used by the kings of the Arpad Dynasty 1000-1301 and see photos of genuine flag of Prince Ferenc Rákóczi II., Prince of Transylvania 1704-1711, Commanding Prince of Hungary 1705-1711 at "Hazatérés" Reformed Church at <www.geocities.com/hazateres/tortenel.html>.
Mikhail Revnivtsev, 29 October 2006

The stripes used by the kings of the Árpád House from the early 13th century (seals). The first mention of the flag with pictures you can see in the "Képes Krónika" (Vienna Illuminated Chronicle, Chronica Hungarorum , Chronicon (Hungariae) Pictum, Chronica Picta or Chronica de Gestis Hungarorum, see wikipedia).

60 filler - Hunyadi family, XVth century

The flag of the Black Army. The Black Army was the centre of the mercenary force of King Mathias I.
From <www.geocities.com/zaszlok/Muzeum>: "5. The so-called `Black Army' banner, reconstruction This characteristic flag with a forked tail was reconstructed after a miniature in Philostratus Chronicle, one of the Corvinas, representing the 1485 entry of Corvin János, son of king Matthew, into Vienna. The black colour of the flag used to be white (argent) in fact, but the argent paint had become oxidised. The reconstruction preserves the original colour."

1 forint - Gabor Bethlen, 1600

Standard of Prince Bethlen Gábor, 1615, reconstruction.
This large-size flag with a forked tail is ornamented with `tongues of flame' symbolizing the spilt blood of Jesus. In the cartouche the elements of the Transylvanian coat-of arms surround the Bethlen family coat-of arms. `Gábor, Prince of Transylvania in God's grace' is written on the flag. The reconstruction was based on the drawing of the 1896 Millennium exhibition catalogue.

2 forint - Ferenc Rakoczi II, 1706
Prince Francis Rákóczi II Flag (1703-1711).
The flag is an old flag, maybe from the years of the Prince Rákóczi's War of Independence. I didn't find anything about this picture. At the time of the war such flags were used.

Prince Francis Rákóczi II was the Reigning Prince of Transylvania and the "Commanding Prince" of Hungary, who was the leader the Anti-Habsburgian Independence war 1703-1711 in Hungary. It could be used between in this era. "CUM DEO PRO PATRIA ET LIBERTATE" was the inscription on the flags at the time of Prince Rákóczi's War of Independence.

Latin for "With God for Country and Freedom".

Old flag with the Coat of Arms of the Rakoczi family from the 17-18th century is at <www.tarnok.hu>. The Rákóczi family gave some Transylvanian princes and Francis Rákóczi II the leader prince of the independence war 1703-1711.

Flag from 1703-1711 Rákóczi's Revolt at <www.historicaltextarchive.com>. Flag of the Prince Rákóczi II's war in 1706 is at <mek.oszk.hu>.

Yesterday I was in the Nemzeti Múzeum (HNM) and take some photos of the flag of Prince Ferenc Rákóczi II. (Click 1,2,3 to see the photos).

4 forint - "Honved" of the Hungarian Army, 1848-1849
War Flag 1848-1849

It depicts a flag quite similar to the one Željko Heimer giffed with some notable differences:
1. The border is less complicated
2. The Coat of Arms is in a blue 'lake'
3. The blue 'lake' is completely surrounded by a golden wreath, which is oval, nearly round.

HONVÉD means soldier this is patriotic word.
The word "katona" = soldier is neutral.
The word "honvéd" = soldier means "the soldier who save our country".
HON = homeland
VÉD = save.
The new Hungarian Army in 1848 was the Magyar Honvédség.

6 forint - 1919 Troops.
Military Flag,
Text over symbol: VILÁG PROLETÁRJAI EGYESÜLJETEK (Workers of the World, unite),
used by Bela Kun's Army in 1919, now in "Orszagos Nedterdeneti Muzeum, Budapest" (State Military History Miseum).

Text above the symbol: CSEPELI VÖRÖS EZRED 2. zászlóalj (The Red Regiment of Csepel 2th battalion; Csepel was a village in 1919).

Spain - Popular Dances, Joint Issued with Ireland 2008

The Spain-Ireland joint issue is devoted to Popular Dances, the Spanish stamp depicting a scene of Flamenco and the Irish one depicting a scene of Irish Dance.

Although the origins of Flamenco are uncertain, it is known that this dance, song and music reached its peak and development in Andalucía since the XVIII century. The acceptance and establishment amongst the common people was such, especially amongst the gypsy ethnic group that it spread throughout the country becoming one of the main references of Spanish culture throughout the world. It wasn’t though until 1869 to 1929 when it reached its golden age. Flamenco music has developed throughout the years and is always accompanied by a guitar using different strumming patterns and techniques to follow the singing and dancing in the traditional Flamenco forms. The cante (song) also plays a main role. The baile flamenco is a highly-expressive solo dance, known for its emotional sweeping of the arms, rhythmic stomping of the feet in addition to the percussion provided by the heels and balls of the feet striking the floor. The result is a powerful yet graceful execution, and a complex musical and cultural tradition. Flamenco was performed in patios, and evening festivals and later on began to be showed in tablaos, taverns and cabarets. Nowadays it has a privileged position in program listings of auditoriums and theatres.

The roots of Irish Dance are also ancestral and uncertain. It is practised all over Ireland and generally characterized by a controlled but not rigid upper body, straight arms, and quick, precise movements of the feet. This dance was very popular before the arrival of cinema and television especially in rural areas where house dance and crossroad dance in which two couples danced face to face to the rhytm of street musicians, were performed.

The Irish stamp has been designed by Dublin born artist Conor Walton whilst the Spanish stamp is the work of Estudio Jesús Sánchez.

Technical Details:

Issue Date: 07 November 2008
Printing: Huecograbado
Paper: Coating, Gummed, Phosphorescent
Perforations: 13 3/4
Stamp Size: 28.8 x 49.8 mm (Vertical)
Sheet Size Block: 120 x 76 mm (Horizontal)
Face value of stamps: Euro 0.78, Euro 0.60
Circulation: 500,000 sheet block

Ireland - Popular Dances, Joint Issued with Spain 2008

The precise origins of Irish dancing are unknown, but it is generally accepted that this form of expression developed from a number of sources. The most ancient source would appear to the Druids.

It has come a long way since this time going through changes with influences from the Celts, Anglo-Normans and the Gaelic League. The Irish Dancing Commission was then set up in 1929, establishing the rules for dance competitions and standardising methods of teaching.

Riverdance and similar spectacular shows have pushed Irish dancing to the forefront of worldwide attention in recent years. At home, feiseanna or competitions are held regularly, with winners from local competitions competing in the annual All-Ireland Championships The World Irish Dancing Championships are also held annually and attract entrants from all over the world.

As with Irish dancing, the origins of Spanish flamenco dancing are lost to history, but it is thought to have begun around 1492, when a number of different cultures blended into a new form of music - and dance. The new form came to be particularly identified with Spanish Gypsies, and their nomadic lifestyle helped flamenco to spread, survive and flourish.

Through the 18th and 19th centuries flamenco changed and professional artistes began performing.

By the 1950s, commercialisation came close to debasing the entire genre, as Spain became a popular tourist destination. A revival of interest in flamenco as an art form then developed, helped by the flamenco festivals of the 1960s and 1980s.

In another parallel with Irish dancing, flamenco is today fiercely popular the world over. This popularity can be clearly seen at the annual festival in Jerez de la Frontera in southern Spain, where thousands of visitors gather from all over the world each year to celebrate the beauty and energy of flamenco.

Both stamps will appear on a miniature sheet issued jointly by An Post and Correos de España.

Technical Details:

Date of Issue: 07 November 2008
Value & Quantity: 55c (.294m), Euro 1.37 MS (50k)
Illustration: Conor Walton (Illustration - Irish Dancer), Design Tactics (Miniature Sheet)
Typography & Layout: Design Tactics (Irish stamp & Irish side miniature sheet), Jesus Sanchez (Spanish stamp and Spanish side miniature sheet)
Stamp Size: 27.94mm x 44.45mm
Colour: Multicolour with phosphor tagging
Make-up: Sheetlets of 12
Perforations: 13.75 x 13.75
Printing Process: Lithography
Printer: Irish Security Stamp Printing Ltd

Ireland - Irish Group Music 2008

Following the 2006 issue of four stamps marking the contributions made to Irish music by The Dubliners, The Chieftains, Altan, The Clancy Brothers and Tommy Makem, this year our second part is issued.

Planxty started out in the early 70's in the wake of Christy Moore's successful album Prosperous, when Donal Lunny, Liam Óg Ó'Floinn, Andy Irvine and Christy himself discovered how much they enjoyed playing together. They had great success in Ireland, the UK and in Continental Europe.

De Dannan formed in 1974 with Charlie Piggot, Frankie Gavin, Johnny McDonagh and Alec Finn in the line-up. Membership of the band has been fluid over the years, with singers such as Dolores Keane, Maura O'Connell and Mary Black coming and going, but the distinctive playing of Frankie Gavin (fiddle) and Alec Finn (bouzouki) have given De Dannan a unique and uniquely recognisable sound.

The Bothy Band, or the Bothies, also first got together in 1974, with their first performance coming in Trinity College on 2nd February 1975. This was another band with a flexible line-up, revolving around a core of Matt Molloy, Paddy Keenan, Donal Lunny, Tríona Ní Dhomhnaill and Mícheál Ó Domhnaill.

The Tulla Céilí Band was formed in 1946 when Teresa Tubridy, Bert McNulty and P. Joe Hayes put together a group from east Clare for that year's Limerick Fleadh. Like the other ensembles featured, this band has undergone many changes of personnel. Members include big names like Bobby Casey and Willie Clancy. .

Unlike the other bands, the Tulla Céilí Band is still going today, with an annual slot at the Willie Clancy Summer School. Their individual style, featuring traditional céilí rhythms played with a lively swing, won them victories in the All-Ireland Fleadh Cheoil in 1957 and 1960, and continues to win them fans to this day. .

Each of the stamps shows an image of one of the groups in performance, painted by Irish artist Finbarr O'Connor, with typography by Steve Simpson.

Technical Details:

Date of Issue: 10 October 2008
Value & Quantity: 2 x 55 c (.36m), 2 x 82c (.288m), Euro 2.74 Minisheet (25k)
Illustration: Finbarr O'Connor
Typhography & Layout: Steve Simpson
Stamp Size: 44.45mm x 27.94mm
Colour: Multicolour with phosphor tagging
Make-up: Sheetlets of 12
Perforations: 13.75 x 13.75
Printing Process: Lithography
Printer: Irish Security Stamp Printing Ltd

Poland - Women Folk Costumes 1983

Israel - Ethnic Costumes 1999 (#2)

Kuwait - Life in Pre-Oil Kuwait 1998 (#1)

Space, Urban Development, and Social Change in Kuwait City, 1896 - 1986: The Case of the Hadhar Community

Farah al-Nakib’s presentation, Space, Urban Development and Social Change in Kuwait City, 1896 – 1986: The Case of the Hadhar Community, examined the affects of urban development on social change. She discussed how urban development has influenced the transformation of Kuwait from a nineteenth century small fishing town to a twentieth century modern city.

More specifically, al-Nakib’s research gives an overview of the changes that took place within the Hadhar community of Kuwait (i.e. the old residents of the city) from the pre-oil to oil periods. Her research illustrates the relationship between space, urban development and social change.

According to al-Nakib, the urban history of Kuwait can generally be divided into two periods: the pre-oil and oil periods, which both encompass their own phases. The first phase in the development of Kuwait City occurred in the eighteenth and nineteenth centuries. During this time Kuwait grew from a small town, to a vibrant and prosperous city whose inhabitants adopted mercantile and ship-building occupations. Also, due to the strategic location of the town, it developed into one of the most important port-cities of the Gulf.

The demolition of the town wall in 1920 was an important stage in the development of the city. The construction of this wall had created a concrete division (for the first time) between the townspeople (the Hadhar) and the nomadic people outside of the city. Following this, Kuwait underwent an economic recession. This period of recession ended with the development of the oil economy in the 1950s.

“As far as the urban development of Kuwait goes, the oil period actually begins in 1951 with the drawing of the first master plan of the city; this led to the pattern of urban planning and development that took place over the coming decades,” al-Nakib noted.

Following this, the Kuwaiti government brought in a variety of different urban planning companies to develop Kuwait into a ‘modern’ city. The city of Kuwait was changed dramatically by this development, since the state essentially destroyed the old city to make way for the new one.

More importantly, al-Nakib's research examines the impact of the changing structure of Kuwait City on the social and political dynamics of urban life in the transition from the pre-oil to oil periods. Her research aims to explore the extent to which social and political identities and the interactions and structures of life have transformed as a result of the rapid changes that took place to the urban landscape of Kuwait City.

“One part of my research, therefore, seeks to develop a reconstruction or an ethnographic micro-history of urban life in pre-oil Kuwait… This involves an examination of the physical morphology of the old town, as well as a survey of the social, economic and political networks and institutions that define day-to-day urban life before oil.”

The second part of al-Nakib’s research focuses on the early years of urbanisation, from 1951 to the middle of the 1980s. This research looks at the combination of state planning policies and initiatives, which, in only a few decades, transformed Kuwait from a small maritime town into a crowded, sprawling city.

“Most importantly, my research seeks to assess how the social and political structures of urban life changed with the advent of oil urbanisation as a result of such drastic changes to the urban form of the city.”

By exploring the urban development of Kuwait city from the pre-oil through to oil periods, al-Nakib seeks to identify the impact on social, political and economical structures, particularly on certain social groups.

Kuwait - Life in Pre-Oil Kuwait 1998 (#2)

Hungary - Traditional Costumes 1963

Israel - Greetings Cards 200

Bulgaria - European Union Membership 2007

Bulgaria - a member of European Union

Description: The map of Europe, the flags of European Union's members,

Subject: Bulgarian national dresses

Date of issue: 31.01.2007

Denomination & quantity: 1.50 Leva - 20 000

Stamp size: 44 x 29 mm

Perforation: 13 1/4 : 13

Souvenir sheet size: 84 x 85 mm

Printing process: Offset

Designer: Rosen Toshev

Bulgaria - Traditional Women Costumes 1995

Bulgaria - Men's National Dress 1993

Men's National Dresses

Date of issue: 16 December 1993

Denomination: 1 Leva, 2 Leva, 3 Leva, 8 Leva

Quantity: 700 000, 700 000, 900 000, 100 000

Stamp size: 22 x 33 mm

Perforation: 13 3/4 : 14

Sheets: 10 x 10

Printing process: offset

Designer: Tekla Aleksieva

In postal use till: 04 July 1999

Bulgaria - Traditional Costumes 1983

Bulgaria - Traditional Costumes 1975

Bulgaria - Traditional Costumes 1968

Bulgaria - Female Folk Costumes 1961

28 January 1961.
Женски народни носии. Female folk costumes. Худ. Вл. V. Art.Коренев. Korenev. П. дълбок. P. profound. Наз. Naz. Л 10 ³ / ₄ . L 10 ³ / _4. Листа (5х5). List (5h5).

Female costumes: 1254 - Kyustendil, 1255 - Pleven, 1256 - Sliven, 1257 - Sofia, 1258 - Rhodope, 1259 - Karnobat.

Женски народни носии.
Female folk costumes. Худ. Вл. V. Art. Коренев. Korenev. П. дълбок. P. profound. Наз. Naz. Л 10/. L 10. Листа (5х5). List (5h5).

Draws:
1254-1256 - 2 500 000,
1257-1259 - 500 000.

Bulgaria - I Milev Paintings 1997

Bulgaria - Dances & Sport 1974

Bulgaria - Expo Osaka 1970

Malaysia - Traditional Wedding Costumes 2009

In today's modern era, the Malaysian community comprising of various races and many ethnic groups still value the rich legacy of traditional costumes worn during important occasions such as weddings. Each ethnic group has their own heritage of wedding costumes that are unique in their own styles and designs.

On the most important day, the attire worn is very beautiful, special yet traditional. The Chinese and Indian couples wear red, while the Orang Ulu and Bajau are colourful dressed and the Malay couple wears a matching outfit complete with accessories as king and queen for the day.

However, all wedding costumes are similar in that the bride and bridegroom look outstanding magnificent in their bright coloured and grand ensemble, complete with beautiful headdress, unique accessories and magnificent jewellery worn only during weddings.

Denominations:

50sen: Traditional Malay Wedding Costume
The Malay bride and bridegroom in their traditional wedding attire made of songket cloth woven in the pattern of 'bunga tabur'. The bride wore Baju Kebaya Labuh, a classic styled costume worn with matching sarung and long shawl also made from songket. A decorative headgear and other accessories are added as the finishing for her as the queen of the day. The bridegroom wore a Baju Kurung Cekak Musang top with a headgear called Tengkolok, waistband, samping and keris that completes the wedding costume. Bunga telur which is a decorative ornament used during weddings is shown in the background of this stamp.

50sen: Traditional Chinese Wedding Costume
The Chinese bridal couple looks resplendent in the traditional wedding costume, reminiscent of a bygone era. The bride is dressed in an embroidered skirt with a matching long red silk jacket, and around her neck is a large elaborately decorated detachable collar, resembling the neck feathers of the phoenix. On her head is an ornate headdress made of gilded gold and silver inlaid with kingfisher feathers and embellished with pearls and red pom-poms. The bridegroom's wedding attire is a long embroidered dragon robe. He wears a black hat with red tassels.

The combination of the dragon and phoenix symbolizes the balance of male and female power. Red, the favourite colour since the Ming Dynasty and the “double happiness” symbol shown in the background of the stamp represents luck and signifies love and prosperity.

50sen: Traditional Indian Wedding Costume
The stamp depicts an Indian bride and bridegroom in their traditional colourful wedding attire. The bride is in a beautiful silk saree and matching blouse with gold thread embroidery while the bridegroom is in his Vashtee, a long-sleeved shirt and matching cotton cloth woven with gold thread. The bride is adorned with flowers in her hair and garlands of flowers round their neck, with flower bouquets in their hands. In the background is a picture of a garland, normally used in Indian weddings.

50sen: Traditional Orang Ulu Wedding Costume
The costume for the Orang Ulu bridegroom is an embroidered bead vest and a loin-cloth. The headgear is fashioned from feathers and woven beads. The Orang Ulu bride is in a colourful sequinned dress called 'basung' and 'ta'ah'. The head is beautifully adorned with a 'lavung doh'.

Bunga Jarau, the wood ornament shown in the background of the stamp is a decorative item used at weddings.

50sen: Traditional Bajau Wedding Costume
The Bajau bridal costume is the 'badu sipak'; the yellow blouse made of satin with flared sleeves, showing off an underblouse of a contrasting hue and the 'olos berangkit' which is a full-length black wrap-skirt. Other interesting accessories adorn the bride such as 'mandapun', a decorative ornament with stylized silver or gold leaves worn around the neckline; 'sarempak', a two-piece head decoration in the shape of a ship made of gilded silver and 'garigai', small ornaments dangling down from the hair bun. Silver bangles and jewellery such as the 'ingkot pangkat'; the silver coin belt and 'keku'; long tapered, gold fingercovers complete the finishing touch for the bride.

The bridegroom id adorned in the badu which is similar to the bride's 'badu sipak' but in green colour with a pair of pants known as 'suar'. Accessories adorned by the bridegroom is the 'kain dastar' headdress and 'ingkot pangkat' with 'supu' attached and a sash at his waist. 'Tipo serisir', a mat made of woven silk material dan beadwork is a decorative item used during weddings.

Technical Details:

Date of Issue: 23 March 2009
Denomination: 50 Sen (Strip of Five)
Stamp Size: 30mm x 50mm
Perforation: 14
Sheet Content: 20 Stamps
Stamp Booklet: 30 Sen x 10 (RM3) (Strip of Five)
Paper: SPM Watermarked, Phosphor Coated
Printing Process: Lithography
Printer: Percetakan Keselamatan Nasional Sdn Bhd
Stamp Designer: Hazel Design Sdn Bhd

Poland - Mazowsze Dances 1998

Mazowsze (in Polish "Państwowy Zespół Ludowy Pieśni i Tańca "Mazowsze"" - "State Folk Group of Song and Dance 'Mazowsze'") is a famous Polish folk group. It is named after the Mazowsze region of Poland.

History:

"Mazowsze" was established by a decree issued by the Ministry of Culture and Art on 8 November 1948. The decree ordered Professor Tadeusz Sygietyński to create a folk group that would maintain regional artistic traditions and the traditional folk repertoire of songs and dances of the Masovian countryside. The group was intended to protect this folk tradition from destruction and encapsulate its diversity, beauty and richness. At the beginning Mazowsze's repertoire contained songs and dances from only a few regions of Poland – Opoczno and Kurpie, but it soon extended its range by adopting the traditions of other regions.

After two years of preparing, rehearsing and studying its repertoire, Mazowsze staged its premiere in the Polish Theatre in Warsaw on 6 November 1950. The repertoire contained songs as well as danced from the regions of Central Poland (as mentioned above) – Opoczno, Kurpie and Masovia.

In between the concerts after the premiere in Warsaw Mazowsze continued to enhance the programme, planned next undertakings and made important decisions. Only year after, in 1951, Mazowsze started touring outside Poland. The first country they visited was The Union of Soviet Socialist Republics, understandable in those days due to Poland's geopolitical situation. Three years later the Polish government allowed Mazowsze to venture outside the “Iron curtain”. On 1 October 1954 there was a concert in Paris, and six years later in the USA.

After the death of Prof. Tadeusz Sygietyński, the group’s leader became Mira Zimińska-Sygietyńska, who was working beside her husband from the very beginning of Mazowsze. They both researched the countryside, Ziemińska looking for old traditional garments, Sygietynski hoping to find young talents. She also made Mazowsze as it is till now. Had it not been for her, it would not be possible to find new areas of research like 39 more ethnographic regions or description of religious and patriotic songs which were never written down. Because of her Mazowsze gained popularity all over the world, gave around 6 thousand concerts as well in Poland as in 49 countries. Mira tried to collect also material treasures of Polish folklore – costumes which were reconstructed with great care.

Mira Ziemińska-Sygietyńska was the group's leader for over 40 years, devoting her talent, experience and life to the project completely.

In the fifties, Mazowsze gave the opportunity to sing to such great Polish singers as Irena Santor or Lidia Korsakówna.

Film Appearances:

In 1963 Mazowsze appeared in the Polish comedy movie Żona dla Australijczyka (Wife for Australian man), about an Australian of Polish descent who returns to Poland to find a wife. The role of the soloist of Mazowsze was played by the famous Polish actress Elżbieta Czyżewska, and the role of the Australian man – Wiesław Gołas. In 1999 Mazowsze also appeared in Andrzej Wajda’s movie Pan Tadeusz, in the scene of the traditional Polish dance – the Polonaise.

Lyric:

Wyszłabym za dziada

I would marry an old man

Już mi się doprawdy panieństwo sprzykrzyło
I got really tired of my maidenhood
Wyszłabym za dziada, żeby się trafiło
I would marry an old man if he happened to me
Oj córuś,oj córuś nie wychodź za dziada
My daughter, my daughter don’t marry an old man
Ni na dzień, ni na noc, on ci się nie nada.
Neither during the day nor at night he will be of use
Matulu dajże mi Jasieńka mojego
Mother, give me my Johnny
Kocha mnie, młody jest. I ja kocham jego
he loves me and he is young. And I love him
Jeść mu ugotuję. Buzie ucałuję.
I will cook food for him, I will kiss his face
Pościelę łóżeczko jak pieścidełeczko
I will make his bed with affection
Myślisz ty córusiu że za chłopem dobrze
Daughter, you think that with a man life is good
Za chłopem trza robić aż się skóra podrze.
With a man one has to work very hard till the skin tears.
Matulu, matulu co wy powiadacie
Mother mother what are you saying
wyśta chłopa mieli całą skórę macie….”
You have had a man and you have all the skin

Dwa serduszka
Two hearts

Dwa serduszka cztery oczy ojo joj!
Two hearts four eyes
Co płakały we dnie nocy ojo joj!
That were crying by day and at night
Czarne oczka co płaczecie
Black eyes that are crying
Że się spotkać nie możecie
That you can’t meet
Że się spotkać nie możecie
That you can’t meet
Oj jo joj!

Dziwna zazdrość starych ludzi ojo joj!
A strange jealousy of old people
Wiek zgrzybiały to ich nudzi ojo joj!
At advanced age that bores them
Sami o miłość nie dbają
They themselves don’t care about love
Młodym kochać zabraniają
They forbid young people to love
Młodym kochać zabraniają
They forbid young people to love
Oj jo joj!

Mnie matula zakazała ojo joj!
My mother forbade me
Żebym chłopca nie kochała ojo joj!
to love the boy
Kamienną bym być musiała
I would have to be of stone
Żebym chłopca nie kochała
not to love the boy
Żebym chłopca nie kochała
not to love the boy
Oj jo joj!

Kiedy chłopak hoży miły ojo joj!
When the boy is robust and nice
I któż by miał tyle siły ojo joj!
And who would have so much strength
Kamienne by serce było
The heart would be of stone
Żeby chłopca nie lubiło
Not to like the boy
Żeby chłopca nie lubiło
Not to like the boy
Oj jo joj!

Mnie matula zakazała ojo joj!
My mother forbade me
żebym chłopca nie kochała ojo joj!
to love the boy
A ja chłopca chaps! za szyje
And I snapped at the boy’s neck
Będę kochać póki żyje
I will love till I die
Będę kochać póki żyję
I will love till I die
oj jo joj!

Republic of China - Chinese Opera 1992

China - Mid Autumn Festival 2003

Chinese traditions value family harmony and reunion, and all kinds of Traditional Festivals are important opportunities for reunion and celebration. Having a family reunion meal on the eve of the Spring Festival, glutinous rice dumplings on the Lantern Festival and moon cakes on the Mid-autumn Festival are expressions of the hope for family reunion. In Chinese eyes, reunion with relatives is a great joy, and only reunion can increase the cohesion of a family and lead to the prosperity of all trades.
This national inclination toward family reunion has been spread overseas and become a bond for all members of the great Chinese family.

China - Taohuawu Muban Nianhua 2004

China - Mianzhu Muban Nianhua 2007

China - Opera 2007

China - Peking Opera (Jing Roles In) 2008

The roles of Peking Opera consist primarily of four categories, namely Sheng (male role), and (female role), Jing (painted face), and Chou (comedian).

The role of Jing is devoted to representing the disposition, quality, or facial features of the opera characters and exhibiting the loyalty, treachery, kindness, or evilness of the characters Lianpu (facial make-up patterns) realized by diverse color compositions and varying design the "symbolic" and "exaggerated" approaches.
The role of Jing can be divided into singing-based "Tongchui Hualian" (military role holding a bronze hammer), represented by Xu Yanzhao in "Tower of Dragon and Phoenix" and Bao Zheng in "Execution of The Imperial Son-in-Law"; "Jianzi Hualian" (painted-face role with stilted stylized movements), mainly engaged in acting and recitation onstage, as represented by Dou Erdun in "Stealing the Imperial Steed" and Cao Cao in "The Capture and Release of Cao Cao"; "Wu Hualian" (martial painted-face role), mainly performing martial arts onstage, like Yang Yansi in "Golden Beach".

China - Woodblock New Year Pictures of Zhuxian Town 2008

Zhuxianzhen, a historically important commercial town, is located 20 kilometers southwest to Kaifeng City, Henan Provinces. The Zhuxianzhen New Year Woodprints originated in the Tang Dynasty (618-907) and boomed during the Song (960-1279). As the birthplace of Chinese New Year Woodprints, Zhuxianzhen exerted an influence upon the New Year woodprints produced in Wuqiang, Yangliuqing, Taohuawu, and Yangjiabu.

This form art of features a typical northern style, charaterized by bold and unconstrained lines, lively composition, exaggerated designs and exquisite application of colors, which are radiant and may never fade. According to historical book "Dream of the Capital," during the Northern Song (960-1127), woodprint New Year paintings were prevalent in the capital city, Bianjing (present-day Kaifeng). In 1127, when the Jin troops attacked and captured Bianjing, the woodprint workshops and artists were forced to relocated to Zhuxianzhen, 20 kilometers away. Hence the name "Zhuxianzhen New Year Woodprints."

In 2006, Zhuxianzhen New Year Woodprints was included in the first national intangible culture heritage list.