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Plan to airlift 4,000 cows to isolated Qatar to maintain milk supplies

Businessman hoping to import the animals on 60 flights as country steps up efforts to circumvent blockade by its Gulf neighbours

A Qatari businessman is planning to airlift 4,000 Holstein dairy cows into the country as part of efforts to maintain milk supplies during the blockade by Qatar’s Gulf Arab neighbours.

The proposal – described as the biggest airlift of cattle ever attempted – comes as Qatar moves rapidly to open an air and sea bridge via Iran, Turkey and port facilities in Oman.

The plan to fly in the cows was disclosed by Moutaz Al Khayyat, chairman of Power International Holding, to the Bloomberg news agency. Khayyat said it would take as many as 60 flights to deliver the cattle, which were bought in Australia and the US. He had originally planned to import the cows by ship for a newly completed dairy facility near Doha.

Saudi Arabia, Bahrain and the United Arab Emirates cut diplomatic, economic and transport ties with Qatar on 5 June, accusing Doha of supporting extremist groups.

Until then, Qatar had imported most of its dairy products from neighbouring countries – including Saudi Arabia. Riyadh closed the Qatari peninsula’s only land border, threatening the import of both fresh food and raw materials needed to complete a $200bn infrastructure project for the 2022 football World Cup.

Turkey has replaced products that disappeared from supermarket shelves, including yoghurt and laban, while Morocco and Iran have pledged to supply the emirate with foodstuffs.
Qatar has negotiated new cargo handling arrangements in the Omani ports of Sohar and Salalah, avoiding the need for goods to stop in the UAE. Shipments of containers through the UAE port of Jebel Ali were frozen last week.
Qatar’s rapid moves to circumvent the worst effects of the week-old blockade come in the midst of escalating diplomatic efforts by the emirate to rally international support for its case. The country’s foreign minister has flown to Moscow, London and Germany in recent days.

At the beginning of the second week of the embargo, Qatar’s financial markets appeared to be stabilising, with shares prices bouncing back after falls last week.

Qatar has also appealed to international aviation authorities to rule as illegal the overflight ban imposed on Qatar Airways by its neighbours, and has briefed lawyers to challenge the flight and other restrictions in the courts.

On Sunday Saudi Arabia’s arch-rival Iran announced it had sent five planes carrying produce to Qatar. Three ships carrying 350 tonnes of food were also set to leave Iran for the emirate.

The ostensible reason for the blockade – that the Qataris have funded terror – is as easily applicable to Saudi Arabia and other Gulf states. Instead, the real motivation appears to be punishment for Qatar’s independent foreign policy, which is underwritten by an expansive and canny global investment strategy from London to Tokyo. The county has hosted members of the Muslim Brotherhood and Hamas and pursued a conciliatory relationship with Iran, with which it shares a large gas field.

Robel Michael – Gzie | ግዜ – New Eritrean Music 2017

A definition of music is a definition, or statement of the meaning of, the term music. An accurate and concise definition of music is fundamental to being able[citation needed] to discuss, categorize, and otherwise consider what we understand as being music. “Explications of the concept of music usually begin with the idea that music is organized sound. They go on to note that this characterization is too broad, since there are many examples of organized sound that are not music, such as human speech, and the sounds non-human animals and machines make” (Kania 2014). Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined. As this article will demonstrate, there is ongoing controversy about how to define music.

New Eritrean Movie 2017 ”ውላድ ሕሱም” Ebrahim suleman(ምርጫ)ዝተደርሰት

Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning “action” (Classical Greek: δρᾶμα, drama), which is derived from “I do” (Classical Greek: δράω, drao). The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia, and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle’s Poetics (c. 335 BCE)—the earliest work of dramatic theory

Adulis is described in the 1st century Periplus of the Erythraean Sea.

VOA Audio – ቂሐ፡ጽልሚ፡ADULIS

Adulis or Aduli (Αδουλίς in Ancient Greek) is an archeological site in the Northern Red Sea of Eritrea, situated about 30 miles south of Massawa in the Gulf of Zula. It was the port of the Kingdom of Aksum, located on the coast of the Red Sea. Adulis Bay is named after the site. It is thought that the modern town of Zula may be the Adulis of the Aksumite epoch, as Zula may reflect the local name for the Ancient Greek Adulis.

Pliny the Elder is the earliest writer to mention Adulis (N.H. 6.34). He misunderstood the name of the place, thinking the toponym meant that it had been founded by escaped Egyptian slaves. Pliny further stated that it was the ‘principal mart for the Troglodytae and the people of Aethiopia’. Adulis is also mentioned in the Periplus of the Erythraean Sea, a guide of the Red Sea and the Indian Ocean. The latter guide describes the settlement as an emporium for the ivory, hides, slaves and other exports of the interior. It may have previously been known as Berenice Panchrysos of the Ptolemies. Roman merchants used the port in the second and third century AD.

Adulis is described in the 1st century Periplus of the Erythraean Sea.
Cosmas Indicopleustes records two inscriptions he found here in the 6th century: the first records how Ptolemy Euergetes (247–222 BC) used war elephants captured in the region to gain victories in his wars abroad; the second, known as the Monumentum Adulitanum, was inscribed in the 27th year of a king of Axum, perhaps named Sembrouthes, boasting of his victories in Arabia and northern Ethiopia.

A fourth century work traditionally (but probably incorrectly) ascribed to the writer Palladius of Galatia, relates the journey of an anonymous Egyptian lawyer (scholasticus) to India in order to investigate Brahmin philosophy. He was accompanied part of the way by one Moise or Moses, the Bishop of Adulis.

Control of Adulis allowed Axum to be the major power on the Red Sea. This port was the principal staging area for Kaleb’s invasion of the Himyarite kingdom of Dhu Nuwas around 520. While the scholar Yuri Kobishchanov detailed a number of raids Aksumites made on the Arabian coast (the latest being in 702, when the port of Jeddah was occupied), and argued that Adulis was later captured by the Muslims, which brought to an end Axum’s naval ability and contributed to the Aksumite Kingdom’s isolation from the Byzantine Empire and other traditional allies, the last years of Adulis are a mystery. Muslim writers occasionally mention both Adulis and the nearby Dahlak Archipelago as places of exile. The evidence suggests that Axum maintained its access to the Red Sea, yet experienced a clear decline in its fortunes from the seventh century onwards. In any case, the sea power of Axum waned and security for the Red Sea fell on other shoulders.
Adulis was one of the first Axumite sites to undergo excavation, when a French mission to Eritrea under Vignaud and Petit performed an initial survey in 1840, and prepared a map which marked the location of thee structures they believed were temples. In 1868, workers attached to Napier’s campaign against Tewodros II visited Adulis and exposed several buildings, including the foundations of a Byzantine-like church.

Archaeological excavations at Adulis, done by the Italian Roberto Paribeni in 1907
The first scientific excavations at Adulis were undertaken by a German expedition in 1906, under the supervision of R. Sundström. Sundström worked in the northern sector of the site, exposing a large structure, which he dubbed the “palace of Adulis”, as well as recovering Axumite coinage. The expedition’s results were published in four volumes in 1913.

The Italian Roberto Paribeni excavated in Adulis the following year, discovering many structures similar to what Sundström had found earlier, as well as a number of ordinary dwellings. He found a lot of pottery: even wine amphorae imported from the area of modern Aqaba where found here during the decades of existence of the colonia of Italian Eritrea. These types now called Ayla-Axum Amphoras have since been found at other sites in Eritrea including on Black Assarca Island.

Over 50 years passed until the next series of excavations, when in 1961 and 1962 the Ethiopian Institute of Archeology sponsored an expedition led by Francis Anfray. This excavation not only recovered materials showing a strong affinities with the late Axumite kingdom, but a destruction layer. This in turn prompted Kobishchanov to later argue that Adulis had been destroyed by an Arab raid in the mid-7th century, a view that has since been partially rejected.

A pair of fragments of glass vessels were found in the lowest layers at Adulis, which are similar to specimens from the 18th Dynasty of Egypt.One very specialised imported vessel discovered at the site was a Menas flask. It was stamped with a design showing the Egyptian St. Menas between two kneeling camels. Such vessels are supposed to have held water from a spring near the saint’s tomb in Egypt (Paribeni 1907: 538, and this particular one may have been brought to Adulis by a pilgrim.

Since Eritrean Independence, the National Museum of Eritrea has petitioned the Government of Ethiopia to return artifacts of these excavations. To date they have been denied.

Eritrean Movie ”ኣስቴር ዳም ዳም” – Performance Movie Interview

Performance art is a performance presented to an audience within a fine art context, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer’s body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any type of venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.

Salina Tsegay – Kexmemo | ከጽመሞ – New Eritrean Music 2017

A definition of music is a definition, or statement of the meaning of, the term music. An accurate and concise definition of music is fundamental to being able[citation needed] to discuss, categorize, and otherwise consider what we understand as being music. “Explications of the concept of music usually begin with the idea that music is organized sound. They go on to note that this characterization is too broad, since there are many examples of organized sound that are not music, such as human speech, and the sounds non-human animals and machines make” (Kania 2014). Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined. As this article will demonstrate, there is ongoing controversy about how to define music.

Michael G/ Krstos ክራረይ | Eritrean Music 2017

Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is often applied to music older than that. Some types of folk music are also called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles

Weini Sulieman Presents #17 – Interview – Dr.Adiam Wolday – ሓኪም ስኒ – Eritrean Talkshow 2017

A talk show or chat show is a television programming or radio programming genre in which one person (or group of people) discusses various topics put forth by a talk show host.

Usually, guests consist of a group of people who are learned or who have great experience in relation to whatever issue is being discussed on the show for that episode. Other times, a single guest discusses their work or area of expertise with a host or co-hosts. A call-in show takes live phone calls from callers listening at home, in their cars, etc. Sometimes, guests are already seated but are often introduced and enter from backstage. There have been many notable talk show hosts; in many cases, the shows have made their hosts famous.

New Eritrean Movie 2017 ”ምቁር ዝኽሪ” Trailer

A trailer (also known as a preview or coming attraction) is an advertisement or a commercial for a feature film that will be exhibited in the future at a cinema, the result of creative and technical work. The term “trailer” comes from their having originally been shown at the end of a feature film screening.[1] That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film begins.

Story By Denden Solomon Mahfuda 26