text:
Talk:Petronas Towers

Completion
How did the architect complete the design in 1998 but the Spiderman scaled the tower in 1997? SilentOpen 04:39, 6 May 2004 (UTC)

 * Maybe Alain Robert can't wait till the towers to be completely finished so he climbed earlier. Izzudin 10:53, 6 April 2007 (UTC)

Probably a typo, probably meant 1988.

 * Wow, are the towers that old?

---

Some photos show contrast between the bright and dark towers. And I heard the tower constructed by Hazama gains favor but the other by Samsung does not. Is it true or just a rumor? --Nanshu 04:25, 11 Mar 2004 (UTC)

 * To me at least the first picture in the link looks like the right tower happens to be in the right position/angle to reflect sunlight, while the left one is not... Jpatokal 08:22, 11 Mar 2004 (UTC)

I meant night scenes --Nanshu 03:23, 13 Mar 2004 (UTC)

 * [2] and [4] are both dead links and in [3], they look the same to me. Hmm, could it be that you think the Hazama tower is better than the Samsung tower because Hazama is Japanese and Samsung is Korean?  No, of course Nanshu would never think that Japan is better than Korea, so I must be wrong.  --Sewing 19:27, 13 Mar 2004 (UTC)

 * I don't have paranoid thoughts and neither do you, I hope. I just want to verify the rumor.
 * Also, [2] and [4] aren't dead. They kick out requests from remote sites. --Nanshu 04:00, 14 Mar 2004 (UTC)

 * Sewing, Nanshu is one of the most conservative Japanese I've ever seen from his articles. His so called NPOVness hides the POVed strategy of emphasizing pro-Japan materials and ommitting con-Japan ones. :)

Removed the following. Please cite:

In the wake of the controversy that its claim generated the rules were overhauled,

What were they overhauled to?

''but many still do not accept the claim. '' Who? Cite or perish --Malbear 09:55, 23 Sep 2004 (UTC)

"and are entirely devoted to office space"

Removed as the petroleum club on the podium is not an office.

Removed this section as it should probably go to wikitravel. Additionally, the wikitravel search box seems broken so didn't do an add there. Can someone who has the patience to figure out what's wrong kindly.....

Admission is free. Tickets are limited and issued daily on a "first-come-first-served" basis. Ticket Counter opens at 8:30am and located at : PETRONAS Twin Towers Visit Centre, Tower 2, Concourse Level, PETRONAS Twin Towers, Kuala Lumpur City Centre, 50088 Kuala Lumpur, Malaysia.

 * Cleaned up and spun Suria KLCC stuff out to its own page. Dan100 01:36, Jan 1, 2005 (UTC)

Capitals
Why is it PETRONAS Twin Towers, and not Petronas Twin Towers? Are they yelling out the name?--Jerryseinfeld 15:44, 1 Jan 2005 (UTC)

I was wondering that, but upon checking their coporate website I see that PETRONAS is capitilized throughout. A valid edit, I guess. Dan100 16:33, Jan 1, 2005 (UTC)

 * Nah, lots of companies "insist" in bizarre capitalizations. We certainly are under no obligation to obey them, especially when they are so strange looking. I'm changing these all back to something less loud. Nohat 10:15, 1 Mar 2005 (UTC)

 * PETRONAS is an acronym, like e.g. NATO. We don't write it as Nato, do we? It's not just a shorthand, it's a trademark, used in all official PETRONAS documents and publications. I work here, so I know how it's supposed to be spelled. As a side note, you might find that even the Malaysian media writes it as Petronas, but that's only because they're ignorant. In PETRONAS's press releases, it's always written as PETRONAS, not Petronas. You might think PETRONAS looks strange, but to me, Petronas looks strange, and PETRONAS looks proper. --Aidfarh 02:09, 10 Jun 2005 (UTC)

[Formerly] World's tallest building
The article specifies that the PETRONAS towers were once the worldest tallest building, but there was clear controversy regarding the InfoBox being that of World's Tallest Buildings. I (obviousy from that history record) would say it should be, as the spires were once highest, and it was often reffered to as the world's tallest building. -Sean Hayford O'Leary 15:18, 20 January 2006 (UTC)

 * It's the right reason, and the same one as to why the Chrysler Building was once the World's Tallest. Architectural spires are a design issue and smoothly integrated into the building. IT's also the height at which the Empire State Building is recorded. The controversy stems from poeple wishing to change the rules to make sure they keep or acquire the record, that they should not otherwise hold. If it was good enough for all the years that the Empire State Building was Tallest, then it should be good enough now. 132.205.45.148

The picture showing building comparisons is unfair as it shows the height of the Sears Tower including the antennas. Official building height comparisons include spires (such as on the Chrysler Building) but not antennas (such as on the Sears Tower). —Preceding unsigned comment added by 68.146.109.153 (talk) 00:19, 13 September 2007 (UTC)

Well, i guess when Shanghai World Financial Center is completed in about June now, KLCC will drop to third place instead of second place, according to tallest buildings in the world —Preceding unsigned comment added by 61.223.99.83 (talk) 04:40, 16 June 2008 (UTC)

In the diagram that compares the buildings to other buildings, the WTC is clearly taller than Petronas, despite it saying that Petronas was tallest from 98-04. If you don't count antennas, WTC still appears taller. — Preceding unsigned comment added by 68.106.216.170 (talk) 01:00, 13 September 2013 (UTC)

Skybridge Picture
On a recent trip to Malaysia i took a picture from the 41st floor of the skybridge. The article is looking a little messy from other images, so if someone wants to place it in, please feel free. Image:SkyBridge.JPG. Thanks, --Ali K 12:58, 24 April 2006 (UTC) Nevermind, i managed to find the time to do it myself. --Ali K 12:07, 2 May 2006 (UTC)

Page Title
Can someone please tell me what's the logic of using the title Petronas Towers instead of PETRONAS Twin Towers? PETRONAS Twin Towers is the official name of the building, and also used in the addresses of all the occupants of the buildings. --Aidfarh 02:26, 10 Jun 2005 (UTC)

 * Since the article has been moved back and forth a couple times, you should probably follow the procedure at Requested moves for requesting a page move. Rhobite 02:52, Jun 10, 2005 (UTC)

 * I'd oppose a move.  Article titles should use the most usual form of the name, and in this case that's lower-case. If even the local media are unaware of the "correct" name, then it's clearly not widely used.  Mark1 03:58, 10 Jun 2005 (UTC)

 * The following discussion is an archived debate of the . Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

move to Petronas Twin Towers. — Nightst a  llion  (?) 12:22, 7 June 2006 (UTC)

Requested Move
I support and had requested the move to PETRONAS Twin Towers. In my opinion, articles in encyclopedias should be named according to the official names of something. Check out the official website of the PETRONAS Twin Towers: http://www.petronastwintowers.com.my/. The term "Petronas Twin Towers" is more widely used in the local media though, but not "Petronas Towers". See the following examples:

Safe options in managing waste - The Sun ...Malaysians generated in excess of 7.3 million tonnes of garbage, enough to fill 4 2 Petronas Twin Towers, as one famous example has it.

Use of force against demonstrators: 'Policemen have the right to defend themselves' - New Straits Times ...Opposition politicians gathered near the Petronas Twin Towers to protest against price increases in electricity and fuel.

'Cars' goodies up for grabs - The Star ... PetroSains Speed in Kuala Lumpur's Petronas Twin Towers and experience the science of racing.

What is your opinion, "Support" or "Oppose"?

EDIT: Due to the outcome of the votes, I changed the request to "Petronas Twin Towers". Please vote below. - Knowhow

VOTES: Requested Move: Petronas Towers → Petronas Twin Towers
This time, "PETRONAS" is not fully capitalized. Share your opinions below.
 * SUPPORT by nominator. Reasons are given above. - Knowhow

VOTES: Requested Move: Petronas Towers → PETRONAS Twin Towers

 * OPPOSE "PETRONAS" is like a surname where surnames are completely capitalized, whereas in Wikipedia, this does not happen. 132.205.45.148 18:06, 1 June 2006 (UTC)
 * Comment: "PETRONAS" is an acronym (well, more of a combination of parts of two words): Petroliam Nasional . Therefore, it may be acceptable as all caps. ··· 日本穣 ? · Talk to Nihonjo e  19:08, 1 June 2006 (UTC)
 * Oppose No need to follow those marketing people and capitalise the name. I don't oppose against adding the "twin" though. -- H005 22:23, 1 June 2006 (UTC)
 * Oppose Captialization (marketing trick as per H005), ok with twin. ~ trialsanderrors 19:44, 1 June 2006 (UTC)
 * Oppose The capitalization is not needed, but as before, I am fine with the addition of the word "twin". It's just that in popular lingo, far more instances of "Petronas" are seen rather than "PETRONAS", especially in non-Malaysian media. –-  kungming·2 | (Talk · Contact)  01:02, 2 June 2006 (UTC)
 * Oppose all caps, Support move to Petronas Twin Towers. ··· 日本穣 ? · Talk to Nihonjo e  01:08, 2 June 2006 (UTC)
 * Oppose. Manual of Style (trademarks) says "Follow standard English text formatting and capitalization rules even if the trademark owner encourages special treatment". "Official" names have never been a deciding factor for the naming of Wikipedia articles. The core naming principle is "use common names"—see Naming conventions (common names)—not "use official names". Note also that Petronas is different from, say, NATO, because in NATO, each letter stands for something (North Atlantic Treaty Organization), but in Petronas, only the P and N are initials, so it doesn't make any sense to capitalize the whole thing. One might make an argument for PetroNas, but no one spells it that way, and Manual of Style (trademarks) explicitly says "don't invent new formats". "Twin" is ok, as "petronas twin towers" gets more Google results than "petronas towers". Nohat 02:19, 2 June 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Evacuation on 12 Sep 2001
The bomb hoax on 12 Sep 2001 is real enough, I remember this from a Discovery/NatGeo documentary on the prospects of tall buildings after 9/11. The towers were built so that one tower would serve as the backup for the other, and the response to the hoax showed that the buildings cannot be evacuated on time simultaneously. The revised escape plans call for using elevators if both buildings need to be evac'ed. Jpatokal 07:02, 17 August 2006 (UTC)

Leaning tower of Petronas
I heard in a documentary that one of the towers (not sure which one) was built leaning about a thumb's width from being vertical. When they discovered this at about 2/3rd's the way through the building process of whichever tower, they decided to simply build the rest vertically. Can anyone confirm this and find any citations?--H.M.S Me 19:09, 23 August 2006 (UTC)

'Petronas Twin Towers, National Geographic Channel Broadcast.' (Video : 36:02~36:13) "25mm problem....Tower 1(Japanese built) wasn't straight." Japanese don't like this fact. They made false rumors about it. — Preceding unsigned comment added by 182.172.18.133 (talk) 13:50, 22 January 2018 (UTC)

 * Yes, this is true. --Pavithran 18:50, 24 July 2007 (UTC)
 * I think this is discussed further down the page (Tower 2(Samsung C&T Corporation) ran into problems) Epak (talk) 01:46, 27 March 2008 (UTC)
 * As long as I know, it was not the tower 1 but the tower 2 that was found leaning and was being built by Samsung. The news article written in Korean is apparently wrong. Please show some other sources that are to be convincing to everybody.--116.81.236.54 (talk) 19:31, 24 May 2008 (UTC)
 * maybe you believe Japanese 2 channel source. The 2ch kenkan article written in Japan is apparently wrong. it is fully fabrication. Please show some other sources that are to be convincing to everybody. not rumor. Manacpowers (talk) 20:51, 24 May 2008 (UTC)

 * Hazama Corporation is in charge of constructing Tower 1
 * According to both a National Geographic documentary and a Korean newspaper, the builders of Tower 1, (Japan), ran into problems when they discovered the structure was 25 millimeters off from vertical.
 * Petronas Twin Towers, Metroseoul newspaper. ''Hazama Corporation (Japan) has worked on 'Tower 1' and they found serious problem. The building was leaning 25mm on the ground. While Japanese fix this problem, Koreans fully completed building without problem.
 * Petronas Twin Towers, National Geographic Channel Broadcast. (Video : 36:02~36:13) "25mm problem....Tower 1 wasn't straight."
 * Manacpowers (talk) 22:29, 24 May 2008 (UTC)

^ Tim Bunnell (1999). "The Petronas Twin Towers and/in contesting visions of development in contemporary Malaysia, “rumor about leaning”". Singapore Journal of Tropical Geography: 1-23. Retrieved on 2008-07-24.
 * This dilemma was, in turn, resolved by another popular rumour circulating during my doctoral fieldwork in 1997. It could only be Japanese tower 1, since South Korean-built tower 2 was said to be “leaning”. The rumour has numerous possible connotations.
 * It is not necessary source. rumor is just rumor. also it was not a fact. Manacpowers (talk) 06:45, 25 July 2008 (UTC)

Manacpowers (talk) was banned for abusive use of multiple account. We should correct what he concerned, it is leaning to one's side. — Preceding unsigned comment added by 126.205.213.125 (talk) 02:01, 14 November 2012 (UTC)

 * The current sources for this information are biased or not relevant, it should not figure in this article.
 * - "https://travel-noted.jp/posts/5436" is a travel blog talking about how Tower 2 is currently leaning (which is not the topic here and is an info found nowhere else) and is not sourced. The second one is..a post on twitter, whose source is a Japanese nationalist blog. The post has been deleted since. The third one is also a blog article based on the first source which also talks about how the Tower 2 is leaning now and threatens to collapse and how he "doesn't know the truth"...
 * -On the other hand the foreman of Tower 1 explains in a National Geographic Channel documentary (http://www.youtube.com/watch?v=hsFQTETJXvA) that there were rumors that Tower 1 (not 2) was leaning, this University paper (http://profile.nus.edu.sg/fass/geotgb/Bunnell1.pdf) also talks about "rumors" with "connotations" and this 1999 article (http://mcleon.tripod.com/KLCC/leantower.htm) from a Malaysian newspaper talks also about rumors later proven false. --Nuotzi (talk) 05:45, 16 August 2018 (UTC)
 * I agree that sources are in considerable disagreement over which tower had the issues. I've contacted someone I know who's knowledgeable about this field (skyscraper construction) so we'll see if he can find any good reliable sources on this. Enterprisey (talk!) 23:48, 16 August 2018 (UTC)

Appearances in media
I might be wrong, but I'm fairly certain these towers appear in an episode of the anime "Cowboy Bebop", in which a maniacal bomber with a teddy bear theme attempted to blow up two towers which looked highly similar to these, complete with the connecting bridge.

 * I suspect those were DILLIGAF Twin Towers. Jpatokal 08:28, 1 December 2006 (UTC)

Cost
Correct me if I'm wrong, but the article does not seem to provide information as to how much it cost to construct the towers. Is this information not published? Johnleemk | Talk 12:46, 6 April 2007 (UTC)

Rising Star?
I read somewhere, maybe in a magazine or something, that these buildings are also known as the "Rising Star(s)." There's not a single reference of this anywhere. Am I mistaken or this reference true somewhere? Eridani 01:48, 23 April 2007 (UTC)

 * I've never heard that, and I worked at the Towers for half a year. Jpatokal 01:43, 24 April 2007 (UTC)

2005 to 2090
last edit changed the elevator drill year from 2005 to 2090.. vandalism I guess but I'm too newbie here to even attempt fixing it (sorry!). please fix and wipe this comment. 216.239.83.250 02:58, 30 May 2007 (UTC)

Vandalisms
There are a lot of vandalisms happened in this article.. as much as they happened in Malaysia --Izzudin 17:48, 30 June 2007 (UTC)

Requested move

 * The following discussion is an archived discussion of the . Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

Petronas Twin Towers → Petronas Towers — Most commonly referred to without the "Twin".-- Hús  ö  nd  00:07, 16 August 2007 (UTC)

Survey

 * Feel free to state your position on the renaming proposal by beginning a new line in this section with  or  , then sign your comment with  . Since polling is not a substitute for discussion, please explain your reasons, taking into account Wikipedia's naming conventions.

 * Oppose- Petronas Twin Towers is more common than merely Petronas Towers. As noted in the voting before, Petronas Twin Towers has more hits in Google search than Petronas Towers. Furthermore, the official website uses the word twin, so it also has an official sanctity. --Zack2007 00:46, 16 August 2007 (UTC)
 * Actually, a Google search for "Petronas Towers" has more results than a search for "Petronas Twin Towers" .--  Hús  ö  nd  00:58, 16 August 2007 (UTC)
 * 3 thousand more Husond. It is not like there were 400000 ghits for "Petronas Towers" and 200000 ghits for "Petronas Twin Towers." -- Tλε Rαnδom Eδιτor  ( tαlk ) 22:37, 20 August 2007 (UTC)

 * The above discussion is preserved as an archive of the . Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Google reports almost exactly numbres the same for the two phrases, so the one used on their website (and the current title) is preferred. It was requested that this article be renamed but there was no consensus for it to be moved. --Stemonitis 06:38, 21 August 2007 (UTC)

Tower 1(Japanese built) ran into problems
According to petronas twin towers documentary on national geographic channel and Korean Newspaper.

 * Tower 1(Japanese built) ran into problems when they discovered the structure was 25 millimeters off from vertical.

Heavypaper 02:34, 28 September 2007 (UTC)

There seems to be contention (or confusion) as to which tower ran into problems. I read the metroseoul article and it looks credible enough. But I have also read other websites where it was quote as Tower 2 having had that (same) problem. For instance here. Can anyone find weigh in on the matter? Epak (talk) 01:27, 27 March 2008 (UTC)

 * link is dead. and that source is clear. Manacpowers (talk) 09:06, 10 May 2008 (UTC)

 * There is archive from webarchive.com I think this source is a reliable than Koreans'.

This is called Koreate. — Preceding unsigned comment added by 211.126.71.115 (talk) 12:08, 6 July 2011 (UTC)

Japanese just can't accept the fact and deny it.

The problem happened on the Tower 1, not Tower 2. Robert Pratt evidenced it on the National Geographic Channel, who was a foreman of the Tower 1.[] — Preceding unsigned comment added by 60.38.71.176 (talk) 07:22, 23 September 2013 (UTC)

Tower 1 ran into problems. not Tower 2 according to item no.7

39th and 40th floors
The article says they are not accessible as office space. So what IS there? It should be added to the article if known. --Frank Lofaro Jr. 16:53, 8 November 2007 (UTC)
 * I'm curious to know how you get from floors 41/42 to 43/44. Escalators?  What about the stairs?JPBarrass (talk) 01:54, 21 April 2008 (UTC)

Height of upmost observation deck
In which height, is the highest observvation deck of Petronas Twin Towers? —Preceding unsigned comment added by 91.46.234.72 (talk) 18:17, 13 November 2007 (UTC)

The skybridge is the highest observation deck. --Shorty23sin (talk) 08:54, 3 March 2009 (UTC)

Contractors
I remember that an architectural engineering professor once told us in a lecture that the two contractors (samsung and hazama) were made to compete against each other, and the contractor that built the tower first would be given the contract for the skybridge. (I also looked it up and found an article to substantiate the prof's claim: http://www.klseeker.com/Article-Malaysia-Petronas_Towers_in_Kuala_Lumpur.htm)

So, the part about the skybridge being constructed by Kukdong Engineering & Construction must be wrong. This is also helped by the official KLCC web page that asserts that it was done, in fact, by Samsung Heavy Industries. I am not sure, however, if it was Samsung Heavy Industries. There are two Samsung Engineering & Construction divisions, one under Samsung Corporation and one under Samsung Heavy Industries. I was under the impression that it was the one under Samsung Corporation that was in charge of the bridge, but I could (probably) be wrong. —Preceding unsigned comment added by Epak (talk • contribs) 01:22, 27 March 2008 (UTC)

I'm sorry, I'm new to this editing and discussion business in wikipedia. How long do people usually wait after writing something in the discussion (as I just did) until I decide to edit the actual page? Oh, and I just learned how to sign. :) Epak (talk) 01:37, 27 March 2008 (UTC)

And one more question (sorry): do I have to check this discussion page occasionally, or am I automatically informed?! Epak (talk) 01:38, 27 March 2008 (UTC)

Tower Calapus
hey there wats up me chillin how are you fine i hope just want to say Hi —Preceding unsigned comment added by 68.153.118.80 (talk) 18:18, 7 May 2008 (UTC)

Top floors not in use due to safety?
I have heard that the top floors (I think the top quarter) of both towers are empty and not in use. Reason is, that they can not evacuate the top floors in time. Is this true? If yes this would be useful information in this article. Thanks! --Shorty23sin (talk) 08:57, 3 March 2009 (UTC)

Statistical inconsistancies re: Sears Tower.

Sears Tower: Antenna/Spire 527 m Roof 442 m

Petronas Towers: Antenna/Spire 	451.9 m Roof 378.6 m

527 > 451.9

442 > 378.6

Unless I'm suffering from an early onset of Alzheimer's the Sears Tower is, unarguably, taller than the Petronas Towers. If the honour of world's tallest building is decided by factors other than being the world's tallest building (because that would make so much sense), this should be unambiguously noted as should the controversy behind it. I'm suspecting that some ultra-patriotic Malaysian might be responsible. Wormwoodpoppies (talk) 19:44, 15 March 2009 (UTC)

 * Going by Sears Tower, it sounds like spires count towards height, but antennas do not, as they are not considered architectural features. Either way, this should be clarified.-- Terrillja talk  20:15, 15 March 2009 (UTC)

 * It has been clarified; in great detail, right here at List of tallest buildings in the world. I won't bother explaining as it is all very well explained there.
 * In short, Petronas' spire height (spire's count) of 452 m is greater than Sears' roof height (antennas do not count) of 442 m. -- timsdad  (talk) 06:25, 16 March 2009 (UTC)
 * Maybe this image will help to clarify things a bit. -- timsdad  (talk) 06:37, 16 March 2009 (UTC)

Yes, despite common sense interpretation of 'building height' which can be seen from the above graphic, the PETRONAS Towers took advantage of the technicalities of the definition of 'structure' to claim the titles. In my opinion, even the old World Trade Centre twin towers were taller. To me, the PETRONAS towers were never the tallest building nor the tallest twin towers. But that's my opinion. — Preceding unsigned comment added by 203.190.127.229 (talk) 06:04, 28 October 2014 (UTC)

Recent changes from unregistered user
The two most recent edits to this article (coming from an unregistered user) do not seem to be warranted.

The edit at 19:19, 29 June 2009 changes the "Taipei 101" to "Burj Dubai" without any reason that I can think of. Was the editor trying to imply that the Burj Dubai is the only tower to surpass the Petronas Twin Towers? In this same edit, the Petronas Twin Towers are said to be the "...second tallest twin buildings in the world after the completion of Burj Dubai in Dubai in September of this year." It seems that here the editor was confused. The sentence was correct before the edit. The Petronas Twin Towers remain the tallest twin buildings in the world.

The edit at 19:20, 29 June 2009, adds the words "was not built" after the Burj Dubai link, implying that the Burj Dubai has not been built. This edit seems to be simple vandalism.

Unless someone has an objection, I will undo these two edits.

Falochan (talk) 19:13, 30 June 2009 (UTC)

 * I'm undoing the edits mentioned above as of now. Falochan (talk) 12:56, 1 July 2009 (UTC)

"Twin Towers"
The lead claims they are just known as the "Twin Towers". Could someone explain where exactly this is in the case? Is it locally, or perhaps throughout Asia? In the US, at least, "Twin Towers" definitely still means the twin World Trade Center towers. I'll put a clarify tag on the "Twin Towers" claim here in the lead. Comet Tuttle (talk) 01:13, 3 March 2010 (UTC)

 * I don't think anybody associated the name "Twin Towers" alone with them, but you'll definitely find lots of references to the "Petronas Twin Towers" all over the place. Jpatokal (talk) 08:02, 3 March 2010 (UTC)

Site of Worlds highest BASE Jump from a skyscraper ?
Someone add info to this fact in the pop culture section.

http://www.flixxy.com/kuala-lumpur-malaysia-base-jump.htm —Preceding unsigned comment added by Gizziiusa (talk • contribs) 19:31, 26 October 2010 (UTC)

"known as KLCC" - debateable
KLCC refers almost exclusively to the shopping center attached to the base of the towers, and not the towers themselves.

Many malaysians would never refer to the petronas towers as KLCC, nor would they refered to KLCC as "the towers" or "the petronas towers". 203.188.235.9 (talk) 07:35, 12 January 2011 (UTC)MS90
 * that may be so point well taken, but please also reference wp:commonname. --emerson7 07:45, 12 January 2011 (UTC)
 * KLCC is the area of the Petronas Twin Towers and its surrounding. The shopping mall below the twin towers is called Suria KLCC. Both are completely two different entity with two different Wikidata entry. Chongkian (talk) 06:43, 24 May 2022 (UTC)

Attention admins please
There has been a massive rewrite of the page e.g. the History section in the last few days, but not all of it seems constructive, e.g. questionable constructs such as

 * Petronas Towers was officially groundbreaking on 1 January 1992 after rigorous tests and simulations of wind and structural loads on the design after seven years of construction and became the tallest buildings in the world.

 * Petronas Towers was officially excavators began digging down 30-metres below the surface of the site on 18 January 1993.

 * Petronas Towers was officially building of construction on 1 January 1995 by the skybridge of the Petronas Towers is opened to public.

There may be some useful changes done, though it's lost in the reorganisation.

Would it be a good idea for an admin to temporarily lock the page to take stock of what should be kept and otherwise?

Thanks! cmɢʟee☎✉ 12:29, 7 July 2012 (UTC)
 * Hi, cmglee. Protecting the article should be a last resort.  It would be helpful if you could source your timeline and gain some consensus here for its inclusion. I note that this page is slightly inactive, so you may consider posting messages at Wikipedia talk:WikiProject Malaysia and Wikipedia talk:WikiProject Architecture so that the opinion of other editors can be solicited.  Be sure to word your posts on those pages as neutrally as possible.  Regards  Tide  rolls  15:25, 8 July 2012 (UTC)
 * Follow-up. I have looked at the article revision history closer and it appears the IP has been edit warring to keep their version of the article. As they have done so without discussion and their edits have been removing cited content (not to mention they have no concept of the MOS), I will revert and protect for a short period.  I still recommend that you attempt to gain more opinions on the history section as explained above.  Regards  Tide  rolls  15:41, 8 July 2012 (UTC)

Contents doublings
The article contains several doublings: In the chapter HISTORY concerning the concrete pour, in the chapter SKYBRIDGE sliding attachment to the towers. These should be removed to ease the reading. Hhwg (talk) 10:00, 27 January 2013 (UTC)

Clean-up and content moves
References to the towers in film and TV do not belong in "Notable events" so I created a separate pop-culture section. I also cleaned up wording for grammar and English, removed some irrelevant references, and also stripped out the two IMDb references as Wikipedia does not consider IMDb to be a reliable source. I also removed the reference to Entrapment filming the climax at the Skybridge as I believe a studio recreation was used for that purpose. 68.146.52.234 (talk) 13:49, 30 November 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 5 external links on Petronas Towers. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120524040847/http://skyscrapercenter.com/kuala-lumpur/petronas-tower-1 to http://skyscrapercenter.com/kuala-lumpur/petronas-tower-1/
 * Added archive https://web.archive.org/web/20140714182328/http://www.support.tue.nl/archief/studiereizen/studiereis2007/pudong_swf_en.htm to http://www.support.tue.nl/archief/studiereizen/studiereis2007/pudong_swf_en.htm
 * Added archive https://web.archive.org/web/20121001183326/http://www.akdn.org/architecture/pdf/1969_Mal.pdf to http://www.akdn.org/architecture/pdf/1969_Mal.pdf
 * Added archive https://web.archive.org/web/20120524040847/http://skyscrapercenter.com/kuala-lumpur/petronas-tower-1 to http://skyscrapercenter.com/kuala-lumpur/petronas-tower-1/
 * Added archive https://web.archive.org/web/20120619014517/http://www.skyscrapercenter.com/kuala-lumpur/petronas-tower-2 to http://skyscrapercenter.com/kuala-lumpur/petronas-tower-2/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 08:32, 6 December 2017 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 23:53, 28 September 2020 (UTC)
 * Petronas Towers.png

Petronas Tower 3?
OK, I just finished reading the article and then found the article “Petronas Tower 3” in my Related feed. It seems that it’s an extension to the Suria KLCC building from what I can understand. The building cost around 1B$. It was formerly known as the “Carigali Tower”. For more info (Because I don’t really understand everything) this is the link to the article: en.m.wikipedia.org/wiki/Petronas_Tower_3 PIT Sidd (talk) 05:32, 28 December 2020 (UTC)

Veggie Vandalism?
''In an homage to Hitman 2: Silent Assassin, Golgo 13 is given a contract by an unnamed Overseas Filipino Worker in Japan to kill Mr. Nezzer, whose company, The Nezzar Toy Company, is an anchor tenant in the towers. Golgo manages to break into Mr. Nezzar's office and kill Oswald Cobblepot, who has been hired as one of Mr. Nezzar's bodyguards, with a fire axe. Subsequently, Golgo finds Mr. Nezzar's penthouse apartment in the second tower and kills both Mr. Nezzar and Mr. Lunt, who are both bathing in the hot tub of their penthouse, by shooting them with his Smith & Wesson Model 10 revolver.''

And it links to the VeggieTales characters? Wh- Icepunchies (talk) 14:14, 31 January 2022 (UTC)
 * One might have to read that manga to check, but given the lack of citation and many extraneous details I've simply removed the entire bullet. CMD (talk) 15:44, 31 January 2022 (UTC)

Requested move 22 May 2022

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: no consensus. (non-admin closure) — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 23:25, 6 June 2022 (UTC)

Petronas Towers → Petronas Twin Towers – Using Google search results, there are 885,000 results for Petronas Towers and 1,850,000 results for Petronas Twin Towers. The latter seems to be by far the common name for the towers. (Note, the number seems to change constantly and may not be accurate, but so far the latter outnumbers the former in every instance I tried searching.)

On Google News, there are 6,760 results for Petronas Towers and 7,430 results for Petronas Twin Towers. This is a closer margin, but the latter is still the common name.

Not sure if I have missed out anything, so do feel free to oppose with your arguments. I am aware there are two prior move requests, but the common name seems to have changed since 2007. Seloloving (talk) 22:23, 22 May 2022 (UTC) — Relisting. — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 15:41, 30 May 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Oppose: The Ngram results do not support the idea that "Petronas Twin Towers" is more commonly used than "Petronas Towers". Google Scholar also shows "Petronas Towers" as slightly more popular than "Petronas Twin Towers" (2,470 vs. 2,270 results). The Ngram and Google Scholar results seem like a better indication of high quality sources than a raw Google search. The current title is also more WP:CONCISE without being ambiguous. — BarrelProof (talk) 18:41, 23 May 2022 (UTC)
 * Agree, recognizability  in Google search, "petronas towers" has 902,000 results while "petronas twin towers" has 1,650,000 results (used the "xxx" search term for the exact wording search results); precision based on the name on its official website at https://www.petronastwintowers.com.my/; concision to distinguish it from the latest constructed Petronas Tower 3, all per WP:CRITERIA. Chongkian (talk) 06:39, 24 May 2022 (UTC)
 * Oppose, the change would contradict the naming conventions for Petronas Tower 3. Unless the page converts itself to Menara Carigali (or Carigali Tower), changing the name would mean that Petronas Tower 3 would be renamed into Petronas Twin Tower 3? Cheers, PenangLion (talk) 12:13, 29 May 2022 (UTC)
 * Oppose Per BarrelProof. ᴢxᴄᴠʙɴᴍ (ᴛ) 06:44, 31 May 2022 (UTC)

New image
The new image of the towers on October 2 2022 Tise exists (cool) (talk) 15:20, 2 October 2022 (UTC)

english
building you love 2402:800:6E0B:5815:C80:949F:4B9E:7050 (talk) 08:41, 18 July 2024 (UTC)

title: Talk:Petronas Towers


text:
Virginals

The virginals is a keyboard instrument of the harpsichord family. It was popular in Europe during the late Renaissance and early Baroque periods.

Description
A virginals is a smaller and simpler, rectangular or polygonal, form of harpsichord. It has only one string per note, running more or less parallel to the keyboard, on the long side of the case. Many, if not most, of the instruments were constructed without legs, and would be placed on a table for playing. Later models were built with their own stands.

Mechanism
The mechanism of the virginals is identical to the harpsichord's, in that its wire strings are plucked by a set of plectra, mounted in jacks. Its case, however, is rectangular or polygonal, and the single choir of strings—one per note—runs roughly parallel to the keyboard. The strings are plucked either near one end, as with the harpsichord, or, in the case of the muselar, nearer the middle, producing a more flute-like tone that's reduced in upper harmonics.

Etymology
The origin of the name is obscure. It may derive from the Latin virga meaning a rod, perhaps referring to the wooden jacks that rest on the ends of the keys, but this is unproven. Another possibility is that the name derives from the word virgin, as it was most commonly played by young women, or from its sound, which is like a young girl's voice (vox virginalis). A further view is that the name derives from the Virgin Mary, as it was used by nuns to accompany hymns in honour of the Virgin.

In England, during the Elizabethan and Jacobean eras, any stringed keyboard instrument was often described as a virginals, and could equally apply to a harpsichord or possibly even a clavichord or spinet. Thus, the masterworks of William Byrd and his contemporaries were often played on full-size, Italian or Flemish harpsichords, and not only on the virginals as we call it today. Contemporary nomenclature often referred to a pair of virginals, which implied a single instrument, possibly a harpsichord with two registers, or a double virginals (see below).

History
Like the harpsichord, the virginals has its origins in the psaltery, to which a keyboard was applied, probably in the 15th century. The first mention of the word is in Paulus Paulirinus of Prague's (1413–1471) Tractatus de musica, of around 1460, where he writes: "The virginal is an instrument in the shape of a clavichord, having metal strings which give it the timbre of a clavicembalo. It has 32 courses of strings set in motion by striking the fingers on projecting keys, giving a dulcet tone in both whole and half steps. It is called a virginal because, like a virgin, it sounds with a gentle and undisturbed voice." The Oxford English Dictionary records its first mention in English in 1530, when King Henry VIII of England purchased five instruments so named. Small, early virginals were played either in the lap, or more commonly, rested on a table, but nearly all later examples were provided with their own stands. The heyday of the virginals was the latter half of the 16th century to the later 17th century, until the high Baroque period, when it was eclipsed in England by the bentside spinet, and in Germany, by the clavichord.

Spinet virginals

Spinet virginals (not to be confused with the spinet) were made principally in Italy (spinetta), England and Flanders (spinetten). The keyboard is placed left of centre, and the strings are plucked at one end, although farther from the bridge than in the harpsichord. This is the more common arrangement for modern instruments, and an instrument described simply as a "virginal" is likely to be a spinet virginals. The principal differences in construction lie mainly in the placement of the keyboard: Italian instruments invariably had a keyboard that projected from the case, whilst northern virginals had their keyboards recessed in a keywell. The cases of Italian instruments were made of cypress wood and were of delicate manufacture, whilst northern virginals were usually more stoutly constructed of poplar. Early Italian virginals were usually hexagonal in shape, the case following the lines of the strings and bridges, and a few early Flemish examples are similarly made. From about 1580 however, nearly all virginals were rectangular, the Italian models often having an outer case like harpsichords from that country. There are very few surviving English virginals, all of them late. They generally follow the Flemish construction, but with a vaulted lid.

Muselars

Muselars (also muselaar) were made only in northern Europe. Here, the keyboard is placed right of centre and the strings are plucked about one-third the way along their sounding length. This gives a warm, rich, resonant sound, with a strong fundamental and weak overtones. However, this comes at a price: the jacks and keys for the left hand are inevitably placed in the middle of the instrument's soundboard, with the result that any mechanical noise from these is amplified. In addition to mechanical noise, from the string vibrating against the descending plectrum, the central plucking point in the bass makes repetition difficult, because the motion of the still-sounding string interferes with the ability of the plectrum to connect again. An 18th-century commentator (Van Blankenberg, 1739) wrote that muselars "grunt in the bass like young pigs". Thus the muselar was better suited to chord-and-melody music without complex left hand parts. The muselar could also be provided with a stop called the harpichordium (also arpichordium), which consists of lead hooks being lightly applied against the ends of the bass strings in such a manner that the string vibrating against the hook produces a buzzing, snarling sound.

Muselars were popular in the 16th and 17th centuries and their ubiquity has been compared to that of the upright piano in the early 20th century, but like other types of virginals they fell out of use in the 18th century.

Ottavini

Both Italian and northern schools produced a miniature virginals called the ottavino. Ottavini were pitched an octave higher than the larger instrument. In the Flemish tradition these were often – perhaps always – sold together with a large virginals, to which the ottavino could be coupled (see Double virginals below). In the Italian tradition, an ottavino was usually a separate instrument of its own, being fitted in its own outer case, just like larger Italian instruments.

Double virginals

The Flemish school, in particular the Ruckers family, produced a special type of virginals known as Mother and Child (moeder und kind). This consisted of two instruments in one: a normal virginals (either spinet or muselar) with one 8′ register, and an ottavino with one 4′ register. The smaller ottavino was stored (rather like a drawer) under the soundboard next to the keyboard of the larger instrument, and could be withdrawn and played as a separate keyboard instrument. However, the two instruments could also be coupled together, the ottavino being placed over the strings of the larger virginals (once the jackrail was removed), so that the jacks of the latter passed through a slot in the bottom of the ottavino. The jacks of the larger instrument now activated the keys of the ottavino, so that both instruments sounded simultaneously, giving a more brilliant effect.

Among the instruments in the inventory of Henry VIII of England, drawn up by Philip Van Wilder in 1553, there are mentions of "twoo pair of double virginalles", "one new pair of double virginalles", and other obscure references. These predate the earliest extant Mother and Child virginal by 30 years (the 1581 Hans Ruckers), and the earliest known double manual harpsichords by about 60 years. The term may have referred to the number of stops on the instrument, or perhaps its range.

Compass and pitch
The keyboard compass of most virginals was C2/E2 to C6 (45 notes, 4 octaves), which allowed the performance of the music contemporarily available for the instruments. The lower octave was tuned to a short octave, so that the bottom E sounded C2, the bottom F♯ sounded D2, and the bottom G♯ sounded E2, thus allowing some frequently-required low bass notes to take over the positions of keys that were rarely used in the contemporary repertory and avoiding building a larger instrument. Some Italian models ranged from C2 to F6 (54 notes, $4 1/2$ octaves).

Virginals were available in various sizes. The Dutch organist and harpsichordist Class Douwes (circa 1650 – circa 1725) mentions instruments from nominal 6 ft down to 2+1/2 ft. The pitch differences between the models offered by the Ruckers workshops were by no means arbitrary, but corresponded to the musical intervals of a tone, a fourth, a fifth, an octave, and a ninth. Pitch assignments have been suggested for these instruments based on scalings provided by Douwes. Most modern instruments are full-sized ones at 8′ pitch or ottavini at 4′ pitch, although there are no surviving Ruckers instruments at the 4' pitch, and most probably none were ever made by his workshop.

Decoration
Whilst many early virginals throughout Europe were left in plain wood, they were soon provided with rich decoration, which may have contributed to the survival of many such instruments. From mouldings on case edges, jackrails and namebattens to adornment with ivory, mother-of-pearl, marble, agate, tortoiseshell or semi-precious stones, not to mention intricate painting, no expense was spared by those who could afford it.

Most Flemish virginals had their soundboards painted with flowers, fruit, birds, caterpillars, moths and even cooked prawns, all within blue scalloped borders and intricate blue arabesques. Many of these motifs appear to be resurrection symbols. Natural keys were normally covered in bone, and sharps were of oak or, less commonly, chestnut. The case exteriors were usually marbled, whilst the inside was decorated with elaborate block-printed papers. Occasionally the inside of the lid bore a decorative scene; more often it was covered with block-printed papers embellished with a Latin motto, usually connected with morality or music. Mottos could also be applied to the keywell batten. Some typical mottos include:

 * SIC TRANSIT GLORIA MVNDI ("Thus passes the glory of the world")
 * MVSICA DVLCE LABORVM LEVAMEN ("Music is the sweet solace of labour")
 * MVSICA DONVM DEI ("Music is the gift of God")

The Dutch artist Johannes Vermeer was one among several who produced paintings including examples of virginals. There was no such "standard decoration" for Italian virginals. Where there was an outer case, it was often this that was decorated, leaving the actual instrument plain (typically for Venetian virginals). Cases could be decorated with paintings of grotesques, classical scenes, or marquetry, but soundboards were rarely painted. Keytops could be of plain boxwood, or lavishly decorated (as was often the case in northern Italy) with ivory, ebony, mother-of-pearl or tortoiseshell among other materials.

Traditionally, the soundboards of both northern and Italian virginals were pierced with a rose, sometimes two or three in early days. The rose had no acoustic function, and was purely decorative. Although these were a throwback to the rose in the medieval lute, they were never carved integrally as part of the soundboard. In Italian instruments they were usually constructed by combining multiple layers of pierced parchment, so that the final result looked like a gothic rose window, or an inverted wedding cake. In Flemish instruments, the rose was usually cast from lead and gilded, and usually incorporated the maker's initials.

Composers and collections of works
The word virginals could historically be applied to any stringed keyboard instrument, and since there was very rarely any indication of instrumentation on musical scores in the heyday of the virginals, there are hardly any compositions that can be said to be specifically for that instrument. Indeed, nearly all the keyboard music of the renaissance sounds equally well on harpsichord, virginals, clavichord or organ, and it is doubtful if any composer had a particular instrument in mind when writing keyboard scores. A list of composers for writing for the virginals (among other instruments) may be found under virginalist. Although the "virginalist school" usually refers to English composers, it would not be incorrect to use the word in connection with some continental keyboard composers of the period, such as Girolamo Frescobaldi and Giovanni Picchi, or Samuel Scheidt and Jan Pieterszoon Sweelinck.

Out of the some dozen so-called English "virginal books", only Elizabeth Rogers' Virginal Book actually bears the word in its original title: the other collections were attributed the name by music scholars in the 19th and 20th centuries.

A selection of English "virginal books" includes:

 * The Mulliner Book
 * The Dublin Virginal Manuscript
 * Elizabeth Rogers' Virginal Book
 * Fitzwilliam Virginal Book
 * My Ladye Nevells Booke
 * Clement Matchett's Virginal Book
 * Parthenia
 * Priscilla Bunbury's Virginal Book
 * Will Forster's Virginal Book
 * Anne Cromwell's Virginal Book

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

title: Virginals


text:
List of Urdu poets

The following is a List of Urdu-language poets.

18th century

 * Mirza Muhammad Rafi, Sauda (1713–1780)
 * Siraj Aurangabadi, Siraj (1715–1763)
 * Mohammad Meer Soz Dehlvi, Soz (1720-1799)
 * Khwaja Mir Dard, Dard (1721–1785)
 * Qayem Chandpuri, Muhammad Qyamuddin Ali Qayem (1722–1793)
 * Mir Taqi Mir, Mir (1723–1810)
 * Nazeer Akbarabadi, Nazeer (1740–1830)
 * Qalandar Bakhsh Jurat, Jurat (1748–1810)
 * Mashafi Shaikh Ghulam Hamdani, Mas'hafi (1750–1824)
 * Insha Allah Khan 'Insha', Insha (1756–1817)
 * Saadat Yaar Khan Rangin, Rangin (1757–1835)
 * Bahadur Shah, Zafar (1775–1862)
 * Imam Baksh Nasikh, Nasikh (1776–1838)
 * Khwaja Haidar Ali Atish, Atish (1778–1846)
 * Muhammad Ibrahim Khan, Zauq (1789–1854)
 * Mirza Asadullah Khan Ghalib, Ghalib (1797–1869)
 * Chhannu Lal Dilgeer, Ghulam Hussain (1780–1848)

19th century

 * Momin Khan Momin, Momin (1801–1852)
 * Mirza Salaamat Ali Dabeer (Mirza Salaamat Ali), Dabeer (1803–1875)
 * Mir Babar Ali Anis, Anis (1803–1874)
 * Daya Shankar Kaul Nasim (1811–1845)
 * Amir Meenai, Amir (1828–1900)
 * Dagh Dehlvi (Nawab Mirza Khan), Daagh (1831–1905)
 * Altaf Hussain Hali (Hali Panipati), Hali (1837–1914)
 * Akbar Allahabadi (Syed Akbar Hussain), Akbar (1846–1921)
 * Ahmed Raza Khan Barelvi (Maulana Ahmed Raza Khan Barelvi), Raza (1856–1921)
 * Hassan Raza Khan Barelvi (Maulana Hassan Raza Khan Barelvi), Hassan (1859-1908)
 * Bekhud Badayuni (Muhammad Abdul-Hayy Siddiqui), Bekhud (1857–1912)
 * Shibli Nomani (Allama Shibli Nomani). Shibli (1857–1914)
 * Muztar Khairabadi (1862–1927)
 * Alam (1868–1937)
 * Zaigham (d. 1869)
 * Tashna (1872–1931)
 * Zafar Ali Khan (1873–1956)
 * Arzoo Lakhnavi (1873–1951)
 * Syed Ghulam Bhik Nairang (1875–1952)
 * Hasrat Mohani (Syed Fazlul Hussain), Hasrat (1875–1951)
 * Dil Shahjahanpuri (Zameer Hasan Khan), Dil (1875–1959)
 * Allama Muhammad Iqbal (Allama Iqbal), Iqbal (1877–1938)
 * Mohammad Ali Jauhar (Maulana Jauhar), Jauhar (1878-1931)
 * Fani Badayuni (Shaukat Ali Khan), Fani (1879–1941)
 * Seemab Akbarabadi (Ashiq Hussain) (1882–1951)
 * Brij Narayan Chakbast (1882–1926)
 * Bekhud Dehlvi (Syed Wahiduddin Ahmed) (1882–1955)
 * Niaz Fatehpuri (Maulana Niyaz Muhammad Khan) (1882–1966)
 * Yagana Changezi (Mirza Wajid Hussain Yaas) Yaas (1883–1956)
 * Josh Malsiyani (Labhu Ram) Josh (1883–1976)
 * Asghar Gondvi (Asghar Hussain Asghar), Asghar (1884-1936)
 * Tilok Chand Mehroom (1887–1966)
 * Qamar Jalalvi (1887–1968)
 * Amjad Hyderabadi (Amjad Hussain), Amjad (1888-1961)
 * Jigar Moradabadi (Ali Sikandar), Jigar (1890–1960)
 * Raaz Chandpuri (Mohd. Sadiq) (1892–1969)
 * Hakim Ahmad Shuja (1893–1969)
 * Josh Malihabadi (Shabbir Hassan Khan), Josh (1894–1982)
 * Muhammad Mustafa Jauhar, Jauhar (1895– 1985)
 * Firaq Gorakhpuri (Raghupati Sahay), Firaq (1896–1982)
 * Ram Prasad Bismil (1897–1927)
 * Abr Ahasani Gunnauri (Ahmed Baksh) Abr (1897–1973)
 * Munavvar Lakhnavi Bisheshwar Prasad Munavvar (1897–1970)
 * Abdur Rauf Urooj (c. 19321990)

1900

 * Maghfoor Ahmad Ajazi (1900–1966)
 * Hafeez Jalandhari (Mohd.Hafeez), Hafeez (1900–1982)
 * Talib Chakwali Manohar Lal Kapur ‘Talib’ (1900–1988)
 * Pandit Harichand Akhtar ('Akhtar') (1901–1958)
 * Alam Muzaffarnagari (Muhammad Ishaaq) (1901–1969)
 * Bismil Saeedi (1901–1977)
 * Khushtar Girami (Dewan Ram Rakhamal Kalia) (1902–1988)
 * Anand Narain Mulla (1901–1997)
 * Zaheen Shah Taji (1902–1978)
 * Syed Sajjad Zaheer (1904–1973)
 * Zulfiqar Ali Bukhari (1904–1975)
 * Akhtar Sheerani (Mohd.Dawood Khan) (1905–1948)
 * Saghar Nizami (1905–1984)
 * Abid Ali Abid (1906–1971)
 * Gopal Mittal (1906–1993)
 * Ratan Pandoravi (Rala Ram), Ratan (1907–1998)
 * Makhdum Muhiuddin (1908–1969)
 * Arsh Malsiani (Bal Mukund) (1908–1979)
 * Majaz (Asrar-ul-Haq), Majaz (1909–1955)
 * Abdul Hamid Adam (1909–1981)
 * Sayyid Ahmedullah Qadri, Lisan ul Mulk(1909–1985)
 * Kunwar Mohinder Singh Bedi Sahar, Sahar (1909-1998)

1910

 * Noon Meem Rashid (1910–1975)
 * Faiz Ahmed Faiz, Faiz (1911–1984)
 * Syed Faiz-ul Hassan Shah (1911–1984)
 * Aijaz Siddiqi (1911–1978)
 * Ravish Siddiqi (Ravish) (1911–1971)
 * Nushoor Wahidi (1911–1981)
 * Meeraji (1912–1949)
 * Shifa Gwaliori (1912–1968)
 * Shamim Karhani (1913–1975)
 * Mehr Lal Soni Zia Fatehabadi (1913–1986)
 * Dr. Rafiq Hussain (1913–1990)
 * Sahir Hoshiarpuri (1913–1994)
 * Ali Sardar Jafri (1913–2000)
 * Raza Naqvi Wahi (1914–2002)
 * Mir Gul Khan Nasir (1914–1983)
 * Rais Amrohvi (1914–1988)
 * Ehsan Danish (1914–1982)
 * Jan Nisar Akhtar (1914–1976)
 * Majeed Amjad (1914–1974)
 * Sikandar Ali Wajd (1914–1983)
 * Akhtar ul Iman (1915–1996)
 * Ahmed Nadeem Qasmi, Nadeem (1916–2006)
 * Zamir Jafri, Zamir (1916–1999)
 * Shakeel Badayuni (1916–1970)
 * Agha Shorish Kashmiri (Agha Abdul Kareem) Shorish (1917–1975)
 * Shan-ul-Haq Haqqee (1917–2005)
 * Rishi Patialvi (Bam Dev Sharma) Rishi (1917–1999)
 * Jagan Nath Azad (1918–2004)
 * Kaifi Azmi (1918–2002)
 * Fikr Taunsvi (1918-1987)
 * Naeem Hashmi (1919–1976)
 * Majrooh Sultanpuri (1919–2000)
 * Khumar Barabankvi, Khumar (1919–1999)
 * Qateel Shifai, Qateel (1919–2001)
 * Masud Husain Khan (1919–2010)

1920

 * Salaam Machhalishahari, Salaam (1921–1972)
 * Sahir Ludhianvi, Sahir (1921–1980)
 * Krishan Mohan, Krishan Lal Krishan Mohan (1922–2004)
 * Wazir Agha (1922–2010)
 * Sulaiman Areeb (1922–1970)
 * Nazish Pratapgarhi, Nazish (1924–1981)
 * Ada Jafri (1924–)
 * Nasir Kazmi, Nasir (1925–1972)
 * Bekas Akbarabadi, M.G Gupta wrote Urdu anthology, Rahat-i-Ruh (2004),(1925–2011)
 * Rahi Masoom Raza (1925–1992)
 * Himayat Ali Shair, Shair (1926)
 * Kanwal Ziai Hardayal Singh Datta (1927–2012)
 * Naresh Kumar Shad (1927–1969)
 * Ibn-e-Insha, Insha (1927–1978)
 * Bekal Utsahi (1928–2016)
 * Sagar Siddiqui (1928–1974)
 * Raja Mehdi Ali Khan (1928–1966)
 * Habib Jalib (1928–1993)
 * Dilawar Figar (1928–1998)
 * Munir Niazi (1928–2006)
 * Shabnam Romani, Shabnam (1928–2009)
 * Mazhar Imam (1928–2012)
 * Wasif Ali Wasif (1929–1993)
 * Dilawar Figar (1929-1998)

1930

 * Mustafa Zaidi (1930–1970)
 * Harbans Bhalla (1930–1993)
 * Ahmad Faraz (1931–2008)
 * Jon Elia (1931–2003)
 * Rajendar Nath Rehbar (1931)
 * Satyapal Anand (1931)
 * Syed Amin Ashraf (1931)
 * Shakeb Jalali (1932–1966)
 * Rajinder Manchanda Bani Bani (1932–1981)
 * Mohsin Bhopali (1932–2007)
 * Sardar Panchhi (1932)
 * Muzaffar Warsi (1933–2011)
 * Syed Waheed Ashraf (1933)
 * Waheed Akhtar (1934–1996)
 * Sudarshan Faakir (1934–2008)
 * Murtaza Birlas (1934)
 * Mohsin Zaidi (1935–2003)
 * Anwar Masood (1935)
 * Bashar Nawaz (1935-2015)
 * Aftab Iqbal Shamim (1936)
 * Adil Mansuri (1936–2009)
 * Akhlaq Mohammed Khan (Shahryar) (1936–2012)
 * Gulzar (1936)
 * Shahzad A. Rizvi (1937)
 * Unwan Chishti Iftikharul Hasan Unwan (1937–2004)
 * Nida Fazli (1938-2016)
 * Makhmoor Saeedi (1938–2010)
 * Syed Mahmood Khundmiri (1938–2011)
 * Obaidullah Aleem (1939–1997)
 * Allama Talib Jauhari (1939– )

1940

 * Mahmood Shaam (1940)
 * Kishwar Naheed (1940)
 * Jazib Qureshi (1940)
 * Riaz Ahmed Gohar Shahi (1941)
 * Ahfaz ur Rahman (1942)
 * Iftikhar Arif (1943)
 * Shamim Farooqui (1943–2014)
 * Amjad Islam Amjad (1944)
 * Ghulam Muhammad Qasir, Qasir (1944–1999)
 * Bashir Badr (1945)
 * Javed Akhtar (1945)
 * Anwer Zahidi (1946)
 * Afzal Ahmed Syed (1946)
 * Shamim Hashimi (1947)
 * Saleem Kausar (1947)
 * Mohsin Naqvi (1947-1996)
 * Syed Ali Akhtar Rizvi, Sha'oor(1948–2002)
 * Muhammad Izhar ul Haq (1948)
 * Fehmida Riaz (1948)
 * Pir Naseer-uddin-Naseer (1949–2009)
 * Zameer Akhtar Naqvi (1944-2020)

1950

 * Rahat Indori (1950–2020)
 * Zahid Abrol (1950)
 * Jamal Ehsani (1951–1998)
 * Ashfaq Hussain (1951–)
 * Haider Qureshi (1952–)
 * Munawwar Rana (1952–)
 * Parveen Shakir (1952–1994)
 * Abdul Hamid (1953–)
 * Sara Shagufta (1954–1984)
 * Kazim Jarwali (1955–)
 * Sibt-e-Jaafar Zaidi (1957-2013)
 * Noon Meem Danish (1958–)
 * Salma Shaheen (1954)

1960

 * Fareed Parbati (1961)
 * Samina Raja (1961)
 * Anjum Rehbar (1962)
 * Zahida Hina (1962–)
 * Raees Warsi (1963)
 * Zulfiqar Naqvi (1965)
 * Harris Khalique (1966)
 * Idris Azad (1969)
 * Riaz Tasneem (1969)

1970

 * Irshad Kamil (1971)
 * Akhtar Raza Saleemi (1974)
 * Ali Akbar Natiq (1974)
 * Sarim Momin (1978)

Non-Muslim Urdu poets

 * Maharaja Chandu Lal Sadan (1766 – 1845)
 * Mah Laqa Bai (1768-1824)
 * Daya Shankar Kaul Nasim (1811–1845)
 * Maharaja Sir Kishen Pershad, Shad (1864-1940)
 * Brij Mohan Dattatreya Kaifi (1866 – 1955)
 * Brij Narayan Chakbast (1882–1926)
 * Tilok Chand Mehroom (1887–1966)
 * Firaq Gorakhpuri (Raghupati Sahay) Firaq (1896–1982)
 * Ram Prasad Bismil (1897–1927)
 * Pandit Harichand Akhtar ('Akhtar') (1901–1958)
 * Anand Narain Mulla (1901–1997)
 * Khushtar Girami (Dewan Ram Rakhamal Kalia) (1902–1988)
 * Gopal Mittal (1906–1993)
 * Ratan Pandoravi (Rala Ram) Ratan (1907–1998)
 * Arsh Malsiani (Bal Mukund) (1908–1979)
 * Sahir Hoshiarpuri (1913–1994)
 * Mehr Lal Soni Zia Fatehabadi (1913–1986)
 * Rishi Patialvi (Bam Dev Sharma) Rishi (1917–1999)
 * Jagan Nath Azad (1918–2004)
 * Bhupendra Nath Kaushik (1924 – 2007)
 * Krishna Kumar Sharma (1924–2001)
 * Kanwal Ziai Hardayal Singh Datta (1927–2012)
 * Naresh Kumar Shad (1927–1969)
 * Harbans Bhalla (1930–1993)
 * Satyapal Anand (1931)
 * Raj Pathria (1933)
 * Dushyant Kumar (1933–1975)
 * Rajendar Nath Rehbar (1931)
 * Sudarshan Faakir (1934–2008)
 * Mohinder Pratap Chand (1935)
 * Jayant Parmer (1954)

20th century

 * Mashal Sultanpuri (1937 – October 2020)
 * Meena Kumari (1 August 1933 - 31 March 1972)

Contemporary poets

 * Fuzail Ahmad Nasiri (b. 1978)

Poets with unknown dates of birth

 * Saleem Kausar,
 * Shahin Badar,
 * Siraj Aurangabadi,
 * Ziauddin Ahmad,
 * Sadhu Singh Hamdard
 * Qamar Jalalabadi
 * Kanwal Ziai

Contemporary poets with unknown dates of birth

 * Kaif Bhopali
 * Sayeed Quadri
 * Khalid Irfan
 * Kashmiri Lal Zakir

title: List of Urdu poets


text:
Artistic freedom

Artistic freedom (or freedom of artistic expression) can be defined as "the freedom to imagine, create and distribute diverse cultural expressions free of governmental censorship, political interference or the pressures of non-state actors." Generally, artistic freedom describes the extent of independence artists obtain to create art freely. Moreover, artistic freedom concerns "the rights of citizens to access artistic expressions and take part in cultural life—and thus [represents] one of the key issues for democracy." The extent of freedom indispensable to create art freely differs regarding the existence or nonexistence of national instruments established to protect, to promote, to control or to censor artists and their creative expressions. This is why universal, regional and national legal provisions have been installed to guarantee the right to freedom of expression in general and of artistic expression in particular. In 2013, Ms Farida Shaheed, United Nations special rapporteur to the Human Rights Council, presented her "Report in the field of cultural rights: The right to freedom of expression and creativity" providing a comprehensive study of the status quo of, and specifically the limitations and challenges to, artistic freedom worldwide. In this study, artistic freedom "was put forward as a basic human right that went beyond the 'right to create' or the 'right to participate in cultural life'." It stresses the range of fundamental freedoms indispensable for artistic expression and creativity, e.g. the freedoms of movement and association. "The State of Artistic Freedom" is an integral report published by arts censorship monitor Freemuse on an annual basis.

Definition of artistic freedom
Repeatedly, the terms artistic freedom and freedom of artistic expressions are used as synonyms. Their underlying concepts "art", "freedom" and "expression" comprise very vast fields of discussion: "Art is a very 'subtle'—sometimes also symbolic—form of expression, suffering from definition problems more than any other form." As a result, "[i]t is almost impossible to give a satisfying definition of the concept art. It is even more difficult to define the concepts artistic creativity and artistic expression." UNESCO's 2005 Convention on the Diversity of Cultural Expressions defines cultural expressions as "those expressions that result from the creativity of individuals, groups and societies, and that have cultural content" while the latter "refers to the symbolic meaning, artistic dimension and cultural values that originate from or express cultural identities." In the context of the freedom of (artistic) expressions, "[t]he word expression in the first instance refers to verbalisation of thoughts." Freedom of artistic expression "may mean that we have to tolerate some art that is offensive, insulting, outrageous, or just plain bad. But it is a small price to pay for the liberty and diversity that form the foundation of a free society." Officially, UNESCO defines artistic freedom as "the freedom to imagine, create and distribute diverse cultural expressions free of governmental censorship, political interference or the pressures of non-state actors. It includes the right of all citizens to have access to these works and is essential for the wellbeing of societies." UNESCO puts forth that "artistic freedom embodies a bundle of rights protected under international law." These include:

 * The right to create without censorship or intimidation;
 * The right to have artistic work supported, distributed and remunerated;
 * The right to freedom of movement;
 * The right to freedom of association;
 * The right to the protection of social and economic rights;
 * The right to participate in cultural life.

Legal frameworks to protect and promote artistic freedom

Legal frameworks to protect and promote artistic freedom reflect the conviction that "[c]ulture constitutes one process of, and space for, democratic debate. The freedom of artistic expression forms its backbone. There is compelling evidence that participation in culture also promotes democratic participation as well as empowerment and well-being of our citizens." Farida Shaheed wrote: "Artists may entertain people, but they also contribute to social debates, sometimes bringing counter-discourses and potential counterweights to existing power centres." Moreover, she emphasized that "the vitality of artistic creativity is necessary for the development of vibrant cultures and the functioning of democratic societies. Artistic expressions and creations are an integral part of cultural life,which entails contesting meanings and revisiting culturally inherited ideas and concepts." According to Freemuse, "[p]opulists and nationalists, who often portray human rights as a limitation on what they claim is the will of the majority, are on the rise globally. As this phenomenon rises, artists continue to play an important role in expressing alternative visions for society." This is why "artists are sometimes responsible for radical criticism." As a result, artistic expressions and artists are suffering censorship and violations worldwide. "Artists are among the first to be silenced by repressive regimes: the poets, playwrights and painters who challenge the status quo are often lone workers, and as such easy targets for an authoritarian state or violent oppressor. When their views fail to accord with the mainstream, the artist is also vulnerable to the censorship of the mob." Thù" shows that "[i]t is not only governments violating the right to artistic freedom. 2016 saw a worrying amount of actions by non-state actors, ranging from militant extremists to peaceful community groups, against art and artists. In some instances, authorities censored artists based on requests or the interference from civil society groups." Based on this development, "[m]ajor sources of international law across the board recognize freedom of artistic creativity explicitly, or implicitly, as an inherent element of the right to freedom of expression. In these instruments, the individual right to express ideas creatively is often irrevocably linked with the right to receive them." The growing importance of artistic freedom as a specific right is reflected by the introduction of the role of the UN Special Rapporteur in the field of culture in 2009, and other rapporteurs, notably the Special Rapporteur on freedom of expression.

Artistic freedom as a specific right
According to Farida Shaheed, the most explicit legal provisions protecting the right to the freedom indispensable for artistic expression and creativity are the following:

 * Article 15 (3) of the International Covenant on Economic, Social and Cultural Rights (ICESCR): States "undertake to respect the freedom indispensable for ... creative activity";
 * Article 19 (2) of the International Covenant on Civil and Political Rights (ICCPR): "Everyone shall have the right to freedom of expression; this right shall include freedom to seek, receive and impart information (...) in the form of art, or through any other media of his choice."
 * Article 13 and 31 of the Convention on the Rights of the Child;
 * Article 13 (1) of the American Convention on Human Rights (ACHR);
 * Article 14 of the ACHR Protocol in the area of Economic, Social and Cultural Provisions;
 * Article 42 of the Arab Charter on Human Rights;
 * Article 27 (1) of the Universal Declaration of Human Rights (UDHR): the universal right "to enjoy the arts";
 * Article 49 of the Case of Karataş v. Turkey by the European Court of Human Rights (ECtHR) emphasizes that the "[freedom of artistic expression] (...) affords the opportunity to take part in the public exchange of cultural, political and social information and ideas of all kinds. (...) Those who create, perform, distribute or exhibit works of art contribute to the exchange of ideas and opinions which is essential for a democratic society. Hence there is an obligation on the State not to encroach unduly on the author's freedom of expression."

In September 2015, 57 UN Member States reaffirmed the right to freedom of expression including creative and artistic expression through a joint statement. Additionally, in 2015, the Carthage Declaration on the Protection of Artists in Vulnerable Situations was adopted in Tunis.

Artistic freedom as a pillar of the right to freedom of expression
The following legal instruments do not specifically mention artistic freedom but rather understand it as a pillar of freedom of expression in general related to freedom of thought, conscience and religion. They aim to guarantee the right to freedom of expression or the right to participate in cultural life without specific reference to the arts.

 * Article 19 of the Universal Declaration of Human Rights (UDHR);
 * Article 9 of the European Convention for the Protection of Human Rights and Fundamental Freedoms;
 * Article 9 and 17 of the African Charter on Human and Peoples' Rights;
 * Article 32 of the Arab Charter on Human Rights;
 * The right "to seek and develop cultural knowledge and expressions and to share them with others, as well as to act creatively and take part in creative activity" formulated by the Committee on Economic, Social and Cultural Rights;
 * Article 10 of the European Convention on Human Rights (ECHR).

1980 UNESCO Recommendation Concerning the Status of the Artist
Artistic freedom first appeared as a distinct right in UNESCO's 1980 Recommendation concerning the Status of the Artist underlining "the essential role of art in the life and development of the individual and of society' and the duty of States to protect and defend artistic freedom." Although not a binding instrument, the Recommendation is an important reference in defining artists' rights across the spectrum worldwide. The 1980 Recommendation serves as a reference for policy development and as a basis for new formulations of cultural policies:"Member States, recognizing the essential role of art in the life and development of the individual and of society, accordingly have a duty to protect, defend and assist artists and their freedom of creation. For this purpose, they should take all necessary steps to stimulate artistic creativity and the flowering of talent, in particular by adopting measures to secure greater freedom for artists, without which they cannot fulfill their mission, and to improve their status by acknowledging their right to enjoy the fruits of their work."

2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions
The 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions acknowledges that "the diversity of cultural expressions can only be promoted if human rights and fundamental freedoms are guaranteed." A guiding principle of the 2005 Convention is that "cultural diversity can be protected and promoted only if human rights and fundamental freedoms, such as freedom of expression, information and communication, as well as the ability of individuals to choose cultural expressions, are guaranteed." In this context, governance of culture refers to policies and measures governments establish to promote and to protect all forms of creativity and artistic expressions. The most recent UNESCO Convention in the field of culture and ratified by 146 Parties, it frames the formulation and implementation of different types of legislative, regulatory, institutional and financial interventions to promote the emergence of diverse cultural and creative industry sectors around the world. As a result, it aims to ensure participation in cultural life and to support access to diverse cultural expressions (film, music, performing arts, etc.).

National legislative measures to promote artistic freedom
Similar to the aforementioned universal instruments to protect artists and artistic freedom, "[i]n national constitutions (...), freedom of artistic creativity is often located within the strongly-protected right to freedom of expression." Certain countries also "recognize the freedom of artistic expression within the ambit of the right to science and culture." The following national legislative measures are listed in alphabetical order. The list is to be completed.

Burkina Faso
Adopted on 23 May 2013 by "Direction générale des arts (DGA)", the decree "Décret portant statut de l'artiste au Burkina Faso" envisages improving the social protection and the living conditions of artists, particularly the social security of employed artists and freelancers, the return of social contributions of artists and the complement dispositive for mutual accountability.

Canada
In Canada, the Canadian Charter of Rights and Freedoms protects artistic expression.

France
In July 2016, France amended its legislation in order to extend it with the legal protection of artistic freedom, architecture and heritage. For the first time in international law, artistic expressions are established as public goods and the "dissemination of artistic creation is free". This implies not only that artists are free to create but also that the wider public has access to it. As a result, art and artistic expressions cannot be censored or simply excluded from exhibits and other events.

Germany
Article 5 of the German Basic Law contains a special paragraph that connects the right to freedom of expression with the right to freely develop the arts and sciences."

Indonesia
On 12 January 2012, Indonesia ratification UNESCO 2005 Convention. When 2017, Indonesia published Cultural Advancement Law based on principles 11 values, including guaranteeing freedom of expression, ensuring the protection of cultural expression, providing cultural facilities and infrastructure, also funding sources for cultural advancement.

Mexico
On 19 June 2017, Mexico published its "Ley General de Cultura y Derechos Culturales" promising strong protection for artistic freedom and artists and cultural professionals, a provision specifically needed given the alarming conditions under which Mexican artists, journalists and cultural professionals currently work.

Spain
On 6 September 2018, the Spanish Congress of Deputies unanimously ratified a proposal assigned to elaborate a "Estatuto del Artista y del Profesional de la Cultura". Broadly, the decree aims to protect and promote artists with regard to taxation, their work security and legal protection.

Sweden
Article 1 (2) of the Swedish Fundamental Law explicitly includes the freedom of artistic creation as part of the key purposes of freedom of expression: "The purpose of freedom of expression under this Fundamental Law is to secure the free exchange of opinion, free and comprehensive information, and freedom of artistic creation."

Togo
On 20 June 2016, Togo adopted its "Statut de l'artiste". Its major objective is to acknowledge artists as individuals and their moral role in society, their contributions towards the intellectual sphere protected by copyright. It defines the rights and duties linked to artistic professions and aims to promote creativity and to protect artists socially.

Tunisia
Adopted in 2014, article 42 of the Tunisian Constitution states: "The right to culture is guaranteed. The freedom of creative expression is guaranteed. The State encourages cultural creativity and supports the strengthening of national culture, its diversity and renewal, in promoting the values of tolerance, rejection of violence, openness to different cultures and dialogue between civilizations."

United States
In the U.S., the first amendment protects artistic expression. According to the Court, freedom of artistic creativity is an element of the respect for freedom of self-expression, one of the core values of the First Amendment. However, the U.S. Supreme Court has never considered artistic freedom as a distinct category akin to political or commercial speech: "it rather addresses the various forms of art in their relation to the First Amendment on a contextual basis."

Challenges to artistic freedom
The International Cities of Refuge Network (ICORN) explains the purpose of its existence with the following statement:"Writers and artists are especially vulnerable to censorship, harassment, imprisonment and even death, because of what they do. They represent the liberating gift of the human imagination and give voice to thoughts, ideas, debate and critique, disseminated to a wide audience. They also tend to be the first to speak out and resist when free speech is threatened."

Freemuse's report (2018) demonstrates that artistic freedom "is being shut down in every corner of the globe, including in the traditionally democratic West. According to Freemuse's 2016 report, the music industry is the main target of serious violations, and second to film in overall violations, including non-violent censorship. The most serious violations included the murder of Pakistani Qawwali singer Amjad Sabri and the killing of Burundi musician Pascal Treasury Nshimirimana. In 2019, Karima Bennoune, UN Special Rapporteur in the field of cultural rights, underlines that "the freedom of artistic expression and creativity of persons with disabilities, women or older persons" remains significantly restricted. She states that "many cultural rights actors have not incorporated a gender perspective into their work, while many women's rights advocates have not considered cultural rights issues." Referring to Freemuse's 2016 report, UNESCO stresses that "laws dealing with terrorism and state security, defamation, religion and 'traditional values' have been used to curb artistic and other forms of free expression." Moreover, new digital technologies, including social media platforms, are challenging artistic freedom: "Art in the online and digital space continues to challenge authorities and corporations who are quick to react by closing down expression rather than using it as an opportunity to foster it." Social media and music streaming channels, like Instagram and SoundCloud are becoming the platforms on which artists publicly display and promote their work. However, they also bring with them threats to rights and freedoms. Online trolls often intimidate artists to withdraw their work. Additionally, growing digital surveillance has a corrosive effect on artistic freedom. Many platforms have established mechanisms, such as Instagram's guidelines on 'standards of behavior' whose formulations are very vague. This provides disproportionate power to individuals and organizations who use the platform's reporting processes to get individual artworks removed, and sometimes entire accounts blocked. In addition, the impact of algorithms on diversity of content is another area of concern: platforms display a plethora of cultural offerings, but also control not only sales but also communication and the recommendation algorithms (e.g. adapting offered content to the profile of each internet user). These algorithms finally serve to promote certain contents while oppressing others.

In conclusion, new digital technologies—while providing a platform for the distribution of artistic content—may interrupt the flow of ideas of artists and curtail their artistic freedom.

In the 10th Anniversary UN Report on Cultural Rights, Ole Reitov, former executive director of Freemuse, underscores the progressive fact that "artistic freedom is no longer a 'marginalized' issue in the 'world of freedom of expression'". Since Farida Shaheed's report and inspired by lobbying from arts and human rights NGOs, efforts to promote artistic freedom have multiplied across the entire United Nations system: "The UN Universal Periodic Review provides an opportunity for NGOs, among others, to make submissions on States' failures to meet human rights standards, including artistic freedom. New calls for a UN Action Plan on the Safety of Artists and Audiences (similar to the one for journalists) have been put forward." As UNESCO's Global Report "Re|shaping Cultural Policies" (2018) shows, the number and capacity of organizations monitoring artistic freedom is increasing. "In this domain as well, cities are taking valuable initiatives by providing safe havens for artists at risk." As the list above shows, "measures to support the economic and social rights of artists are appearing increasingly in national legislation, especially in Africa."

Monitoring artistic freedom
Despite the progress made and legal instruments established to promote and protect freedom of artistic expressions, "there is urgent need for monitoring and surveillance, essential if these freedoms are to become a permanent reality." Karima Bennoune notes that the increasing number of reported attacks perpetrated by State and non-State actors against cultural professionals reflects the boosting capacity of monitoring artistic freedom. She states the UNESCO global reports monitoring the implementation of the 2005 Convention on the Protection and Promotion of Cultural Expressions have been "[o]f particular relevance". The reports provide a monitoring framework comprising four overarching goals to enhance cultural policies worldwide. One of these goals aims to "Promote Human Rights and Fundamental Freedoms" and encompasses artistic freedom as an "area of monitoring" incorporating core indicators to measure achievements regarding the rights and protection of artists. Additionally, the framework relates artistic freedom to the Sustainable Development Goal (SDG) 16 of the UN 2030 Agenda, which aims to "'Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels". Specifically, the SDG's target 16.10 aims to "ensure public access to information and protect fundamental freedoms, in accordance with national legislation and international agreements". Additionally, there are many other initiatives advocating and monitoring artistic freedom. Alongside other organizations documenting violations against freedom of artistic expression (such as Arterial Network, Artists at Risk Connection, PEN International and the International Federation of Library Associations and Institutions), Freemuse is an independent international organization particularly monitoring the freedom of expression of musicians and composers worldwide. "Freemuse's reports collated from all over the world show that artists are increasingly facing censorship, persecution, incarceration or death, because of their work."

There is also monitoring carried out by Koalisi Seni, an institution that advocates for arts policy in Indonesia. From the results of its monitoring, Koalisi Seni notes, in Indonesia during the pandemic, social restrictions to reduce the spread of COVID-19 became a new excuse for the state to suppress arts activities. There are also notes that stigmatization of art often occurs because art is considered to damage people's morals and invite immorality.

In order to monitor the actions taken to implement the 1980 Recommendation concerning the Status of the Artists, the Secretariat of the 2005 UNESCO Convention (see below) runs a global survey every four years gathering information from Members States, NGOs and INGOs and prepares a report, which is then submitted to the General Conference.

title: Artistic freedom