Corporate Finance Assignment Example | Topics and Well Written Essays - 500 words

Corporate Finance - Assignment Example Envisioning we had the option to tell the future, we could plot out when might be the best an ideal opportunity to purchase property dependent on the reality if the market was running high or low. On the off chance that the market was running particularly low, it would likely be a decent an ideal opportunity to purchase in. One needs to purchase in for a time of year and a half where it is generally going to be viewed as being low. This expands the odds that we, as the speculator, would in all likelihood have the option to get a great deal of properties utilizing the $10,000,000-dollar pad. Presently, the explanation that organizations not doing so well is useful for different sorts of organizations is basic. At the point when stock qualities are low, it is a decent an ideal opportunity to become tied up with those stocks since when stock costs rise, they will be worth more in esteem. Thus, on the off chance that one purchases a great deal of properties, however maybe let us state that they are not especially worth a lot at the time they are gotten it is untowardly conceivable, though untowardly, that the properties purchased may raise in esteem. When and if that occurs, the financial specialist tries to make a benefit. While values are low in stocks and in land, this is the financial specialist's fantasy. While he can purchase stocks and land moderately economically, since numerous individuals are in an awful situation monetarily, he will later receive the money related benefits of having exploited the low costs. Speculators will short stocks when [prices decline].1 Clearly, for this specific undertaking, we wou

Pacs Essay

Gatherings and Teams at Kluster 1. What are the difficulties of cooperating as a group? How have individuals from the Illuminator venture defeated these difficulties? What are the advantages of a group based methodology? Cooperation is a colossal factor of the accomplishment for some organizations around the globe. The presentation of cooperation in the working environment will bring the feeling of trust, devotion and security among each laborer. The resolve and efficiency will be higher because of that. Nonetheless, taking a shot at a group has its own difficulties. Working with individuals that have various characters, thoughts, societies, foundations, ages, needs and qualities is perhaps the most test that cooperation faces during its exhibition. Strife, doubt, terrible showing can be made as consequence of these distinctions. Figuring out how to defeat these snags is the establishment of a solid and effective cooperation. Illuminator venture has defeated these difficulties by regarding and utilizing each expertise and thought that each colleague conveys. That causes each colleague to feel significant and profitable. Likewise correspondence among every part is exceptionally basic for the achievement of the Illuminator venture. Today, collaboration has been seen as a superior path on utilizing each employee’s ability and aptitude toward a progressively viable and effective association. † Management has discovered that groups are more adaptable and receptive to changing occasions than are conventional offices. Groups have the capacity to rapidly collect, convey, pull together, and disband. † Robbins and Judge, pg 323. 2. What sort of individual would fit in well on the Illuminator group? What qualities are significant? As per the specialist of the Illuminator venture, each colleague ought to have self-taught and self-initiative. People that are cautious, solid, sorted out, dedicated, constant, and legit are those that are bound to give a better than those that come up short on any of these qualities. Reliable character which portrays somebody that is capable, persevering and composed would fit in well on the Illuminator group. Additionally, somebody who is sincerely steady significance a certainty, serenity and secure character would fit in well in this group. . How has innovation changed the manner in which we work together? Recognize how Kluster has grasped innovation in its activities. Trend setting innovation, for example, PCs and PC systems have changed and helped organizations on being increasingly proficient and powerful. Cutting back, re-appropriating and strengthening are a portion of the significant increases of the associations because of the innovation. Better approaches for imparting a mong individuals, putting away data and inquiring about for thoughts and approaches to accomplish and succeed are consequence of the cutting edge innovation. Kluster has exploited the innovation by utilizing the working from home as a method of correspondence among colleagues. Since individuals from Kluster venture live in various zones and some of them travel to various urban communities, it’s imperative to speak with one another at constantly. In this way working from home through Web based program has made it conceivable. â€Å"Telecommuting alludes to representatives who accomplish their work at home on a PC that is connected to their office. † Robbins and Judge, pg 223. 4. Depict the various pieces of the Illuminator group. For what reason is it important to have every one of these parts spoken to? The illuminator group is made by consolidating various thoughts and abilities of various people. Each colleague must act naturally taught and focused on their activity. As each association, Illuminator group has the author, the task creator, the specialist of the group and the venture director. The significance of this framework is to keep the work set up and run adequately and normally. Every part has various duties that should be set up and require various aptitudes. Illuminator venture runs under employment extension structure which expands the level of every part to control, design and assess the work done. â€Å" An enhanced activity sorts out errands in order to permit the specialist to do a total movement, builds the employee’s opportunity and freedom, expands obligation, and gives input so people will be survey and right their own performance†. Robbins and Judge, pg 220. 5. Ben Kaufman, originator of Illuminator, says it is imperative to perceive that occasionally individuals need a break from the group. Clarify what he implies by this. Now and again, individual life issues can cause pressure, weight, bewilderment and frail execution. Consequently, it’s significant that each colleague to have the privilege and have the option to work some of the time on their own away from the group as long as they chip away at their particular employment duties. Contingent upon the character, a few people can perform better while under pressure when they work alone. Having the option to acknowledge that break from the remainder of the group, the association is helping their part to build up his/her obligations required for the organization’s achievement. . What a few recommendations would you give to address ways that virtual groups could commend victories? How might you actualize them? I would give two recommendations that could enable virtual group to succeed. The first is to set a time each week for all the colleagues to take an interest in a gathering through web. Along these lines, everybody will have the option to get similar inputs, pose inquiries and get replies simultaneously and share their thoughts with the remainder of the group. So consistently the gathering will furnish every part with the aftereffect of their work, what amount has been accomplished and where they need improvement. The subsequent recommendation would be for the virtual group to have a pioneer where the colleagues can address every one of their inquiries and concern. The group head ought to be reached at whenever of the day and have the option to address these worries in the most ideal manner conceivable. 7. As a supervisor, what a few recommendations would you execute to guarantee that singular individuals were perceived for their commitment? Clearly, money related impetuses will help inspire each worker to perform better. A salary increase would be one of the recommendations that would guarantee that the great work of a part has been perceived. Likewise, rewards, for example, a took care of day or a gift voucher would be another proposal. Worker of the month assignment can be a third recommendation. Along these lines the opposition to get any of these acknowledgments among representatives will give a superior presentation and progressively profitable specialists. In this manner, I as a supervisor will have the option to lead a fruitful association.

Gift Experiences, Not Stuff

Gift Experiences, Not Stuff Here’s an idea: what if you decide to gift only experiences this year? How much more memorable will your holidays be? Consider these experiences: concert tickets, a home-cooked meal, tickets to a play or a musical, breakfast in bed, a back rub, a foot rub, a full-body massage, a holiday parade, walking or driving somewhere without a plan, spending an evening talking with no distractions, making-out under the mistletoe, visiting a festival of lights, cutting down a Christmas tree, watching a sunrise, skiing, snowboarding, sledding, dancing, taking your children to a petting zoo, making snow angels, making a batch of hot apple cider, taking a vacation together, watching a wintertime sunset. What other experiences can you give to someone you care about? Your experiences build and strengthen the bond between you and the people you care about. Don’t you think you’ll find more value in these experiences than material gifts? Don’t you think your loved ones will find more value, too? There’s only one way to find out. Subscribe to The Minimalists via email.

Essay about The Corrupted Food on Our Tables - 561 Words

America has changed in the past decades becoming more innovative, efficient, and industrialized. Due to the changes in how our industries (Food; in this case) function, small family-owned farms have disappeared leaving large, industrialized production units that grow livestock in masses for the benefit of the Large Corporations such as Tyson Foods Inc. The legal definition of Animal Cruelty is†¦Ã¢â‚¬ Acts of violence or neglect perpetrated against animals† (Animal Cruelty). The red barn with white framing, the bright green pasture with cows grazing, and the respectable family who owns the land as seen in many commercials is a myth. Farming mechanisms have changed to increase production of livestock but what are the consequences faced by these†¦show more content†¦Humans who choose to eat both meat and vegetables will continue to exist because meat provides humans with the necessary nutrients for normal body function including protein and iron. Being a herbivo re or omnivore is a personal choice but animals will continue to be brutally abused if they aren’t being advocated for. Factory farming is a negligent act towards non-human animals. Gene Baur states that, â€Å"factory farms confine animals by the thousands in massive warehouses, treating them like production units rather than as living, feeling individuals.† Animals whom are confined within the walls of factory farms often have no access to the outdoors and spend their time in small crates that don’t allow much room for the animals to move around (Factory Farm). â€Å"Dairy and beef cattle on factory farms do not have access to pasture where they could express their natural behavior (and ideal diet) of grazing† (Factory Farm). Factory farms take away from an animal’s right to roam the empty fields, graze, and feel the sunshine upon their skin. The warehouses that livestock is housed in is an example of negligence. Factory farms fail to provid e these animals with healthy, stable, and free-roaming environments to grow and develop until they are transported to the slaughterhouse. Namit Arora states that, â€Å"In the United States, farm animals make up a whooping 98 percent of all birds and mammals humans use, the rest being pets, victims of research and sport, orShow MoreRelatedA Modern Day Sir Thomas Moore1269 Words   |  6 Pagesby not having a fair system of equality. The corrupted are only out for personal gain, therefore, they manage to not do their job properly. The infamous President Nixon, as just one of many great examples. Despite the corruption, there are many figures of society that do great things for the people, but not enough to make a lasting impact. The growing issues of murder, robbery, abuse of illegal substances, and violence, have infected the streets of our country. With the idea that such things existRead MoreWe Must Make Real Organic Goods981 Words   |  4 Pagesand late night shifts at work. It is really hard to fit a nice healthy meal in between, and finally, when we get home, we come to the fridge, only to find sugar, high carbohydrate foods, and yummy scrumptious fat in the fridge. There is nothing like comfort food right? Well, in the U.S their thousands of â€Å"organic† food stores calming to have better and healthy vegetables, products and medicine that will â€Å"detoxify† you. However, farmers globally make up only one percent of organic agricultural landRead MorePoverty Between Poverty And Middle Class1454 Words   |  6 Pagesthese programs across the US, why aren’t the poor taking these opportunities? These are free programs designed to help them, yet they choose not to used them. Is it because they’re simply lazy and choose to lived off the government through welfare and food stamp? If this is true, they have no reason to complained about their situation and lifestyle. Poverty exists due to the economic infrastructure we live in. It is designed that the rich stay rich, while the poor stay poor. The system is organizedRead MoreTesting The Conditions Of Black Bread Mold Growth1054 Words   |  5 Pages i. Title: Testing the Conditions of Black Bread Mold Growth II. Introduction: Bread. A common household food item used in pizza, sandwiches, burgers, and more. But when bread sits out too long you start to notice some fuzzy stuff growing on it. This fuzzy stuff is Rhizopus Stolonifer or, more commonly known as, black bread mold. This mold is a member of the of the phylum Zygomycota, which have life cycles that include a zygospore. A zygospore is a resting spore thatRead MoreEssay on Interpersonal Effectiveness1003 Words   |  5 PagesJust because I repeatedly meet, associate with and establish agreements with people whose concept of honesty leaves a lot to be desired, does not mean I must be conceptually blind to their attitudes, nor fall victim to them. Nor for that matter, be corrupted by their immoral practices. In my view, it is actually far harder for a dishonest person to believe an honest person telling the truth, than it is for an honest person to believe a dishonest person who is, in that particular circumstance, tellingRead MoreAnalysis Of My Three Favorite Characters From Chaucer s General Prologue907 Words   |  4 PagesInteresting Characters (An Analysis of my Three Favorite Characters from Chaucer s General Prologue) Chaucer was a writer from the Anglo Saxon Era in which he did many significant things in his short life. He is known to this day as the father of our language as we know it today. He wrote the series of stories called the Canterbury Tales, which consist of many different characters that each tell a story. In these series of stories he is us using the characters to express his mind and feelings towardsRead MorePolicy Paper : Gmos Are The Problem !1493 Words   |  6 Pagesgrab and go set of individuals, however King Corn, a documentary based on the overproduction of corn, gives readers an insight on how chemicals and GMOs in our food supply are affecting people all over the country. While there are positive aspects of producing and consuming conventional food, we should carefully investigate what is in our food system and how we can identify the differences between certified organic and conventional. When purchasing organic produce, one might notice that there areRead MorePublic School Vs. Public Schools1087 Words   |  5 PagesIn the 21th century there seem to be a thin line between the wealth and the poor in our schools educational system. We need to help improve our school board with better textbooks, classes, and equipment. How well educated is our students who went to American public schools? How much diversity is in American public schooling? Does the middle to upper class students have an advantage for getting a better education than low income students? The American Dream and public school; statistic say that kidsRead MoreCultural Awareness Of El Salvador1295 Words   |  6 Pagesdress, celebrate certain holidays, or just other beliefs in general. Picture a country that at one-point war was so bad and constant that is was normal for women to cook for soldiers who are passing by their homes. It isn’t frowned upon to have a corrupted government because that is something they have had to deal with since their independence, and children as young as the age of seven are militants walking around with weapons in their hands, becoming social terrors. At least during the 1980’s thisRead MoreThe Day Of Day Life1171 Words   |  5 PagesAs a little girl my mother always said to me that life would get better. Every winking moment that s all I thought about. Our day to day life is a struggle. Every day I wake up hungry and exhausted from the previous day. There is never enough food and no time to get more, to much work and no rest besides the pitifully small amount of sleep we get. As slaves to a corrupted and ruthless Grandeur; who rules the land that we live on, we are forced to do hard labor. Every day we work the soil and build

What is Social Responsibility - 931 Words

Social responsibility is an ethical ideology or theory by an organization or individual, has an obligation to act to benefit society at large. Social responsibility is a duty every individual or organization has to perform so as to maintain a balance between the economy and the ecosystem. A trade-off always exists between economic development, in the material sense, and the welfare of the society and environment. Social responsibility means sustaining the equilibrium between the two. It pertains not only to business organizations but also to everyone who’s any action impacts the environment. This responsibility can be passive, by avoiding engaging in socially harmful acts, or active, by performing activities that directly advance social goals. As the cost and profit were major subjects of business reports, but it should not step over social responsibility. Social responsibility involves in saving environment and using nature resources properly, serving community by defending human rights, and insuring safety standards among working environment and production. Among modern century more companies are being interested about corporate social responsibility (CSR) as business reports proved that it became a fact in business growth. CSR is a mechanism accomplished to maintain the economic, legal, and ethical responsibility to the community as same as organization. Stakeholder theory enables managers to take account of these different interests in business ethical responsibility:Show MoreRelatedWhat Is Social Responsibility?1662 Words   |  7 PagesWhat is Social Responsibility?: The idea of Social Responsibility really comes down to an ethical framework that suggests that a company’s actions should be for the general benefit of society as a whole over self-interest. 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BVO is banned in several other countries but allowed by FDA is US. Due to an online petition, thousands have pressured Coca-Cola to remove it. Coca-Cola listened and removed BVO. The stakeholders – consumers are cared for as Coca-ColaRead MoreLuxury Brands: What Are They Doing About Social Responsibility?2480 Words   |  10 PagesLuxury Brands: What Are They Doing About Social Responsibility? David S. Waller, Marketing Discipline Group, University of Technology Sydney Anurag G. Hingorani, Marketing Discipline Group, University of Technology Sydney Abstract Although luxury goods may be synonymous with extravagance, la vishness, and even waste, it may appear to be a contradiction that a number of companies that manufacture and sell luxury brands have also discovered the value of being socially responsible. With growing criticismRead MoreWhat Is Moore s View Of Corporate Social Responsibility1563 Words   |  7 PagesWhat is Moore’s view of corporate social responsibility? After GM began to announce that the company will be closing it’s location in Flint, Michigan and will be moving down to Mexico the whole city of Flint began to deindustrialize. About half of Flint was left unemployed. Due to a lot of people losing jobs, primarily from the GM company, more and more people were being evicted from their houses and going on welfare. Because of the outsourcing it lead to Flint becoming deindustrialized. A lot ofRead MoreLuxury Brands: What Are They Doing About Social Responsibility?2488 Words   |  10 PagesLuxury Brands: What Are They Doing About Social Responsibility? David S. Waller, Marketing Discipline Group, University of Technology Sydney Anurag G. Hingorani, Marketing Discipline Group, University of Technology Sydney Abstract Although luxury goods may be synonymous with extravagance, lavishness, and even waste, it may appear to be a contradiction that a number of companies that manufacture and sell luxury brands have also discovered the v alue of being socially responsible. With growing criticismRead MoreCorporate Social Responsibility: What Went Wrong at Glaxosmithkline?2532 Words   |  11 PagesCorporate Social Responsibility: What Went Wrong at GlaxoSmithKline? When London-based GlaxoSmithKline (GSK) paid a $750 million dollar settlement as part of a plea agreement that required it’s Cidra, Puerto Rico subsidiary SB Pharmco to plead guilty for knowingly selling contaminated medicine, it laid to rest any doubts that its business practices were in direct conflict with its commitment to both quality and to creating a strong ethical culture. There are, nevertheless, important issuesRead MoreTo What Extent Is Corporate Social Responsibility Beneficial to a Company’s Performance1245 Words   |  5 PagesTo what extent is Corporate Social Responsibility beneficial to a company’s performance Corporate Social Responsibility is a philosophy that relates to a business being a part of the society, so acts in a way that not only advances its own firm but also serves the society as well. Good ethics is the cornerstone of sustainable development. In the long run, unethical behavior may harm customers and the society as a whole. Furthermore, it damages a company’s image, efficiency and effectiveness

Mythical Solutions to Best and Worst College Essay Topics Discovered

Mythical Solutions to Best and Worst College Essay Topics Discovered Details of Best and Worst College Essay Topics College schools sometimes need supplemental essays. Colleges are more inclined to admit students who can articulate certain explanations for why the school is an excellent fit about them beyond its reputation or ranking on any list. They want to make it easy for students to apply, but they also want to know the student is serious about applying. All colleges provide classes and degrees, and many let you study in another nation. The exact first step in writing a descriptive essay is to select your topic. Writing a college essay can be a difficult endeavor, but nevertheless, it may also be exciting. Writing essays for college is probably going to be a challenging approach. College essay writing tips are generally focused on each of the things you ought to do for an ideal essay. The Best and Worst College Essay Topics Chronicles Fortunately, colleges will think something similar about you in case you choose to incorporate your love of literature in your essay. The sports essay is simply cliche. It is predictable and should be avoided, if possible. You are able to attract books, movies or articles which are discussing the exact same topic you're likely to approach in your essay. Look at a few of my articles for topic ideas if you need assistance. Since you may see, the topics are broken up into multiple categories so it would be simpler that you select one. The multiple topics could possibly be found, for instance, in the dissertation abstracts international database. The more specific you're, the simpler it is going to be to prove it in your essay. Stephen's essay is rather effective. Before you are able to select a compelling essay topic, you first have to know why there's an essay in the very first location. If you're not certain you will manage to pick out a really impressive topic for your essay, request essay help in brit ain from our academic experts. Best and Worst College Essay Topics - Is it a Scam? For instance, just in few hours you may learn to find an ideal letter of recommendations and more! The essay is where to enable the admissions office of your intended college get to understand your personality, character, and the talents and abilities that aren't on your transcript. Write what you would like to say. Lies You've Been Told About Best and Worst College Essay Topics You just need to learn how and where to hunt for it. You may also reward yourself when you finish reading a course selection. Fine, but you must be ready to write whatever you truly feel like writing from a college that might not be your first option. Whatever They Told You About Best and Worst College Essay Topics Is Dead Wrong...And Here's Why A new concept, a new idea, will work wonders at any particular time. As soon as you own a topic, you have to make a decision as to what way you need to approach it. Since yo u may have to search on virtually every topic that you select, choose something about which you get an overall idea. At times, even when you're writing about an interesting, relevant subject, it's still possible to look immature or unready for college life on account of the direction you present that topic the way you truly write your own personal statement. You can begin with the kind of topic you pick for your compare and contrast essay. Who knowsthe reply to that question may be the foundation for your admission essay. You may also order a fully written compare and contrast essay and alleviate the quantity of work you must do. The very first thing you ought to do is identify the sort of compare and contrast essay which you're handling. Top Choices of Best and Worst College Essay Topics College admission is genuinely a buyers market after getting beyond the. Some might do the job better as higher school research paper topics, while others are going to make decent research paper topics for college students. Many students think a thesis is only a group of ideas strung together with a couple essential words. Teachers and professors don't wish to find that you comprehend the plot of a story. The prevalence of genealogy and on-line sources are fantastic areas to begin your research. Second, check out whether there is sufficient information available on the internet or in your college library. On the flip side, old topics that have been read and written on by millions, won't ever catch any attention. Our site features custom writing help and editing aid. It's quite important to demonstrate your capacity to be an in depth observer of the Earth, since that will be one of your major jobs as a college student. In reality, some studies demonstrate that the non-college group is truly less religious than the college group. The fact of the matter is that you have to select the major even before you decide on a college or university. The more information you know more about the college, the better the possibility you'll pick one that fulfills your needs. Knowing the focal point makes it possible to fully grasp the significance of the picture. Many debate what a suitable age to have a cellphone is. Some undesirable topics show admissions officers you don't have a very good awareness of judgment or maturity, which is a problem because they are building a category of college students who have in order to deal with independent life on campus. Topics like death and divorce are cautionary as they can be exceedingly challenging to write about. Don't attempt to cover their entire life in one sitting, if you are not only writing about one part of their life, including a military career or a particular time period in their life. Remember that you may make funny argumentative essays if you do a few things. You must convince your reader a movie may be an accurate portrayal of its decade, even in the event the setting was in a different tim e frame. For example an individual may select a topic like, life in the shoes of a werewolf.

Boroque Music free essay sample

Monteverdi believed that there were two practices to music: first and second. The first practice of music was that of the late Renaissance. The second style of music was Introduced by Monteverdi, the Baroque style. The second practice music had three main characteristics: text dominating words, secular songs, and homophobic texture. This second practice included homophobic expression; a homophobic expression is a melody in one voice supported by harmony in others (Ferris 119). Monteverdi used the more dramatic and more expressive music to write opera-type dramas. Tu SE mortar, composed in 1605, Is music piece from a larger work called LOreal. Aloofer Is named after the mall character, Fore, In the drama. Tu SE mortar translated from Italian means Thou art perished. The piece sets a great example of the second practice of music, for all three characteristics of second practice music fall into the work. The genre of the particular piece is recitative, so the texture is homophobic. We will write a custom essay sample on Boroque Music or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The from is a free Landaus 2 form because of the flexibility singing the text. Moreover, the rhythm Is also flexible because of the spoken text.The song uses both the major and minor scales, so the harmony is a tonal harmony; even so, the piece does give sharp changes in pitch. These changes are only to express the misery in the plot. The tempo is slow due to the fact that the man is morning. The piece is overall intended to be sung dramatically, so there is no meter. The listeners overall reaction to the piece Is depressing at first but then turns Into a comforting work of art. The opening music sounds like a lute. After the lute plays for a few seconds a mans tenor voice starts singing.The singing Is slow and drawn out. Yet the song is soothing, in the sense that the man wants to be with this person that has passed away. He starts to morn, but he vows to entreat the king of shadows (Affair 124). Or he wants to follow this person into the underworld. So he gives up his life to be with someone. Another extremely recognizable name In the Baroque period Is Johann Sebastian Bach. Bach was a German composer born In 1685. Bachs purpose was not to entertain people with his music, but it was to teach people with his music.Bach is still considered to be one of the greatest influences on the Baroque period. Bach died in 1750, thus ending the Baroque period of music. Bachs piece, composed in 1709, is called Fugue in G minor or the Little Fugue. A fugue is a polyphonic composition with two to six melodic lines or voices (Affair 139). The piece plays a standard melody. Then the piece gives an answer back but In a deferent melody. Our melodic lines, which produces a four-voice fugue. The music is played on an organ, thus the genre and timbre are both organ and organ music respectively. The meter is a quadruple meter. The harmony is played only in the minor scale: however, the last meter is played in major scales. The texture is polyphonic, but it seems it falsifies a polyphonic texture. The listener can only suggest that the texture is thought to be polyphonic because of the fugues back and forth. The personal reaction from the listener is a chaos or a calamity composition. It made the listener confused, but it also made the listener listen closely to all the notes Ewing played. The fugue played by Bach sounds like different people playing the organ.

RTE (Ready to Eat) Cereal Industry Essay Example

RTE (Ready to Eat) Cereal Industry Paper What are the barriers to entry in the RTE (ready to eat) cereal industry? Market concentration and big players extremely powerful and profitable. Restrained competition by the big three by unwritten agreements to limit in pack premiums; tread dealing (one brand at a time for each company); and vitamin fortification Economics of scale in production and advertising Slots in the supermarket and negotiation by volume and discounts Three big cereal companies: Kellogg, General Mills and Philip Morris When: 1994 What: for the first time decrease of sales. Before this avoided destructive head to head competition. Used to be a very closed market and even considered monopolistic. Big margins, easy to negotiate and volume for retailers among other things made it difficult for new companies to enter the market. 1% of gross sales (80 millions) used for RD. Distribution to centers. Buy space at retailers (could go up to 1 million) when introducing a new brand. Expansion from 96 2000 20% by entering superstore centers (Walmart with discounts) Advertising and use of coupons ereals seen as luxury item with the high prices according to consumers. New products developed (expansion of brands or new creations). Also co-brand deals Kellogg: 35% of market share, leader. It has cereals, waffles (eggo), toaster pastries (pop-tarts) and granola bars. General Mills had 24. 3% of market share (food company). Cereal division was its largest division (30% of revenues) followed by restaurants, packaged food goods like frozen see food. Philip Morris: 60 billion consumer packaged goods company (half from food and half from beer). We will write a custom essay sample on RTE (Ready to Eat) Cereal Industry specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on RTE (Ready to Eat) Cereal Industry specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on RTE (Ready to Eat) Cereal Industry specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Acquired Nabisco Quaker Oats: leader with 65% of the hot cereal industry. Ralston: pet food, batteries manufacturing (everyday and energizer), soy protein, operator of ski resorts, polymer products, etc. Produced 50% of the private label cereals. Private Label Thread Grew 50% from 91-96 (9. 2% of all cereal sales) Low price (40% less than the big 3) Offered better margins for the retailers 90s change, they used to suffer from poor quality and limited production before. Costs where cheaper because they focused on simpler cereals no R, packages also cheap. Malt-O-Meals competition of private label Is the recent decrease in profitability a temporary phenomenon or a permanent change in industry profitability? It is a permanent change thanks to the market penetration and growth the companies are having. Also it is important to mention that people, according to the text, view cereal not as a luxury item but as something basic. They rather pay less than buy for a more elaborated cereal. How should I believe Kellogg should diversify their products and make a premium line and a more basic with lower prices but with Kellogg quality.

Free Essays on Odyssey-penelope

Penelope was the paragon of marital devotion and fidelity. Penelope showed us exactly of how women’s character was to be played out. They were beautiful, intelligent, and submissive to their husbands and/or other men. The fact that Homer continuously mentions Penelope’s beauty shows us that this feature was expected of a woman. A quality in which Penelope was blessed with. At the beginning, Homer introduces us to Penelope saying this: "She came, then, down the long stairs of her house, this beautiful lady," (Odyssey. 1.233). In every scene that the she performs, Homer states of her beauty. Intelligence is shown to us by Penelope all throughout the books. For example Penelope says she will marry again once her sewing is complete, but every night she unwinds it, she is able to fool the suitors to avoid an unwanted marriage. The women role of submissiveness is shown when the suitors arrived for Penelope. Despite her unwillingness to choose a new husband she remained obedient to them. Showing them much generosity as Homer states, "Attendants poured water over their fingers, while the maids piled baskets full of brown loaves near at hand, and houseboys brimmed the bowls with wine." (Odyssey 229) Her submissiveness to her husband is widely shown throughout the book. Penelope continues to remain devoted to him and only him. The Odyssey seems to be the product a society in which the dominant role was played by the men. The Odyssey has shown women in subservient roles. Many of these characteristics are still valued in the women of today, now whether or not the women of today adhere to them is a different story. I think many of the women of today’s society want to be beautiful, and intelligent, but it is not as highly expected of them to do so.... Free Essays on Odyssey-penelope Free Essays on Odyssey-penelope Penelope was the paragon of marital devotion and fidelity. Penelope showed us exactly of how women’s character was to be played out. They were beautiful, intelligent, and submissive to their husbands and/or other men. The fact that Homer continuously mentions Penelope’s beauty shows us that this feature was expected of a woman. A quality in which Penelope was blessed with. At the beginning, Homer introduces us to Penelope saying this: "She came, then, down the long stairs of her house, this beautiful lady," (Odyssey. 1.233). In every scene that the she performs, Homer states of her beauty. Intelligence is shown to us by Penelope all throughout the books. For example Penelope says she will marry again once her sewing is complete, but every night she unwinds it, she is able to fool the suitors to avoid an unwanted marriage. The women role of submissiveness is shown when the suitors arrived for Penelope. Despite her unwillingness to choose a new husband she remained obedient to them. Showing them much generosity as Homer states, "Attendants poured water over their fingers, while the maids piled baskets full of brown loaves near at hand, and houseboys brimmed the bowls with wine." (Odyssey 229) Her submissiveness to her husband is widely shown throughout the book. Penelope continues to remain devoted to him and only him. The Odyssey seems to be the product a society in which the dominant role was played by the men. The Odyssey has shown women in subservient roles. Many of these characteristics are still valued in the women of today, now whether or not the women of today adhere to them is a different story. I think many of the women of today’s society want to be beautiful, and intelligent, but it is not as highly expected of them to do so....

Starwood Group of Hotels and Resorts Marketing Plan Essay

Starwood Group of Hotels and Resorts Marketing Plan - Essay Example The essay "Starwood Group of Hotels and Resorts Marketing Plan" aims at analyzing the profile of "Starwood group of Hotels and Resorts" company and recommending a one-year marketing plan for the company to improve the revenues and current standing of the company. The paper briefly touches upon the current standing of the group.Starwood has a large number of hotels worldwide naming a few: St. Regis, The Luxury Collection, Westin, Sheraton, Le Meridien, Aloft, Four Points, W, and Element. As of 31st December 2007, Starwood group’s portfolio included a total of 897 Hotels with 275,000 rooms across 100 countries that primarily cater to the upscale markets of the lodging industry. The company employs about 145,000 people and has its head quarters in White Plains, New York. Starwood has created a brand name for itself worldwide and has been able to gain a high number of loyal customers. The group has provided good service to customers and has received a number of positive feedbacks from the customers. The popularity of the group is seen clearly by its ranking in the Worldwide Top 10 hotels. Starwood has over 897 hotels worldwide which show the large operational scale. Starwood has grown by 3.0% in one year and this shows how rapidly the company is expanding and now has almost half the number of rooms as its biggest competitor. The main assets of a hotel are the properties owned by it. Starwood has ensured to get very distinct properties and has built the hotels in locations that are very sophisticated.

Analyzing Orwell's1984 Essay Example | Topics and Well Written Essays - 750 words

Analyzing Orwell's1984 - Essay Example This allusion to the wiping out of memories is symbolic of a process of erasing memories, by which actually the sense of self within each and every human being is erased, culture is erased (Orwell, Chapter 4). In chapter 5 of the book, one understands that the Party is in a process of destroying many words which are supposed to be useless from the language (Orwell, Chapter 5). The reason for this is spelled out by Syme, a friend of Winston, when he says, â€Å"in the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it† (Orwell, Chapter 5). Here, thoughtcrime is the act of thinking against the Party and its laws. With this kind of progression of the narrative, the author has shown that people are deprived even of their power to think, disagree and dream; people are totally dehumanized (Orwell, Chapter 5). Loss of privacy is the most important aspect of the dehumanization process. In this novel, the face of the Big Brother a nd the caption, â€Å"Big Brother is watching you† follow the people everywhere thereby depriving them of even a moment of privacy (Orwell, Chapter 1). Even the â€Å"swirl of gritty dust† that enters with Winston into his apartment building is suggestive of the helplessness of people like him to have some personal space and time (Orwell, Chapter 1). Then there is this instrument on the wall, the tele-screen, which forces all to listen to what it says, through days and nights, so that nobody is allowed even the privacy for thought (Orwell, Chapter 1). When people have such voices screaming into their eardrums constantly, they become more like listening machines. Again, a helicopter is also seen sneaking into people's lives from the sky (Orwell, Chapter 1). By depicting these three presences- the Big Brother, the tele-screen and the helicopter- Orwell has in the very first page of his novel, made the readers apprehend that they are entering a world totally mechanical, y et very familiar in terms of certain aspects of modern life. As we read on, it is also communicated that the tele-screen is a receiver as well as transmitter (Orwell, Chapter 1). It is transmitting all the visuals and sounds that the protagonist made, to the thought police (Orwell, Chapter 1). From this moment, the reader actually enters the world of absolute power where, â€Å"you had to live-did live, from habit that become instinct- in the assumption that every sound you made was overheard, and, except in darkness, every moment, scrutinized† (Orwell, Chapter 1). The first chapter of this novel, in this manner, strongly predicts the drama that is about to be unraveled yet keeps the reader hooked to the text and yearning to read more. Chapter 6 unfolds another horror of living in the world controlled by the Party and Big Brother- there is no sexual freedom, no freedom to love a person from the other gender (Orwell, Chapter 6). The reason behind this is explained as given in the following paragraph: The aim of the Party was not merely to prevent men and women from forming loyalties which it might not be able to control. Its real, undeclared purpose was to remove all pleasure from the sexual act. Not love so much as eroticism was the enemy, inside marriage as well as outside it. All marriages between Party members had to be approved by

Bunraku Theater and Kathakali Dance Drama

Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. . Bunraku Theater and Kathakali Dance Drama Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. .