正在加载视频...

视频加载失败

返回首页

What makes this couple’s dance explode with such raw, infectious vitality is a perfect storm of chemistry, mastery, and cultural soul that turns every step into pure celebration. Watch Stephen Sayer and Chanzie (Chandrae Roettig Gomez) move and you feel the music living inside their bodies. Their partnership—honed through...

Emotion78687's profile picture

Emotion & Music

132,083 subscribers

61,945 次观看 • 10 天前 •via X (Twitter)

LIVE

Anya Rossi• Live Now

Private livecam show

0 条评论

暂无评论

原始帖子的评论将显示在这里

相关视频

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.
2:10

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.

AFRICAN & BLACK HISTORY

2,305,345 次观看 • 3 年前

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.
2:10

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.

AFRICAN & BLACK HISTORY

313,552 次观看 • 1 年前

"Men do not stay for platitudes. Platitudes do not carry a soul through the winter. When the child is in the ground, when the marriage is in ruins, when the diagnosis comes back and the floor drops out of the world, no one was ever held up by 'be kind and stay positive.' They are held, if they are held at all, by something with iron in it. By a witness that the heavens are real and open, that God still speaks, that the dead are not lost, that there is power on the earth greater than the darkness. The early Saints had that, and they knew they had it, because they had felt it in their own bodies. They were healed under hands. They spoke in tongues. They saw visions and buried their children in the certainty of resurrection and crossed a continent on the strength of a fire they could not have faked. That is what converts a man and that is what keeps him, not a well managed self-help program, but the living evidence that what we preach is true. So the cure is not complicated, and it is not new. It is to be again the Church of our fathers. Stop apologizing. Stop trimming the glorious truth into something the world will pat on the head. Speak with authority and with the hammer, the way Joseph spoke, the way Brigham spoke, the way men speak when they actually believe the heavens have opened over them. Reach again for the gifts of the Spirit, and stop pretending they were a founding era curiosity, because a testimony built on argument crumbles in the first storm and a testimony built on the manifest power of God does not. And above all, live as though the heavens are open, because they are, and they have only ever felt closed to a people who stopped expecting them to answer. The Saints are not leaving because the gospel is too much. They are leaving because we have made it too little. Make it glorious and demanding again, and watch who comes back through the door. The hungry have not gone anywhere. We simply stopped setting the table."
0:54

"Men do not stay for platitudes. Platitudes do not carry a soul through the winter. When the child is in the ground, when the marriage is in ruins, when the diagnosis comes back and the floor drops out of the world, no one was ever held up by 'be kind and stay positive.' They are held, if they are held at all, by something with iron in it. By a witness that the heavens are real and open, that God still speaks, that the dead are not lost, that there is power on the earth greater than the darkness. The early Saints had that, and they knew they had it, because they had felt it in their own bodies. They were healed under hands. They spoke in tongues. They saw visions and buried their children in the certainty of resurrection and crossed a continent on the strength of a fire they could not have faked. That is what converts a man and that is what keeps him, not a well managed self-help program, but the living evidence that what we preach is true. So the cure is not complicated, and it is not new. It is to be again the Church of our fathers. Stop apologizing. Stop trimming the glorious truth into something the world will pat on the head. Speak with authority and with the hammer, the way Joseph spoke, the way Brigham spoke, the way men speak when they actually believe the heavens have opened over them. Reach again for the gifts of the Spirit, and stop pretending they were a founding era curiosity, because a testimony built on argument crumbles in the first storm and a testimony built on the manifest power of God does not. And above all, live as though the heavens are open, because they are, and they have only ever felt closed to a people who stopped expecting them to answer. The Saints are not leaving because the gospel is too much. They are leaving because we have made it too little. Make it glorious and demanding again, and watch who comes back through the door. The hungry have not gone anywhere. We simply stopped setting the table."

Kirk Rollins

63,131 次观看 • 2 个月前

A joyful cultural exchange unfolds as visitors join members of the Kari community in traditional dance, where rhythm, movement, and laughter quickly replace the barriers of language and background. What begins as a simple performance soon becomes a shared experience, with locals and foreigners moving together to songs and traditions that have been passed down through generations. For many indigenous communities, dance is far more than entertainment. It is a way of preserving history, strengthening community bonds, celebrating important occasions, and expressing cultural identity. As the drums and voices echo through the gathering, the visitors are not just watching the tradition, they briefly become part of it. Moments like these show that even people raised in completely different worlds can connect through something as simple as music, movement, and genuine human curiosity.
0:33

A joyful cultural exchange unfolds as visitors join members of the Kari community in traditional dance, where rhythm, movement, and laughter quickly replace the barriers of language and background. What begins as a simple performance soon becomes a shared experience, with locals and foreigners moving together to songs and traditions that have been passed down through generations. For many indigenous communities, dance is far more than entertainment. It is a way of preserving history, strengthening community bonds, celebrating important occasions, and expressing cultural identity. As the drums and voices echo through the gathering, the visitors are not just watching the tradition, they briefly become part of it. Moments like these show that even people raised in completely different worlds can connect through something as simple as music, movement, and genuine human curiosity.

Ashley Kay

136,443 次观看 • 2 个月前

"Walk for Peace." 🍁☸️ When venerable monks walk, they carry more than their robes, they carry a message. As they move through the streets of the United States of America the air fills with calm, kindness and quiet joy. Smiles replace suspicion and strangers become companions on the same path. This Walk for Peace is not just a journey of miles, it is a journey of hearts. It reminds us that peace is not demanded, it is practiced. It is chosen with every step, every act of compassion, and every moment of unity. Walking together, beyond borders and beliefs, we rediscover our shared humanity. Peace begins with walking together.
0:55

"Walk for Peace." 🍁☸️ When venerable monks walk, they carry more than their robes, they carry a message. As they move through the streets of the United States of America the air fills with calm, kindness and quiet joy. Smiles replace suspicion and strangers become companions on the same path. This Walk for Peace is not just a journey of miles, it is a journey of hearts. It reminds us that peace is not demanded, it is practiced. It is chosen with every step, every act of compassion, and every moment of unity. Walking together, beyond borders and beliefs, we rediscover our shared humanity. Peace begins with walking together.

Suraj Kumar Bauddh

29,306 次观看 • 7 个月前

What the Greeks of Crete wear on their head is called a "mandili" or "diadema" and has remained with the Turkish term "sariki" so that the barbarity of the Turks in Crete is never forgotten. It symbolizes the occupation of the Turks over Crete. As well as the holocaust of the Arkadi Monastery. Today, the "mandili" has two predominant color schemes. Black and white. The white one is the festive one of joy and is customarily worn on happy occasions such as weddings, baptisms, and any kind of joyful social event. In contrast, black is the color of "leventia" (manliness/honor) and pride, but also of mourning in the life of every Cretan. Its ancestor is the well-known Greek "diadema" that the Greeks wore in ancient times and later the Roman emperors. Pentozali dance is a Greek war dance that has its roots back in the ancient times of Greece. Read more about the history of the Greek dances on the comments below.
5:21

What the Greeks of Crete wear on their head is called a "mandili" or "diadema" and has remained with the Turkish term "sariki" so that the barbarity of the Turks in Crete is never forgotten. It symbolizes the occupation of the Turks over Crete. As well as the holocaust of the Arkadi Monastery. Today, the "mandili" has two predominant color schemes. Black and white. The white one is the festive one of joy and is customarily worn on happy occasions such as weddings, baptisms, and any kind of joyful social event. In contrast, black is the color of "leventia" (manliness/honor) and pride, but also of mourning in the life of every Cretan. Its ancestor is the well-known Greek "diadema" that the Greeks wore in ancient times and later the Roman emperors. Pentozali dance is a Greek war dance that has its roots back in the ancient times of Greece. Read more about the history of the Greek dances on the comments below.

Homer Pavlos

21,212 次观看 • 10 个月前

Why This Performance Still Feels Like a Masterpiece Forty-four years have passed. There is no Auto-Tune, no pre-recorded tracks, no digital polish. What remains is a raw live performance powered by pure talent, tight musicianship, and unfiltered energy. Yet it continues to stop people in their tracks and earn the title of masterpiece. The reasons run deeper than nostalgia. Steve Perry’s voice is the first and most powerful element. He possessed one of the clearest, strongest, and most emotionally charged rock voices of his era. His high notes soared with power while still carrying sweetness and precise control. In an age when many singers lean heavily on studio correction, hearing a completely unprocessed voice deliver such precision creates a sense of awe. Listeners do not merely admire technique. They feel the soul behind every phrase. Equally important is the honesty of the live moment. The band plays with seamless chemistry. Every note travels directly from the stage to the audience without layers of post-production. Any tiny imperfections only make the performance feel more alive and human. Modern listeners, accustomed to heavily processed sound, suddenly rediscover the strength of music in its original form. The absence of technological safety nets makes the achievement more impressive, not less. The energy and connection complete the picture. Perry did not simply sing the songs. He performed with his entire body, his eyes, and his emotion. The crowd in the footage responds with pure electricity, and that same electricity still travels through the screen decades later. A true masterpiece is not defined only by melody or lyrics. It is defined by its power to create a shared experience that makes thousands of people feel the same surge at the same time. What ultimately keeps this performance timeless is its emotional reach. Journey’s music speaks to hope, longing, and the quiet determination to keep going. Those themes never age. As technology continues to reshape how music is made and consumed, looking back at a night of pure talent only highlights the lasting value of authenticity. The song may be familiar, the staging may look dated by today’s standards, yet the feeling remains immediate. This is why the performance still stands as a masterpiece. It brings together an extraordinary voice, unfiltered honesty, and the rare ability to move people across generations. In a time when digital tools often smooth away the human edges, moments like this feel rarer and more precious than ever. What live performance from the past still gives you chills every time you watch it?
4:11

Why This Performance Still Feels Like a Masterpiece Forty-four years have passed. There is no Auto-Tune, no pre-recorded tracks, no digital polish. What remains is a raw live performance powered by pure talent, tight musicianship, and unfiltered energy. Yet it continues to stop people in their tracks and earn the title of masterpiece. The reasons run deeper than nostalgia. Steve Perry’s voice is the first and most powerful element. He possessed one of the clearest, strongest, and most emotionally charged rock voices of his era. His high notes soared with power while still carrying sweetness and precise control. In an age when many singers lean heavily on studio correction, hearing a completely unprocessed voice deliver such precision creates a sense of awe. Listeners do not merely admire technique. They feel the soul behind every phrase. Equally important is the honesty of the live moment. The band plays with seamless chemistry. Every note travels directly from the stage to the audience without layers of post-production. Any tiny imperfections only make the performance feel more alive and human. Modern listeners, accustomed to heavily processed sound, suddenly rediscover the strength of music in its original form. The absence of technological safety nets makes the achievement more impressive, not less. The energy and connection complete the picture. Perry did not simply sing the songs. He performed with his entire body, his eyes, and his emotion. The crowd in the footage responds with pure electricity, and that same electricity still travels through the screen decades later. A true masterpiece is not defined only by melody or lyrics. It is defined by its power to create a shared experience that makes thousands of people feel the same surge at the same time. What ultimately keeps this performance timeless is its emotional reach. Journey’s music speaks to hope, longing, and the quiet determination to keep going. Those themes never age. As technology continues to reshape how music is made and consumed, looking back at a night of pure talent only highlights the lasting value of authenticity. The song may be familiar, the staging may look dated by today’s standards, yet the feeling remains immediate. This is why the performance still stands as a masterpiece. It brings together an extraordinary voice, unfiltered honesty, and the rare ability to move people across generations. In a time when digital tools often smooth away the human edges, moments like this feel rarer and more precious than ever. What live performance from the past still gives you chills every time you watch it?

Emotion & Music

32,794 次观看 • 3 天前

Ostriches are intensely social animals who understand their world through movement contact and the presence of their flock. They do not experience life with human concepts or human language but they do experience fear safety comfort and distress in ways that are clear measurable and deeply felt. When ostriches live together they learn the shapes sounds and movements of the birds around them. They feel secure when the flock is calm and they become anxious when others show signs of alarm. Their sense of safety depends entirely on the stability of the group. Any threat to one member of the flock creates a wave of fear through all of them. Because of this the emotional impact of violent handling and mass killing is not limited to the bird that is struck but spreads through every ostrich who sees hears or senses it. When force and confinement are imposed on them the birds experience a level of fear that overwhelms their natural coping behaviors. Ostriches respond to danger with flight or alert stillness and when neither response is possible they enter a state of acute stress that includes trembling pacing vocalizing or freezing in place. Their hearts race their muscles tense and their entire body prepares to escape. When they are surrounded or trapped they cannot understand why the danger cannot be avoided. The sense of helplessness for a prey animal is not a thought but a physical shock that floods them with stress and panic. To a creature who survives through movement and awareness the loss of space and the inability to flee is a form of suffering in itself. The abuse of forcing ostriches to witness the injury or death of familiar flock mates creates another layer of distress. These birds recognize individuals. They notice when one of their companions collapses or cries out. They become restless and agitated when a bird they know is harmed. They remain close to fallen birds and often attempt to investigate or stay near them because their instinct pushes them to stay with the group even when the group is being destroyed. The emotional meaning of this moment is not symbolic but immediate. The flock is breaking apart. The cues of danger multiply. The birds see others in pain or falling and their own fear grows with each new sign of suffering. When violent killing happens around them ostriches sense it as the collapse of their only system of safety. They are not built to make sense of destruction happening in their own flock. Instead they respond with escalating panic. Their bodies show it clearly through rapid breathing frantic shifts in posture and attempts to move closer to surviving flock mates. They do not understand why the danger continues or why the people near them are the source of harm. The stress they experience is intense enough to cause physical shock. Their final moments are dominated by confusion fear and the overwhelming instinct to escape a threat that cannot be avoided. The public often imagines large animals as numb or unaware but ostriches feel the world with a sensitivity shaped by millions of years as prey animals. Their eyes are sharp their hearing is attuned to stress in others and their bodies react strongly to fear and pain. When dozens or hundreds of birds are subjected to violence in a confined area every ostrich feels the fear of the others. The suffering does not happen to them one by one but as a shared experience of terror. This is an experience that no animal should ever be forced to endure. The reality is not clinical or quick. It is emotionally devastating to the animals caught in it because it destroys the flock bond that is their only sense of stability and then it destroys the birds themselves. Understanding this matters because it shows that the harm done to these animals was not only physical but deeply emotional. The ostriches suffered long before any final action was taken against their bodies. They suffered through fear they could not escape through the panic created by the collapse of their flock and through the helplessness of being unable to understand why the world around them suddenly turned violent. Recognizing this is essential because it reveals the true scale of what was done. This was not a neutral procedure. This was the infliction of terror on beings capable of feeling it powerfully. The public deserves to know that these birds were not indifferent creatures. They were living animals who felt fear and confusion and distress and whose final experiences were shaped by violence they could not comprehend or escape.
3:46

Ostriches are intensely social animals who understand their world through movement contact and the presence of their flock. They do not experience life with human concepts or human language but they do experience fear safety comfort and distress in ways that are clear measurable and deeply felt. When ostriches live together they learn the shapes sounds and movements of the birds around them. They feel secure when the flock is calm and they become anxious when others show signs of alarm. Their sense of safety depends entirely on the stability of the group. Any threat to one member of the flock creates a wave of fear through all of them. Because of this the emotional impact of violent handling and mass killing is not limited to the bird that is struck but spreads through every ostrich who sees hears or senses it. When force and confinement are imposed on them the birds experience a level of fear that overwhelms their natural coping behaviors. Ostriches respond to danger with flight or alert stillness and when neither response is possible they enter a state of acute stress that includes trembling pacing vocalizing or freezing in place. Their hearts race their muscles tense and their entire body prepares to escape. When they are surrounded or trapped they cannot understand why the danger cannot be avoided. The sense of helplessness for a prey animal is not a thought but a physical shock that floods them with stress and panic. To a creature who survives through movement and awareness the loss of space and the inability to flee is a form of suffering in itself. The abuse of forcing ostriches to witness the injury or death of familiar flock mates creates another layer of distress. These birds recognize individuals. They notice when one of their companions collapses or cries out. They become restless and agitated when a bird they know is harmed. They remain close to fallen birds and often attempt to investigate or stay near them because their instinct pushes them to stay with the group even when the group is being destroyed. The emotional meaning of this moment is not symbolic but immediate. The flock is breaking apart. The cues of danger multiply. The birds see others in pain or falling and their own fear grows with each new sign of suffering. When violent killing happens around them ostriches sense it as the collapse of their only system of safety. They are not built to make sense of destruction happening in their own flock. Instead they respond with escalating panic. Their bodies show it clearly through rapid breathing frantic shifts in posture and attempts to move closer to surviving flock mates. They do not understand why the danger continues or why the people near them are the source of harm. The stress they experience is intense enough to cause physical shock. Their final moments are dominated by confusion fear and the overwhelming instinct to escape a threat that cannot be avoided. The public often imagines large animals as numb or unaware but ostriches feel the world with a sensitivity shaped by millions of years as prey animals. Their eyes are sharp their hearing is attuned to stress in others and their bodies react strongly to fear and pain. When dozens or hundreds of birds are subjected to violence in a confined area every ostrich feels the fear of the others. The suffering does not happen to them one by one but as a shared experience of terror. This is an experience that no animal should ever be forced to endure. The reality is not clinical or quick. It is emotionally devastating to the animals caught in it because it destroys the flock bond that is their only sense of stability and then it destroys the birds themselves. Understanding this matters because it shows that the harm done to these animals was not only physical but deeply emotional. The ostriches suffered long before any final action was taken against their bodies. They suffered through fear they could not escape through the panic created by the collapse of their flock and through the helplessness of being unable to understand why the world around them suddenly turned violent. Recognizing this is essential because it reveals the true scale of what was done. This was not a neutral procedure. This was the infliction of terror on beings capable of feeling it powerfully. The public deserves to know that these birds were not indifferent creatures. They were living animals who felt fear and confusion and distress and whose final experiences were shaped by violence they could not comprehend or escape.

Vote Canada

55,531 次观看 • 9 个月前

Larakaraka is a traditional courtship dance that originated from the Acholi people of Uganda 🇺🇬. This dance, among the more than 50 Acholi dances, holds significant importance and is typically performed on special occasions, particularly weddings. Traditionally, men or boys in the dance provide the music while the women or girls dance in linear patterns. Serving as a romantic display of artistry and physical prowess, Larakaraka enables young men to exhibit their dancing skills, vitality, and agility, all with the intention of attracting a potential life partner.🇺🇬 Whats the name of the courtship dance in your culture?
1:02

Larakaraka is a traditional courtship dance that originated from the Acholi people of Uganda 🇺🇬. This dance, among the more than 50 Acholi dances, holds significant importance and is typically performed on special occasions, particularly weddings. Traditionally, men or boys in the dance provide the music while the women or girls dance in linear patterns. Serving as a romantic display of artistry and physical prowess, Larakaraka enables young men to exhibit their dancing skills, vitality, and agility, all with the intention of attracting a potential life partner.🇺🇬 Whats the name of the courtship dance in your culture?

The Cake Lady

149,687 次观看 • 1 年前

The “Do-re-mi” scene carries several important meanings: The healing power of music - Music is not just entertainment here — it becomes a powerful tool to heal emotional wounds. After losing their mother, the Von Trapp children had been living in a cold and strict environment. Maria uses music to bring back laughter, warmth, and joy into their lives. Education through love, not discipline - Maria’s teaching style is completely different from Captain Von Trapp’s strict methods. Instead of using authority or punishment, she teaches with patience, creativity, and love. The scene highlights that the most effective education happens when children learn through joy. Family bonding- For the first time in a long while, the children work together, sing together, and play together. Music becomes the bridge that reconnects them as a real family. Joy of life and freedom - The scene is filmed in wide, open natural settings. The children running and singing freely symbolize liberation from rigid rules and the rediscovery of happiness. The “Do-re-mi” scene is not just a cheerful song, but a hymn about love, healing, and the power of art. It shows how music can transform the atmosphere of an entire family, bringing laughter and connection where there was once only coldness and discipline.
2:12

The “Do-re-mi” scene carries several important meanings: The healing power of music - Music is not just entertainment here — it becomes a powerful tool to heal emotional wounds. After losing their mother, the Von Trapp children had been living in a cold and strict environment. Maria uses music to bring back laughter, warmth, and joy into their lives. Education through love, not discipline - Maria’s teaching style is completely different from Captain Von Trapp’s strict methods. Instead of using authority or punishment, she teaches with patience, creativity, and love. The scene highlights that the most effective education happens when children learn through joy. Family bonding- For the first time in a long while, the children work together, sing together, and play together. Music becomes the bridge that reconnects them as a real family. Joy of life and freedom - The scene is filmed in wide, open natural settings. The children running and singing freely symbolize liberation from rigid rules and the rediscovery of happiness. The “Do-re-mi” scene is not just a cheerful song, but a hymn about love, healing, and the power of art. It shows how music can transform the atmosphere of an entire family, bringing laughter and connection where there was once only coldness and discipline.

Love Classical Music and Movies 🎺🎻💖🎥🎬

14,144 次观看 • 1 个月前

.Stephen Miller: "Let's not pretend for a moment that these Radical Leftists — these terrorists — are operating from a place of sincere political conviction... The leftist is fundamentally motivated by envy, by hatred, by jealousy. The leftist looks at what is beautiful and what is good and what is natural and is filled with envy and hatred. The leftist looks at a perfect family with the perfect life and a perfect job and perfect kids, that goes to church every Sunday, and is filled with a feeling of inadequacy and jealousy — and they covet and they turn those emotions ultimately into a desire to subjugate, to oppress, and to inflict pain and suffering. It's not a coincidence that when you look at these violent Antifa demonstrations and you see any photograph of those who are assembled — to be blunt, not one of the people that is demonstrating looks like a normal person. Not one looks normal. They’re all deformed in some way in their appearance, in their dress, in their mannerisms... Their outer appearance becomes a manifestation of their inner hatred."
2:37

.Stephen Miller: "Let's not pretend for a moment that these Radical Leftists — these terrorists — are operating from a place of sincere political conviction... The leftist is fundamentally motivated by envy, by hatred, by jealousy. The leftist looks at what is beautiful and what is good and what is natural and is filled with envy and hatred. The leftist looks at a perfect family with the perfect life and a perfect job and perfect kids, that goes to church every Sunday, and is filled with a feeling of inadequacy and jealousy — and they covet and they turn those emotions ultimately into a desire to subjugate, to oppress, and to inflict pain and suffering. It's not a coincidence that when you look at these violent Antifa demonstrations and you see any photograph of those who are assembled — to be blunt, not one of the people that is demonstrating looks like a normal person. Not one looks normal. They’re all deformed in some way in their appearance, in their dress, in their mannerisms... Their outer appearance becomes a manifestation of their inner hatred."

Rapid Response 47

625,579 次观看 • 1 个月前

🚨 WOW! Stephen Miller just exposed it: "Some people might not like what I'm about to say, but it has to be said. You have the Left continue in its professional associations like nursing and doctors and education — people who casually CHEER ASSASSINATIONS." "Their conversation is: 'I'm glad that so and so was shot,' or 'I'm mad that so and so didn't finish the job.'" "This is common now in white-collar professions that are controlled by Democrat credentialing bodies, is it creates this kind of person." "And it's SICK, and when you see it online, you see it also in left-wing comedy where they cheer and they laugh and they joke and they all have a good time talking about our friends getting m*rdered!" "It's really fundamentally the normalization of assassination — and if we don't deal with this, we're in for a world of pain and a world of HURT." "It's just, it's sickening and it's heinous and it's just repugnant in every single way. But this gets back to the theme that I'm presenting today, which is that the third worldification of American politics is the normalization of assassination." "It's the normalization of the idea that assassinations are a common expression of disagreement. It is one of the most vile, horrible, evil society destroying things that can possibly happen to a country." Stephen Miller Will Cain
1:50

🚨 WOW! Stephen Miller just exposed it: "Some people might not like what I'm about to say, but it has to be said. You have the Left continue in its professional associations like nursing and doctors and education — people who casually CHEER ASSASSINATIONS." "Their conversation is: 'I'm glad that so and so was shot,' or 'I'm mad that so and so didn't finish the job.'" "This is common now in white-collar professions that are controlled by Democrat credentialing bodies, is it creates this kind of person." "And it's SICK, and when you see it online, you see it also in left-wing comedy where they cheer and they laugh and they joke and they all have a good time talking about our friends getting m*rdered!" "It's really fundamentally the normalization of assassination — and if we don't deal with this, we're in for a world of pain and a world of HURT." "It's just, it's sickening and it's heinous and it's just repugnant in every single way. But this gets back to the theme that I'm presenting today, which is that the third worldification of American politics is the normalization of assassination." "It's the normalization of the idea that assassinations are a common expression of disagreement. It is one of the most vile, horrible, evil society destroying things that can possibly happen to a country." Stephen Miller Will Cain

Eric Daugherty

100,938 次观看 • 3 个月前

Orwell said the fastest way to destroy a people is to erase their understanding of their own history. That’s why Emirati girls and boys performing traditional dances matter. It’s not “just” a performance. It’s memory in motion. It’s lineage, poetry, resilience, and pride carried forward by a new generation. When our girls perform the traditional dance and other folkloric dances, they are preserving identity, not apologizing for it. Visibility here is strength. Tradition here is sovereignty. We are proud of our culture. And we refuse to let anyone rewrite or distort it.🇦🇪🇦🇪
0:20

Orwell said the fastest way to destroy a people is to erase their understanding of their own history. That’s why Emirati girls and boys performing traditional dances matter. It’s not “just” a performance. It’s memory in motion. It’s lineage, poetry, resilience, and pride carried forward by a new generation. When our girls perform the traditional dance and other folkloric dances, they are preserving identity, not apologizing for it. Visibility here is strength. Tradition here is sovereignty. We are proud of our culture. And we refuse to let anyone rewrite or distort it.🇦🇪🇦🇪

Rauda Altenaiji

1,697,385 次观看 • 6 个月前

The Epic of Resistance 🎼 This is not just a symphony. This is what resistance sounds like. Composed by Majid Entezami, the Epic of Khorramshahr is not played… it is remembered. It carries the echo of the Battle of Khorramshahr during the Iran–Iraq War... when a city was shattered and occupied… then reclaimed by a people who refused to disappear. They believed fire would silence it. They believed steel would break it. They believed time would erase it. But they misunderstood something fundamental: You can destroy buildings… but not belief. You can occupy land… but not dignity. Listen. The violins do not mourn defeat— they rise like voices from beneath the dust. The drums are not war— they are the pulse of a nation that never stopped beating. The crescendo is not sound— it is return. Like Jerusalem… Khorramshahr fell— and then Khorramshahr rose — and so too will Jerusalem. And in its rising, a message was written into history: That oppression is loud… but resistance is eternal. Today, the same rhythm echoes— in every people who refuse humiliation, in every nation that stands when it is told to kneel, in every voice that says: enough. The oppressed the world over, do not hear this music as the past— but as a covenant. A promise carried across generations: That injustice exhausts itself. That arrogance overreaches. That truth, though tested, does not break. This is why the melody does not end. It advances— from rubble to resistance, from resistance to resurgence, from resurgence to victory. History has a pattern: Empires arrive with certainty. They leave with silence. But those who endure— write the final verse. And so the symphony continues… not as memory alone— but as prophecy. Victory is not a moment. It is a direction. And those who refuse to surrender are already moving toward it… They see victory—and joy and smiles— in Tehran and Gaza, in Beirut and Sana’a, in Baghdad and Jerusalem… in every city with a resisting soul and a tight fist... as candle by candle is rekindled, and as light by light is ignited across the world… until the darkness fades, until racism ends, and until supremacism dismantled.
2:52

The Epic of Resistance 🎼 This is not just a symphony. This is what resistance sounds like. Composed by Majid Entezami, the Epic of Khorramshahr is not played… it is remembered. It carries the echo of the Battle of Khorramshahr during the Iran–Iraq War... when a city was shattered and occupied… then reclaimed by a people who refused to disappear. They believed fire would silence it. They believed steel would break it. They believed time would erase it. But they misunderstood something fundamental: You can destroy buildings… but not belief. You can occupy land… but not dignity. Listen. The violins do not mourn defeat— they rise like voices from beneath the dust. The drums are not war— they are the pulse of a nation that never stopped beating. The crescendo is not sound— it is return. Like Jerusalem… Khorramshahr fell— and then Khorramshahr rose — and so too will Jerusalem. And in its rising, a message was written into history: That oppression is loud… but resistance is eternal. Today, the same rhythm echoes— in every people who refuse humiliation, in every nation that stands when it is told to kneel, in every voice that says: enough. The oppressed the world over, do not hear this music as the past— but as a covenant. A promise carried across generations: That injustice exhausts itself. That arrogance overreaches. That truth, though tested, does not break. This is why the melody does not end. It advances— from rubble to resistance, from resistance to resurgence, from resurgence to victory. History has a pattern: Empires arrive with certainty. They leave with silence. But those who endure— write the final verse. And so the symphony continues… not as memory alone— but as prophecy. Victory is not a moment. It is a direction. And those who refuse to surrender are already moving toward it… They see victory—and joy and smiles— in Tehran and Gaza, in Beirut and Sana’a, in Baghdad and Jerusalem… in every city with a resisting soul and a tight fist... as candle by candle is rekindled, and as light by light is ignited across the world… until the darkness fades, until racism ends, and until supremacism dismantled.

Sami Al-Arian

103,097 次观看 • 4 个月前

This is my last post on X, and I wanted the last word to be one that matters. The very first commandment God gave in Eden was to multiply and replenish the earth, and the Restoration placed the family at the burning center of the whole plan: the unit of the celestial kingdom, the reason for the temple, the very shape of God's own life. So when a covenant people quietly stop bearing the next generation, they have not merely made the reasonable lifestyle choice the world applauds. They have begun to set down the first and oldest commandment ever given, and a people who set down the foundation should not wonder why the house begins to sink beneath them. The Book of Mormon shows you how it happens, and it shows you in slow motion, over and over, until no honest reader can miss it. A people are delivered and made prosperous. Prosperity breeds comfort. Comfort breeds forgetting. And the forgetting always wears the same face: they come to love the world and its ease more than the covenant and its cost. They set their hearts on riches and on the praise of men, they grow quietly ashamed of the strict and demanding ways of their fathers, and they trade the weight of the covenant for the lightness of the age. The empty cradle belongs to that same trade. Children are heavy, and faith is heavy, and sacrifice is heavy, and everything the covenant has ever asked is heavy, and a people who have fallen in love with their own comfort will not carry what is heavy for long. So do not mistake what the numbers are telling you. The collapsing birthrate of the Saints is not a sociological curiosity to be smoothed over with better messaging. It is the scriptural pattern arriving on schedule, the visible fever of a covenant people grown too comfortable to bear the weight of their own future. A people who will not have numerous children have, at the deepest level, stopped believing the future is worth filling with their faith, and a people who no longer believe in their own future are already in the early stages of not having one. This is the warning the scriptures have been shouting across the centuries, and we have been too soothed to hear it. And yet the warning has always carried its mercy folded inside it. Every cycle in the Book of Mormon that ended in destruction could have ended in repentance instead, and some did, and the difference was never circumstance. It was never the size of the threat or the strength of the enemy or the hardness of the times. The difference was always one thing only: whether a people, warned, would humble themselves before the comfort finished its work. We have been warned. Your prophets at general conference warned you time and time again. Do not forget their words. The cradle is the warning made visible. The only question left is the one the scriptures have put to every people who ever stood where we now stand. Will we turn, and take up the weight again, and build a future worth being born into. Or will we stay comfortable, and go the way of every comfortable people the record has ever buried. That is my last word.
25:23

This is my last post on X, and I wanted the last word to be one that matters. The very first commandment God gave in Eden was to multiply and replenish the earth, and the Restoration placed the family at the burning center of the whole plan: the unit of the celestial kingdom, the reason for the temple, the very shape of God's own life. So when a covenant people quietly stop bearing the next generation, they have not merely made the reasonable lifestyle choice the world applauds. They have begun to set down the first and oldest commandment ever given, and a people who set down the foundation should not wonder why the house begins to sink beneath them. The Book of Mormon shows you how it happens, and it shows you in slow motion, over and over, until no honest reader can miss it. A people are delivered and made prosperous. Prosperity breeds comfort. Comfort breeds forgetting. And the forgetting always wears the same face: they come to love the world and its ease more than the covenant and its cost. They set their hearts on riches and on the praise of men, they grow quietly ashamed of the strict and demanding ways of their fathers, and they trade the weight of the covenant for the lightness of the age. The empty cradle belongs to that same trade. Children are heavy, and faith is heavy, and sacrifice is heavy, and everything the covenant has ever asked is heavy, and a people who have fallen in love with their own comfort will not carry what is heavy for long. So do not mistake what the numbers are telling you. The collapsing birthrate of the Saints is not a sociological curiosity to be smoothed over with better messaging. It is the scriptural pattern arriving on schedule, the visible fever of a covenant people grown too comfortable to bear the weight of their own future. A people who will not have numerous children have, at the deepest level, stopped believing the future is worth filling with their faith, and a people who no longer believe in their own future are already in the early stages of not having one. This is the warning the scriptures have been shouting across the centuries, and we have been too soothed to hear it. And yet the warning has always carried its mercy folded inside it. Every cycle in the Book of Mormon that ended in destruction could have ended in repentance instead, and some did, and the difference was never circumstance. It was never the size of the threat or the strength of the enemy or the hardness of the times. The difference was always one thing only: whether a people, warned, would humble themselves before the comfort finished its work. We have been warned. Your prophets at general conference warned you time and time again. Do not forget their words. The cradle is the warning made visible. The only question left is the one the scriptures have put to every people who ever stood where we now stand. Will we turn, and take up the weight again, and build a future worth being born into. Or will we stay comfortable, and go the way of every comfortable people the record has ever buried. That is my last word.

Kirk Rollins

21,045 次观看 • 2 个月前

On a personal note, I am at a wedding. What many of you will see at first glance is a bunch of young twenty-something year old “kids” dancing with so much joy for their friend who married his love just moments ago. The music is loud, the circle is tight, and the smiles are real. It looks like any other wedding celebration, the kind of moment people everywhere recognize. Pure happiness. Pure life. But look a bit further, two years back, and these same guys who are smiling, dancing, and bringing joy to their friend were in uniform. In Gaza. In Lebanon. Carrying responsibility far heavier than their age should require. They stood on front lines, far from dance floors and wedding halls, protecting the people and the future of this country. And for what? To dance with joy at a wedding in the land of Israel. To see their friend build a home. To celebrate life continuing. This is why they fought, and why they will continue to fight.
0:31

On a personal note, I am at a wedding. What many of you will see at first glance is a bunch of young twenty-something year old “kids” dancing with so much joy for their friend who married his love just moments ago. The music is loud, the circle is tight, and the smiles are real. It looks like any other wedding celebration, the kind of moment people everywhere recognize. Pure happiness. Pure life. But look a bit further, two years back, and these same guys who are smiling, dancing, and bringing joy to their friend were in uniform. In Gaza. In Lebanon. Carrying responsibility far heavier than their age should require. They stood on front lines, far from dance floors and wedding halls, protecting the people and the future of this country. And for what? To dance with joy at a wedding in the land of Israel. To see their friend build a home. To celebrate life continuing. This is why they fought, and why they will continue to fight.

Mossad Commentary

43,449 次观看 • 6 个月前

CHI ENERGY GENERATES John Chang, famously chronicled in The Magus of Java, embodies the mysterious and transformative power of Nei Kung, an advanced internal practice within the Mo Pai lineage. Mo Pai, a rare and ancient system of energy cultivation, centers on the mastery of chi—an essential life force that flows through all living things and the universe itself. Through decades of disciplined training, Chang demonstrated extraordinary abilities that defy conventional understanding, including energy projection, spontaneous healing, and even the generation of fire-like heat with his hands. Chi, the cornerstone of traditional Chinese medicine and philosophy, is believed to travel through the body along meridians—pathways that sustain physical and spiritual vitality. Nei Kung takes this understanding to profound depths, refining the practitioner’s connection to chi through meditation, breath control, and focused intention. Chang’s abilities, including his reported capacity to light fires using focused chi, illustrate the incredible potential of this practice when approached with dedication and respect. Qigong masters and Mo Pai practitioners alike view chi as more than just energy; it is a bridge between the physical and metaphysical, the seen and unseen. The concept of “fire qi,” often demonstrated by Chang, represents the culmination of years of practice. By rejecting conventional limits and aligning himself with universal energy, he exemplified the transformative power of Nei Kung—a practice not just of skill but of profound self-awareness and harmony with the cosmos. John Chang’s legacy invites us to reconsider the boundaries of human potential and to explore the mysteries of chi as a force that connects us to the universe in ways science is only beginning to understand. His story is a living testament to the idea that the life force we cultivate within is as vast and untamed as the universe itself. ✨🙌🏾💫 © mystical_perceptions
1:23

CHI ENERGY GENERATES John Chang, famously chronicled in The Magus of Java, embodies the mysterious and transformative power of Nei Kung, an advanced internal practice within the Mo Pai lineage. Mo Pai, a rare and ancient system of energy cultivation, centers on the mastery of chi—an essential life force that flows through all living things and the universe itself. Through decades of disciplined training, Chang demonstrated extraordinary abilities that defy conventional understanding, including energy projection, spontaneous healing, and even the generation of fire-like heat with his hands. Chi, the cornerstone of traditional Chinese medicine and philosophy, is believed to travel through the body along meridians—pathways that sustain physical and spiritual vitality. Nei Kung takes this understanding to profound depths, refining the practitioner’s connection to chi through meditation, breath control, and focused intention. Chang’s abilities, including his reported capacity to light fires using focused chi, illustrate the incredible potential of this practice when approached with dedication and respect. Qigong masters and Mo Pai practitioners alike view chi as more than just energy; it is a bridge between the physical and metaphysical, the seen and unseen. The concept of “fire qi,” often demonstrated by Chang, represents the culmination of years of practice. By rejecting conventional limits and aligning himself with universal energy, he exemplified the transformative power of Nei Kung—a practice not just of skill but of profound self-awareness and harmony with the cosmos. John Chang’s legacy invites us to reconsider the boundaries of human potential and to explore the mysteries of chi as a force that connects us to the universe in ways science is only beginning to understand. His story is a living testament to the idea that the life force we cultivate within is as vast and untamed as the universe itself. ✨🙌🏾💫 © mystical_perceptions

🧬Maxpein🧬

59,877 次观看 • 6 个月前

Festivals like the Raulane Mela are among the last living traditions that have stayed alive in the Himalayas for generations. In places like Kinnaur, these celebrations are not just rituals. They are a bond between people, their mountains and the spirits they believe protect their lives. In the hills, people always take the name of their local gods first. These deities are part of their daily life. They are the ones they call upon before any other god. This faith comes from the heart and from the land they live on. The Raulane Mela reminds us of this deep connection. Men dress up, dance and carry forward a tradition that their ancestors kept alive. They honor the Saunie, the protective spirits of the meadows. They pray for good times, safety and harmony. And the whole village comes together to send these spirits back to their homes in the high mountains. These traditions are not just festivals. They are identity, memory, and the soul of the people who live in these valleys. They hold stories that are older than we can imagine. And that is why they must be protected. If such traditions disappear, a part of the Himalayas will disappear with them.
0:23

Festivals like the Raulane Mela are among the last living traditions that have stayed alive in the Himalayas for generations. In places like Kinnaur, these celebrations are not just rituals. They are a bond between people, their mountains and the spirits they believe protect their lives. In the hills, people always take the name of their local gods first. These deities are part of their daily life. They are the ones they call upon before any other god. This faith comes from the heart and from the land they live on. The Raulane Mela reminds us of this deep connection. Men dress up, dance and carry forward a tradition that their ancestors kept alive. They honor the Saunie, the protective spirits of the meadows. They pray for good times, safety and harmony. And the whole village comes together to send these spirits back to their homes in the high mountains. These traditions are not just festivals. They are identity, memory, and the soul of the people who live in these valleys. They hold stories that are older than we can imagine. And that is why they must be protected. If such traditions disappear, a part of the Himalayas will disappear with them.

Kumaon Jagran

112,065 次观看 • 9 个月前