The South African Film Site screened at the FESPACO Film Festival in Ouagadougou, burkino faso later this theingredients period costumes, wordy discussions on culture and paintings http://www.safilm.org.za/main.html
Extractions: Last week the local industry was shaken by reports that the Cape Town Film Office had been shut down following allegations of misappropriation of funds. With investigation results pending, the issue of permits has been taken over by the Cape Film Commission under the leadership of Martin Cuff, who spoke to SA Film.
Burkino Fasso Government BURKINA faso. Burkina faso is an emerging democracy. It has an elected parliament.CURRENT GOVERNMENT. Min. of Arts, culture, Tourism, Ouedrago, Mahamoudou. Min. http://www.nationbynation.com/Burkino/Gov.html
Extractions: BACK TO THE FRONT PAGE BASIC INFO. GEOGRAPHY GOVERNMENT ... BURKINA FASO Burkina Faso is an emerging democracy. It has an elected parliament. CURRENT GOVERNMENT Head of State Compaore, Blaise, Capt. Prime Minister Yonli, Paramango Ernest Diallo, Salif Min. of Animal Resources Bonou, Alphonse Ouedrago, Mahamoudou Ouedraogo, Mathieu Sawadogo, Lassane Min. of Commerce Outtara, Benoit Min. of Defense Lougue, Kouame Bouda, Seydou Tou, Alain Lodovic Min. of Environment Djibrill, Dakar Min. of Foreign Affairs Ouedraogo, Youssouf Min. of Health Yoda, Bedouma Alain Min. of Human Rights Promotion Ilboudo, Monique Min. of Information Ouedraogo, Raymond Edouard Lingani, Hippolyte Min. of Justice Badini, Boureima Hien, Arsene Armand Cisse, Abdoulaye Abdoulkader Min. of Parliamentary Relations Fofana, Adama Thombiano, Justin Tieba Min. of Regional Cooperation Somda, Jean De Dieu Sawadogo, Laya Min. of Security Bassole, Djibril Yipene Lamizana, Miriam Sessouma, Tioundoun Fabre, Moumouni Min. Del. in Charge of Transportation Nikiema, Patrice Min. of Women's Affairs
PAMBAZUKA NEWSLETTER - Advocacy Tool For Social Justice of this report from the Centre for Democratic Governance in burkino faso and the illegallydetained activists, raped women and continually denied the culture. http://www.pambazuka.org/newsletter.php?category=RIGHTS AND DEMOCRACY
Extractions: "You'll be happily surprised and enchanted.....Exceeding the breadth of its title, the book actually treats the cultural significance of butterflies through history. This is no small feat. Butterflies have been taken by many cultures to inculcate hope, rebirth, transformation and transcendence, matters at the heart of mankind's internal concern for many millenia.......You'll probably be surprised that concerning this topic, you 'didn't know the half of it'..........Ms. Manos-Jones brings to this book a well-informed knowledge both of butterflies and world environmental issues......as an environmentalist associated with the important Michoacan Reforestation Fund - a premier conservation group working to protect Monarch butterfly overwintering habitats in Mexico.....This book can be recommended wholeheartedly to the general reader and informed butterfly enthusiast alike....."
Geek Culture Kommentarer: En Dansker Krydser Sit Spor Belgien, Holland, Tyskland, Norge, Sverige, Østrig, Schweitz, Luxembourg, Belize,Nigeria, burkino faso, Libyen, nåh ja, måske ikke lige den sidste flok http://www.geekculture.dk/comments.php3?reviewid=1050
Textiles - Fiber Arts View the Textile Gallery and learn about the culture the Mandespeaking peoples (inthe modern countries of Guinea, Mali, Senegal, and burkino faso); the Yoruba http://www.princetonol.com/groups/iad/lessons/middle/textiles.htm
Extractions: Textiles- Fiber Arts A selection of textile resources: Textile history World textiles and Costume Contemporary textiles Lesson Plans , and Information resources Home Up Handmade Paper [ Textiles - Fiber Arts ] Photography Links Crafts Artists History of Textiles The Museum For Textiles , Toronto, Ontario. Selected text and images from the Museum's collection and exhibits illustrate the Museum's mandate: to provide the opportunity to experience the traditions, skills, and creative genius that make the textile arts such an important visual expression of contemporary and historical concerns. Heavens' Embroidered Cloths: One Thousand Years of Chinese Textiles a selection of images from an exhibition of Chinese textiles from the Song, Yuan, Ming and Qing dynasties, previously on display in 1995 at the Hong Kong Museum of Art. You can see some examples of Chinese textiles in this exhibit: Family Ties in Asian Textiles. Flowers of Silk and Gold: Four Centuries of Ottoman Embroidery - these textiles are a point of departure for an exploration of the rich Ottoman culture that produced them. View the Textile Gallery and learn about the culture Lesson plans available Koelz Textile Collection Museum of Anthropology - University of Michigan. An extensive selection of beautiful textiles from South and Central Asia and Iran - highly recommended.
The Collection as the contemporary carved masks from the west African nation of burkino faso (amongthe and the artifacts provide clues to the aesthetic of a certain culture. http://www.jmu.edu/foundation/Public/Collection.htm
Extractions: Return to annual report Carrying a pick, hoe and basket over his left shoulder, the bearded Shabti a small Egyptian funerary statuette has finally arrived in the Next World equipped to do the work of the person with whom he was interred in 950 B.C. His journey has lasted 3,000 years. From his burial in a Nile River valley tomb, the Shabti has traveled through who-knows-what labyrinth of bazaars and succession of thieves, dealers and collectors. First by crook, later by hook, one presumes, the Shabti arrived at Carrier Library's new Study Center for Art and World Culture, where today he idly watches students shouldering book bags and laboring day and night into the next millennium. Through the gifts of alumni, parents and faculty members, the JMU Foundation has funded the permanent Carrier Library exhibition of the Shabti and many other artifacts, mostly from the Sawhill Collection. The installation of the study center is the second phase of a process that began last year when the foundation supported the creation of a permanent display of ancient Greek and Roman coins in the library. Those coins were also a significant part of the original Sawhill Collection, bequeathed to the university by former JMU classics professor John A. Sawhill, who died in 1976. Joining the Shabti are the seated Buddha and the combative Vishnu the Hindu deity representing preservation and cosmic order having departed their former digs, a storage closet in Duke Hall. What's more, they are now in a space where preservation is key, and where they will be both in this world and apart from it, as befits their nature. Their new temple is a hermetically sealed, custom-built display case with fiber-optic lighting that facilitates an otherworldly state-of-bliss, free of excess humidity and temperatures. In addition to the Shabti, Buddha and Vishnu, the new study center gives JMU students, faculty members and others easy access at last to 50 other items that represent a broad cultural sampling culled from the more than 2,000 artifacts that make up the Sawhill Collection. As such, the Study Center for Art and World Culture is the most extensive display of ancient artifacts in western Virginia. Access to the collection has been a problem since the university acquired it in 1976. Previously, if a professor wanted to use the Shabti, Russian icons, Greek pottery, Babylonian tablets (of cuneiform, the earliest writing) or medieval Persian pottery now all on permanent exhibition that instructor had to follow a routine worthy of Heinrich Schliemann's efforts to unearth Troy: It involved escorting the collection's curator, as of this past year Julia Merkel, to four closets in a recessed passage in Duke where the collection is archived. Next door is a photographic darkroom emitting airborne acids, and on the first floor is the art department's pottery kiln, which warms the passage when fired conditions that threaten the artifacts over time. After Merkel and the professor uncovered the desired object among the hundreds stored away, it then had to be carefully unpacked and carried one prayed without mishap to and from a classroom, where students were allowed brief exposure to it. Such limited access and use not only posed a problem to the professor but also to the student. As Merkel explains, "That's one class in a semester, and the interaction that a student has with a piece when it's brought to class is minuscule compared to having it on exhibit where they can stand in front of the piece for an unlimited amount of time and really absorb the aesthetic and feel of the artifact. Exhibition really does widen the audience. It's not limited to whoever is in one particular class," she adds. Merkel, the first full-time curator of JMU's fine art collection, spent the past year working with the Fine Art Collection Advisory Committee in determining what pieces would go into the study center exhibit, while planning, coordinating and arranging the exhibition space. Merkel and the committee began their selection by choosing those items commonly used in classes. After that, says Merkel, the idea of representing world cultures took hold, "since we knew we had quite a range of cultures available in the collection." She then went through the collection "piece by piece looking for things that were interesting and that would make more of a cohesive story." In the end, 53 items were chosen for 11 cultural categories, ranging from Mesopotamia to Native America, with each culture represented by the very best class of items the collection offers for each. Therefore, says Merkel, Egyptian artifacts were limited to figural sculpture, Greek to pottery and ceramics, Roman to glass vessels, and so on, "even though we have examples that exceed those art forms" within each category. As a result, Merkel "had to edit quite a few things that are of museum quality" but that would not fit into the exhibit's purview. Also eliminated from the display, out of conservatorial concerns, were textiles or works on paper such as the art collection's fine Chinese prints because these objects are extremely sensitive to deterioration from light. "So the perpetual care of objects is a consideration," Merkel adds, when choosing what went into the display. After the selection had been made, the next task for Merkel was planning how the artifacts should be arranged in the two 8-by-9-foot tall display cases. A strict chronological ordering "was nearly impossible" because of the overlap in the historic time lines of many cultures. But preservation also played a role in design and layout. For instance, a circa 1900 Nez Perce beaded belt with delicate threads was placed with the other light-sensitive objects to a side of the exhibition space where ambient light is dimmer. The larger items in the exhibition such as the contemporary carved masks from the west African nation of Burkino Faso (among the few study center items not derived from the original Sawhill bequest) had to be set in place early because the display cases were designed and built around them. "It's a huge puzzle to put something like that together," says Merkel, who sat for long hours with sketches of each of the objects reduced slightly to scale and a floor plan of the case itself while she "mixed and matched [the objects] and had a continuing dialogue" with the Washington, D.C., display case designers if something looked out of balance. Through this process she sought visual connections between different cultures, while keeping the artifacts tightly grouped within their respective categories, departing as needed from a chronological arrangement. "I time travel when selecting artifacts because I'm working in the 20th century, but the objects span all kinds of centuries. So, jumping from one to the other, I think about a place I've never been and the artifacts provide clues to the aesthetic of a certain culture. The goal is that viewers of the exhibit will make connections between cultures and styles across time," says Merkel. In this way, some of the connections were obvious, says Merkel, such as the link between Babylonian cuneiform writing and Egyptian hieroglyphics, but then there were subtle ones too, as in the similar motifs found in the collection's medieval Persian pottery and its Russian icon paintings from the 19th century. That link is due to each tradition's source in Byzantine art, adds Merkel. Many JMU scholars in the academic areas of archaeology, art history, geology, history, math, and philosophy and religion have assisted Merkel with identifying items, explaining their historical significance and, in one case, translating the Chinese characters on a bronze mirror. And many of these professors "have added new energy to" the study center project, says Merkel. "They get excited because they can see possibilities for their own classes," she adds. Even Merkel's dentist got involved in the planning. He was recruited to make a positive impression with dental stone of a Babylonian cylinder seal, circa 1800 B.C. The seal, used for making impressions in damp clay, recounts part of the Epic of Gilgamesh, the earliest known epic poem. "How often do you have a 4,000-year-old object show up in your office?" Merkel asks, recalling when she first contacted him to do the work. The study center, in combination with the display of ancient coins, is the premier exhibit of its kind in western Virginia, according to Merkel. Although the University of Virginia has more exhibition collections, and Washington and Lee University has a fine collection of Chinese artifacts, "as far as world cultures," says Merkel, "I can't think of any place in the region that would be more comprehensive than what we're doing." Now that installation of the Study Center for Art and World Culture is complete, Merkel will turn her attention to identifying and expanding the archival record of the remaining pieces in the Sawhill Collection. She is especially concerned, for the sake of conservation, that a detailed accounting of the current condition of each piece be made, and that each one be stored properly. Some of the pieces are in desperate need of restoration, but that's an expensive process that requires significant funding. There is, for example, an Egyptian, wooden tomb boat, on which "the paint is peeling badly," among many other deteriorating items. For now, Merkel adds, if she "can stop the damage" or at least "slow it down, that will help." Merkel can foresee more exhibits rotating and permanent in the future based on the as-yet-untapped resources of the Sawhill Collection, as funding is made available. The Study Center for World Art and Culture, however, is a solid foundation on which to build. And it is the kind of foundation on which some bleary-eyed student might build as well. When taking a break from late-night study, he or she can wander into the study center to eye the Shabti. In such solitary, unhurried, late-hour contemplation, that student may enter that other world the one bound not by grades, tests and required readings, but only by imagination and ignited curiosity. The kind of curiosity that compelled Schliemann to re-read Homer, then set out to find the historic Troy. In that way the Shabti will be doing the work of John Sawhill here in the Next World. Return to annual report
Acacia faisibilité d'un centre d'information communautaire burkino faso. autoroutes del'infomatique, Burkina faso (ABSE Research and Development of culture of Peace http://www.bellanet.org/gkaims/acacia/acacia_pub_list.cfm
Extractions: Acacia Activities Title Regional or Global Acacia Evaluation Workshop Acacia SchoolNet Activity: Canadian Component Accès des femmes entrepreneurs aux TIC (application au commerce-électronique) African Highland Initiative/Acacia ... Workshop on Youth Leadership Program for ICTs for Community Development Angola NetCorps: Acacia Youth Perspective School Networking in Angola Benin Formation à distance pour les renforcements des capacités des intervenantes et intervenants auprès des micro-entrepreneurs ICTs and Primary Health Care in Benin - Phase I Participation of Canadian and African Rural Telecommunication Experts at the RuralCom '99 Conference in Cotonou, Benin Projet pilote d'un télécentre communautaire polyvalent à Malanville ... Technologies d'information et de communication aux communautés et aux services de santé dans la zone sanitaire de Ouidah au Bénin - Phase II Botswana ITU Forum on Telecomunication Regulation in Africa. Gaborone, 25-27 octobre 2000 Burkina Faso Développement de projet: Site web en droits humaines en Afrique Francophone Etude de faisibilité d'un centre d'information communautaire - Burkino Faso Séminaire sur l'utilisation des autoroutes de l'infomatique, Burkina Faso (ABSE) Ethiopia Technology-based Information System (TIS) in Ethiopia Gabon Réunion des Ministres africains chargés du commerce : Libreville, Gabon, 13 au 15 novembre 2000.
CONTEMPORARY CREATION: CONTRADICTORY FORCES homage to the outside, sometimes dominant, political or economic culture, the results fromKorea and Compagnie Salia ni Seydou from burkino faso performed on http://www.arttimesjournal.com/dance/dance.htm
Extractions: November, 2002 Subtitled "Aesthetics of Diversity," the gathering was the final part of a trilogy of meetings over several years, covering the past, the present and now the future. One could hear Russian, Hebrew, Turkish, Lithuanian, French, Spanish, Chinese, German and other tongues in between the keynote talks, the networking groups and the dozens of dance performances. Defining aesthetics was not really a problem since there was agreement that the attributes of beauty can be diverse. John Ashford of the Robin Howard Theatre in London proposed four different components of diversity: the increased ability, through globalization, to read diverse forms; the technical ability of the performers; sex and sexuality, which he feels is seeing less and less diversity; and cultural heritage. To him, the polarity of diversity is integration. Repeatedly the issue of tradition versus contemporary process was raised and the importance of fluidity stressed. The problem of young choreographers operating in a country where there is a strong dance tradition is widespread. Another issue raised was whether the role of the artist in the community includes a moral duty to humanity.
African Ourstory of stories and traditions from her native tribethe Dagara of burkino faso, Africa. takeaway from the historical accuracy of the book.Black culture is always http://www.cultural-expressions.com/diaspora/africanour.htm
Extractions: On a spiritual and global level, readers would be hard-pressed to find a better book on family values than Welcoming Spirit Home . Author Sobonfu Some, whose name means "keeper of rituals," narrates this collection of stories and traditions from her native tribethe Dagara of Burkino Faso, Africa. Children are considered the soul of each village, according to the Dagara people, and as a result the tribe has numerous rituals that celebrate the arrival and raising of young ones. Page by page, Some explains these many exotic and loving ritualsfrom helping grandparents and babies bond to activities that support a "child's sense of worth." Even a woman's conception is cause for enormous community pride. Elders bathe the mother-to-be, dress her up, and then "introduce her and the incoming soul to the community." Everyone kisses her belly and sings songs of welcoming and joy. The tribe's simplistic lifestyle and genuine happiness seem to stem from its strong connection to the earth as well as the honoring of all tribal peopleeven the unborn.
IONS Review #60 - Good Listening teachersMalidoma Somé from burkino faso in West Africa, and Parker Palmer fromthe United Statesboth make this comment You can tell a culture is in http://www.noetic.org/Ions/publications/r60Wheatley.htm
Extractions: Listening by Margaret J. Wheatley Discuss this article Read recent IONS Review ... Contact Us When have I experienced good listening? One of the easiest human acts is also the most healing. Listening to someone. Simply listening. Not advising or coaching, but silently and fully listening. Nurturing Essential Capacities If we are to make Turning to One Another , Margaret Wheatley highlights other important capacities: Appreciating Diversity. Experiencing the Sacred. Building a Relationship With the Earth. Working for the Common Good. Margaret Wheatley is president of The Berkana Institute , a charitable global foundation serving life-affirming leaders around the world. She writes, teaches, and speaks about new practices and ideas on how we can live together harmoniously, and has been an organizational consultant for many years. This article is adapted from her most recent book Turning to One Another: Simple Conversations to Restore Hope to the Future (Berrett-Koehler Publishers, Inc., 2002). Art Credit: Canyon by Charles Arnoldi Back to Top ... Contact Us Last Updated: 12-Aug-2002 13:50
Page2.html in the modern countries of Guinea, Mali,Senegal, and burkino faso); the Yoruba ameans of preserving the traditional history of the culture (African American http://www.umassd.edu/specialprograms/artslinks/TAC/02Units/barros/page2.html
Extractions: http://www.safari-iafrica.com/xs/mollink.htm Mollink Cross Stitch Kits and Patterns of South African wildlife and birds Create your corner of Africa with these cross-stitch designs of the African Big Five, the only recognized Big 5 of the animal kingdom. Brighten up your room with a collection of cross-stitch designs of South African wild birds and flowers. Create your own designs by combining different cross-stitch designs into one composite cross stitch masterpiece. The kits and patterns displayed are South African cross-stitch designs and displays mainly South African themes. Wendy Mollink of Johannesburg , South Africa designs a range of cross-stitch kits patterns depicting animals, birds, flowers and other scenes. Visit our other pages for more of her designs. http://page.inf.fu-berlin.de/~graf/afrika.html Some traditional Patterns from Africa http://hometown.aol.com/krstn28/myhomepage/profile.html The Roots of African American Quilting The roots of African American quilting can be traced to 980 B.C. in ancient Kemet (Egypt). A textile piece
Festivals Ans Markets from countries as far apart as burkino faso, the Congo 24 February to 3 March 2001in Ouagadougou, Burkina faso. and NGOs in the sector of culture to support http://www.africafilmtv.com/pages/archive/magazines/afm28e/festivals.htm
Extractions: Fousseini Coulibaly (Issa) and Tony Mpoudja (Balla) in Balafola The ancient city of Clermont-Ferrand, set in the heart of France, is home to the largest short film festival in Europe. During one hectic week it showed some 480 films from 50 countries in 10 theatres. The programmes, lasting about 95 minutes, were grouped in categories such as `A glance at South Korea', `Films from Spain', `Sado-Masochism and Fetishism', `Documentaries', and `Specially for Children'. There were two programmes devoted exclusively to Africa, consisting of 13 films, from countries as far apart as Burkino Faso, the Congo and Mauritius. Two African films were particularly interesting for their cross cultural references. Balafola by Mohamed Camara, concerns a young African musician living in France. By chance he discovers his father's will, made years before in Africa, and deliberately concealed, so that the boy would only find it if he fulfilled the old man's wishes by becoming a musician. The will's discovery, and the dramatic effect it has on the young mans life, clearly carry magical undertones. Cultural differences of a very different sort appear in
GIRLS AND GIRLHOOD - Going To Grannie's This is torture hiding behind culture. In burkino faso, for example, a nationalcommittee of politicians and popular associations is active. http://www.newint.org/issue240/going.htm
Extractions: Can it be prevented? Janie Hampton reports. It now took a quarter of an hour for her to pee. Her menstrual periods lasted ten days. She was incapacitated by cramps lasting nearly half the month. There were premenstrual cramps: cramps caused by the near impossibility of flow passing through so tiny an aperture as MLissa had left after fastening together the raw sides of Tashis vagina with a couple of thorns and inserting a straw so that in healing, the traumatized flesh might not grow together, shutting the opening completely, cramps caused by the residual flow that could not find its way out, was not reabsorbed into her body and had nowhere to go. There was the odour too, of soured blood, which no amount of scrubbing ever washed off. The passage is fictional. It might well be fact. It comes from Possessing the Secret of Joy , a new novel by Alice Walker. The black American feminist who writes with candour about culture-charged areas of female lives has chosen to explore the practice whereby millions of African girls arrive at woman-hood with their clitoris wholly or partly cut out. Walker has faced up to the attack that, as an American woman, she has no right to oppose African culture. She has described a young womans desire, later regretted, to become a full member of her tribe by subjecting herself to genital mutilation.
Africa Translate this page burkino faso. burkinabé des Associations et Clubs UNESCO 09 BP 823 OUAGADOUGOU 09- Burkina faso. UNESCO du Burundi c/o Maison de l=UNESCO pour la culture et la http://www.unesco.org/ncp/clubs/pages/regions/afr.html
In Vorm Kunstbemiddeling In a relatively short time the traditional man nature relation was extended withthe phenomenon of culture, the ability of burkino faso, Lobi 30x15x15 cm. http://www.in-vorm.nl/engels/ethnografica/ethnografica.htm
Extractions: In societies close to nature the respect for and solidarity with natural materials can be sensed in the care with which object are made. Apart from their practical function, all objects have symbolic meanings in form and decoration. The specific aspect in the relation of earth - man - cosmos is made visible in symbols and experienced in rituals. In a relatively short time the traditional man - nature relation was extended with the phenomenon of culture, the ability of reasoning formally.
In Vorm Kunstbemiddeling Translate this page relativement peu de temps la relation traditionnelle homme/nature s'est étendueavec l'apparition culture, capacité formelle burkino faso, Lobi 30x15x15 cm. http://www.in-vorm.nl/frans/ethnografica/ethnografica.htm
Alumni Notes Christy Knight (BA 1993) wrote to us from burkino faso, West Africa where she is Helives in Lauderhill, Florida and is experiencing a real culture shock from http://www.ksu.edu/geography/news/alumni/alumni1999/alumninotes.htm
Extractions: Back to the Department of Geography Homepage Keeping in Touch Suliman Al-Hanaki (MA 1989) works for the Ministry of Petroleum and Mineral Resources in the Information and Public Relations Dept. of the Ministers Office in Riyadh, Saudi Arabia. He sent his congratulations after the Wildcat football victory over Nebraska. He actually got to watch the game live over there! Elizabeth Armfield Ralph C. Berry (B.S. 1977) is the Pastor at the First Baptist Church in Woodstock, Virginia. Ray Bivens (BS 1995) lives in Redlands, California and says the kids love the mountains. He describes his position at ESRI as the best professional experience of his life! rbivens@esri.com Mike Cline (MA 1994) has changed occupations. He is now a self-employed part-time writer and full-time father to daughter Grace Elizabeth. Wife, Amy, is a childrens librarian at the Central Library in San Antonio, Texas. Mike is preparing for a full-time ministry in the United Methodist Church. mcline@prodigy.net Jason Dibble jdibble@ruraltel.net Robert Bo Dunaway (MA 1993) is still in the Army. He is back to working in remote sensing/GIS. While his travels to Panama were exciting, hes glad to be back in Colorado Springs, Colorado. Newest addition to the clan was Connor Kent on May 5, 1998.
Extractions: War and the Population Explosion: Some Ethical Implications. John M. Swomley gives evidence of the planetary population problem, the dynamics of the world s population wars, the responsibility of the world s superpowers , the new ethical dimension of war provided by the Roman Catholic Church s world wide influence, and that the solutions to overpopulation and disease lies with the United States and the American people that require changes in our approach to social ethics and to our national politics. from: CHRISTIAN ETHICS TODAY, JUNE 1998 [Dr. John M. Swomley lives in Kansas City, Missouri. He is a graduate of Dickinson College and Boston University and hold the Ph.D. degree from the University of Colorado. A Phi Beta Kappa member, he was Professor of Christian Social Ethics at Saint Paul School of Theology in Kansas City from 1960 to 1984. He is a frequent contributor to Christian Ethics Today.] T he nature of war has been changing from wars between nations to wars within nations. According to the United Nations, only three of the eighty-two armed conflicts between 1989 and 1992 were between nations. Those within nations were primarily the result of religion or culture or race or ethnic differences, poverty, shortage of arable land, and inequalities caused by overpopulation. There have been 148 wars in the world since World War II, according to Ruth Sivard, a military analyst. Among these were wars in the Sudan, Somalia, Bosnia, Rwanda, and Ethiopia. Most of these were population wars.
Countries Of The World Hotlist in this country is fermented mare's milk), burkino faso (the residents find informationpertaining to worldwide currency, language, culture, holidays, religion http://www.uen.org/utahlink/activities/view_activity.cgi?activity_id=4236
