Fashion

Fashion

Sunday, July 3, 2011

Only Right handed Game

Polo is a team sport played on horseback in which the objective is to score goals against an opposing team. Players score by driving a small white plastic or wooden ball into the opposing team's goal using a long-handled mallet. The traditional sport of polo is played at speed on a large grass field up to 300 yards in length, and each polo team consists of four riders and their mounts. In arena polo, only three players are required per team and the game usually involves more maneuvering and shorter plays at lower speeds due to space limitations of the arena. The modern game is played on horses - the term 'polo pony' is purely traditional. Players change horses between chukkers (game periods) due to the intensity and speed of the game. All rules are designed to protect the safety of the horse and player - including a rule that players cannot play left-handed. Polo is played professionally in only 16 countries and is not an Olympic sport.

History

Origins

The game first played in Persia (Iran) at dates given from the 5th century BC, or much earlier, to the 1st century AD and originated there, polo was at first a training game for cavalry units, usually the king's guard or other elite troops. To the warlike tribesmen, who played it with as many as 100 to a side, it was a miniature battle. In time polo became an Iranian national sport played extensively by the nobility. Women as well as men played the game, as indicated by references to the queen and her ladies engaging King Khosrow II Parviz and his courtiers in the 6th century AD. Certainly Persian literature and art give us the richest accounts of polo in antiquity. Ferdowsi, the famed Iranian poet-historian, gives a number of accounts of royal polo tournaments in his 9th century epic, Shahnameh (the Epic of Kings). In the earliest account, Ferdowsi romanticizes an international match between Turanian force and the followers of Siyâvash, a legendary Iranian prince from the earliest centuries of the Empire; the poet is eloquent in his praise of Siyâvash's skills on the polo field. Ferdowsi also tells of Emperor Shapur II of the Sassanid dynasty of the 4th century who learned to play polo when he was only seven years old. Naqsh-i Jahan Square in Isfahan is in fact a polo field which was built by king Abbas I in 17th century.

Naqsh-e Jahan Square in Isfahan is the site of a medieval royal polo field.

Sultan Qutb-ud-din Aibak, the Turkic Emperor of North India, ruled as an emperor for only four years, from 1206 to 1210 but died accidentally in 1210 playing polo. While he was playing a game of polo on horseback (also called chougan in India), his horse fell and Aibak was impaled on the pommel of his saddle. He was buried near the Anarkali bazaar in Lahore (which is now in Pakistan). Aibak's son Aram, died in 1211 CE [2], so Shams-ud-din Iltutmish, another ex-slave of Turkic ancestry who was married to Aibak's daughter, succeeded him as Sultan of Delhi.

From Persia, in medieval times polo spread to the Byzantines (who called it tzykanion), and after the Muslim conquests to the Ayyubid and Mameluke dynasties of Egypt and the Levant, whose elites favored it above all other sports. Notable sultans such as Saladin and Baybars were known to play it and encourage it in their court. Polo sticks were features on the Mameluke precursor to modern day playing cards.

A Persian miniature from the poem Guy u Chawgan(the Ball and the Polo-mallet) during Safavid dynasty of Persia, which shows Persian courtiers on horseback playing a game of polo, 1546 AD

Later on Polo was passed from Persia to other parts of Asia including the Indian subcontinent[7] and China, where it was very popular during the Tang Dynasty and frequently depicted in paintings and statues. Valuable for training cavalry, the game was played from Constantinople to Japan by the Middle Ages. Known in the East as the Game of Kings. The name polo is said to have been derived from the Tibetan word "pulu", meaning ball.

The modern game

India and Britain

The modern game of polo, though formalized and popularized by the British, is derived from Manipur (now a state in India) where the game was known as 'Sagol Kangjei', 'Kanjai-bazee', or 'Pulu'. It was the anglicised form of the last, referring to the wooden ball which was used, that was adopted by the sport in its slow spread to the west. The first polo club was established in the town of Silchar in Assam, India, in 1834.

The origins of the game in Manipur are traced to early precursors of Sagol Kangjei.[10] This was one of three forms of hockey in Manipur, the other ones being field hockey (called Khong Kangjei) and wrestling-hockey (called Mukna Kangjei). Local rituals such as those connected to the Marjing, the Winged-Pony God of Polo and the creation-ritual episodes of the Lai Haraoba festival enacting the life of his son, Khori-Phaba, the polo-playing god of sports. These may indicate an origin earlier than the historical records of Manipur, which go back to the 1st Century A.D.

Old polo field in Imphal, Manipur

In Manipur, polo is traditionally played with seven players to a side. The players are mounted on the indigenous Manipuri pony, which stands less than 13 hands (52 inches, 132 cm). There are no goal posts and a player score simply by hitting the ball out of either end of the field. Players are also permitted to carry the ball, though that allows opponents to physically tackle players when they do so. The sticks are made of cane and the balls are made from the roots of bamboo. Colorful cloth pom-poms dangle at sensitive and vulnerable spots around the anatomy of the ponies to protect them. Players protected their legs by attaching leather shields to their saddles and girths.

In Manipur, the game was not merely a "rich" game but was played even by commoners who owned a pony. The kings of Manipur had a royal polo ground within the ramparts of their Kangla Fort. Here they played Manung Kangjei Bung (literally, "Inner Polo Ground"). Public games were held, as they are still today, at the Mapan Kangjei Bung (literally "Outer Polo Ground"), a polo ground just outside the Kangla. Weekly games called Hapta Kangjei (Weekly Polo) were also played in a polo ground outside the current Palace.

The oldest polo ground in the world is the Imphal Polo Ground in Manipur State. The history of this pologround is contained in the royal chronicle "Cheitharol Kumbaba" starting from AD 33. Lieutenant Sherer, the father of modern polo visited the state and played on this polo ground in the 1850s. Lord Curzon, the Viceroy of India visited the state in 1901 and measured the pologround as 225 yards long and 110 yards wide. The oldest royal polo square is the 16th century Gilgit Polo Field, Pakistan, while the highest polo ground in the world, Shandur, located in district Chitral, Pakistan at 4307 meters (14,000 ft).A traditional polo tournament between the teams of Chitral and Gilgit takes place every year in July. Maj Cobb from British Raj was a polo fan and he used to come to Shandur for playing polo on the invitation of Mehtar Chitral in moon light. The oldest polo club in the world still in existence is the Calcutta Polo Club (1862).

In 1862 the first polo club, Calcutta Polo Club, was established by two British soldiers, Captain Robert Stewart and Major General Joe Shearer.[12] Later they spread the game to their peers in England. The British are credited with spreading polo worldwide in the late 19th century and the early 20th century. Military officers imported the game to Britain in the 1860s. The establishment of polo clubs throughout England and western Europe followed after the formal codification of rules.[11] The 10th Hussars at Aldershot, Hants, introduced polo to England in 1834. The game's governing body in the United Kingdom is the Hurlingham Polo Association, which drew up the first set of formal British rules in 1874, many of which are still in existence.

Argentina

Meanwhile, British settlers in the Argentine pampas started practising it during their free time. Among them, David Shennan is credited with having organized the first formal polo game of the country in 1875. The sport spread fast between the skillful gauchos and several clubs opened in the following years in the towns of Venado Tuerto, Cañada de Gómez, Quilmes, Flores and later (1888) Hurlingham. In 1892 The River Plate Polo Association was founded and constituted the basis for the current Asociación Argentina de Polo. In the Olympic Games held in Paris in 1924 a team composed by Juan Miles, Enrique Padilla, Juan Nelson, Arturo Kenny, G. Brooke Naylor and A. Peña obtained the gold medal; this also occurred in Berlín 1936 with players Manuel Andrada, Andrés Gazzotti, Roberto Cavanagh, Luis Duggan, Juan Nelson, Diego Cavanagh and Enrique Alberdi. From then on, the game spread powerfully across the country and Argentina is credited globally as the mecca of polo.

Tang Dynasty Chinese courtiers on horseback playing a game of polo, 706 AD

This version of polo played in the 19th century was different from the faster form that was played in Manipur. The game was slow and methodical, with little passing between players and few set plays that required specific movements by participants without the ball. Neither players nor horses were trained to play a fast, nonstop game. This form of polo lacked the aggressive methods and equestrian skills to play. From the 1800s to the 1910s, a host of teams representing Indian principalities dominated the international polo scene.

A terracotta female polo player, Tang Dynasty, early 8th century, Musée Guimet, Paris

Polo found popularity in Argentina, Brazil, Chile, Mexico, Pakistan and the United States of America.

America

James Gordon Bennett, Jr. on May, 6th 1876 organized what was billed as the first polo match in the United States at Dickel's Riding Academy at 39th Street and Fifth Avenue in New York City. The historical record states that James Gordon Bennett established the Westchester Polo Club on May 6, 1876 and on May 13, 1876 the Jerome Park Racetrack in Westchester County was the site of the "first" American outdoor polo match.

The founding fathers of American polo were instrumental in establishing and nurturing the sport of polo in the United States. H.L. Herbert, along with James Gordon Bennett and August Belmont financed the original New York Polo Grounds.. H.L. stated in this 1913 article that they formed the Westchester Club AFTER the "first" outdoor game was played on May 13, 1876. This contradicts the historical record of the club being established before the Jerome Park game..

There is, however, ample evidence that the first to play polo in America was actually the English Texans. The Galveston News said on May 2nd 1876 that Denison Texas had a Polo Club which was before James Gordon Bennett established his Westchester Club or attempted to play the "first" game. The Denison team sent a letter to James Gordon Bennett Challenging him to a match game. The Challenge was published June 2nd 1876 in The Galveston Daily News. By the time the article came out on June 2nd the Denison Club had already received a letter from Bennett indicating the challenge was offered before the "first" games in New York.

There is also an urban legend that the first game of polo in America was played in Boerne, Texas at retired British officer Captain Glynn Turquand's famous Balcones Ranch. The Boerne, Texas legend also has plenty of evidence pointing to the fact that polo was played in Boerne before James Gordon Bennett Jr. ever picked up a polo mallet. See The Texas Polo Club for all of the details and old newspaper articles backing up the Texas origin of American Polo.

During the early part of the 20th century, under the leadership of Harry Payne Whitney, polo changed to become a high-speed sport in the United States, differing from the game in England, where it involved short passes to move the ball toward the opposition's goal. Whitney and his teammates used the fast break, sending long passes downfield to riders who had broken away from the pack at a full gallop.

Rules

Polo in Pakistan

Field polo requires two teams of four players. A full-size field is 300 yards long, and either 200 yards or 160 yards wide if there are side boards—these are generally 6" high. There are tall collapsible goalposts at each end of the field spread 8 yards apart. The object of the game is to score the most goals by hitting the ball through the goal. Polo teams change direction after each goal in order to compensate for field and wind conditions.

In arena polo, which is popular in the United States, the size of the field is ideally 100 yards long by 50 yards wide. The size of arena fields in the United States, where arena polo was first played, is often more variable where indoor armories and riding academies are still occasionally used. The playing boundary is marked by high wooden walls (usually at least 6 feet high). Arena polo requires teams of three riders, and goals are scored by passing the ball into a 10-foot-wide by 12-foot-high goal recessed into the end walls. In arena polo ends are changed at the end of each 6-minute period (chukka, chukker, or chucker) and not after a goal is scored. Arena polo uses a small leather ball between 12.5 and 15 inches in circumference that looks like a miniature football (soccer ball).

In Pakistan, Shandur invites visitors to experience a traditional polo tournament between the teams of Chitral and Gilgit annually in July. The tournament is held on Shandur Pass, the highest polo ground in the world at 3,700 meters. The festival also includes Folk music, dancing and a camping village is set up.

Gilgit, Chitral and Skardu have always played the game of polo closest to its original form. In the past, local Khans, Mirs and Mehtars were the patrons of the game. At times, more than 50% of the annual budget of their principalities would be spent on supporting the game.

A polo game has periods of play, known as chukkas (also chukkers or chuckers). This term originated in 1898 and is derived from Hindi chakkar from Sanskrit chakra "circle, wheel" (compare chakka). Depending on the rules of the particular tournament or league, a game may have 4, 6 or 8 chukkas; 6 chukkas are most common Usually, each chukker is 7 minutes long, but some games are played in shorter chukkers. Between chukkas, the players switch to fresh ponies. In less competitive polo leagues, players may play only two ponies, alternating between them. For more competitive leagues, and in United States intercollegiate polo, each pony is played in at most two chukkers.

An umpire holding a ball pick-up stick and with ball holders strapped across the withers

Games are often played with a handicap in which the sum of the individual players' respective handicaps are compared. The team with the lower handicap is given the difference in handicaps as goals before the start of the game.

The game begins with the two teams of four lined up each team in line forming two rows with the players in order 1, 2, 3, 4 facing the umpire in the center of the playing field. There are two mounted umpires on the field and a referee standing on the sidelines. At the beginning of a game, one of the umpires bowls the ball in hard between the two teams. Teams change goals on ends of the field/arena after each score or chukker in outdoor polo to minimize any wind advantage which may exist. Switching sides also allows each team equal opportunity to start off with the ball on their right side, as all players must hit right-handed.

Common techniques and practices

There are two basic defense techniques allowed in polo. The hook, or hooking, is when a player uses their mallet to block or interfere with an opponent's swing by hooking the mallet of the other player with their own mallet. A player may hook only if he is on the side where the swing is being made or directly in front or behind an opponent. A foul is awarded for any hooking that does not fit this stipulation. For example, a player cannot reach over the mount of another player to hook their mallet, and this would be considered a penalty.

The other defense technique is the bump, or ride-off. This is similar to a body-check in hockey. It is used to break an opposing player's concentration, move him off the line of the ball, or spoil his shot. A ride-off is when one player rides his pony next to an opponent to lead him away from the ball. This is only allowed when the angle of collision is not greater than 45 degrees.

Polo ponies

Polo ponies waiting for the game to begin

The mounts used are called 'polo ponies', although the term pony is purely traditional and the mount is actually a full-sized horse. They range from 14.2 to 16 hands high at the withers (one hand equals four inches or 10.16 cm), and weigh between 900-1100 lbs. The polo pony is selected carefully for quick bursts of speed, stamina, agility and maneuverability. Temperament is critical; the horse must remain responsive under pressure and not become excited or difficult to control. Many are Thoroughbreds or Thoroughbred crosses. They are trained to be handled with one hand on the reins, and to be responsive to the rider's leg and weight cues for moving forward, turning and stopping. A well trained horse will carry his rider smoothly and swiftly to the ball and can account for 60 to 75 percent of the player's skill and net worth to his team.

Polo training generally begins at age three and lasts from about six months to two years. Most horses reach full physical maturity at about age five, and ponies are at their peak of athleticism and training at around age 6 or 7. However, without any accidents, polo ponies may have the ability to play until they are 18 to 20 years of age.

More than one pony per player is needed in order to allow tired mounts to be changed for fresh mounts between or even during chukkers. There are typically between 4 to 8 ponies per player. The group of ponies for a given player is commonly referred to as a "string of polo ponies", with a minimum of 2 or 3 ponies in Low Goal matches (with ponies being rested for at least a chukker before reuse), 4 or more ponies for Medium Goal matches (at least one per chukker), many more for the highest levels of competition.

Players

A girls' polo team, United States

Each team consists of four mounted players, which can be mixed teams of both men and women.

Each position assigned to a player has certain responsibilities:

  • Number One is the most offense-oriented position on the field. The Number One position generally covers the opposing team's Number Four.
  • Number Two has an important role in offense, either running through and scoring themselves, or passing to the Number One and getting in behind them. Defensively, they will cover the opposing team's Number Three, generally the other team's best player. Given the difficulty of this position, it is not uncommon for the best player on the team to play Number Two so long as another strong player is available to play Three.
  • Number Three is the tactical leader and must be a long powerful hitter to feed balls to Number Two and Number One as well as maintaining a solid defense. The best player on the team is usually the Number Three player, usually wielding the highest handicap.
  • Number Four is the primary defense player. They can move anywhere on the field, but they usually try to prevent scoring. The emphasis on defense by the Number Four allows the Number Three to attempt more offensive plays, since they know that they will be covered if they lose the ball.

Polo must be played right-handed.

Equipment

Iranian girl polo player
Polo player wearing kneepads, "riding off" an opponent

The basic dress of a player is a protective equestrian helmet (usually of a distinctive color, to be distinguished at the considerable distance from which onlookers are watching the game), riding boots to just below the knees, white trousers (often ordinary denim jeans), and a colored shirt bearing the number of the player's position. Optional equipment includes one or two gloves, wristbands, kneepads (mandatory in some clubs), spurs, face mask, and a whip. The only piece of equipment required by the United States Polo Association (USPA) rules is the helmet or cap with a chin strap.

The outdoor polo ball is made of a high-impact plastic, but was formerly made of either bamboo or willow root. The indoor polo ball is leather-covered and inflated, and is about 4½ inches (11.4 cm) in diameter. The outdoor ball is about 3¼ inches (8.3 cm) in diameter and weighs about four ounces (113.4 g). The polo mallet has a rubber-wrapped grip and a webbed thong, called a sling, for wrapping around the thumb. The shaft is made of manau-cane (not bamboo because it is hollowed) although an increasing number of mallets today are made from Composite materials. Wood Mallets in NZ is the pioneer of this technology. The heads of the mallet are generally a cigar shape made from a hardwood called tipa, approximately 9 1/4" inches in length. The mallet head weighs from 160 grams to 240 grams, depending on player preference and the type of wood used, and the shaft can vary in weight and flexibility depending on the player's preference. The weight of the mallet head is of important consideration for the more seasoned players. Female players often use lighter mallets than male players. For some polo players, the length of the polo mallet depends on the size of the horse: the taller the horse, the longer the mallet. However, some players prefer to use a single length of mallet regardless of the height of the horse. Either way, playing horses of differing heights requires some adjustment by the rider. Variable sizes of the mallet typically range from 50 inches to 53 inches. The ball is struck with the longer sides of the mallet head rather than its round and flat tips.

Polo saddles are English-style, close contact, similar to jumping saddles although most polo saddles lack a flap under the billets, having instead a saddle blanket. Some players omit the saddle blanket. A breastplate is added, usually attached to the front billet. A tie-down (standing Martingale) may be used: if so, for safety a breastplate is a necessity. Usually the tie-down is supported by a neck strap. An overgirth may be used. The stirrup irons are heavier than most, and the stirrup leathers are wider and thicker, for added safety when the player stands in the stirrups. The legs of the pony are wrapped with polo wraps from below the knee to the fetlock to prevent injury. Jumping (open front) or gallop boots are sometimes used along with the polo wraps for added protection. Often, these wraps match the team colors. The pony's mane is roached (hogged), and its tail is braided so that it will not snag the rider's mallet.

The bit frequently is a gag bit or Pelham bit. If a gag bit, there will be a drop noseband in addition to the cavesson supporting the tie-down. There frequently will be two sets of reins, and one set of reins frequently will be a draw rein.

The field

The playing field is 300 yards long by 160 yards wide, the approximate area of nine American football fields. The playing field is carefully maintained with closely mowed turf providing a safe, fast playing surface. Goals are posts which are set eight yards apart, centered at each end of the field. The surface of a polo field requires careful and constant grounds maintenance to keep the surface in good playing condition. During half-time of a match, spectators are invited to go onto the field to participate in a polo tradition called "divot stamping", which has developed to not only help replace the mounds of earth (divots) that are torn up by the horses' hooves, but to afford spectators the opportunity to walk about and socialize.

Outdoor polo

The game consists of six 7 minute chukkas, between or during which players change mounts. At the end of each 7 minute chukka, play continues for an additional 30 seconds or until a stoppage in play, whichever comes first. There is a four minute interval between chukkas and a ten minute halftime. Play is continuous and is only stopped for penalties, broken tack (equipment) or injury to horse or player. The object is to score goals by hitting the ball between the goal posts, no matter how high in the air. If the ball goes wide of the goal, the defending team is allowed a free 'knock-in' from the place where the ball crossed the goal line, thus getting the ball back into play.

County polo

Polo is often regarded as a "rich man's sport",[weasel words] and, indeed, like any sport, there is a lot of money involved at the "top end". However, what people do not realise is that it is not expensive to get started and to play at the "grass roots" level.

With most clubs in the UK, players need to become members, and invest in at least two ponies to be able to play "standard" club chukkas. It is usual to play four back-to-back chukkas using each pony for two chukkas alternately, so that they each play, then rest and then play again.

For many people, this is a too big an initial step to take when they are just taking up a new sport, and this is where County Polo comes in. It is a wonderful initiative, using the concept of a sound, teaching format, and requiring players to use only one pony, which may be hired, or owned. It is usually played with three per side—as opposed to the standard four-player polo—and therefore allows each player to get more involved and develop.

The County Polo chukkas are usually overseen by a qualified mounted Hurlingham Polo Association (HPA) instructor / umpire, who will coach and explain throughout the chukka.

With this format, including shorter chukkas, with breaks in between, the ponies are not getting over tired, so there is no need for such a large "string". Players may well continue to play polo at this level for many happy years, or players with more ambition will benefit from the tuition as they move onto more competitive polo.

County Polo is best complimented with regular stick-and-ball sessions, and regular wooden horse practice.

County Polo has had a resurgence in recent years, although the original County Polo Association was formed in 1898* to look after the interests of the country clubs and to run the County Cup Tournaments), the three London polo clubs—Hurlingham, Ranelagh and Roehampton—and from all associations within the Empire where polo was being played.

Arena polo

There are minor variations between the US and British rules of arena polo. The game consists of four periods also called chukkas (six and a half minute chukkas are currently played under British arena rules), between which players change mounts. An individual horse may not play two successive chukkas. Play is continuous and is only stopped for penalties, broken equipment that may be dangerous, or injury to horse or player. The object is to score goals by hitting the ball against the back wall of the recessed goalmouths at each end of the arena. Ends change at the end of each chukka not after goals are scored as in field polo. High wooden boundary walls, which are usually 5–6 feet high, and netting above the walls aim to prevent the ball from going out of bounds. If the ball goes out it is considered a dead ball and the game is restarted (under current British arena rules free hits are awarded against the team that hit the ball out). Although the smaller playing area in arena polo prevents the horses from galloping at the speeds reached in field polo, the game is arguably quicker with non-stop end-to-end action.

Contemporary sport

Polo played as a part of the Olympic games (1900)

Polo is now an active sport in 77 countries, and although its tenure as an Olympic sport was limited to 1900–1939, in 1998 the International Olympic Committee recognised it as a sport with a bona fide international governing body, the Federation of International Polo. The World Polo Championship is held every three years by the Federation of International Polo.

Polo is, however, played professionally in only a few countries, notably Argentina, Australia, Brazil, Canada, Chile, Dominican Republic, France, Germany, Iran, India, Mexico, Pakistan, Spain, Switzerland, the United Kingdom, and the United States.[21] Polo is unique among team sports in that amateur players, often the team patrons, routinely hire and play alongside the sport's top professionals.

The most importants tournaments of the world, in a clubs level, are Abierto de Tortugas, Abierto de Hurlingham and Abierto Argentino de Polo, all of them in Argentina (la Triple Corona). This country has a very strong advantage for others, because it has the best players and the best clubs.

The United States Polo Association (USPA) is the governing body for polo in the U.S. The U.S. is the only country that has separate women's polo, run by the United States Women's Polo Federation.

The modern sport has had difficulty grappling with the traditional social and economic exclusivity associated with a game that is inevitably expensive when played at a serious level. Many polo players genuinely desire to broaden public participation in the sport, both as an end in itself and to increase the standard of play, while others value and seek to preserve the social and economic exclusivity of the sport. The popularity of polo has grown steadily since the 1980s.

Arena (or indoor) polo is an affordable option for many who wish to play the sport, and the rules are similar. The sport is played in a 300 feet by 150 feet enclosed arena, much like those used for other equestrian sports; the minimum size is 150 feet by 75 feet. There are many arena clubs in the United States, and most major polo clubs, including the Santa Barbara Polo & Raquet Club, have active arena programs. The major differences between the outdoor and indoor games are: speed (outdoor being faster), physicality/roughness (indoor/arena is more physical), ball size (indoor is larger), goal size (because the arena is smaller the goal is smaller), and some penalties. In the United States and Canada, collegiate polo is arena polo; in the UK, collegiate polo is both.

East Asia

Indonesia plays against Thailand in SEA Games Polo 2007

Polo was played at the 2007 Southeast Asian Games. Nations that competed in the tournament were Indonesia, Singapore, Malaysia, Thailand and Philippines. The tournament's gold medal was won by the Malaysian team, followed by Singapore with silver and Thailand with bronze.

The recent surge of excitement in south-east Asia around the game has resulted in its popularity in cities such as Pattaya, Kuala Lumpur and Jakarta. In Pattaya alone, there are 3 active polo clubs: Polo Escape, Siam Polo Park and Thai Polo and Equestrian Club. Indonesia, a country without royal ruling, has a polo club (Nusantara Polo Club). A South East Asian Polo Federation was formed with initial meeting in March 2008 that involves Royal Malaysian Polo Association, Thailand Polo Association, Indonesian Polo Association, Singapore Polo Association, Royal Brunai Polo Association and The Philippines Polo Association.[citation needed] More recently, Janek Gazecki and Ruki Baillieu have organised polo matches in parks "around metropolitan Australia, backed by wealthy sponsors."

A new Chinese Equestrian Association has been formed and two new clubs have been formed in China itself: the Beijing Sunny Time Polo Club, founded by Xia Yang in 2004 and the Nine Dragons Hill Polo Club in Shanghai, founded in 2005.

Polo Ireland

Polo first began in 1870 with the first official game played on Gormanstown Strand, Co. Meath. Three years later the All Ireland Polo Club was founded by Mr. Horace Rochford in the Phoenix Park. Since then the sport has continued to grow with a further seven clubs opening around the country. The sport has also been made more accessible by these clubs by the creation of more affordable training programs such as from beginner to pro programme at Polo Wicklow

How to Change Break Oil

Brake fluid should be changed at any time that the fluid shows evidence of moisture contamination. This can be recognized by a brownish color of the fluid. When this happens, the contamination causes rusting of the wheel cylinders and calipers and a residue buildup that can cause the brake system to malfunction. The malfunction is usually in the form of locking up to the point that the brakes will not release.

Difficulty:
Moderately Challenging

Instructions

Things You'll Need

  • Suction ball Set of wrenches Floor jack Jack stands 1 quart of brake fluid Drip pan
    • 1

      Raise and support the rear of the vehicle on jack stands. Raise the vehicle's hood. Remove the brake master cylinder cap and use the suction ball to remove all the fluid possible from the reservoir. Fill with new brake fluid.

    • 2

      Place the drip pan under the passenger side rear wheel. Using a wrench, loosen the bleeder screw on the rear brake. Have a helper push down the brake pedal and hold it down while the rear brake bleeder is closed. Once the brake bleeder is closed, have the helper allow the brake to rise. The only time the helper should push the brake to the floor is when the bleeder is open. He must not let the pedal up until the bleeder is closed or the rising pedal will suck air into the system causing spongy or very low brakes when done. Repeat this procedure for five repetitions on the same wheel and then move to the left rear and do the same.

    • 3

      Check and add brake fluid after every two to three repetitions. Do not let the master cylinder go dry or air can be sucked into the system.

    • 4

      Lower the vehicle and repeat from Step 1 for the front brakes, starting with the right front wheel and then moving to the left.

    • 5

      Check and fill the master cylinder as necessary.


How To Breakdance


Created in the Bronx, NY around 1973, Bboying or breakdancing is a extremely fun, yet difficult dance that bboys and bgirls participate in. It takes it's own steps from the foundations of the first bboys, and then the dancer adds whatever they want to their dance. It's a tool for self expression, creating visual art, and a lot of fun. Watch the video for guidance as you follow the steps, as the moves are better demonstrated visually than through words.

Steps

  1. 1
    Know the basic terminology. One of the first things any bboy should learn is the difference between "breakdancing" and "bboying". Bboying is the first term made to describe the dance; it's usually the term used when in the community. The term the general media uses to describe the dance is breakdancing, which was conjured up by a reporter back when the dance was gaining recognition.

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    • The dance is called bboying whether you're a boy or a girl. But when describing a certain individual, there's bboy (male breaker) and bgirl (female breaker).
    • All breakers have a nickname, such as Bboy Darkness, Bboy Cloud, Bboy Plur, etc. At first, this shouldn't be too important, but it is in the long run when you want to gain a better hold of who you are as a dancer and your style.
  2. 2
    Learn the basic moves. These are critical to becoming a good breaker and should not be glossed over carelessly. Working hard at the basics will allow you to become a better beraker than if you went straight for the harder and more impressive moves.
  3. 3
    Learn how to toprock, or the stand-up part of the dance. This is where you can really let loose and enjoy yourself. It's this part of the dance that you can play with the music a lot.
    • "If you don't toprock before you go down and do footwork, you're not really bboying." - Popmaster Fabel (Rock Steady Crew)
    • The main foundational moves of the toprock are the basic rock, indian step, and running man variations.
  4. 4
    Learn the drops and go-downs. This gets you from your toprock down into your footwork. The four basic drops are: The kneedrop, sweep, corkscrew, and suicides (half turned flips).
  5. 5
    Learn the footwork or downrocks. This is what most people know bboying as. When you are down on the floor (usually on hands and feet) doing a lot of complex looking steps. This is probably the most creative part of the dance.
    • As a starter, you should learn 6-step, 3-step (learn them BOTH ways)and helicopter. Then when you have perfected them, start to move onto more technical stuff.
  6. 6
    Learn the freezes. This is the traditional way to finish your throwdown (a throwdown is what we call it when you visit the floor to take your turn) The basic freezes to learn are: Baby freeze, turtle, shoulder, side chair.
    • These are the most fundamental freezes and it is very important that you learn them early on as a lot of other moves build on them.

Friday, July 1, 2011

Why Men Die Early




Folk Music

Folk music is an English term encompassing both traditional music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. It has become increasingly common to refer to this type of music as traditional music.

Starting in the middle of the 20th century a new form of popular folk music evolved from traditional music. This process and period is called the folk revival and reached a peak in the 1960s. The most common name for this new form of music is also "folk music", but is often called "folk revival music" or "contemporary folk music" to make the distinction. This type of folk music also includes fusion genres such as folk rock, electric folk, folk metal, progressive folk, psychedelic folk, freak folk and neofolk. While contemporary folk music is a genre generally distinct from traditional music, it often shares the same English name, performers and venues as traditional music; even individual songs may be a blend of the two.

Traditional music

Origins and definitions

Throughout most of human prehistory and history, listening to recorded music was not possible, and the work of economic production was often manual and communal. Music was made by common people during both their work and leisure. Manual labour often included singing by the workers, which served several practical purposes. It reduced the boredom of repetitive tasks, it kept the rhythm during synchronized pushes and pulls, and it set the pace of many activities such as planting, weeding, reaping, threshing, weaving, and milling. In leisure time, singing and playing musical instruments were common forms of entertainment and history-telling—even more common than today, when electrically enabled technologies and widespread literacy make other forms of entertainment and information-sharing competitive.

The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined in 1846 by the English antiquarian William Thoms to describe "the traditions, customs, and superstitions of the uncultured classes." The term is further derived from the German expression Volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier.

Indians always distinguished between classical and folk music, though in the past even classical Indian music used to rely on the unwritten transmission of repertoire.

A literary interest in the popular ballad was not new; it dates back to Thomas Percy and William Wordsworth. English Elizabethan and Stuart composers had often evolved their music from folk themes, the classical suite was based upon stylised folk-dances and Joseph Haydn's use of folk melodies is noted. But the emergence of the term "folk" coincided with an "outburst of national feeling all over Europe" that was particularly strong at the edges of Europe, where national identity was most asserted. Nationalist composers emerged in Eastern Europe, Russia, Scandinavia, Spain and Britain: the music of Dvorak, Smetana, Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner, Sibelius, Vaughan Williams, Bartók and many others drew upon folk melodies. The English term "folklore", to describe traditional music and dance, entered the vocabulary of many continental European nations, each of which had its folk-song collectors and revivalists.

However, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music (or folklore, or the folk) is. Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of "old songs, with no known composers", another is that of music that has been submitted to an evolutionary "process of oral transmission.... the fashioning and re-fashioning of the music by the community that give it its folk character." Such definitions depend upon "(cultural) processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of which is found not only in the lower layers of feudal, capitalist and some oriental societies but also in 'primitive' societies and in parts of 'popular cultures'."

Locations in Southern and Central Appalachia visited by the British folklorist Cecil Sharp in 1916 (blue), 1917 (green), and 1918 (red). Sharp sought "old world" English and Scottish ballads passed down to the region's inhabitants from their British ancestors. He collected hundreds of such ballads, the most productive areas being the Blue Ridge Mountains of North Carolina and the Cumberland Mountains of Kentucky

For Scholes, as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was already "seen as the authentic expression of a way of life now past or about to disappear (or in some cases, to be preserved or somehow revived)," particularly in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class in societies which are culturally and socially stratified, that is, which have developed an elite, and possibly also a popular, musical culture." In these terms folk music may be seen as part of a "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'."

Revivalists' opinions differed over the origins of folk music: it was said by some to be art music changed and probably debased by oral transmission, by others to reflect the character of the race that produced it. Traditionally, the cultural transmission of folk music is through playing by ear, although notation may also be used. The competition of individual and collective theories of composition set different demarcations and relations of folk music with the music of tribal societies on the one hand and of "art" and "court" music on the other. The traditional cultures that did not rely upon written music or had less social stratification could not be readily categorised. In the proliferation of popular music genres, some music became categorised as "World music" and "Roots music".

The American conception of "folk composition" has often drawn on Afro-American music

The distinction between "authentic" folk and national and popular song in general has always been loose, particularly in America and Germany - for example popular songwriters such as Stephen Foster could be termed "folk" in America. The International Folk Music Council definition allows that the term "can also be applied to music which has originated with an individual composer and has subsequently been absorbed into the unwritten, living tradition of a community. But the term does not cover a song, dance, or tune that has been taken over ready-made and remains unchanged."

The post–World War II folk revival in America and in Britain brought an additional meaning to the word. Folk was seen as a musical style, the ethical antithesis of commercial "popular" or "pop" music, while the Victorian appeal of the "Volk" was often regarded with suspicion. The popularity of "contemporary folk" recordings caused the appearance of the category "Folk" in the Grammy Awards of 1959: in 1970 the term was dropped in favour of "Best Ethnic or Traditional Recording (including Traditional Blues)", while 1987 brought a distinction between "Best Traditional Folk Recording" and "Best Contemporary Folk Recording". The term "folk", by the start of the 21st century, could cover "singer song-writers, such as Donovan and Bob Dylan, who emerged in the 1960s and much more" or perhaps even "a rejection of rigid boundaries, preferring a conception, simply of varying practice within one field, that of 'music'."

Characteristics

From a historical perspective, traditional music had these characteristics:

  • It was transmitted through an oral tradition.
Before the twentieth century, ordinary farm workers and factory workers were illiterate. They acquired songs by memorising them. Primarily, this was not mediated by books, recorded or transmitted media. Singers may extend their repertoire using broadsheets, song books or CDs, but these secondary enhancements are of the same character as the primary songs experienced in the flesh.
  • The music was often related to national culture.
It was culturally particular - from a particular region or culture. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion. It is particularly conspicuous in the United States, where Polish-Americans, Irish-Americans and Asian-Americans strive to emphasise differences from the mainstream. They will learn songs and dances that originate in the countries where their grandparents came from.
  • They commemorate historical and personal events.
On certain days of the year, such as Easter, May Day and Christmas hoe, particular songs celebrate the yearly cycle. Weddings, birthdays and funerals may also be noted with songs, dances and special costumes. Religious festivals often have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding that is unrelated to the aesthetic qualities of the music.

As a side-effect, the following characteristics are sometimes present:

  • Lack of copyright on songs
There are hundreds of songs from the nineteenth century have known authors. However, they have continued in oral tradition, to the point where they are classified as "Traditional", for purposes of music publishing. This has become much less frequent since the 1970s. Today, almost every folk song that is recorded is credited with an arrangement e.g. "Trad arr Dylan".
  • Fusion of cultures
In the same way that people can have a mixed background, with parents originating in different continents, so too music can be a blend of influences. A particular rhythmic pattern, or a characteristic instrument, is enough to give a traditional feel to music, even when it has been composed recently. It is easy to recognise the presence of a bagpipe or a tabla in a piece of music. The young are usually much less offended by the dilution or adaptation of songs this way. Equally an electric guitar can be added to an old song. It is a matter of personal taste as to whether this is an enhancement to the music, or a cheap gimmick. The relevant factors may include instrumentation, tunings, voicings, phrasing, subject matter, and even production methods.
  • Non-commercial
Celebrations of cultural identity are occasionally performed without any profit motive. The absence of financial reward for the organiser was much more common in the past.

Media

Subject matter

Armenian traditional musicians

Apart from instrumental music that forms a part of traditional music, especially dance music traditions, much traditional music is vocal music, since the instrument that makes such music is usually handy. As such, most traditional music has meaningful lyrics.

Narrative verse looms large in the traditional music of many cultures. This encompasses such forms as traditional epic poetry, much of which was meant originally for oral performance, sometimes accompanied by instruments. Many epic poems of various cultures were pieced together from shorter pieces of traditional narrative verse, which explains their episodic structure and often their in medias res plot developments. Other forms of traditional narrative verse relate the outcomes of battles and other tragedies or natural disasters. Sometimes, as in the triumphant Song of Deborah found in the Biblical Book of Judges, these songs celebrate victory. Laments for lost battles and wars, and the lives lost in them, are equally prominent in many traditions; these laments keep alive the cause for which the battle was fought. The narratives of traditional songs often also remember folk heroes such as John Henry to Robin Hood. Some traditional song narratives recall supernatural events or mysterious deaths.

Hymns and other forms of religious music are often of traditional and unknown origin. Western musical notation was originally created to preserve the lines of Gregorian chant, which before its invention was taught as an oral tradition in monastic communities. Traditional songs such as Green grow the rushes, O present religious lore in a mnemonic form. In the Western world, Christmas carols and other traditional songs preserve religious lore in song form.

Work songs frequently feature call and response structures, and are designed to enable the labourers who sing them to coordinate their efforts in accordance with the rhythms of the songs. They are frequently, but not invariably, composed. In the American armed forces, a lively tradition of jody calls ("Duckworth chants") are sung while soldiers are on the march. Professional sailors made use of a large body of sea shanties. Love poetry, often of a tragic or regretful nature, prominently figures in many folk traditions. Nursery rhymes and nonsense verse also are frequent subjects of traditional songs.

Variations

Korean traditional musicians
Chinese traditional musicians

Music transmitted by word of mouth through a community will, in time, develop many variants, because this kind of transmission cannot produce word-for-word and note-for-note accuracy. Indeed, many traditional singers are quite creative and deliberately modify the material they learn.

For example the words of "I'm a Man You Don't Meet Every Day" (Roud 975) are known from a broadside in the Bodleian Library.[14] The date is almost certainly before 1900, and it seems to be Irish. In 1958 the song was recorded in Canada (My Name is Pat and I'm Proud of That). Jeannie Robertson made the next recorded version in 1961. She has changed it to make reference to "Jock Stewart", one of her relatives, and there are no Irish references. In 1976 Archie Fisher deliberately altered the song to remove the reference to a dog being shot. In 1985 The Pogues took it full circle by restoring all the Irish references.

Because variants proliferate naturally, it is naïve to believe that there is such a thing as the single "authentic" version of a ballad such as "Barbara Allen". Field researchers in traditional song (see below) have encountered countless versions of this ballad throughout the English-speaking world, and these versions often differ greatly from each other. None can reliably claim to be the original, and it is quite possible that whatever the "original" was, it ceased to be sung centuries ago. Any version can lay an equal claim to authenticity, so long as it is truly from a traditional singing community and not the work of an outside editor.

Cecil Sharp had an influential idea about the process of folk variation: he felt that the competing variants of a traditional song would undergo a process akin to biological natural selection: only those new variants that were the most appealing to ordinary singers would be picked up by others and transmitted onward in time. Thus, over time we would expect each traditional song to become aesthetically ever more appealing — it would be collectively composed to perfection, as it were, by the community.

Regional forms

While the loss of traditional music in the face of the rise of popular music is a worldwide phenomenon, it is not one occurring at a uniform rate throughout the world. While even many tribal cultures are losing traditional music and folk cultures, the process is most advanced "where industrialisation and commercialisation of culture are most advanced". Yet in nations or regions where traditional music is a badge of cultural or national identity, the loss of traditional music can be slowed; this is held to be true, for instance in the case of Bangladesh, Hungary, India, Ireland, Latvia, Turkey, Portugal, Brittany, and Galicia, Greece and Crete all of which retain their traditional music to some degree, in some such areas the decline of traditional music and loss of traditions has been reversed.