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This episode we are taking a quick break from our overall story of Uno no Sarara (aka Jito Tenno) and we are focusing on Ise Shrine and Amaterasu, the Sun Goddess. There is a lot, for a bit more, check out our podcast blogpost at: https://sengokudaimyo.com/podcast/episode-153 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua, and this is Episode 153: Ise and the Sun Goddess. In the newly built hall of the Fujiwara Palace, the nobles of the court were gathered for a grand banquet. Snow-white walls were off-set by bright crimson pillars and trim, highlighted by bright green windows. The nobles themselves were a rainbow of colors, arranged as they were by rank. At the head of it all, on a dais, sat the Queen herself, Uno no Sarara. However, the attention was no longer on her. Instead, it was on another figure, standing in front of the assembled audience. A quiet spread throughout the hall, the court listening as Hieda no Are began to tell the story of the Sun Goddess in the Plain of High Heaven. They listened to the story of her and Susano'o, and of the backward flayed horse. They heard the tale of the Heavenly Rock Cave, and of all that came after, including the sending of the August Grandchild, Ninigi. They listened to the story—the story of Yamato. Last episode, we talked in more detail about Uno No Sarara—starting from her early years as the daughter of Naka no Ohoe, granddaughter of Soga no Kurayamada, and child-bride to her uncle, Ohoama. I'll admit we didn't look too hard at that last bit, and I don't have enough information to confirm what exactly "marriage" entailed in that context, but it is still something that I find tremendously creepy and, unfortunately, anything but unique. So I'm not going to dive too much further into it right now but… ew. We talked about how she gave birth to her son, Kusakabe, in Kyushu, during the war on the continent, and how she eventually left for Yoshino with her husband when he retired from court, presumably to outsmart his court rivals, who were positioning him to be taken out. She also is said to have played a part in the planning and execution of the resulting Jinshin no Ran, later helping her husband govern the realm. And now, she was on the throne, overseeing the completion of many of the projects started in the reign of her husband. This included the completion of the Kiyomihara code, the Fujiwara palace, and the support given to the institution of Ise Grand Shrine. This episode, I want to dive into that last topic: the emphasis in Uno no Sarara's reign on Ise Shrine and its focus, the Great God, Amaterasu no Ohokami. Although the Chronicles talk about Amaterasu as one of the founding deities of the Yamato royal line, there is plenty of evidence that this story was grafted into the tales at a later date, and that worship of Amaterasu, at least as anything more than a minor deity, likely also started relatively late. Some have even suggested that Ise Shrine itself wasn't even built until the late 7th century. So, all of this focus on Ise and Amaterasu appears to be part of the larger effort to structure the physical, cultural, and spiritual landscape of the new Yamato state. Last episode we mentioned how, according to the Nihon Shoki, Ohoama turned to worship towards Ise. Well, specifically, he worshipped Amaterasu Ohokami. So let's take a moment and talk about what we know of the history of this Great God of Heavenly Brightness. Unfortunately, most of that history is based on what we know of the kami from works like the Nihon Shoki, the Kojiki, and the Sendai Kuji Hongi, all of which came out in the 8th century or so. As such, it can be hard to know what things were actually like, earlier on, as opposed to what was added or removed later. Much of what I'm going to be talking about, today, I'm going to be pulling from a book written in 2017 by Mark Teeuvwen [Tayvin?] and John Breen titled "A Social History of the Ise Shrines", as well as Michael Como's work "Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan", published in 2009, along with other sources. In their book, Breen and Teeuwen point out that for those who do not take the events of the Nihon Shoki and Kojiki at face value, there are two primary theories for the origin of the worship of Amaterasu: an early theory and a late theory. The early theory places the development of the worship of Amaterasu in the 5th and 6th centuries, during the reigns of such figures as Wakatakeru no Ohokimi, aka Yuuryaku Tennou. The Late Theory places the development in the 7th century, largely at the feet of such figures as Ohoama and Uno no Sarara herself. We'll take a look at the evidence and see what it says. I would note that compared to the official history, both of these would be very late theories. According to Ise Grand Shrine even today, Amaterasu arrived in Ise in the 26th year of Ikume Iribiko, aka Suinin Tennou, as stated in the Nihon Shoki, which corresponds to 4 BCE if you take the dating of the Nihon Shoki to be accurate. Of course, we've already spent plenty of time talking about the problems with the Nihon Shoki prior to the 6th century CE, as well as how the political nature of the text affected what it contained. So to kick things off, let's address the biggest question of all: why don't we believe that Amaterasu no Ohokami was always the primary deity of the pantheon of Yamato, at the very least, if not all of the Wa people of the archipelago? After all, isn't she a sun goddess, and isn't sun worship fairly well documented among the ancient Japanese? Just take a look at words like "Hiko" and "Hime", referring to rulers as sun man and sun woman. Also note that early on, worship seems to have centered around places such as mountaintops, which focused worship towards the sky and the highest point. In fact, as wet rice paddy agriculture became the dominant economic factor driving the engine of the archipelago in the Yayoi and early kofun period, early shrines were very likely about bringing the spirit of the mountain from the mountaintop and giving them a home amongst the rice fields.. And then we have the stories. Don't the ancient stories all tell about Amaterasu as the ruler of Takama no Hara, the Heavenly Plain? And isn't it her grandchild that then descends to the earth to pacify the Land of the Reed Plains—aka the Japanese archipelago? Well let's take a look at those same stories, which we've covered in earlier episodes of the podcast. The first deities mentioned in the Chronicles are deities like Ama no Minaka Nushi, Lord of the August Middle of Heaven; Takami Musubi, High August Growth; and Kami Musubi, Divine August Growth. There are other deities, like Kuni Toko Tachi, but they are barely mentioned again. Later we get Izanagi and Izanami, the masculine and feminine, who create the world and give birth to numerous deities from that point on. Among the children of Izanagi are said to be Amaterasu, Tsukiyomi, and Susano'o. Amaterasu, Heaven's Brightness, represents the sun while Tsukiyomi represents the dark of the moon. Susano'o is then the god of the storms and seas, and was sent to the Nether Land, the Ne no Kuni. Right away we see that there are numerous different stories listed in the Nihon Shoki for just about everything. Only the Kojiki gives everything as a single, coherent narrative, but surely the readers in the 8th century would have known some of these other stories, and thus the Nihon Shoki gives the alternates as well. Now the main narrative of the Kojiki and the Nihon Shoki tells us that Ama-terasu no Oho-kami was born to rule over everything. In the Nihon Shoki, Izanagi and Izanami specifically mention that divine destiny in Amaterasu's creation—although actually, in that part of the text, the deity they are creating is named Oho-hiru-me no Muchi; the Great Sun Female Holder. And in the next entry they call Amaterasu: Ama-terasu Oho-hiru-me. Tsukiyomi, the deity of the moon, is made to be her consort, and they are supposedly sent to rule the plain of Heaven, Takama no Hara. The problem is that there are other entries that suggest that Takama no Hara already had a ruler: Taka-mi-Musubi. Reading the sections on Taka-mi-Musubi, we see a deity who is said to have produced 1500 children, himself—no mention of Izanagi and Izanami. Some of his children are mentioned as Omohi-kane: the Thought-Combining deity, and Sukuna-bikona: the Little-Prince-Named deity. Amatsu Hiko Hiko Ho Ninigi no Mikoto, the August Heavenly Prince, Prince Ho-ninigi, is not just a grandson of Amaterasu no Ohokami, but also a grandchild of Taka-mi Musubi. In at least one story, Takami Musubi is the one who wants Ninigi no Mikoto to become the ruler of the Central Land of the Reed Plains. Towards that end, he gathers the various kami and chooses someone to go down and prepare the way—Ama-ho-hi no Mikoto—who was to quote-unquote "expel and subdue" the evil gods of that land. We covered this story in episode 21 and 22. When that doesn't work, he gathers them again, sending others to try and do the same. Eventually he sends Takemikazuchi and Futsunushi down. All of this sounds like Taka-mi Musubi, whose name appears to refer to being the "high" deity, was the one in charge. In addition, we have the court ritual from sources like the Engi Shiki, which illustrates the deities that were invoked for the protection of the palace and the royal family. These were: Kami-musubi, Takami-musubi, Iku-musubi, Taru-musubi, Tamatsume-musubi, Oomiya-no-me, Oomiketsu-no-kami and Kotoshironushi. One might notice a lot of the "musubi" names among the deities, and a distinct lack of appeal to Amaterasu. If Amaterasu were the central deity and ancestral deity of the royal family, why is she not invoked in the rituals of the court itself? The thought, here, is that these rituals are likely much older than the worship of Amaterasu, and while Amaterasu would come to prominence in the stories that the court would tell, it was much more difficult for them to rearrange the traditional rituals to put her front and center. Those rituals were maintained by ritualist families like the Nakatomi, and they weren't likely to change the rituals willy-nilly, even for a sovereign. That was playing with supernatural fire, after all—if you changed the rituals, would they still even be effective? Granted, rituals do change, so it isn't a perfect argument; perhaps it was just not considered to be important enough to make the change since it was not something that anyone except the court ritualists needed to worry themselves over. Either way, it appears that we do have a list of deities that may have been the deities of the ruling elite prior to the rise of Amaterasu and Ise shrine more generally. We have a few other clues of what was going on in the narrative. For instance, we see the story from the reign of Mimaki Iribiko, aka Sujin Tennou, also called the First Sovereign of Yamato, despite the legendary figures inserted prior to his reign. It is in this chapter that we see a note that Ama-terasu no Oho-kami and Yamato no Oho-kuni-dama, which is to say the Spirit of the Country of Yamato, were both worshipped together in the hall—that is in the royal palace itself. And yet apparently Mimaki Iribiko feared these deities residing with him in the palace, and he had their worship moved to locations outside of the palace. Amaterasu's worship was given to Toyosuki-iri-bime, one of Mimaki Iribiko's daughters, and established in the district of Shiki, in Yamato. Yamato no Ohokunidama, on the other hand, was given over to Nunaki-iri-bime no Mikoto, another daughter through a different wife. but we are told that she was lean, and her hair was falling out, and so she couldn't perform the rites. Turning our attention back to Ama-terasu—in the reign of Ikume-Iribiko, aka Suinin Tennou, son and heir of Mimaki Iribiko, the worship of Ama-terasu would pass from Mimaki Iribiko's daughter, Nunaki Iri Bime to Ikume Iribiko's daughter, Yamato Hime. She would move the worship site from Shiki to Uda, in the shadow of Mt. Miwa, and then proceed over to the upper banks, or Kawakami, of Isuzu, in the district of Watarai. Here, in one of the alternate stories about this episode, we get the Great God of Yamato—Ohoyamato no Ohokami—speaking through a medium to warn the sovereign that he had better be careful. Mimaki Iribiko had not been quite thorough enough in his worship, so he had not had a long life, and if Ikume Iribiko didn't do the same, he would suffer a similar fate. And so, in a record eerily similar to what we see in the previous reign, the worship of the "Great God of Yamato", the Oho-Yamato no Oho-kami, is given to Nunaki-waka-hime—as opposed to Nunaki-Iri-bime—who also fails in the task because of her emaciated body. This also introduces Fukayu nushi, an ancestor of the Nakatomi, who was the one who divined what should be done. There is so much to unpack in these stories. For one, the kami bring power, but also danger. One can try to placate the kami, but it isn't like a ritual will always work, and the story is of the sovereign being actively afraid of what they might do, so they were removed from the palace. Then there is the fact that we see two seemingly similar names—Ohoyamato no Ohokami and Yamato no Kunidama both seem like we are talking about the same spirit of Yamato, though some would point out that one is the spirit of the country and one is the great kami of the country, so, clearly different. Both are also being given to someone named "Nunaki—something-something—Hime", and in both cases Nunaki seems to fail in her task because she is apparently not hot enough for the kami. She's described as too thin and emaciated or balding. We aren't given the lineage of Nunaki Waka Hime, but Nunaki Iri Bime is connected with the land of Owari. Nunaki Iri-bime is said to be the daughter of Mimaki Iribiko and Ohoama Hime, ancestor of the Owari no Muraji. Owari was the land that supported Ohoama during the Jinshin no Ran. Finally, in both cases, we see the worship of the spirit of Yamato being given over to someone name "Nagochi", later identified as Nagochi no Sukune, ancestor of the Yamato no Atahe. One more note—closely on the heels of moving these two kami out of the palace, we see that the court brings in the worship of Oho-mono-nushi, the god of Mt. Miwa, under Ohotataneko, the ancestor of the Miwa clan. So the stories here account for Ama-terasu being moved to Watarai and why she isn't worshipped in the palace. It also places Oho-mono-nushi at the center of worship in Yamato. Oho-mono-nushi and Miwa continue to dominate the narrative from here on out, with a few notable exceptions, such as with Okinaga Tarashi Hime, aka Jingu Tennou and her mythical conquest of the Korean peninsula. I'm sure that had no political implications at all given everything that had happened with Baekje, Silla, and the Tang dynasty in the latter half of the 7th century. Other than scenes like that, however, the Miwa clan and worship of the Miwa deity appear frequently in the narrative. It is clear that Mt. Miwa, and its deity, were important, and when Breen and Teeuwen hypothesize that when Naka no Ohoe, which is to say Tenji Tennou, took the drastic step of moving the capital up to Ohotsu, in the land of Afumi, he also brought the Miwa deity with him. Those Afumi court rituals were conducted under the auspices of the Nakatomi, and particularly the auspices of Nakatomi no Kane, who would become one of the chief opponents of Ohoama during the Jinshin no Ran in 672. After that conflict, Ohoama and his wife, Uno no Sarara, were building new traditions using Ise and constructing new legends. Legends that would be under their control and influence and which would further bolster their rule from the city that they had designed to fit inside of this newly constructed cosmological framework. And yet this also brings up what seems like an obvious question. If Ise Shrine and the worship of Amaterasu were so central to Ohoama and Uno's plans, then why would they put it so far away? Proponents of the "early" theory of the development of Amaterasu and Ise Shrine suggest that the answer lies in the text of the Chronicles. That there is some truth to the idea that there was worship in Yamato and that, for various reasons, it moved out to Watarai district early on and developed into Ise Shrine. Those who hold to the "late" theory of development see all of those stories as later inserts meant to explain away why Ise Shrine was so far away—and perhaps why Amaterasu was not included in the cool-kami club of court ritual. Teeuwen and Breen mention a few of the theories, from Naoki Koujiro stressing Ise as a strategic gateway between Yamato and Eastern Japan to Tanaka Takashi proposing that the movement of Amaterasu to Ise is actually a stand-in for one or more military campaigns to that area to bring it under Yamato control. And before we move too much further in the narrative, let's talk about how Ise is physically and geographically situated. Ise is part of modern Mie prefecture, on the eastern edge of the Ki peninsula. It is at the southern end of a series of adjoining alluvial plains that follow the coastline north to the modern prefectures of Aichi and Gifu—the ancient provinces of Owari and Mino. The capital of Ise Province used to be in Suzuka, near the the two Tsubaki shrines which both lay claim to the title of Ise no Ichinomiya, the First shrine of the land of Ise, and the pass that served as one of three major routes from eastern Japan into the Home Provinces and beyond. This puts Ise about as far away as you can get from the capital of the province without going over the mountains, themselves. It also puts it a good deal south of most major travel routes. If you are going to Ise shrine then it is pretty clear you were going to Ise shrine, as there isn't a lot of evidence for anything else in the area. The Shrine itself is actually made up of two primary shrine complexes. There is the Naiku, the inner shrine, and the Geku, or outer shrine. The Naiku, or inner shrine, is probably the area most people think about. It is at the foot of the mountains where the Shimamichi River joins the Isuzu River and both flow out of the mountains. The Naiku contains the shrine to Amaterasu no Ohokami, and is famous for its layout, where there are actually two shrine enclosures, one next to the other. The main shrine is then rebuilt in the empty enclosure every 20 years, at which point the worship is moved to the new shrine, the old shrine is torn down, and the cycle is started once again. The Outer Shrine, or Geku, is further north, and probably not as well known to foreigners. The Geku is said to enshrine the spirit of Toyouke-bime, a kami dedicated to food. According to the traditions of the Geku itself, Toyouke-bime was enshrined in the Geku at the command of Wakatakiru no Ohokimi, aka Yuuryaku Tennou, based on a dream. Regarding the history of why the Shrines—both Inner and Outer—are located here, archaeological evidence doesn't give us a lot to suggest that these might be the case. Despite the presence of the Miya River near Ise Shrine, we haven't found evidence of a large harbor or port, like we might expect if it was the jumping off point for crossing Ise Bay—or even the center of another large polity. Instead, the areas to the north—around Fujikata and Matokata inlets, for instance—show much more evidence of occupation and, presumably, use. Heck, the modern district of Fujikata is in the town of "Tsu", which literally means "port". And the capital area of Suzuaka and the Ichinomiya of Tsubaki Grand Shrine is even farther north, still. So who, if anybody, was living down in the area of Ise Shrine? If we look at the progression of tomb mounds in the area in previous centuries, we see that they start in the Matokata region in the 5th century and work their way down towards the south, with late 5th century tombs found in the district of Taki, the district bordering on Watarai and modern Ise City to the northwest. It is also where you can find the Saikuu, the site of the old purification palace for the Shrine Princesses. Grave goods seem to show close ties with Yamato, in the Nara basin. While the tombs expanded to the south through the 5th century, they appear to have stopped altogether in the 6th century—or at least we haven't found any. This may indicate that the political situation had changed and there was no group in the area that could organize the labor for such an undertaking. Whether that was because Yamato was taking it as corvee labor or just that population had dwindled due to war, famine, or something else, I don't know that we could say. Around the year 600, at the opening of the 7th century, we do see a large grave mound erected in the core area of what would later become Ise Shrine, on the east side of the Miya River, overlooking what would become the Geku, the Outer Shrine of the Ise complex. For those who aren't aware, Ise Grand Shrine is a large complex of shrines, and it is divided into two main areas. The "inner shrine", or Naiku, is where most people go, and it is the site of the famous shrine building that is supposed to be rebuilt every 20 years. The Geku is the "outer shrine" complex, technically dedicated to Toyouke hime, a kami of agriculture. The kofun overlooking the outer shrine is known as the Takakurayama kofun. This is a round kofun, about 35 to 40 meters in diameter, with a horizontal stone chamber. It is the largest in the Ise region. It has been mentioned in records going back to at least the Kamakura era, and even though most of the grave goods are gone, there is evidence that it was richly appointed. Given its shape and location, there were even those in later centuries who connected it with the Heavenly Rock Cave in which Amaterasu hid according to the ancient stories. The fact that there was nothing around this area and suddenly we see a giant tomb mound is pretty puzzling. Why was it built here? Is it connected to the founding of the Outer Shrine in some way, or is that just coincidental? Teeuwen and Breen point out that it is pretty rare for a large tomb mound to be build in the precincts of an active shrine, which suggests that whatever was happening there, that area was not part of the shrine grounds. That said, I have to wonder if the ritual worship at the kofun might not have later been transformed or coopted into something else. There also is no other indication that the Outer Shrine area was used for ritual purposes any earlier than the kofun would have been built. In contrast, around the Inner Shrine area, several kilometers away, there are caches of beads dated to the 5th, 6th, and 7th centuries in a small valley where a brook runs down from Mt. Asama, not too far from the current shrine complex. Teeuwen and Breen suggest that this may relate to the "upper reaches of the Isuzu River", mentioned in the Chronicles, and that it may have had to do with rituals related to water supply—hence being found at the point where the water was coming down from the mountains. And yet, despite these finds, there really aren't any large scale archaeological remains that have been discovered east of the Miya river, though there are modest signs of dwelling and habitation, and some minor burials mounds. Compare this to Tsubaki shrine, the home of Saruta Hiko no Kami, and the main shrine of Ise, situated in the ancient capital of Ise no Kuni. Downstream from there are numerous tomb mounds and indications of habitation. So this was probably the center for early sun worship in the region. Teeuwen and Breen conclude that all of this indicates that the region of Taki and areas east of the Miya river were probably more of an outpost—no major powerful chieftains or large polity had set up in the region. In the late 6th century, some power had to move in to build Takakurayama kofun, but that was an outlier. Maybe this area just largely fell under Yamato hegemony. And perhaps that was the key. Perhaps initially this wasn't a place to center power and authority, but rather it was more like a prison. It was a place far away from the court, where a deity that was more of a threat could be kept away from the palace and the sovereign. Perhaps Amaterasu, or whoever the kami was at the time, was placed out here because of the threat they posed, much as the Chronicle seems to suggest—just not necessarily at the time that is suggested. One of the aspects of the mythmaking that we see in the Chronicles appears to be the stress on the Amatsu kami and Kunitsu Kami—the Heavenly deities and the Earthly deities. The Heavenly deities are those in Takama no Hara, and they are the progenitors of the royal line. On the other hand are the earthly kami, the Kunitsu Kami, those dwelling on the earthly plane. In the stories that were recorded in the Nihon Shoki, before the August Grandchild of Takami Musubi and Ama Terasu descended to take control of the Central Land of the Reed Plain, they sent down heavenly kami as warriors to subdue the earthly kami. On the one hand, this may have been driven by some kind of deep memory of early conquests of the archipelago by various forces. However, these legends also served another purpose, in that they set up the royal family's right to rule, and appear to establish a de facto hierarchy between those families descended from the Heavenly Kami and those descended from the earthly Kami. Another thing that Teeuwen and Breen point out and that is that Amaterasu is not necessarily a female deity, to start with. In fact, Amaterasu was probably easily overlain atop the worship of Oho-mono-nushi of Mt. Miwa, at least early on. To that point, they note stories where Oho-mono-nushi and other deities were commonly depicted as arrows, snakes, or similarly phallic imagery finding or even penetrating women who were thought to have a connection with them. This suggests a context of these priestesses being married to the kami, and even fits in with early descriptions of individuals like the famous Queen Himiko being a spiritual leader as well as a political one. If the original Amaterasu was conceived of as a male deity, then this could also explain the tradition of the Saigu, the consecrated shrine princess. We only see a few royal princesses designated to the position up to this point in the narrative, and, beyond Tokosuki Iri bime and Yamato hime, we don't necessarily learn much more. One wonders if there weren't other royal princesses likewise sent elsewhere to serve other deities. We know about Nunaki Iri Hime, and presumably Nunaki Waka Hime. There was also Yamato Totohi Momoso Hime, who was married to Oho-mono-nushi. Presumably there were others who just never ended up in the stories that were passed down. The idea of a kami taking a "wife" and connecting that to the idea of women holding these priestly positions seems to fall in line with much of what we see, though, as I said, we only hear occasionally about the appointment of royal princesses to the position until the reign of Ohoama. That's when we see specifics about appointments, the purification palace in Hase, and other arrangements. It makes you wonder more than a little bit if Royal Princess Ohoku was, perhaps, the first royal princess to actually be appointed. It would have been easy enough to add in previous "shrine princesses" into the lineage, especially far enough back that nobody could really fact check it. We also see Royal Princess Taki journey to Ise with her companions, Princess Yamashiro no Hime and Lady Ishikawa. It is intriguing that this practice was temporarily interrupted during the reign of Uno no Sarara, as I mentioned last episode. Could this have something to do with a female ruler on the throne and a corresponding lack of urgency about having a female representative at Ise? And in stories about Amaterasu, she is frequently shown with certain masculine qualities. When she confronts her younger brother, Susano'wo, she is concerned that he might try to take her authority from her, so she meets him decked out in armor, her hair tied up in a typical male fashion, with a bow, ready for a fight. It would be just as easy to imagine that Amaterasu and Susano'wo were brothers, contending over rulership. Add to all of that the idea that kami were often personifications of various natural phenomena or ideas, and Japanese is not a naturally gendered language, and there are those that believe that the stories of Amaterasu were not necessarily about a female deity in the beginning, but a male deity, similar to Ohomono Nushi and others, who then took on a feminine persona. On the other hand there are passages in the old stories recounted in the Chronicles that clearly make Amaterasu out to be a woman. To start with the activities she is associated with, such as weaving, are often associated with women as something they do in the home. This is a tradition carried over from the continent, along with silk and the techniques to weave it. In the lands where silk production started, there are silkworm goddesses and the gendered nature of silk production and weaving appears to have come over to Japan as well. There is also the fact that Amaterasu is said to have another name: Oho-hiru-me no muchi. In this case, it would seem to mean something like Great Noontime Female Possessor. And in the weaving hall it is sometimes Amaterasu that is weaving and sometimes Waka Hirume. "Hirume" certainly feels like a feminine name. There is the distinct possibility that the stories of Amaterasu as recorded were actually about two or more different kami, so Amaterasu and Ohohirume could have been separate deities having to do with the sun that were rolled into a single kami. As mentioned before, it is also possible that Amaterasu ended up with some stolen valor taken from the other Ise deity worshiped at Tsubaki, Saruta-hiko no Kami. Teeuwen and Breen also note that the name "Amaterasu" is hardly unique, noting at least ten other shrines with a kami called "Amateru" or "Amaterasu", mostly in Yamato, but some as far away as Kyushu and Tsushima. Nine of those shrines were dedicated to Ame no Hoakari, an ancestor deity of the Owari lineage who was also closely tied to metalworking. It is worth remembering that it was Owari who helped support Ohoama during the Jinshin no Ran, and who may have even fostered Ohoama for a while when he was just a young prince. All that to say there may have been several different traditions that were all contributing different elements to the story. And then there is the connection between Amaterasu and Uno no Sarara. Herman Ooms, in his book: "Imperial Politics and Sybmolics in Ancient Japan", notes the similarities between Amaterasu and Uno no Sarara, talking about the differences between the Kojiki and the Nihon Shoki, both of which had events that mirrored Uno no Sarara's own life. According to Ooms, "The Kojiki's Amaterasu is a transparent double of the female tennou Jitou". He points out that Uno no Sarara, besides her posthumous title of Jitou Tennou, also had a title making reference to Takamanohara: Takama no Hara Hirono no Hime—the Princess High-Heaven-Plain. But beyond that, we also see other linkages between the stories. For instance, it isn't Amaterasu's son, Ame no Oshihomimi who is given the realm, but rather her grandchild, Ninigi. This parallels the way that Uno no Sarara's son, Kusakabe, didn't ascend to the throne, but instead Uno no Sarara was holding the seat for his son, her grandson. So one sees how Uno no Sarara could be seen as Amaterasu, and her grandson, Prince Karu, could be seen as Ninigi, the August grandchild. Teeuwen and Breen also note that during this same time, we see the rise of a new institution: the Jingikan. Again, we touched on this last episode, so just a quick recap: The Jingikan was a government organization set up specifically to oversee the shrines, rituals, ceremonies, and other such things pertaining to the kami matters. It does not appear in the initial stand-up of the new, bureaucratic government, wherein is created the bureaus, ministries, or departments, depending on your chosen vernacular, which make up the Dajokan, the Great Council of State. Instead, the Jingikan is a separate organization, specifically organized around kami matters. The term "Jingi" is also a shorthand for "Ama-tsu-kami, Kuni-tsu-kami", or the kami of Heaven and the Kami of the earth. "Ama-tsu-kami", meaning Kami of Heaven, was written with two characters meaning "Heaven" and "Kami", pronounced "Tenjin". "Kuni-tsu-kami", or the Kami of the Earth, was written as "Earth" and "Earth Spirit", which was then pronounced "Chigi". By taking the last character of each compound Tenjin-Chigi becomes just Jingi, for short. Throughout the Chronicles, this term, "Jingi" is thrown around when they want to quickly note all the kami, together, though sometimes it is fully written out as "Tenjin Chigi", as well. Interestingly, "Tenjin" or "Ama tsu Kami", sometimes appears alone, especially in the chapters on the Age of the Gods. However, "Chigi" seems to only be used in the whole phrase. There are a few instances, however, of "Chijin" being used, but they are few. That said, the term "Jingikan", also read as "Kami Tsukasa" or even "Kan Zukasa", doesn't appear until 690, in the reign of Uno no Sarara. This probably means that it was part of the reforms encompassed by the Kiyomihara codes. The head of the Jingikan is known as the Jingihaku or "Kan-zukasa no Kami". This term actually shows up well in advance of the Jingikan itself, initially referring to an unnamed official or officials in charge of kami worship at the court. Nakatomi no Kamatari is said to have been offered the position in the first reign of Takara, aka Kougyoku Tennou, though the first confirmed individual appears to be Nakatomi no Ohoshima, during the reign of Uno no Sarara. This appears to be a distinctly Yamato invention in the bureaucratic system. It leverages the language and structure of the Tang dynasty, but in its own way. There was a Tang department of shrines, but it was described differently, as befits a different spiritual environment focused on ancestor worship and Confucian and Taoist ideas. The Jingikan system seems to have been a deliberate re-organization of the indigenous kami worship, incorporating what was probably traditional roles into the new bureaucratic system. In so doing, however, it also gave the court greater control, and given that this was happening at the same time as the establishment of various stories and myths around Ise and the foundation more generally, it appears to be part of a concerted and deliberate effort to construct a new narrative. All of this points to them architecting much of what was going on, from the stories to the landscape. Ohoama likely built the inner shrine as we know it. If it really was an obscure, out-of-the-way shrine, perhaps that also meant that there weren't any other powerful court factions that were enhanced by it. And then, over time, the Ise shrine and the deity there could be better incorporated into the overall myths and stories that surrounded the formation of Yamato. A new Yamato, one that would soon enough be referring to itself as the origin of the Sun: Nippon, a name often attributed to Ohoama and Uno no Sarara, though not found in the record of their reigns in the Chronicles. Another aspect to all of this, however, is what happened immediately after Uno no Sarara's reign, and into the 8th and early 9th centuries. In the 8th century—the Nara period—Buddhism started to merge with a lot of the local practices. This was not uncommon. Buddhism had been born in a land with myriad deities and styles of worship, and it had the means to incorporate local deities into its cosmological worldview. Kami were just other beings, stuck in the cycle of rebirth, who, as sentient beings, could equally benefit from the Buddha's teachings. They became guardians of Buddhist institutions, and the lines between shrines and temples were often blurred. At the same time, kami worship was also taking on various concepts from continental worship, such that even today we find a lot of what we might consider Taoist practices influencing Shinto worship. Had this continued, worship of the kami may have been completely subsumed into the Buddhist ritual practices, but there were areas where kami worship remained distinct. One of these was at Ise. Early on, there was an attempt to build a temple at Ise, but it didn't last long. The temple was eventually moved out of the shrine complex, and then eventually it was removed altogether. Later writings from the Shrine would include certain Buddhist terms among the things that were taboo within the shrine grounds, considering Buddhism as something of a corrupting or polluting influence. Shrine Princeses, during their tenure, had to devote themselves to the kami, and though they might retire as nuns, later in life, during their appointment they were to be free of any Buddhist influences. In many ways this would make Ise a prime example of what would eventually be termed "Shinto", which gave it, and the worship of Amaterasu, a certain pride of place. Of course, it didn't hurt that it was also intertwined with the State and the founding myths of the nation. As such, Ise Shrine and its worship would become a template for many others to follow, helping to shape what we know as "Shinto" today. There are still a lot of questions. We don't exactly know what Uno no Sarara did on her trip to Ise Shrine, and we don't know how things surrounding the worship at Ise and of Amaterasu herself changed in the intervening years between when these events happened and when, about two to three decades later, the Chronicles were finalized and published. Certainly some of this seems tied to the Fujiwara capital, which was no longer populated at that point, the move to Heijo-kyo, in Nara, occurring between 708 and 710, two years before the Kojiki and a decade before the Nihon Shoki would come out. And yet, the three sacred mountains that were incorporated into the plan of the Fujiwara Capital, Mt. Kagu, Mt. Miminashi, and Mt. Unebi, seem to continue to be important. This is especially true of Mt. Kagu, whose heavenly counterpart, Ame no Kaguyama—literally Heavenly Mt. Kagu— continues to play a major role in the stories surrounding Amaterasu and the Heavenly Rock Cave. In addition,Mt. Unebi is closely tied to the story of Iware-biko, aka Jimmu, conquering and settling the land—perhaps to draw attention away from the stories about Mimaki and Ikume iribiko, aka Sujin and Suinin, who were both associated more with Mt. Mimoro, aka Mt. Miwa. So even though the physical presence was moved, by that point we know that foundation of many of these stories were likely laid down around the time that the Fujiwara capital was in operation. What does seem clear is that, just as there were clear efforts to set up the new State government, including the new capital, the court were also taking control of other levers of power and influence. We previously talked about how they had created National Temples and included government positions to oversee Buddhist affairs more generally. With Ise and the creation of the Jingikan, it appears as though that trend continued with the traditional kami worship. Many of the elite families still had connections to their own shrines, with their own kami. Through the stories collected and written down—with a few editorial additions to help place them in an approved context—they were able to construct a narrative from separate or divergent traditions. These traditions had already accreted to themselves various stories and culture-ways, some of them with clear links to the continent and others with overlapping portfolios. The kami, and the ability to intercede with them for their blessings or to avert their wrath, were a form of power that was being structured for the purpose of supporting the new State. A state now under the control of one Uno no Sarara. And we don't exactly have to wonder about this… the preface of the Kojiki all but says it. They put the words in the mouth of Ohoama, or, as they call him, the Sovereign of the Kiyomihara Palace. But the words are pretty clear: "I hear that the Imperial Records and Ancient Writing handed down by the various houses have come to differ from the truth and that many false hoods have been added to them. If these errors are not remedied at this time, their meaning will be lost before many years have passed. This is the framework of the state, the great foundation of the imperial influence. Therefore, recording the Imperial Records and examining the Old Writings, discarding the mistaken and establishing the true, I desire to hand them on to later generations." With that, 28 year old Hieda no Are was given the command to learn all the stories and presumably to recite them for the court. And several decades later, Oho no Yasumaro was given the task to take Are's stories and write them down. I imagine that Hieda no Are, or perhaps someone else who had learned the stories well enough, would be called into court or banquets to present some of the stories, or would be asked questions if there was any need for precedence. Thus creating a single source for truth, according to the administration. At the same time, the court had a problem. They couldn't control all of the sources of written material, with all of the various contradictions, so we also would eventually get the more comprehensive—but also less narratively direct—Nihon Shoki as well. After all, the game of propaganda was being played at many levels, and while the royal household had their motivations—primarily to support the legitimacy of their claim to power and the system within which that claim was validated— other families wanted to ensure that they were properly recorded as having connections to traditional nexuses of power—be that the ancient kami of Heaven or Earth, or their relationship to the royal family. This is because precedence was important, even as new traditions were being created. Like the way that the Mononobe and the Nakatomi played important roles in Uno no Sarara's ascension ceremony despite the actual individuals using new or different names, like Isonokami or Fujiwara. See Episode 151 for the explanation, there. And new traditions were much easier to justify if you could connect them with older traditions—whether those older traditions were truly ancient or newly made inventions. And all of this suggests that this was not an accident and it wasn't simply being imposed from the top down. One could be charitable and suggest that those involved felt that this got them closest to what the truth actually was, given that they had now been inculcated in a new worldview and they were trying to view the ancient stories through the interpretive lens of that worldview. On the other hand, they were ultimately doing it to structure power and authority that favored them and the government they had created. A government that they hoped would outlast them, and be passed on to their descendants. Next episode, we will continue our discussion of Uno no Sarara's life and reign and the incredible steps she took to ensure that her line would continue to rule Yamato for decades. Until then if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts. If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com. Thank you, also, to Ellen for their work editing the podcast. And that's all for now. Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.
En la 1450-a E_elsendo el la 25.01.2026 ĉe www.pola-retradio.org: • Antaŭ nia mikrofono gastas hodiaŭ Jarosław Parzyszek el Fondumo Zamenhof en Bjalistoko, kun kiu ni interparolas pri la solene lanĉita lastvendrede (23.01.2026) en la bjalistoka Zamenhof-centro reredaktita libro de Roman Dobrzyński „La Zamenhof-strato” en la lingvoj pola kaj angla. • En la komenca kulturkroniko – post la kalendarfolio kun elektitaj historiaj datoj el la 25-a de januaro – ni informas pri la literatura premio de Odette kaj Léon Chertok por la polaj raportistinoj Hanna Krall kaj Anna Bikont; pri la bitigataj objektoj de la Nacia Muzeo en Varsovio; pri ekspoziciata fragmento de la donaco de Basil Alkazzi por la Nacia Muzeo en Gdansko. • En la E-komunuma segmento ni prezentas la mesaĝon de UEA lige kun la Internacia Tago de Edukado (uea.org/gk/1277a1) kaj pri IKU dum la 111-a UK en Graz (uea.org/gk/1276a1). • Hodiaŭ ni proponas aŭskulti kune fragmenton de la kanzono de Feri Floro „Lasu, ke dolor' estu pardonita”. La reta foto akompananta la programinformon prezentas la aspekton de la ĵus aperinta, reredaktita libro de Roman Dobrzyński „La Zamenhof-strato”. • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia redakcio ekde 2003. La elsendo estas aŭdebla en Jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D Interalie pere de Jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj; eblas transsalti al ajna serĉata fragmento de la elsendo.
[Episode 44] This month, barSILENCE embraces winter as more than just cold days and long nights with an all-new playlist of frosty video game music. In this year's Winter Mix, we're listening to 25 tracks from games released between 1994 and 2018. Each of these selections captures the quiet of snow-covered mornings and the icy sounds that make winter feel like a season of possibility and new beginnings. Tune in, grab a warm drink, and let's start our “New Game Plus” for the year ahead. Happy Holidays and a Happy New Year! Tracklisting: 00:00:00 - Frozen Solid and Chilled (Yoshi's Woolly World) [Tomoya Tomita] 00:02:59 - Intro & New Game Plus 00:07:55 - Fairy Fantasy (Hiouden: Mamono Tachi Tono Chikai) [Motoi Sakuraba, Shinji Tamura, Hiroya Hatsushiba] 00:09:08 - A Light (Breath of Fire III) [Akari Kaida, Yoshino Aoki] 00:11:10 - North Coast of Canada, Weddell Sea - Under the Ice (Endless Ocean: Blue World) [Ayako Saso, Taihei Sato] 00:12:43 - Misty Trees (Night) (Digimon World) [Koji Yamada, Yuko Ishii, J-works] 00:15:49 - Door Frozen Shut (Persona) [Misaki Okibe] 00:18:09 - Souls of Mist (Character Creation) (Demon's Souls) [Shunsuke Kida] 00:22:26 - Girl in the Dream (The 3rd Birthday) [Mitsuto Suzuki] 00:23:43 - distraction #12 (D2) [Kenji Eno] 00:26:46 - K-ENT. (No More Heroes) [Masafumi Takada] 00:28:51- Continue (Klonoa 2: Lunatea's Veil) [Eriko "Guts" Imura] 00:29:46 - Breakfast Was Too Early (Spooky's Jump Scare Mansion) [Akuma Kira] 00:31:32 - Her Room (On) (Yume Nikki ~Dream Diary~) [Diana June] 00:33:16 - Snowy Summit Theme (Fantasy Life) [Nobuo Uematsu] 00:36:14 - Snowy Village (Build Phase) (Dungeon Defenders) [Afshin Toufighian] 00:39:29 - Space Junk Road (Super Mario Galaxy) [Mahito Yokota] 00:42:46- Outer Planet (Doko e Iku no, Ano Hi) [Takumaru, Katsuyuki Harada] 00:44:29 - Yoga (Wii Fit) [Toru Minegishi, Manaka Tominaga, Shiho Fujii] 00:48:14 - Haunt Muskie (Minecraft) [C418] 00:53:50 - Birth (L.O.L.: Lack of Love) [Ryuichi Sakamoto] 00:55:54 - Xbox 360 Edit Avatar 5 & 6 (Xbox 360) [Steve Burke] 00:57:46 - Lake Lamode Underwater Passage (Super Mario Odyssey) [Shiho Fujii] 00:59:02- Difficult to Say (Klonoa Wii) [Eriko Imura] 01:02:38 - Holoska (Day) (Sonic Unleased) [Fumie Kumatani] 01:07:56 - Outro 01:10:07 - We Wish You are a Merry Christmas (Gran Turismo 6) [Daiki Kasho] barSILENCE is a podcast that is created to celebrate and explore the best video game music in the world! You're here because you enjoy the same thing that I do, and I am grateful for that. If you want to become a member of the Legion of VGM, consider subscribing to the show on Patreon! As a thank you for subscribing, you can access all 20 episodes of the exclusive Bonus Beats podcast! Click here to learn more! If you want to consider a one-time donation, check out the Ko-Fi! Shout-outs to two fantastic friends of the show and members of the Legion of VGM: Shujin Academy VGM Club: The creatively themed episodes of this video game music podcast are the brainchild of the venerable Professor Tom. Please listen to and follow this excellent VGM Podcast! Super Ghost: This fantastic video game variety podcast, hosted by Aaron, is a show on a mission to discuss every video game topic ever! Give it a listen and follow for weekly episodes! Chillscape: This is a brand new chilled out video game music podcast that is also hosted by Aaron! Connect with the show! Patreon - /barSILENCE Ko-Fi - @barsilencevgm BlueSky - @barsilencevgm.bsky.social Instagram - @barSILENCE Threads - @barSILENCE More ways to listen: Listen on the website - barsilence.com SuperPod Network - Video Game Podcast Network 8Beats Radio - 24/7 VGM Music & Mixes Terra Player App - VGM & Gaming Podcasts & More YouTube - Podcast Videos
Ator, diretor de teatro e Iluminador. Desde os 11 anos de idade atua em peças teatrais e em 1988 realizou sua primeira iluminação cênica. Trabalhou como iluminador do Cine Teatro Recreio e no Teatro Plácido de Castro e segue, em paralelo, o trabalho de ator, apresentador de eventos, produção e direção de espetáculos.Ikuãni, mulher amazônica do século XVI, detentora de uma ancestralidade feminina do tempo antes do tempo, quando o mundo era livre dos homens maus, os Nawa. Esse trabalho trata da decodificação da movimentação cotidiana da mulher Huni kuin. A linguagem do corpo em movimento durante seus afazeres e sua organização estética, coreográfica, ritualística e espiritual, em que a música ocupa um lugar fundamental no desempenho do ritual das tradições indígenas. Toda movimentação cênica e narrativa corporal é baseada na vivência com essa ancestralidade da mulher indígena.Ficha Técnica:INTÉRPRETE, PESQUISA, E COREOGRAFIA: Regina MacielDIRETOR CÊNICO E ILUMINADOR: Ivan de CastelaMAQUIAGEM E ILUMINAÇÃO: Marina LucknerPRODUÇÃO E SONOPLASTIA: Núbia AlvesSite/Rede social do trabalho: https://ciagaratujadeartescenicas.blo...Gênero: Teatro dança
JESU GBA ERU EBI ESE WA
JESU GBA ERU EBI ESE WA
TUTAMÉIA entrevista Cahir Clancy que, com Gerard McAnulty, realizou nos dias dois e três de agosto de uma jornada atlética em apoio à Palestina, percorrendo 160 quilômetros ao longo de 48 horas, sem falar, sem comer e dormindo ao relento para angariar fundos para famílias atingidas pela crise humanitária em Gaza. O evento foi realizado em Newcastle, Condado de Down, na Irlanda do Norte.Clancy é um profissional de desenvolvimento comunitário e defensor da saúde mental com um sólido histórico na liderança de projetos intercomunitários em toda a Irlanda do Norte. Atua com engajamento juvenil, desenvolvimento de habilidades e bem-estar, usando suas funções para conectar indivíduos de todas as origens por meio da educação, esporte e ação social.Ex-campeão mundial de caratê (IKU), McAnulty é proprietário e treinador principal da Kazoku Karate e ex-campeão mundial de caratê da IKU. Inscreva-se no TUTAMÉIA TV e visite o site TUTAMÉIA, https://tutameia.jor.br, serviço jornalístico criado por Eleonora de Lucena e Rodolfo Lucena.Acesse este link para entrar no grupo AMIG@S DO TUTAMÉIA, exclusivo para divulgação e distribuição de nossa produção jornalística: https://chat.whatsapp.com/Dn10GmZP6fV...
En la 1413-a E_elsendo el la 29.07.2025 ĉe www.pola-retradio.org: • En la hodiaŭa E-elsendo ni prezentas la kvaran sonraporton pri la 110-a UK en Brno. • Ĉerpante el la riĉa marda programo ni proponas antaŭmikrofonan renkontiĝon kun la Rektoro de Internacia Somera Universitato, profesorino Věra Barandovská-Frank, kiu informas nin pri la komenciĝintaj sesioj de IKU, IKU/AIS kaj prelegoj de la Scienca Kafejo, kiuj startis marde. • El la programo de la nunjara Tago de Lernado ni elektis fragmenton de la prezento de Stela Besenyei-Merger, kiu prezento estis dediĉita al nova podkasto „Radikala Tenero – retaj babiladoj por interkultura lernado kaj internacia interkompreniĝo”. • Marde oni traktis ankaŭ kongresan temon. Sekve do ni prezentas la invitajn vortojn de la reĝisoro de la temo „Esperanto kaj teknologioj kiel pontoj de paco kaj popoloj” el la Solena Inaŭguro, prof. Bengt-Arne Wickström. Ili gravas en la kunteksto de la prilaborota kongresa rezolucio. • Se temas pri koncertoj ni aparte donas la atenton de tiu de Amira CHUN, kiu marde lanĉis sian novan albumon „Nova Vibrado” kaj ni fragmente prezentas ŝian kanzonon „Loĝos mi en verda mondo”. La programinformon akompanas iu el komunaj fotoj de la 110-a UK. Fotis: Jozef Baláž. • La elsendo estas aŭdebla en jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D I.a. pere de jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj, transsalti al iu serĉata fragmento de la elsendo.
“Wong tuwa duweni sawijining pakaryan kanggo ditindakake supaya setan ora bisa nguwasani anak-anake” “Iku rancangane setan kanggo nyasarake Kitab Suci”
En la 1387-a E_elsendo el la 05.04.2025 ĉe www.pola-retradio.org: • La 4-an de aprilo pasis 66 jaroj post la establo de la unua profesia E-Redakcio en la strukturo de la publika Pola Radio. La datrevenon ni omaĝas i.a. per sondokumentaj citaĵoj aŭdiĝintaj en elsendo pri la 1-a datreveno de ĝia ekzistojaro en 1960. Parolas elstara pola filologo, profesoro Zenon Klemensiewicz, parolas la tiama Ĉefdelegito de UEA en Pollando, d-ro Roman Sakowicz. Krome aŭdiĝas la voĉo de ege populara radioparolistino Barbara Sokalówna, kiu ne nur fariĝis esperantisto, sed ankaŭ en Esperanto verkis kaj tradukis. • En la hodiaŭa kulturkroniko ni informas pri baldaŭ komenciĝontaj priaŭskultoj de pianistoj kvalifikitaj al la nunjara Internacia Chopin-konkurso; pri daŭra memoro kaj porlernejana konkurso de Manghha Muzeo pri helpo de Japanio al polaj orfoj el Siberio dum la 2-a mondmilito. • Nian felietonon ni dediĉas al polaj matematikistoj, kiuj rompis la ĉifrokodon de la germana Enigma, kio laŭ ekspertoj mallongigis la 2-an mondmiliton je 2-3 jaroj. • En la E-komunuma segmento ni informas pri la scienca E-somero i.a. kadre de IKU en Brno; pri eventoj de IKUE lige kun la Jubilea Jaro 2015: ikue.org. • La hodiaŭan programinformon akompanas foto de informafiŝo de Liven Dek rilatanta al la jubileo de la E-elsendoj de Pola Radio. • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia Redakcio ekde 2003. La elsendo estas aŭdebla en jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D I.a. pere de jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj, transsalti al iu serĉata fragmento de la elsendo.
ARNO believes that machining is now something like Formula 1 racing: every little screw is tuned to increase performance. Thinking outside the box is essential, especially when considering cutting tools and turning. It would be helpful if users could always use the right combination of tools, inserts, and coolant supply. In Formula 1, everything is constantly scrutinised to glean maximum performance. Yet only the driver and the manufacturer who have mastered the overall package can reap the world championship crown. Despite all the optimisations and specifications, cutting tools for turning have yet to reach the end of their potential. Responsible tool manufacturers think about selling as many cutting tools as possible and include the tool holders and cooling supply into the equation. On the other hand, users should be open to tips, let consulting manufacturers approach them, and allow them to enter the production process. The potential that can be achieved in this way can provide a decisive leading edge. Be open to third-party expert tips For example, ARNO Werkzeuge has long been involved in the continued development of tool holders and coolant supply. Thanks to its customer proximity, the family-run company has a wealth of expertise from numerous applications and a wide range of holders with and without coolant supply. Users can rely on the best overall packages for small and large batches, as well as Swiss and fixed headstock lathes. “Here, too, we are not interested in maximising sales figures for high-margin products. We aim to find the best solution for our customers,” assures Sales Manager Dieter Wollensack from ARNO Werkzeuge. As an experienced technical advisor, he focuses on long-term and intensive customer relationships. He detests the promise of ‘double the service at half the price' and pie in the sky. “I sometimes say to my customers: ‘No, that's not possible' or ‘We won't do that' and risk being turned down. I've always been successful with this approach - and ultimately, so have my customers.” Advice or not, process optimisation products must be convincing in practice. For this reason, the overall package consisting of a cutting insert or indexable insert with a matching tool holder and high-performance cooling must always deliver the best customer performance. This is exactly what users should attach importance to their tool partners to understand the processes and have the right overall package for every production situation. For example, universal packages for small batches, high-tech solutions for large batches, and special products for difficult-to-machine materials. Exorbitant promises never help. Innovative when it comes to ‘cost per part' When tool manufacturers adopt this mindset, new products and solutions result. One example is the clamping holders with through-tool cooling for inserts that ARNO Werkzeuge developed in 2022. They are produced using a hybrid manufacturing process that combines additive technology with conventional CNC milling, achieving better surface quality. But why? Coolant flows directly where it's needed. Three precisely aligned channels guide the coolant to the cutting edge from above and underneath without obstructing chip evacuation. The special geometry of the cooling channel creates a nozzle effect that greatly improves cooling compared to conventional channels. The outlet openings are always perfect—they need no adjustment. And since they are much closer to the cutting zone, the coolant significantly reduces the temperature. Experienced users will recognise the benefits immediately: greater process reliability, less vibration, better surface quality and a much longer tool life. Users have sent reports about tool life that is three times longer. Of course, this is not at all suitable for small batches - but when it comes to large batch orders, it's just the right ace in the calculation where everything has to do with the cost per part. Hybrid holder: productive from additive The secret isn't rocket science, but you must figure it out first. The shanks of the hybrid holders from ARNO Werkzeuge are produced using conventional CNC milling. On the other hand, the complex head part of the holder is attached directly to the shank using a 3D printing process. “This gives us new design freedom and outstanding stability,” says Werner Meditz, Head of Technology at ARNO Werkzeuge. The geometric design of the cooling ducts can be precisely optimised so that coolant is guided through the holder to the cutting tool at maximum efficiency and reaches the cutting edge directly from above and underneath. This cools the tool flanks in a way that was previously unthinkable. At the same time, the number of attachments required at the top of the head is reduced to the absolute minimum. The chip breaks as needed and is optimally evacuated - regardless of the cutting depth. “We get a lot more coolant to where it needs to go,” Meditz assures us. The innovative hybrid holder is exactly what clever users want - and this all comes from a tool partner thinking out of the box. Not only high-tech but also ‘basic work.' But even when it's not high-end, machine shops welcome innovative turning tool manufacturers with well-thought-out products. Meeting someone who can also offer the right holders and complete systems for small batches with frequent workpiece changes is refreshing. At ARNO Werkzeuge, you will find a wide range of turning holders for external machining, where the length is easily adjustable using a scale. “The ARNO special design is extremely simple and practical when it comes to adjusting the length and coolant access,” confirms Meditz. The holder and through-tool cooling are easy to install and ensure repeatable process reliability. Their nickel-plated, high-tensile, and precisely finished nature promises top quality and long tool life. The efficient cooling system, which feeds coolant directly to the cutting edge through three channels, not only ensures long tool life but also allows higher cutting speeds with optimised chip control. The machining time savings make the cost calculation look good. Variety of boring bars for internal machining Finally, we come to internal machining. Turning tool manufacturers have already given this much thought. First and foremost, the designers at ARNO Werkzeuge have also considered the customer's situation and developed suitable boring bars for a wide range of applications. The range includes boring bars of steel and solid carbide, each with two possible coolant hole exits. Depending on the turning process, users can choose between a coolant channel from above (IKO) for through holes and a coolant channel from underneath (IKU) for blind holes. Accordingly, chips are guided forward away from the cutting edge (IKO) or behind the cutting edge and flushed out (IKU). This reduces wear. Boring bars come in right or left-hand versions with different shank diameters, a wide variety of clamping holders, and many approach angles. This variety alone shows that the manufacturer thinks from a user's point of view. Combined with suitable mini indexable inserts from ARNO Werkzeuge, components from Dmin 4.8mm can be machined effortlessly, regardless of diameter and material. This is only the standard range, not customised products. This already promises long tool life because all ARNO boring bars are nickel-plated, high tensile and precisely machined, which certainly boosts confidence. Users looking for suitable, long-life productivity-enhancing tools for all their turning operations and processes should be glad that some manufacturers have adapted their thinking to include their customers applications.
En la 1373-a E_elsendo el la 20.01.2025 ĉe www.pola-retradio.org: • Hodiaŭ ĉerpante el nia arkivo ni invitas konatiĝi kun plia vizitinda loko en Pollando, Chełmno en la norda parto de la lando. Hodiaŭ ĝi estas difinata kiel la urbo de enamiĝintoj pro la konservata en iu el ĝiaj preĝejoj relikvo de s-ta Valenteno, sed tio estas la plej nova tradicio. Ni referencas al ĝia historia periodo; • La kulturkronikaj informoj rilatas al sukceso de Kalwaria Zebrzydowska, kiun en 2024 vizitis pli da personoj ol en la antaŭpanemia periodo; al historia vidindaĵo de januaro 2025 publike prezentata en la Podlaĥia Muzeo en Bjalistoko; al surpriza malkovro de nekonataj pentraĵoj en la abatejo en Tyniec apud Krakovo; • En la E-komunumaj informoj ni sciigas pri la proksimiĝantaj limdatoj por proponi siajn IKU-prelegojn kadre de la nunjara UK en Brno (GK N-ro 1206 (2025-01-18), por kandidatiĝi kiel Komitatano B de UEA (GK N-ro 1204 (2025-01-04). Ni informas krome pri la konkurso de Itala Esperanto Federacio omaĝanta la figuron de Gianfranco Molle por originala E-kanzono; • Muzike ni proponas fragmenton de la kanzono „Harmonio de vivo” produktita de AI. Ni aŭdas ankaŭ fragmenton de la blusa kanto de Gianfranco Molle por la teksto de Ludoviko Zamenhof „La Espero”. La programinformon akompanas interreta foto prezentanta la renesancan urbodomon de Chełmno; • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia Redakcio ekde 2003. La elsendo estas aŭdebla en jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D I.a. pere de jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj, transsalti al iu serĉata fragmento de la elsendo.
En la 1373-a E_elsendo el la 20.01.2025 ĉe www.pola-retradio.org: • Hodiaŭ ĉerpante al nia arkivo ni invitas konatiĝi kun plia vizitinda loko en Pollando, Chełmno en la norda parto de la lando. Hodiaŭ ĝi estas difinata kiel urbo de enamiĝintoj pro la konservata en iu el ĝiaj preĝejoj relikvo de s-ta Valenteno, sed tio estas la plej nova tradicio. Ni referencas al ĝia historia periodo. • La kulturkronikaj informoj rilatas al sukceso de Kalwaria Zebrzydowska, kiun en 2024 vizitis pli da personoj ol en la antaŭpandemia periodo; al historia vidindaĵo de januaro 2025 publike prezentata en la Podlaĥia Muzeo en Bjalistoko; al supriza malkovro de nekonataj pentraĵoj en la abatejo en Tyniec apud Krakovo. • En la E-komunumaj informoj ni sciigas pri la proksimiĝantaj limdatoj por proponi siajn IKU-prelegojn kadre de la nunjara UK en Brno (GK Nro 1206 (2025-01-18), por kandidatiĝi kiel Komitatano B de UEA (GK N-ro 1204 (2025-01-04). Ni informas krome pri la konkurso por originala E-kanzono - de Itala Esperanto Federacio - omaĝanta la figuron de Gianfranco Molle. • Muzike ni proponas fragmenton de la kanzono „Harmonio de la vivo” produktita de AI; ni aŭdas ankaŭ fragmenton de la blusa kanto de Gianfranco Molle por la teksto de Ludoviko Zamenhof „La Espero”; La programinformon akompanas interreta foto pri la urbo Chełmno. • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia Redakcio ekde 2003. La elsendo estas aŭdebla en jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D I.a. pere de jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj, transsalti al iu serĉata fragmento de la elsendo.
just a change in our cosmic address gore excerpt b walkman teka castoriadis at the hop wave x the oneness polypocket mopomoso 160314 palimpset master memed discharge two hearts beat a hideous noise cry a battle drum skry wall of tears perception through comatose state during the codeine familiar hole Nr5 industrial meditation private universe polysensibilite chimique disoriented again gore excerpt a more noise please uninstall prism vision flux the crucifixion of albert ayler the plasma pool virgo cycle song for the sun never die glinder pull up the rootslezet B. Michaael sonervol kalistongue I transform justin wiggan kay grant and john russell post abortion stress comfy rubbish last exit U2 and richard h kirk Iku turso pixyblink arcane waves AG Davis and anthony donovan zoologic paral-lel coffin boffin crowded house daniel heikalo antonio de braga b. michaael steven jesse bernstein lil and sin senal macroblank ystein jurgensen anthony osborne legion laura eisenhower swans final noon talking heads Autumnal Equinox 2024Painting by Antonio Verrio
Ahoy, my friends! Welcome aboard the Afro Tales podcast. Join me as we explore the tales that grew from the people of Indigenous and African descent in the Americas and the Caribbean. Today, we set sail to Cuba, where a magical tale unfolds amidst the island's lush landscape.In this episode, discover the enchanting story of Taewo and Kainde, the sacred twins known as Ibelles. Born during a time when the roads of Cuba were blocked by the dark spirit Iku, the twins embark on a brave journey. Witness their encounter with the fearsome giant Okurri Boroku, and their quest to restore freedom and life to their people. This tale is a testament to bravery, hope, and the power of unity. Book: Caribbean Folk Tales: Stories from the Islands and The Windrush Generation Retold By: Wendy Shearer Chef goes on a culinary adventure inspired by this story, as he shares his delightful recipe for Ajiaco Cubano. This Cuban country-style stew is a pleasure to make in the Galley just for you, and we hope you enjoy it. Afro Tales Recipe of the week: Ajiaco Cubano https://asassyspoon.com/ajiaco-cuban-country-stew/ Chapters: 00:00) Welcome aboard the Afro Tales podcast. Join me as we explore the tales of indigenous people (00:41) All paths across the island leading to other villages and the coast vanished overnight (03:33) the identical twin boys (15:27) Taewo challenged the giant to a dance contest. (24:40) This story comes from the caribbean folk tales by Wendy Shearer (25:48) The identical twins came to Cuba (32:01) Today we will be creating a Cuban country style stew called Ajiaco Cubano Caribbean Stories: Obatala's Yams https://www.afrotalescast.com/obatalas-yams/ What's Her Secrets https://www.afrotalescast.com/whats-her-secrets/ The Queen's Gold Ring https://www.afrotalescast.com/the-queens-gold-ring/ Further Information: Yoruba Religion https://en.wikipedia.org/wiki/Yoruba_religion Orishas https://en.wikipedia.org/wiki/Orisha Santeria https://en.wikipedia.org/wiki/Santer%C3%ADa Mental Health Phone Number: 988 https://texassuicideprevention.org/ https://www.nami.org/Support-Education/Support-Groups/NAMI-Connection To Support Afro Tales Podcast: Website: https://www.afrotalescast.com YouTube: https://youtube.com/@afrotalescast Podcast Artwork: Artbyshalaye: https://instagram.com/artbyshalaye?igshid=18dz8daavtsv6 Music: Artist- Alexander Nakarada Album- FreePD Music Song- Ambient Bongos https://freepd.com/ SFX: https://freesound.org/
Ahoy, my friends! Welcome aboard the Afro Tales podcast. Join me as we explore the tales that grew from the people of Indigenous and African descent in the Americas and the Caribbean. Today, we set sail to Cuba, where a magical tale unfolds amidst the island's lush landscape.In this episode, discover the enchanting story of Taewo and Kainde, the sacred twins known as Ibelles. Born during a time when the roads of Cuba were blocked by the dark spirit Iku, the twins embark on a brave journey. Witness their encounter with the fearsome giant Okurri Boroku, and their quest to restore freedom and life to their people. This tale is a testament to bravery, hope, and the power of unity. Book: Caribbean Folk Tales: Stories from the Islands and The Windrush Generation Retold By: Wendy Shearer Chef goes on a culinary adventure inspired by this story, as he shares his delightful recipe for Ajiaco Cubano. This Cuban country-style stew is a pleasure to make in the Galley just for you, and we hope you enjoy it. Afro Tales Recipe of the week: Ajiaco Cubano https://asassyspoon.com/ajiaco-cuban-country-stew/ Chapters: 00:00) Welcome aboard the Afro Tales podcast. Join me as we explore the tales of indigenous people (00:41) All paths across the island leading to other villages and the coast vanished overnight (03:33) the identical twin boys (15:27) Taewo challenged the giant to a dance contest. (24:40) This story comes from the caribbean folk tales by Wendy Shearer (25:48) The identical twins came to Cuba (32:01) Today we will be creating a Cuban country style stew called Ajiaco Cubano Caribbean Stories: Obatala's Yams https://www.afrotalescast.com/obatalas-yams/ What's Her Secrets https://www.afrotalescast.com/whats-her-secrets/ The Queen's Gold Ring https://www.afrotalescast.com/the-queens-gold-ring/ Further Information: Yoruba Religion https://en.wikipedia.org/wiki/Yoruba_religion Orishas https://en.wikipedia.org/wiki/Orisha Santeria https://en.wikipedia.org/wiki/Santer%C3%ADa Mental Health Phone Number: 988 https://texassuicideprevention.org/ https://www.nami.org/Support-Education/Support-Groups/NAMI-Connection To Support Afro Tales Podcast: Website: https://www.afrotalescast.com YouTube: https://youtube.com/@afrotalescast Podcast Artwork: Artbyshalaye: https://instagram.com/artbyshalaye?igshid=18dz8daavtsv6 Music: Artist- Alexander Nakarada Album- FreePD Music Song- Ambient Bongos https://freepd.com/ SFX: https://freesound.org/
It's time to examine Naoki Urasawa's Manben! We'll be diving into the episode on Wataru Watanabe and discussing his signature series, Yowamushi Pedal! We also talk about Anime Boston, Rascal Does Not Dream, Ore Yori Yowai Yatsu ni Ai ni Iku, and more!!! Send us emails! mangamachinations@gmail.com Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Support us by buying us a Kofi! https://ko-fi.com/mangamac Timestamps: Intro - 00:00:00 Listener Email - 00:04:59 Anime Boston - 00:12:39 Rascal Does Not Dream - 00:16:47 Ore Yori Yowai Yatsu ni Ai ni Iku - 00:29:06 Hard Mode Ritou: Aogashima Ittekita - 00:34:07 Next Episode Preview - 00:41:13 Manben Neo: Wataru Watanabe - 00:43:16 Outro - 01:34:16 Songs Credits: “Galaxy Groove” by Yarin Primak “Slappy” by Ido Maimon “Whipped Cream” by Steven Beddall “Psychedelic Funkadelic” by Evert Z
Halos buong linggo natin siyang napapanoon sa ‘Stolen Life' at ‘Walang Matigas na Pulis sa Matinik sa Misis'. Ngayon, sa pelikulang ‘After All' natin siya aabangan kasama ang ka-love team na si Kelvin Miranda. Paano nga kaya napag sasabay ni Beauty Gonzalez ang career and family? Iku-kuwento ni Beauty lahat iyan dito lang sa Surprise Guest with Pia Arcangel!
محتويات الحلقة 00:01:48 الأخبار نقاشات و أخبار متفرقة عن Teasing Master Takagi-san Synecdoche's Plus-Sized Elf 86 War Monsters Love Live! Nijigasaki High School Kamitsubaki City Under Construction Rascal Does Not Dream Pokémon Horizons Shōshimin Mystery Konosuba - Love For These Clothes of Desire! Jujutsu Kaisen Cursed Clash Shūmatsu Train Doko e Iku? Date A Live: Ren Dystopia Tohai Mahjong Mushoku Tensei: Jobless Reincarnation Dorohedoro Overlord Sei Ōkoku-hen The Simpsons' 'Treehouse of Horror XXXIII' The Irregular at Magic High School The Duke of Death and His Maid Witch on the Holy Night 00:46:56 توصياتنا تكلمنا عن The Knight King Who Returned with a God و Tears to Tiara 00:56:00 تعليقات المستمعين ردينا على تعليقاتكم الجميلة الحضور قيثم و عبدالرحمن
Not really sure why this episode is called "Hackers." Maybe the boizz talk about hacking at one point, but they definitely talk about other stuff. Full track listing below.Download and listen NOWGame - Composer - Song - Company - Console - Year (North American release unless otherwise indicated)Ranger X - Yoshinobu Hiraiwa - Stage 1-1 (Desert) - Sega - Genesis - 1993Don Doko Don 2 - Iku
Nepali actor Usha Rajak, who began her journey as a model, is now renowned for her roles in movies such as Iku, Kusume Rumal, and Kathaputali. Despite being a "nerd" during her student life, Rajak says she had initially planned to pursue a career in Nepal Army but ended up in the modeling industry. While promoting her new movie "Julebi" during a visit to Australia to reconnect with family, Rajak candidly discussed both her personal and professional aspects in a conversation with SBS Nepali. - म्युजिक भिडियोमा मोडलिङबाट सुरु भएको कलाकारिता यात्रा पछि उषा रजकले चलचित्र तथा नाटकमा गरेको अभिनयबाट नेपाली दर्शक सामु आफ्नो पहिचान छोडेकी छिन्। पढाइमा अब्बल भए पनि त्यस समयमा आफू आकर्षक छु जस्तो नलाग्ने गरेको रजकले बताइन्। आर्मी बन्ने सोच राखेकी रजक कसरी चलचित्र र रङ्गमञ्चसम्म पुगिन् भन्ने बारे एसबीएस नेपालीसँग गरेको कुराकानी सुन्नुहोस्।
In this episode, we sit down with Iku Wholefoods lead nutritionist, Liv Kaplan, to explore the world of plant-based nutrition and holistic wellness. We cover off: Basics of a plant-based diet, Health benefits of eating plants Some recommended supplements Iku's gut reset program We also discuss tips for maintaining steady energy levels and foods to include for healthy skin. Tune in to discover the power of plant-based nourishment for your body and soul! AND if you're interested in trying their meals COSMECHIX will give you 20% off at the checkout ;)
E LO OMI FUN ALAAFIA TI O PEYE; A GBODO KU SI ESE KI A TOO LE JERE AYERAYE
How is populism influencing politics in India? Tune in to this episode of the Precision-Guided Podcast as our hosts, Iku and Senju, give an overview of populism in India. The discussion will encompass the early roots of the Hindu-Nationalist movement in India and its connection with the BJP party. The discussion will also look at the present-day political environment, the ramifications of the party's control on minority groups, and analogs between U.S. populism and Indian populism.
Dan Cuthbert is a 5th Degree Black Belt in Shito Ryu Karate. He has won numerous medals at National, European and World Chmapionships, spanning the IKU, WUKF & WKF Federations in his career. He is now the National Kumite Coach for Karate England. Enjoy this episode, with one of the UK's best. Oss
LAIPE, JESU YOO SEGUN IKU ATI IBI
❤️ Love and Peace ☮️5835
IPO ENIYAN NIGBA TI O BA KU
BAWO NI IYE ATI IKU SE BERE -
Reminding you to not be so serious and remember that experience is sometimes the best teacher on your awakening journey. The opportunity for growth is infinite in your career, your life, your business, and especially wealth. If Ifarada appears it is time to ask yourself: "Is it time to go back to Iku and make more changes and allow myself to let go? Am I afraid to meet new people? Am I ready to go to new spaces?" Start with the link in my social media bio to connect with book reccomendations, book the remainder of the 1 on 1 consults available for the year, and sign up for an online course! The cards have no mercy leaving you to ask yourself the question: When did you forget that you were divine? Starting today, get the daily dedication of a tarot reading and the infinite vortex of the metaphysical, all in the familiar space of your favorite Spotify podcast. Click the link in my bio on any social media platform @metaphysicalaf to be taken to all of the following. Download FREE worksheets to work with any tarot or oracle deck Take the FREE Quiz to find out your Cannabis Oracle Get 1 of 5 Spaces on my yearly calendar for personal mentoring (only 4 left!) Get Healthy CBD Edibles without any added sugar, vegan, and organic FRUIT SLABS CBD --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Anchor: The easiest way to make a podcast. https://anchor.fm/app
If you accept Iku you are fully free to release something and step into the new light. It is okay to mourn and grieve the things of the past but you must create your future when Iku arrives and says it is time to move on. If Iku shows up for you it is time to consider a few things: "Do I run programs of the past more than the future? Do I know how to embrace the unknown? Do I lack faith? Am I listening to my dreams?" The cards have no mercy leaving you to ask yourself the question: When did you forget that you were divine? Starting today, get the daily dedication of a tarot reading and the infinite vortex of the metaphysical, all in the familiar space of your favorite Spotify podcast. Click the link in my bio on any social media platform @metaphysicalaf to be taken to all of the following. Download FREE worksheets to work with any tarot or oracle deck Take the FREE Quiz to find out your Cannabis Oracle Get 1 of 5 Spaces on my yearly calendar for personal mentoring (only 4 left!) Get Healthy CBD Edibles without any added sugar, vegan, and organic FRUIT SLABS CBD --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Daikito Daily Nihongo | Listen and learn Japanese - Escucha y aprende japonés
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