A Dance Of Fire And Ice Html

[Jacinto Dieujuste]

Acouple of weeks back I photographed a really fun event that culminated with a group of fire dancers putting on a show along the edge of a small lake. I was only told about the surprise about 30 minutes before the show, but this gave me just enough time to think about how I would capture this unique show.

The first thing I did was to ask the fire dancers when the show would start. They said that they were ready to go, and as I watched the blue hour fading away, I encouraged them to start right on time.

These are so amazing, you are fabulous at thinking quick on your feet with every challenge. I agree the ones with the kids expressions are fun and show that the show was for them , their expressions were priceless. I always learn so much from your excellent play by play of how you shot the event . What a great opportunity. Your captures are fabulous. Thank you so much for sharing the wonderful entertainment.

(PhysOrg.com) -- Unusual behaviors have been observed in wild chimpanzees in West Africa in the face of grass fires. The chimps did not panic or flee, and some made ritualistic displays that suggest they understand fire and do not fear it, and they may even be able to control it. Since chimpanzees are the nearest relatives to humans, the observations may shed some light on how our early ancestors harnessed fire.

The chimpanzees faced with a wildfire appeared to monitor the fire, and showed no fear. The alpha male even performed a kind of ritualistic display toward the fire front. Anthropologist Dr Jill Pruetz from Iowa State University made the observations at her Fongoli research site in southeastern Senegal, where hot and fast-moving wildfires are common in the savannah region towards the end of the long dry season.

Dr Pruetz saw the behavior, including "fire dancing" on two occasions in 2006, and said she was surprised at how well the chimps could predict the behavior of the fires, which was better than her own ability. She said in once case there was fire on three sides, and yet the chimps remained calm, even though the flames and smoke were clearly visible. Pruetz said she thought their calmness could represent a key stage in controlling fire since it is necessary to overcome the fear before control becomes a possibility.

The leader of the group, the alpha male, emitted a barking sound unlike the usual warning calls, and then danced in a similar way to the rain dances noted by primatologist Jane Goodall, in which the chimps swayed in slow motion as thunderstorms approached. Male chimps elsewhere have been seen displaying in this way, in a slow-motion dance to show their dominance. The fire dance was a similar exaggerated dance, but directed towards the approaching blaze, and beginning when the fire sounds were quite deafening.

Dr Pruetz is convinced the chimps conceptualize fire, and it is known that captive apes can control fire. She said that if chimpanzees can understand fire, the ape-like, small-brained ancestors of humans who lived in similar habitats around five million years ago could have done the same. This means the control of fire could have occurred at a very early stage in human evolution, and long before the earliest archaeological evidence so far found of burnt remnants associated with human ancestors, which date to less than one million years ago. Dr Pruetz said the main question is why they would try to control it; what is the impetus?

Dr Pruetz is able to get close to the chimpanzees because, although they are wary of humans, they apparently do not view people as predators because people in Senegal do not eat them and consider them close relatives. The Fongoli chimpanzees, living in a habitat that is mostly grassland, are different to forest-dwelling chimps in many ways, including their habits of using caves, soaking in pools of water, and hunting with tools.

The State Fire Marshal's Office uses the 2021 Editions of the National Fire Protection Association (NFPA) 101 Life Safety Code and NFPA 1 Fire Code as its standards of inspection with an effective date of September 1, 2023.

The National Fire Protection Association Life Safety Code (NFPA 101) is the adopted inspection standard of the State Fire Marshal's Office. The Life Safety Code determines the design, construction, and operation of occupied buildings.

When other codes are utilized for building design elements, the standards of the Life Safety Code prevail. Any deviation from this standard must be approved by the State Fire Marshal as the Authority Having Jurisdiction (AHJ). Otherwise, the deviation will be considered a deficiency.

The State Fire Marshal uses additional NFPA fire codes and standards for guidance in assessing and directing the remediation of fire hazards in other than occupied buildings. This action is taken under the authority of the Texas Government Code, 417.008 and 417.0081, and the Texas Administrative Code, 28 TAC 34.301 ff.

PYRRHIKHOS (Pyrrhichus) was the leader of the Kouretes (Curetes), the shield-clashing daimon guardians the infant god Zeus. Pyrrhikhos was worshipped in the Lakonian town of the same name where he was also identified with the god Seilenos (Silenus).

Pyrrkhikhos was named for the pyrrhikh, a Greek war-dance of clashing spear and shield. According to Aristophanes it was performed beside the funeral pyres (pyrrhos) of great warriors who fell in battle, hence the name "fire-dance".

Nonnus, Dionysiaca 13. 35 ff (trans. Rouse) (Greek epic C5th A.D.) :

"[The goddess Rhea sends Pyrrhikhos (Pyrrhichus) to muster an army of rustic deities for Dionysos' campaign against the Indians :] At once Rheia Allmother sent out her messenger to gather the host, Pyrrhikhos (Pyrrhichus), the dancer before her loverattle timbrel, to proclaim the warfare of Lyaios (Lyaeus) [Dionysos] under arms. Pyrrhikhos, gathering a varied army for Dionysos, scoured all the settlements of the eternal word; all the races of Europe and the nations of the Asiatic land he brought to rendezvous in the land of the livedainty Lydians."

Nonnus, Dionysiaca 14. 23 ff :

"[Rheia summons rustic spirits to the army of Dionysos for a campaign against the Indians:] From Krete (Crete) came grim warriors to join them, the Daktyloi Idaioi (Idaean Dactyls), dwellers on a rocky crag, earthborn Korybantes (Corybantes), a generation which grew up for Rheia selfmade out of the ground in the olden time. These had surrounded Zeus a newborn babe in the cavern which fostered his breeding, and danced about him shield in hand, the deceivers, raising wild songs which echoed among the rocks and maddened the air--the noise of the clanging brass resounded in the ears of Kronos (Cronus) high among the clouds, and concealed the infancy of Kronion (Cronion) [Zeus] with drummings. The chief and leader of the dancing Korybantes [or Kouretes] was Pyrrhikhos (Pyrrhichus) and shake-a-shield Idaios (Idaeus); and with them came Knossian Kyrbas (Cnossian Cyrbas), and armed his motley troops, their namefellow."

View the entire score. Even better, thanks to the recording kindly provided by Karl Ellison, you can now actually hear the Radium Dance! According to Karl, who plays the piece, this is an "enhanced version" of the score.

The record (10-inch diameter) was produced by the Victor Talking Machine Company of Camden New Jersey. It seems to have been recorded October 12, 1905 in Philadelphia with Walter Rogers conducting the Victor Orchestra (Discography of American Historical Recordings).

The original "Radium Dance," a creation of the American Loie Fuller, made its debut in Paris. The earliest reference to it that I have found was a short note in the Rochester Democrat and Chronicle (February 10, 1904):

"Loie Fuller is still up to date. She made a hit with her radium dance. Attired in an absolutely luminous gown, which by a secret and exceedingly clever mechanism flashes forth brilliant phosphorescent rays during her terpsichorean undulations."

"which she has shown to M and Madame Curie. The famous physicists said that the American serpentine lady had made them look upon their own discovery in a new light... No actual salt of radium is manipulated by the lady... the performance, which has not yet been given in public."

Other than the fact that they all employed some sort of glow-in-the-dark effect, I wouldn't expect that the various versions of the "Radium Dance" performed in the United States (including that in Piff, Paff, Pouf) were very similar to Fuller's original version. However, the following statement in the April 6, 1904 issue of the St. Louis Republic vaguely suggests that she might have had some creative input:

The "Pike" was an entertainment section of the 1904 St. Louis World's Fair. Note that this version of the Radium Dance doesn't seem to be connected to the Jean Schwartz composition in Piff, Paff, Pouf.

"The lights go out, even the orchestral lights,... only visible thing is the conductor's baton which moves like a shoal of glowworms in the abyss. Suddenly appears a row of glowing white figures which might if they had faces be Pierrots; then skirts and bodices and sugar-loaf hats... the ghostly figures move phantastically, separate and intertwine and mingle in strange shapes... The part the audience played was to strike matches in the gallery to see how it was done."

"the biggest feature of this show is the famous radium dance by the pony ballet. This sensation has never been seen west of New York [not quite true] where it is being used in "Piff, Paff, Pouff" at the Casino. Critics say that this wonderful radium ballot [sic], with its play of lights and electricity, is the most astounding and sensational dance ever seen on any stage."

Despite the occasional claim that the glow-in-the-dark costumes employed radium (Lionel Laurence, San Francisco Chronicle, May 29, 1904), radium was too scarce and valuable in 1904 to have been employed for such a purpose.

"these garments are thoroughly saturated with a liquid made from a chemical powder invented by Prof. Giuseppe Bulzano... has the effect of absorbing light, which is brilliantly emitted again... when exposed to artificial light. When the girls don them at night a powerful calcium light is turned upon them thus attired, for at least 10 minutes, and then on the darkened stage the figurantes become veritable storage batteries charged with light."

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