Podcasts about Vanuatu

In Pacific Waves today: Acid rain from Vanuatu volcano affecting waterways; New biopic on Samoan opera stars Pene and Amitai Pati; 'Music Portrait of a Humble, Disabled Samoan' gets standing ovation. Go to this episode on rnz.co.nz for more details

The latest news in Solomon Islands Pidgin (Tok Pisin).

Hello and Welcome to the DX Corner for your weekly Dose of DX. I'm Bill, AJ8B.5N – Nigeria – Bodo, DF8DX, will be in Abuja, Nigeria, working at the Voice of Nigeria broadcasting station from March 1-10,. Operating under his new callsign 5N7QBR he plans to be active on the air as time allows and will participate in the ARRL DX SSB Contest. J5 - Guinea-Bissau – 124,600 QSOs and 23,800 different callsigns after 7.24 days of operation. Still 13 days to go.YJ – Vanuatu - JK1JXZ (also known as A35JK, T2JK), Aki, is QRV from Port Vila, Vanuatu as YJ1JXZ until April 3, 2026. He  will operate on the 80-6m bands, with activity after 5 p.m. Vanuatu time on weekdays and all day during weekends. The web page https://www.qrz.com/db/YJ1JXZ will beupdated  once the specific dates are confirmed. FJ - St. Barthelemy –Andreas, DK6AS, is now active from St. Barts as FJ/DK6AS for the month of March. He is QRVon CW, FT4 and FT8 on 3.5 through 50 MHz, including participation in the ARRL International DX CW Contest. QSL via DK6AS either direct or via the bureau.3B8 - Mauritius & 3B9 - Rodrigues - So far reported as 3B8G on 20, 15 and 10 CW, and the operator is VU3OPT, akaOM0GA, Suvarna.  This is a 48-day trip will end on March 30. The Rodrigues portion, callsign 3B9N, will run from April 3 to May 20.  It appears he also plans visits to Sri Lanka (4S) and Bangladesh (S2) in the second half of 2026. JD1/M - Minami Torishima – Take, JG8NQJ, will be working again on Minami Torishima as JG8NQJ/JD1 now to mid-May, operating with 50 watts and a  HB9CV style 17/15M 2-element antenna. QSL via JA8CJY.  VP2E – Anguilla – Jack, M0PLX, SP9FIH and SQ2RAD, will be QRV from Anguilla until March 22nd. They will use the callsigns VP2ELX, VP2EWE, and VP2EAD, respectively. Theiractivities will cover the 160-6 meter bands, with each operator focusing on specific frequencies; Jack will concentrate on 15m, 40m, and 80m SSB.Operations will take place on SSB and CW, utilizing multiple transceivers, amplifiers, and both vertical and directional antennas. During the three-week stay, Jack also plans short sightseeing and possible radio activities from St. Maarten (FS), Saba (PJ6), and St. Barthelemy (FJ).ZC4 - UK Sovereign Base Areas on Cyprus - The ZC4C and ZC4Z team are scheduled to depart Edinburgh, Scotland Wednesday morning heading for Cyprus and will probably begin operations early Thursday.  VE – Canada - It's VO2LAB/VY0 from Iqaluit, Baffin Island, Nunavut  Territory, where Jim, WB2REM, is operating remotely from the VY0IRC station.  QSL via Club Log, QRZ, LOTW but no paper confirmations. V5 - Namibia – Gunter, DK2WH, is currently operating as V51WH from a farm near Omaruru, Namibia, and will remain active until March 24, covering frequencies from 160 to 6 meters, including 60 meters. FO/A - Austral Islands - "The excitement is mounting, just over a week to go until departure!" – from the TX5EU group.  A lot of the prep work is done, extensive radios, antennas, spare parts, etc., "everything has been planned in detail, tested, and packed."  The German and Dutch ops have been meeting regularly, mostly on video conferences.  On March 11, the six ops from Germany and The Netherlands will meet at the airport in Paris and fly to San Francisco and onward to the Austral Islands.  They expect to be on the air March 13, with operations  continuing to March 25.  

The latest news in Solomon Islands Pidgin (Tok Pisin).

Vanuatu authorities confirm minor eruption at Ambae volcano and what the latest Middle East strikes mean for the Pacific.

The latest news in Solomon Islands Pidgin (Tok Pisin).

Have you ever considered your profession as a ministry? Come to this session and hear about the biblical roots of nursing as ministry, your sacred calling to serve, and the importance of paying attention to those divine appointments. We will also talk about finding your passion and being persistent, all while drawing on the power of the Holy Spirit.

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CLIMATE ACTION SHOWMARCH 2ND 2026Produced by Vivien LangfordF I G H T I N G not  D R O W N I N G FROM BELEM TO SANTA MARTA - Part 2 -THE FIRST INTERNATI0NAL CONFERENCE ON  TRANSITIONING AWAY FROM FOSSIL FUELS - Yes Just that!Guests: Daniela Duran Gonzalez - Head of the Office of International AffairsMinistry of Environment and Sustainable Development in Colombia Patrica Suarez - a Murui Indigenous woman, advisor to the general coordinating body of the National Organisation of Indigenous Peoples of the Colombian Amazon (OPIAC) Tasneem Essop - Executive Director of Climate Action Network International the largest global network of over 1,300 civil society organisations, in over 120 countries, fighting the climate crisis. Alex Rafalowicz - Executive Director of the Fossil Fuel Non Proliferation Treaty Initiative.  Santa Marta "will be quite a large and historic event that will draw through thinking about how can we address the challenges that we have for realising the phase-out”  Film : FIGHTING NOT DROWNING by C. MackenzieA short film and showing how Pacific Students with the diplomatic support of The Hon Ralph Regenvanu of Vanuatu, took a case to the International Court of Justice.As Philippe Sands says " A single line from the ICJ can be used in National courts around the world" you will hear voices from this film but please watch it.-  available on YoutubeAs Julian Aguon, author, Indigenous human rights lawyer and founder of Blue Ocean Law says,“I'm trying to use the law to wrap my arms around what I most love and wish to protect.”  Thanks to the Fossil Fuel Treaty Initiative for permission to broadcast material from their webinar and film.

The latest news in Solomon Islands Pidgin (Tok Pisin).

The latest news from Melanesia.

The latest news from Melanesia.

The latest news in Solomon Islands Pidgin (Tok Pisin).

Residents and students learn from others about original motivation, long-haul stamina, pearls and pitfalls of living in community, debt, vision for one’s next step to the nations, and helping the needy now tensioned with investing in education to help others later.

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The latest news from Melanesia.

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The work is inspired by the island's natural beauty and by the evening songs, chants, and slit drum ceremonies of the Indigenous People of Vanuatu. The slit drums were carved from extraordinarily large, hollowed-out trees, often standing two or three times the height of the performers. The original recording was made over half a century ago, before the islands felt the first signs of rising seas. This piece offers a brief reflection on that earlier time. It opens with pitch-shifted slit-drum rhythms — deep and resonant like distant tympani — and ends with the eruption of a volcano on the nearby island of Tanna. Technical notes: The drums were pitch isolated and some were pitch shifted down. The entire performance was slightly put through resonant filters and reverb that corresponded closely to the pitch and key of the singers. The drum rhythms that occur through the piece helped integrate the singing with my additional melody.Durei-na-mbwe song reimagined by David Leith.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Tu Paine": song for guitar performed by Robert and Paul.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

The Colonisation of Language: A Phraseology in Five Parts explores, in a broad sense, aspects of oral storytelling and how the influence of colonisation can corrupt language and the sense of an origin story through multiple iterations over time. In much of my sound work, I'm drawn to the spoken word, and was immediately drawn to the characteristics within the vocal utterances contained in the 1962 original field recording by Raymond Clausen of a Navel-Miel performance accompanied by shaken rattles and seed pods from Malekula, Vanuatu. Selecting snippets of these utterances with some of the percussive elements, I created a speculative language to run alongside the opening paragraph of the Brothers Grimm tale, Rapunzel (1812). I assigned an utterance to each word in the story and developed a version of this story "spoken" in this speculative language. Distinct phrases contained within the original narration are repeated and ‘corrupted' through unlikely juxtapositions of these set phrases over the length of the work. I chose Rapunzel as my source tale due to its allusion to industry and exploitation, especially within its opening paragraphs, as both key activities of colonial intervention. Although the tale of Rapunzel can be read through many lenses, this selection, I felt was critical to situate the conceptual approach of the composition more solidly within this framework and make clearer my intent. Further to this, I included the familiar and Western story-telling trope, “Once upon a time”, which doesn't appear in Rapunzel's original form, to open each of the five parts. The voice which narrates the opening of Rapunzel in English, is an AI-generated voice.All instrumentation, apart from the AI-generated narration, is sourced directly from the original 1962 field recording and modified through extensive processing and effects. No DAW stock beats or sounds were used in the composition. On reflection, incorporating AI into this work, also adds another layer of critique and meaning to The Colonisation of Language: A Phraseology in Five Parts. Using the opening paragraphs and set phrases of Rapunzel as my language model, also interrogates AI's compilation process and corruption of meaning when AI is forced to draw on a singular set language model for its output. How many iterations from a set model, does it take to output only diabolical errors in sense and meaning, thereby compromising the integrity of heritage? Navel-Miel performance with rattle and seed pods reimagined by Kenneth Lyons.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

When I listened to the recording, I went back to sit with my mother in nature in the village. The rhythm was beating her favourite song (Rewşenê) alongside '"Tu Paine", and it was reciting memories that will not be remembered unless passing through a genocide. It is inspiring how 14,000 kilometres of distance can vibrate the same feelings that I had in my childhood. It is interesting how a sound can describe nature, culture, the spiritual, and a divine power that music has and how it travels with the wind to gather with other communities and add their cultural sounds. The song Rewşen has been dug into my memory and it connects me to my land whenever I hear something similar. The song is a traditional song about love stories where lovers need to be married at the end. For this recording, I played the oldest instrument among Yazidi people called Tembûr. It is a collection of wood, strings, and animal veins alongside human ability to bring sound to it. Tembûr is used in every house among the Yazidi community and is accompanied with singers to preserve thousands of stories and oral traditions. I used a GarageBand program and a simple mic to record the sound of Tembûr and my voice. I sang my mother's favourite song as an act to reveal what I felt while listening to the song. I added some notes to reveal the pain of the memory and identities who are under danger all the time. These memories stole me to them and let me relax in nature again.I did some research about Malampa's culture and environment, the origins of people who are close to nature and oceans, and some research about Fiji too which is near to Vanuatu and I may plan for a visit to discover the culture and music instruments there. "Tu Paine": song for guitar reimagined by Fehedê Herbo.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Durei-na-mbwe song (late evening performance).From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

A Navel-Miel performance accompanied by shaken rattle and seed pods.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

South Pacific "pop" music recorded on the beach with full band, including guitar, tea chest bass and spoons.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"You say you no want 'im married long me" (song performed by men, women and children).From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

The recording I worked with was pure beauty. A simple, pure sound of a conch shell being played - according to my further research, these conches can be hand-stopped to produce different notes and tones, and when played on the reefs in Vanuatu, can “make the whole reef resonate in sympathy”.Conch shells are also used ceremonially, for instance, to celebrate and denote the quality of boars that are killed for meals as part of a ceremony called Maki. A sound of beauty, then, but also of ceremonial significance - a treasure. At the same time, the sound reminded me irrevocably of a piece called “Conch Calling” from one of the ambient albums that's had the greatest influence on how I think about music, Underground Overlays from the Cistern Chapel by Stuart Dempster. On this album, trombonist Dempster takes a troupe of musicians into a two-million gallon underground cistern, with a naturally cavernous reverb that turns the simplest melodic patterns into some of the deepest, most beautiful drones you've ever heard. I wanted to respect - and highlight - the naked beauty of the pure sound from the original recording, and at the same time to imagine a duet across time and space, between conch shells from Vanuatu, and 21st-century synthesisers. Ancestral drone music, paired with today's ambient music. This piece is built, respectfully, around a repeated 12-second loop of the conch shell, which remains throughout, while synthesisers and arpeggios paint the air around it. This is a duet for conch shell and two synthesisers. Writing it, I was held in a moment forever, and I hope it brings a moment of stillness and contemplation for the listener too.Natar (song) on conch and musket reimagined by Cities and Memory.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Natar (song) with Markany Lei on conch and Wani on musket.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Drawn to the Circle began with a field recording of a boar tusk horn calling people into a full circle. The sound comes from Malekula Island in Vanuatu, performed by Melteg Ike and Mal Maru of the Big Nambas cultural group, and recorded by Raymond Clausen in 1962. When I first heard it, I was struck by how two players became one sound. It felt less like music and more like an invitation — a call to gather.The idea of the circle stayed with me. A circle has no front or back, and no one stands above another. Across cultures, people meet in circles to listen, to share, and to mark time together. In this recording, the call draws people inward, toward community. I spent time researching the Big Nambas people and the island of Malekula, using archival material from the Pitt Rivers Museum. Looking at landscapes and objects helped me imagine the life around the sound. The piece came together quickly after that, shaped by thoughts about what connects us as humans. I found myself wondering how a call rooted in one community could arrive here with me in Athens, and how it might speak to my own sense of belonging.When composing, I treated the field recording as something living. The cello and voices follow its texture and tone, moving with it rather than leading it. My partner and baby daughter participated in the process and helped me record some of the percussion. Their presence became part of the piece, making the act of recording feel communal — less like producing a track, and more like standing in a circle together and responding to the call.Working with this recording has been a privilege. It has reminded me how deeply human the act of gathering is, and how sound can carry that impulse across place, time, and generation."Merer Pake": nDavu trumpet signal reimagined by Ana Habesh.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Merer Pake": an nDavu trumpet signal for a full circle tusked boar.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Six Records of Gongs and Singing": six phonograph records of drums and singing from Vanuatu, originally recorded on wax cylinders by anthropologist John Layard, later transferred (here) to tape.From the sound collections of the Pitt Rivers Museum, University of Oxford, being one of a number of miscellaneous or individual ethnographic field recordings (rediscovered during a recent research project).Recorded by John Willoughby Layard.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Narel (song) performed by Peter, Sali and Mal Sekini.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I ended up listening to this recording a lot in my everyday life, just putting it on and going to work, walking around the city I live in, in idle moments between work. I didn't know an awful lot about Vanuatu, where the recordings were taken by Raymond Clausen in 1962. Having read the Pitt Rivers blog, I thought a lot about how people and societies move on and are changed, sometimes forcibly, by the world they inhabit, and importance of communication, across generations and across the world. Climate change and the threat of rising sea levels presents an existential, direct and profound threat to the lives of people across the global south, particularly islanders. The Vanuatan government has appealed to the world for help via the UN, which with the rise of the right and shattered consensus across the world is becoming increasingly toothless, but hope has to prevail. For the spoken text in this piece I used the information about the threat of climate change from the Permanent Mission of the Republic of Vanuatu to the United Nations over a sample of drumming at Wor Tamat, other electronic samples and guitar, with text read by Lizzie Lindsay.Drumming at Wor Tamat dancing ground reimagined by Dermot Fitzsimons.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Durei-na-mbwe (song) by the Broken Consort, with Samuel on bu-wahr-wahr (panpipes), accompanied by Dominique, Erine, Ferdinand and Marineau.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly on the island of Malekula (Malampa Province) in Vanuatu between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Piano being played": recording of the second movement ('Sarabande') of solo piano suite 'Pour le piano' (L.95) by French composer Claude Debussy, performed by an unnamed pianist.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly in Vanuatu (and South Africa) between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I decided to reimagine the recording of “Six Records of Gongs and Singing”: six phonograph records of drums and singing. Originally recorded in 1914 on Atchin Island in Vanuatu, these recordings were made using wax cylinders by anthropologist John Willoughby Layard. Later, in the late 1930s, they were transferred to 78rpm records, and in 1979, they were transferred to reel-to-reel tape.In my recording of “Aural Sunbeam (Six Records of Gongs and Singing),” I am reinterpreting these historical sounds to capture the essence of the museum's recording. My objective is to create a captivating narrative and sonic experience that may enhance a listener's engagement with this remarkable historical artifact through our shared cultural memory. I believe that culturally significant artifacts that hold historical narratives can be used to gain new insights into the past.My interest in preserving the music is equally important to me as the voice of anthropologist John Willoughby Layard in these recordings. For me, it deepens the connection between time and place, bringing history to life. I hope that my “Aural Sunbeam (Six Records of Gongs and Singing)” will create a new physical, emotional, and sensory connection to the original content.Six records of gongs and singing reimagined by Jeff Düngfelder.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

In Pacific Waves today: Is NZ doing enough to live up to 'Pacific family' rhetoric? Whooping cough under control in Vanuatu - health ministry; NCDs trapping families in poverty - Pacific health expert; Teams arrive in Australia for OFC round three. Go to this episode on rnz.co.nz for more details

The latest news in Solomon Islands Pidgin (Tok Pisin).

The latest news in Solomon Islands Pidgin (Tok Pisin).

Fiji's former Prime Minister Frank Bainimarama is on bail after being charged with inciting mutiny.

The latest news from Melanesia.

The latest news in Solomon Islands Pidgin (Tok Pisin).

Have you longed to integrate your Christian faith into your patient care—on the mission field abroad, in your work in the US, and during your training? Are you not sure how to do this in a caring, ethical, sensitive, and relevant manner? This “working” session will explore the ethical basis for spiritual care and provide you with professional, timely, and proven practical methods to care for the whole person in the clinical setting. https://www.dropbox.com/scl/fi/qpah9kh1lttg6cm1jjop9/Bob-Mason-Ethics-of-Spiritual-Care-revised.pptx?rlkey=0emve2ja8282nv8xc4uinq1hg&st=9033htwx&dl=0

My Top 10 Lowest Moments On My Travels So FarTravel isn't always sunsets, summit views, and perfect Instagram moments — and in this episode, I get honest about the other side of life on the road.Before diving in, I acknowledge just how much of a privilege travel is, especially in a world where many people face conflict, instability, and restrictions on movement. This episode isn't about criticising countries, cultures, or places — it's about the very human moments that unfold while traveling.From getting violently sick at sacred sites, to terrifying border crossings, brutal overnight bus rides, running out of money abroad, and nearly dehydrating in the desert, I share ten of the lowest — and often unintentionally funny — moments I've experienced so far.Some of these stories are uncomfortable, some are reflective, and others are light-hearted in hindsight. But all of them highlight a truth we don't talk about enough: travel doesn't always go to plan, and sometimes the hardest moments become the best stories later on.If you've ever had a trip go sideways, questioned why you're doing this at all, or found yourself laughing through the chaos — this one's for you.Let me know what your lowest moments have been.⏱️ Timestamps00:00 – Travel is a privilege & episode introduction01:05 – What Winging It Travel Podcast is all about02:30 – Why this episode isn't about judging places or cultures03:00 – #1: Bodh Gaya, India – food poisoning at a sacred site05:15 – #2: Vanuatu flight cancellation & the “prison hotel”09:00 – #3: Being seriously ill in India & Laos10:15 – #4: Chitwan National Park, Nepal – promised wildlife, saw nothing11:40 – #5: Mount Fuji, Mount Kinabalu & hikes with zero views15:05 – Listener support & podcast housekeeping break15:55 – #6: Laos–Thailand border scam with guns involved17:30 – #7: 30-hour bus rides from Vietnam to Laos18:55 – #8: Near dehydration in the Atacama Desert20:30 – #9: Running out of money in Australia22:45 – #10: Giant ants while wild camping in Oman24:45 – Bonus: Brutal mine-site kitchen work on a work permit29:20 – Final reflections & listener call-to-action--------------------------------------------------------------Produced by Winging It Productions - ⁠https://www.wingingitproductions.com⁠Voyascape: Travel Podcast Network - https://voyascape.com/Winging It Travel Podcast - WebsitePlease leave a review and a 5-star rating wherever you get your podcasts!--------------------------------------------------------------Winging It Travel Podcast CreditsHost/Producer/Creator/Composer/Editor - James HammondContact me - jameshammondtravel@gmail.com or james@wingingitproductions.comSocial Media - follow me on:InstagramTikTok

Stories from Israel-Palestine, China, Vanuatu, and elsewhere This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.foreignexchanges.news/subscribe

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Those who hope to honor God and advance Jesus' Kingdom face powerful opposition from spiritual, physical, and psychological enemies. Successful launching and long term fruitfulness depends on recognizing and, in dependence on the Holy Spirit, waging war against those enemies.

This week, we examine a herpes zoster vaccination that can reduce or delay dementia diagnosis. How does it work? Plus, the BBC's Zoe Kleinman explains a social media site for AI chatbots, the discovery of microplastics in remote parts of the Pacific Ocean, and why the Artemis II launch has been delayed once more... Like this podcast? Please help us by supporting the Naked Scientists

Today, we catch up with Survivor Legend Chad Crittenden! Chad shares openly about his past cancer diagnosis, and subsequent amputation, which led him to want to challenge himself as a contestant on Survivor 9, Vanuatu! If you didn't know much about Chad, you're going to love getting to know him better!! Todd and Leslie chat with him about casting, what he learned about himself on the island, how he used his platform to encourage others after the show and what he's up to now!Special thanks to the best Whiskey on the Planet Watertown Whiskey! Check them out on instagram: https://www.instagram.com/watertownwhiskey/?hl=en Tell them Fairplay sent you! Please Drink Responsibly https://watertownwhiskey.com/ Our new Website is live! Check it out at: www.realityaftershow.com Join our Patreon at RealityPatron.com If you would like a cameo from Jonny Fairplay order one now! cameo.com/jonnyfairplay Check us out on Tiktok @fairplaytokBecome a supporter of this podcast: https://www.spreaker.com/podcast/reality-after-show--5448874/support.