Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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Carne's Seat Taken from The Kennels' terrace.
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P9219261-Verbessert-RR Carne approaching target, Ruhr, Hattingen
Françoise Rosay in Si l'empereur savait ça (1930) Belgian postcard by P.I.A. Belga phot, Bruxelles, no. 50. Photo: Metro-Goldwyn-Mayer. Françoise Rosay in Si l'empereur savait ça/His Glorious Night (Jacques Feyder, 1930).
Françoise Rosay (1891-1974) was the grand old lady of French cinema. Her most famous parts were in La kermesse heroïque/Carnival in Flanders (1935) and Pension Mimosas (1935), both directed by her husband Jacques Feyder.
Françoise Rosay was born Françoise Bandy de Nalèche in Paris in 1891 as the illegitimate daughter of the actress Marie-Thérèse Chauvin, aka Sylviac, and Count François Louis Bandy de Nalèche. Her father only recognised her in 1938. She originally planned to become an opera singer, and in 1917, won a prize at the Paris Conservatoire and made her debut at the Palais Garnier in the title role of 'Salammbô' by Ernest Reyer. She also sang in 'Castor et Pollux' by Rameau and 'Thaïs' by Massenet. In 1911 Rosay had her first screen performance in an adaptation of William Shakespeare's 'Falstaff' by Henri Desfontaines. Only a few films followed in the next years, including a bit part in the cult serial Les Vampires/The Vampires (Louis Feuillade, 1916). The tide radically changed in 1917 when she married film director Jacques Feyder. In the late 1910s, she played in various shorts by him and from 1921 to 1941 Rosay played in almost all important films by Feyder. In the touching melodrama Gribiche/Mother of Mine (Jacques Feyder, 1926), she had her first lead as a rich American woman who adopts a Parisian working-class boy (Jean Forest). Next followed the Franco-German coproduction Le bateau de verre/The Glass Boat (Constantin David, Jacqueline Milliet, 1927) with André Nox, Madame Recamier (Tony Lekain, Gaston Ravel, 1928) opposite Marie Bell, and the comedy Les deux timides/Two Timid Souls (René Clair, 1928). In the late 1920s and early 1930s, the Feyder-Rosay family resided in Hollywood, where Feyder shot The Kiss (1929) and the German version of Anna Christie (1931) both with Greta Garbo, and Daybreak (1931) and Son of India (1931) both with Ramon Novarro. Rosay played Marceline Day’s mother in the orientalist romance The One Woman Idea (Berthold Viertel, 1929).
When sound film set in, Françoise Rosay played in various French and German versions of American films by MGM and Paramount, intended for the European market. These included Soyons gais (Arthur Robison, 1930) - the French version of Let Us Be Gay (Robert Z. Leonard, 1930) in which she replaced Norma Shearer, Le procès de Mary Dugan (Marcel de Sano, 1930) - the French version of The Trial of Mary Dugan (Bayard Veiller, 1929), and Si l’empereur savait ça (Jacques Feyder, 1930) - the French version of His Glorious Night (Lionel Barrymore, 1929). She also had a part in the German and the French version of the Buster Keaton sound comedy Parlor, Bedroom and Bath (Edward Sedgwick, 1931), called Casanova wider Willen (Edward Brophy, 1931) and Buster se marie (Claude Autant-Lara, Edward Brophy, 1931). At Paramount, Rosay played in the melodrama The Magnificent Lie (Berthold Viertel, 1931), in which she was a French actress who becomes the idol of a blinded soldier (Ralph Bellamy), who is tricked into believing that a saucy music-hall singer (Ruth Chatterton) is the actress. Other French versions of American films were La chance/Luck (René Guissart, 1931) starring Marie Bell, Le petit café/The Little Café (Ludwig Berger, 1931) opposite Maurice Chevalier, and Quand on est belle/When She's Pretty (Arthur Robison, 1932) with Lily Damita. Back in France, Rosay had an intense career in French cinema in the 1930s. She was Madame Husson in the Guy de Maupassant adaptation Le Rosier de Madame Husson/Mrs. Husson's Virginity Prize (Dominique Bernard-Deschamps, 1932), followed by Coralie et Cie/Coralie and Company (Alberto Cavalcanti, 1933), La pouponnière/The nursery (Jean Boyer, 1933), and Vers l’abîme/Towards the abyss (Hans Steinhoff, Serge Véber, 1934). She also played in the German version of Vers l’abîme, Die Insel (Hans Steinhoff, 1934). In 1934 Rosay also had a small part as a bar owner in Feyder’s Le grand jeu/The Great Game (Jacques Feyder, 1934), starring Marie Bell and Pierre Richard-Willm.
In 1935 Françoise Rosay played her most famous part, that of the clever wife of a Flemish mayor whose city is invaded by the Spanish army. In Feyder’s film La kermesse heroïque/Carnival in Flanders (Jacques Feyder, 1936), all local men cowardly hide, while the women stay. They conquer the foreigners with their wit and charm and eventually make them go away. Right-wing nationalists in Holland, Flanders, and elsewhere were not very happy with the film. Rosay also played in the German version, Die klugen Frauen/The Smart Women (Jacques Feyder, 1936). Immediately after this film, Rosay played another memorable part, that of the pension keeper Louise Noblet in the contemporary drama Pension Mimosas (Jacques Feyder, 1936). Louise and her man foster a boy whose father is in prison. Once grown up, the godson (Paul Bernard) has become as delinquent as his father was, but Louise still helps him until affairs run out of hand. Rosay had the title role in Marcel Carné’s film Jenny (Marcel Carné, 1936) with Albert Préjean, typical for the poetic realism in French cinema of the late 1930s. Rosay plays a madam who doesn’t want her daughter to know. Until the war, Rosay prolonged her highly active career with The Robber Symphony (Friedrich Feher, 1937) with Magda Sonja, Un carnet de bal/Christine (Julien Duvivier, 1937), Drôle de drame/Bizarre, Bizarre (Marcel Carné, 1937) with Louis Jouvet, Les gens du voyage/People Who Travel (Jacques Feyder, 1938) and Feyder's German version Fahrendes Volk (Jacques Feyder, 1938). Next to Fahrendes Volk, Rosay also played in three other German films: Die letzten Vier von Santa Cruz/The Last Four of Santa Cruz (Werner Kingler, 1935) shot at the Canarian Islands, Mein Sohn, der Herr Minister/My Son the Minister (Veit Harlan, 1937) with Hans Brausewetter, and Die Hochzeitsreise/The Wedding Journey (Karl Ritter, 1939).
Strikingly Françoise Rosay played her most famous parts in her forties and not in her twenties, contradicting the cliché about the lack of interesting parts for older actresses. During the German occupation of France, Rosay first worked for the resistance while still acting. Then she had a narrow escape when the Germans invaded the south in 1942. She rejoined her husband in Switzerland, where Rosay taught at the Conservatoire de Genève (Conservatory of Geneva) and worked for an antifascist radio station. Her French comeback was with the female lead in Feyder’s criminal drama Macadam (Jacques Feyder, Marcel Blistène, 1946) with Simone Signoret. It would be their last professional collaboration because Feyder died in 1948. Rosay was devastated but kept on working. Until her death, Rosay continued to play leads but also smaller parts in French, Italian, British and American films. These include Saraband for Dead Lovers (Basil Dearden, 1948), Donne senza nome/Women Without Names (Geza von Radvanyi, 1950) starring Simone Simon, the crime comedy L’auberge rouge/The Red Inn (Claude Autant-Lara, 1951) with Fernandel, La reine Margot/A Woman of Evil (Jean Dréville, 1954) featuring Jeanne Moreau, and Interlude (Douglas Sirk, 1957) with June Allyson and Rossano Brazzi. In 1969 the 'grand old lady of French cinema' was awarded a lifetime award as best actress, the Etoile du Crystal. Her memoirs were published as La traversée d'une vie in 1974. That same year Françoise Rosay died at the age of 82 in Montgeron, France. Her final film was Der Fußgänger/The Pedestrian (Maximilian Schell, 1974), which was nominated for an Academy Award and won the Golden Globe for Best Foreign-Language Film of 1974. Rosay and Feyder had three sons: Marc, Paul and actor/producer Bernard, who appeared in films as Bernard Farrel.
Sources: Caroline Hanotte (CinéArtistes - French), Wikipedia (English, German and French), and IMDb.
And please check out our blog European Film Star Postcards .
Through the Ages A variety of traction on Derby RTC, including NMT HST power car no. 43013 ‘Mark Carne CBE’, pet Gronk no. 08871 and Class 37 no. 37508.
Northern Wheatear/Clochrán (Oenanthe oenanthe)Shorebirds of Ireland , Freshwater Birds of Ireland and The Birds of Ireland: A Field Guide 2nd Edition with Jim Wilson .
www.markcarmodyphotography.com
The Northern Wheatear or Wheatear (Oenanthe oenanthe) is a small passerine bird and is the most widespread member of the wheatear genus Oenanthe in Europe and Asia. The Northern Wheatear makes one of the longest journeys of any small bird, crossing ocean, ice, and desert. It migrates from Sub-Saharan Africa in Spring over a vast area of the northern hemisphere that includes northern and central Asia, Europe, Greenland, Alaska, and parts of Canada. In Autumn all return to Africa, where their ancestors had wintered. Arguably, some of the birds that breed in north Asia could take a shorter route and winter in south Asia; however, their inherited inclination to migrate takes them back to Africa.
Birds of the large, bright Greenland race, leucorhoa, makes one of the longest transoceanic crossings of any passerine. In spring most migrate along a route (commonly used by waders and waterfowl) from Africa via continental Europe, the British Isles, and Iceland to Greenland. However, autumn sightings from ships suggest that some birds cross the North Atlantic directly from Canada and Greenland to southwest Europe (a distance of up to 2500 km). (wikipedia)
This is fresh juvenile bird migrating south through Ireland to Africa during the autumn, stopping off on the beach near Carne in Co. Wexford along the way. Always a buzz seeing a Wheatear during migration time.
40025 Mount Gould Platform, Plymouth, 19th September 1982 The 'Western Whistler' headboard and F & W emblem have been removed from 40025 ready to be placed on the front of 37206 and 37299 waiting to take the train around Lipson curve and on to Fowey. This is the platform at Mount Gould by Laira carriage washing plant which is a short distance on the line to Friary in Plymouth. This railtour was the 1Z21 05.15 Crewe to Carne Point.
www.sixbellsjunction.co.uk/80s/820919fw.htm
Lunch 14 /10 Chili con carne, ris, spenat, spetspaprika, minimorötter, rädisor och färsk chili. Till det: kolsyrat limevatten.
What's Cooking At Montecito Union School 1996 114 54068344658_221e419a31_b
Edoardo PIZZICANNELLA - Il Mercato degli Zebù in Madagascar: Cuore di Cultura e Tradizione - The Zebu Market in Madagascar: Heart of Culture and Tradition Il mercato degli zebù in Madagascar è molto più di un semplice luogo di compravendita di bestiame: è un simbolo vivo della storia, della cultura e della spiritualità di un intero popolo. Ogni settimana, nelle grandi fiere e nei mercati locali, uomini e donne si riuniscono per scambiare, vendere e acquistare questi maestosi bovini dalle caratteristiche gobbe e dalle corna possenti.
Per il popolo malgascio, lo zebù rappresenta ricchezza, potere e status sociale. Nelle comunità rurali, possedere uno zebù non significa soltanto avere un capo di bestiame, ma un legame diretto con la terra e con la propria famiglia. Utilizzati nei lavori agricoli, come fonte di carne e latte, gli zebù hanno anche un profondo valore simbolico. Sono protagonisti di riti e cerimonie, vengono sacrificati per onorare gli antenati e sono parte integrante dei matrimoni e delle doti. I mercati, animati dal ritmo lento del commercio e dai suoni degli zoccoli sulla terra battuta, sono veri e propri crocevia sociali, dove si intrecciano storie di sopravvivenza e speranza. Gli zebù, con la loro imponenza, sono al centro di questa danza antica, legando insieme passato e presente. Il mercato è un luogo in cui la modernità incontra le tradizioni, dove il valore di un singolo animale può decidere il destino di una famiglia o segnare l’inizio di una nuova fase di vita. Attraverso l’occhio del fotografo, questa esposizione cattura l’essenza del mercato degli zebù: un ciclo di vita, di scambi e di relazioni che si rinnova ogni giorno in un equilibrio sottile tra l’uomo, la terra e l’animale.
The zebu market in Madagascar is much more than just a place for buying and selling livestock: it is a living symbol of the history, culture, and spirituality of an entire people. Every week, in large fairs and local markets, men and women gather to trade, sell, and buy these majestic cattle with their distinctive humps and impressive horns. For the Malagasy people, the zebu represents wealth, power, and social status. In rural communities, owning a zebu is not just about having livestock, but about a direct connection to the land and family. Zebus are used for agricultural work, as a source of meat and milk, and hold deep symbolic value. They play a key role in rituals and ceremonies, are sacrificed to honor ancestors, and are integral to weddings and dowries.
The markets, filled with the slow rhythm of commerce and the sound of hooves on the dry earth, are social crossroads where stories of survival and hope intertwine. Zebus, with their imposing presence, are at the center of this ancient dance, connecting the past and the present. The market is a place where modernity meets tradition, where the value of a single animal can decide the fate of a family or mark the beginning of a new phase of life. Through the photographer’s lens, this exhibition captures the essence of the zebu market: a cycle of life, trade, and relationships that renews each day in a delicate balance between man, land, and animal.
Edoardo PIZZICANNELLA - Il Mercato degli Zebù in Madagascar: Cuore di Cultura e Tradizione - The Zebu Market in Madagascar: Heart of Culture and Tradition Il mercato degli zebù in Madagascar è molto più di un semplice luogo di compravendita di bestiame: è un simbolo vivo della storia, della cultura e della spiritualità di un intero popolo. Ogni settimana, nelle grandi fiere e nei mercati locali, uomini e donne si riuniscono per scambiare, vendere e acquistare questi maestosi bovini dalle caratteristiche gobbe e dalle corna possenti.
Per il popolo malgascio, lo zebù rappresenta ricchezza, potere e status sociale. Nelle comunità rurali, possedere uno zebù non significa soltanto avere un capo di bestiame, ma un legame diretto con la terra e con la propria famiglia. Utilizzati nei lavori agricoli, come fonte di carne e latte, gli zebù hanno anche un profondo valore simbolico. Sono protagonisti di riti e cerimonie, vengono sacrificati per onorare gli antenati e sono parte integrante dei matrimoni e delle doti. I mercati, animati dal ritmo lento del commercio e dai suoni degli zoccoli sulla terra battuta, sono veri e propri crocevia sociali, dove si intrecciano storie di sopravvivenza e speranza. Gli zebù, con la loro imponenza, sono al centro di questa danza antica, legando insieme passato e presente. Il mercato è un luogo in cui la modernità incontra le tradizioni, dove il valore di un singolo animale può decidere il destino di una famiglia o segnare l’inizio di una nuova fase di vita. Attraverso l’occhio del fotografo, questa esposizione cattura l’essenza del mercato degli zebù: un ciclo di vita, di scambi e di relazioni che si rinnova ogni giorno in un equilibrio sottile tra l’uomo, la terra e l’animale.
The zebu market in Madagascar is much more than just a place for buying and selling livestock: it is a living symbol of the history, culture, and spirituality of an entire people. Every week, in large fairs and local markets, men and women gather to trade, sell, and buy these majestic cattle with their distinctive humps and impressive horns. For the Malagasy people, the zebu represents wealth, power, and social status. In rural communities, owning a zebu is not just about having livestock, but about a direct connection to the land and family. Zebus are used for agricultural work, as a source of meat and milk, and hold deep symbolic value. They play a key role in rituals and ceremonies, are sacrificed to honor ancestors, and are integral to weddings and dowries.
The markets, filled with the slow rhythm of commerce and the sound of hooves on the dry earth, are social crossroads where stories of survival and hope intertwine. Zebus, with their imposing presence, are at the center of this ancient dance, connecting the past and the present. The market is a place where modernity meets tradition, where the value of a single animal can decide the fate of a family or mark the beginning of a new phase of life. Through the photographer’s lens, this exhibition captures the essence of the zebu market: a cycle of life, trade, and relationships that renews each day in a delicate balance between man, land, and animal.
Edoardo PIZZICANNELLA - Il Mercato degli Zebù in Madagascar: Cuore di Cultura e Tradizione - The Zebu Market in Madagascar: Heart of Culture and Tradition Il mercato degli zebù in Madagascar è molto più di un semplice luogo di compravendita di bestiame: è un simbolo vivo della storia, della cultura e della spiritualità di un intero popolo. Ogni settimana, nelle grandi fiere e nei mercati locali, uomini e donne si riuniscono per scambiare, vendere e acquistare questi maestosi bovini dalle caratteristiche gobbe e dalle corna possenti.
Per il popolo malgascio, lo zebù rappresenta ricchezza, potere e status sociale. Nelle comunità rurali, possedere uno zebù non significa soltanto avere un capo di bestiame, ma un legame diretto con la terra e con la propria famiglia. Utilizzati nei lavori agricoli, come fonte di carne e latte, gli zebù hanno anche un profondo valore simbolico. Sono protagonisti di riti e cerimonie, vengono sacrificati per onorare gli antenati e sono parte integrante dei matrimoni e delle doti. I mercati, animati dal ritmo lento del commercio e dai suoni degli zoccoli sulla terra battuta, sono veri e propri crocevia sociali, dove si intrecciano storie di sopravvivenza e speranza. Gli zebù, con la loro imponenza, sono al centro di questa danza antica, legando insieme passato e presente. Il mercato è un luogo in cui la modernità incontra le tradizioni, dove il valore di un singolo animale può decidere il destino di una famiglia o segnare l’inizio di una nuova fase di vita. Attraverso l’occhio del fotografo, questa esposizione cattura l’essenza del mercato degli zebù: un ciclo di vita, di scambi e di relazioni che si rinnova ogni giorno in un equilibrio sottile tra l’uomo, la terra e l’animale.
The zebu market in Madagascar is much more than just a place for buying and selling livestock: it is a living symbol of the history, culture, and spirituality of an entire people. Every week, in large fairs and local markets, men and women gather to trade, sell, and buy these majestic cattle with their distinctive humps and impressive horns. For the Malagasy people, the zebu represents wealth, power, and social status. In rural communities, owning a zebu is not just about having livestock, but about a direct connection to the land and family. Zebus are used for agricultural work, as a source of meat and milk, and hold deep symbolic value. They play a key role in rituals and ceremonies, are sacrificed to honor ancestors, and are integral to weddings and dowries.
The markets, filled with the slow rhythm of commerce and the sound of hooves on the dry earth, are social crossroads where stories of survival and hope intertwine. Zebus, with their imposing presence, are at the center of this ancient dance, connecting the past and the present. The market is a place where modernity meets tradition, where the value of a single animal can decide the fate of a family or mark the beginning of a new phase of life. Through the photographer’s lens, this exhibition captures the essence of the zebu market: a cycle of life, trade, and relationships that renews each day in a delicate balance between man, land, and animal.
Edoardo PIZZICANNELLA - Il Mercato degli Zebù in Madagascar: Cuore di Cultura e Tradizione - The Zebu Market in Madagascar: Heart of Culture and Tradition Il mercato degli zebù in Madagascar è molto più di un semplice luogo di compravendita di bestiame: è un simbolo vivo della storia, della cultura e della spiritualità di un intero popolo. Ogni settimana, nelle grandi fiere e nei mercati locali, uomini e donne si riuniscono per scambiare, vendere e acquistare questi maestosi bovini dalle caratteristiche gobbe e dalle corna possenti.
Per il popolo malgascio, lo zebù rappresenta ricchezza, potere e status sociale. Nelle comunità rurali, possedere uno zebù non significa soltanto avere un capo di bestiame, ma un legame diretto con la terra e con la propria famiglia. Utilizzati nei lavori agricoli, come fonte di carne e latte, gli zebù hanno anche un profondo valore simbolico. Sono protagonisti di riti e cerimonie, vengono sacrificati per onorare gli antenati e sono parte integrante dei matrimoni e delle doti. I mercati, animati dal ritmo lento del commercio e dai suoni degli zoccoli sulla terra battuta, sono veri e propri crocevia sociali, dove si intrecciano storie di sopravvivenza e speranza. Gli zebù, con la loro imponenza, sono al centro di questa danza antica, legando insieme passato e presente. Il mercato è un luogo in cui la modernità incontra le tradizioni, dove il valore di un singolo animale può decidere il destino di una famiglia o segnare l’inizio di una nuova fase di vita. Attraverso l’occhio del fotografo, questa esposizione cattura l’essenza del mercato degli zebù: un ciclo di vita, di scambi e di relazioni che si rinnova ogni giorno in un equilibrio sottile tra l’uomo, la terra e l’animale.
The zebu market in Madagascar is much more than just a place for buying and selling livestock: it is a living symbol of the history, culture, and spirituality of an entire people. Every week, in large fairs and local markets, men and women gather to trade, sell, and buy these majestic cattle with their distinctive humps and impressive horns. For the Malagasy people, the zebu represents wealth, power, and social status. In rural communities, owning a zebu is not just about having livestock, but about a direct connection to the land and family. Zebus are used for agricultural work, as a source of meat and milk, and hold deep symbolic value. They play a key role in rituals and ceremonies, are sacrificed to honor ancestors, and are integral to weddings and dowries.
The markets, filled with the slow rhythm of commerce and the sound of hooves on the dry earth, are social crossroads where stories of survival and hope intertwine. Zebus, with their imposing presence, are at the center of this ancient dance, connecting the past and the present. The market is a place where modernity meets tradition, where the value of a single animal can decide the fate of a family or mark the beginning of a new phase of life. Through the photographer’s lens, this exhibition captures the essence of the zebu market: a cycle of life, trade, and relationships that renews each day in a delicate balance between man, land, and animal.
Edoardo PIZZICANNELLA - Il Mercato degli Zebù in Madagascar: Cuore di Cultura e Tradizione - The Zebu Market in Madagascar: Heart of Culture and Tradition Il mercato degli zebù in Madagascar è molto più di un semplice luogo di compravendita di bestiame: è un simbolo vivo della storia, della cultura e della spiritualità di un intero popolo. Ogni settimana, nelle grandi fiere e nei mercati locali, uomini e donne si riuniscono per scambiare, vendere e acquistare questi maestosi bovini dalle caratteristiche gobbe e dalle corna possenti.
Per il popolo malgascio, lo zebù rappresenta ricchezza, potere e status sociale. Nelle comunità rurali, possedere uno zebù non significa soltanto avere un capo di bestiame, ma un legame diretto con la terra e con la propria famiglia. Utilizzati nei lavori agricoli, come fonte di carne e latte, gli zebù hanno anche un profondo valore simbolico. Sono protagonisti di riti e cerimonie, vengono sacrificati per onorare gli antenati e sono parte integrante dei matrimoni e delle doti. I mercati, animati dal ritmo lento del commercio e dai suoni degli zoccoli sulla terra battuta, sono veri e propri crocevia sociali, dove si intrecciano storie di sopravvivenza e speranza. Gli zebù, con la loro imponenza, sono al centro di questa danza antica, legando insieme passato e presente. Il mercato è un luogo in cui la modernità incontra le tradizioni, dove il valore di un singolo animale può decidere il destino di una famiglia o segnare l’inizio di una nuova fase di vita. Attraverso l’occhio del fotografo, questa esposizione cattura l’essenza del mercato degli zebù: un ciclo di vita, di scambi e di relazioni che si rinnova ogni giorno in un equilibrio sottile tra l’uomo, la terra e l’animale.
The zebu market in Madagascar is much more than just a place for buying and selling livestock: it is a living symbol of the history, culture, and spirituality of an entire people. Every week, in large fairs and local markets, men and women gather to trade, sell, and buy these majestic cattle with their distinctive humps and impressive horns. For the Malagasy people, the zebu represents wealth, power, and social status. In rural communities, owning a zebu is not just about having livestock, but about a direct connection to the land and family. Zebus are used for agricultural work, as a source of meat and milk, and hold deep symbolic value. They play a key role in rituals and ceremonies, are sacrificed to honor ancestors, and are integral to weddings and dowries.
The markets, filled with the slow rhythm of commerce and the sound of hooves on the dry earth, are social crossroads where stories of survival and hope intertwine. Zebus, with their imposing presence, are at the center of this ancient dance, connecting the past and the present. The market is a place where modernity meets tradition, where the value of a single animal can decide the fate of a family or mark the beginning of a new phase of life. Through the photographer’s lens, this exhibition captures the essence of the zebu market: a cycle of life, trade, and relationships that renews each day in a delicate balance between man, land, and animal.
Comendo Carne de Sol. 54066665900_7da0b43440_b
Betty Crocker's New Cookbook 1996 405 54065456321_1708dd3e79_b
Perfection Carne Asada Burrito Dorado Style
PREMIERE BRASIL - MELHOR CURTA METRAGEM: CARNE FRESCA, DE GIOVANI BARROS FESTIVAL DO RIO 2024 - 13 DE OUTUBRO DE 2024 - CINE ODEON - CERIMONIA DE PREMIAÇÃO - FOTO: ROGÉRIO RESENDE.
St Ives ... H. CARNE SANITARY INSPECTION COVER PENZANCE. 54062794392_0f9b290d2a_b