Journal articles on the topic 'Cham (Dance)'

This paper discusses the origins of Cham or ritual dance in Tibetan Buddhism, structure»and components of the Cham ritual of Pamasambhava. The first part of the paper explains the Cham ritual dedicated to Padmasambhava and its three main sections ： the ritual of making offerings and reading scriptures; the performing of the ritual dances; and the empowerment of Padmasambhava»known as “Light of the Lotus”. The second part of the paper gives some details of the Padmasambhava Cham, which takes place on the ninth and tenth days of the eleven day ritual»with the Cham on the ninth day known as kya'cham and that on the following day as the dngos gzhi. The Padmasabhava Cham has eighteen parts and one of these parts has seventeen sub-sections»so all together there arc thirty-seven parts performed on the tenth day.

Entering the world of Tibetan spirituality, we observe a multitude of rituals that involve movement and music, used by the monks for various therapeutic and ritualic purposes. The history of Tibetan dance – the Cham tradition - runs in parallel with the history of Buddhism on this territory. Information on these rituals and dances is found in very few Tibetan documents, almost none in European works, and recently in several works printed in English. This can be explained by their oral transmission in special schools, as well as in secret initiations. As the title mentions, in this article, we will discuss the sacred dances of the Tibetans and not the folk ones. Thus, in the following pages, we will mention some of the dances practiced within the sacred rituals by Tibetan monks.

Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.

Mwanatari is a community located between Lafiya and Lamurde in Lamurde LGA of Adamawa State. It lies on Latitude 9.560N and Longitude 11.70E, 164.00m/538.06ft ASL. The community shares boundary with Bwatiye (Bachama and Bata) communities. The ethnic groups found within the area are Mwana, Chobbo, Kwah, Waja, Lunguda, Dadiya, Jenjo, Hausa, and Fulani. The people of Mwanatari are predominantly agrarian. Lamurde is the administrative headquarters of the local government area and it is about 100 kilometers from Yola, the State capital. Like any other people Lamurde local government is noted for its unique cultural heritage. The Bachama people are noted warriors as is easily depicted in their popular dance “Wuro Kaduwe” closely related are the Homtu Gbatakaito at Gyawana which has to do with hunting, and the “Badan” at Nghakawo. They have the “kwete” wrestling festival in the town of Lamurde which comes up once in a year. It is a wrestling between the people of Gyawana and Lamurde. It is during the festival that His Royal Highness the Hama Bachama discloses his plans and vision to his subjects. Apart from Kwete wrestling festival, there is the “Poto” at Waduku, “Vayato” at Gyawana and Opalo. The Kwah “ Gikan” festival is celebrated yearly. The Waja celebrates “Saulawe” Chobbo “ Cito” and “Dikulem” “kreth” among the Lunguda and Dadiya respectively. Lamurde itself is a historical town where western civilization and tradition exist side by side. The Mwana people, according to history migrated from Cham in present day Balanga Local Government Area of Gombe State. The people of Cham migrated from Yamel in the East with some tribes like Lunguda, Tula, and Dadiya at about 1777. They came to Africa through Egypt and settled at Wanda. As a result of unproductive agricultural land, bad climate and weather, the people of Cham being good agriculturalists decided to move from Wanda to a free and fertile land at Fitilai (Kuntur) in 1797. At Fitilai, Baba Dan Bulo, an informant said, “The people of Cham settled in groups according to their clans. In these small clans, there is a type of disperse, cross or integrated relationship which is shown by ties of reputed kingship, chieftaincy and religious complexities. The major clans among these settlements were Fitilai to Bwelimi, and Fitilai to Dijimi, out of which the following small clans emerged: Jabe, Bwelimi, Kwasim, Lebe, Dungurang and Tiksir. These clans believed in peace and have special love and care for one another and therefore regard themselves as brothers (Shete) plural of Chum, brother”.

In dance, high demands are placed on the lower extremity joints during jumping tasks. The purpose of this study was to compare biomechanical demands placed on the lower extremity joints during the takeoff and landing phases of saut de chat leaps. METHODS: Thirty healthy, experienced dancers with 20.8±4.9 yrs of dance training performed 5 saut de chat leaps. A three-dimensional motion analysis system and force plates were used to collect kinematic and kinetic data. Ground reaction force (GRF) peaks and impulse and sagittal plane kinematics and kinetics of the hip, knee, ankle, and metatarsophalangeal (MTP) joints were calculated for the takeoff and landing phases of each leap. RESULTS: Saut de chat takeoffs demonstrated greater braking GRF impulse (p<0.001), while landings demonstrated greater peak vertical GRF (p<0.001). During takeoff, greater kinetic demands were placed on the MTP (p<0.001) and ankle (p<0.001) joints, while during landing greater kinetic demands were placed on the hip (p=0.037) joint. CONCLUSIONS: Both the takeoff and landing phases of saut de chat leaps place significant demands on a dancer’s body. Takeoff involves greater demands on the more distal joints and requires more braking forces, while the landing phase involves greater demands on the more proximal joints of the lower extremity and requires the dancer to absorb more vertical force. These demands, combined with extensive repetition of movements during training, may contribute to the high number of chronic injuries seen in dance.

Children develop a variety of skills and knowledge from childhood, including physical activity habits that persist throughout their lives. Insufficient physical activity rates around the world are high and continue to increase (Latvian ministry of health, 2017). Dancing is one of the kinds of physical activity that can deliver benefits to health throughout life, even at the amateur level. Yet, it isn't quite clear yet whether dance intervention is as effective to health as other physical activities. (Yan, Cobley & Chan, 2018). The research question is – is it possible to increase general conditioning with folk dance classes besides a school activities? The aim of the study: explore the impact of folk dances on the children's body mass index and physical conditioning at a younger school age, compared with children engaged in other out of school physical activities and children not engaged in out of school physical activities. The study involved 117 children in age 9 -11 divided into three groups - going for folk dances after school, some kind of sport after school and without regular physical activity after school. The assessment of children's physical conditioning by the Eurofit tests showed a tendency that in average children's physical conditioning rates were “low“ or “below average” no matter in which group they are. For children who do afterschool activity as folk dance, BMI is statistically equivalent to those children who are going for other physical activities and children who are not engaged in any afterschool physical activity. The physical conditioning rates for all three groups are statistically equivalent in the tests: standing broad jump, bent arm hang, shuttle run 5x10m, while the test sit-ups the children lack of afterschool physical activity, average the result was one level lower than in the other groups. The main conclusion is, that volume of folk dance as afterschool physical activities is not enough to make significant difference of average physical conditioning level of children.

AbstractThe article explores the process behind the construction of the Chao Phraya Dam, the first World Bank-funded water infrastructure project in Thailand, developed during the 1950s. Employing Andrew Pickering's ‘dance of agency’ concept in examining the process of turning financial and technical assistance into a workable project, I argue that development infrastructure, like the Chao Phraya Dam, provides a space to explore the dialectic operations – accommodation and resistance – of agency and the unstable associations among diverse actors, expertise, institutions, and materials, as well as practices. Recounting the history of the dam in the making, I explore a series of entanglements through different dances of agency, namely initiation, assessment, mobilisation, negotiation, adjustment, confrontation, and settlement. Such a multiplicity of dancesinsideandin the makingof infrastructure reflects the techno-political entanglement encompassing the manifold negotiation and adjustment of conflicting goals, interests, recognition, and cooperation among different agencies. The dam, often portrayed as an engineering achievement of the state, is in fact the result of unanticipated relations and the responses to the temporal emerging forms of practices.

Force est de constater que la pratique du manifeste en danse ne s’inscrit pas dans une tradition discursive importante, que ce soit en termes de production ou d’analyse critique. À vrai dire, les exemples qui ont marqué, durablement (ou pas), le champ chorégraphique français se comptent sur les doigts d’une main. Il conviendra d’analyser l’évolution d’une pratique qui, si elle reprend les codes identitaires du genre, fonctionne à rebours des autres disciplines artistiques : délaissant une démarche singulière, menée au sein d’un groupe, au profit d’un mouvement collectif prônant la revendication d’une politique culturelle chorégraphique large, et oscillant entre acte de légitimation d’un art (et non d’une esthétique) et volonté d’institutionnalisation et de structuration du champ.

The research titled “Maintaining Ethnicity and Social Networks: Engkor Lorgow, Lion, Dragon Dance Performing Arts of the Chinese Ethnic Group in Udonthani Province” was qualitative research that emphasized on investigated and collected data from the field study, document, and related research and presented in descriptive analysis, particularly at Thung Si Muang Annual Festival in 2018. The objectives of the study consisted of three criteria: 1) to study of the development of the Chinese ethnic group in Udonthani, 2) to analyze the role of the Engkor Lorgow, Lion, Dragon Dance Performing Arts in maintaining ethnicity and social network of Chinese ethnic group in Udonthani, and 3) to analyze how the culture of Engkor Lorgow, Lion, Dragon Dance Performing Arts helped created social group between Chinese ethnic group and the local people in Udonthani. The study results found that the Engkor Lorgow, Lion, Dragon Dance was part of the ritual at Chao Pu-Ya shrine. The Chinese ethnic group worked together on the ceremony by holding the Chinese Opera to show the belief and faith of traditional Chinese culture and to gather all Chinese together to maintain their ethnicity and create social networks with one another. Chinese Operas were held annually in Thung Si Muang, Udonthani province, Thailand, and had adapted the Engkor Lorgow, Lion, Dragon Dance to be more spectacular and fit in with social contexts in Udonthani. The dance was promoted to be one of the provincial identities and played an important role in tourism in Udonthani. Thus, the Engkor Lorgow, Lion, Dragon Dance has been a ritual that helped assemble and created social networks between the Chinese ethnic group and other ethnic groups in Udonthani province.

OBJECTIVES: Dancers frequently perform complex jumping skills that involve achieving specific body positions while in the air. An examination of how skilled dancers achieve these aesthetic demands can provide information useful for dance training. The purpose of this study was to examine the temporal coordination of the hip and knee joints during the flight phase of a saut de chat leap, where dancers aim to achieve a split position in the air when the center of mass (COM) reaches peak height. METHODS: Thirty healthy, experienced dancers with 22.5±4.5 years of dance training performed 5 saut de chat leaps. The timing of peak hip and knee joint angles and velocities for the takeoff and leading legs were extracted and compared to the time when COM reached peak height in the leap using a repeated measures ANOVA, with post-hoc comparisons made using paired t-tests. RESULTS: Dancers demonstrated significant differences in timing associated with achieving the split position (main effect p<0.001), with only peak leading leg hip flexion occurring at a similar time to the COM reaching peak height (paired t-test p=0.074). CONCLUSIONS: The results of this study provide insight into coordination patterns used by trained dancers. Trained dancers demonstrate patterns in timing that may be important for successful performance. The hip and knee coordination patterns during flight demonstrate how dancers work to achieve the desired aesthetics of a saut de chat leap. However, it appears that dancers do not reach the full split position at the height of the leap, as would be aesthetically desirable.

Cette étude explore le potentiel d’une activité de danse dirigée sur l’apprentissage du vocabulaire relatif au champ lexical des saisons, auprès d’enfants de milieux défavorisés. Des entretiens semi-dirigés incitant les enfants à décrire leurs connaissances sur les saisons ont été réalisés avant et après l’activité dansée, qui portait également sur ce thème. Des cartes sémantiques ont été créées à partir des données des entretiens afin d’observer l’accroissement de mots produits et la formation d’interrelations entre ces mots. Trois cas d’enfants de quatre ans ayant des connaissances initiales différentes sont présentés afin d’illustrer le potentiel variable que pourrait avoir l’activité de danse vécue dans ce projet sur l’apprentissage du vocabulaire.

This article addresses the concept Body as Archive in the context of contemporary Jamaica, a nation simultaneously grounded in Christian Religiosity and rooted in African Cosmology. Body as Archive is identified here as an understanding of the body that recognizes bodily artefacts as stored in individual and collective bodies for future generations to excavate, critically interrogate, re-craft and/or restore and deploy in the fashioning of present-day individual and community identities, life possibilities and future world imaginings. At its core Body as Archive is the work of the imagination to manifest the body as both archive and artefact, both a space for the collection and recording of historical memory and remembrance and itself an expression of memory and re-membrance. In contemporary Jamaica Body as Archive encompasses notions of beauty, the role of dance, and the significance of performance around and about the Jamaican female body. Embedded in this current exploration is an interrogation of the ways in which the bio-political imagination of past generations inform the excavation and deployment of bodily artefacts in the present.

À la suite de mon travail de thèse, j’ai noué avec le musicien Jean-Luc Plouvier un dialogue à propos de l’oeuvre d’Anne Teresa De Keersmaeker. Une des spécificités de cette chorégraphe est de travailler majoritairement sur la musique occidentale écrite. Cette collaboration entre un musicien et un danseur permet de questionner des termes tels que « dialoguervraiment », « rapport entre musique et danse », « demande et adresse des arts entre eux » ou encore « faille entre écriture et réception ». Il s’agira dans cet article de dresser un état des lieux de cette collaboration et de montrer – du point de vue de la danse – ce que les démarches analytiques et esthétiques issues de la musique apportent au champ des études chorégraphiques.

The objectives of this research were 1) to convey the display styles of the Isan Klong Yaw (long drum) band and 2) to convey the judging criteria of the Isan long drum contest. The research instruments were a survey form, interview form, and observation form. Data was collected from the documents and field data. Then the research results were presented by descriptive and analytical methods which were as follows: 1) The knowledge conveyed on the long drum display styles consisted of the conveying of the Isan Klong Yaw displaying styles, model conveying of Isan Klong Yaw dance, the conveying of Isan Klong Yaw row variations, a group of villagers was set up to preserve, inherit and participate in the Isan Long Drum Band Contest, Wapi Pathum District, Mahasarakham province. 2) The judging criteria for the Isan Klong Yaw contest consisted of the judging criteria for the styles of Isan Klong Yaw beating, the judging criteria for the styles of the Isan Klong Yaw dance, and the judging criteria for them to compete for the royal trophy at the “On Son Klong Yao Chao Wapi Klong Dee Puen Ban Annual Traditional Festival 2021”.

Il s’agit de présenter le corps esthésiologique à partir des récits en première personne des participants à la manifestation traditionnelle « Os Cão », pendant le Carnaval de la plage de Redinha, à Natal, au Brésil, en 2017. D’autre part, il s’agit d’évoquer le spectacle « Cão sem plumas » (Le Chien sans plumes), de Débora Colcker pour créer des liens entre l’esthésiologie et l’expérience esthétique de la boue comme un champ expressif pour l’écologisation du corps vers la création de nouveaux sens pour la motricité, notamment dans le domaine de la danse. Une telle proposition nous aide à comprendre la quête de la danse vers une nouvelle fabrication poétique du réel en interaction avec la nature, au mouvement et à la notion du spectacle lui-même au-delà du divertissement ou du simple « loisir » mais comme pourvoyeur de sens existentiel, esthétique et culturel.

The NO heterogeneous reduction by char is one of the most prominent options to control NOx emissions from coal-fired power plants. Experiments on the char-NO heterogeneous reaction were carried out in an electrically heated fixed-bed reac-tor to investigate the effect of temperature, type of char, pretreatment method, additives and reaction atmosphere on the NO reduction capacity of char. The re-sults showed that temperature plays a crucial role in the NO reduction by differ-ent char. The kinetic analysis showed that char-NO heterogeneous reaction is controlled by chemical kinetic below Tt and by diffusion kinetic above Tt. The value of transition temperature Tt depends on the types of char and ranges from 600?C to 800?C. The synergistic effect of specific surface area, mineral abun-dance and reactivity combine to result in the reduction efficiencies of different char. Oxygen has a promoting effect on the char-NO heterogeneous reaction, and the oxygen content of the promoting peak moves to low oxygen content with in-creasing temperature. At 1050 ?C, the denitrification efficiency at 0.25% O2 con-tent is 12.7% higher than that under oxygen-free conditions. At high tempera-tures, the promotion of the char-NO heterogeneous reaction by CO and the inhi-bition of the reaction by CH4 were more obvious.


 
 
 La thymélè d'Epidaure a-t-elle abrité des séances de thérapie fondées sur la musique et la danse? C'est la nouvelle hypothèse qui est élaborée par une équipe de recherche multinationale et transdisciplinaire, placée sous la direction de Peter Schultz et financée, entre autres, par l'American School of Classical Studies à Athènes. Nous nous proposons de la développer à partir de l'ouvrage publié par ces auteurs: Peter Schultz, Bronwen L. Wickkiser, George Hinge, Chrysanthos Kanellopoulos and John C. Franklin, The Thymele at Epidauros. Healing, space and musical performance in late classical Greece, Theran Press, Fargo, 2017. Nous expliquerons d'abord les méthodes utilisées par ces chercheurs et nous résumerons brièvement leurs résultats qui portent sur l'étude du bâtiment, l'étymologie du mot thymélè, les relations entre la circularité, le sous-sol et la musique, l'usage du péan chan/danse comme thérapie, et l'évaluation acoustique du bâtiment.
 
 

RÉSUMÉ Prenant comme point de départ l'expérience des artistes de la diaspora indienne en Angleterre, l'article propose de repenser le rôle et la signification du terme hybride dans le champ de la danse et de la création contemporaine. Appliqué sans distinction à toute sorte de création artistique à caractère multiculturel, ce terme véhicule une pluralité de sens parfois contradictoires. Le recours à des notions de biologie contemporaine fournira les outils théoriques nécessaires à une analyse des processus de création hybrides, permettant une lecture diversifiée d'expériences souvent perçues comme homogènes.

The closing decades of the twentieth century and the opening years of the twenty-first have seen a wide range of hybrid and cross-over performance forms, dance/theatre being prominent among them. In this article, Maria Shevtsova outlines the similarities between the working principles of director Lev Dodin and those of the choreographers Pina Bausch and William Forsythe, suggesting how they have set and still exemplify current trends in a networked world (Castells) of precarity (Bourdieu) and uncertainty. She also explores a broader socio-artistic context for her focus. This text is a slightly modified version of a belated inaugural lecture for her third appointed professorial chair, at Goldsmiths College, University of London, in March 2002. Maria Shevtsova is an Advisory Editor of NTQ, whose recent publications include ‘Theatre and Interdisciplinarity’ (2001), a special issue she guest-edited for Theatre Research International, and ‘The Sociology of the Theatre’ (2002), edited for Contemporary Theatre Review, which includes her essay, ‘Appropriating Pierre Bourdieu's Champ and Habitus for a Sociology of Stage Productions’. Her book on Lev Dodin and the Maly Drama Theatre of St Petersburg is due for publication in 2003.

Whaling was a central aspect of Nuu-chah-nulth, Ditidaht and Makah culture on the northwest coast of North America. Not only was it economically important, it was vital to chiefly prestige. Art and ceremonial life were dominated by themes related to whaling. Thunderbird, the great supernatural whaler, was the source of hereditary prerogatives held by chiefs, including names, dances, regalia and rights to display images of thunderbird and whale. This paper argues that human observations of predatory behaviour by orcas (or killer whales) led to these animals also being perceived as non-human whalers from which chiefly prerogatives could be obtained. Wolves, the main figures in Nuu-chah-nulth ceremonial life, had the power to transform into orcas, explaining their frequent presence in the art with thunderbirds and whales. This paper presents archaeological evidence for orca in the context of whaling and offers interpretations based on the extensive ethnographic and oral historical records. It also places perceptions of animals, the role of the hunter's wife and beliefs about orca in a broader context involving hunting societies in northwestern North America.

Play-based learning activities are important programs throughout the world of children's education. Through play, children learn creatively and constructively. This study aims to solve the problem of creativity in early-childhood dance movements with the hope that there will be an increase in aspects of fluency, flexibility and elaboration through play activities related to educational dance. This action research uses an action research method which is carried out in three cycles. The subjects in this study were 19 children aged 5-6 years in Kindergarten in Central Jakarta. Data collection was carried out through observation, interviews, field notes, video documentation and photos. The findings show every child's creativity in dance movements can be improved through playing activities. Increased creativity in dance movements occurs in the aspects of fluency, flexibility, and elaboration. Another important finding, there is an increase in the optimal ability of dance creativity in the third cycle of this action research. The implication from this research is that play activities suitable for learning creative dance in early childhood must be designed as a program that emphasizes aspects of fluency, flexibility, and elaboration.
 Keywords: Early Childhood, Creativity in dance movements, Play based learning activities
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Résumé On connaît l'importance de la "vision" et celle, corrélative, de la "spatia-lité" dans l'oeuvre poétique de Saint-Denys Garneau. Les expressions renvoyant au champ sémantique de la perception visuelle abondent dans Regards et Jeux dans l'espace. Or, on constate qu'elles s'accompagnent très souvent d'une co-référence à la motricité, liée notamment aux actes de préhension et de déplacement dans l'espace (ex. : "Mais ses yeux sont grands pour tout prendre "; "Or la danse est paraphrase de la vision"; "Le chemin retrouvé qu'ont perdu les yeux... "). Nous explorerons cette corrélation de la vision et de la motricité dans l'oeuvre de Garneau, en montrant le rôle innovateur qu'elle joue au sein de la configuration discursive de notre modernité poétique, où s'annoncent et se reflètent déjà les changements importants que la "sensiblité" québécoise commence à connaître dès cette époque.

The article deals with poetical and semantic aspects of the analysis of variable onym nominations in literary texts of an eminent Russian poet Nikolay Gumilyov. It is shown that within one poetic text, synonymous names can replace an unmentioned proper name (as in The Jaguar), form a speech portrait of a character (The Funny Brothers) or express his attitude towards the addressee of speech (The Child of Allah). Variable proper names can differ by phonemic structure (Dante — Dant, Eros — Erot) or name formulas (Igor Severyanin — Severyanin). The poet uses some proper names variants from different languages and ethnic groups, for example, the poetonym Bornu characterizes the poetic space as it can be seen by inhabitants of the described places, and the name Chad is found in a speech of lyrical heroes who have never belonged to this space or left it (“Lake Chad”). It is shown that one of the main functions of onymic periphrases is to emphasize the social role and status of the character (Theodora and the empress of Byzantium, Gondla and the king of whole Ireland). Sometimes only the context analysis can allow describing certain co-referential proper names as synonymous, for example, Zmeya ‘Serpent’ and Sudya ‘the Judge’ in the play The Tree of Transformation. The materials presented in the paper reflects one of the stages of work on a dictionary of poetonyms in Nikolay Gumilyov’s works. The paper contains brief recommendations regarding the reference area in the dictionary and three abbreviated entries for the names Velzevul ‘Beelzebub,’ Dyavol ‘Devil,’ Lyutshifer ‘Lucifer’ which are frequently used in Gumilyov’s poetic language.

Revenant sur l’imaginaire cinématographique de la « première mondialisation » des années 1890-1940, innervée par le paradigme du rythme, cet article étudie plus particulièrement Melodie der Welt (1929). Walter Ruttmann y porte à une échelle internationale certains motifs caractéristiques des expérimentations avant-gardistes des années 1920, afin de proposer une véritable « Symphonie du monde ». La réception contemporaine de ce film – notamment en France, chez Alexandre Arnoux, André Levinson et Émile Vuillermoz – permet de le rapporter aux conceptions universalistes qui font florès dans le champ artistique de la seconde moitié des années 1920, telle la notion de « Grand Rythme » chez l’historien d’art Élie Faure. Les idées de simultanéité et de synchronisme, au-delà des frontières comme des époques, reviennent dans Melodie der Welt au travers de certaines formes collectives d’expressivité gestuelle rythmée, au premier plan desquelles figurent la danse et le travail. À la même époque, on peut trouver des positions opposées à cette démarche dans divers textes de Siegfried Kracauer, notamment ceux qui comparent la démarche de Ruttmann à celle de Dziga Vertov.

Les expositions virtuelles fleurissent sur la toile. Les inventaires patrimoniaux et les collections muséales en ligne se structurent et s’enrichissent, tissant de denses réseaux de connaissances dans le cyberespace. Des projets de musées virtuels de plus en plus audacieux voient progressivement le jour. Le champ de la cybermuséologie se construit ainsi dans l’entrecroisement d’un héritage institutionnel fort et de pratiques en constant développement. Si l’on s’intéresse de prime abord à la frénésie technologique qui justifie le renouvellement des pratiques et l’intérêt des publics, il faut cependant, pour quelques instants, abandonner la forme pour tenter de comprendre les projets qui sous-tendent de tels déploiements. Les expériences de collaboration citoyenne et communautaire qui visent la conservation et la diffusion d’un petit patrimoine tantôt matériel, tantôt immatériel, offrent à cet égard un terrain remarquable pour saisir les dynamiques sociales, identitaires à l’oeuvre dans le virtuel. À travers l’étude de trois projets associés à la collecte de mémoires – Dane Wajich. Contes et chants : les rêveurs de leur terre (2007), le Musée de Toronto en ligne (2011) et Sacrée montagne (2011) –, nous tenterons de dégager quelques contributions possibles de la cybermuséologie à la mise en valeur d’un patrimoine parfois méconnu, voire invisible, et de saisir les effets sur la constitution de territoires alternatifs d’appartenance.

Cette étude part d’un fait trop négligé : les corpus d’auteurs comme Platon et Aristote ne connaissent leur editio princeps qu’au terme d’un long processus de recouvrement, de transmission, de collation philologique, de restitution et de traduction, contrairement à la majorité des oeuvres où elle coïncide avec la première édition. Référer à l’authorship, au statut d’auctor, c’est aussi considérer l’auctoritas. Pour ce faire, nous allons examiner les vagues de traduction du corpus aristotélicien à la Renaissance, aussi bien à Florence qu’à Padoue, fief des aristotéliciens radicaux, aux vues teintées d’averroïsme. Un champ de bataille se dessine alors entre les tenants de l’oratio, nourrissant un souci d’élégance et d’acuité dans le style inspiré de Cicéron, et les zélateurs du latin de la scolastique médiévale, la logica vetus, affligée par une langue plutôt laborieuse. Une attention particulière est portée aux travaux de traduction et aux prises de position de Leonardo Bruni et de Lorenzo Valla, chauds partisans de l’oratio. Nous inscrivons leur démarche dans une tradition de pensée qui prend son essor chez Cicéron et Quintilien et qui, par le relais du De vulgari eloquentia de Dante Alighieri, va s’épanouir dans la rhétorique des baroques espagnols, dont Baltasar Graciàn, pour ensuite être défendue avec force chez Giambattista Vico à l’encontre du rationalisme cartésien, pour trouver enfin une niche de prédilection dans la théorie critique des Romantiques d’Iéna, non moins que chez Walter Benjamin, qui en est un épigone. Nous en concluons que l’histoire des idées aussi bien que celle des diverses conceptions des usages de la langue sont aussi une histoire de (la) traduction.

El presente artículo pretende enunciar las fortalezas y falencias que presentan losestudiantes de primer grado del Instituto Educativo Encanto de Niños, en lo concerniente a la identificación de algunos elementos de la identidad cultural cartagenera. Para abordar esta problemática se llevó a cabo un diseño cualitativo de corte descriptivo, cuyos datos fueron recolectados mediante la aplicación de un test de identificación a una población de 21 niños del grado mencionado. El test fue diseñado por los investigadores y validado mediante evaluación de experto y por prueba piloto. El análisis de los datos evidenció que los niños desconocen los símbolos, personajes, el baile típico de Cartagena, debido a que dentro del plan de estudio de la institución y en la gestión académica de las maestras, se enfatiza en la enseñanza de las áreas básicas y se le resta importancia a los aspectos culturales locales. Lo que llevó a concluir que si se apunta a una formación integral en la institución, deben incluirse desde los primeros años escolares, temas y eventos tendientes a fortalecer la competencia cultural como parte integradora del ser.ABSTRACT:This article aims to articulate the strengths and weaknesses presented by first graders House Educational Institute of Children, with regard to the identification of some elements of cultural identity Cartagena. To address this issue was carried out a descriptive qualitative design, data were collected through the application of a test for identifying a population of 21 children mentioned grade. The test was designed by researchers and validated by expert assessment and pilot test. The data analysis showed that children know the symbols, characters, typical dance of Cartagena, because within the curriculum of the institution and the academic management of the teachers, the emphasis on teaching basic areas and downplays local cultural aspects. What led to the conclusion that if it points to a comprehensive education in the institution, should be included from the early school years, issues and events aimed at strengthening cultural competence as part of being inclusive.

Olá! Me chamo Dayane, sou natural de Caruaru, Pernambuco, um pedacinho de terra no agreste pernambucano conhecido como “A Capital do Forró” e que tem seu ápice cultural durante o mês de junho. Como cidadã caruaruense, o São João sempre foi uma data importante. Fazia questão de participar das quadrilhas juninas do meu colégio. Alugar vestido, sapato, tiara, faixa e preparar todos os detalhes para o momento da minha apresentação fazia parte dos gastos anuais da minha mãe. Desde do ensino médio, não dancei mais em quadrilhas e aquela paixão foi esfriando e se fixou como um marco de uma infância e adolescência. Após esse período, a dança continuou muito ligada a mim. Meu interesse nunca foi me profissionalizar nessa área. Mas, sempre foi deixar meu físico me guiar em uma zona que eu descobria a cada dia. E em 2022, eu buscava por um desafio físico e social. Em abril deste mesmo ano resolvi começar os ensaios e não esperava que uma mera vontade fosse se transformar em um dever. Os meus fins de semana foram tomados, meu dinheiro destinado à comprar maquiagens, figurino e pagar passagem entre uma cidade e outra. Foram incontáveis as vezes que eu tremia de tristeza e raiva, pensando no sufoco que eu estava me metendo. Porém, eu não conseguia sair. Nas apresentações há uma completa entrega, um envolvimento e um propósito que só quem compartilha do amor por uma quadrilha junina pode enxergar. A luta para manter essa tradição era diária, e coletiva. Conto hoje minhas agonias, mas ela não foi a única. Com mais de 50 pessoas envolvidas (entre dançarinos e apoio técnico), os problemas econômicos e pessoais também apareceram para elas. Uma vontade superior de fazer a cultura acontecer e ser expandida para outros locais podia ser enxergada no olhar de cada um. Incluindo no meu. Mais do que nunca, hoje sei o peso que é manter uma tradição cultural, sem apoio do governo e dependendo de um fio forte, porém estreito, chamado amor. E agora faço parte dessa Flor. Ela brotou e se enraizou no meu peito, mostrando que fazer arte é principalmente se deixar levar.

Background:Axial spondyloarthritis (axSpA) is a chronic inflammatory disease that affects the axial skeleton and sacroiliac joints, and can be classified as ankylosing spondylitis (AS) or non-radiographic (nr)-axSpA.1A 2016 analysis estimated the US diagnostic prevalence of axSpA to be 0.2% and AS to be 0.1%.2Previous studies use disparate populations and diagnostic definitions;3,4it is therefore unclear how AS prevalence has changed over time.Objectives:To investigate the annual diagnostic prevalence of AS in US healthcare insurance claims databases.Methods:A retrospective, observational cohort study was conducted using 2006–2014 data from US Medicare Fee-for-Service Claims (5% random sample of all enrolled patients [pts]) and Truven MarketScan®. Eligible pts were ≥20 years (yrs) and had ≥6 months of continuous medical and pharmacy enrolment prior to diagnosis. Diagnoses used relevant International Classification of Disease, 9thversion (ICD-9) diagnosis codes: ICD-9 720.x [x=any number] for “AS and other inflammatory spondylopathies [SpA]” or 720.0 for “AS”. Two diagnosis definitions were used: Definition 1, ≥1 relevant ICD-9 code from hospital discharge or ≥2 from rheumatologist visit; Definition 2, ≥1 relevant ICD-9 code from hospital discharge or rheumatologist visit. Annual diagnostic prevalence of SpA/AS was calculated as “number of enrolled pts who met the definition of SpA/AS within each calendar yr and had full insurance coverage (medical and pharmacy)”, divided by “total number of pts with full insurance coverage in the same yr”. A primary analysis of SpA prevalence rates used Definitions 1 and 2, followed by a sensitivity analysis for AS prevalence rates using only Definition 2. All prevalence rates are shown per 10,000 pts enrolled.Results:The annual diagnostic prevalence of SpA appeared to increase from 2006–2014 (Table). Similarly, the sensitivity analysis showed the annual diagnostic prevalence of AS appeared to increase during the period from 2006 (Medicare: 2.87/10,000 pts [n=501,031]; MarketScan: 1.37/10,000 pts [n=17,562,637]) to 2014 (Medicare: 4.77/10,000 pts [n=1,046,107]; MarketScan: 2.14/10,000 pts [n=34,553,135];Figure).Conclusion:The apparent increase in diagnostic prevalence of SpA and AS during the period from 2006–‍2014 may be a consequence of increased awareness and availability of effective treatments. Furthermore, the 2009 Assessment of SpondyloArthritis international Society development of the axSpA classification criteria to include pts with both established AS and nr-axSpA may have accelerated this increase.5References:[1]Strand V. Mayo Clin Proc 2017;92:555–64;[2]Curtis J. Perm J 2016;20:15–151;[3]Reveille J. Arthritis Care Res (Hoboken) 2012;64:905–10;[4]Danve A. Clin Rheumatol 2019;38:625–34;[5]Rudwaleit M. Ann Rheum Dis 2009;68:777–83.Table.Prevalence of SpA by calendar year and data sourceMedicare (5% random sample)MarketScanCalendar yrTotal number of eligible ptsPrevalence/10,000 ptsTotal number of eligible ptsPrevalence/10,000 ptsDefinition 1Definition 2Definition 1Definition 22006501,0314.397.6217,562,6371.332.172007816,9705.258.7219,518,0661.472.372008825,4454.898.7828,603,5251.582.532009830,9675.229.2131,757,0691.903.092010844,5285.499.9031,126,1721.963.172011879,9966.3010.7138,295,1211.943.112012921,9946.1710.8840,320,4371.913.0420131,032,8276.7410.8233,826,0412.003.1920141,046,1076.5210.8534,553,1352.213.51Medicare data included a 5% random sample of all enrolled pts age ≥20 yrs. pts: patients; SpA: ankylosing spondylitis and other inflammatory spondylopathies; yr: year.Acknowledgments:This study was funded by UCB Pharma. Editorial services were provided by Costello Medical.Disclosure of Interests:Jeffrey Curtis Grant/research support from: AbbVie, Amgen, Bristol-Myers Squibb, Corona, Crescendo, Genentech, Janssen, Pfizer, Roche and UCB Pharma, Consultant of: AbbVie, Amgen, Bristol-Myers Squibb, Corona, Crescendo, Genentech, Janssen, Pfizer, Roche and UCB Pharma, Kevin Winthrop Grant/research support from: Bristol-Myers Squibb, Consultant of: AbbVie, Bristol-Myers Squibb, Eli Lilly, Galapagos, Gilead, GSK, Pfizer Inc, Roche, UCB, Benjamin Chan: None declared, Sarah Siegel: None declared, Jeffrey Stark Employee of: UCB Pharma, Robert Suruki Employee of: UCB Pharma, Rhonda Bohn Consultant of: UCB Pharma, Fenglong Xie: None declared, Huifeng Yun Grant/research support from: Bristol-Myers Squibb and Pfizer, Lang Chen: None declared, Atul Deodhar Grant/research support from: AbbVie, Eli Lilly, GSK, Novartis, Pfizer, UCB, Consultant of: AbbVie, Amgen, Boehringer Ingelheim, Bristol Myer Squibb (BMS), Eli Lilly, GSK, Janssen, Novartis, Pfizer, UCB, Speakers bureau: AbbVie, Amgen, Boehringer Ingelheim, Bristol Myer Squibb (BMS), Eli Lilly, GSK, Janssen, Novartis, Pfizer, UCB

Introduction Sickle cell disease (SCD) is an inherited disorder in which pathology is driven by hemoglobin polymerization and red blood cell sickling, leading to chronic anemia, hemolysis, and episodic vaso-occlusion. Anemia affects the brain, kidneys and cardiovascular system, and is associated with neurocognitive dysfunction, silent cerebral infarction, stroke, renal dysfunction, pulmonary hypertension, and mortality. Limited research has been conducted to quantify the economic burden of end organ damage among patients with sickle cell disease in the US. Methods Patients with ≥3 nondiagnostic SCD ICD-9/ICD-10 codes within 5 years (Jan 1, 2013-Dec 31, 2017) were identified in the MarketScan® Medicaid claims databases. The first date of SCD diagnosis was the index date. At least three months of continuous enrollment with medical and pharmacy benefits prior to the index date, and at least 1 month of continuous enrollment following the index date were required to be included. Each patient's post-index period was divided into a series of 3-month intervals. For each 3-month interval, patients' entire available claims history (as early as 1/1/2008) was checked to identify four types of end organ damage experienced by SCD patients including stroke (within 1st year and >1 year after an acute stroke event), chronic kidney disease (CKD), end-stage renal disease (ESRD), and pulmonary hypertension (PH). Total healthcare costs (plan paid and patient out-of-pocket payment) and healthcare resource utilization (HRU) information were determined for each 3-month interval. Patient characteristics, HRU, and costs were summarized descriptively by type of end organ damage. Three multivariate generalized linear models with loglink function and gamma error distribution (assuming the cost follows an exponential relationship to the weighted average of covariates) were employed to estimate the relative cost ratios of patients with vs. without end organ damage, controlling for patients' demographic and clinical characteristics. Annualized costs for adult patients with each type of end organ damage were estimated based on the regression results. Results A total of 10,784 patients with SCD on Medicaid were identified. Patients were followed for 3.35 years on average, contributing 152,455 intervals (age ≥18: 42.7%; female: 54.6%; urban: 84.4%). Approximately 20% of the intervals had end organ damage. Patients with end organ damage had more days in hospital, ER visits, outpatient visits, lab tests, and outpatient pharmacy claims per month than patients without organ damage (Figure). The mean (SD) cost per hospitalization for acute stroke was $55,314 ($76, 847). In multivariate regression model 1 (accounting for end organ damage only), patients with any end organ damage had significantly higher costs than those without these conditions. After controlling for patient demographic characteristics (model 2) and additional clinical characteristics (model 3), the results were similar. The costs of SCD patients in the first year after stroke are 4.68 times as high as the costs of patients without any organ damage (2.08 times if >1 yr after stroke; 2.32 times for PH; 2.19 times for CKD; and 3.40 times for ESRD) (Table). The transitional age group (18-30 years) had significantly higher costs than other age groups. Having other SCD complications such as avascular necrosis, gallstones, cholelithiasis, cholecystitis, leg ulcers, osteomyelitis, or priapism also significantly increased the total costs. Based on model 3, after controlling for patient demographics and clinical characteristics, the predicted mean annual costs for adult patients with SCD in the first year after a stroke is $285,816; $127,393 if more than one year after a stroke; $148,174, $135,492, or $209,172 if the patient had PH, CKD or ESRD, respectively. Patients with multiple SCD complications had even higher costs. For example, the predicted mean annual cost for adult patients with CKD and avascular necrosis is $270,513. Conclusions Sickle cell disease is associated with substantial economic burden. When patients experience end organ damage such as stroke, renal dysfunction, or cardiopulmonary conditions, this economic burden is significantly elevated. SCD management strategies that can potentially reduce the risks of end organ damage offer both clinical and economic values to patients and society. Disclosures Song: Global Blood Therapeutics: Other: Xue Song is an employee of IBM Watson Health, which receives funding from Global Blood Therapeutics to conduct research. Campbell:Cyclerion: Consultancy, Research Funding; Novartis: Research Funding; Global Blood Therapeutics: Consultancy, Research Funding. Cong:Global Blood Therapeutics: Employment, Equity Ownership. Agodoa:Global Blood Therapeutics: Employment, Equity Ownership. Martinez:Global Blood Therapeutics: Other: Diane Martinez is an employee of IBM Watson Health, which receives funding from Global Blood Therapeutics to conduct research. Lew:Global Blood Therapeutics: Other: Carolyn Lew is an employee of IBM Watson Health, which receives funding from Global Blood Therapeutics to conduct research. Black:Global Blood Therapeutics: Other: Danae Black is an employee of IBM Watson Health, which receives funding from Global Blood Therapeutics to conduct research. Varker:Global Blood Therapeutics: Other: Helen Varker is an employee of IBM Watson Health, which receives funding from Global Blood Therapeutics to conduct research. Chan:Global Blood Therapeutics: Other: Chris Chan is an employee of IBM Watson Health, which receives funding from Global Blood Therapeutics to conduct research. Lanzkron:Pfizer: Research Funding; Ironwood: Research Funding; Global Blood Therapeutics: Research Funding; HRSA: Research Funding; NIH: Research Funding; PCORI: Research Funding.

This paper, dedicated to search for identification methods of genera of Salticidae (Araneae), presents prototype of a “Handbook of Jumping Spiders Identification”, based on morphology of palps, spermathecae and ducts, as well as some other easily noticeable characters. It includes diagnostic drawings of representative species of each genus, additional survey of diversity of these characters in 4800 recognizable species is available instantly, by hyperlinks provided to parallel Internet "Monograph of the Salticidae (Araneae) of the World 1995-2016".Part I "Introduction to alternative classification of Salticidae" by Prószyński (2016a), accessible at: http://www.peckhamia.com/salticidae/Subfamilies/ [too large to be published whole as a PDF]. The work contains methodological suggestions on how the proposed system could be improved and further developed. Partial revision of the present taxonomic system of Salticidae is included.The paper provides diagnoses and diagnostic drawings to genera of Salticidae, grouped to facilitate identification into morphologically coherent, informal groups of genera. There are following provisional groups proposed: AEURILLINES, AMYCINES, AMYCOIDA VARIA, ASTIAINES, BELIPPINES, CHRYSILLINES, COCALODINES, COLONINES [= former Thiodininae], DENDRYPHANTINES, DIOLENINES, EUODENINES, EUOPHRYINES, EUPOAINES, EVARCHINES, HABRONATTINES, HARMOCHIRINES, HELIOPHANINES, HISPONINES, HYLLINES, ICIINES, LAPSIINES, LIGONIPEINES, LYSSOMANINES, MENEMERINES, MYRMARACHNINES, NOTICIINES, PELLENINES, PSEUDICIINES, SIMAETHINES, SITTICINES, SPARTAEINES, THIRATOSCIRTINAE, YAGINUMAELLINES, YLLENINES. There is also temporary UNCLASSIFIED group and display of exemplary FOSSILS. The proposals of grouping and delimitation have working character, pending further research and tests.The following synonyms and combinations (new, corrected or reinstated) are listed in the paper together with their documentation and/or discussions. They have been accumulated during 22 years of work on database, but are printed for the first time only now (location of their documentation in the text below can be quickly found using computer searching facility).Aelurillus stanislawi (Prószyński, 1999) (male from Israel) = Rafalus stanislawi Prószyński, 1999, Aelurillus stanislawi Azarkina, (2006) (nec Prószyński, 1999) = Aelurillus minutus Azarkina, 2002, Amphidraus manni (Bryant 1943) = Nebridia manni Bryant 1943, Amphidraus mendica (Bryant 1943) = Nebridia mendica Bryant 1943, Amphidraus semicanus (Simon, 1902) = Nebridia semicana Simon, 1902, Bianor incitatus Thorell, 1890 (in part) = Stichius albomaculatus Thorell, 1890, Bryantella smaragdus (Crane, 1945) = Bryantella smaragda (Crane, 1945), Chinattus undulatus (Song & Chai, 1992) (in part, male) = Chinattus szechwanensis (Prószyński, 1992), Colyttus kerinci (Prószyński & Deeleman-Reinhold, 2012) = Donoessus kerinci Prószyński & Deeleman-Reinhold, 2012, Colyttus nigriceps (Simon, 1899) = Donoessus nigriceps (Simon, 1899), Colyttus striatus (Simon, 1902) = Donoessus striatus (Simon, 1902), Cytaea severa (Thorell, 1881) (in part) = Cytaea alburna Keyserling, 1882, Euophrys minuta Prószynski, 1992 ) = Lechia minuta (Prószynski, 1992 ), Laufeia daiqini (Prószyński & Deeleman-Reinhold, 2012) = Junxattus daiqini Prószyński & Deeleman-Reinhold, 2012, Laufeia kuloni (Prószynski & Deeleman-Reinhold, 2012) = Orcevia kuloni Prószynski & Deeleman-Reinhold 2012, Laufeia keyserlingi (Thorell, 1890) = Orcevia keyserlingi (Thorell, 1890), Laufeia eucola (Thorell, 1890) = Orcevia eucola (Thorell, 1890), Laufeia perakensis (Simon, 1901) = Orcevia perakensis (Simon, 1901), Laufeia proszynskii Song, Gu & Chen, 1988 = Orcevia proszynskii (Song, Gu & Chen, 1988), Laufeia squamata ( Żabka, 1985 ) = Lechia squamata Żabka, 1985, Maevia C. L. Koch, 1846 (in part) = Paramaevia Barnes, 1955, Maevia hobbsae Barnes, 1958 = Paramaevia hobbsae Barnes, 1958, Maevia michelsoni Barnes, 1958 = Paramaevia michelsoni (Barnes, 1958), Maevia poultoni Peckham & Peckham, 1909 = Paramaevia poultoni (Peckham & Peckham, 1901),Maratus anomaliformis (Żabka, 1987) = "Lycidas" anomaliformis Żabka, 1987, Metaphidippus felix (Peckham & Peckham, 1901) = Messua felix (Peckham & Peckham, 1901), Monomotapa principalis Wesolowska, 2000 = Iranattus principalis (Wesolowska, 2000), Myrmarachne exasperans (Peckham & Peckham, 1892) = Emertonius exasperans Peckham & Peckham, 1892, Myrmarachne melanocephala MacLeay, 1839 (in part) = Myrmarachne ramosa Badcock, 1918, Myrmarachne melanocephala MacLeay, 1839 (in part) = Myrmarachne contracta (Karsch, 1880), Myrmarachne melanocephala MacLeay, 1839 (in part) = Myrmarachne albicrurata Badcock, 1918, Myrmarachne melanocephala MacLeay, 1839 (in part) = Myrmarachne lateralis Badcock, 1918, Myrmarachne melanocephala MacLeay, 1839 (in part) = Myrmarachne providens Simon, 1901, Myrmavola globosa (Wanless, 1978) = Toxeus globosus (Wanless, 1978) (self-correction), Omoedus albertisi (Thorell, 1881) = Zenodorus albertisi (Thorell, 1881), Omoedus arcipluvii (Peckham, Peckham, 1901) = Zenodorus arcipluvii (Peckham, Peckham, 1901), Omoedus asper (Karsch, 1878) = Ascyltus asper (Karsch, 1878), Omoedus bernsteini (Thorell, 1881) = Zenodorus bernsteini (Thorell, 1881), - Omoedus brevis Zhang J., Maddison, 2012 = Zenodorus brevis (Zhang J., Maddison, 2012), Omoedus cyanothorax (Thorell, 1881) = Pystira cyanothorax (Thorell, 1881), - Omoedus durvillei (Walckenaer, 1837) = Zenodorus durvillei (Walckenaer, 1837)- Omoedus danae (Hogg, 1915) = Zenodorus danae Hogg, 1915, - Omoedus darleyorum Zhang J., Maddison, 2012 = Zenodorus darleyorum (Zhang J., Maddison, 2012),Omoedus ephippigerus (Simon, 1885) = Pystira ephippigera (Simon, 1885), Omoedus karschi (Thorell, 1881) = Pystira karschi (Thorell, 1881), Omoedus lepidus (Guerin, 1834) = Zenodorus lepidus (Guerin, 1834), Omoedus metallescens (Koch L., 1879) = Zenodorus metallescens (Koch L., 1879), Omoedus meyeri Zhang J., Maddison, 2012 = Zenodorus meyeri (Zhang J., Maddison, 2012), Omoedus microphthalmus (Koch L., 1881) = Zenodorus microphthalmus (Koch L., 1881), Omoedus nigripalpis (Thorell, 1877) = Pystira nigripalpis (Thorell, 1877)]. Omoedus obscurofemoratus (Keyserling, 1883) = Zenodorus obscurofemoratus (Keyserling, 1883), Omoedus omundseni Zhang J., Maddison, 2012 = Zenodorus omundseni (Zhang J., Maddison, 2012), Omoedus orbiculatus (Keyserling, 1881) = Zenodorus orbiculatus (Keyserling, 1881), Omoedus papuanus Zhang J., Maddison, 2012 = Zenodorus papuanus (Zhang J., Maddison, 2012), Omoedus ponapensis (Berry, Beatty, Prószyński, 1996) = Zenodorus ponapensis Berry, Beatty, Prószynski, 1996, Omoedus semirasus (Keyserling, 1882) = Zenodorus semirasus (Keyserling, 1882), Omoedus swiftorum Zhang J., Maddison, 2012 = Zenodorus swiftorum (Zhang J., Maddison, 2012), Omoedus tortuosus Zhang J., Maddison, 2012 = Zenodorus tortuosus (Zhang J., Maddison, 2012), Omoedus versicolor (Dyal, 1935) = Pystira versicolor Dyal, 1935, [Unrecognizable species of Zenodorus: Omoedus jucundus (Rainbow, 1912) = Zenodorus jucundus (Rainbow, 1912), Omoedus juliae (Thorell, 1881) = Zenodorus juliae (Thorell, 1881), Omoedus marginatus (Simon, 1902) = Zenodorus marginatus (Simon, 1902), Omoedus niger (Karsch, 1878) = Zenodorus niger (Karsch, 1878), - Omoedus pupulus (Thorell, 1881) = Zenodorus pupulus (Thorell, 1881), - Omoedus pusillus (Strand, 1913) = Zenodorus pusillus (Strand, 1913), Omoedus rhodopae (Hogg, 1915) = Zenodorus rhodopae (Hogg, 1915), Omoedus syrinx (Hogg, 1915) = Zenodorus syrinx Hogg, 1915, Omoedus variatus (Pocock, 1899) = Zenodorus variatus (Pocock, 1899), Omoedus varicans (Thorell, 1881) = Zenodorus varicans Thorell, 1881, Omoedus wangillus (Strand, 1911) = Zenodorus wangillus Strand, 1911], Pellenes ostrinus (Simon, 1884) (in part) = Pellenes diagonalis Simon, 1868, Pseudicius alter Wesolowska, 1999 = Afraflacilla altera (Wesolowska, 1999), Pseudicius arabicus (Wesolowska, van Harten, 1994) = Afraflacilla arabica Wesolowska, van Harten, 1994, Pseudicius bipunctatus Peckham, Peckham, 1903 = Afraflacilla bipunctata (Peckham, Peckham, 1903), Pseudicius braunsi Peckham, Peckham, 1903 = Afraflacilla braunsi (Peckham, Peckham, 1903), Pseudicius datuntatus Logunov, Zamanpoore, 2005= Afraflacilla datuntata (Logunov, Zamanpoore, 2005), Pseudicius elegans (Wesolowska, Cumming, 2008) = Afraflacilla elegans (Wesolowska, Cumming, 2008), Pseudicius eximius Wesolowska, Russel-Smith, 2000 = Afraflacilla eximia (Wesolowska, Russel-Smith, 2000), Pseudicius fayda Wesolowska, van Harten, 2010 = Afraflacilla fayda (Wesolowska, van Harten, 2010), Pseudicius flavipes Caporiacco, 1935 = Afraflacilla flavipes (Caporiacco, 1935), Pseudicius histrionicus Simon, 1902 = Afraflacilla histrionica (Simon, 1902), Pseudicius imitator Wesolowska, Haddad, 2013 = Afraflacilla imitator (Wesolowska, Haddad, 2013), Pseudicius javanicus Prószynski, Deeleman-Reinhold, 2012 = Afraflacilla javanica (Prószynski, Deeleman-Reinhold, 2012), Pseudicius karinae (Haddad, Wesolowska, 2011) = Afraflacilla karinae (Haddad, Wesolowska, 2011), Pseudicius kraussi Marples, 1964 = Afraflacilla kraussi (Marples, 1964), Pseudicius mikhailovi Prószynski, 1999 = Afraflacilla mikhailovi (Prószynski, 1999), Pseudicius mushrif Wesolowska, van Harten, 2010 = Afraflacilla mushrif (Wesolowska, van Harten, 2010), Pseudicius philippinensis Prószynski, 1992 = Afraflacilla philippinensis (Prószynski, 1992), Pseudicius punctatus Marples, 1957 = Afraflacilla punctata (Marples, 1957), Pseudicius refulgens Wesolowska, Cumming, 2008 = Afraflacilla refulgens (Wesolowska, Cumming, 2008), Pseudicius reiskindi Prószynski, 1992 = Afraflacilla reiskindi (Prószynski, 1992), Pseudicius roberti Wesolowska, 2011 = Afraflacilla roberti (Wesolowska, 2011), Pseudicius spiniger (Pickard-Cambridge O., 1872) = Afraflacilla spiniger (Pickard-Cambridge O., 1872), Pseudicius tamaricis Simon, 1885 = Afraflacilla tamaricis (Simon, 1885), Pseudicius tripunctatus Prószynski, 1989 = Afraflacilla tripunctata (Prószynski, 1989), Pseudicius venustulus Wesolowska, Haddad, 2009 = Afraflacilla venustula (Wesolowska, Haddad, 2009), Pseudicius wadis Prószynski, 1989 = Afraflacilla wadis (Prószynski, 1989), Pseudicius zuluensis Haddad, Wesolowska, 2013 = Afraflacilla zuluensis (Haddad, Wesolowska, 2013), Servaea incana (Karsch, 1878) (in part) = Servaea vestita ( L. Koch, 1879), Sidusa extensa (Peckham & Peckham, 1896) = Cobanus extensus (Peckham & Peckham, 1896), Sidusa Peckham & Peckham, 1895 (in part) = Cobanus F. O. Pickard-Cambridge , 1900, Sidusa Peckham & Peckham, 1895 (in part) = Wallaba Mello-Leitão, 1940, Stagetillus elegans (Reimoser, 1927) = "Padillothorax" elegans Reimoser, 1927, Stagetillus taprobanicus (Simon, 1902) = "Padillothorax" taprobanicus Simon, 1902, Telamonia besanconi (Berland & Millot, 1941) = Brancus besanconi (Berland & Millot, 1941), Telamonia fuscimana (Simon, 1903) = Brancus fuscimanus (Simon, 1903), Telamonia longiuscula (Thorell, 1899) = Hyllus longiusculus (Thorell, 1899), Telamonia thoracica (Thorell, 1899) [="Viciria"thoracica: Prószyński, 1984 = Hyllus thoracicus (Thorell, 1899), - Thiania sundevalli (Thorell, 1890) = Nicylla sundevalli Thorell, 1890, Thiania spectrum (Simon, 1903) = Thianitara spectrum Simon, 1903, Thiania thailandica (Prószyński & Deeleman-Reinhold, 2012) = Thianitara thailandica Prószyński & Deeleman-Reinhold, 2012, Viciria albocincta Thorell, 1899 = Hyllus albocinctus (Thorell, 1899), Yaginumaella striatipes (Grube, 1861) (in part) = Yaginumaella ususudi Yaginuma, 1972.