Emilia Clarke Comments on Jon and Daenerys meeting
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Emilia Clarke Comments on Jon and Daenerys meeting
Look at her. That silver-gold hair, those purple eyes. She is the blood of old Valyria, no doubt.
First Empress, Holy Progenitor of Gemkind, Head of the Authority, Beacon of Order, Queen of Song, Light of the Stars, The Absolute, The Unyielding, The Final Mistress, Her Mightiness and Majesty, Her Eternal Perfection, White Diamond.
“Ang Munting Sirena” (late post)
now is the little mermaid’s turn. trying to simplify everything as possible and not putting any tattoos or any Filipino ethnic charms just to show she’s a Filipino mermaid. Their culture is unknown.and yes, she still has her mermaid hair when she transformed into human.
Isabella . Filipina “Belle”
starting the year right. here’s my first art for the year.
Lalahon, my 4th diwata fanart from the filipino epic series, Indio. She is the goddess of fire and volcanoes. Lalahon possesses the power to control fire using her hands, create balls of fire and explosives. She can also manipulate and command volcanoes to erupt if needed.
Adlaw - the god of the sun. Adlaw can manipulate all aspects of a sun’s power (immense heat and luminosity).
He’s my favorite diwata. ^^
Now whenever I’m doing something and need motivation I have to ask myself if the Holy Trinity of Grandmas would approve.
Lin-Manuel Miranda caps a huge ‘Hamilton’ year with 'Moana’ (L.A. Times):
[…] When did “Moana” come to you?
I can trace the journey of “Moana” in the journey of my son’s life. I found out I got the job on “Moana” the same day I found out I was going to be a father. My wife was going on a business trip and she was leaving first thing in the morning. She turned to me and said, “You’re gonna be a father. I gotta go catch a plane.”
And I went, “What? That’s great.” And fell back asleep. I had to call her back for confirmation. Then I got the call later that afternoon that I got the job. They called me again and said, “We’re all going to New Zealand this weekend; you’re leaving first thing in the morning.” It was pre-“Hamilton.” So I’ve been working on this for two years and seven months. My son [just] turned 2.
It was really kind of an incredible journey. And the “Hamilton” phenomenon happened while I was writing it.
How did you split the time?
I had to really protect my writing time. In one sense it was really great, because, you know, when something is as successful as “Hamilton” everyone wants a piece of you. Everyone wants 10 minutes to talk about their pitch, or press, or what have you. The things that come with the success of a thing.
I got the luxury of having to say no to a ton because I was like, “Tuesdays and Thursdays are full-time ‘Moana’ writing days.” I would meet via Skype with the creative writing team at 5 p.m. every Tuesday and Thursday, then I would go to the chiropractor, then I would get into costume for a 7 p.m. show. It was built into my performance schedule.
I also had the luxury of amazing singers in the building — so a lot of my early demos for “Moana” is [the “Hamilton” cast]. Pippa [Phillipa] Soo, who played my wife, singing Moana’s tunes, and Chris Jackson, who played George Washington, singing Maui’s tunes. He’s actually in the movie: He’s the singing voice of Moana’s dad.
[…]
What was the key that unlocked the character of Moana for you?
The thing that resonated for me with Moana is she is not someone who hates where she is. Moana loves her family, she loves her island. She knows she’s got responsibilities and she’s ready to embrace them. And yet there is this voice inside her that says you’re not supposed to be here, you’re supposed to be somewhere else.
I can relate to that. I was a kid who was always making stuff. I didn’t know whether I wanted to make action movies or animated cartoons or musicals, but I was always just making stuff. My parents were like, “This is not practical. You’ll be a great lawyer.” And it was never gonna happen. I loved my parents and I loved where I lived, but I also had this voice that was, what’s the distance between me and what I want. That’s what I tried to imbue her with without villainizing the things around her. It’s not “there must be more than this provincial life,” it’s “I love it here and yet; and yet every time I absentmindedly walk I find myself at the water again.”
Given the love for “Hamilton” in the world, given that its journey is not over by a long shot, there is going to be some high school in Kansas that wants to mount a production of “Hamilton” and all of the roles are gonna be played by white kids. Is that missing the point? Or is that the point?
When it comes to kids, I relax all of my rules. When I think from my perspective I got to be a son in “Fiddler,” I got to be Conrad Birdie, I got to play roles that I’ll never get to play as an adult. Once you’re an adult, the world puts you in a box and you’re cast by type and ethnicity. I directed “West Side Story” my senior year in high school. I was one of the only Latino kinds in my school, so my Sharks were white and Asian. At the same time, I was able to flip that into a teaching moment. I brought my dad in to do dialect coaching so it wasn’t [bad] Hollywood accents, it was authentic Puerto Rico accents that these kids were attempting.
I hope there’s enough in “Hamilton” that if you go to a school where there are literally no kids of color — and that is increasingly rare in our country, which is a good thing — your job is to honor the story. For me “In the Heights” has been this. I get joy from both sides of it. I get joy that kids who go to schools that are largely white suddenly are waving Dominican flags around and having to learn Spanish to understand what they’re singing. So they’re getting a dose of cultural education by virtue of doing this show they like. Whether or not they have quote unquote permission to do it. They’re getting it. The medicine is going in. You now have empathy for a group of people that have never been in your school.
I’m grateful for that. Then when a school in the South Bronx does it and it’s all black and Latino kids and the sense of ownership and pride they feel — like this is ours, this is about our families — there’s no quantifying the joy I get from seeing a production like that.
I think keeping kids from art is not something that’s interesting to me. Now, regional productions are a whole different thing. When you’re in a professional production it’s like, cast [it] right. Save yourself the headache of everything that comes with a very important conversation about cultural appropriation.
Is there somebody who has the ‘How to be a Celebrity’ playbook that you’re cribbing from? You’ve navigated the pre-“Hamilton” to post-“Hamilton” transition better than most.
You learn very quickly that the trappings of it is how much you bring to it. If you surround yourself with three security guards and an entourage, people are gonna look at you. As opposed to my friend Josh Groban, who takes the train to work. And he’s Josh Groban. He’s got millions of fans. He wears it lightly. He’s still just a guy. I’m inspired by that. I refuse to sit on a pedestal that people want to put you on. I’ll write a dumb tweet in the morning and someone will be like, “Pulitzer Prize winner. Can’t get his coffee right.”
You can’t stop being the person you were just because more people are looking at you. […]
read the rest of the great interview!
She calls me
16th Century Hair and Hair Care in Pre-Colonial Philippines Article written by Ligaya for Pinoy-Culture
Hairstyles change from generation to generation. Today the typical hairstyles among Filipino’s is a buzzcut for men, or just keeping it short in general, and having long hair among women while coloring and dying the hair is pretty much a thing among Filipina’s both young and old. Today many people see long hair among men as strange, or only for those who are in a rock band *cough* my Tatay *cough*. However long hair among our ancestors, both men and women, was both a cultural and spiritual thing.
In the 15th-16th Centuries, our ancestors were very prideful of their hair. In the 1520’s, the Visayans in Homonhon, an island in the province of present day Eastern Samar, were seen and recorded to have hair down to their waists. In Surigao, that is located on the northeastern tip of Mindanao, men tended to pull their hair back into a knot at the nape of their neck. While in Butuan, another well known region in northeastern Mindanao, a King was known to wear his hair at shoulder length. Others would gather their hair and wrap it in a knot with a headcloth or turban known as a putong.
Others such as the Tagalogs however did choose to cut their hair, mainly from the influences of Islam considering at the time of the arrival of the Spaniards the Tagalog kingdoms Maynila also known as Kota Seludong and Tondo were already Islamized kingdoms with a mix of indigenous animistic and Hindu-Buddhist beliefs. In the Visaya’s there was a saying, Inalotan ka! This was actually more of a curse back then, especially toward a Tagalog, who tended to cut their hair short. Alot, was also a term the Visayans called the Tagalogs who had short hair, which means shorn, according to one of the early Visayan dictionaries by Fr. Alonso de Mentrida in his 1637 dictionary, Bocabulario de la lengua Bisaya-Hiligueyna y Haria de las islas de Panay y Sugbu y para demas las islas.
In the Visaya’s, cutting one’s hair was a symbol of punishment or mourning. It was only cut when they were being punished for a crime as a sort of shame, or someone, a close relative for example, died. In this case both the mourner and the person who died, their hair would be cut as a symbol of mourning.
During this time, the surviving relative would cut off their hair, especially the women. It was a sign of deep affection for the dead husband, fathers, etc. With the locks of their cut hair, they either placed it in the casket of their dead loved ones or they kept it as a memoir. If they choose to keep it, from time to time they took it out and held it in their hands as they wept in memory of the dead person.
Another time where one would cut their hair is if they were expected to go on a very long journey. Known as balata, this was the cutting of hair and leaving it in t heir house until they returned from their long voyage.
Our ancestors took care of their hair very vigorously, to the point they saw their hair as an ornament to be taken care of. Both men and women were known to have flowers in their hair, perfumes from the oils of certain flowers and plants, musk of the civet, ambergris, as well as coating their hair with sesame seed and coconut oils to groom it. Like mentioned above, our ancestors were known to put flowers and other ornaments in their hair as well as perfumes and oils such as sesame seed oil which were believed to encourage luxuriant growth. A perfumed ointment called Bulat, as well as flowers or sesame seed oil would be worked into the hair for fragrance. Datus and warriors preferred the bolder scent of ambergris, civet or musk excretions. Even today, the use of these oils and other indigenous hair care remedies is still used today like gugo, which is a vine that is crushed and dried, then soaked in water to extract the juices to be used as shampoo. Others are Sabila or aloe vera for hair growth and of course the well known and very loved coconut oil that most people growing up in the Philippines probably had their mothers or grandmothers teach them how to extract the oil and use it such as in the case of everyone in my family.
In the records by Antonio de Morga in his 1609 Sucesesos de las Islas Filipinas, he noted that men and women, especially the chiefs, were very clean and neat in their persons and clothing. They dressed their hair carefully, and regard it as being more ornamental when it is very black. He already recorded down the use of gugo, which was was also used in pre-colonial times. In his passage he mentions how the people wash their hair with water that has been boiled with the bark of the vines of the gugo (which is also scientifically known as Entada purseta), that grows in most of the provinces of the Philippines. This remedy is also used in the use of washing clothes and precipitate the gold in the sand of rivers.
Women tended to grow out their hair, at times to the point of reaching ankle length. From this long length of hair they gathered it into a type of chignon, or pusod in Tagalog, as large as the head itself with curls over the forehead. They also added in additional artificial hair extensions (or switches as they were called back in the day) that they called Panta or talabhok which were their crowning glory. They also had combs or suklay made of wood or ivory with intricate carvings to groom themselves.
During this time it was a great offense for a man to touch a woman’s hair without her permission if they were not a relative or lover, to the point it was seen as a crime in society. However, women were known to touch another women’s hair during fights where they would pull each others hair in aggression. This was a very common thing to where the Visayans had a word for this fight of a women pulling on another’s hair, especially the talabhok, that was known as sampolong.
It wasn’t until the arrival of the Spaniards and in later years of colonization did our ancestors start to cut their hair, especially the men. In Alcina’s and the church’s eye’s this act of cutting their hair was an act of “taming their ancient ferocity with the gentleness of the Gospel”. This was because long hair, mainly on the men, was thought to be “uncivilized”, and “barbaric”, and the cutting of their hair to follow the examples of the short hairstyles of the Spaniards was an act of God and of bringing the people out of their “savage ways”.
An example of this in more recent times is during the early 1970’s when the late President Ferdinand Marcos ordered all Filipino men to cut their shoulder length hair during the Martial Law. This was, like the Spaniards before him, was a part “taming their revolutionary spirit.”
Besides the hair on the head, they also groomed facial hair. Not many sported beards, as most removed facial hair with a pair of clam shells that acted like tweezers. In the Visaya’s, both men and women also tended to pluck their eyebrows and form it into thin arcs resembling the crescent moon. For the Tagalogs, men did grow mustaches, called misay, but like many others in the archipelago they tended to get rid of beards, known as gumi.
Sources:
- Barangay: 16th Century Philippine Culture and Society by William Henry Scott. - Relation of the Western Islands called Filipinas. Diego de Artieda 1573 - Historia de las islas e indios de bisaya (1668) Volume III by Francisco Ignacio Alcina. - Antonio de Morga in his 1609 Sucesesos de las Islas Filipinas. - Fr. Alonso de Mentrida in his 1637 dictionary, Bocabulario de la lengua Bisaya-Hiligueyna y Haria de las islas de Panay y Sugbu y para demas las islas.
this hit me like a bus
I’ll reblog it till my fingers bleed
“stay strong through your pain grow flowers from it you have helped me grow flowers out of mine so bloom beautifully dangerously loudly bloom softly however you need just bloom”
- RUPI KAUR “Milk & Honey”
Here’s a peek at a new limited edition release I am putting up tomorrow at 2PM central! These are beautiful, high quality, numbered giclee prints, with vibrant colors and hand painted gold embellishments. I will only be releasing an edition of 50 of these tomorrow! 😊👑🌿🐠💖 . #illustration #artistsoninstagram #painting #artoftheday #artcollective #instaart #mermaid #instaartist #watercolor #watercolorpainting #jacquelindeleon #artist #atx #atxart