text:
Urdu/Vocabulary/Basic Phrases

 * Good morning صُبح بخیر
 * We : Hum ھم
 * Us : Hum ھم
 * Our : Hamara ھمارا
 * He : Woh وہus
 * She :Woh وہ
 * You : Tu تُو, Tum تُم or Aap آپ (intimate, informal, polite or plural form)
 * Your : Tera تیرا, Tumhara تُمہارا or Aap ka آپ کا (intimate, informal, polite or plural form)
 * Haan ھاں / Ji haan جی ھاں (Respect) : Yes
 * Nahin : no نہیں
 * Idher اِدھر / Yahan یھاں / Iss Jegha اِس جگہہ : here
 * Udher اُدھر / Wahan وھاں / ooss Jegha اُس جگہہ : there
 * Aisey ایسے / Is tarha اِس طرح : like this
 * jaisey جیسے / oos tarha اُس طرح : like (that)
 * hello ھیلو : hello
 * Assalam-O-Alai-qum اسلام و علیکم (From Arabic language meaning "peace be upon you"), aap kaise hain? آپ کیسے ھیں ؟ : (greetings), how are you?
 * kya haal hay? کیا حال ھے : How are you ?
 * Yeh Kya hay? یہ کیا ھے : What is This
 * Woh kya hay? وہ کیا ھے ؟ : What is That?
 * Abbu ابو /Ammi امی : Father/Mother
 * Bhai بھائی /Bahen بہن : Brother/Sister
 * Beta بیٹا /Beti بیٹی : Son/Daughter
 * Muaf Kijiye Ga معاف کیجیے گا / Main Muafi chata hun میں معافی چاہتا ھوں : Sorry / Excuse me.
 * Tumhara تُمہارا / Aapka naam kya hay آپ کا نام کیا ھے : What is your name?
 * Mujhey Tum مُجھے تم / Aap say mil kar bari kushi huhi آپ سے مل کر بڑی خوشی ھوئی : I'm very pleased to meet you.
 * Tumhara تُمہارا / Aapka ta'aluk kahan say hay? آپ کا تعلق کہاں سے ھے ؟ : Where are you from?
 * Tumhari تُمہاری / Aapki umer kitne hay? آپ کی عُمرکِتنی ھے ؟ : What is your age?
 * Lari adda kahan hay? لاری اڈا کہاں ھے ؟ :Where is bus stop?
 * Iss ki kya qeemat hay? اِس کی کیا قیمت ھے ؟ : How much does it cost?
 * Kya waqt huwa hay? کیا وقت ھُوا ھے ؟ : What is time now?
 * Kuyoon kar ? کیوں کر ؟ : Why so?
 * Mujhay tum say mohabbat ho-gaya(ee) hay مُجھے تُم سے مُحبت ھو گئی ھے ؟ : I am in love with you
 * Yeh Hai یہ ھے : This is
 * Khuda Hafiz خدا خافظ : Good Bye
 * A : Ek
 * Aao آؤ / Aaiye آئیں (respect) : Come
 * Aaya آیا ( he) / Aayee آئی (she) / Aaye آئے (plural) Will come : Aaonga آؤں گا - Aayeinge آئیں گے (he) / Aaongi آؤں گی  - Aayegi آئے گی (she) / Aayeinge آئیں گی (plural)

 * Open : Kholo کھولو / Kholiye کھولیے (respect) / Kholna کھولنا (Verb)
 * Opened : Khula کھولا
 * Will open : Kholega کھولے گا - Kholeinge کھولیں گے (he-with respect) / Kholegi کھولے گی - Kholeingi کھولیں گی (she) / Kholeingay  کھولیں گے (plural)
 * Sit : Thasreef-Rakhiye (formal) تشریف رکھیے (Baitho بیٹھو / Bhaitiay بیٹھیے (respect) / Baithna بیٹھنا)
 * Walk : Chalo چلو / Chaliyein چلیں - Chaliye  چلیے (respect) / Chalna چلنا (to walk)
 * Eat : Nosh-Farmaeiye (formal) نوش فرمایئے (Khao کہو / Khaiyein کہیں - Khaiye کہیے (respect)/  Kehna کہنا)
 * Drink : Piyo (instruction) پیئو / Pee-lee-jiay (respect) پی لی جیئے / Peena پینا (to drink)
 * Win : Fatah (victory) فتح/ Jeet جیت/ Jeetna جیتنا
 * Go : Jaao جاؤ / Jaaiye (respect) جایئے / Jaana (to go) جانا
 * Run : Daurna دوڑنا/ Daur (race) دوڑ/ Bhag Daur (activity) بھاگ دوڑ
 * We go: Hum Jain ہم جایئں/ Hum Chalain ہم چلیں / I go: Main Jaoun میں جاؤں/ Main Chloun میں چلوں : Hum jaaien ہم جائیں / Mein jaata hoon میں جاتا ہوں
 * He goes: Woh jate hain
 * He eats an apple: Woh seb khaata hai (Normally) /   Woh seb khaatey hein (Respect)

He is eating an apple Woh seb khaa raha hai(Normally) Woh seb khaa rahey hein (Respect) He ate an apple Us ne seb khaya (Normally) Unhon ne seb khaya (Respect) I saw the film last week Main ne guzishte(pichhle) hafte film dekhi (talking about self) Humne ne guzishte(pichhle) hafte film dekhi (talking about more than one person) She came by bus yesterday Woh kal bus se aayi  (Normally) Woh kal bus se aayien (Respect) They went to the mosque Woh masjid gaye hain He slept the whole night Woh raat bhar sota raha (Normally) Woh raat bhar sotey rahey (Respect) He wrote well in the examination Usne imthihan mein achha likha (Normally) Unhon ne imthihan mein achha likha (Respect) He has eaten Woh khaa chuka hai (Normally) Woh khaa chukey hai (Respect) He had eaten Woh khaa chuka tha (Male) Woh khaa chuki thee. (Female) He had gone Woh chala gaya (Normally) Woh chaley gaye (Respect) He had come Woh aaya tha (Normally) Woh aaye thee (Respect) He will eat Woh khaey ga (Normally) Woh khaien gay (Respect) He will go Woh jaaey ga (Normally) Woh jaayen gay (Respect) He will come Woh aaey ga (Normally Woh aayen gay (Respect) What is your name? Tumhara naam kya hai ? (Normally) Aap ka naam kya hai (Respect) What Kya Is Hai / Hein (respect) Your Tumhara / Aap ka (respect) Name Naam / Isma-e-girami What did you do? Tum ne kya kiya ? (Normally) Aap ne kya kiya? (Respect) What should I do? Mujhe kya kerna chahiye? (what should i do) Hamien kya kerna chahiye (what should we do) What can I do? Main kya kar sakta (Male) / sakti(Female) hoon ? (me) Hum kya kar saktey hein ? (we) What are the questions? Sawalat kya hain? What were the questions? Sawalat kya thee? What is the last question? Aakhiri sawal kya hai ? What is written in the letter? Khat mein kya likha hai ? What you had been told? Tumhein kya kaha gaya tha ? (Normally) Aap ko kya kaha gaya tha ? (Respect) What will be the answer? Jawab kya hoga ? Why did you come? Tum kyon aaey ? (Normally) Aap kyon aaye (Respect) Why did you sleep? Tum kyon soey ? (Normally) Aap kyon soey ? (Respect) Why did you tell him to go? Tum ne unko jaane ko kyon kaha ? (Normally) Aap ne unko jaane ko kyon kaha ? (Respect) Why did he bring the bag? Woh bag kyon laya ? (Normally) Woh bag kyon laye ? (Respect) Why did she pay the money? Us ne paisey kyon diye ? (Normally) Unhon ne paisey kyon diye (Respect) Why did they sit there? Woh wahan kyon baithe the ? Why do you drive the car? Tum gaari kyon chalate ho ? (Normally) Aap gaari kyon chalate ho ? (Respect) Why did they come late for the meeting? Woh molaqaat ke liye der se kyon aaye ? How did you come? Tum kaise aaye ? (Normally) Aap kaise aaye ? (Respect) How did you sleep? Tum kaise soye ? (Normally) Aap kaise soye ? (Respect) How did you drive the car ? Tum ne gaari kaise chalai ? (Normally) Aap ne gari kaise chalai ? (Respect) How did you write? Tum ne kaise likha ? (Normally) Aap ne kaise likha ? (Respect) How many apples are there in my hand? Mere haath mein kitne sev hein ? (Normally) Hamare haath mein kitne sev hein ? (Respect) How many did you take? Tum ne kitne liye ? (Normally) Aap ne kitne liye ? (Respect) How much did he pay you? Us ne tum ko kitne paise diye ? (Normally) Unhon ne aap ko kitne paise diye ? (Respect) How much distance to go? Aur kitni door jana hai ? How was the journey yesterday? Kal ka safar kaisa tha ? Which way did you come? Tum kis raaste se aaye ? (Normally) Aap kis raaste se aaye ? (Respect) Which one is your favorite color? Tumhara pasandida rang kaun sa hai ? (Normally) Aap ka pasandida rang kaun sa hai ? (Respect) In which room did you sleep? Tum kaun se kamre mein soye ? (Normally) Aap kaun se kamre mein soye ? (Respect) Which story did you tell? Tum ne kaun si kahani batayee ? (Normally) Aap ne kaun si kahani batayee ? (Respect) Which is the sweetest fruit? Sab su meetha phal kon sa hai ? Which is the best newspaper in Hindi? Hindi mein sab se achcha akhbaar kaun sa hai ? Which Indian state has the largest population? Kis hindustani soobe ki aabadi sab se zyada hai ? Where are you coming from? Tum kahan se aa rahe ho ? (Normally) Aap kahan se aa rahe hein ? (Respect) Where did you sleep? Tum kahan soye ? (Normally) Aap kahan soye ? (Respect) Where is the manager’s cabin? Manager ka cabin kahan hai ? Where should I go? Mujhe kahan jaana chahiye ?(Normally) Hamien kahan jaana chahiye ? (Respect) Is it a book? Kya yeh ek kitab hai ? Yes, it is a book Haan, yeh ek kitab hai (Normally) Ji, yeh ek kitab hai (Respect) Is it the answer? Kya yeh jawab hai? Yes, it is the answer Haan, yehi jawab hai (Normally) Ji, yehi jawab hai (Respect) Will you come with me? Kya tum mere saath aaoge ? (Normally) Kya aap mere saath aaoge ? (Respect) I shall come with you. Mein tumhare saath aaunga. (Normally) Mein aap ke saath aaunga. (Respect) Will you give me your pen? Kya tum mujhe apna pen doge ? (Normally) Kya aap mujhe apna pen doge ? (Respect) Yes, of course. Haan, zaroor (Normally) / Ji, zaroor (Respect) Do you love me ? Kya tum mujhe se pyar karte ho (male) kerti ho (female)? (Normally) Kya aap mujhe se pyar karte ho (male) kerti ho (female)? (Respect) Yes, I love you. Haan, mein tum se pyaar karta (male) / karti(female) hoon   (Normally) Ji, mein aap se pyaar karta hoon (male) / karti(female) hoon (Respect)

Can you give me your pen? Kya tum mujhe apna pen de sakte ho (male) / sakti ho (female) ? (Normally) kya aap mujhe apna pen de sakte ho (male) / sakti ho (female) ? (Respect) Can you lift the box? Kya tum box utha sakte ho (male) / sakti ho (female) ? (Normally) kya aap box utha sakte ho (male) / sakti ho (female) ? (Respect)

Can you write the exam? Kya tum pariksha / Imtihaan likh sakte ho (male) / sakti ho (female) ? (Normally) kya aap pariksha / Imtihaan likh sakte ho (male) / sakti ho (female) ? (Respect)

Did you have your lunch? Kya tum ne dopehar ka khana khaya ? (Normally) kya aap ne dopehar ka khana khaya ? (Respect) How are you? Tum kaise ho ? (Normally) Aap kaise ho ? (Respect) I am fine Main achcha hoon (male) achchi hoon (female) Call her

More
Ap nay kahan stay kai

title: Urdu/Vocabulary/Basic Phrases


text:
Urdu/Vocabulary/Greetings

Normally when one refer to an unknown person or an elder one, one always says aap the formal you. On the other hand, tum is used as an informal 'you'. Tum is also used for friends, intimate relationships and also for children and other people who may be younger than the speaker. Sometimes other words also may be used to refer to people like 'Sahab Jii(Male)', Bhai Sahab(Male), Bhai Jee(Male), Bahan Jii(Female), Aunty(Female), Nana(Old Male) and Sir Jii(in office for Male).

Greetings in Urdu are either related to religion or otherwise non-religious. Normally 'Assalam-o-alakium', a religious greeting, is still the most common greeting for all age groups, kya haal hay(how are you?) is also commonly used among the new generation.

Normally Greetings have a great difference in East and West. In west, good morning, Bon Appetit, Thank You, Sorry, You are welcome have become mandatory. As Allama Iqbal said, the West is nothing but Tukaluf(Greetings), East is just the opposite. In Eastern Culture, if you will say Thank you unnecessarily, they may be become angry. Normally if a person is mute, it means that you are affirmative to the situation. In Pakistan, if somebody will feel bad, he will say it of course.

Accha and Haan is the most commonly used word for affirmation or confirming that one is understood with the situation. The older generation who migrated from India to Pakistan uses mostly Thiik Hay.

Some common Greetings and Words
Are you pretty

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Urdu/Vocabulary/Greetings


text:
Urdu/Vocabulary/Interrogatives

Interrogatives are normally used to ask questions. Sometimes they may refer to a whole sentence or situation.

title: Urdu/Vocabulary/Interrogatives


text:
Urdu/Vocabulary/Numbers

950075

title: Urdu/Vocabulary/Numbers


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Hindi/Time

Since there is no equivalent of AM or PM in Hindi we have to mention the time of the day along with the specific clock time. For example if we have to say 3 AM, the Hindi equivalent will be रात के/में तीन बजे which literally means 3 o'clock of/in night.

Clock time
There are two exceptions to the Half past. Half past one (1:30) is डेढ़ (ḍēr̥h) and half past 2 (2:30) is ढाई (ḍhāī). A fun way to remember their order would be 'Unless you dare (Let's say this represents डेढ़) you die (and this represents ढाई). Voila!

title: Hindi/Time


text: Urdu/Vocabulary/Duration

title: Urdu/Vocabulary/Duration


text:
Urdu/Vocabulary/Transportation

Travel Vocabulary
Ship                  behari jahaz

title: Urdu/Vocabulary/Transportation


text: Urdu/Vocabulary/Directions

title: Urdu/Vocabulary/Directions


text:
Urdu/Vocabulary

Urdu is a very soft spoken language. It is not very difficult to learn its Grammar. Many foreigners pick up simple sentences very fast. The only difficulty is to learn new vocabulary and pronounce words clearly. Lists of vocabulary have been sorted by subject to make it easy for a new Urdu speaker to learn the most common words. One should try to speak as often as possible. German, Russian and Chinese speakers will find it difficult to pronounce the words correctly.

LACHARI ✓ book

title: Urdu/Vocabulary


text: Category:Book:Raising Cattle

title: Category:Book:Raising Cattle


text:
Muggles' Guide to Harry Potter/Places/Knockturn Alley

General Overview
Knockturn Alley is a street of shops and vendors specializing in the darker forms of magic. The one shop named on this street is Borgin and Burkes.

Extended Description
As there is a part of London where regular wizards can go to buy magical equipment, namely Diagon Alley, so must there be a place where dark wizards carry out their business. Knockturn Alley (pun: "nocturnally") is that place. Shunned by all right-thinking wizards, Knockturn Alley is the place where you would go to buy a Hand of Glory, Flesh-Eating Slug Repellent, or "things that looked alarmingly like whole human fingernails". It holds a certain illicit glamour for young wizards, like Fred and George Weasley, who (once they set up shop) likely use certain ingredients available only there for some of the magic that they sell in their store.

In Harry Potter and the Chamber of Secrets, when Harry is using Floo powder to get to Diagon Alley, he apparently travels "one grate too far", accidentally turning up in Borgin and Burkes, on Knockturn Alley. He is led out of Knockturn Alley and back to Diagon Alley by Hagrid, who had gone to get some flesh-eating slug repellant. Later, when the party breaks up to do their separate shopping errands, Mrs. Weasley feels she has to warn the twins not to go into Knockturn Alley.

At one point when the Weasley family are preparing to visit Diagon Alley to buy school supplies, Mrs. Weasley again explicitly warns the Twins not to enter Knockturn Alley.

In Harry Potter and the Half-Blood Prince, Harry, Hermione, and Ron sneak off from Weasleys' Wizard Wheezes and follow Draco Malfoy into Knockturn Alley. They then eavesdrop on him as he talks to Borgin about something he is buying, using Extendable Ears. Hermione's subsequent attempt to determine what it was that Draco was interested in fails, as she is not good at that kind of subterfuge.

Analysis
Many readers must wonder why such a hot-bed of Dark magic is allowed to remain so close to the main mercantile center of Wizarding London. Would it not be better to eliminate it and the associated Dark enterprises? Likely it has not been cleaned up for the same reason that spymasters are allowed to stay in business when they are known — if you keep all your evil-doers in one place, it is much easier to keep track of them.

Greater Picture
Though we only enter Knockturn Alley twice, we visit Diagon Alley in five of the seven books. (Mrs. Weasley does the school shopping in Harry Potter and the Goblet of Fire and Harry Potter and the Order of the Phoenix.) With the ascendancy of Voldemort, Diagon Alley gets successively less cheerful. By the time of our visit in Harry Potter and the Half-Blood Prince, there seems to be little difference between Diagon Alley and Knockturn Alley, and by the time of our visit in Harry Potter and the Deathly Hallows, the only difference seems to be that there are more shuttered or boarded up places of business in Diagon Alley.


text: Category:Book:Raising Chickens

title: Category:Book:Raising Chickens


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Ukrainian Dancing

Ukrainian dance is an art form practiced and performed both in Ukraine and throughout the Ukrainian diaspora. In spite of its widespread popularity, there are few English-language resources available to guide dancers and assist instructors. The few that do exist, while good, lack photographs of dance steps being performed and other features that would help explain how a step is to be performed. Added to this, English-speaking Ukrainian dancers lack a common dance vocabulary. A single step may be referred to by more than one Ukrainian term (with various anglicized spellings), and by various English-language names.

The aim of this book is to provide a resource for Ukrainian dancers and instructors. It will complement and expand on the work of other authors by including both textual descriptions of steps and photographs illustrating how a step should be performed.

Descriptions of dance steps will use the following template: /Template:Steps/.

Table of Contents

 * 1) /About Ukrainian Dancing/
 * 2) /Central Ukraine/ (Also called Poltava region or Kozak)
 * 3) /Hutzulshchyna/
 * 4) /Bukovyna/
 * 5) /Zakarpattia/ (Also called Transcarpathia)
 * 6) /Volyn/
 * 7) /Polissia/
 * 8) /Lemkivshchyna/
 * 9) /Podillia/
 * 10) /Boikivshchyna/
 * 11) /Age Appropriate Steps/
 * /Other Resources/
 * /Index/

title: Ukrainian Dancing


text: Category:Book:Armour

title: Category:Book:Armour


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Indonesian/Lessons/Pronunciation

Examples
Three ways to pronounce e:
 * 1) bel ( = bell )
 * 2) lebih ( = more )
 * 3) beda ( = different )

Two ways to pronounce o:
 * 1) toko ( = shop )
 * 2) [[media:indonesian-bola.ogg|bongkah]] ( = lump )

Catatan (Notes)
The Indonesian language lacks the letters q, v, x, and z. These letters were incorporated to accommodate foreign words. Even f is due to the influence of the Arabic alphabet.

A pair of the same vowel in succession are pronounced differently than just prolonging the vowel sound; rather, there is a slight pause between the vowels. For example: The word [[media:indonesian-maaf.ogg|maaf]], which means sorry, is pronounced as ma (slight pause) af.

There are four compound consonants (diphthongs): ng, ny, kh, and sy. Although they do not constitute new letters, they are pronounced differently:

As is the case with the standalone letters, only ng and ny are native to Indonesian. Both kh and sy only appear in words with Arabic origin, but sy are also exists in non-native words from non-Arabic origin but it is much rarely, like fesyen (fashion).

Examples
[[media:indonesian-sungai.ogg|Sungai]] (= River) → Soft ng [[media:indonesian-bangga.ogg|Bangga]] (= Proud) → Hard ng, note the ngg [[media:indonesian-banyak.ogg|Banyak]] (= A lot) [[media:indonesian-akhir.ogg|Akhir]] (= End) [[media:indonesian-khalik.ogg|Khalik]] (= The Creator/God, mainly used in poems or Islamic texts)

Go to Exercise: Indonesian Rhymes

Tahu (to know) & tahu (tofu)
Tahu meaning to know: the h is silent, and the word is pronounced to rhyme with bau (smell) (i.e. similarly to the English word Tao (Chinese philosophy) or Greek alphabet Tau.)

Tahu meaning tofu is pronounced "tah-who"

You can practice saying "Saya tidak tahu. Saya bukan tahu." ("I don't know. I am not tofu.") The pronunciation should be different in the two cases.

Final ai
In everyday Indonesian, the "ai" at the end of a root word is pronounced as e or ek (the k being a glottal stop, not an aspirated k). In informal writing (e.g. email) Indonesians sometimes spell this way as well, e.g. capek instead of capai.

Teacher's notes
It is advisable to distribute this material through other lessons, rather than learning all these exceptions at once.

title: Indonesian/Lessons/Pronunciation


text:
Talk:C++ Programming/Classes/Abstract Classes/Pure Abstract Classes

=Abstract types and abstract data types=

The title of this page was named (I corrected it) "Pure abstract classes (interfaces or ADT's (abstract data types) )"

Pure abstract classes are the way to implement "abstract types" not "abstract data types". The two concepts are extremely different. Lets see what says the google bot with the define keyword:

 * Abstract type:

A type declared using the reserved word abstract. Only abstract types can have abstract operations. You cannot declare objects belonging to an abstract type; the purpose of an abstract type is to act as the parent for a class of derived types. www.it.bton.ac.uk/staff/je/adacraft/glossary.htm

 * Abstract data type:

A type whose implementation details are hidden and can only be handled using the publicly accessible operations provided for it. Not to be confused with abstract type. www.it.bton.ac.uk/staff/je/adacraft/glossary.htm

Moreover an interface is not the same to abstract type, they are implemented in the same way in c++, but the two concepts differ.

=Mandating base classes to be Pure=

Im not at all sure about this assertion:

"Note that there is a great temptation to add concrete member functions and data to pure abstract base classes. This must be resisted, in general it is a sign that the interface is not well factored. Data and concrete member functions tend to imply a particular implementation and as such can inherit from the interface but should not be that interface. Instead if there is some commonality between concrete classes, creation of abstract class which inherits its interface from the pure abstract class and defines the common data and member functions of the concrete classes works well."

There are two reasons why I disagree with this advice:
 * There are plenty if design patterns that require implemented functions within the base class, for example the Template Method pattern - f is non virtual, but uses virtual g and virtual h to do work, the user is responsible for deriving a class and implementing these virtual functions; and
 * There are plenty of libraries out there that buck this advice - for example, the QObject in Qt is actually quite heavy weight and provides a lot of facilities for both derived objects and clients of the object. There would be all kinds of use cases that wouldnt be possible if QObject was pure.

This advice makes perfect sense when you are describing something akin to a callback interface, or when implementing something following the Strategy or State patterns. Its just that a blanket statement that "Its bad, do do it. Ever" doesnt work.


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Ukrainian Dancing/Other Resources

Ukrainian Dance - English
Shatulsky, Myron. The Ukrainian Folk Dance. Edmonton: Kobzar Publishing, 1980.

Zerebecky, Bohdan. Cultural Information Package: Malanka (The Celebration of New Year's Eve). Ukrainian Dance Resource Booklet, Series II, Volume 4. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1989.

–––––. Cultural Information Package: Obzhynky (The Celebration of the Harvest).  Ukrainian Dance Resource Booklet, Series II, Volume 3. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1989.

–––––. Folk Dances of Bukovyna.  Ukrainian Dance Resource Booklet, Series IV, Volume 2. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1989.

–––––. Folk Dances of Hutsulshchyna.  Ukrainian Dance Resource Booklet, Series IV, Volume 1. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1989.

–––––. Folk Dances of Zakarpattia.  Ukrainian Dance Resource Booklet, Series IV, Volume 3. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1989.

–––––. The Origins and Development of the Basic Movements and Patterns of Ukrainian Dance.  Ukrainian Dance Resource Booklet, Series I, Volume 2. Second Revised Edition. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1986.

–––––. A Record of the Basic Movements of Ukrainian Dance: Part I - The Central Region.  Ukrainian Dance Resource Booklet, Series I, Volume 3. Second Revised Edition. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1986.

–––––. A Record of the Basic Movements of Ukrainian Dance: Part II - The Western Regions (Hutsulshchyna, Bukovyna, Zakarpattia).  Ukrainian Dance Resource Booklet, Series II, Volume 1. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1986.

–––––. A Record of Three Ukrainian Dancers.  Ukrainian Dance Resource Booklet, Series I, Volume 4. Second Revised Edition. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1986.

–––––. A Survey of the History of Ukrainian Dance.  Ukrainian Dance Resource Booklet, Series I, Volume 1. Second Revised Edition. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1986.

–––––. Ukrainian Dance Curriculum and Tteacher's Guide.  Ukrainian Dance Resource Booklet, Series III. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1988.

–––––. Ukrainian Folk Dance Choreography.  Ukrainian Dance Resource Booklet, Series II, Volume 2. Saskatoon, SK: Ukrainian Canadian Congress, Saskatchewan Provincial Council, 1986.

Websites
Alberta Ukrainian Dance Association. []

Dance.net - Ukrainian Dancing discussion forum. []

UkrainianDance: The Ukrainian Dancer's Website. [].

title: Ukrainian Dancing/Other Resources


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Ukrainian Dancing/About Ukrainian Dancing

Ukrainian dance is believed to have originated out of the religious and cultural beliefs, and social customs, of the early Slavic peoples who lived in what is now Ukraine. In the Twentieth Century, it evolved from a form of social dance into a staged form. A more detailed account of the development of Ukrainian dance can be found on Wikipedia, or in the books listed in ../Other Resources/.

Sections

 * 1) /Standard Dance Terminology/
 * This section identifies and defines dance terminology that will be used in describing dance steps.
 * 1) /Ukrainian Dance Music/
 * This section discusses the music used in performing Ukrainian dance.


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User:Thematrixeatsyou~enwikibooks

I have a profile on Wikipedia. Haven't felt like putting it here.
 * Wikipedia:User:Thematrixeatsyou

title: User:Thematrixeatsyou~enwikibooks


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Ukrainian Dancing/About Ukrainian Dancing/Standard Dance Terminology

Overview
This section defines basic dance terms that will be used to describe dance steps. Most of these terms are derived from French ballet terms. A good reference book on ballet barre routines will provide additional information.

Placement
Supporting Leg - this is the leg which is bearing the dancer's weight. May be abbreviated SL.

Working Leg - this is the leg that is not bearing weight, and which is used to perform a movement while the dancer's weight is on the supporting leg. May be abbreviated WL.

Foot Positions
First Position - feet are placed with heels touching and toes extended outward (turned out) forming an angle. Weight should be balanced evenly between toes and heels.

Second Position - feet are placed shoulder-width apart, with the feet turned out so that the heels are closer together than the toes. Weight should be balanced evenly on both feet.

Third Position - feet are placed so that the heel of one foot is touching the instep of the other foot. Toes should be turned out. Weight should be balanced evenly between both feet. Usually, the right heel touches the instep of the left foot, but the position may be reversed.

Fourth Position - feet are placed so that one foot is extended forward and slightly in front of the other foot. The gap between the feet is roughly the length of the dancer's foot. The feet should be turned out. Weight should be balanced evenly between both feet. Usually, the right foot is extended forward, but the position may be reversed.

Fifth Position - feet are placed so that the heel of one foot is touching the outside of the big toe of the other foot. The feet should be turned out. Weight should be balanced evenly between both feet. Usually, the right foot is in front, but the position may be reversed.

Sixth Position or First Position Parallel - feet are placed next to one another, with toes and heels touching.

Arm Positions - Individual
Hands or fists on hips - Hands or fists are placed on the waist, resting just above the hip bones. Elbows are pushed slightly forward. For hands on hips, fingers should be held tightly together, and should be pointing towards the belly button. The thumbs extend backwards, behind the waist. Hands on hips is the default hand position in Central Ukrainian dances. Fists on hips is typical of Western Ukrainian regions.

First Position -Both hands and arms are positioned in front of the body, level with the waist.
 * Open variation - Arms are straight and extended directly in front of the body, forming a slight angle.  Hands are level with the waist.  Palms are turned up, and elbows are turned under.  Hands should be open and flat, with fingers held tightly together.  This is the most commonly used form of first position in Ukrainian dancing.  It is usually used by girls.
 * Closed variation - This variation is similar to first position in ballet. Arms are rounded (elbows slightly bent), and elbows are turned outward from the body.  Hands are turned so that the palms face the body.  Fingers should come close to meeting.  Dancers may want to visualize holding a large sack of potatoes in their arms.

Second Position - Arms are extended to the sides of the body, slightly below shoulder level.
 * Open variation - Arms are straight and extended outwards to the sides.  Hands should be open and flat, with fingers held tightly together.  Palms are usually turned up.  This is the most commonly used form of second position in Ukrainian dancing.
 * Closed variation - This variation is similar to second position in ballet. Arms are rounded (elbows bent), and elbows are turned towards the back.  Hands are turned so that the palms face forward.

Second Position with arms at waist - Arms are extended to the sides of the body, at waist level. Arms are straight and palms face upwards. This position is usually used by boys.

Third Position - One arm is extended forward in front of the body, while the other arm is extended to the side. Both arms are held level with the chest, or slightly below shoulder level. The arms should be placed in reverse of the feet, so that, if the right foot is in front of the left, the left arm is extended in front and the right arm is extended to the side.
 * Open variation - The forward arm (left arm) is straight and extended directly in front of the body.  The other arm (right arm) is straight and extended to the side, slightly below shoulder level.  Palms are turned up.  This position is seldom seen in Ukrainian dance.
 * Closed variation - This variation is similar to third position in ballet. Arms are rounded (elbows bent) and palms are turned inward.

Third Position with palms up - One arm is extended forward in front of the body, while the other arm is extended to the side. Both arms are held level with the chest, or slightly below shoulder level. Both arms are slightly bent, with the elbows pointing downward. Palms are raised, and turned away from the face. The dancer should appear as though shying away from someone or pushing away from something. This position is used only by girls.

Fourth Position - One arm is raised over the head, while the other arm is extended to the side. In Ukrainian dance, the arm that is raised is usually on the same side as the supporting leg. The arm that is extended to the side is on the same side as the working leg.
 * Open variation - One arm is straight and extended upwards towards the ceiling, at an angle slightly more than 90 degrees.   Palm is turned in.   The other arm is straight and extended to the side, slightly below shoulder level.  Palm is turned up.
 * Closed variation - This variation is similar to fourth position in ballet. Arms are rounded (elbows bent).  The palm of the raised arm is turned inward, while the palm of the other arm is turned forward.  In ballet, the raised arm is usually on the same side as the forward foot.

Fourth Position with hand in front -  One arm is raised over the head, while the other arm is extended forward, as in first position. The raised arm is straight and extended upwards towards the ceiling, at an angle slightly more than 90 degrees, and the palm is turned in. The forward arm is straight and extended forward at chest level with the palm turned up. The arm that is raised is usually on the opposite side as the supporting leg.

Fourth Position with hand on hip - One arm is raised over the head, while the hand of the other arm is placed on the waist (see "hands on hips" above). The raised arm is straight and extended upwards towards the ceiling, at an angle slightly more than 90 degrees, and the palm is turned in. The arm that is raised is usually on the same side as the supporting leg.

Fifth Position - Both arms are raised above the head.
 * Open variation - Both arms are straight and extended upwards towards the ceiling, at a slight angle.   Palms are turned in.
 * Closed variation - This variation is similar to fifth position in ballet. Arms are rounded (elbows bent).  Palms are turned inward and fingers should be almost touching above the head.

Arms crossed - Arms are crossed in front of the chest. They may either be held up and away from the body, or rest against the chest.

Hands on beads - One or both hands is placed over the dancer's necklace. Hands should be flat. Elbows should be held away from the body and pushed slightly upward. This position is used only by girls.
 * If only one hand is being placed on the necklace, the other hand is usually place on the waist (see "hands on hips" above). Usually the hand placed on the necklace is on the same side as the working leg, while the hand placed on the waist is usually on the same side as the supporting leg.

Chin on hand - The left arm (same side as supporting leg) is bent and hand is placed to support the head, either with the chin resting on the back of the fingers, with the chin resting in the palm of the hand, or with the hand closed and one finger extended up against the cheek. The right arm (same side as working leg) is bent and placed so that the back of the hand supports the elbow of the other arm. The positions of the arms may be reversed if the right leg is the supporing leg and the left leg is the working leg. This position is used only by girls.

Hands on belt - Hands are positioned to hold onto the front of the "poyas" or belt. Elbows are pushed slightly forward. If only one hand is placed on the belt, the other should be placed in a fist in the small of the back. This position is used most often by boys. It may also be used by girls in dances from Hutzulshchyna.

Hands behind back - Hands are placed behind the small of the back, with one hand holding the other hand. Alternatively one hand could hold the wrist of the other arm. The hand of the second arm should be placed in a fist.

Hands behind head - One or both arms are raised with the elbows bent. Hands are placed behind the dancer's head, at the base of the head (where it meets the neck). Elbows should be held out, away from the head. This position is most often used by boys. It is seldom used by girls.
 * If only one hand is placed behind the dancer's head, the other hand should be placed on the waist (see "hands on hips: above).

Hands hooked on vest - There are two common variations of this position. In the first variation, the dancer hooks his or her thumbs into the armholes of his/her vest. In the second variation, the dancer uses the index finger of each hand to grab onto the inside of the lapel of the vest, usually just above the ties that close the vest. In both variations, elbows are held away from the body, at shoulder height or just below shoulder height. This position is used most often in dances from Hutzulshchyna, although the first variation is also found in dances from Bukovynia. If the dancers are not wearing a vest, they can tuck their thumbs into their armpits.

Arm Positions - Couples and Groups
Hands crossed in front - couple - Two dancers stand next to one another, both facing the same direction. The dancers join right hands, holding hands in front of the person to the right. Then the dancers hold on to each other's left hand, holding hands in front of the person to the left. The left arm is crossed over the right arm.

Hands crossed in front - three or more - Three or more dancers stand in a line, all facing the same direction. With the right hand, each dancer holds on to the left hand of the person two over to the right. With the left hand, each dancer holds on to the right hand of the person two over to the left. Left arms are crossed in front of right arms.

Hands crossed in front - turning - Two dancers stand facing one another. Each dancer holds her arms out in front of her and crosses the right wrist over the left wrist. The dancers then join hands, joining right hand to right hand and left hand to left hand. The dancers perform dorizhka or kolomyikovi podskok (hops) to the right while leaning away from one another. This position is usually performed by two girls.

Holubchyks - clockwise - Two dancers stand slightly to the right of one another, facing one another. Each dancer places his or her right arm across the front of the other dancer, and places his/her hand on the other dancer's waist. The left arm is held in fifth position. The two dancers look at one another. This position is typical of Central region dances. The dancers will usually perform bihunets, and turn in a clockwise direction (moving forward).

Holubchyks - counter-clockwise - Two dancers stand slightly to the left of one another, facing one another. Each dancer places his or her left arm across the front of the other dancer, and places his/her hand on the other dancer's waist. The right arm is held in fifth position. The two dancers look at one another. This position is typical of Central region dances. The dancers will usually perform bihunets, and turn in a counter-clockwise direction (moving forward).

Movements
Grand Plié - The dancer bends his or her knees and descends towards the floor. If performed in any foot position except second position, the dancer lifts the heels off the floor. The calves and thighs should not touch. In second position, the dancer descends as far as possible without lifting the heels from the floor. Back should remain straight throughout the movement.

Demi-Plié - The dancer bends his or her knees and descends towards the floor. In any foot position except second position, the dancer descends as far as possible without lifting the heels off of the floor. In second position, the dancer descends half-way to the point where it is not possible to go any further without lifting the heels off of the floor.

Spotting - A dancer "spots" while performing a turn. The basic technique is to turn the head and fix the eyes on a spot on the wall, and then turn the body to meet up with the head. This prevents the dancer from moving in the wrong direction on stage, and prevents dizziness. The following bullets describe how spotting is used with various stationary turns.
 * Quarter turns -- before the first count, the dancer turns the head to the side (looking over the shoulder), and fixes his or her eyes on a spot on the wall. On the count, the dancer turns his or her body to meet up with the head.  The dancer has performed one-quarter of a rotation.  The dancer repeats this movement three more times to complete one rotation.
 * Half turns -- before the first count, the dancer turns the head towards the back and fixes his or her eyes on a spot on the back wall. On the count, the dancer turns his or her body to meet up with the head.  The dancer has performed one-half of a rotation.  The dancer repeats this movement one more time to complete one rotation.
 * Full turns -- before the first count, the dancer turns the head towards the back. At the point where the dancer can look no further, the dancer begins to turn both the head and the body (the head leads the body).  As the head comes around to the front, the dancer fixes his or her eyes on a spot on the front wall.  The dancer then completes the turn on the count, bringing the body in line with the head.


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User talk:Yosofun~enwikibooks

I didn't add the NSF items because I wasn't aware of them. Please add them to the physics page.

Roadrunner 03:39, 13 August 2006 (UTC)
 * Strange, haven't you been doing your research? --Yosofun 01:11, 15 August 2006 (UTC)

Sorry
I can't help you with the page you asked for help on. I reccomend that you ask an admin about this. Tannersf 00:02, 15 April 2007 (UTC)

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title: User talk:Yosofun~enwikibooks


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General Anatomy/Digestive System

Mouth

The mouth, also known as the buccal cavity or the oral cavity, is the orifice through which an animal takes in food and water, is the beginning of our digestive tracts.

Chewing is the first step in digestion:
 * Lips
 * Teeth (Incisors, Canines, Molars, Premolars etc.). The teeth chop the food into smaller pieces. The incisors cut the food. The canines grip and tear food. The premolars and molars grind the food.
 * Tongue: tastes food the tongue crushes food against the hard palate. It moves food particles into a bolus that is pushed into the throat (pharynx).
 * Jaw (Mandible)(Maxillary)
 * Hard Palate/ Soft Palate
 * Saliva (contains the enzymes salivary amylase, lysozyme, and lingual lipase). The salivary glands produce saliva into ducts in the mouth. Saliva has amylase which breaks down carbs and lipase which breaks lipids.

Most animals have a complete digestive system, with a mouth at one end and an anus at the other. Which end forms first in ontogeny is a criterion used to classify animals into protostome and deuterostome. In arthropods, they are external modified legs; in gnathostomata vertebrates they are internal.

Pharynx and oesophagus

The throat (pharynx) moves food from the mouth to the esophagus. The soft palate and uvula close off the nasopharynx when swallowing. The epiglottis closes the larynx when swallowing.

The oesophagus is made of three different types of muscle in its external longitudinal layer:

 * 1) It's superior third is composed of voluntary striated muscle tissue,
 * 2) It's inferior third is composed of smooth muscle tissue,
 * 3) It's middle third is composed of a mixture of the aforementioned two.

The first function of the oesophagus is the 1-way transfer of food from the pharynx to the stomach. The next function of the oesophagus happens in the lower esophageal sphincter, which stops stomach contents from splashing back up.

Stomach
The stomach has four regions:

 * Cardia or cardiac region
 * Fundus
 * Body
 * Pylorus

It also has two sphincters;

 * Cardiac sphincter
 * Pyloric sphincter

The stomach empties the food from the oesophagus, churns and digests food, and stores food. It empties into the small intestine.

Small Intestine
It is the convoluted structure of digestive system that aids in digestion and maximum absorption takes place in intestine

Liver

 * Produces bile by hepatocytes

Hepatocytes will then secrete the bile to the canaliculi of the liver. The flow of bile will continue to the right and left hepatic ducts which will meet at the common hepatic duct -> cystic duct -> gallbladder for storage. Then when bile is needed for digestion of fats, bile will empty from the gallbladder through the cystic duct -> common bile duct -> sphincter of oddi -> duodenum Bile helps in the digestion of fatty acids in food

Gall Bladder

 * Stores bile which is made by the liver. Patients who undergo cholecystectomy (removal of the gallbladder) will have normal digestive function as bile drains through the common bile duct into the duodenum.

Pancreas
Located near the duodenum to empty pancreatic enzymes, and bicarbonate to neutralize stomach acid from the antrum.

Histology

Islets of Langerhans have alpha and beta cells that are responsible for maintaining the glucose concentration in the plasma. Alpha cells secrete glucagon and beta cells secrete insulin. These hormones are involved in the endocrine system.

Acinar cells will secrete enzymes that will help with digestion. These enzymes are released in an inactive form.

Large Intestine
Ascending, transverse, descending, and sigmoidal Also contains epiploic appendanges and taenia coli – bands of muscles Note the haustra – individual pouches formed by the taenia coli
 * Cecum
 * Verminform appendix
 * Colon
 * Rectum
 * Anus

Anus
It is the last portion of digestive system. Disposes solid wastes.

title: General Anatomy/Digestive System


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User talk:Pisangrai~enwikibooks

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * Check out our help page if you need additional help.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Take a look at Naming policy
 * See list of templates which can save your time
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! --Singkong2005 05:34, 13 August 2006 (UTC)

Selamat datang! -- Chris/Mbah Singkong :)/Singkong2005 05:34, 13 August 2006 (UTC)

Thank you :) Pisangrai 00:23, 14 August 2006 (UTC)

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Unfortunately, your account clashes with another account also called Pisangrai. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Pisangrai~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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title: User talk:Pisangrai~enwikibooks


text:
Thai/Adding vocabulary with word association

If you can, please help by adding Thai script to the table below.

Learn by association
Here are some Thai words that sound something like English words, and so can be easy to remember. It helps if you create a vivid image in your mind connecting the meaning of the word with the sound. Concentrate on it for a few seconds, and test yourself or at least revise it later on, to fix it in your memory. It may help if you use stories.

Some of the associations presented are slightly 'off the wall'. Some have a lavatorial humor to them. This is not intended to offend. For me such things make the learning 'more fun' ( mor fun = DENTIST )("fun" is pronounced more like "fan").

This will give you a head start, but you still need to learn pronunciation and tones.

When considering a link between meaning and trigger images within your mind, do note that recalling human faces, animals of all kinds and sometimes plants is far easier than remembering inanimate objects such as table, stone, bed etc. So when you create an association, do include something living with notable physical features (doesn't have to be grounded in reality!) in the scene. Doing this will enable you to achieve at least 90% instant two way (from definition or from pronunciation) recall from a list of 1,000 common words, and more.

The Thai language contains a few alphabet letters which sound basically the same. Consequently, words with different spelling but with the same vowel length and tone may be pronounced the same way while having a different initial consonant. Fortunately, in Thai every letter has a word associated with it and these are depicted on all Thai alphabet tables. To differentiate the words in your mind, simply add the meaning of the initial consonant to something in your association. For example:

- ท or toh is called ท ทหาร or toh tahaan and ทหาร means soldier or army. To know the word you are creating a link for begins with ท, simply add something of a military nature to your scene. This could be anything associated with soldiers such as uniform, rifle, vehicle, warrior, medal etc. This categorization process will serve you well in terms of ease of recall down the road, regardless of word similarity, once you have over 500 words memorized.

The reason for this is because categorization = organization. Your mind can be the most organized filing cabinet or the most untidy one. Imagine you are a clerk at an office and your job is to fetch files from a huge cabinet and put others back for your boss 8 hours a day. If the files are not stored systematically, you will eventually find the file you require but it may take you all day to find that one file your angry boss told you to find in the morning.

It is therefore recommended that for every word you create an association for, you should embed the meaning of the initial consonant into the scene in a subtle fashion. When it is time to recall a meaning or a pronunciation, your mind will be able to immediately eliminate all the irrelevant files and concentrate on searching more efficiently through relevant information only.

When a word with the same initial and final consonant sounds similar to another but has a different meaning because there is a long vowel instead of a short vowel, you may distinguish the two in your mind by thinking of a long path, long rope or long anything to depict a longer sound and vice versa for short vowels.

Notes on spelling
These are given in romanised spelling, but it is recommended that you learn to read and write Thai using Thai characters.

There is no official standard way to write Thai in Roman characters, except perhaps the Royal Thai General System ( As used by Thai-Language.com). Pronouncing Thai correctly can be a challenge. As in most languages pronunciations vary regionally. One of the most common confusions arises, because many Thais find it difficult to pronounce the 'R' sound and pronounce 'L' instead. This page tries to present actual English words which sound as close as possible to how the Thai word sounds.

Most dictionaries and language courses provide some very contrived 'Romanised' spellings. These are groups of Roman characters, which are supposed to represent a Thai sound. Since these groups of Roman characters often don't appear as real English words anyway, the student is still left trying to puzzle out how they should sound ( hence the great value of taped conversations which accompany some language courses ).

Suggested associations
These are only suggestions - take what works for you, and make new ones, as long as it works.

(*1) Ba Mee are egg noodles, as opposed to plain noodles, which are called G'why Tee ow(ow as in ouch) among other things.

(*3) Some Thai words are repeated for emphasis. So for example if 'go' is 'bye', then 'go away' is 'bye, bye'. Usually this is not an unfriendly 'go away', but if the person you are with is trying to get you to get a move on, they may say 'bye, bye'. note I have put a comma between the first bye and second bye, this is because there is a slight pause between them. Also the word for 'many' is 'maack', if there are really a lot, then a Thai may say 'mack mack'.

(*4) I will admit that the 'Room' bit of 'Wrong Room' is stretching it a bit, but it is easy to remember as a start point for learning, and who knows how to pronounce 'Raem' anyway, if they've never heard it spoken.

Use stories
Making up little stories can help you remember the words. At first this takes a little thought, but later becomes second nature, especially where the association has a touch of humor to it.

Here are some examples of the kind of story you can make up to help you remember.

'His old CAR was beginning to ROT'.

'She decided to exercise her LEGS, instead of taking the CAR'.

'There was no need to order them to "COME HERE", they came as soon as they saw the MONEY'.

'The Chinese love to BET, their lucky number is EIGHT'.

'You can SEE FAR when the sky is BLUE'.

The pronunciations are approximate and it takes practice to get them right. Although dictionaries show both 'DOG' and HORSE' as sounding like 'MA', they are in fact pronounced differently (different tones), hence the Thais know which one is being referred to.

Remembering tones
Tones are often difficult to learn for Westerners. There are several ways to help remember the tones:
 * If it's too difficult, try your best but don't worry too much. Context will help people understand which meaning you intend.
 * With constant practice and exposure to the language you may start to imitate the tones subconsciously.
 * If you have trouble remembering which tone has which meaning, you might like to try using visualisation - imagine the thing high in the air, or falling or rising, or eye level (medium) depending on the tone.

Suggested images:


text:
Talk:Thai/Adding vocabulary with word association

Copied with permission.
I created this page (this version) by copying, with slight adaptations, from Thai Language Starter

I'm not sure how to demonstrate that I have permission to do this, but I will copy the email from the page owner to me (with email addresses deleted as a privacy & anti-spam measure):

Many thanks to Tony. --Singkong2005 06:29, 13 August 2006 (UTC)


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User:DinkY2K~enwikibooks

Hi! For my user page, go to wikipedia: DinkY2K's Wikipedia Userpage

Book Contributions
Japanese History as 68.14.186.171, before I registered

title: User:DinkY2K~enwikibooks


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Cookbook:Savoury Rice Cake

Ingredients

 * 1½ cups (360 ml) short grain rice, cooked
 * 4 spring onions, finely chopped
 * 3 eggs, lightly beaten
 * ½ cup (120 ml) grated parmesan cheese
 * 500 g (1 lb) carrots, cauliflower, and broccoli
 * 1½ cups (260 ml) grated mozzarella cheese
 * 1½ tsp dried thyme
 * 1 cup (240 ml) tomato salsa, for serving

Procedure

 * 1) In a large bowl, combine the cooked rice, spring onions, eggs and the Parmesan cheese. Season to taste with salt and pepper.
 * 2) Press half the rice mixture into a greased 20 cm spring-form pan. Toss vegetables with one cup of mozzarella cheese, place into pan. Spoon on the remaining rice and press down firmly. Sprinkle evenly with remaining cheese and thyme.
 * 3) Bake in a preheated oven at 200°C (400°F) for 30–35 minutes.
 * 4) Serve with tomato salsa.

title: Cookbook:Savoury Rice Cake


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Ukrainian Dancing/Podillia

Sections

 * 1) /Basic and Common Steps/
 * This section identifies steps that form the foundation of this regional style of dance, and which may be performed by both men and women (boys and girls).
 * 1) /Steps for Men and Boys/
 * This section identifies steps that are only performed by men and boys.
 * 1) /Steps for Women and Girls/
 * This section identifies steps that are only performed by women and girls.
 * 1) /Steps for Couples or Groups/
 * This section identifies steps that require two or more dancers.
 * 1) /Sample Choreography/
 * This section provides sample choreography which may be used by dance groups wishing to perform a dance that is characteristic of this region.

title: Ukrainian Dancing/Podillia


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Urdu/Grammar

The complete reference of Urdu Grammar will be difficult to accumulate here. Most of the first Generation Urdu Speakers only use this Grammar. The new or Asaan Urdu will be used here to explain the Grammatical Terms. It is important to go through the Grammar Guide because it comprises the 60% that one needs to speak Urdu. The vocabulary these days are very important to learn, because most of the new Generation of Urdu Speakers use a high percentage of English words in their speech.

title: Urdu/Grammar


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Communication Systems/Quadrature Amplitude Modulation

The quadrature amplitude modulation (QAM) system of modulation is the most popular M-ary scheme.

Definition
Consider the case of a system with two carrier waves instead of a single carrier wave as we have considered with modulation schemes so far. One is a sine wave, and the other is a cosine wave of the same frequency. Since these two waves are orthogonal we can use them simultaneously in a single channel without losing the information of either. If both waves have the same frequency f we can write out the equation for a generic symbol, s:

 * $$s(t) = A_k \sin(f t) + B_k \cos(f t)$$

In this way, we can create multiple symbols by simply changing the values of A and B. This equation can be broken up into two parts:

 * $$A_k \sin(f t)$$ Which is called the "in-phase" component of the equation.
 * $$B_k \cos(f t)$$ Which is called the "quadrature" component of the equation.

An equation which is written as a sum of a sine plus a cosine is said to be in "quadrature form". If we combine the two components into a single waveform as such:

 * $$s(t) = \sqrt{A_k^2 + B_k^2} \cos (f t + \tan^{-1} (B_k/A_k))$$

This form is called the "Polar Form" of the equation.

Constellation Plots
If we make a graph with the X axis being the values for A, and the Y axis being the values for B, we get what is called a Constellation Plot. These plots are called constellation plots due to the similarity in shape and layout with astronomical star charts. The A and B values for each symbol are plotted (the "stars") and various measurements between them are used to determine information from the system. On a constellation plot, we can see a number of rules:

 * 1) The further apart the points are on the constellation plot, the less likely they are to be mistaken for each other in the presence of noise.
 * 2) The closer the points are to the origin, the less power it takes to send.
 * 3) The more points there are, the faster the data rate (bit rate) at a fixed symbol rate (more symbols)
 * 4) The fewer points there are, the simpler and cheaper the hardware necessary to distinguish between them (fewer symbols, fewer thresholds in the receiver).

For these reasons there is no single "best" constellation plot, but it is up to the engineer to pick the points that are best for the system. In other words, trade offs need to be made between speed, performance, and cost of hardware. These tradeoffs can be made by placing the constellation points at different locations on the constellation plot.

Benefits of QAM
Increase the efficiency of transmission by utilising both amplitude and phase variations.

Reducing or eliminating intermodulation interference caused by a continuous carrier near the modulation sidebands.

For further reading
The quadrature amplitude modulation (QAM) system of modulation is the most popular M-ary scheme.

Definition
Let us say that we have 2 carrier waves. One is a sine wave, and the other is a cosine wave. Since these two waves are orthogonal, we can use them simultaneously, without losing the information of either. If both waves have the same frequency, f, we can write out the equation for a generic symbol, s:

 * $$s(t) = A_k \sin(f t) + B_k \cos(f t)$$

In this way, we can create multiple symbols by simply changing the values of A and B. This equation can be broken up into two parts:

 * $$A_k \sin(f t)$$ Which is called the "in-phase" component of the equation.
 * $$B_k \cos(f t)$$ Which is called the "quadrature" component of the equation.

An equation which is written as a sum of a sine plus a cosine is said to be in "quadrature form". If we combine the two components into a single waveform as such:

 * $$s(t) = \sqrt{A_k^2 + B_k^2} \cos (f t + \tan^{-1} (B_k/A_k))$$

This form is called the "Polar Form" of the equation.

Constellation Plots
If we make a graph with the X axis being the values for A, and the Y axis being the values for B, we get what is called a "Constellation Plot". If A and B have discrete values, then the constellation plot will show dots at points that correspond to values for A and B coordinates. It is called a constellation plot because the layout of the different points can look very similar to the layout of stars in the sky.

On a constellation plot, we can see a number of points:

 * 1) The further apart the points are, the less likely they are to be mixed up
 * 2) The closer the points are to the origin, the less power it takes to send.

 * 1) The more points there are, the faster the data rate (bit rate) at a fixed symbol rate.
 * 2) The fewer points there are, the simpler and cheaper the hardware necessary to distinguish between them.

For these two reasons, there is no single "best" constellation plot, but it is up to the engineer to pick the points that are best for the system. By placing the points manually, the engineer is able to make trade-offs between the power of the system, and the number of bits per symbol (and therefore the bitrate).


text:
Urdu/About

Current Development

 * General: the main talk page.
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 * If a lesson is added or the name of an existing lesson is changed, please update:
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 * It is not necessary to update these versions if the sections within these main lesson pages are altered.

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 * Sultan Zahir Khan

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title: Urdu/About


text:
Talk:Quenya/Respective

Untitled
By the way, has anyone ever had in mind that the respective was maybe ment to work similarly to the vocative case?

title: Talk:Quenya/Respective


text:
Italian/Vocabulary/Day and Month

Days

 * lunedì Monday
 * martedì Tuesday
 * mercoledì Wednesday
 * giovedì Thursday
 * venerdì Friday
 * sabato Saturday
 * domenica Sunday
 * weekend / fine settimana Weekend

Months

 * gennaio January
 * febbraio February
 * marzo March
 * aprile April
 * maggio May
 * giugno June
 * luglio July
 * agosto August
 * settembre September
 * ottobre October
 * novembre November
 * dicembre December

NB. Remember that in Italian days of the week and months are written in lower case except when used at the start of a sentence. The week starts on Monday.

Italià/Vocabulari/Dia i Mes Italiano/Vocabulario/Días y Meses

title: Italian/Vocabulary/Day and Month


text:
Category:Book:Muggles' Guide to Harry Potter/Books/Goblet of Fire

Chapters of the Harry Potter and the Goblet of Fire book.


text: Category:Book:Muggles' Guide to Harry Potter/Books


text:
Urdu/Adverbs

Adverbs
Normally, the adverbs in Urdu are indeclinable. However, when present and past participles are used as adverbs, they must be declined like adjectives to agree with the number and gender of the subject. But when long-a ending adjectives are used as adverbs, the standard usage is that they must not be declined.

Pre-adjectives (adverbs that qualify adjectives and adverbs) are sometimes treated as a separate category. Such common words include (very),   (much),  (a little), etc.

title: Urdu/Adverbs


text:
Category:Book:Muggles' Guide to Harry Potter/Books/Prisoner of Azkaban

Chapters of the Harry Potter and the Prisoner of Azkaban book.


text:
Category:Book:Muggles' Guide to Harry Potter/Books/Order of the Phoenix

Chapters of the Harry Potter and the Order of the Phoenix book.


text:
Category:Book:Muggles' Guide to Harry Potter/Books/Half-Blood Prince

Chapters of the Harry Potter and the Half-Blood Prince book.

Half-Blood Prince


text:
Urdu/Adjectives

There are two kinds of Adjectives in Urdu
 * Those who end end in consonant or any vowel excluding a
 * Those who singular form for masculine ends in a

The first (those ending in consonants but excluding "a") does not inflect where as the second one inflects with respect to gender and the number of the qualifying noun.

This inflection for the second case is shown below (Tiwari, [1966] 2004).

Note:
 * 1) If the noun to be qualified consists of multiple words of different numbers and genders, then the adjective must agree with that particular noun which it immediately precedes or follows.
 * 2) Some long ā ending adjectives do not undergo any inflection with respect to gender or number at all. These exceptions include adjectives ending in yā (e.g., / گھٹِیا / gʱaṭiyā — poor,  دُودھِیا / dūdʱiyā — milky), vā (e.g., سوا / savā — quarter,  بھگوا / bʱagavā — saffron), Sanskrit tatsams (e.g.  مہا / mahā — great), Persian-Arabic words that originally ended in ah but as Hindī loanwords end in long ā (e.g.  سالانا / sālānā — annual, تازہ / tāzā — fresh,  مُردا / murdā — dead,  مردانا / mardānā — manly etc.), and certain other adjectives (e.g.  چؤکنّا / caukannā — alert,  تنہا / tanhā — lonely etc.).

There is no definite article (the) in Urdu, although increased Arabization has brought in ال(ul) as a near substitute, an example being ul-burj (the building). The numeral ایک / ek (one) may be used for the singular indefinite article if it needs to be stressed.

There are many ways of making positive–comparative–superlative forms of adjectives:
 * 1) By using comparing phrases such as
 * سے / se,
 * کے مُقابلے / ke muqābale
 * زیادہ / zyādā + adj.

 * 1) For Superlative
 * سب سے / sab se
 * سب سے زیادہ / sab se zyādā
 * سب سے کم / sab se kam

 * 1) Persian’s inflectional way, by suffixing - تر- / -tar for comparative and - ترین- / -tarīn for superlative.

title: Urdu/Adjectives


text:
Urdu/Pronouns

There are pronouns in the first, second and third person, all for one gender only. But they are not categorized in to Masculine and Feminine as in other languages.More strictly speaking, the third person of the pronoun is actually the same as the demonstrative pronoun (this / that). The conjugated verb may denote the difference with respect to gender. There may also be multiple ways of inflecting the pronoun, which are given in parentheses. Below is the second person('you') explained in three levels of honorifics

This is the most common used form. It represents respect in a way. Normally speaking most people converse with each other using this word. Even people who may be termed as intimate may feel OK, if they are addressed with it. Plural could be stressed by saying آپ لوگ / āap log ("you people") or  آپ سب / āap sub ("you all").
 *  آپ / āap:

 *  تم / tum: Informal form of "you." Has no difference between the singular and the plural. Normally they are spoken to young people or in house hold. Plural could be stressed by saying تم لوگ / tum log ("you people") or  تم سب / tum sub ("you all").

 *  تو / tū: Extremely informal form of "you," as "thou." Strictly singular, its plural form being  تم / tum. It may be used to represent personal relationship with an object or person and nowadays used in Films in conversation among bad guys. Highly controversial, the usage should be deeply thought.

In the columns for the Third Person, the first word indicates the usual form used in literary written Hindī or Urdū, while the second form (after the slash) indicates the form used in normal spoken Hindī or Urdū (Hindustānī). The hyphen indicates that while writing, the postposition (if any) may be included within the word as a case marker. It suffices to say that the genitive case behaves like an adjective and has to be declined as such to match with the possessed noun. The Accusative is formed by adding the object marking को کو postposition to the oblique form, for मुझको / مجھ کو / mujʰko, हमको / ہم کو / hamko, etc. Displayed in the Accusative row are the more common/colloquial but equally valid shortened को / کو / ko forms of मुझे / مُجھے / mujhey, हमें / ہمیں / hamain'', etc.

For those persons for whom one would normally use आप / آپ / āp if referred to as the second person, it is popular by convention to use the plural form (both pronoun and the verb) of the third person demonstrative. In North India and Pakistan, the हम / ہم / ham form is popularly used for the first person singular too. The 3rd person pronouns can be used independently or as adjectives qualifying a noun. In the latter case, if the noun is not followed by a postposition, the pronoun-turned-adjective will be in the Direct case, else in the Oblique case.

When preceding the postposition ने / نے / ney, the 1st person singular and 2nd person very informal form must be in the direct case, while the rest of the pronouns and nouns need to be in the Oblique case. The forms इन / اِن / in and उन / اُن / un further change to इन्होंने / اِنہوں نے / inhoⁿne and उन्होंने / اُنہوں نے / unhoⁿne (some people do use the non-standard alternatives इन्ने / اِنّے / inne and उन्ने / اُنّے / unne). Some postpositions use the genitive case; the rest use the oblique case.

title: Urdu/Pronouns


text:
Urdu/Postpositions

Urdu uses postpositions that follow the noun (rather than prepositions of English that precede the word). Some postpositions are compound ones. Some of them can be incorporated within the noun (usually, the pronoun) while writing, where they then act as a case marker. Some of them are listed below; those using the genitive case of the pronoun are indicated with "gen".

Koo

1. May be used as as indirect object of transitive verbs امیر کو پیغام کس نے لکہا؟ Aamir koo paygham kiss nay likha? Who wrote message to Aamir

2. As a direct object of a verb .امیر کو ٹانگ نا کر Aamir koo taang na karoo Don't disturb Aamir

In addition, certain indeclinables can be used to denote specific location with के / کے / keː /, equivalent to under, above, against, below etc. Standard Urdu uses many prepositions directly borrowed from Persian, and also some from Arabic; e.g., -e- (of), as in सदा-ए सर्हद / صداۓ سرحد / sadaa-e-sarhad (lit., voice of the border—the name of the Bus service from Amritsar to Lahore and back). Few other postpositions may come either before or after the noun. E.g., सिवा — other than, बिना  — without.

Tiwari ([1966] 2004) lists some common compound postpositions according to their roles:
 * Related to time (Temporal): के पहले, से पहले , के पूर्व , से पूर्व — all for before; के उपरान्त , के बाद , के आगे , से आगे  — all for after; के पीछे , के पश्चात  — all for after / back.
 * Related to place (Locative): के पहले, से पहले — all for before; के आगे , से आगे  — all for in front of; के भीतर , के अन्दर  — all for inside; के बीच  — between/among; के ऊपर  — above; के नीचे  — below; के पास  — near; के पीछे  — behind.
 * Directional: के प्रति, की ओर , की तरफ़ — all for towards.
 * Instrumental: के द्वारा — by/with; के सहारे, की मार्फ़त , के बल-बूते  — all for with the help of.
 * Causal: के कारण, के मारे , की वजह से — all for because of.
 * Dative: के लिये, के निमित्त , के हेतु — all for for.

As mentioned in the table, the postpositions using के / کے /े (lit., of) indicate that the second word in the compound is a masculine possessed item, and those using की indicate that the possessed item is feminine. If nouns are used with such compound postpositions, they must come in the Oblique case. If pronouns are to be used, they must come in the Genitive case (further declined in the Oblique case like adjectives).

title: Urdu/Postpositions


text:
Urdu/Sentence Building

Word order
The neutral order of the words in a sentence is SOV (i.e., Subject Object Verb). However, if the postpositions are properly attached with the nouns, the word order in Hindustānī becomes freer than in English, but not as free as in Latin or Sanskrit. Altering the word order serves (in conjunction with tone of speaking) to shift the emphasis of the sentence elsewhere. If the subject is a noun, the adjective may come before the noun (in the attributive position) or between the noun and the verb (in the predicative position — but only if the main verb is होना to be). If the subject is a pronoun, the adjective comes in the predicative position. The space between the subject and the verb may be filled by adverbs, instrumental phrase, dative phrase, locative phrase, etc. The interrogative particles normally come right before the word it is asking about. The word order, unlike in English, need not be reversed in a question. Yes/no questions can be formed by placing the interrogative pronoun क्या at the very beginning of the sentence. Question tag can be formed by placing the negative particle न at the end of the sentence. It often indicates making a polite request (without explicitly using please). The negative particle otherwise normally comes before the verb. Certain particles stress the word that follows them immediately. E.g., ही (only, as a particle of emphasis), भी  (also), तक, तो , भर , etc. For meaningful sentences, the various units of the sentence must have proximity with each other; otherwise the sentence would become ludicrous. E.g., if the noun is a genitive phrase, the attributive adjective must come immediately before that component it wishes to quality, and not necessarily before the entire phrase.

Noun/adjective/adverb phrases are common in Hindustānī. The head of the phrase normally comes after the phrase’s compliment. In a noun phrase, the possessed item comes after the possessor. Embedded clauses are also common. For adjective clauses whether the clause is restrictive or non-restrictive, the embedded clause is joined with the main clause by j-beginning relative pronouns (E.g., jo, jahān, jaise, etc.) and never by the corresponding[interrogative pronouns (as it happens in English). Subordinate noun clauses are often linked by the conjunction कि (lit., that, of Persian origin).

Compound sentences (those with two or more equally important simple clauses) are usually linked by conjunctions such as और — and, या  — or, लेकिन  — but, इसलिये  — therefore, वरना  — otherwise, etc. Sometimes double conjunctions are also used wherever needed. E.g., न … न — neither…nor.

Agreement
Tiwari ([1966] 2004) lists the following rules of agreement:
 * Between the subject and the verb:
 * 1) If the subject is not attached with a postposition (this condition is included in the ff. rules too), then the verb must agree in person, gender and number with the subject. Suffices to say that according to the condition, the verb is not affected even if the places of the subject and the object are reversed. E.g., मोर (peacock, masc. sing.) बाग़ में नाच रहा है । मोरनी (peahen, fem. sing.) उसे देख रही है ।
 * 2) If honor is to be expressed for the subject, then the verb is conjugated in the plural number even if the subject is singular. The same is the case for the honorific 2nd person pronoun आप. E.g., महात्मा गान्धी एक महान व्यक्ति थे ।
 * 3) If the subject of the sentence consists of several words in the same gender, number and person, linked with and, then the verb is in the plural form of the same gender as the subjects. But if such words point to a single idea, then the verb will be in singular. E.g., एक कुत्ता (dog, masc. sing.) और एक भेड़िया (wolf, masc. sing.) ग़ोश्त के लिये लड़ रहे थे । But, कुत्ता या भेड़िया ये ग़ोश्त खा सकता था ।
 * 4) If the subject consists of multiple words of different genders but all singular, then the verb will be in the masculine plural form. E.g., मोर और मोरनी बाग़ में रहते थे ।
 * 5) If the subject consists of multiple words of different genders and different numbers, then the verb will be in the plural form, but of the gender of the last subject. E.g., एक राजकुमार (prince) और कई राजकुमारियाँ (princesses) मैदान में खेलतीं थीं ।
 * 6) If the gender of the subject is unknown, the verb is in masculine. E.g., कोई (someone) आ रहा है ।

 * Between the object and the verb:
 * 1) If the subject is attached with any postposition (includes the accusative case for pronouns), then the verb does not agree with the subject. The verb rather agrees with the gender and the number of the object. This kind of phenomenon is called split ergativity. E.g., कुत्ते (dog, masc. sing.) ने रोटियाँ (breads, fem. pl.) खाईं थीं । मौसी (aunt) को अख़बार (newspaper, masc. sing.) पढ़ना होगा ।
 * 2) It is compulsory in prec. that the object must not have any postposition. If the object also has a postposition (includes the accusative case for pronouns), then the verb will not agree with anything, but simply come in the 3rd person masculine singular form. मोरनी ने उस रोटी (bread, fem. sing.) को खाया ।
 * 3) The postposition ne is used if and only if the verb is in one of the perfective forms.

title: Urdu/Sentence Building


text: Ukrainian Dancing/Template:Steps

title: Ukrainian Dancing/Template:Steps


text:
Ukrainian Dancing/Central Ukraine

The dance of Central or Eastern Ukraine is frequently referred to as Poltava, after the city located southeast of the capital, Kiev. This region is characterized by wide open land, and the character of the dance reflects the unobstructed landscape. Movements tend to be flowing and horizontal.

Sections

 * 1) /Basic and Common Steps/
 * This section identifies steps that form the foundation of this regional style of dance, and which may be performed by both men and women (boys and girls).
 * 1) /Steps for Men and Boys/
 * This section identifies steps that are only performed by men and boys.
 * 1) /Steps for Women and Girls/
 * This section identifies steps that are only performed by women and girls.
 * 1) /Steps for Couples or Groups/
 * This section identifies steps that require two or more dancers.
 * 1) /Sample Choreography/
 * This section provides sample choreography which may be used by dance groups wishing to perform a dance that is characteristic of this region.

title: Ukrainian Dancing/Central Ukraine


text:
Muggles' Guide to Harry Potter/Magic/Howler

Overview
Howlers are messages that are carried by Owl Post, like letters. They are distinctively red-colored, and are used to carry urgent and angry messages.

Extended Description
Howlers appear several times in the series. The first one we see is sent to Ron by his mother in Harry Potter and the Chamber of Secrets. The next is sent to Neville by his grandmother in Harry Potter and the Prisoner of Azkaban. Several appear in Harry Potter and the Goblet of Fire as hate mail sent to Hermione, due to Rita Skeeter's article about her. Finally, one is sent to Harry's Aunt Petunia in Harry Potter and the Order of the Phoenix.

A Howler is not used for just any message, as true to their name, they are extremely loud – according to the text, a hundred times as loud as one's natural voice, though that could be simply the apparent effect. Additionally, if not opened promptly, they tend to explode: though we do not see that happening, Nevile Longbottom advises Ron that it is better to open one immediately and take the amplified scolding, rather than leaving it unopened and letting it explode; and Percy comments in Harry Potter and the Goblet of Fire that exploding Howlers have been scorching his desk.

Questions

 * 1) What is the meaning of the howler received by Aunt Petunia?


text:
Ukrainian Dancing/Central Ukraine/Basic and Common Steps

To add to this page, go to Template:Steps. Click on edit this page, and then highlight and copy the entire template. Return to this page and click on edit this page. Go to the end of the page and paste the template. Update the template with your description of the steps.

Description

 * 1) Before the first beat, raise the right foot.
 * 2) On one, hop onto the right foot.  This is often described as a big step to the right.
 * 3) On two (or and), bring the left foot next to the right foot and step onto the left foot.  This is often described as a little step.
 * 4) On three (or two, if using a 1-and-2-and count), step back onto the right foot.
 * 5) There is a brief pause on the fourth count, but most dancers probably will not notice it.

Repeat on the next beat, starting with the left foot.

Description

 * 1) Before the first beat, raise the right foot.
 * 2) On one, take a large step forward with the right foot.
 * 3) On two (or and), bring the left foot forward and only slightly in front of the right foot, and step onto the left foot.  This is often described as a little step.
 * 4) On three (or two, if using a 1-and-2-and count), take another small step forward onto the right foot.
 * 5) There is a brief pause on the fourth count, but most dancers probably will not notice it.

Repeat on the next beat, starting with the left foot.

Most of the forward movement in this step occurs during the initial large step forward on the first count.

Description

 * 1) On the last and of the previous beat, raise right foot.
 * 2) On one stamp the right foot, placing it back in its original position.

Description

 * 1) On one stamp the right foot.
 * 2) On and(or two) stamp the left foot.
 * 3) On two (or three) stamp the right foot.
 * 4) On and pause.

Repeat on the next beat, beginning with the left foot.

Description

 * 1) Before the first beat, sweep right foot in an arc from left to right.
 * 2) On one step onto the right foot, as though stepping your foot over a low picket fence.
 * 3) On two sweep the left foot in front and across the right foot, as though bringing the left foot over the fence.  Lead with the heel to maintain the turn-out.  Raise the right foot slightly.
 * 4) On three step back on to the right foot, placing it back in its original position.
 * 5) On pause prepare to repeat the step to the left.

Repeat counts 1,2,3 and the pause, alternating sides. Repeat on the next beat, beginning with the left foot.

Some authors distinguish different versions of tynok, based on the height of sweeping motions. A low sweeping motion, where the feet are kept close to the ground, is called "small" or "maliy." A medium sized sweeping motion, where the feet are brought about mid-calf height is called an intermediate tynok or "tynok seredniy." A large tynok, where the feet are brought to about knee height, is performed only by men and boys and referred to as "tynok velykiy."

When performed as a travelling step, most of the forward movement occurs during the initial sweep before the count of one. The motion is to leap forward onto right foot, cross the left foot over, and step again onto the right foot; then, leap forward with the left foot, cross the right foot over, step onto the left foot.

Arm Movement
Tynok may be performed with hands on hips, or by opening the arms to second position on the odd-numbered counts, and then closing them to the waist on the even-numbered counts.

Description

 * 1) Weight is on the left foot.  On one hop on the left foot.  At the same time, extend the right foot to the right side, turn the foot under, and place the toes on the ground, heel turned up.  The foot should be in slightly extended.
 * 2) On two hop on the left foot.  At the same time, turn the right foot up, and place the heel on the ground in the same spot as the toes, with the toes facing up and the foot flexed.

Repeat, hopping onto the right foot and repeating the toe-heel movement with the left foot.

Variations
The toe-heel movement can be performed without the hop on the supporting leg.

Toe-heel, 1-2-3 (vykhyliasnyk skladnyi) - perform the toe-heel movement on the first count. On the next count, perform pokhid skladnyi, leading with the right foot. Repeat, shifting weight to the right foot and performing the movement with the left foot.

Toe-heel, triple stamp (vykhyliasnyk z potriinym prytupom) - perform the toe-heel movement on the first count. On the next count, perform a triple-stamp, leading with the right foot. Repeat, shifting weight to the right foot and performing the movement with the left foot.

Toe-heel with feet close together (nocok-kabluk) - One one hop on the left foot, and at the same time place the right toes on the ground, next to the heel of the left foot. On two hop on the left foot, and at the seme time place the heel of the right foot next to the toes of the left foot.

Description

 * 1) Weight is on the left foot.  On one hop on the left foot.  At the same time, bend the right leg and place the heel of the right foot so that it touches the knee of the left leg, just under the kneecap.  Toes should be pointed.  Knees should be turned out.
 * 2) On two hop on the left foot.  At the same time, extend the right foot forward and at a slight angle, toes pointed.  The upper part of the right leg should not change position while the leg is extended.

Repeat, hopping onto the right foot and repeating the knee-kick movement with the left foot.

Variation
Knee-kick, 1-2-3 (uhynannya skladnyi) - perform the knee-kick movement on the first count. On the next count, perform pokhid skladnyi, leading with the right foot. Repeat, shifting weight to the right foot and performing the movement with the left foot.

Description

 * 1) Weight is on the left foot.  On one step onto the right foot.  Weight is placed on the whole foot.  The foot should be placed slightly in between third and fourth positions.
 * 2) On two hop on the left foot.  At the same time, raise the right foot forward and on a slight angle.  The foot should be about knee height.  Toes should be pointed.

Vypad is usually followed by one beat of pokhid skladniy, performed to the right. Then the dancer switches the working and supporting leg, and performs vypad skladniy to the left side. Vypad may also be used in combination with other steps.

Description

 * 1) Weight is on the left foot.  On one hop on the left foot.  At the same time, bend the right leg and place the right foot behind the left knee.  Toes should be pointed.  Knees should be turned out.
 * 2) On two hop on the left foot.  At the same time, extend the right foot forward and at a slight angle, toes pointed.  The upper part of the right leg should not change position while the leg is extended.

Repeat, hopping onto the right foot and repeating the back-kick movement with the left foot.

Description

 * 1) On one step the right foot across and in front of the left leg.  At the same time, bend the left leg and place the left foot behind the right knee.  Toes should be pointed.  Knees should be turned out.
 * 2) On two hop on the right foot.  At the same time, extend the left foot forward and at a slight angle, toes pointed.  The upper part of the left leg should not change position while the leg is extended.

Repeat, hopping onto the left foot and repeating the back-kick movement with the right foot.

Description

 * 1) On one step on to the right foot.
 * 2) On two step on to the left foot.
 * 3) On three step on to the right foot and extend the left foot towards the side, toes pointed.

Repeat, stepping onto the left foot.

Description

 * 1) On one step on to the right foot.
 * 2) On two step on to the left foot.
 * 3) On three step on to the right foot and extend the left foot towards the front, toes pointed.

Repeat, stepping onto the left foot.

Description

 * 1) On one hop on to the right foot and extend the left foot forward, toes pointed.
 * 2) On two hop on to the left foot and extend the right foot forward, toes pointed.

Description

 * 1) On one take a small step to the right with the right foot.  Weight is on the left foot.
 * 2) On and bring the left foot up to meet the right foot.
 * 3) On two take a small step to the right with the right foot.  Weight is on the left foot.
 * 4) On and bring the left foot up to meet the right foot.

Step may also be performed travelling to the forward or backward. It may be performed travelling to the left by reversing the working and supporting legs.

Description

 * 1) Before the first beat, bring the right foot slightly in front.
 * 2) On one-and, bring the right foot up the front of the left leg, and then bring it down behind the left leg.  Shift weight onto the balls of the right foot.  Feet and knees are turned out.  The right foot should almost slide down the back of the left leg.
 * 3) On two-and, raise the left leg up the front of the right leg and then bring it down behind the right leg.

Description

 * 1) Before the first beat, shift weight onto the ball of the left foot.  Extend the right leg to the side.
 * 2) On one-and hop upward on the left foot and beat the left heel against the right heel.  The left heel should move upwards to meet the right heel, which remains stationary.  Feet should be turned out in first position.  Land on the ball of the left foot.
 * 3) On two-and, repeat the movements of one-and.

The step may be performed to the left, reversing the working and supporting legs.

Male and Female Variations
When performed by men, holubtsi are characterized by large leap upwards. Both legs are bent at the knees. The working leg is extended in a kick on landing.

In contrast, when performed by women, holubsti are low to the ground and the legs are kept straight. The step should appear light and dainty.

Description

 * 1) On one, hop onto the ball of the right foot, crossing it in front of the left foot.  The left foot is extended to the side.
 * 2) On two, hop upward on the right foot and beat the heel of the right foot against the heel of the left foot.  The left leg remains stationary, while the right leg moves to meet the left leg.  Feet should be turned out in first position.  Land on the ball of the right foot.

The step may be performed to the right, reversing the working and supporting legs.

Male and Female Variations
When performed by men, cross-clicks are characterized by large leap upwards. Both legs are bent at the knees. The working leg is extended in a kick on landing.

In contrast, when performed by women, cross-clicks are low to the ground and the legs are kept straight. The step should appear light and dainty.


text:
Ukrainian Dancing/Age Appropriate Steps

This list of age-appropriate steps is based on Bohdan Zerebecky's Ukrainian Dance Curriculum and Teacher's Guide. A full citation may be found in the ../Other Resources/ chapter.

First Year - Age 5-6
Central Region
 * Pokhid Skladnyi (triple step or 1-2-3) Also sometimes called trebushka.
 * Bihunets (triple step or 1-2-3, travelling)
 * Potriinyi Prytup (triple stamp)
 * Prytup u Bik (step stamp)
 * Tynok - Note that tynok is a very difficult step for children to learn, and should only be taught after they are comfortable performing pokhid skladnyi.
 * Vykhyliasyk (toe-heel) first without and then incorporating Pokhid Skladnyi or Potriinyi Prytup
 * Uhynannia Skladne (knee kick, 1-2-3)
 * Vypad Skladnyi (stamp-kick, 1-2-3 or touch-point, 1-2-3)

Second Year - Age 6-7
Central Region
 * Vidriyvanka Skladna (forward kicks, standing)
 * Merezhka (1-2-side)
 * Dorizhka (little side step)
 * Pletenna or Dorizhka-nazad (backstep)
 * Boys only
 * Prysyadka Zvychayna
 * Girls only
 * Tynok with arms opening to 2nd position on the first beat and closing over beads on the second beat.
 * Spotting while performing quarter-turns using pokhid skladnyi, kolomyikovyi pidskok or dorizhka.

Hutzulshchyna
 * Kolomyikovyi Pidskok (hops)

Third Year - Age 7-8
Central Region
 * Vykhyliasnyk and uhynannia in combination (toe-heel and knee-kick)
 * Starting Dorizhka (little side step) with a hop on the first beat
 * Tynok, travelling forward.
 * Vidriyvanka Skladna moving backwards (forward kicks, travelling backwards)
 * Pletenna moving backwards
 * Boys only
 * Prysyadka Roznizhka (Prysyadka-heels)
 * Girls only
 * Spotting while performing half-turns using pokhid skladnyi or kolomyikovyi pidskok. Half turns should only be attempted when the girls are comfortable performing quarter turns.

Fourth Year - Age 8-9
Central Region
 * Cross-kick and Cross-kick, 1-2-3
 * using triple-stamp at the end of a musical phrase (melody)
 * travelling in couples while performing tynok, vidriyvanka skladna, bihunets, or pletenna
 * merezhka while travelling backwards
 * Boys only
 * Prysiadka-kicks
 * Pidsichka (coffee-grinders)
 * Prysiadka pereskok (Prysiadka, cross-kick)
 * quarter-turns using Prysiadka Roznizhka
 * Girls only
 * Quarter-turns and half-turns while travelling
 * Quarter-turns while performing pletenna or tynok
 * Combinations using a step and a turn.
 * Full-turns while performing pokhid skladnye

Western Region
 * Boys only
 * Haiduk-Kruch
 * Girls only
 * Quarter-turns and half-turns using kolomyikovyi pidskok (hopping)

title: Ukrainian Dancing/Age Appropriate Steps


text:
Ukrainian Dancing/Hutzulshchyna

The dance of Hutzulshchyna is characterized by sharp, vertically oriented steps. Hutzulshchyna is a mountainous region, and the steps reflect the vertical, enclosed landscape.

Sections

 * 1) /Basic and Common Steps/
 * This section identifies steps that form the foundation of this regional style of dance, and which may be performed by both men and women (boys and girls).
 * 1) /Steps for Men and Boys/
 * This section identifies steps that are only performed by men and boys.
 * 1) /Steps for Women and Girls/
 * This section identifies steps that are only performed by women and girls.
 * 1) /Steps for Couples or Groups/
 * This section identifies steps that require two or more dancers.
 * 1) /Sample Choreography/
 * This section provides sample choreography which may be used by dance groups wishing to perform a dance that is characteristic of this region.

title: Ukrainian Dancing/Hutzulshchyna


text:
Ukrainian Dancing/Bukovyna

The dance of Bukovyna is quick, lively, and features intricate footwork. It is influenced by the dances of Moldavia, which it borders.

Sections

 * 1) /Basic and Common Steps/
 * This section identifies steps that form the foundation of this regional style of dance, and which may be performed by both men and women (boys and girls).
 * 1) /Steps for Men and Boys/
 * This section identifies steps that are only performed by men and boys.
 * 1) /Steps for Women and Girls/
 * This section identifies steps that are only performed by women and girls.
 * 1) /Steps for Couples or Groups/
 * This section identifies steps that require two or more dancers.
 * 1) /Sample Choreography/
 * This section provides sample choreography which may be used by dance groups wishing to perform a dance that is characteristic of this region.

title: Ukrainian Dancing/Bukovyna


text:
User talk:Northof60dancer

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title: User talk:Northof60dancer


text:
Ukrainian Dancing/Zakarpattia

Zakarpattia or Transcarpathia is another mountainous region. Movements tend to be vertical and bouncy.

Sections

 * 1) /Basic and Common Steps/
 * This section identifies steps that form the foundation of this regional style of dance, and which may be performed by both men and women (boys and girls).
 * 1) /Steps for Men and Boys/
 * This section identifies steps that are only performed by men and boys.
 * 1) /Steps for Women and Girls/
 * This section identifies steps that are only performed by women and girls.
 * 1) /Steps for Couples or Groups/
 * This section identifies steps that require two or more dancers.
 * 1) /Sample Choreography/
 * This section provides sample choreography which may be used by dance groups wishing to perform a dance that is characteristic of this region.

title: Ukrainian Dancing/Zakarpattia


text:
Ukrainian Dancing/Volyn

The dance of Volyn is characterized by energetic jumping and kicking.

Sections

 * 1) /Basic and Common Steps/
 * This section identifies steps that form the foundation of this regional style of dance, and which may be performed by both men and women (boys and girls).
 * 1) /Steps for Men and Boys/
 * This section identifies steps that are only performed by men and boys.
 * 1) /Steps for Women and Girls/
 * This section identifies steps that are only performed by women and girls.
 * 1) /Steps for Couples or Groups/
 * This section identifies steps that require two or more dancers.
 * 1) /Sample Choreography/
 * This section provides sample choreography which may be used by dance groups wishing to perform a dance that is characteristic of this region.

title: Ukrainian Dancing/Volyn