Friday, February 26, 2010
Sunday, February 21, 2010
Turkey - Traditional Textile Handycrafts 1992
500 Lira - Igne Oyasi
1000 Lira - Yapma Bebekler
3000 Lira - At Heybesi
Turkey - International Turkish Folklore Congress 1981
7 1/2 Lira - Hali
10 Lira - Isleme
15 Lira - Davul-Zurna
20 Lira - Makrama
30 Lira - Kilim
Monday, February 8, 2010
Papua New Guinea - Traditional Dances 2009
Issued on 23 November 2009
Stamp Sets:
Kina 1.00 - Engagement Dances, Western Highlands Province
Kina 3.00 - Bride Pride Dances, Central Provinces
Kina 4.65 - Engagement Dances, Manus Provinces
Kina 6.30 - Trobriand Dances, Milne Bay Provinces
Minisheet:
Kina 1.00 - Courtship Dances, Chimbu Province
Kina 3.00 - Engagement, Enga Provinces
Kina 4.65 - Engagement Dances, Central Provinces
Kina 6.30 - Womanhood, Central Provinces
Souvenir Sheet:
Kina 10.00 - Trobriand Love Dances, Milne Bay Province
Traditional Dances of Papua New Guinea
As regarded by every tribe, Sing Sing (dancing) time is a time of joy when both dancers and spectators alike come to relax and regenerate mentally from all devastating forces of life. Dancing is not a frequent occurrence. They are seldom held to purposely compensate tribesmen for their loyalty to the Chiefs or head-man after laborious periods of gardening, tribal conflicts or other tribal engagements.
Dancing is all gesture representations. To depict a certain subject in a dance performance, the dancers, as much as possible, completely forget their nature and come to an imaginary state of mind (similar to that of the subject replicated) where they freely express the common gestures of the subject at focus.
During these performance, the thoughts and feelings of the dancer combine to compose motions executed, thus, sending waves of thrill to the spectators. The spectators in-turn express emotions of glee to as much as how they perceive it. Different topics create different thrill waves. Most are very emotional.
Traditional dances are categorized by gestures of subjects and events replicated in the performances. One such category is romance. Romantic dances, just like any other dance, are composed to commemorate an occurrence within the tribe or that of a chieftain or Sherman.
Some dance occasions take place after tribal fights where two or more tribes are involved. These gatherings are seen as avenues of reconciliation. As a norm of life, it’s business as usual for all parties after these gatherings.
The amazing thing is the ability for the tribes to reconcile especially after fierce fighting. Hate surely is not the motivating factor as one can see, it’s the spur-of-the-moment anger for loss of possession or injustice seen that drives them. Therefore romantic dances performed during these occasions are seen as cushions to the process.
Of all the other Traditional dance categories to come, The Post PNG Philatelic Bureau has decided to feature Romantic Dances as its last postage stamp issue for 2009.
Saturday, February 6, 2010
Spain - Folk Dances, La Sardana & La Jota 2009
The “Popular Dances” series issued throughout 2009 to widespread the rich folklore of our country is on this occasion devoted to the Sardana and the Jota.
La Sardana
The Sardana is the most representative dance of Catalonia. Its origins are said to be in ancient Greece and in the cult of the sun of old civilizations following a circular movement. It is danced by a group of men and women who join hands alternately in a closed circle. The basic pattern of the Sardana is a series of long and short steps; the precise combination is determined by the leader, who signals the steps with a hand squeeze that is passed around the circle to make music and footsteps coincide. There are two basic ways of interpreting the Sardana: the empurdanés, from the Ampurdán and the selvatá, from the region of the Selva (Gerona), the main difference between the two is the direction of the turn. The old style Sardana, known as curta (short) is made up of eight short and sixteen long compasses, the short ones bearing hardly any movement and the long ones more vivacious. The Sardana danced nowadays is the llarga, composed by José (Pep) Ventura and is longer than the curta. Music for the Sardana is played by a cobla, a band consisting of wind instruments, double bass and a tamborí (very small drum) the flabiol which is a small fipple flute, the tenora and tible The brass instruments include: two trumpets, two fiscorns, and a trombone. The social success of this dance lies in its nature, open to any passers by wishing to join in.
La Jota
The Jota is the most popular dance in Spanish folklore, spreading from North to South across the country. It is performed in pairs, with dancers facing each other and exchanging positions with small precise steps. The plucking of the feet requires great skill and liveliness which results in steps of great beauty. The classical structure begins with a chorus followed by a song of four verses referring to themes such as love, praise or the Virgen del Pilar. It is danced in Navarre, Castille, La Rioja and Galicia amongst others, the most popular being the jota aragonesa which reached its peak of maximum splendour in the XIX century. It has three different parts. The first part begins with a small group doing some introductory singing and the couple taking up their positions waiting for the proper song to begin; In the middle part the dancing takes place and the dancers are accompanied by castanets and drums and in the final part, dancers perform with vigorous and faster steps.
La Sardana
The Sardana is the most representative dance of Catalonia. Its origins are said to be in ancient Greece and in the cult of the sun of old civilizations following a circular movement. It is danced by a group of men and women who join hands alternately in a closed circle. The basic pattern of the Sardana is a series of long and short steps; the precise combination is determined by the leader, who signals the steps with a hand squeeze that is passed around the circle to make music and footsteps coincide. There are two basic ways of interpreting the Sardana: the empurdanés, from the Ampurdán and the selvatá, from the region of the Selva (Gerona), the main difference between the two is the direction of the turn. The old style Sardana, known as curta (short) is made up of eight short and sixteen long compasses, the short ones bearing hardly any movement and the long ones more vivacious. The Sardana danced nowadays is the llarga, composed by José (Pep) Ventura and is longer than the curta. Music for the Sardana is played by a cobla, a band consisting of wind instruments, double bass and a tamborí (very small drum) the flabiol which is a small fipple flute, the tenora and tible The brass instruments include: two trumpets, two fiscorns, and a trombone. The social success of this dance lies in its nature, open to any passers by wishing to join in.
La Jota
The Jota is the most popular dance in Spanish folklore, spreading from North to South across the country. It is performed in pairs, with dancers facing each other and exchanging positions with small precise steps. The plucking of the feet requires great skill and liveliness which results in steps of great beauty. The classical structure begins with a chorus followed by a song of four verses referring to themes such as love, praise or the Virgen del Pilar. It is danced in Navarre, Castille, La Rioja and Galicia amongst others, the most popular being the jota aragonesa which reached its peak of maximum splendour in the XIX century. It has three different parts. The first part begins with a small group doing some introductory singing and the couple taking up their positions waiting for the proper song to begin; In the middle part the dancing takes place and the dancers are accompanied by castanets and drums and in the final part, dancers perform with vigorous and faster steps.
Spain - Folk Dances, El Candil & Las Seguidillas 2009
The stamps devoted to El Candil and Las Seguidillas, depict different steps of these folk dances performed by dancers in their traditional costumes wearing hats and scarves.
El Candil
El Candil takes its name from the fiestas held by candlelight and oil lamps long before electricity. It is a typical dance from the region of Extremadura and specially famous in the town of Olivenza ( Badajoz). It is said to have a Portuguese origin and is performed by a group of dancers in a circle making slow movements at the beginning and getting faster progressively with cheerful hammering of the heels on the floor and clapping from the public. The purpose of these gatherings was for young men and women to meet and the common way to ask a woman to dance was saying “please”. If another man wished to join in, he had to ask the man for permission, never the lady. The dance ends with a ritual embrace where the man puts his arms over the woman’s shoulders in a restrained manner. If this gesture was more effusive, the man could be rebuked. As in other folk dances, El Candil is accompanied by either gallantry songs or by cheeky and witty ones. The woman can reply to these compliments with another song expressing her rejection or her acceptance.
Las Seguidillas
The word Seguidillas refers to both a metric composition and to a popular dance, which according to experts, is the most characteristic of Spain. Its origin is claimed by various autonomous regions but it is commonly accepted as coming from La Mancha from where it spread to the rest of the country. It is accompanied by guitars, bandurrias, lutes, castanets and other instruments to a ¾ beat and four verse stanzas with various themes, from love, to sayings and jests. In the dance, there is always a musical introduction followed by the chorus and nine beat verses. The funniest part being the bien parao, which means standing still in the position the dancer is in the last note. Amongst the different varieties of Seguidillas are the manchegas, sevillanas, boleras, murcianas, chambergas and the gitanas and seguirillas, slower and a bit like flamenco.
El Candil
El Candil takes its name from the fiestas held by candlelight and oil lamps long before electricity. It is a typical dance from the region of Extremadura and specially famous in the town of Olivenza ( Badajoz). It is said to have a Portuguese origin and is performed by a group of dancers in a circle making slow movements at the beginning and getting faster progressively with cheerful hammering of the heels on the floor and clapping from the public. The purpose of these gatherings was for young men and women to meet and the common way to ask a woman to dance was saying “please”. If another man wished to join in, he had to ask the man for permission, never the lady. The dance ends with a ritual embrace where the man puts his arms over the woman’s shoulders in a restrained manner. If this gesture was more effusive, the man could be rebuked. As in other folk dances, El Candil is accompanied by either gallantry songs or by cheeky and witty ones. The woman can reply to these compliments with another song expressing her rejection or her acceptance.
Las Seguidillas
The word Seguidillas refers to both a metric composition and to a popular dance, which according to experts, is the most characteristic of Spain. Its origin is claimed by various autonomous regions but it is commonly accepted as coming from La Mancha from where it spread to the rest of the country. It is accompanied by guitars, bandurrias, lutes, castanets and other instruments to a ¾ beat and four verse stanzas with various themes, from love, to sayings and jests. In the dance, there is always a musical introduction followed by the chorus and nine beat verses. The funniest part being the bien parao, which means standing still in the position the dancer is in the last note. Amongst the different varieties of Seguidillas are the manchegas, sevillanas, boleras, murcianas, chambergas and the gitanas and seguirillas, slower and a bit like flamenco.
Spain - Folk Dances, La Muneira & El Fandango 2009
The Muñeira and the Fandango are issued within the Popular Dance series devoted to the folklore of Spain.
La Muñeira
The word Muñeira etymologically comes from the Galician muiño (mill) and it is the most characteristic dance from Galicia. It is of an uncertain origin and some authors find its origin as far as the pre roman dances, whilst others consider it to be in the festivals that took place in the mills whilst peasants waited for their flour. The dance has different steps throughout the various regions and begins with a row of men and a row of women facing each other. The man performs with strong and impetuous movements the turns and pirouettes with his arms up high whilst the woman performs with slow, timid movements and her arms down. It has at least two main parts: the punto, which has many variations depending on the dancers’ skill and the volta or wheel dancers perform changing positions. The dance is accompanied by bagpipe music, bass drums and tambourines. The best known amongst the different varieties are the tocadas, the cantadas, the acordadas and the no acordadas. The most popular being the muñeira do espantallo, inspired in a scarecrow.
Dating back to the end of the XVIII century, the Fandango is considered as one of the most popular dances in Spain. It is very common in Andalucía where it has experienced a process of aflamencamiento; that is, changes that are undergone as a result of the influence of flamenco. Malaga with its verdiales and Huelva are the two provinces where it is most popular. With certain variations it is performed in the Balearic Islands, Levante , Basque Country, Murcia (very popular in Jumilla and Yecla) and in Castille were the best known are the fandangos charros of Salamanca. This popular dance is also performed in the Philippines since colonial times.
El Fandango
The malagueñas, rondeñas, granadinas, verdiales and murcianas all come from the fandango, and all are usually accompanied by guitar music, castanets and sometimes by a violin. Steps can be interpreted by one or two couples with castanets that follow the beat with smooth undulations. The woman’s movements are soft and flexible and she keeps the beat with her shoes clicking on the floor.
The stamps are issue with a vignette of no postal value depicting steps of each dance.
La Muñeira
The word Muñeira etymologically comes from the Galician muiño (mill) and it is the most characteristic dance from Galicia. It is of an uncertain origin and some authors find its origin as far as the pre roman dances, whilst others consider it to be in the festivals that took place in the mills whilst peasants waited for their flour. The dance has different steps throughout the various regions and begins with a row of men and a row of women facing each other. The man performs with strong and impetuous movements the turns and pirouettes with his arms up high whilst the woman performs with slow, timid movements and her arms down. It has at least two main parts: the punto, which has many variations depending on the dancers’ skill and the volta or wheel dancers perform changing positions. The dance is accompanied by bagpipe music, bass drums and tambourines. The best known amongst the different varieties are the tocadas, the cantadas, the acordadas and the no acordadas. The most popular being the muñeira do espantallo, inspired in a scarecrow.
Dating back to the end of the XVIII century, the Fandango is considered as one of the most popular dances in Spain. It is very common in Andalucía where it has experienced a process of aflamencamiento; that is, changes that are undergone as a result of the influence of flamenco. Malaga with its verdiales and Huelva are the two provinces where it is most popular. With certain variations it is performed in the Balearic Islands, Levante , Basque Country, Murcia (very popular in Jumilla and Yecla) and in Castille were the best known are the fandangos charros of Salamanca. This popular dance is also performed in the Philippines since colonial times.
El Fandango
The malagueñas, rondeñas, granadinas, verdiales and murcianas all come from the fandango, and all are usually accompanied by guitar music, castanets and sometimes by a violin. Steps can be interpreted by one or two couples with castanets that follow the beat with smooth undulations. The woman’s movements are soft and flexible and she keeps the beat with her shoes clicking on the floor.
The stamps are issue with a vignette of no postal value depicting steps of each dance.
Spain - Folk Dances, El Aurresku & La Rueda 2009
The folklore from Castilla and Euskadi features in this Popular Dances series with two large stamps devoted to La Rueda and El Aurresku.
El Aurresku
In the Basque country, the richness and variety in dancing is such that each region and town have their own dances though the origin of many of these is uncertain. One of the most popular throughout the Basque region is El Aurresku which has its origins in the Sokadantza or rope dance. A group of men take the dance floor making a rope or soka by holding hands or holding a handkerchief. The first and last dancers, the aurreskulari and the atzeskulari are the most important. The dance begins with the music of the txistu (whistle) and a small drum and a walk around the main square. When the dancers are facing the public authorities, the aurreskulari performs his entrechat steps throwing his beret on the floor. Two or four dancers step out from the circle and go to fetch the partner of the aurreskulari who performs some steps before her. The same ceremonial is performed by the atzeskulari and his partner and by the rest of the members of the group and their respective partners who hold hands through a handkerchief. Then the desafio (defiance) takes place between the aurreskulari and the atzeskulari who perform some steps displaying their skill. Currently the Aurresku is performed by a solo professional dancer, usually the aurreskulari, in public, religious and political events.
La Rueda
La Rueda (wheel) is a characteristic dance of Castilla y León and takes different names depending on the region. Whilst in Burgos and León it is called La Rueda, in Valladolid and Segovia it is known as Corrido and Charrada in Salamanca. It is performed outdoors, mainly in town squares by a large number of dancers who build up La Rueda (wheel). Couples dance separately with their arms in the shape of the cross performing the same steps. Then the men stand outside the circle and surround the women and both circles begin to dance spinning around faster at each turn. The most representative and old rhythm is a 5/8 compass accompanied by a small drum and a dulzaina, although bagpipes and tambourines are also allowed. This type of dance is performed all over the world and is very common to Mediterranean countries.
El Aurresku
In the Basque country, the richness and variety in dancing is such that each region and town have their own dances though the origin of many of these is uncertain. One of the most popular throughout the Basque region is El Aurresku which has its origins in the Sokadantza or rope dance. A group of men take the dance floor making a rope or soka by holding hands or holding a handkerchief. The first and last dancers, the aurreskulari and the atzeskulari are the most important. The dance begins with the music of the txistu (whistle) and a small drum and a walk around the main square. When the dancers are facing the public authorities, the aurreskulari performs his entrechat steps throwing his beret on the floor. Two or four dancers step out from the circle and go to fetch the partner of the aurreskulari who performs some steps before her. The same ceremonial is performed by the atzeskulari and his partner and by the rest of the members of the group and their respective partners who hold hands through a handkerchief. Then the desafio (defiance) takes place between the aurreskulari and the atzeskulari who perform some steps displaying their skill. Currently the Aurresku is performed by a solo professional dancer, usually the aurreskulari, in public, religious and political events.
La Rueda
La Rueda (wheel) is a characteristic dance of Castilla y León and takes different names depending on the region. Whilst in Burgos and León it is called La Rueda, in Valladolid and Segovia it is known as Corrido and Charrada in Salamanca. It is performed outdoors, mainly in town squares by a large number of dancers who build up La Rueda (wheel). Couples dance separately with their arms in the shape of the cross performing the same steps. Then the men stand outside the circle and surround the women and both circles begin to dance spinning around faster at each turn. The most representative and old rhythm is a 5/8 compass accompanied by a small drum and a dulzaina, although bagpipes and tambourines are also allowed. This type of dance is performed all over the world and is very common to Mediterranean countries.
Spain - Folk Dances, El Bolero & La Mateixa 2009
The Popular Dances issue is on this occasion made up by “El Bolero” and “La Mateixa”
El Bolero
The origins of “El Bolero” are uncertain and different regions claim to be the birthplace of this type of dance. It is a castillian dance spread throughout Spain with different denominations such as bolero andaluz or bolero madrileño. It is also danced in Cuba and the Caribbean where it fuses with the rhythms of the region. The roots of El Bolero can be found in the contradanza of the XVIII century. It was first performed by the nobility and later on by the common people and in theatres where performances ended with couples dancing the so called national dance, that is a Bolero. It is made up of three parts: the paseo, coplas and desplante accompanied by guitars, tambourines and castanets. The couple performs the same dance steps but the arm and leg movements of the lady are more expressive than the man’s. The stamp is issued with a vignette with no postal value depicting a goyesco bolero.
La Mateixa
“La Mateixa” is one of the most deeply-rooted dances in the Balearic Islands and it is usually performed in all public or private events and has different characteristics from similar dances performed in other regions. In towns and villages in Mallorca it was customary to auction the first dance in parties and festivals where the youngsters in love would bid. However, the winner would not dance with his girlfriend, since she would only dance with a friend or relative of his, whilst the winner held a handkerchief and fan and looked admiringly at her graceful movements. La Mateixa means “the same” in Mallorquin (the language of the Balearic Islands). It refers to each step of the dance and to the exchange of couples since when they all dance at a time, they continuously rotate and always end up with La Mateixa or “the same”. The steps are guided by the woman and the man follows her with his glance. Depending on the area, it is performed in a quiet and reserved manor or with more liveliness and fluency. It is considered to be a courtship dance. The music is played by pipes, guitars, tambourines, and castanets, played to the rhythm of the cheery islands songs. The stamp depicts a couple dancing wearing the typical dress.
El Bolero
The origins of “El Bolero” are uncertain and different regions claim to be the birthplace of this type of dance. It is a castillian dance spread throughout Spain with different denominations such as bolero andaluz or bolero madrileño. It is also danced in Cuba and the Caribbean where it fuses with the rhythms of the region. The roots of El Bolero can be found in the contradanza of the XVIII century. It was first performed by the nobility and later on by the common people and in theatres where performances ended with couples dancing the so called national dance, that is a Bolero. It is made up of three parts: the paseo, coplas and desplante accompanied by guitars, tambourines and castanets. The couple performs the same dance steps but the arm and leg movements of the lady are more expressive than the man’s. The stamp is issued with a vignette with no postal value depicting a goyesco bolero.
La Mateixa
“La Mateixa” is one of the most deeply-rooted dances in the Balearic Islands and it is usually performed in all public or private events and has different characteristics from similar dances performed in other regions. In towns and villages in Mallorca it was customary to auction the first dance in parties and festivals where the youngsters in love would bid. However, the winner would not dance with his girlfriend, since she would only dance with a friend or relative of his, whilst the winner held a handkerchief and fan and looked admiringly at her graceful movements. La Mateixa means “the same” in Mallorquin (the language of the Balearic Islands). It refers to each step of the dance and to the exchange of couples since when they all dance at a time, they continuously rotate and always end up with La Mateixa or “the same”. The steps are guided by the woman and the man follows her with his glance. Depending on the area, it is performed in a quiet and reserved manor or with more liveliness and fluency. It is considered to be a courtship dance. The music is played by pipes, guitars, tambourines, and castanets, played to the rhythm of the cheery islands songs. The stamp depicts a couple dancing wearing the typical dress.
Spain - Folk Dances, La Isa & Las Sevillanas 2009
FOLK AND DANCES POPULAR
Issue Date 27 April 2009
Gravure Printing
Plaster Paper, gummed, phosphorescent
Perforation: 13 1/4
Perforation stamp souvenir sheet 13 3/4
Stamp size 49,8 x 33.2 mm. (horizontal)
Stamp souvenir sheet format 28.8 x 40.9 mm. (vertical)
Sheet size block 105, 6 x 79,2 mm. (horizontal)
Face value of stamps 0,43 €
Effects Statement 50
Circulation 450,000
Circulation 350,000 souvenir sheet
The series entitled “Popular dances” disseminates the Spanish cultural and folklore heritage with these two stamps devoted to La Isa and Las Sevillanas.
La Isa
The dances and songs from the Canary Islands have mixed Iberian and aborigine roots. The most popular are the Isa, the Serinoque, the Tajaraste, the Folias, Seguidillas and Tanguillos. Although all of these are well known, the most representative of the Canary Islands is the Isa, a Canarían variation of the peninsular 'Jota' but with slower and more lilting rhythm. It has an instrumental part with guitars, bandurrias, lutes and timples and another one with couplets and chorus. The dance is performed in a group, with couples holding hands in a circle and conducted by the captain’s voice. It begins with simple movements and evolves into more complicated steps requiring greater rhythm and skill. At one point the music stops and the consecutive complicated turns begin and then end up in the original dancing circle with its unalterable rhythm. It is a genre that allows for improvisation in rhythms and tunes which makes for a great variety in the different islands each with their own choreography.
Las Sevillanas
Las Sevillanas, native to Seville, is the most popular dance and song in Andalucía where the following are also very well known: The Olé gaditano from Cádiz, the Jaleo from Jerez, the Rondeña from Ronda, the Malagueña from Málaga and the Granadina from Granada. Technically, they are an evolution from the Castilian seguidillas which in time developed into a more flamenco style.
Las Sevillanas are danced in twos and have four different movements: paseillos, pasadas, careos and remates in 3 x4 timing. There is a wide variety of Sevillanas but the best known are the boleras, rocieras, corraleras and bíblicas and they take their name depending on the theme of the song or the background conditions. They are mainly accompanied by guitar playing, hand clapping by the palmeros and, castanets or, palillos (drumsticks) as they are called in Andalucía. Their fame spreads all over the country as they are performed throughout Spain in festivals, celebrations and dance clubs and especially in the Feria de Sevilla and El Rocío pilgrimage. Since the sixties, the Sevillanas have evolved with new artists, themes and musical interpretations though observing the original essence and the graceful arm and leg movement.
La Isa
The dances and songs from the Canary Islands have mixed Iberian and aborigine roots. The most popular are the Isa, the Serinoque, the Tajaraste, the Folias, Seguidillas and Tanguillos. Although all of these are well known, the most representative of the Canary Islands is the Isa, a Canarían variation of the peninsular 'Jota' but with slower and more lilting rhythm. It has an instrumental part with guitars, bandurrias, lutes and timples and another one with couplets and chorus. The dance is performed in a group, with couples holding hands in a circle and conducted by the captain’s voice. It begins with simple movements and evolves into more complicated steps requiring greater rhythm and skill. At one point the music stops and the consecutive complicated turns begin and then end up in the original dancing circle with its unalterable rhythm. It is a genre that allows for improvisation in rhythms and tunes which makes for a great variety in the different islands each with their own choreography.
Las Sevillanas
Las Sevillanas, native to Seville, is the most popular dance and song in Andalucía where the following are also very well known: The Olé gaditano from Cádiz, the Jaleo from Jerez, the Rondeña from Ronda, the Malagueña from Málaga and the Granadina from Granada. Technically, they are an evolution from the Castilian seguidillas which in time developed into a more flamenco style.
Las Sevillanas are danced in twos and have four different movements: paseillos, pasadas, careos and remates in 3 x4 timing. There is a wide variety of Sevillanas but the best known are the boleras, rocieras, corraleras and bíblicas and they take their name depending on the theme of the song or the background conditions. They are mainly accompanied by guitar playing, hand clapping by the palmeros and, castanets or, palillos (drumsticks) as they are called in Andalucía. Their fame spreads all over the country as they are performed throughout Spain in festivals, celebrations and dance clubs and especially in the Feria de Sevilla and El Rocío pilgrimage. Since the sixties, the Sevillanas have evolved with new artists, themes and musical interpretations though observing the original essence and the graceful arm and leg movement.
Sunday, January 24, 2010
Spain - Moda Espanola, Manuel Piña 2009
Spanish Fashion - Manuel Piña
| Issue date | 15/06/2009 |
|---|---|
| Stamping | Gravure with micro-relieve |
| Paper | Phosphorescent, gummed, chalk coated paper |
| Perforated | 13 3/4 |
| Size of the stamps | 28,8 x 49,8 mm. (verticales) |
| Size of the SS | 105,6 x 150 mm. (vertical) |
| Face Value of the stamps | 0,32 € |
| Editional | 350.000 hojas bloque |
This year’s issue on Spanish Fashion is devoted to designer Manuel Piña and his contribution to fashion in the last decades of the XX century.
Manuel Piña (1944-1994) was born in Manzanares (Ciudad Real). He belonged to the new generation of Spanish fashion designers who since 1980 worked hard to set up the Federation of Spanish prêt-a-porter aiming at placing Spanish fashion in a prominent place internationally. At the age of 20 he moved to Madrid and took over a small knitwear workshop, coming into contact with the world of fashion. His first collection was presented in the Liceo in Barcelona but his consecration came with the show set up in the big tops of the circus of the Ciudad de los Muchachos in Madrid in 1982. He introduced new fabrics in his designs such as the plaited leather, hand dyed wool, macramé, patent leather and knitted fabrics giving way to new trends in Spain and abroad. With painter Juan Gomilla and other artists and designers of the moment he presented in 1984 in the LLotja in Barcelona his collection “Cotton and art” which remains in the annals of Spanish fashion. He was very fond of his work and expressed that “A designer is a man working to make the life of others more pleasant”. The last years of his life he wore a characteristic pirate headscarf, a trend followed by many young people.
In 1989 Manuel Piña won the contest tendered by Correos y Telegrafos to design the uniforms of postmen all over Spain with a harmonious and comfortable image.
The souvenir sheet depicts four clothe styles belonging to the Manuel Piña museum in Manzanares, built as homage to the designer by the town where he lived and died. From left to right and top to bottom feature: Raw linen dress in blue and green, hand painted by Alex Serna (1991); Knitted wool suit from the autumn-winter collection (1986-1987); Raw linen dress with hoops hand painted by Juan Gomila (1984) and wedding dress in silk lace with hoops and a long train. The souvenir sheet has been designed by Francisco Paniagua based on the photographs taken by Miguel Angel Granados, both employees of Correos y Telegrafos.
Manuel Piña (1944-1994) was born in Manzanares (Ciudad Real). He belonged to the new generation of Spanish fashion designers who since 1980 worked hard to set up the Federation of Spanish prêt-a-porter aiming at placing Spanish fashion in a prominent place internationally. At the age of 20 he moved to Madrid and took over a small knitwear workshop, coming into contact with the world of fashion. His first collection was presented in the Liceo in Barcelona but his consecration came with the show set up in the big tops of the circus of the Ciudad de los Muchachos in Madrid in 1982. He introduced new fabrics in his designs such as the plaited leather, hand dyed wool, macramé, patent leather and knitted fabrics giving way to new trends in Spain and abroad. With painter Juan Gomilla and other artists and designers of the moment he presented in 1984 in the LLotja in Barcelona his collection “Cotton and art” which remains in the annals of Spanish fashion. He was very fond of his work and expressed that “A designer is a man working to make the life of others more pleasant”. The last years of his life he wore a characteristic pirate headscarf, a trend followed by many young people.
In 1989 Manuel Piña won the contest tendered by Correos y Telegrafos to design the uniforms of postmen all over Spain with a harmonious and comfortable image.
The souvenir sheet depicts four clothe styles belonging to the Manuel Piña museum in Manzanares, built as homage to the designer by the town where he lived and died. From left to right and top to bottom feature: Raw linen dress in blue and green, hand painted by Alex Serna (1991); Knitted wool suit from the autumn-winter collection (1986-1987); Raw linen dress with hoops hand painted by Juan Gomila (1984) and wedding dress in silk lace with hoops and a long train. The souvenir sheet has been designed by Francisco Paniagua based on the photographs taken by Miguel Angel Granados, both employees of Correos y Telegrafos.
Finland - Traditional Costumes 1989
Finland clothing designs are influenced by larger European design trends. The specific clothing of Finland is a folk costume that is redesigned to make it the national costume of the Finns.
Native Finland clothing owes its origins to the fashion trends prevailing in the 16th century. The traditional clothing of Finland is a combination of a vest, skirt and a shirt. All the three are worn together. A formal event required the addition of other material parts like a lacey cap, apron and a silk scarf. The silk scarf is worn around the wearer's shoulders. The festive clothes are made from wool with cotton warp. The artistic capabilities and skill of the artisans manifests itself through their clothing. The dye employed to color the wool used in weaving the garments are sourced from naturally based pigments found in nature.
Many matching parts make up the complete clothing in Finland. The clothing worn by women has a skirt, wool vest, cotton blouse, apron, jacket, scarf and a headpiece. The headpiece may be of various designs like caps, headbands and hats. The clothing worn by men is similar in nature. The trousers worn by men are knee length knickerbockers. Shoes are either laced or buckled.
Native Finland clothing owes its origins to the fashion trends prevailing in the 16th century. The traditional clothing of Finland is a combination of a vest, skirt and a shirt. All the three are worn together. A formal event required the addition of other material parts like a lacey cap, apron and a silk scarf. The silk scarf is worn around the wearer's shoulders. The festive clothes are made from wool with cotton warp. The artistic capabilities and skill of the artisans manifests itself through their clothing. The dye employed to color the wool used in weaving the garments are sourced from naturally based pigments found in nature.
Many matching parts make up the complete clothing in Finland. The clothing worn by women has a skirt, wool vest, cotton blouse, apron, jacket, scarf and a headpiece. The headpiece may be of various designs like caps, headbands and hats. The clothing worn by men is similar in nature. The trousers worn by men are knee length knickerbockers. Shoes are either laced or buckled.
Saturday, January 23, 2010
Friday, January 22, 2010
Jersey - Coat of Arms 1981
Issue on 12 February 1981
1/2 pence - De Bagot
1 pence - De Carteret
2 pence - La Cloche
3 pence - Dumaresq
4 pence - Payn
5 pence - Janvrin
6 pence - Poingdestre
7 pence - Pipon
8 pence - Marett
9 pence - Le Breton
10 pence - Le Maistre
Jersey - Coat of Arms 1981
Issue on 28 July 1981
11 pence - Bisson
12 pence - Robin
13 pence - Herault
14 pence - Messervy
15 pence - Fiott
20 pence - Badier
Jersey - Coat of Arms 1982
Issue on 23 February 1985
25 pence - L'Arbalestier
30 pence - Journeaulx
40 pence - Lempriere
50 pence - D'Auvergne
1 pound sterling - Coat of Arms of Jersey & Map
Origin/meaning:
The arms are those of the Kingdom of England and of Normandy. The arms are identical to those used by Guernsey (except for the small leaf on top of the Guernsey arms). The arms have never officially been granted to the islands. The arms are derived from the oldest known seals of the island, which were granted in 1290/1 by King Edward I. The seals showed the royal arms, i.e. the three lions. Ever since the islands have used the royal arms as their own, on seals, prints and coins. The continued use of the royal arms was granted after a long discussion in 1907, but the arms were not officially granted to the islands.
The arms are those of the Kingdom of England and of Normandy. The arms are identical to those used by Guernsey (except for the small leaf on top of the Guernsey arms). The arms have never officially been granted to the islands. The arms are derived from the oldest known seals of the island, which were granted in 1290/1 by King Edward I. The seals showed the royal arms, i.e. the three lions. Ever since the islands have used the royal arms as their own, on seals, prints and coins. The continued use of the royal arms was granted after a long discussion in 1907, but the arms were not officially granted to the islands.
Jersey - Coat of Arms 1988
Issue on 26 April 1988
18 pence - De St.Martin
19 pence - Hamptonne
26 pence - De Bagot
Tuesday, January 19, 2010
Thailand - 60th Anniversary of Philippines-Thailand Diplomatic Relations 2009
Date of issue: 14 June 2009
Subject: 60th Anniversary of Philippines - Thailand Diplomatic Relations
Width: 48.00 mm
Height: 30.00 mm
Denomination: 3.00 THB
Number in set: 2
Layout/ Format: Sheet
Perforations: 14 by 14
Stamp issuing authority: The Communications Authority of Thailand
Friday, January 1, 2010
Jersey - Parishes of Jersey (Definitives) 1976
Issue on 29 January 1976.
1/2 pence - The Parishes of Jersey
1 pence - Parish of Trinity & Zoological Park
5 pence - Parish of St.Mary & St.Mary's Church
6 pence - Parish of Grouville & Seymour Tower
7 pence - Parish of St.Brelade & La Corbiere Lighthouse
8 pence - Parish of St.Saviour & St.Saviour's Church
9 pence - Parish of St.Helier & Elizabeth Castle
10 pence - Parish of St.Martin & Gorey Harbour
11 pence - Parish of St.Peter & Jersey Airport
12 pence - Parish of St.Ouen & Grosnez Castle
13 pence - Parish of St.John & Bonne Nuit Harbour
14 pence - Parish of St.Clement & Le Hocq Tower
15 pence - Parish of St.Lawrence & Morel Farm
The Channel Island of Jersey is divided into twelve administrative districts or parishes. All have access to the sea and are named after the saints to whom their ancient parish churches are dedicated:
Saint Helier (incorporating the island's capital)
Grouville (historically Saint Martin de Grouville; incorporating Les Minquiers)
Saint Brélade
Saint Clement
Saint John
Saint Lawrence
Saint Martin (historically Saint Martin le Vieux; incorporating Les Écréhous)
Saint Mary
Saint Ouen
Saint Peter
Saint Saviour
Trinity
Parish emblems:
There are two stories told of the origins of the badges or emblems currently used by the parishes in Jersey. Two men are named, and the emblems could have been designed by either of them alone or, as seems more likely, by one designing and the other developing the ideas.
Alfred G Wright was an artist, working at the time as art master at Victoria College. He had previously undertaken a commission from the States. He drew up the illuminated address that was presented to King George V in 1921, and it was here that the emblems were first used.
Major N V L Rybot was acknowledged to be an authority on matters of heraldry. It has been said that he designed the emblems, and that they were published for the first time in Jersey: an Isle of romance by Blanche Elliott in 1923. Some of these designs differ in detail from those used today and Rybot is believed to have redrawn them.
Whichever account is true, the emblems were not based on any earlier designs, but were designed according to the dedication of each parish church. They date from the 1920s. It seems certain that Major Rybot developed the drawings, and his description of the emblems supports this view. The parishes later adopted the emblems formally, and they are used in many instances today.
Grouville
Grouville parish emblem
The church is dedicated to St Martin, and thus the emblem is very similar to that of the parish of St Martin. Grouville shows eight alternate bands of silver and red, including four red bands. The patron saint of Grouville is believed to be St Martin, Bishop of Tours, whose diocese included Brittany.
http://www.jeron.je/thatwasjersey/g.html
Louis XI believed that the Kings of Hungary were descended from St Martin, born in Hungary. Their arms of 8 bars of red and silver were placed on the saint’s shrine in the Cathedral of Tours. Grouville’s emblem shows the full 8 bars, whilst St Martin has only 7.
St Brelade
St Brelade parish emblem
The emblem shows a silver fish on a blue background. There seems to be some confusion here between two saints. St Brendan’s symbol was the fish, as on the St Brelade emblem, and this was because of his many voyages of discovery. St Branwalader, it is said, chose St Brelade as a base for his missionary work in the island, and he is known to have founded a number of churches, which were often credited to the more famous St Brendan.
http://www.jeron.je/thatwasjersey/sb.html
Legend has it that St Brelade prayed for land whilst searching for the Islands of the Blest. An island arose from the sea on which he celebrated Easter. As he departed so did the island. It was an enormous fish sent in answer to his prayers.
St Clement
St Clement parish emblem
A golden anchor on a blue background is the symbol for the patron saint of blacksmiths, and St Clement is also one of several saints attached to the sea and sailors.
http://www.jeron.je/thatwasjersey/sc.html
St Clement is the Patron Saint of blacksmiths and anchorsmiths. Legend has it that he was martyred by being attached to an anchor and thrown into the Black Sea.
St Helier
St Helier parish emblem
According to tradition Helier, Jersey’s first martyr, was attacked by pirates armed with axes and murdered. He had lived on the rock now occupied by Elizabeth Castle and had protected his followers from attacks for several years, before the fatal blow. The crossed gold axes on a blue background commemorate this event.
http://www.jeron.je/thatwasjersey/sh.html
The two axes commemorate the beheading by Saxon Pirates in AD 555 of St Helier, Patron saint of Jersey.
St John
St John parish emblem
The church was dedicated to St John the Baptist, but the emblem is the Maltese Cross of the Knights of St John of Jerusalem. The gold cross is on a green background, as a reminder of the oak trees, which may have given the church its full name of St John of the Oaks.
http://www.jeron.je/thatwasjersey/sj.html
The Maltese Cross is the emblem of the Knights of St John at Jerusalem (Knights Hospitallers). The stylised Maltese Cross is set on a green background to recognise the old name for the Parish church, St John of the Oaks, though the church was dedicated to John the Baptist.
St Lawrence
St Lawrence parish emblem
St Lawrence, Bishop of Rome, was martyred by roasting on a gridiron. His symbol is always a black gridiron, here seen on a silver shield.
http://www.jeron.je/thatwasjersey/sl.html
St Lawrence, Bishop of Rome, was martyred along with six deacons and Pope Sixtus II by being roasted alive on a gridiron. The saint is always depicted by being tied to or holding a gridiron.
St Martin
St Martin parish emblem
This church is dedicated to St Martin-le-Vieux. This occasionally leads to confusion with the parish of Grouville (dedicated to St Martin, Bishop of Tours). The parish shares the red and silver bands with Grouville. However, on the St Martin parish emblem, the three (not four) red bands are noticeably broader, and there are just seven bands, rather than eight.
http://www.jeron.je/thatwasjersey/smn.html
St Martin of Tours is the Patron Saint of St martin and Grouville, which is why their badges are similar. Both badges are based on the arms of the King of Hungary. It has seven bars to distinguish it from St Martin of Grouville.
St Mary
St Mary parish emblem
The lily has long been associated with the Virgin Mary, and here it appears in silver on a blue shield. The church is actually dedicated to St Mary of the Burnt Monastery, although it is unclear why.
http://www.jeron.je/thatwasjersey/smy.html
The lily of the Annunciation of ‘Flwur de Lys’ has always been regarded as the special flower of the Virgin Mary.
St Ouen
St Ouen parish emblem
The patron saint of Normandy, St Ouen founded a religious centre shortly before the Viking invasions of the island. His symbol is a gold cross on a blue background, as a reminder of a vision he had of a miraculous cross.
http://www.jeron.je/thatwasjersey/so.html
St Ouen, the Patron Saint of Normandy, founded a religious community on Jersey before the Viking invasions. He is said to have seen a miraculous cross, which told him to travel from Normandy to Jersey.
St Peter
St Peter parish emblem
The keys to heaven are generally associated with St Peter. Here they are silver and are crossed on a red background, surrounded by gold. The gold is a reminder of the sands that make up much of this parish.
http://www.jeron.je/thatwasjersey/sp.html
The crossed keys of Heaven and Hell have always been the symbols of St eter. The Parish church was dedicated to St Pierre dans le Désert, recognised by the gold border to the crossed keys.
St Saviour
St Saviour parish emblem
The full dedication is to St Saviour of the Thorn. The symbol of a crown of thorns and some nails recall the Saviour’s suffering. These symbols are gold, on a background of red.
http://www.jeron.je/thatwasjersey/ss.html
The Parish church, St Sauveur de L’Épine, was dedicated to Jesus Christ. Hence, the crown and nails of the cruxifixion though ’Épine‘ means thorn and may suggest a relic of the crown of thorns.
Trinity
Trinity parish emblem
The design for this emblem is based on an ancient symbol for the Trinity, showing a silver triangle, with three silver circles on a green background.
http://www.jeron.je/thatwasjersey/t.html
http://www.jeron.je/thatwasjersey/t.html
The most curious of the Parish badges. The triangle obviously represents the Holy Trinity. God (deus) in the centre is (est) father (Parter), Son (Fillius) and Holy Ghost (Spiritus) whereas none of the members of the Trinity are of themselves (non est) God.
Jersey - Definitives 1976, 1977
Issue on 20 August 1976
20 pence - Jersey Parish Arms
30 pence - Jersey Map
40 pence - Post Office Headquarters
50 pence - Parliament & Royal Court
1 Pound Sterling - Government House
Issue on 1977
2 Pound Sterling - Queen Elizabeth
20 pence - Jersey Parish Arms
30 pence - Jersey Map
40 pence - Post Office Headquarters
50 pence - Parliament & Royal Court
1 Pound Sterling - Government House
Issue on 1977
2 Pound Sterling - Queen Elizabeth
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