The Treaty that Outlawed Slavery in the Gulf
By Coğrafya Blogcusu at 08:12
Bahrain, British History, European Colonialism, Middle Eastern History
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Officially known as the General Treaty for the Cessation of Plunder and Piracy by Land and Sea, this treaty was initially signed between the British government (represented by the British India government) and the rulers of Abu Dhabi, Sharjah, Ajman and Umm al-Quwain on the 11th of January 1820. Bahrain later signed the treaty in February. This treaty is significant due to the simple fact it effectively outlawed piracy and slavery in the Gulf, whilst also requiring seaworthy ships to be registered with the British.
This was part of a greater strategy employed by the British to exclude European powers (especially the ever-threatening Russian Empire) from exerting influence in the Middle East and disrupting communication lines with British-controlled India.
Thanks to the wonderful people at the Qatar Digital Library who have digitised more than 500,000 scans & documents from the archives of the India Office records and many more; we are able to see a transcript of the actual document signed below. Wikisource also has a transcribed copy.
This was part of a greater strategy employed by the British to exclude European powers (especially the ever-threatening Russian Empire) from exerting influence in the Middle East and disrupting communication lines with British-controlled India.
Thanks to the wonderful people at the Qatar Digital Library who have digitised more than 500,000 scans & documents from the archives of the India Office records and many more; we are able to see a transcript of the actual document signed below. Wikisource also has a transcribed copy.
Page 1, from the Qatar Digital Library |
Page 2, from the Qatar Digital Library |
- A Collection of Treaties and Engagements relating to the Persian Gulf Shaikhdoms and the Sultanate of Muscat and Oman in force up to the End of 1953' [19v] (40/92), British Library: India Office Records and Private Papers, IOR/R/15/1/738, in Qatar Digital Library <http://www.qdl.qa/en/archive/81055/vdc_100023550810.0x000029> [accessed 27 June 2015]
[#BTSFESTA2015] Üyeler Birbirlerinin Profillerini Yazıyor - Rap Monster --> Jungkook
JUNGKOOKIE’NİN NAMJOONIE TARAFINDAN YAZILMIŞ PROFİLİ
İsim: Jungkook
Doğum Tarihi: 97.09.01
Profili yazanın adı: Hyung gibi olan maknae
BTS'te Kook'un görevi: Kaslı aptal
Takma adı: Kaslı domuz Kook
Özellikleri: Vücut çalışmak, Jimin ve V'ye vurmak
Vücut ölçüleri: 178 cm 68 kg
Alışkanlıkları: Güzel bir vücuda sahip olmak
Artıları: Her şeyde iyi, maceracı, cidden kaslı, güçlü, kaslı yapısına ters düşen ceylan gözler, sevimli maknae oluşu
Eksileri: Eğer tüm gücümüzle dövüşürsek kaybeden ben olurum. Eskiden çok güzel üst bacaklarım olduğunu söylerdi, şimdi onunkiler benimkilerin iki katı
Kook'un çekici yanları: Seksi kaslar, ceylan gözler, bülbül ses, kibirli kötü çocuk
Kook'a uyan bir şarkı: Sean Lee - Victory
Kook'u düşününce aklına gelen: 1)Hayvan: Kaslı tavşan
2)Renk:Kırmızı
3) Televizyon programı: Teletabiler
4) Karakter: Kaslı tavşan
5) BTS şarkısı: Outro (x)
Profili yazan kişiyle benzer özellikleri: Grubun merkezi (heh)
Kook'un en iyi olduğu şey: Kaslar, maceracı olmak, yetenekler
Kook için aegyo nedir?: Poping dansının güçlü kas versiyonu
Kook'tan daha iyi olduğunuz şey: Vücuduma dikkat etmem, ondan daha uzun süre yaşamış olmam, ondan daha gençken ölmeyecek olmam
Kook'un dış görünüşü 100 üzerinden: İki bin
Kook ne zaman yorgun görünür?: Vücut çalışmaya gidemediğinde
Kook ne zaman mutlu görünür?: İstediğini yapabildiğinde, V'ye vurduğunda
Kook'un başaracağını umduğunuz şey: Triathlonda.
Kook'un kıskandığınız yeri: JK, tam bir Iron Man.
Kook ile yapmak istediğiniz şey: Vücut çalışmak, müzik yapmak
Eğer Kook'un yerinde olsaydınız: Kol ve bacak kaslarıma dokunurdum
Kook'a (söylemek istediğiniz): Biraz da hyunga bıraksana. Ben de bir şeylerde iyi olmak istiyorum.
Eng Trans: jenny-will@tumblr
Türkçe Çeviri/Düzenleme: Zimbiyan
Çevirileri kaynak göstermeden kullanmayınız!
[#BTSFESTA2015] Üyeler Birbirlerinin Profillerini Yazıyor - Jungkook --> Jimin
JIMIN PARK’IN JUNGKOOKIE TARAFINDAN YAZILMIŞ PROFİLİ
İsim: Park JiminDoğum Tarihi: 95 10 13Profili yazanın adı: ???BTS'te Jimin Park’ın görevi: Yakışıklılıkta bir numara olmak.Takma adı: Çimçim. Özellikleri: Telefonunu düşürmek.Vücut ölçüleri: 195 cm 60 kg.Alışkanlıkları: Su içerken serçe parmağını kaldırmak. Artıları: Kendine daima güvenir.Eksileri: Kendine fazla güveniyor.Jimin Park’ın çekici yanları: Gülünce kaybolan gözleri, güçlü vücudu, bacak kasları. Jimin Park’a uyan bir şarkı: This Isn't RightJimin Park’ı düşününce aklına gelen: 1)Hayvan: Gergedan 2)Renk: Sarı 3) Televizyon programı: Sponge 4) Karakter: Mashimaro 5) BTS şarkısı:We Are Bulletproof Pt. 2Profili yazan kişiyle benzer özellikleri: Yapmak istediği çok şey olması, kaybetmekten hoşlanmaması.
Jimin Park’ın en iyi olduğu şey: Tutku, sıkı çalışmak.Jimin Park için rap yapmak nedir?: Şüphe vericiJimin Park’tan daha iyi olduğunuz şey: YaşJimin Park’ın dış görünüşü 100 üzerinden: 50Jimin Park ne zaman yorgun görünür?: Üzerinde çalıştığı şey başarılı olmayıncaJimin Park ne zaman mutlu görünür?: Lezzetli yemekler yerken. Jimin Park’ın başaracağını umduğunuz şey: Başarmak istediği her şey.Jimin Park’ın kıskandığınız yeri: Kararlılığı, tutkusu, azmi.Jimin Park ile yapmak istediğiniz şey: Dans yarışması. (Bir şeyler öğrendikten sonra)Eğer ben Shin Ramen*'in yerinde olsaydım: Park Jimin, Shin Ramen Black olurdu. (Ç/N: Soru üzerinde kelime oyunu yapmış. *ramen markası.)Jimin Park’a (söylemek istediğiniz): Güçlü ol! Başarabilirsin ~ Başarabilirsin ~ Vaa va vaa. Eng Trans: jenny-will@tumblrTürkçe Çeviri: Cimcim Pak
Düzenleme: Zimbiyan
Çevirileri kaynak göstermeden kullanmayınız!
Jimin Park’ın en iyi olduğu şey: Tutku, sıkı çalışmak.
Eng Trans: jenny-will@tumblr
Türkçe Çeviri: Cimcim Pak
Düzenleme: Zimbiyan
Düzenleme: Zimbiyan
Çevirileri kaynak göstermeden kullanmayınız!
The Early History and Impact of the Wilmington & Western Railroad
Invitation for the inaugural WWRR train, Oct. 19, 1872 |
There were three railroad lines built through MCH in the 1800's, two along its southern portion and one up its eastern side. The two southerly ones -- the PW&B (later the PB&W, now the Amtrak line) and the Baltimore and Ohio (now the CSX line) -- were just portions of much longer lines. There were stations here, but mostly they just passed through, sort of like I-95 through Delaware today. The third line, though, weaving its way along Red Clay Creek and then away to the northwest, was much more of a local business and passenger line. More Kirkwood Highway than I-95. This was the Wilmington & Western Railroad, and it was a good example of how a business can be important without being, itself, particularly successful.
There had been an attempt at building a Wilmington-based railroad in the early 1860's, but the Civil War quickly put that project on hold. After the war the idea resurfaced, with the planned railroad to have lines running along Brandywine Creek, Red Clay Creek, and Mill Creek. Unfortunately for MCH, only the line along the Brandywine was ever built, this being what was later known as the Wilmington and Northern Railroad (it's the line that runs through Montchanin and Winterthur, and serviced the DuPont mills along the Brandywine). This of course left the Red Clay and Mill Creek's mills with no rail access, a situation that would quickly be addressed by some local businessmen.
The driving force behind the push for a new railroad was a Mill Creek Hundred native already featured on the blog -- Joshua T. Heald. Heald gathered a group of investors, mostly manufacturers from the area. The group included Franklin Fell (of the Fell Spice Mill), Alan Wood (of the Delaware Iron Works), William Garrett (of the Garrett Snuff Mills), John G. Jackson (limestone quarry owner and chief engineer of the railroad), George Springer (owner of several kaolin mines), and Job Jackson (co-founder of the Jackson & Sharp railroad car manufacturing company). It was definitely a Mill Creek Hundred-heavy group.
The group's plan called for a railroad line to be built from Wilmington to Oxford, PA. To that end, the Delaware Legislature incorporated the Delaware and Chester County Railroad Company on February 5, 1867. Pennsylvania approved a similar measure on their end. The incorporating law wasn't too specific on how the line should be built, with two exceptions. It specified that the railroad would begin along the Christiana River (the Christina -- there's a whole other story about how the name of that thing changed over the years) in Wilmington and head "in, or nearly in the direction of Parksburg or Penningtonville, in the State of Pennsylvania".
Wilmington Depot, from Lippincott's Magazine, April 1873 |
The other specification I found interesting, and I think shows the strong hand of Chief Engineer John G. Jackson. By law, the line was to go "by such eligible route (passing through the limestone valley of Hockessin,) as will be favorable for the transportation of lime, so important to the agricultural and building interests of this State...". I did mention that Jackson owned a limestone quarry, right? Lucky for him that clause was in there.
But of course this isn't about the Delaware and Chester County Railroad, and sure enough, in 1869, changes were made to the charter, including a name change to the Wilmington and Western Rail Road Company. The specifications for the route were softened a bit, giving more leeway for the start in Wilmington, and only specifying that it head westerly to connect with lines in Pennsylvania heading west or northwest. And don't worry Mr. Jackson, the phrase "passing through the limestone valley of Hockessin" remained.
As for the exact route, there were at the time two competing proposals. One route would have gone up Mill Creek, probably to Jackson's quarry before heading west. This route had the advantage of being 3 miles shorter, thereby saving $25,000 in construction costs. However, although there were mills along Mill Creek, there was really no competition between there and Red Clay. The more eastern waterway shipped 6 times the cargo value of Mill Creek. Considering also that many of the investors had mills along Red Clay, I have to wonder how serious an idea the Mill Creek route really was. It might have just been a bargaining ploy in acquiring the right of way from property owners.
Faulkland Station, with Station and Postmistress Mary O'Rourke. The family lived here, and husband Thomas was a carpenter who built many of the structures at nearby Brandywine Springs Amusement Park. |
In the end, of course, the Red Clay Creek route was chosen, and construction began in June 1871, with a ceremonial groundbreaking at Franklin Fell's spice mill on July 8. Fill was needed in places along the line to keep most of it at a manageable grade of less than one percent. The bigger and more dramatic work, though, went into the three deep rock cuts that were needed. At Wooddale, Mt. Cuba, and Ashland, tons of rock had to be blasted away to make way for the track. In some places, the boreholes used in the blasting process can still be seen. The cuts varied in depth from 30 to up to 60 feet (Mt. Cuba), and from about 100 to about 300 yards long (Wooddale).
Besides the cuts and the laying of the track itself, the two other major construction elements were the trestles and the stations. Due to the meandering of Red Clay Creek, the placement of the mills, and the lay of the land, the track crosses back and forth over the creek numerous times on its way north, necessitating a fair number of trestles. In some places some smaller ones have been replaced by larger ones over the years, but currently nine bridges carry the line from Greenbank to Yorklyn. Further west in Pennsylvania, the Broad Run Trestle carried the track for 885 feet across the valley, reaching a height of 60 feet. The impressive structure was dismantled in 1942, when the line between Southwood (west of Hockessin) and Landenberg was abandoned.
The Broad Run Trestle |
Landenberg was the northwestern terminus of the Wilmington & Western, and there it connected with other lines heading deeper into the Keystone State. The station at Landenberg was ultimately joined by ten others along the line, only one of which (the Yorklyn Station, moved to Greenbank in 1968) survives today. Although the Yorklyn Station is now painted yellow with red trim, the Wilmington & Western's stations were originally painted all red. As a contemporary company publication stated, "It is our theory that stations should be attractive, not naked, unpainted repulsive sheds".
Another of the WWRR's attractive stations, this one in Marshallton. The recently-lost James Cranston House can be seen in the background |
The line was originally supposed to begin service in the Spring of 1872, but accidents and other delays pushed back the opening until the Fall. On October 19, 1872, the inaugural train set out from Wilmington for the round trip to Landenberg. Although the plan was sound, the first incarnation of the Wilmington & Western never quite lived up to expectations. There were accidents that led to service delays due to track repairs. An anticipated connection from Landenberg to Oxford fell through when the Lancaster and Southern Railroad used narrow gauge instead of standard tracks. Maybe most devastatingly, the Panic of 1873 sent the nation into a six-year spiral, known as the Great Depression (at least until the 1930s).
The railroad was forced into receivership, and was sold at auction in April 1877 for $5000. It was then reorganized and renamed the Delaware Western Railroad. None of the new owners were Red Clay millers. The Delaware Western didn't last as an independent entity too much longer than its predecessor, but did run much more profitably. So profitably, in fact, that in 1883 it was purchased by the Baltimore & Ohio Railroad (B&O). Actually, first it was purchased by a newly-formed subsidiary line of the B&O, then by the parent line outright.
Landenberg Station, end of the line for the Wilmington & Western |
The whole story of what was going on between the railroads at that time could fill a post of its own, if not a book. The very short version is that the B&O wanted an east coast line between Washington and New York, tried to buy an existing railroad, almost did, but was thwarted at the last moment by the Pennsylvania Railroad. The B&O then had to build a new line, and the purchase of the Delaware Western was a step towards making that happen. A few years later they did build their line, which is today the CSX freight line. The B&O referred to the Wilmington & Western line as their Landenberg Branch.
The Landenberg Branch of the B&O continued to operate successfully as a freight line, although with the advent of some of the suburban trolley lines, passenger service was cut back after the turn of the century. In 1931, passenger service was eliminated altogether, and 11 years later the Pennsylvania portion of the track was abandoned and removed. In 1957 the line was further shortened, terminating in Hockessin just west of Valley Road.
Approximate route of the WWRR in Pennsylvania |
The impact that the original Wilmington & Western was felt in ways large and small. For the mills along the route, it was a Godsend. At a time when industry was transitioning from smaller water-powered mills to larger steam-driven factories, these sites were already at a disadvantage. Places like the Marshall Rolling Mill in Marshallton, Greenbank Mill, the Fell Spice Mill, the Delaware Iron Works at Wooddale, the Garrett Snuff Mill, and the forerunners of the NVF plant were all either trying to grow or diversify in the post-Civil War era. Without the aid of the railroad and the decreased costs it gave for importing raw materials and shipping out finished products, all would have had a very difficult time doing so, if they could have at all. I daresay that without the Wilmington & Western, many of these mills may have closed 20 or 30 years earlier than they actually did, if not longer.
In addition to the jobs that the railroad helped keep and grow in the Red Clay Valley, it had a human impact also. Putting aside work, I think it's unlikely that without the railroad running to it, Richard Crook would have leased the Brandywine Springs Hotel in 1886. Certainly without the railroad, there would not have been enough guests at the hotel and at his picnic grounds to eventually lead to the creation of the amusement park that brought joy to countless thousands.
More than that, though, I think the building of the Wilmington & Western had a psychological impact on the area. I feel that the residents of eastern MCH and western Christiana Hundred finally felt tied into the rest of the world, an impact that railroads had all over the country. It was the first rapid public transit available, making trips into Wilmington for work, school, shopping, or leisure practical and easy for the first time. Like it or hate it, we all realize that MCH today is highly suburban. In many ways, for better or for worse, it all began with the Wilmington & Western Railroad in 1872.
A History of Contemporary Theatre in Bahrain
Below I'm reposting the Wikipedia article I've written:
The history of the theatre in Bahrain is one example of the modernisation that swept Bahrain in the 20th century, as a result of the British-backed reforms. Contemporary Bahraini theatre, in its present form, originated in the early 20th century, resulting from the introduction of formal education in the country.
Traditionally, shadow plays and puppet shows were widespread forms of entertainment in Bahrain. The European-style drama plays were first introduced in schools and plays written by Arab dramatists would be later included in the school curriculum.
As civil society became more interested in theatre and influenced by the likes of Tawfiq al-Hakim and Saadallah Wannous, Bahrain experienced a golden age by the 1970s of playwrights such as Ali Al Shargawi, Ebrahim Al-Arrayedh, Aqil Sawar and Yousef al-Hamdan. The country hosts three notable theatre companies; Awal Theatre, Al-Jazira Theatre and the Al-Sawari Theatre companies
Archaeological excavation of sites dating back to the Dilmun civilisation of the Bronze Age in Bahrain have revealed the existence of a ritualistic polytheistic religion that was believed to contain elements of theatre. However, limited information is known about it. In the 7th century AD, Bahrain converted to Islam. Islam did not encourage human representation or drama; however, the events of Ashura inspired a form of dramatic expression called Ta'zieh (Arabic: تعزية). These dramatic re-enactments occur during the Islamic month of Muharram and commemorates the Battle of Karbala where the grandson of the Prophet Muhammed, Imam Hussain, and his companions were killed. Furthermore, there exists two related forms of drama in the Islamic world; Maqama and shadow plays.
Aside from this, other forms of performance art in Bahrain included puppet theatres and shadow plays, which were popular between the Middle Ages up to the 18th century. European drama plays were first brought to the Arab world as a result of the Napoleonic invasion of Egypt in 1798, eventually reaching the island nation of Bahrain.
Drama in the Arab States of the Persian Gulf was pioneered by Kuwait and Bahrain in the early 20th century.[4] The first recorded theatre production was A Judge from God's Will (Arabic: القاضي بأمر الله) which was performed in 1925 at the Hidaya Al-Khalifa Boys School in Muharraq.[5] As a result of the formal education system in place in Bahrain, plays written by European playwrights, Arab and eventually Bahraini dramatists were staged by students and teachers in school. Religious, moralist and historical plays were primarily written by Syrian and Egyptian writers and performed at school. The earliest credited pioneers of Bahraini theatre were the two poets Ebrahim Al-Arrayedh and Abdulrahman Almoawda, whose plays in the 1950s were primarily based on historic figures and events in Islamic Arab history.[2] Influenced by the likes of Egyptian playwright Ahmed Shawqi, both writers authored a combined ten plays, with Almoawda basing his plays on historical characters in Arab history such as Al-Ala'a Al-Hadrami.
In the 1940s, literary societies began expressing interest in amateur theatre, eventually culminating in the establishment of multiple theatre companies and a generation of Bahraini playwrights by the 1970s. Most plays were translated from English such as Shakespeare, with the later introduction of Arabic plays from Egypt and Syria. Eventually, a home-grown dramatic movement was born in the 1970s. Notable writers from this time include:
Traditionally, there have been three notable non-profit theatre companies operating in Bahrain. They receive subsidies from the Bahraini government.
Awal Theatre
Established in 1970, it is the oldest theatre company in the country and the first to be formed independent of any civil society or club. Headquartered in the city of Muharraq, its performances were mainly carried out in the nearby capital city, Manama. Relying on government subsidies, the Awal Theatre company promoted local playwright talents and actors. Its first play was Kursi Ateeq in 1970, an original play written by Mohammed Awad. Since then, the company had performed regional Arab as well as international plays
Al Jazira Theatre
Established in 1971 as an extension of the Al Jazira club and included former Awal Theatre members, its members were semi-professionals and frequently trained in the higher institutes of dramatic arts in Kuwait. Both Awal and Al Jazira theatre companies performed seasonally in Bahrain and toured in drama festivals across the Arab World.
Al Sawari Theatre
Founded by Abdullah al Sawari in 1991, the company primarily focuses on experimental theatre, adapting Asian elements of theatre such as Kathakali from India and Kabuki from Japan.
Reference:
The history of the theatre in Bahrain is one example of the modernisation that swept Bahrain in the 20th century, as a result of the British-backed reforms. Contemporary Bahraini theatre, in its present form, originated in the early 20th century, resulting from the introduction of formal education in the country.
Traditionally, shadow plays and puppet shows were widespread forms of entertainment in Bahrain. The European-style drama plays were first introduced in schools and plays written by Arab dramatists would be later included in the school curriculum.
As civil society became more interested in theatre and influenced by the likes of Tawfiq al-Hakim and Saadallah Wannous, Bahrain experienced a golden age by the 1970s of playwrights such as Ali Al Shargawi, Ebrahim Al-Arrayedh, Aqil Sawar and Yousef al-Hamdan. The country hosts three notable theatre companies; Awal Theatre, Al-Jazira Theatre and the Al-Sawari Theatre companies
History
Archaeological excavation of sites dating back to the Dilmun civilisation of the Bronze Age in Bahrain have revealed the existence of a ritualistic polytheistic religion that was believed to contain elements of theatre. However, limited information is known about it. In the 7th century AD, Bahrain converted to Islam. Islam did not encourage human representation or drama; however, the events of Ashura inspired a form of dramatic expression called Ta'zieh (Arabic: تعزية). These dramatic re-enactments occur during the Islamic month of Muharram and commemorates the Battle of Karbala where the grandson of the Prophet Muhammed, Imam Hussain, and his companions were killed. Furthermore, there exists two related forms of drama in the Islamic world; Maqama and shadow plays.
Aside from this, other forms of performance art in Bahrain included puppet theatres and shadow plays, which were popular between the Middle Ages up to the 18th century. European drama plays were first brought to the Arab world as a result of the Napoleonic invasion of Egypt in 1798, eventually reaching the island nation of Bahrain.
20th Century
Drama in the Arab States of the Persian Gulf was pioneered by Kuwait and Bahrain in the early 20th century.[4] The first recorded theatre production was A Judge from God's Will (Arabic: القاضي بأمر الله) which was performed in 1925 at the Hidaya Al-Khalifa Boys School in Muharraq.[5] As a result of the formal education system in place in Bahrain, plays written by European playwrights, Arab and eventually Bahraini dramatists were staged by students and teachers in school. Religious, moralist and historical plays were primarily written by Syrian and Egyptian writers and performed at school. The earliest credited pioneers of Bahraini theatre were the two poets Ebrahim Al-Arrayedh and Abdulrahman Almoawda, whose plays in the 1950s were primarily based on historic figures and events in Islamic Arab history.[2] Influenced by the likes of Egyptian playwright Ahmed Shawqi, both writers authored a combined ten plays, with Almoawda basing his plays on historical characters in Arab history such as Al-Ala'a Al-Hadrami.
In the 1940s, literary societies began expressing interest in amateur theatre, eventually culminating in the establishment of multiple theatre companies and a generation of Bahraini playwrights by the 1970s. Most plays were translated from English such as Shakespeare, with the later introduction of Arabic plays from Egypt and Syria. Eventually, a home-grown dramatic movement was born in the 1970s. Notable writers from this time include:
- Ali Al Shargawi (born 1948), who primarily produced children's plays,.
- Aqil Sawar (born 1946), who was a realistic author and playwright of Al-Nawkhidha (1985) and Al Baraha (1990),
- Yousef al-Hamdan (born 1956) was an experimental dramatist and respected academic critic, who published his memoirs Al-Jathoum in 1990.
- Amin Salah (born 1949) was a novelist and later-turned dramatist who gained recognition after rewriting Romeo and Juliet, titled Romeo al-Fareeg in 1988. Other works were satire of current events such as Al-Jutah on capitalism.
Companies
Traditionally, there have been three notable non-profit theatre companies operating in Bahrain. They receive subsidies from the Bahraini government.
Awal Theatre
Established in 1970, it is the oldest theatre company in the country and the first to be formed independent of any civil society or club. Headquartered in the city of Muharraq, its performances were mainly carried out in the nearby capital city, Manama. Relying on government subsidies, the Awal Theatre company promoted local playwright talents and actors. Its first play was Kursi Ateeq in 1970, an original play written by Mohammed Awad. Since then, the company had performed regional Arab as well as international plays
Al Jazira Theatre
Established in 1971 as an extension of the Al Jazira club and included former Awal Theatre members, its members were semi-professionals and frequently trained in the higher institutes of dramatic arts in Kuwait. Both Awal and Al Jazira theatre companies performed seasonally in Bahrain and toured in drama festivals across the Arab World.
Al Sawari Theatre
Founded by Abdullah al Sawari in 1991, the company primarily focuses on experimental theatre, adapting Asian elements of theatre such as Kathakali from India and Kabuki from Japan.
Reference:
- Rubin, Don (1999). The World Encyclopedia of Contemporary Theatre: The Arab world. Taylor & Francis. ISBN 9780415059282. Retrieved 5 June 2015.
Strawberry Picking
We went Strawberry picking last week! Our Cousins were visiting and I was thrilled the berries were ready to pick! We all had a fabulous time!
It was a gorgeous day; bright blue skies, a slight breeze to keep us from getting to warm and lots of berries!
We have been having a rainy summer so far, so wellies were required. But we didn't let that slow us down! In no time we had 6 baskets picked.
Time to head home with visions of strawberry pie, jewel toned jam and shortcake dancing in our heads.