Stone Age: Ancient Castles of Europe Follow photographer Frédéric Chaubin as he embarks on a unique, century-spanning journey through Europe. Featuring images of more than 200 buildings in 21 countries, Stone Age presents the history and architecture of the most dramatic medieval castles of the continent in an unprecedented collection. Building on the success of his foray into Soviet design with CCCP, Chaubin once again documents the afterlife of highly rational structures that seem out of place in a modern-day world. Precursors of Brutalism, these castles value function over form and epitomize the raw materials and shapes that would go on to define so much of architectural history. Shot on film with a Linhof view camera, the collection is the outcome of five years of travel and investigation. Complete with a practical map and explanatory essay, its castles tell the story of 400 years, unfolding through the feudal Middle Ages into the 15th century. A photographic study of decay as much as endurance, Stone Age traces the history of some of these singular structures that continue to enchant their audiences today and that occupy a distinct, mystical place in our collective imagination.

With over 35,000 sounds, KOMPLETE 13 from Native Instruments is a wide-ranging collection of 49 virtual instruments, 16 effects, and 24 expansions that span multiple genres and production tasks. Usable for production, performance and sound design, the thousands of sounds are easily searchable and accessible via the unified instrument browser, using musical tags and keywords. This version includes new synthesizers, world instruments, GUITAR RIG 6 PRO, studio and creative effects, expansions, and more, plus the well-known content from KOMPLETE 12. All the instruments and effects were designed to be fully compatible with the company's KOMPLETE KONTROL S-Series keyboards (available separately). Additionally, KOMPLETE 13 offers seamless integration with MASCHINE and is supplied on a USB hard drive for installation. What's New in Version 13 SUPER 8 Vintage polysynth sounds Eight voices Easy-to-use interface BUTCH VIG DRUMS Distinctive, heavily processed drums Punchy, production-ready beats CLOUD SUPPLY A special ingredient for trappy melodies, hazy hooks, plucks, and resampled pads for hip hop, grime, drill, and more LO-FI GLOW Hazy keys, synths, guitars, and bass Recorded and processed for lo-fi warmth with creative effects chain MODULAR ICONS Combines sought-after vintage modular synth samples with wavetable synthesis and powerful effect macros CUBA Authentic Afro-Cuban flair in a rich, highly flexible instrument NOIRE The signature sound of Nils Frahm’s evocative concert grand Captured in Berlin’s Funkhaus complex ELECTRIC SUNBURST A beautifully sampled, playable electric guitar Over 150 patterns, riffs, and arpeggios Tailored for contemporary productions RAUM High-fidelity creative reverb Powerful ambiences and twisted modulation Expressive sound sculpting and complex sound design excursions CRUSH PACK Elegant tonal destruction from a modern take on three iconic effects BITE: Precision bit-crushing FREAK: Three sound-bending modulation types with retro radio lo-fi and versatily sidechain ability DIRT: Organic-sounding distortion with flexible routing GUITAR RIG 6 PRO Revamped, designed, and reimagined New tones, new amps, new effects, and new ways to sculpt your sound DECODED FORMS Deconstructed breaks, evolving pads, disruptive bass, and crisp drums to give you the rhythmic kaleidoscope of post-jungle INDIGO DUST The spirit of deep techno and early-hours euphoria with pulsating rhythms, deep basses, and stirring synth lines LILAC GLARE The melodic atmosphere of modern pop rhythms with raw acoustic and electronic R&B flare MECHANIX Niche, industrial sounds for MASSIVE X with crunchy basslines, metallic percussion, synced stabs, and dark soundscapes MOEBIUS Rhythmic loops, sequences, and synthesized noise, plus percussion and drum presets for MASSIVE X with macro tweakability madness NOCTURNAL STATE The polished sound of minimalist techo and house PULSE Deep-sea subs, corrosive and distorted lines, talkative formants, and futuristic takes on low-end classics for MASSIVE X RISING CRESCENT The distinctive sound of the Mediterranean and the East fused with modern bass production techniques RUSH Peak-time MASSIVE X presets built for serious front-left fun—euphoric melodies, tension, and high-octane atmosphere SCENE Sequenced, multitimbral, and complex MASSIVE X presets for immersive atmospheres and evolving soundscapes SOLAR BREEZE An evocative panorama of indie electronica with exclusive acoustic-electronic sounds SPECTRUM QUAKE Big, bold, and booming MASSIVE bass presets that will shake up your sound for any genre STADIUM FLEX Vibrant MASSIVE presets blending trap, EDM, and pop aesthetics for radio and festival hits Synthesized and Electronic KINETIC METAL Yet-unheard, signature sound worlds Easy-to-use macro controls for deep manipulation Auto-Motion for constantly evolving soundscapes 211 instruments, 1751 samples, 1.55GB (compressed) FORM Discover a powerful new form of expressive sound design Expand your sonic versatility—create anything from evolving soundscapes and textured pads to earth-shaking basses and searing digital noise Generate original results quickly and easily with an intuitive interface, or dig deep for detailed tweaking ROUNDS Synthesizer combining digital and analog engines with complex, sequenced sound-shifting capabilities Design and sequence up to sixteen different sounds Unique key-switch setup for on-the-fly resequencing KONTOUR Phase-modulation synthesizer with motion engine Motion Recorder delivers innovative modulation possibilities Advanced architecture for endless sound-design options Organic sonic character POLYPLEX Eight-part drum sampler with randomizing capabilities and creative layering Intuitive controls Eighteen onboard effects for expansive sound sculpting MONARK Analog mono synthesizer Mono basses and leads for any style Easy-to-use controls MASSIVE Virtual-analog architecture for large sounds Equally flexible in the studio or onstage Comprehensive library with 1300 presets MASSIVE X Next-generation, flagship wavetable synthesizer FM8 FM synthesis 960 presets with sharp, crystal-clear sounds Powerful FM matrix, arpeggiator, flexible envelopes Loads patches from classic FM hardware units REAKTOR SPARK 200 synthesizer sounds plus 1400 sound variations Dramatic sonic transitions Based on new REAKTOR synthesizer REAKTOR PRISM Polyphonic instrument and effects processor 370 ready-to-play sounds Includes separate FX version ABSYNTH 5 Semi-modular synthesizer for pads, grooves, and abstract soundscapes Sound Mutator to create new sounds 1800 atmospheric presets RETRO MACHINES MK2 16 legendary vintage instruments from the '70s and '80s Consolidated user interface for instant control Smart arpeggiator with advanced custom options Innovative chord player for performance and more Drums, Samplers, World Instruments, and More DRUMLAB Sound of acoustic drums with an electronic edge Advanced drum layering Out-of-the-box, production-ready sounds Ultrafast workflow BATTERY 4 Drum sampler Fast workflow for maximum creativity Library of electronic and urban styles Effects, intuitive routing, and sidechaining STUDIO DRUMMER Three premium acoustic kits from Pearl, Yamaha, and Sonor Fully featured mixer and effects Large groove library and fills for all styles ABBEY ROAD 60s DRUMMER Two famous 1960s drum kits, recorded with vintage equipment at Abbey Road Class-A effects and detailed mix control Comprehensive groove library with '60s-style beats TRK-01 Kick and bass instrument Marries sound design, sequencing, and modulation with classic mixing techniques WEST AFRICA 26 percussion and eight tonal instruments playable as solo or polyrhythmic ensembles 3GB of uncompressed samples Pattern sequencer with 74 pre-programmed ensemble patterns Contains a dark alter ego ideal for cinematic use INDIA Vast library of rhythms and scales for instant composition 16 instruments (one ensemble, nine percussion instruments, six melodic instruments) 7GB of uncompressed samples MIDDLE EAST Traditional sounds of Arabic, Turkish, and Persian instruments for KONTAKT 6 REAKTOR 6 Build custom synths, samplers, effects, and sound-design tools Experiment with rack-style modular patching using Blocks Discover over 70 included instruments plus thousands of sounds in the User Library KONTAKT 6 Advanced sampler Play and control true-to-life sampled instruments Deep sample-editing and instrument-building options Onboard library packed with instruments and samples SESSION HORNS Four-piece horn section Well suited for funk, pop, reggae, indie, and neo-soul productions Voice Split creates authentic arrangements automatically Play free or jam with over 170 flexible phrases SESSION STRINGS String sections for modern productions 2.4GB of rich ensemble samples 12 articulations for expressive playing Play rhythmic phrases with the Animator SESSION STRINGS 2 An 11-piece ensemble with an intimate sound for contemporary tracks Pianos, Organs, Guitar, and Bass THE GRANDEUR Concert grand piano for everything from pop to classical Balanced sound with a modern, singing tone Over 2500 individual samples and eighteen velocity zones Sampled from a legendary classical concert grand THE GENTLEMAN Standard vintage upright Expressive, modulated tone 2300 individual samples and 16 velocity zones Sampled from a vintage upright built in 1908 THE MAVERICK Vintage grand piano suited to pop, rock, urban, and jazz 2500 individual samples and eighteen velocity zones Control levels of pedals, damper, string, and hammer sounds Sampled from a vintage 1905 grand piano THE GIANT The sound of the world's biggest upright piano Sampled from the Klavins Piano Model 370i Forty presets for urban pop, film-score pathos, soft piano ballads, driving rock riffs, or dim jazzy timbres UNA CORDA Evocative tones from a one-of-a-kind, handcrafted upright piano Full range of distinct sound characters, from soft and resonant to percussive and textural Sampled in intimate detail to deliver everything from up-close realism to resonant overtones 10GB with 100 snapshots and 3 instruments STRUMMED ACOUSTIC Fluid playability for quickly creating professional rhythm parts Double tracking, fret noise, and onboard effects for added sonic depth 8.5GB of uncompressed samples SCARBEE MM-BASS Bass sound of 70s disco and funk Pure bass sound for flexibility in any genre Seventeen expressive articulations and techniques SCARBEE RICKENBACKER BASS Sampled Rickebacker 4003 electric bass guitar SCARBEE A-200 Classic electric piano Wide dynamic range with sixteen velocities per key Authentic character with all idiosyncrasies Horizontal Release Technology for realistic sound SCARBEE CLAVINET/PIANET Sampled Clavinet and Pianet N models Nearly 8GB of samples Horizontal Release Technology for realistic sound SCARBEE MARK I Classic electric piano sound Onboard effects and adjustable instrument noise Individual release samples for all twelve velocities VINTAGE ORGANS Authentic reproduction of the sound of five organs 100 presets spanning five instruments All manuals (upper, lower, and pedal) included Expansions TRUE SCHOOL Versatile sounds for futuristic beatmaking Includes 40 MASCHINE kits and 51 BATTERY kits 491 acoustic and electric drum samples VELVET LOUNGE A bridge between classic soul music and 21st century production techniques Includes 50 MASCHINE kits and 59 Battery kits MASSIVE and PRISM presets DEEP MATTER Captures the authentic vibes of Berlin's underground sound Includes 48 MASCHINE kits and 52 BATTERY kits 10 MASSIVE presets and 15 MONARK presets HALCYON SKY Delivers the reverb-drenched sound of contemporary ambient electronica Includes 50 MASCHINE kits and 55 BATTERY kits Exclusive instrument and effect presets for REAKTOR PRISM and MASSIVE LUCID MISSION The hyper-real sound of trance-infused EDM Includes 40 MASCHINE kits and 50 BATTERY kits MASSIVE presets for basses, leads, and more NEON DRIVE Exclusive sounds for synth pop production Includes 45 MASCHINE kits and 50 BATTERY kits 299 drum samples and 347 one-shot hits QUEENSBRIDGE STORY Created by Mobb Deep's Havoc Includes 50 MASCHINE kits and 61 BATTERY kits MASSIVE presets for additional low-end punch MOLTEN VEIL Dynamic, dark, dancefloor-ready sounds Includes 42 MASCHINE kits and 47 BATTERY kits MASSIVE and MONARK presets ELASTIC THUMP A fusion of funk, R&B, and house music Includes 48 MASCHINE kits and 52 BATTERY kits loaded with FX, EQ, and patterns 20 MASSIVE presets and 20 MONARK presets LONDON GRIT Raw beats and heavy sub-bass with distortion, atmosphere, and color Includes 41 MASCHINE kits and 48 BATTERY kits MASSIVE and MONARK presets for deep bass Creative and Studio Effects SUPERCHARGER Harmonic-rich sound of pure tube compression One-knob design for fast results Create any effect from subtly warm to crushed DRIVER Distortion filter Distortion and filter-resonance levels deliver anything from subtle movement to total sonic destruction AM modulation adds more possibilities Buildup and breakdown effect SOLID DYNAMICS Stereo compressor combined with a gate/expander Based on a classic '80s mix console Switchable hard- and soft-knee modes Two attack modes and two release modes SOLID BUS COMP Inspired by the legendary bus compressor from a famous British console Provides renowned audio glue compression Added sidechain input and dry/wet control Use on stereo sum, drum groups, single tracks SOLID EQ Transparent 6-band equalizer with two fully parametric bands Useful for surgical problem solving to broad sound-smoothing TRANSIENT MASTER Envelope shaper Bring sounds from the back of the mix to the front Enhance attack on drums and percussion Fix muddy recordings or reduce reverb REFLEKTOR Convolution reverb with over 300 impulse responses (IRs) Digital, real, synthesized and special IR content REPLIKA Streamlined controls deliver instant usability Three high-fidelity algorithms for versatile sound Resonant filter and phaser for additional motion RAMMFIRE Amplifier emulation based on Rammstein guitarist Richard Z. Kruspe's personal setup Modeled on Mesa Boogie Dual Rectifier Revision C Large number of presets designed by Kruspe Matched Cabinet and Control Room features TRAKTOR'S 12 12 studio-ready effects from TRAKTOR Easily usable as a plug-in in any studio setup THE FINGER Hybrid live performance and real-time remix tool derived from Tim Exile's live setup 40 playable effects Playable via MIDI keyboard MOD PACK PHASIS, CHORAL, and FLAIR modulation plug-ins

Analog and Semi-Modular Synthesizer with Dual VCOs, Ring Modulator, External Signal Processor, 16-Voice Poly Chain and Eurorack Format Amazing analog synthesizer with dual VCO design allows for insanely fat music creation Authentic reproduction of original circuitry with matched transistors and JFETs Pure analog signal path based on authentic VCO, VCF and VCA designs Semi-modular architecture with default routings requires no patching for immediate performance First and second generation filter design (high pass/low pass with peak/resonance) 4 variable oscillator shapes with variable pulse widths and ring modulation for ultimate sounds Dedicated and fully analog triangle/square wave LFO 2 analog Envelope Generators for modulation of VCF and VCA 16-voice Poly Chain allows combining multiple synthesizers for up to 16 voice polyphony Complete Eurorack solution — main module can be transferred to a standard Eurorack case 36 controls give you direct and real-time access to all important parameters External audio input for processing external sound sources Comprehensive USB/MIDI implementation with MIDI channel and Voice Priority selection Designed and engineered in the U.K. A Brief History of Analog Synthesis The modern synthesizer’s evolution began in 1919, when a Russian physicist named Lev Termen (also known as Léon Theremin) invented one of the first electronic musical instruments – the Theremin. It was a simple oscillator that was played by moving the performer’s hand in the vicinity of the instrument’s antenna. An outstanding example of the Theremin’s use can be heard on the Beach Boys iconic smash hit “Good Vibrations”. Ondioline In the late 1930s, French musician Georges Jenny invented what he called the Ondioline, a monophonic electronic keyboard capable of generating a wide range of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by depressing a key and using side-to-side finger movements. You can hear the Ondioline on Del Shannon’s “Runaway”. Storytone Piano Designed by famous piano manufacturer Story & Clark in association with RCA, the Storytone piano debuted at the 1939 New York World’s Fair. Hailed as the world’s first electric piano, the Storytone is prized by musicians and collectors alike for its realistic piano sound – only 500 or so were ever built. Mellotron Finding a high level of acceptance in the 1960s, Harry Chamberlin’s Mellotron was an electro-mechanical keyboard that generated sounds by playing back pre-recorded tape loops. Although tempermental and prone to pitch and mechanical issues, the Mellotron was used extensively by many U.K. artists. Classic tracks from the Moody Blues “Days of Future Passed”, the Beatles “Strawberry Fields Forever”, and the Rolling Stones “She’s a Rainbow” are prime examples. Arp 2600 Manufactured by ARP Instruments, Inc., the Arp 2600 was one of the most successful synthesizers to come out of the 1970s. They were ideal for players new to the synth world, and allowed patches to be changed via switches or 1/8" audio cables. The list of recordings and artists that used the venerable Arp 2600 reads like a veritable Who's Who of rock, pop and jazz, and includes The Who, David Bowie, John Lennon, Depeche Mode, Edgar Winter, Frank Zappa and Herbie Hancock – to name just a few. An Arp 2600 was even used to create the voice of the Star Wars character R2-D2. Minimoog Designed to replace the large, modular synths being used in pop music at the time, Bill Hemsath and Robert Moog developed the Minimoog in 1971. The monophonic instrument became the first truly all-in-one, portable analog synthesizer. Thanks to its 3 oscillators and 24 dB/octave filter, the Minimoog produces an extremely rich and powerful bass sound and is still in high demand today. Yes keyboardist Rick Wakeman said the instrument “absolutely changed the face of music.” Yamaha CS-80 In 1976, Yamaha released their CS-80 8-voice polyphonic synthesizer, which provided velocity-sensitive keys and aftertouch that worked on individual voices. The analog instrument featured a ribbon controller, which allowed the user to perform polyphonic pitch bends and smooth glissandos. Composer Vangelis used the CS-80 extensively in the Blade Runner and Chariots of Fire soundtracks. The CS-80 also provided the bass line heard in the BBC 1980 series Doctor Who theme song. Sequential Circuits Prophet 5 Sequential Circuits introduced the Prophet 5, which was the first analog 5-voice polyphonic synthesizers to provide onboard memory storage of all patch settings for instant recall. The great-sounding Prophet 5 revolutionized the synthesizer world and, in spite of its rather expensive price tag, became one of the most successful synths of all time. Designed by Dave Smith and J owen, the Prophet 5 was the keyboard of choice by a very long list of performers that includes Peter Gabriel, Philip Glass, Journey, The Cars, Thomas Dolby, Duran Duran, Gary Numan, Pink Floyd, and countless others. A Passion for Keyboards Our founder, Uli Behringer has a deep passion for keyboards. Born in the small town of Baden, Switzerland in 1961, Uli grew up in a musical family where his mother taught him to play the piano at the tender age of four. His father was a scientist who built a massive organ in the family home and taught the young lad all about electronics. So at the age of 17, Behringer built his first synthesizer – the UB-1. Later, while attending college to seek a degree in audio engineering, Uli put his electronics knowledge to use, building his own equalizers and signal processors to fill the gap left by the university's inability to provide enough proper studio gear. Word soon spread about how good his products were, and he began building gear for his friends – the BEHRINGER legacy had begun. The rest, as they say, is history... K-2 Although only produced from 1978 to 1983, Korg synthesizers have been favored by numerous world-famous artists including: Aphex Twin; Arcade Fire; the BBC Radiophonic Workshop; Daft Punk; Depeche Mode; A Flock of Seagulls; Gorillaz; Orchestral Manoeuvres in the Dark; Snarky Puppy and a host of others. An ultra-affordable homage to that iconic synthesizer with all the features of the original and then some, the K-2 lets you conjure up virtually any sound with incredible finesse and ease. With its pure analog signal path, dual authentic VCOs with 4 selectable waveforms each, plus extremely flexible VCF and VCA filters, the K-2 is sure to become your favorite keyboard. Owning the K-2 is like having your own personal time machine, enabling you to embrace the past – or make your imprint on the future! Pure Analog Signal Path Great care has been taken in engineering the K-2, including the true to the original VCO, VCF and VCA designs and pure analog circuitry with matched transistors and JFETs. This highly-focused attention to detail is what gives K-2 its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones to stunning effects – all the way out to the otherworldly sounds of your imagination. Rock Right out-of-the Box! Your K-2 comes ready to rock, thanks to its default signal routing that doesn’t require lifting a single patch cable to instantly create amazing sounds. The semi-modular architecture lets you easily tap into the inspired sounds of 1980s and ’90s progressive rock, wave, EDM and synth-pop music synthesizer tracks that made rock and roll history – or to design incredibly fat and original sounds that will make you a legend in your own right! Versatile VCF The very heart of K-2’s sound is its versatile 6 dB High/12 dB Low filter, which lets you freely experiment with the High and Low-Pass Cutoff Frequencies and their respective peak (resonance) settings to dial in the perfect sound. The high-pass filter sets the level of signals below the cutoff frequency, effectively reducing the fundamental and lower-order harmonics levels. The low-pass filter controls the level of signals above the cutoff, which reduces higher-order harmonic content. K-2’s VCF Peak controls provide emphasis to the signals at the crossover frequency. Vintage Oscillators K-2’s authentic Voltage Controlled Oscillators (VCOs) provides an incredible range of 4 variable oscillator shapes with variable pulse widths and ring modulation for the ultimate in sound creation. VCO 1 waveform choices include triangle, reverse-sawtooth, noise and pulse, where the pulse width can be adjusted from square wave to narrow across a 4-octave range (32', 16', 8', or 4'). VCO 2’s waveform can be selected from reverse-sawtooth, square, narrow pulse and ring, where both oscillators are operating. VCO 2’s pitch can also be varied independently across a 4-octave range (16', 8', 4' and 2'). The VCO Mixer allows you to adjust the levels of VCO 1 and VCO 2 to create an overall mix and a wide range of amazing effects. The Envelope, Please... Make that envelopes! K-2’s Low Frequency Oscillator (LFO), the Modulation Generator, features a selectable Waveform (reverse sawtooth, triangle, sawtooth) with a sweepable frequency range from 0.1 to 22 Hz – and 2 separate Envelope generators to help you craft incredible sounds! Envelope Generator 1 affects the frequency modulation via controls for Delay, Attack and Release Time, while generator 2 adjusts the cutoff frequency modulation, as well as amplitude modulation of the Voltage Control Amplifier (VCA). Dials for this generator include Hold, Decay, Attack, Sustain, and Release for unparalleled envelope-shaping control. 16-Note Poly Chain Ready While it is a monophonic instrument (one note at a time), K-2’s 16-note Poly Chain function lets you combine multiple synthesizers for up to 16-voice polyphony – plus provides vastly improved reliability and stability over its 1970s and '80s predecessors. Eurorack Ready Designed to handle the rigors of life on the road or in the studio, your K-2 can easily be transferred into a standard Eurorack case for the perfect integration into your existing system. Controls & Connectivity We just can’t help ourselves – like you, we’re gear-heads, too. For those who want the numbers, K-2 has 36 controls, all laid out in a highly-intuitive format that puts the joy back into your music creation. And you can expand K-2’s tone-sculpting capabilities beyond your wildest dreams by utilizing the multi-I/O patchbay to connect external devices at virtually any point in the signal path! Unleash Your Imagination When it comes to not just pushing envelopes but creating them, K-2 gives your imagination its voice – and it’s so very affordable. When modern performance calls for classic analog sound – it calls for the Behringer K-2!

Lepo očuvano Kao na slikama Retko! 1960. University of Ceylon Press Board Istorija Cejlona / Šri Lanke Rare books The history of Sri Lanka is intertwined with the history of the broader Indian subcontinent and the surrounding regions, comprising the areas of South Asia, Southeast Asia and the Indian Ocean. The early human remains found on the island of Sri Lanka date to about 38,000 years ago (Balangoda Man). The historical period begins roughly in the 3rd century, based on Pali chronicles like the Mahavamsa, Deepavamsa, and the Culavamsa. They describe the history since the arrival of Prince Vijaya from Northern India[1][2][3][4] The earliest documents of settlement in the Island are found in these chronicles. These chronicles cover the period since the establishment of the Kingdom of Tambapanni in the 6th century BCE by the earliest ancestors of the Sinhalese. The first Sri Lankan ruler of the Anuradhapura Kingdom, Pandukabhaya, is recorded for the 4th century BCE. Buddhism was introduced in the 3rd century BCE by Arhath Mahinda (son of the Indian emperor Ashoka). The island was divided into numerous kingdoms over the following centuries, intermittently (between CE 993–1077) united under Chola rule. Sri Lanka was ruled by 181 monarchs from the Anuradhapura to Kandy periods.[5][unreliable source?] From the 16th century, some coastal areas of the country were also controlled by the Portuguese, Dutch and British. Between 1597 and 1658, a substantial part of the island was under Portuguese rule. The Portuguese lost their possessions in Ceylon due to Dutch intervention in the Eighty Years` War. Following the Kandyan Wars, the island was united under British rule in 1815. Armed uprisings against the British took place in 1818 Uva Rebellion and 1848 Matale Rebellion. Independence was finally granted in 1948 but the country remained a Dominion of the British Empire until 1972. In 1972, Sri Lanka assumed the status of a Republic. A constitution was introduced in 1978 which made the Executive President the head of state. The Sri Lankan Civil War began in 1983, including Insurrections in 1971 and 1987, with the 25-year-long civil war ending in 2009. There was an attempted coup in 1962 against the government under Sirimavo Bandaranaike. Prehistory[edit] Main article: Prehistory of Sri Lanka Evidence of human colonization in Sri Lanka appears at the site of Balangoda. Balangoda Man arrived on the island about 125,000 years ago and has been identified as Mesolithic hunter-gatherers who lived in caves. Several of these caves, including the well-known Batadombalena and the Fa Hien Cave, have yielded many artifacts from these people, who are currently the first known inhabitants of the island. Balangoda Man probably created Horton Plains, in the central hills, by burning the trees in order to catch game. However, the discovery of oats and barley on the plains at about 15,000 BCE suggests that agriculture had already developed at this early date.[6] Several minute granite tools (about 4 centimetres in length), earthenware, remnants of charred timber, and clay burial pots date to the Mesolithic. Human remains dating to 6000 BCE have been discovered during recent excavations around a cave at Warana Raja Maha Vihara and in the Kalatuwawa area. Cinnamon is native to Sri Lanka and has been found in Ancient Egypt as early as 1500 BCE, suggesting early trade between Egypt and the island`s inhabitants. It is possible that Biblical Tarshish was located on the island. James Emerson Tennent identified Tarshish with Galle.[7] The protohistoric Early Iron Age appears to have established itself in South India by at least as early as 1200 BCE, if not earlier (Possehl 1990; Deraniyagala 1992:734). The earliest manifestation of this in Sri Lanka is radiocarbon-dated to c. 1000–800 BCE at Anuradhapura and Aligala shelter in Sigiriya (Deraniyagala 1992:709-29; Karunaratne and Adikari 1994:58; Mogren 1994:39; with the Anuradhapura dating corroborated by Coningham 1999). It is very likely that further investigations will push back the Sri Lankan lower boundary to match that of South India.[8] During the protohistoric period (1000-500 BCE) Sri Lanka was culturally united with southern India.,[9] and shared the same megalithic burials, pottery, iron technology, farming techniques and megalithic graffiti.[10][11] This cultural complex spread from southern India along with Dravidian clans such as the Velir, prior to the migration of Prakrit speakers.[12][13][10] Archaeological evidence for the beginnings of the Iron Age in Sri Lanka is found at Anuradhapura, where a large city–settlement was founded before 900 BCE. The settlement was about 15 hectares in 900 BCE, but by 700 BCE it had expanded to 50 hectares.[14] A similar site from the same period has also been discovered near Aligala in Sigiriya.[15] The hunter-gatherer people known as the Wanniyala-Aetto or Veddas, who still live in the central, Uva and north-eastern parts of the island, are probably direct descendants of the first inhabitants, Balangoda Man. They may have migrated to the island from the mainland around the time humans spread from Africa to the Indian subcontinent. Later Indo Aryan migrants developed a unique hydraulic civilization named Sinhala. Their Achievements include the construction of the largest reservoirs and dams of the ancient world as well as enormous pyramid-like stupa (dāgaba in Sinhala) architecture. This phase of Sri Lankan culture may have seen the introduction of early Buddhism.[16] Early history recorded in Buddhist scriptures refers to three visits by the Buddha to the island to see the Naga Kings, snakes that can take the form of a human at will.[17] The earliest surviving chronicles from the island, the Dipavamsa and the Mahavamsa, say that Yakkhas, Nagas, Rakkhas and Devas inhabited the island prior to the migration of Indo Aryans. Pre-Anuradhapura period (543–377 BCE)[edit] Main article: Early kingdoms period Indo-Aryan syncretism[edit] Main article: Prince Vijaya The Pali chronicles, the Dipavamsa, Mahavamsa, Thupavamsa and the Chulavamsa, as well as a large collection of stone inscriptions,[18] the Indian Epigraphical records, the Burmese versions of the chronicles etc., provide information on the history of Sri Lanka from about the 6th century BCE.[19] The Mahavamsa, written around 400 CE by the monk Mahanama, using the Deepavamsa, the Attakatha and other written sources available to him, correlates well with Indian histories of the period. Indeed, Emperor Ashoka`s reign is recorded in the Mahavamsa. The Mahavamsa account of the period prior to Asoka`s coronation, 218 years after the Buddha`s death, seems to be part legend. Proper historical records begin with the arrival of Vijaya and his 700 followers from Vanga. A detailed description of the dynastic accounts from Vijaya`s time is provided in the Mahavamsa.[20] H. W. Codrington puts it, `It is possible and even probable that Vijaya (`The Conqueror`) himself is a composite character combining in his person...two conquests` of ancient Sri Lanka. Vijaya is an Indian prince, the eldest son of King Sinhabahu (`Man with Lion arms`) and his sister Queen Sinhasivali. Both these Sinhalese leaders were born of a mythical union between a lion and a human princess. The Mahavamsa states that Vijaya landed on the same day as the death of the Buddha (See Geiger`s preface to Mahavamsa). The story of Vijaya and Kuveni (the local reigning queen) is reminiscent of Greek legend and may have a common source in ancient Proto-Indo-European folk tales. According to the Mahavamsa, Vijaya landed on Sri Lanka near Mahathitha (Manthota or Mannar[21]), and named[22] on the island of Tambaparni (`copper-colored sand`). This name is attested to in Ptolemy`s map of the ancient world. The Mahavamsa also describes the Buddha visiting Sri Lanka three times. Firstly, to stop a war between a Naga king and his son in law who were fighting over a ruby chair. It is said that on his last visit he left his foot mark on Siri Pada (`Adam`s Peak`). Tamirabharani is the old name for the second longest river in Sri Lanka (known as Malwatu Oya in Sinhala and Aruvi Aru in Tamil). This river was a main supply route connecting the capital, Anuradhapura, to Mahathitha (now Mannar). The waterway was used by Greek and Chinese ships traveling the southern Silk Route. Mahathir was an ancient port linking Sri Lanka to India and the Persian Gulf.[23] The present day Sinhalese are a mixture of the Indo Aryans and the Indigenous[24] The Sinhalese are recognized as a distinct ethnic group from other groups in neighboring south India based on the Indo-Aryan language, culture, Theravada Buddhism, genetics and the physical anthropology. Anuradhapura period (377 BCE–1017)[edit] Main articles: Anuradhapura period and Anuradhapura Kingdom Pandyan Kingdom coin depicting a temple between hill symbols and elephant, Pandyas, Sri Lanka, 1st century CE. In the early ages of the Anuradhapura Kingdom, the economy was based on farming and early settlements were mainly made near the rivers of the east, north central, and north east areas which had the water necessary for farming the whole year round. The king was the ruler of country and responsible for the law, the army, and being the protector of faith. Devanampiya Tissa (250–210 BCE) was Sinhalese and was friends with the King of the Maurya clan. His links with Emperor Asoka led to the introduction of Buddhism by Mahinda (son of Asoka) around 247 BCE. Sangamitta (sister of Mahinda) brought a Bodhi sapling via Jambukola (west of Kankesanthurai). This king`s reign was crucial to Theravada Buddhism and for Sri Lanka. The Mauryan-Sanskrit text Arthashastra referred to the pearls and gems of Sri Lanka. A kind of pearl, kauleya (Sanskrit: कौलेय) was referred in that text and also mentioned it collected from Mayurgrām of Sinhala. Pārsamudra(पारसमुद्र), a gem, was also being collected from Sinhala.[25] Ellalan (205–161 BCE) was a Tamil King who ruled `Pihiti Rata` (Sri Lanka north of the Mahaweli) after killing King Asela. During Ellalan`s time Kelani Tissa was a sub-king of Maya Rata (in the south-west) and Kavan Tissa was a regional sub-king of Ruhuna (in the south-east). Kavan Tissa built Tissa Maha Vihara, Dighavapi Tank and many shrines in Seruvila. Dutugemunu (161–137 BCE), the eldest son of King Kavan Tissa, at 25 years of age defeated the South Indian Tamil invader Elara (over 64 years of age) in single combat, described in the Mahavamsa. The Ruwanwelisaya, built by Dutugemunu, is a dagaba of pyramid-like proportions and was considered an engineering marvel.[citation needed] Pulahatta (or Pulahatha), the first of the Five Dravidians, was deposed by Bahiya. He in turn was deposed by Panaya Mara who was deposed by Pilaya Mara, murdered by Dathika in 88 BCE. Mara was deposed by Valagamba I (89–77 BCE) which ended Tamil rule. The Mahavihara Theravada Abhayagiri (`pro-Mahayana`) doctrinal disputes arose at this time. The Tripitaka was written in Pali at Aluvihara, Matale. Chora Naga (63–51 BCE), a Mahanagan, was poisoned by his consort Anula who became queen. Queen Anula (48–44 BCE), the widow of Chora Naga and of Kuda Tissa, was the first Queen of Lanka. She had many lovers who were poisoned by her and was killed by Kuttakanna Tissa. Vasabha (67–111 CE), named on the Vallipuram gold plate, fortified Anuradhapura and built eleven tanks as well as pronouncing many edicts. Gajabahu I (114–136) invaded the Chola kingdom and brought back captives as well as recovering the relic of the tooth of the Buddha. A Sangam Period classic, Manimekalai, attributes the origin of the first Pallava King from a liaison between the daughter of a Naga king of Manipallava named Pilli Valai (Pilivalai) with a Chola king, Killivalavan, out of which union was born a prince, who was lost in ship wreck and found with a twig (pallava) of Cephalandra Indica (Tondai) around his ankle and hence named Tondai-man. Another version states `Pallava` was born from the union of the Brahmin Ashvatthama with a Naga Princess also supposedly supported in the sixth verse of the Bahur plates which states `From Ashvatthama was born the king named Pallava`.[26] Sri Lankan imitations of 4th-century Roman coins, 4th to 8th centuries. Ambassador from Sri Lanka (獅子國 Shiziguo) to China (Liang dynasty), Wanghuitu (王会图), circa 650 CE There was intense Roman trade with the ancient Tamil country (present day Southern India) and Sri Lanka,[27] establishing trading settlements which remained long after the fall of the Western Roman Empire.[28] It was in the first century AD where Saint Thomas the Apostle introduced Sri Lanka`s first monotheistic religion, Christianity, according to a local Christian tradition[29] During the reign of Mahasena (274–301) the Theravada (Maha Vihara) was persecuted and the Mahayanan branch of Buddhism appeared. Later the King returned to the Maha Vihara. Pandu (429) was the first of seven Pandiyan rulers, ending with Pithya in 455. Dhatusena (459–477) `Kalaweva` and his son Kashyapa (477–495) built the famous Sigiriya rock palace where some 700 rock graffiti give a glimpse of ancient Sinhala. Decline Main article: Chola occupation of Anuradhapura In 993, when Raja Raja Chola sent a large Chola army which conquered the Anuradhapura Kingdom, in the north, and added it to the sovereignty of the Chola Empire.[30] The whole island was subsequently conquered and incorporated as a province of the vast Chola empire during the reign of his son Rajendra Chola.[31][32][33][34] Polonnaruwa period (1056–1232)[edit] Main articles: Polonnaruwa period and Kingdom of Polonnaruwa The Kingdom of Polonnaruwa was the second major Sinhalese kingdom of Sri Lanka. It lasted from 1055 under Vijayabahu I to 1212 under the rule of Lilavati. The Kingdom of Polonnaruwa came into being after the Anuradhapura Kingdom was invaded by Chola forces under Rajaraja I and led to formation of the Kingdom of Ruhuna, where the Sinhalese Kings ruled during Chola occupation. Decline Sadayavarman Sundara Pandyan I invaded Sri Lanka in the 13th century and defeated Chandrabanu the usurper of the Jaffna Kingdom in northern Sri Lanka.[35] Sadayavarman Sundara Pandyan I forced Candrabhanu to submit to the Pandyan rule and to pay tributes to the Pandyan Dynasty. But later on when Candrabhanu became powerful enough he again invaded the Singhalese kingdom but he was defeated by the brother of Sadayavarman Sundara Pandyan I called Veera Pandyan I and Candrabhanu died.[35] Sri Lanka was invaded for the 3rd time by the Pandyan Dynasty under the leadership of Arya Cakravarti who established the Jaffna kingdom.[35] Transitional period (1232–1505)[edit] Ptolemic map of Ceylon (1482) Jaffna Kingdom[edit] Main article: Jaffna kingdom Also known as the Aryacakravarti dynasty, was a northern kingdom centred around the Jaffna Peninsula.[36] In 1247, the Malay kingdom of Tambralinga which was a vassal of the Srivijaya Empire led by their king Chandrabhanu[37] briefly invaded Sri Lanka especially the Jaffna Kingdom, from Insular Southeast Asia. They were then expelled by the South Indian Pandyan Dynasty.[38] However, this temporary invasion permanently introduced the presence of various Malayo-Polynesian merchant ethnic groups, from Sumatrans (Indonesia) to Lucoes (Philippines) into Sri Lanka.[39] Kingdom of Dambadeniya[edit] Main article: Kingdom of Dambadeniya After defeating Kalinga Magha, King Parakramabahu established his Kingdom in Dambadeniya. He built the Temple of The Sacred Tooth Relic in Dambadeniya. Kingdom of Gampola[edit] Main article: Kingdom of Gampola It was established by king Buwanekabahu IV, he is said to be the son of Sawulu Vijayabahu. During this time, a Muslim traveller and geographer named Ibn Battuta came to Sri Lanka and wrote a book about it. The Gadaladeniya Viharaya is the main building made in the Gampola Kingdom period. The Lankatilaka Viharaya is also a main building built in Gampola. Kingdom of Kotte[edit] Main article: Kingdom of Kotte After winning the battle, Parakramabahu VI sent an officer named Alagakkonar to check the new kingdom of Kotte. Kingdom of Sitawaka[edit] Main article: Kingdom of Sitawaka The kingdom of Sithawaka lasted for a short span of time during the Portuguese era. Vannimai[edit] Main article: Vanni Nadu Vannimai, also called Vanni Nadu, were feudal land divisions ruled by Vanniar chiefs south of the Jaffna peninsula in northern Sri Lanka. Pandara Vanniyan allied with the Kandy Nayakars led a rebellion against the British and Dutch colonial powers in Sri Lanka in 1802. He was able to liberate Mullaitivu and other parts of northern Vanni from Dutch rule. In 1803, Pandara Vanniyan was defeated by the British and Vanni came under British rule.[40] Crisis of the Sixteenth Century (1505–1594)[edit] Portuguese intervention[edit] Main articles: Portuguese Ceylon and Sinhalese–Portuguese War A Portuguese (later Dutch) fort in Batticaloa, Eastern Province built in the 16th century. The first Europeans to visit Sri Lanka in modern times were the Portuguese: Lourenço de Almeida arrived in 1505 and found that the island, divided into seven warring kingdoms, was unable to fend off intruders. The Portuguese founded a fort at the port city of Colombo in 1517 and gradually extended their control over the coastal areas. In 1592, the Sinhalese moved their capital to the inland city of Kandy, a location more secure against attack from invaders. Intermittent warfare continued through the 16th century. Many lowland Sinhalese converted to Christianity due to missionary campaigns by the Portuguese while the coastal Moors were religiously persecuted and forced to retreat to the Central highlands. The Buddhist majority disliked the Portuguese occupation and its influences, welcoming any power who might rescue them. When the Dutch captain Joris van Spilbergen landed in 1602, the king of Kandy appealed to him for help.[41] Dutch intervention[edit] Main article: Dutch Ceylon Rajasinghe II, the king of Kandy, made a treaty with the Dutch in 1638 to get rid of the Portuguese who ruled most of the coastal areas of the island. The main conditions of the treaty were that the Dutch were to hand over the coastal areas they had captured to the Kandyan king in return for a Dutch trade monopoly over the island. The agreement was breached by both parties. The Dutch captured Colombo in 1656 and the last Portuguese strongholds near Jaffnapatnam in 1658. By 1660 they controlled the whole island except the land-locked kingdom of Kandy. The Dutch (Protestants) persecuted the Catholics and the remaining Portuguese settlers but left Buddhists, Hindus and Muslims alone. The Dutch levied far heavier taxes on the people than the Portuguese had done.[41] Kandyan period (1594–1815)[edit] Main article: Kingdom of Kandy On the top: illustration from Delineatio characterum quorundam incognitorum, quos in insula Ceylano spectandos praebet tumulus quidam sepulchralis published in Acta Eruditorum, 1733 After the invasion of the Portuguese, Konappu Bandara (King Vimaladharmasuriya) intelligently won the battle and became the first king of the kingdom of Kandy. He built The Temple of the Sacred Tooth Relic. The monarch ended with the death of the last king, Sri Vikrama Rajasinha in 1832.[42] Colonial Sri Lanka (1815–1948)[edit] Main articles: History of British Ceylon and British Ceylon Late 19th-century German map of Ceylon. During the Napoleonic Wars, Great Britain, fearing that French control of the Netherlands might deliver Sri Lanka to the French, occupied the coastal areas of the island (which they called Ceylon) with little difficulty in 1796. In 1802, the Treaty of Amiens formally ceded the Dutch part of the island to Britain and it became a crown colony. In 1803, the British invaded the Kingdom of Kandy in the first Kandyan War, but were repulsed. In 1815 Kandy was annexed in the second Kandyan War, finally ending Sri Lankan independence. Following the suppression of the Uva Rebellion the Kandyan peasantry were stripped of their lands by the Crown Lands (Encroachments) Ordinance No. 12 of 1840 (sometimes called the Crown Lands Ordinance or the Waste Lands Ordinance),[43] a modern enclosure movement, and reduced to penury. The British found that the uplands of Sri Lanka were very suitable for coffee, tea and rubber cultivation. By the mid-19th century, Ceylon tea had become a staple of the British market bringing great wealth to a small number of European tea planters. The planters imported large numbers of Tamil workers as indentured labourers from south India to work the estates, who soon made up 10% of the island`s population.[44] The British colonial administration favoured the semi-European Burghers, certain high-caste Sinhalese and the Tamils who were mainly concentrated to the north of the country. Nevertheless, the British also introduced democratic elements to Sri Lanka for the first time in its history and the Burghers were given degree of self-government as early as 1833. It was not until 1909 that constitutional development began, with a partly elected assembly, and not until 1920 that elected members outnumbered official appointees. Universal suffrage was introduced in 1931 over the protests of the Sinhalese, Tamil and Burgher elite who objected to the common people being allowed to vote.[44] Sorting tea in Ceylon in the 1880s Independence movement[edit] Main article: Sri Lankan independence movement Ceylon National Congress (CNC) was founded to agitate for greater autonomy, although the party was soon split along ethnic and caste lines. Historian K. M. de Silva has stated that the refusal of the Ceylon Tamils to accept minority status is one of the main causes of the break up of the Ceylon National congress. The CNC did not seek independence (or `Swaraj`). What may be called the independence movement broke into two streams: the `constitutionalists`, who sought independence by gradual modification of the status of Ceylon; and the more radical groups associated with the Colombo Youth League, Labour movement of Goonasinghe, and the Jaffna Youth Congress. These organizations were the first to raise the cry of `Swaraj` (`outright independence`) following the Indian example when Jawaharlal Nehru, Sarojini Naidu and other Indian leaders visited Ceylon in 1926.[45] The efforts of the constitutionalists led to the arrival of the Donoughmore Commission reforms in 1931 and the Soulbury Commission recommendations, which essentially upheld the 1944 draft constitution of the Board of ministers headed by D. S. Senanayake.[45] The Marxist Lanka Sama Samaja Party (LSSP), which grew out of the Youth Leagues in 1935, made the demand for outright independence a cornerstone of their policy.[46] Its deputies in the State Council, N.M. Perera and Philip Gunawardena, were aided in this struggle by other less radical members like Colvin R. De Silva, Leslie Goonewardene, Vivienne Goonewardene, Edmund Samarkody and Natesa Iyer. They also demanded the replacement of English as the official language by Sinhala and Tamil. The Marxist groups were a tiny minority and yet their movement was viewed with great interest by the British administration. The ineffective attempts to rouse the public against the British Raj in revolt would have led to certain bloodshed and a delay in independence. British state papers released in the 1950s show that the Marxist movement had a very negative impact on the policy makers at the Colonial office.[44] The Soulbury Commission was the most important result of the agitation for constitutional reform in the 1930s. The Tamil organization was by then led by G. G. Ponnambalam, who had rejected the `Ceylonese identity`.[47] Ponnamblam had declared himself a `proud Dravidian` and proclaimed an independent identity for the Tamils. He attacked the Sinhalese and criticized their historical chronicle known as the Mahavamsa. The first Sinhalese-Tamil riot came in 1939.[45][48] Ponnambalam opposed universal franchise, supported the caste system, and claimed that the protection of minority rights requires that minorities (35% of the population in 1931) having an equal number of seats in parliament to that of the Sinhalese (65% of the population). This `50-50` or `balanced representation` policy became the hall mark of Tamil politics of the time. Ponnambalam also accused the British of having established colonization in `traditional Tamil areas`, and having favoured the Buddhists by the Buddhist temporalities act. The Soulbury Commission rejected the submissions by Ponnambalam and even criticized what they described as their unacceptable communal character. Sinhalese writers pointed to the large immigration of Tamils to the southern urban centres, especially after the opening of the Jaffna-Colombo railway. Meanwhile, Senanayake, Baron Jayatilleke, Oliver Gunatilleke and others lobbied the Soulbury Commission without confronting them officially. The unofficial submissions contained what was to later become the draft constitution of 1944.[45] The close collaboration of the D. S. Senanayake government with the war-time British administration led to the support of Lord Louis Mountbatten. His dispatches and a telegram to the Colonial office supporting Independence for Ceylon have been cited by historians as having helped the Senanayake government to secure the independence of Sri Lanka. The shrewd cooperation with the British as well as diverting the needs of the war market to Ceylonese markets as a supply point, managed by Oliver Goonatilleke, also led to a very favourable fiscal situation for the newly independent government.[44] The Second World War[edit] Main article: Ceylon in World War II Sri Lanka was a front-line British base against the Japanese during World War II. Sri Lankan opposition to the war led by the Marxist organizations and the leaders of the LSSP pro-independence group were arrested by the Colonial authorities. On 5 April 1942, the Indian Ocean raid saw the Japanese Navy bomb Colombo. The Japanese attack led to the flight of Indian merchants, dominant in the Colombo commercial sector, which removed a major political problem facing the Senanayake government.[45] Marxist leaders also escaped to India where they participated in the independence struggle there. The movement in Ceylon was minuscule, limited to the English-educated intelligentsia and trade unions, mainly in the urban centres. These groups were led by Robert Gunawardena, Philip`s brother. In stark contrast to this `heroic` but ineffective approach to the war, the Senanayake government took advantage to further its rapport with the commanding elite. Ceylon became crucial to the British Empire in the war, with Lord Louis Mountbatten using Colombo as his headquarters for the Eastern Theatre. Oliver Goonatilleka successfully exploited the markets for the country`s rubber and other agricultural products to replenish the treasury. Nonetheless, the Sinhalese continued to push for independence and the Sinhalese sovereignty, using the opportunities offered by the war, pushed to establish a special relationship with Britain.[44] Meanwhile, the Marxists, identifying the war as an imperialist sideshow and desiring a proletarian revolution, chose a path of agitation disproportionate to their negligible combat strength and diametrically opposed to the `constitutionalist` approach of Senanayake and other ethnic Sinhalese leaders. A small garrison on the Cocos Islands manned by Ceylonese mutinied against British rule. It has been claimed that the LSSP had some hand in the action, though this is far from clear. Three of the participants were the only British colony subjects to be shot for mutiny during World War II.[49] Two members of the Governing Party, Junius Richard Jayawardene and Dudley Senanayake, held discussions with the Japanese to collaborate in fighting the British. Sri Lankans in Singapore and Malaysia formed the `Lanka Regiment` of the anti-British Indian National Army.[44] The constitutionalists led by D. S. Senanayake succeeded in winning independence. The Soulbury constitution was essentially what Senanayake`s board of ministers had drafted in 1944. The promise of Dominion status and independence itself had been given by the Colonial Office. Independence[edit] The Sinhalese leader Don Stephen Senanayake left the CNC on the issue of independence, disagreeing with the revised aim of `the achieving of freedom`, although his real reasons were more subtle.[50] He subsequently formed the United National Party (UNP) in 1946,[51] when a new constitution was agreed on, based on the behind-the-curtain lobbying of the Soulbury commission. At the elections of 1947, the UNP won a minority of seats in parliament, but cobbled together a coalition with the Sinhala Maha Sabha party of Solomon Bandaranaike and the Tamil Congress of G.G. Ponnambalam. The successful inclusions of the Tamil-communalist leader Ponnambalam, and his Sinhalese counterpart Bandaranaike were a remarkable political balancing act by Senanayake. The vacuum in Tamil Nationalist politics, created by Ponnamblam`s transition to a moderate, opened the field for the Tamil Arasu Kachchi (`Federal party`), a Tamil sovereignty party led by S. J. V. Chelvanaykam who was the lawyer son of a Christian minister.[44] Tags: sri lanka hinduizam budizam cedomil veljačić kulture istoka

Kao na slikama Prisutan miris starih knjiga Extra retko 1971 Katalin Ladik počela je svoju karijeru u Novom Sadu u periodu delovanja novosadske neoavangarde ranih sedamdesetih, da bi se devedesetih preselila u Budimpeštu. Raspon stvaralaštva Katalin Ladik kreće se od književnosti preko glume do interpretacije eksperimentalnih zvučnih kompozicija i radio-igara, fonetične i vizuelne poezije, hepeninga, performansa, akcije pa sve do mail arta. Objavila je 20 samostalnih zbirki poezije i jedan roman, od kojih su na srpski prevedeni Erogen zoon, Ikarova senka i Kavez od trave i roman Mogu li da živim na tvom licu (SFO (Re)konekcija, 2021). Svoje izložbe, performanse, hepeninge, muzičke performanse i koncerte realizovala je u okviru najznačajnijih institucija savremene kulture domaće i međunarodne scene, kao što su: Akademie der Bildenden Künste Wien „Aspekte – Gegenwärtige Kunst aus Jugoslawien” (Bosch+Bosch grupa), Van Gogh Museum Amsterdam „Vizuele poëzie”, Muzej savremene umetnosti „Verbo-Voko-Vizuelno”, Galerija suvremene umjetnosti „Nova umjetnička praksa 1966–1978”, Centre National Georges Pompidou „Rencontres internationales de poesie sonore”, Kassel, Neue Galerie, DOCUMENTA, New York, Washingto, Dubrovačke letnje igre, a trenutno se njen rad predsatavlja na svim značajnim evropskim izložbama. Rad ove umetnice, prevashodno njena verbo-voko-vizuelna istraživanja (zvučni performansi, video i audio kasete i ploče), (tekstualni) performansi tela, baš kao i obiman i značajan književni kao i rad u oblasti alternativnog teatra, priznati su i prepoznati i u međunarodnim okvirima. Njenu umetničku ličnost svrstavaju u red već gotovo mitskih ličnosti avangardi na čitavom centralnoevropskom prostoru. Za svoj umetnički rad dobila je Nacionalno priznanje za vrhunski doprinos kulturi Republike Srbije 2009, kao i Nagradu za mir i umetničku hrabrost Lennon Ono Grant for Peace 2016. Svoje prve pesme objavila je u časopisu Simpozion na mađarskom jeziku (1962) a njena prva zbirka Balada o srebrnom biciklu (Ballada az ezüstbicikliröl) sa gramofonskim, zvučnim zapisima, objavljena je 1969. godine, potom Bludna metla, Erogena zona, Kavez od trave i Ikarova senka. U prevođenju na srpski joj je pomagala književnica Judita Šalgo, takođe poznata po svojim performativnim izvođenjima poezije. „Judita Šalgo mi je pomogla u prevodu pesama, a Bogdanka Poznanović me potakla na video-dokumentaciju mog stvaralaštva. Ona je negde 1980-ih nabavila videorekorder za Akademiju umetnosti gde je bila profesorka na Odseku medija i potakla me da snimimo neki moj rad za video. Ja sam sabrala neke motive i elemente svojih performansa iz prethodnog desetljeća koji su mi se činili pogodnima za kameru i video, pa sam ih izvela na stepeništu hodnika Akademije, a video nazvala Poemim. To je ostalo kao jedini dokument onog vremena.“ Pored uticaja Bogdanke Poznanović, koja je tada osnovala na novosadskoj Akademiji umetnosti prvi studio za nove medije, knjigu Bore Ćosića Mixed Media smatrala je jako važnom za njen umetnički razvoj. Bila je članica grupa Bosch + Bosch od 1973. do 1976, u okviru koje je ipak imala svoju teritoriju zvuka i zvučnog performansa i izvodila vizualne i konceptualne radove. Novoosnovanom Novosadskom pozorištu – Újvidéki Színház pridružila se 1974. i kao članica stalnog ansabla radila do 1992. igrajući u predstavama najznačajnijih mađarskih reditelja, kao što je Jančo Mikloš i predstava Bajer aspirin – pesnička monodrama koju je za nju napisao Oto Tolnai. Tokom godina igrala je glavne i sporedne uloge u raznim TV filmovima i igranim filmovima (jedan od poznatijih je i film Lordana Zafranovića Ujed anđela). Bila je urednica pesničke rubrike književnih časopisa Elet es Irodalom (1993–94) i Ciganifuro (1994–99). Između 1993. i 1998. predavala je u muzičkom i pozorišnom obrazovnom centru Hangar. Katalin najveći trag ostavlja u svojoj foničnoj i voko-vizelnoj poeziji, ali se najviše pamte njeni performansi i body art u kojima koristi svoje telo kao instrument, često provocirajući intervenciju publike ritualno igrajući različite ženske uloge. Performativno izvođenje njenih „Šamanskih pesama“, dok je ogrnuta samo životinjskom kožom uz svetlost sveće, bio je jedan od najradikalnijih ženskih umetničkih izraza avangardne scene na tadašnjem jugoslovenskom kulturnom prostoru. „U početku sam na te radove gledala kao na poetske večeri – znači, prikazivanje poezije počev od njenog čitanja pa sve do govorenja u obliku fonične i gestualne poezije, što je na neki način bio uvod putem kojega sam ljudima dala ključ ka otvorenoj, proširenoj poeziji. Videla sam da ljudi poeziju smatraju samo onom linearnom, koju eventualno recituje glumac ili sam autor, ali govorenje ili pevanje, a kamoli fonična poezija, tada nije postojala.“ Performansi Ja sam javna žena, Blackshave, Rupa koja vrišti, Poem, Spuštanje Novog Sada niz reku Dunav,Mandora, Tesla samo su neki od najvažnijih, a spacifičnost njenog rada vidi se i u tome što je neke izvodila potpuno različito u drugim kontekstima. Katalin Ladik, performans – Zagreb, 1970. Katalin Ladik, performans – Zagreb, 1970. Katalin Ladik, Sanja Iveković i Vlasta Delimar bile su prve konceptualne umetnice novih medija a njihove umetničke strategije uticale su na poetiku različitih generacija umetnica, od Marine Abramović do nama danas savremene ženske scene. Ali, i one same još aktivno učestviju u kreiranju iste i sve više su prisutne na međunarodnoj sceni Sama Katalin je iznenađena koliko su mladi umetnici zainteresovani za njen rad: „Uskoro idem u Švajcarsku gde ću na Muzičkoj akademiji u Baselu održati radionicu na temu novih eksperimentalnih partitura i improvizacije s kompozitorima. I mene samu čudi kako se mlađe generacije zanimaju za mene i moje stvaralaštvo.“ Zanimljivo je pratiti njen odnos prema ženskoj i feminističkoj kulturi. Sama kaže da u početku nije znala puno o feminističkim teorijama, a one koje su do nje dopirale nisu joj bile bliske. Ali svoju umetničku pobunu pokazuje kroz tipično ženske motive iskazujući ne samo odnos prema patrijarhalnim matricama nego i prema represivnom umetničkom kontekstu čak i među svojim istomišljenicima. Inače, konceptualne umetnice prve problematizuju poziciju autorke u umetničkom polju delovanja. „Stoga sam izražavala svoj bunt kroz one sitne stvari koje radi svaka žena, s uverenjem da to također može da bude predmet umetnosti ili način umetničkog izražavanja. Kada sam počinjala, pišući na mađarskom sredinom 1960-ih, nisam poznavala teoriju feminizma – ne znam ni da li je postojao neki pregled na srpskom. Teorija nije programatski postojala u mom radu, već sam krenula od ličnog iskustva i započela svojevrsno oslobađanje od porodice i radnog mesta kao neki vid protesta u 1970-ima.„ Feministkinje su prepoznale njenu umetnost kao važnu elaboraciju pobunjene žene tako da je bila i gost najveće feminističke međunarodne konferencije u jednoj komunističkoj zemlji Drug-ca 1978. u Beogradu: „To je bio moj prvi susret s njima i drugim aktivnim feministkinjama iz Zagreba, s kojima sam ostala u kontaktu. Drug-ca Žena me lično obogatila, i tada sam shvatila da feminizam nije ono što sam smatrala američkim feminizmom usko usmerenim protiv muškaraca, već da se radi o prostom zalaganju za prava žena.“ Retrospektivna izložba njenih radova u Muzeju savremene umetnosti Vojvodine 2010. upravo je i nazvana Moć žene prema njenim dominantnim umetničkim postulatima. Na konferenciji K.A.T. „Umetnost u obrazovanju: interakcije“, u produkciji Saveza feminističkih organizacija (Re)konekcija u Novom Sadu (2017), mogli smo da vidimo njene trenutne umetničke preokupacije internet prostorom koje je nazvala „Alisa u zemlji kodova“. Katalin Ladik danas, Foto: Sanja Anđelković Fotografija Sanja Anđelković Katalin Ladik bavi se intrigantnim pitanjem, koje je osnovano na materijalu proširene poezije same umetnice. U unutrašnjoj naraciji svake vizuelne poezije nalazi se promena. Neobičajna medijska tranzicija odnosi se na ove objekte (vizuelnu poeziju i konkretnu poeziju), zatim na živo izvođenje i audio snimanje tih živih nastupa. Veza između vizuelnog i zvučnog je suština odnosa između poezije Katalin Ladik i njene proširene poezije, „otelovljenog perfomansa“. „Lepota se pojavljuje kao rezultat na površini, na licu dela, ali radost stvaranja se dešava na obrnutom, na naličju materijala. Energija koja se oslobađa ograničenja, raskalašno se pokazuje i prevladava. Ne poštuje pravila, pretvara se u radost i bol. To se ne možete videti s lepe, tj. prednje strane, samo sa „pogrešne“ strane tj. naličja umetničkog dela” – objašnjava autorka. [Újvidék]: [Fórum Könyvkiadó], [1971]. First edition. In publisher’s illustrated wrappers, designed by Gábor Ifjú. Printed on differently colored papers. 89, (7) p. Inscribed first edition of Katalin Ladik’s book of surreal poems. Katalin Ladik (b. 1942) is a Yugoslavian-born (today Serbia) Hungarian radical female performance artist, poet, and writer. Besides other prizes, in 2016 she was awarded by the LennonOno Grant for Peace together with Ai Weiwei, Anish Kapoor, and Olafur Eliasson. She was an exhibitor at “documenta 14” in 2017. Katalin Ladik (born Novi Sad, 25 October 1942) is a Hungarian poet, performance artist and actress. She was born in Novi Sad, Kingdom of Yugoslavia (Hungarian: Újvidék), and in the last 20 years she has lived and worked alternately in Novi Sad, Serbia, in Budapest, Hungary and on the island of Hvar, Croatia. Parallel to her written poems she also creates sound poems and visual poems, performance art, writes and performs experimental music and audio plays. She is also a performer and an experimental artist (happenings, mail art, experimental theatrical plays). She explores language through visual and vocal expressions, as well as movement and gestures. Her work includes collages, photography, records, performances and happenings in both urban and natural environments. Contents 1 Biography 2 Awards 3 Poetry 4 Prose 5 Publications 5.1 Volumes in original language 5.2 Translated volumes 5.3 E-books 5.4 Audiobooks 6 Discography 6.1 Sound poetry 6.2 Music (experimental music, jazz) 7 Poetry readings, sound poetry performances 7.1 Online Audio 7.2 Live performances 8 Performance art 8.1 A list of performances, happenings, actions 8.2 1960s-`70s 8.3 1980s-`90s 8.4 2000s 8.5 2010s 8.6 2020s 9 Workshops with performances (selection) 10 Concerts, musical performances (selection) 11 Speech-music performances 12 Theatre 12.1 As an actress 12.2 As a director 13 Films 13.1 Feature films 13.2 Short films 13.3 Recitatives 13.4 Television interviews 13.5 Documentary 13.6 Writer’s Credit 14 Radio plays 14.1 Writer and performer 14.2 Performer 15 Artworks in permanent public and private collections 16 Exhibitions 16.1 Solo exhibitions 16.2 Group exhibitions 17 See also 18 References 19 Sources 19.1 Resources 19.2 Literature 20 External links Biography[edit] Katalin Ladik studied at the Economic High School of Novi Sad between 1961 and 1963. She then joined the Dramski Studio (Drama Studio) acting school in Novi Sad, between 1964 and 1966. Between 1961 and 1963, she worked as a bank assistant. During this time, in 1962, she began to write poetry. From 1963 to 1977 she worked for Radio Novi Sad. She joined the newly established Novi Sad Theatre in 1974, becoming a member of its permanent ensemble in 1977 and working there until 1992.[1] She primarily acted in dramatic roles. Over the years, she also played major and minor roles in various TV-films and movies. She led the poetry sections of literary magazines Élet és Irodalom (1993–94) and Cigányfúró (1994–99). Between 1993 and 1998 she taught at Hangár musical and theatrical education center. She is a member of the Hungarian Writers` Union, the Hungarian Belletrists Association, the Association of Hungarian Creative Artists and the Hungarian PEN Club. Awards[edit] Katalin Ladik has earned various awards, including the Kassák Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International – Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the József Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). Katalin Ladik has earned various awards, including the Kassák Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International – Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the József Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). In 2015, she received the Klára Herczeg Award in senior category from the Studio of Young Artists’ Association (Hungary).[2] In 2016, she was awarded with the Lennon Ono Grant for Peace.[3] Her awards for acting include the Oktobarska nagrada grada Novog Sada (October Award of the City of Novi Sad), a collective award to the cast of Radio Novi Sad in 1967; first place at Smotra vojvođanskih profesionalnih pozorišta (Festival of Professional Theatres in Vojvodina) in 1978, for the role of Masha in Three Sisters, directed by György Harag, performed at the Novi Sad Theatre. The same role earned her the first place of Udruženje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979. Katalin Ladik also received the Magyar Televízió Elnöki Nívódíja / Award of the President of Hungarian Television for Acting Excellence for acting in András Rajnai’s TV film series, Televíziós mesék felnőtteknek (Television Tales for Adults) in 1980. In 1986, she was awarded first place at Smotra vojvođanskih profesionalnih pozorišta / Festival of Professional Theaters in Vojvodina for the role of Skinner in Howard Barker’s The Castle, directed by David Gothard, performed at the National Theatre in Subotica. 2017 Artisjus Literary Award for her poetry volume „A víz emlékezete” („The Memory of Water”) 2017 Janus Pannonius Filius Ursae Award for her literary oeuvre for „being defiant, provocative, and confrontational towards the actual literary canons” 2019 Ferencváros Pro Urbe Award [4] 2020 „My Country” („Hazám díj) Award in recognition of her lifetime achievement [5] 2021 Medal of culture for lifetime achievement, ie. for overall creativity/work awarded by Miloš Crnjanski Centre 2021 Novi Sad` International Literary Award, which is awarded by the 16th International Novi Sad Literary Festival organized by the Society of Writers of Vojvodina 2022 Hungarian Order of Merit Officer`s Cross, one of the highest Orders in Hungary 2022 Prize in Fiction (Poetry) category of the Society of Hungarian Authors 2022 Alföld Literary Prize Poetry[edit] Katalin Ladik became known after 1962 through her surreal and erotic poems. In addition to a number of books in Hungarian, volumes of her poetry were published in Yugoslavia, France, Italy and the United States. Her poems also appeared in various magazines and anthologies worldwide, translated into Spanish, German, Polish, Bulgarian, Slovakian, Hindi, Chinese, Indonesian, Romanian, Macedonian, Rusyn and Slovenian. `She is able to embody the sense of poetry as action. I saw one of her readings in Bratislava at Ars Poetica Festival and she was the only poet able to electrize the audience without any translation. (...) She manages to pass linguistic barriers but, again, any translation of her poetry is at least difficult to be made (or should I say “performed`). Her activity covers a wide area that includes performance and sound poetry, with a force that captures any kind of audience no matter how illiterate in contemporary poetry they can be.` Poetry Depot Prose[edit] Her first novel, entitled Élhetek az arcodon? (Can I Live on Your Face?) was published in 2007 by Nyitott Könyvműhely. It is considered to be an eminent work in Hungarian Avant-garde literature. It is partly autobiographical, partly self-reflecting. The novel alternates between reality and fiction, prose and poetry, sometimes switching to a prose poem style. Its main target audience is that part of the artists’ community who are receptive to esoteric allusions. The book is about three women: the Editor, who lives in Budapest, the Artist, and the Glasswoman who lives in Novi Sad, all of whom bear the same name. The shared name determines their lives. Initially, they are unaware of one another, but throughout the book their lives get gradually intertwined. After they get to know one another, they begin to live each other`s life, which changes everything for them forever. One of the peculiarities about the book is the uniquely rich textual documentation (letters, newspaper articles, posters) and the large number of photos. Publications[edit] Volumes in original language[edit] Ballada az ezüstbicikliről (Ballad of Silver Bike) | poems | Hungarian | with gramophone recording | Forum, Novi Sad, 1969 Elindultak a kis piros bulldózerek (The Small, Red Bulldosers Have Taken Off) | poems | Hungarian | Forum, Novi Sad, 1971 Mesék a hétfejű varrógépről (Stories of the Seven-Headed Sewing Machine) | poems | Hungarian | Forum, Novi Sad, 1978 Ikarosz a metrón (Icarus on the Subway) | poems | Hungarian | Forum, Novi Sad, 1981 A parázna söprű – Bludna metla (The Promiscuous Broom) | poems | Hungarian-Serbian bilingual | Forum, Novi Sad, 1984 Kiűzetés (Exile) | poems | Hungarian | Magvető, Budapest, 1988 Jegyesség (Engagement) | poems | Hungarian | Fekete Sas - Orpheusz, Budapest, 1994 A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Fekete Sas, Budapest, 1998 Fűketrec (Grass-Cage) | poems | Hungarian | Orpheusz, Budapest, 2004 Élhetek az arcodon? (Can I Live on Your Face?) | prose | Hungarian | Nyitott Könyvműhely, Budapest, 2007 Belső vízözön (Deluge Inside) | poems | Hungarian | Parnasszus, Budapest, 2011 Ladik Katalin legszebb versei (The Most Beautiful Poems of Katalin Ladik) | poems | Hungarian | AB-ART, Bratislava, 2012 A víz emlékezete (The Memory of Water) | poems | Hungarian | Kalligram, Budapest, 2016 Idővitorla (Time Sailing), Selected Poems (1962-2022) | poems | Hungarian | Forum, Novi Sad, 2022 Béranya versek (Surrogacy Poems) | poems | Hungarian | Tipp-Cult Kft, Parnasszus Könyvek, P-Art, Budapest, 2022 Translated volumes[edit] Poesie Erotiche (Erotic Poems) | poems | Italian | selected and translated by: Giacomo Scotti | La Sfinge, Naples, 1983 Erogen Zoon | poems | Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko | Književna Zajednica Novog Sada, Novi Sad, 1987 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. B’Racz | New Native Press, Sylva, 1992 Poèmes (Poems) | poems | French | selected by: Tibor Papp | translated by: Katalin Kluge, Tibor Tardos | CiPM / Spectres Familiers, Marseille, 1999 Ikarova senka (Icarus’ Shadow) | poems | Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko, Draginja Ramadanski | Orpheus, Novi Sad, 2004 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. B’Racz | Burning Bush Press, Asheville, 2005 Engagement | poems | English | translated by: Emöke Z. B’Racz | Burning Bush Press, Asheville, 2006 Kavez od trave (Grass-Cage) | poems | Croatian | translated by: Kristina Peternai | Matica hrvatska, Osijek, 2007 Poems | English | Cultural Centre of Vojvodina, `Miloš Crnjanski`, Novi Sad, 2022 Mogu li da živim na tvom licu : romaneskna životna priča (Can I Live on Your Face: novelistic life story) | prose | Serbian |(Re) konekcija, Novi Sad, 2021 Raspjevane žeravice: izbrane pjesme 1962-1982 (Singing embers: selected poems 1962-1982) | poems| Croatian | DAF, Zagreb, 2022 E-books[edit] Fűketrec (Grass-Cage) | poems | Hungarian | Mikes International, The Hague, 2003 | downloadable, pdf format Fűketrec (Grass-Cage) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2003 | downloadable, multiple formats A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats Ikarosz biciklijén (On Icarus’ Bicycle) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats Kiűzetés ~ Jegyesség (Exile ~ Engagement) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Kiűzetés ~ Jegyesség (Exile ~ Engagement) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Ikarosz biciklijén (On Icarus’ Bicycle) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Engagement | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Stories of the Seven-Headed Sewing Machine | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Milyen ízű vagyok? (How Do I Taste?) | poems | Hungarian | A hónap könyve, Szentendre, 2012 | buyable, pdf format Audiobooks[edit] 2020: Liquid mirror (Folyékony tükör) presented by Vera Sípos 00:00:00 – Folyékony tükör 1; 00:55:47 – Folyékony tükör 2 Audiobooks by contemporary authors published online by DIA, the Digital Literature Academy of PIM [6] Discography[edit] Sound poetry[edit] Ballada az ezüstbicikliről (The Ballad of the Silver Bicycle) | SP | supplement for book with same title | Forum, Novi Sad, 1969 Phonopoetica | SP | Galerija Studentskog kulturnog centra, Belgrade, 1976 Poésie Sonore Internationale (International Sound Poetry) | audio cassette | anthology of sound poetry, Paris, 1979 La Nouvelle Revue d’Art Moderne, Special 2. (The Magazine of Modern Art) | audio cassette | Rencontres Internationales de Poésie Sonore (International Sound Poetry Festival), Paris, 1980 Adriano Spatola: Baobab Femme | audio cassette | anthology for sound poetry magazine, Publiart Bazar Reggio Emilia, 1982 Yugoslavian Sound Poetry | audio cassette | anthology of sound poetry, 1987 Hangár / Hangar | audio cassette | anthology of sound poetry, Amsterdam – Budapest, 1987 Aki darazsakról álmodik (Who is Dreaming About Wasps) | LP | recording of the radio play `Furcsa, aki darazsakról álmodik` (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 Spiritus Noister: Nemzeti zajzárványok / National Noise-Inclusions | audio cassette | Bahia Music, Budapest, 1996 Vajdasági Magyar Zenei Esték / Vojvodina Hungarian Music Evenings 1988 | CD | JMMT, Novi Sad, 1998 Vízisámán / Water Shaman | CD | Budapest, 1999 Spiritus Noister – Kurt Schwitters: Ursonate | music CD | Hungaroton, Budapest, 2003 Vodeni anđeo / Water Angel | music CD | Nova Misao, Novi Sad, 2011 Phonopoetics | Vinyl, LP | Alga Marghen (Milano), in co-production with acb Gallery (Budapest) Milano, 2019 [7] Water Angels | Vinyl, LP | Alga Marghen (Milano), in co-production with acb Gallery (Budapest) Milano,, 2021 [8] Music (experimental music, jazz)[edit] As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir Sakač, and Milko Kelemen (1971–73, ensemble ACEZANTEZ); Ernő Király (1963-2002); Dušan Radić (Oratorio Profano, 1979); Boris Kovač (1986-1990); Deže Molnar ( 1989–91); Zsolt Sőrés a.k.a. Ahad, and Zsolt Kovács (1996-, Spiritus Noister). Ernő Király | LP | Udruženje Kompozitora Vojvodine, Novi Sad, 1978 Boris Kovač: Ritual Nova I | LP | Symposion Records, Overstrand, 1986 Boris Kovač: Ritual Nova II | CD | Recommended Records, London, 1989 Ernő Király - Spectrum | CD | Autobus, Paris, 1999 Deže Molnar: Weird Garden | CD | vocals on Track 1 (Water Clock) | Studentski Kulturni Centar Novi Sad, 2010 I Belong to the Band Bakers Of The Lost Future | CD | vocals on Track 3 (Poets Of The Absurd On Chalk) | Inexhaustible Editions, Budapest, 2016 Poetry readings, sound poetry performances[edit] Online Audio[edit] Fűketrec (Grass-Cage) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2003 | downloadable, mp3 format A négydimenziós ablak (The Four-Dimensional Window) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Ikarosz biciklijén (On Icarus’ Bicycle) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Kíűzetés - Jegyesség (Exile - Engagement) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Live performances[edit] 2011 Négy fekete ló mögöttem repül (Four Black Horses Fly Behind Me); Jégmadár (Icebird); excerpts from Belső vízözön (The Deluge Inside) | poetry reading | Dzsudi Remake evening, Merlin Theatre, Budapest | Video on YouTube Performance art[edit] Most of Katalin Ladik`s performances balance on the borderline between performance art and theatre: the performance of sound poems is accompanied by theatrical body action and in many cases, the surrounding space is structured similarly to a traditional theatre. Those who examine her poetry often refer to her sound poetry performances. On the other hand, no detailed analyses have been produced about the dramaturgical characteristics of her performances, and the relations of sign systems between her poetry and performances. It is a well-reasoned choice, however, to locate her in the context of female performance artists, as Katalin Ladik uses her body and person as the medium of her art in her performances, which occupies a special position within the history of Western art. A list of performances, happenings, actions[edit] 1960s-`70s[edit] 1968 Budapest, Szentendre - Hungary | UFO | Tamás Szentjóby, Miklós Erdély, Katalin Ladik | happening 1970 Belgrade - Serbia | Pozorište Atelje 212, Podrum teatar (Theatre Atelje 212, Theatre in the Basement) | performance Zagreb - Croatia | Žanr Festival eksperimentalnog filma (Genre Experimental Film Festival - GEFF) | performance Budapest - Hungary | József Attila Művelődési Ház (Cultural Centre József Attila) | with Jenő Balaskó | literary performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Temerin - Serbia | performance 1971 Bačka Topola - Serbia | UFO Party | performance Samobor - Croatia | Samoborski Fašnik (Carnival in Samobor) | Eros sa ovogu svijeta (Eros of This World) | UFO Party | performance Biograd - Croatia | UFO Party | performance Zagreb - Croatia | Studentski Centar (Student Centre) | performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Zagreb - Croatia | Teatar Poezije Zagreb (Poetry Theatre Zagreb) | Četvrta dimenzija kutije (Fourth Dimension of the Box) | performance 1972 Osijek - Croatia | Annale Komorne Opere i Baleta (Annual Festival of Chamber Opera and Ballet) Zagreb - Croatia | Teatar ITD (Theatre ITD)| performance Novi Sad - Serbia | Tribina Mladih (Youth Tribune) | performance Belgrade - Serbia | Studentski Kulturni Centar (Student Cultural Centre) | Festival Expanded Media | performance Balatonboglár - Hungary | Kápolna Galéria (Kápolna Gallery) | Group Bosch+Bosch | performance 1974 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media /performance/ 1975 Zagreb (Croatia), Student Centre Gallery / Galerija Studentskog Centra: `Eksperimenti u jugoslovenskoj umjetnosti` (Experiments of Yugoslav Art) (Group Bosch+Bosch) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Ljubavi, Singer` (Loves, Singer) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Change Art` /action/ Novi Sad (Serbia): `Spuštanje Novog Sada niz reku Dunav` (Floating Novi Sad Downstream the Danube) /action/ 1976 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Change Art` /action/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti /performance/ 1977 Zrenjanin (Serbia), Cultural Centre / Kulturni Centar: `Poezija, fonična i vizuelna poezija Katalin Ladik` (Poetry, Phonic and Visual Poetry by Katalin Ladik) Kraków (Poland): `Phonopoetica` /performance/ Zagreb (Croatia), Information Centre / Informativni Centar: `Phonopoetica` (with Vujica R. Tucić) /performance/ Amsterdam (Netherlands), Stedelijk Museum: `Tekst in Geluid` (Text in Sound) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar: `Phonopoetica` /performance/ 1978 Kranj (Slovenia), Prešeren Theatre / Prešernovo Gledališče /performance/ Sarajevo (Bosnia and Herzegovina), Youth Theatre / Pozorište Mladih, Festival Malih i Eksperimentalnih Scena (Festival of Small and Experimental Theatre): `Četvrta dimenzija – krik` (Fourth Dimension – Scream) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Pesnički maraton` (Poetry Marathon) /performance/ Novi Sad (Serbia), Sonja Marinković Student Club / Studentski Klub ‘Sonja Marinković’: `Čudak je ko čekiće sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Würzburg (Germany), Hand Press Gallery / Handpresse Galerie: `Randkunst-Kunstrand` /performance/ Novi Sad (Serbia), National Library / Narodna biblioteka: `Umetnost se ne ponavlja, ne ponavlja, ne ponavlja...` (Art Does Not Repeat Itself, Not Repeat Itself, Not Repeat Itself...) /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnička praksa 1966-1978` (New Art Practice 1966-1978) /performance/ 1979 Subotica (Serbia), Youth Centre / Dom Omladine: `Az éneklő varrógép – The Singing Sewing Machine` (with Zsolt Király) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `The Screaming Hole – A sikoltozó lyuk` /performance/ Amsterdam (Netherlands): `One World Poetry` /performance/ Utrecht (Netherlands), Gallery ‘T Hoogt / ‘T Hoogt Galerie: `One World Poetry` /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `Mesék a hétfejű varrógépről` (Stories of the Seven-headed Sewing Machine) /performance/ 1980s-`90s[edit] 1980 Paris (France), Pompidou Centre / Centre Georges Pompidou: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ Le Havre (France), Cultural Centre of Le Havre / Maison de la Culture du Havre: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ Rennes (France), Cultural Centre of Rennes / Maison de la Culture de Rennes: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ New York City (USA), Washington Square Church, The New Wilderness Foundation: `International Sound Poetry Festival` /performance/ Baltimore (USA), School 33 Art Center, The Merzaum Collective`s Desire Productions Present: International Festival of Disappearing Art(s) /performance/ Gyula (Hungary), Castle Theatre / Várszínház, Knights’ Hall / Lovagterem: `Alice` /performance/ Belgrade (Serbia), Salon Museum of Contemporary Art / Salon Muzeja Savremene Umetnosti, Exhibition of Group Bosch+Bosch: `Orman koji ubrizgava (Injecting Closet)` /performance/ 1982 Budapest (Hungary), Cultural Centre Jókai, Studio ‘K’/ Stúdió ‘K’ Jókai Művelődési Központ: `Ladik Katalin újvidéki költő és előadóművész szerzői estje` (An Evening with Novi Sad Poet and Performer, Katalin Ladik) /performance/ Novi Sad (Serbia), Cultural Centre Petőfi Sándor / Petőfi Sándor Művelődési Ház: `Telepi esték – Ladik Katalin szerzői estje` (Evenings in Telep – with Poet Katalin Ladik) (with Ottó Tolnai, Zsolt Király) /performance/ Budapest (Hungary), Young Artists’ Club / Fiatal Művészek Klubja: `Ladik Katalin szerzői estje` (An Evening with Katalin Ladik) (with Miklós Erdély, László Beke and Zsolt Király) /performance/ Budapest (Hungary), Cultural Centre Jókai, Studio ‘K’ / Stúdió ‘K’ Jókai Művelődési Központ: `Ladik Katalin szerzői és előadói estje` (An Evening with Katalin Ladik) (with Miklós Erdély, László Beke and Zsolt Király) /performance/ Belgrade (Serbia), Museum of Contemporary Art / Muzej Savremene Umetnosti: `Verbo-Voko-Vizuelno` (`Phonopoetry` with Judita Šalgo) /performance/ Osijek (Croatia), Students’ Youth Centre / Studentski Centar Mladih, Osiječko ljeto (Summer in Osijek): `Čudak je ko čekiće sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Ikar u metrou” (Icarus on the Subway) (with Judita Šalgo, Selimir Radulović) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine, Beogradsko leto (Summer in Belgrade): `Ufo Party` /performance/ Kanjiža (Serbia), Literary Camp / Književna Kolonija: `Konkretna i vizuelna poezija` (Concrete and Visual Poetry) (with Vujica R. Tucić and Bob Cobbing) /performance/ Novi Sad (Serbia), Address: Istarski kej 37. sp. 8. st. Rade Šević: `Sound Poetry Performance` (with Vujica R. Tucić and Bob Cobbing) /performance/ Novi Sad (Serbia), Youth Tribune Gallery / Tribina Mladih Galerija: `Phonopoemim` – Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Paris (France), UNESCO: `Guerre a la guerre` (War Against War) /performance/ Milan (Italy), UNESCO: `Guerra alla guerra` (War Against War) /performance/ Paris (France), UNESCO Pompidou Centre / Centre Georges Pompidou: `Polyphonix 5` /performance/ 1983 Vienna (Austria), Wiener Festwochen (Vienna Festival): `Mandora 1.` /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnost u Srbiji 1970-1980` (New Art of Serbia 1970-1980) Belgrade (Serbia), Youth Centre / Dom Omladine: `Oluja-po motivima Šekspira` (Tempest – Based on Shakespeare) – Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Magic Bread` (with Paul Pignon) 1984 Glasgow (UK), Third Eye Centre, Poetsound 1984: `Mandora 1.` /performance/ Milan (Italy), (Cultural Association of) Cooperativa Intrapresa: `Milanopoesia` /performance/ Szeged (Hungary), József Attila University (Today: University of Szeged) / József Attila Tudományegyetem: `Mandora 1.` /performance/ Cogolin (France), Rencontres Internationales de Poésie Contemporaine (International Festival of Contemporary Poetry): `Mandora 1.` /performance/ Belgrade (Serbia), Cultural Centre / Kulturni Centar: `Mandora 1.` /performance/ 1985 Belgrade (Serbia), Magaza Theatre / Pozorište Magaza: `Mandora 2.` /performance/ Budapest (Hungary), Cultural Cente of Lágymányos / Lágymányosi Művelődési Otthon: `Mandora 2.` /performance/ Budapest (Hungary), Metropolitan Cultural Centre / Fővárosi Művelődési Ház: `Alice` /performance/ Zemun (Serbia), Festival Monodrame i Pantomime (Festival of Monodrama and Pantomimes): `Mandora` /performance/ Novi Sad (Serbia), ‘Sonja Marinković’Cultural Centre / Kulturni Centar ‘Sonja Marinković’, Youth Tribune / Tribina Mladih: `Mandora` /performance/ Stari Bečej (Serbia) /performance/ 1988 Szeged (Hungary), JATE Club: `Polyphonix` /performance/ Pécs (Hungary): `Alice` /performance/ Budapest (Hungary), Vigadó Chamber Hall / Vigadó Kamaraterem, Hangár Est (‘Wall of Sound’ Evening): `Alice` /performance/ 1989 Spoleto (Italy): `O Fortuna` /performance/ Nové Zámky (Slovakia): `O Fortuna` /performance/ Novi Sad (Serbia): `O Fortuna` /performance/ 1990 Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina: `Otkrovenje` (Revelation) (with Zoltán Pletl) /performance/ Vác (Hungary), Greek Chapel / Görög Templom, Ex-panzió 2. Festival: `Angyal/Angel` /performance/ Novi Sad (Serbia): `Seraphine Tanz` /performance/ 1993 Szentendre (Hungary), Dalmát Cellar / Dalmát pince, UHF Kisújrevue /performance/ Szeged (Hungary), JATE Club: `Alice` /performance/ Vác (Hungary), Greek Chapel / Görög Templom, Expanzió 5. Festival /performance/ 1994 Szeged (Hungary): `Performancia` with Lukács Bitskey /performance/ Zebegény (Hungary): `A helyettesítő asszony (The Substitute)` /performance/ Pécs (Hungary): `A négydimenziós ablak (The Four-dimensional Window)` with Tamás Szalay /performance/ 1995 Marseille (France), International Poetry Centre / Centre International de Poèsie: `Kassák` /performance/ 1996 Marseille (France), Meyer Gallery / Galerie Meyer: `L’ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ Ajaccio – Corsica (France): `L’ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ 2000s[edit] 2002 Novi Sad (Serbia), Cultural Centre of Novi Sad / Kulturni Centar Novog Sada, INFANT (International Festival of Alternative and New Theatre): `Fűketrec / Grass-cage` 2003 Novi Sad (Serbia), Chamber Theatre of Music / Kamerno Pozorište Muzike, INTERZONE Festival: `Tesla – Project` /performance/ 2004 Monza (Italy) /performance/ Salerno (Italy) /performance/ Novi Sad (Serbia), Chamber Theatre of Music / Kamerno Pozorište Muzike, INTERZONE Festival: `Tesla – Project` Budapest (Hungary), A38 Ship / A38 hajó: `Lomtalanítás` (Cleaning the House) /performance/ Budapest (Hungary), Ludwig Museum – Museum of Contemporary Art / Ludwig Múzeum – Kortárs Művészeti Múzeum: `Torony-Lomtalanítás` (Cleaning the Tower-House) /performance/ 2005 Terény (Hungary), Expanzió Festival: `Angel` /performance/ 2006 Budapest (Hungary), Serbian Theatre in Hungary / Magyarországi Szerb Színház / Srpsko Pozorište u Mađarskoj: `Tesla`, /audio-visual oratorio/ Otterlo (Netherlands), Kröller-Müller Museum: `Change Art` /action/ Amsterdam (Netherlands): `Tesla` /performance/ Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina, Inventors Association of Vojvodina, TeslaFest: `Tesla` /performance/ 2007 Nové Zámky (Slovakia), Art Gallery / Galéria Umenia: `Gyakorlatok üres húrokon – Kassák-kód` (Exercises on Empty Strings - Kassák Code) /performance/ Budapest (Hungary), Erlin Club Gallery / Erlin Klub Galéria: `Fűketrec` (Grass-cage) /performance/ Budapest (Hungary), Mu Theatre / Mu Színház: `Az Eszmélet szövedéke` (The Weave of Consciousness) (with Péter Bajka, Bern Atom Santi, Eszter Bereczky, Zsófia Varga) /performance/ Verőce (Hungary), Ekszpanzió XX Festival: `Tesla, Audio-visual Oratorio` /performance/ Szigliget (Hungary), Artist House of the Hungarian Public Foundation for Creative Art / Magyar Alkotóművészeti Közalapítvány Alkotóháza, József Attila Kör 18. irodalmi tábora (18th Literary Camp of the József Attila Circle): `Az Eszmélet szövedéke` (The Weave of Consciousness) (with Péter Bajka, Bern Atom Santi, Eszter Bereczky, Zsófia Varga) /performance/ 2008 Budapest (Hungary), Petőfi Literary Museum / Petőfi Irodalmi Múzeum, A Szépírók Társasága V. őszi irodalmi fesztiválja – Nők a férfi birodalomban (5th Autumn Literary Festival of the Hungarian Belletrist Association – Women in a Men`s World): `Diptichon` (with Endre Szkárosi), performance Belgrade (Serbia), ARTGET Gallery – Cultural Centre Belgrade / Galerija ARTGET – Kulturni Centar Beograda (World Poetry Day): `Tesla – Homo Galacticus` /performance/ Szigliget (Hungary), József Attila Kör 20. irodalmi tábora (20th Literary Camp of the József Attila Circle): `Trip-ti-chon` (with Veronika Czapáry), performance Budapest (Hungary), Irodalmi Centrifuga (Literary Centrifuge): `Trip-ti-chon` (with Veronika Czapáry), performance Bratislava (Slovakia), Ars Poetica Medzinárodny Festival Poézie /The 6th Ars Poetica International Poetry Festival /sound poetry performance[9] 2009 Visegrád (Hungary), The Roof Terrace of King Matthias Museum / A Mátyás Király Múzeum tetőterasza, Ekszpanzió XXI Festival: “Kerub` (Cherub) /performance/ 2010s[edit] 2010 Budapest (Hungary), Gallery A22 / A22 Galéria, Tibor Papp`s Exhibition Opening: `Óraköltemény` (Poem-Clock) /performance/ Subotica (Serbia), Kosztolányi Dezső Theatre / Kosztolányi Dezső Színház: `Tesla – Homo Galacticus` /performance/ Budapest (Hungary), Millenáris Theatre / Millenáris Teátrum, Book Festival: `Szabadkőműves szex` (Freemason Sex) (with drMáriás) /performance/ Štaglinec (Croatia), `Voda` – `Water` Međunarodni Susret Umjetnika (International Art Festival): `Veliko spremanje` (Spring Cleaning) /performance/ Eger (Hungary), Small Synagogue Gallery of Contemporary Art / Kis Zsinagóga Kortárs Galéria, artAlom élőművészeti fesztivál (artAlom Performing Arts Festival): `Bukott angyalok` (Fallen Angels) /performance/ Szeged (Hungary) – Subotica (Serbia), Railway line, Kultúrcsempész Sínbusz Fesztivál (Culture-smuggler Railbus Festival): Megaphone-assisted readings by Gábor Virág, Slobodan Tišma, Gábor Lanczkor, Tamara Šuškić, Vladimir Kopicl, Katalin Ladik, Siniša Tucić, Roland Orcsik 2011 Budapest (Hungary), Kunsthalle (Palace/Hall of Art) / Műcsarnok: `Preparababrakabaré` /performance/ Marseille (France), Museum of Contemporary Art / Musée d`Art Contemporain, Poésie Marseille 2011, 8ème Festival (8th Marseille Poetry Festival, 2011): `Le Grand Ménage` (Spring Cleaning) /performance/ Târgu Mureș (Romania), National Theatre - Small Hall / Teatrul Naţional – Sala Mică, Testet öltött szavak rendezvény (Words Embodied – Event series): `Alice` /performance/ Budapest (Hungary), Mu Theatre / Mu Színház, Ismeretlen kutatása improvizációs alkotóműhely (Searching the Unknown – Improvisational Workshop): `Hangmozdulat` (Sound Movement) (with Kati Dombi) /performance/ 2012 Budapest (Hungary), Hungarian Writers` Association / Magyar Írószövetség: XXIV. Ekszpanzió Festival, `Idézet` Szimpozion és Kiállítás (`Quotation` Symposium and Exhibition): `Ásó, kapa, nagyharang` (`Till Death` lit.: Spade, Hoe and Bell) /performance/ Komárom (Hungary), Fort Monostor – Film Museum / Monostori Erőd – Filmmúzeum, Mediawave 2012 Festival: `Nagytakarítás` (`Spring Cleaning`) /performance/ Łódź (Poland), MS2 – Lodz Museum of Art / MS2 – Muzeum Sztuki w Łodzi: `Alicja w krainie kodów` (Alice in Codeland) /performance/ Budapest (Hungary), Address: 8th district, Pál street 6.: Gödör bújócska – irodalom, zene, film, tánc, színház, beszélgetés (Gödör Club Hide-and-seek – literature, music, film, dance, theatre, discussions) /sound poetry performance/ Ottawa, Ontario, Canada, City Hall Art Gallery, A B Series Workshop: `Nagytakarítás` (`Spring Cleaning`) /performance/ Ottawa, Ontario, Canada, Arts Court Theatre, A B Series: `Alice Kódországban` (`Alice in Codeland`) /performance/[10] 2013 Budapest (Hungary), Óbudai Társaskör, Kassák Museum, Kassák Year: `Alice Kódországban` (Alice in Codeland) /performance/[11] Hvar (Croatia), 17th International Festival of Radio Plays and Documentary Radio Dramas PRIX MARULIĆ, „Tesla. Homo Galacticus” /performance/ Székesfehérvár (Hungary), Vörösmarty Theatre Studio, Contemporary Art Festival: `Alice Kódországban` (Alice in Codeland) /performance/[12] Budapest (Hungary), Fuga, Autonómia Filmklub 5, „I Belong to the Band”: Katalin Ladik`s voice on „poets of the absurd on chalk”[13] 2014 Százhalombatta (Hungary), Katalin Ladik - Endre Szkárosi, Slam Poetry /performance/ Budapest (Hungary), Mika Tivadar Vigadó, JazzaJ, Katalin Ladik – Jean Michel van Schowburg, Katalin Ladik – Zsolt Sőrés, „Sounds to Go” (Hangok elvitelre) /performance/ [14] 2015 Eger (Hungary), Templom Gallery, artAlom Live Art Festival 2015: `Tranzit Zoon`, performance Gothenburg (Sweden), Gothenburg Book Fair `Tranzit Zoon`, performance Vienna (Austria), Campus AAKH Hof 7, Universität Wien, `Singende Schnittmuster – Singing Dress Pattern`, lecture-performance, multimedia slide-show 2016 Poreč (Croatia), Behind the Scenes with Katalin Ladik! Artists on Vacation: `The Sounds of a sewing machine`, Circe di Parenzo” /performance/,[15][16] Budapest (Hungary), MÜSZI, @Transart Communication, Katalin Ladik & Zsolt Sőrés „Alchemical Wedding” (Alkímiai nász) /performance/ Milano (Italy), FM Centre for Contemporary Art, Non-Aligned Modernity. Eastern-European Art from the Marinko Sudac Collection. Katalin Ladik: “Tranzit Zoon” /performance/ [17] 2017 Athens (Greece), Oval Staircase, Megaron – the Athens Concert Hall, “All the In-Between Spaces”, Concept and direction by: Paolo Thorsen-Nagel. Katalin Ladik: “Follow me into mythology” /performance/ [18] Budapest (Hungary), Urania National Film Theatre, Janus Pannonius Grand Prize for Poetry 2017 Festivities of Hungarian Pen Club. Katalin Ladik: Sound Performance based on Concrete Poems of Augusto de Campos Limassol (Cyprus), Theatro Ena, SARDAM Mixed-media Literary Festival 5th edition, „Live Lecture” /solo sound poetry performance/ Nicosia (Cyprus), Artos Foundation, SARDAM Mixed-media Literary Festival 5th edition „Live Lecture” /solo sound poetry performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, `Spring Cleaning`, performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, „Wall(ed)”, aRttitude Site-specific dance performance, Katalin Ladik (live sound and voice). Budapest (Hungary), Trafó, „Alice in Codeland” /multimedia performance/ Vienna (Austria), Lobby of Hotel Prinz Eugen, Erste Bank Publication Presentation „Sound Poems” /live performance/ Novi Sad (Serbia), Museum of Contemporary Art Voivodina (MSUV), „K.A.T (Culture – Activism – Theory) Conference”, „Creative Transitions”/live lecture, multimedia and sound poetry performance/ Novi Sad (Serbia), Bulevar Books, „TraNSporteur multilingual poetry” /poetry reading/ Lodz (Poland), House of Literature, „Puls Literary Festival, 2017, Hungarian Day”, „Sounds in Lodz” / live lecture, multimedia performance and live sound poetry performance/ 2018 Berlin (Germany), neue Gesellschaft für bildende Kunst (nBgK), `Alice in Codeland`, multimedia performance Berlin (Germany), Akademie der Künste, „Underground und Improvisation”, „Follow me into Mythology” /live lecture and soloperformance/ Berlin (Germany), Akademie der Künste, „Underground und Improvisation”, „Desire of Touch” /Duoperformance with Natalia Pschenitschnikova/ Budapest (Hungary), Mersz Klub, „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture and soloperformance/ Budapest (Hungary), Hungarian University of Fine Arts, „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture with Emese Kürti/ Budapest (Hungary), Közkincs Könyvtár, `MŰVÉSZ + NŐ` (ARTIST + WOMAN), „Feminizmus és művészet ma?” (Feminism and Art Today?), „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day` /poetry reading/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day`, `Alice in Codeland` /multimedia performance/ Zagreb (Croatia), „Showroom of Contemporary Sound”, „Transitions” /live lecture/ Rome (Italy), Falconieri Palace (Hungarian Academy in Rome), „Fountains of Rome - Mouth to Lung!” /live lecture and sound performance/ Budapest (Hungary), Három Holló – Drei Raben, „Antracit szájrúd (Antracit mouthpiece) /sound poetry performance/ Berlin (Germany), Akademie der Künste, `19. poesiefestival berlin 2018, Weltklang – Night of Poetry`, sound poetry performance Berlin (Germany), German Centre for Poetry (Haus f’ür Poesie), `lyrikline - Listen to the Poet`, poetry reading and live voice recordings for the archive 2019 Basel (Switzerland), Music Academy of Basel, Master Class in Free Impovisation, „Homo Ludens” (live lecture) Dresden (Germany), Lipsiusbau, „Alice in Codeland” / performance Rotterdam (the Netherlands), DE PLAYER, in collaboration with KRAAK, „BRAUBLFF #8 (Materie und Laut), Memory of Water / sound installation and sound poetry performance Brussels (Belgium), DE PLAYER, in collaboration with KRAAK, „BRAUBLFF #8 (Materie und Laut), „Memory of Water” / sound installation and sound poetry performance Madrid (Spain), Elba Benitez Gallery, „O-PUS” (solo exhibition curated by Adam Budak) / sound poetry performance Paris (France), Palais de Tokyo, The Liberated Voice, Sound Poetry, „Memory of Water” /sound installation 2020s[edit] 2020 London (UK), Café OTO, Tinted Window with issue No.2: Verbivocovisual dedicated to `Materializzazione del Linguaggio`, a 1978 Venice Biennale exhibition curated by Mirella Bentivoglio/ sound installation (Memory of Water) and performance (Tranzit Zoon) [19] Budapest (Hungary), Trafo Gallery, Nyitott műterem #21 (Open Studio), Zoom conversation with Emese Kürti Budapest (Hungary), acb Attachments, „Szerelmem, Sing-her!” (My Love, Sing-her!). Opening of solo exhibition „Sewn Sounds” (Bevarrt hangok) 2021 Veszprém (Hungary), Pannon Várszínház (Pannon Castle Theatre), „Alice Kódországban” (Alice in Codeland)/ performace Budapest (Hungary), Art9 Gallery, „Új szakralitás” (New sacrality) / sound poetry performance Budapest (Hungary), MAMŰ, Opening of the exhibition „Graphic Score” /sound poetry performance [20] Budapest (Hungary), Kassák Múzeum, „A víz emlékezete” („The Memory of Water”), Finissage of the exhibition „Poetry & Performance - Performance Art in Eastern Europe” /sound installation 2022 Budapest (Hungary), Godot Gallery, opening of the exhibition of drMáriás / sound poetry performance [21] Vienna (Austria), Alte Schmiede, „akustische Poesie” („Acoustic poetry”) / sound poetry performance [22] Bratislava (Slovakia), Slovak National Gallery, „Follow me into mythology” / sound poetry performance and live lecture Budapest (Hungary), Kassák Múzeum, „Szkárosi-emlékest” (Memorial evening), „Gyaloghíddal a csillaglejtőn” (Footbridge over the stargate )/sound poetry Berlin (Germany), Collegium Hungaricum, „The Poets’ Sounds” / sound poetry performance Cologne (Germany), Loft, „The Poets’ Sounds” / sound poetry performance London (UK), London Woolwich Works, LCMF (London Contemporary Music Festival) “Sad and Ruined” /sound poetry performance Belgrade (Serbia), „The Poets’ Sounds” / sound poetry performance Limassol (Cyprus), Art Studio 55, SARDAM-Literature Festival, sound poetry and „Tranzit Zoon” performance Workshops with performances (selection)[edit] 2018 Zagreb (Croatia), „Showroom of Contemporary Sound”, „Noćna pjesma morskih ježeva” („Night song of sea lizards”) /improvisation and sounding in visual and concrete poetry workshop for the students of the Department of Animation and New Media of the Fine Art Academy in Zagreb (OZAFIN), as a part of the project Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union/ [23] 2021 Berlin (Germany), Lettrétage im ACUD Studio, Poets’ Sound Production Workshop 1, creation of the visual score „Drei Eier” Cologne (Germany), LOFT Cologne, Poets’ Sound Production Workshop 2, finalizing the visual score „Drei Eier” Berlin (Germany), Collegium Hungaricum Berlin, Poets’ Sound Production Workshop 3, rehearsal of the visual score based performance „Drei Eier” Concerts, musical performances (selection)[edit] 1969 Opatija (Croatia): Jugoslovenska muzička tribina (Yugoslav Music Tribune) (Ernő Király: Refleksija) 1970 Opatija (Croatia): Jugoslovenska muzička tribina (Yugoslav Music Tribune) (Ernő Király: Refleksija; Branimir Sakač: Bellatrix - Alleluja) Novi Sad (Serbia): Muzika i Laboratorija (Music and Laboratory) (with Ernő Király) Osijek (Croatia): Annale komorne opere i baleta (Annual festival of chamber opera and ballet) 1971 Zagreb (Croatia): Muzički biennale (Music Biennale – International Festival of Contemporary Music) (MBZ Radionica/Workshop II with Ernő Király, et al.; Chamber Music - Branimir Sakač: Bellatrix - Alleluja) Dubrovnik (Croatia): Dubrovačke ljetne igre (Dubrovnik Summer Festival) (ACEZANTEZ Ensemble) Radenci (Slovenia): Festival sodobne komorne glazbe (Contemporary Chamber Music Festival) 1972 Munich (Germany): (Cultural Program of the 1972 Summer Olympics) (ACEZANTEZ Ensemble) Radenci (Slovenia): Festival sodobne komorne glazbe (ACEZANTEZ Ensemble) (Contemporary Chamber Music Festival) Osijek (Croatia): Annale komorne opere i baleta (ACEZANTEZ Ensemble) (Annual festival of chamber opera and ballet) Novi Sad (Serbia), ‘Radivoj Ćirpanov’ Workers’ University / Radnički univerzitet ‘Radivoj Ćirpanov’ (ACEZANTEZ Ensemble) Belgrade (Serbia), Studentski kulturni centar (Student Cultural Centre) – Festival Expanded Media (ACEZANTEZ Ensemble) 1979-2012 Belgrade (Serbia), Dom Sindikata – BEMUS Belgrade Music Festival: “Oratorio Profano” (composer: Dušan Radić, conductor: Oskar Danon) Opatija (Croatia): Jugoslovenska muzička tribina (Yugoslav Music Tribune) Budapest (Hungary), Spiritus Noister Group, 1996, 2002, 2004, 2007, 2008, 2009, 2010, 2011, 2012 Budapest (Hungary), Italian Cultural Institute / Olasz kultúrintézet / Istituto Italiano di Cultura, Avantgárd művészetek a világban: mi lett a sorsuk? Nemzetközi tanácskozás (Avant-garde Arts in the World: What About Them? International conference): `Futurdadama (Futurdada Today)`, Spiritus Noister, 2001 Vienna (Austria), Spiritus Noister Group, 2004 Szentendre (Hungary), Spiritus Noister Group, 2009 Szekszárd (Hungary), Spiritus Noister Group, 2012 2016 Budapest (Hungary), Művelődési Szint (MÜSZI), „@Transart Communication 2016”, „Alchimist Wedding” /concert and live sound performance with Zsolt Sőrés/ Veszprém (Hungary), House of Arts, „Alkímiai mennyegző” („Alchimist Wedding”) /concert and live sound performance with Zsolt Sőrés/ Budapest (Hungary), Müpa, UH Fest, Spiritus Noister /concert and live sound performance with Endre Szkárosi, Zsolt Sőrés, László Lenkes/ Budapest (Hungary), Kassak Museum, „Dadarabok” /concert and live sound performance with Endre Szkárosi, Zsolt Sőrés, László Lenkes/[24] 2017 Budapest (Hungary), 2017: Muted and silent films with live music series, I Belong To The Band vs. Berberian Sound Studio 2018 Debrecen (Hungary), MODEM, Katalin Ladik: „Határidőnapló” („Diary Book”) /concert and live sound performance with Gyula Várnai/ Veszprém (Hungary), 2018, House of Arts, „Spring Reopening, We believe in life before death”, „Claes Oldenburg: I am for an Art” /concert and live sound performance with Gyula Várnai/ Basel (Switzerland), IGNM, Ackermannshof, Free Improvisation based on graphic scores of Ernő Király and Katalin Ladik Budapest (Hungary), FUGA Centre for Architecture, Design Week, Attila Dóra (bass clarinate), Katalin Ladik (vocal) Budapest (Hungary), Budapest Music Center (BMC), Wortlaute II, Transparent Sound New Music Festival, Ladik Katalin, „Ha múlna e láng” 2019 • Belgrade (Serbia), artist in residence at the Radio Beograd Electronic Studio, Katalin Ladik and Svetlana Maraš have created three new pieces (Electric Bird, White Bird and Ice Bird) [25] Speech-music performances[edit] Author „Drei Eier” (German, Serbian, Hungarian), presented by Sprechbohrer (Sigrid Sachse, Harald Muenz and Georg Sachse), „Drei Eier” (German, Serbian, Hungarian) [26] Theatre[edit] As an actress[edit] Jean-Paul Sartre: The Condemned of Altona; dir. István Lányi; Ifjúsági Tribün (Tribina Mladih / Youth Tribune); Novi Sad (Serbia); 1963 Imre Sarkadi: Elveszett Paradicsom (Paradise Lost); dir. Tibor Gellér; Petőfi Sándor Művelődési Egyesület (’Petőfi Sándor’ Cultural Association); Novi Sad (Serbia); 1963 Molière: The Imaginary Invalid (Béline); dir. Ljubica Ravasi; Srpsko Narodno Pozorište (Serbian National Theatre); Novi Sad (Serbia); 1966 (Exam Piece) Sándor Guelmino: Özvegy (Widow); dir. Tibor Vajda; Echo (az Újvidéki Rádió és az Ifjúsági Tribün színpada / the joint theatre of Radio Novi Sad and the Youth Tribune); Novi Sad (Serbia); 1969 Ferenc Tóth (text) – Ernő Király (composer): Jób (Job) (Performer – Recitative); dir. István Szabó, Jr.; Népszínház / Narodno Pozorište u Subotici (National Theatre in Subotica); Subotica (Serbia); 1972 István Örkény: Macskajáték (Cats` Play) (Ilus); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1974 Peter Weiss: How Mr. Mockinpott was cured of his Sufferings (First Angel/First Nurse); dir. Radoslav Dorić; Róbert Bambach; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1974 Ödön von Horváth: Tales from the Vienna Woods (Emma); dir. Róbert Bambach; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1975 Gergely Csiky: Mukányi (Ella); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1976 Valentin Kataev: Squaring the Circle (Tanya); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1977 Molière: Dom Juan or The Feast with the Statue (Mathurine); dir. Dušan Sabo; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: Three Sisters (Masha); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Ödön von Horváth: Tales from the Vienna Woods (Emma); dir. Péter Telihay; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: The Cherry Orchard (Charlotta Ivanovna); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1979 Ottó Tolnai: Végeladás (Clearance Sale) (Mrs Csömöre); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1979 Gyula Hernádi: V.N.H.M. Szörnyek évadja (V. N. H. M. - Season of Monsters); dir. Miklós Jancsó; Summer Theatre in Gyula; Várszínház; (Hungary); 1980 Edward Albee: Everything in the Garden (Cynthia); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1980 Angelo Beolco (Il Ruzzante): La Betia; dir. Radoslav Dorić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Ottó Tolnai: Bayer Aspirin (The Actress); dir. Miklós Jancsó; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Ferenc Deák: Nirvana (Csontos Vali); dir. István Szabó Jr.; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Bertolt Brecht: Baal (Emilie); dir. Milan Belegišanin; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1983 Dezső Kosztolányi: Anna Édes ( Mrs Druma); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1983 Alexander Vvedensky: Jelka kod Ivanovih (Christmas at the Ivanov’s) (Mother Puzirjova); dir. Haris Pašović; Akademsko Pozorište “Promena” (“Change” Academic Theater); Novi Sad; (Serbia); 1983 Mihály Majtényi: Harmadik ablak (The Third Window) (Mrs Lódi); dir. György Hernyák; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1984 Alfred Jarry: Ubu Roi (Mama Ubu); dir. Tibor Csizmadia; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1984 Gyula Gobby Fehér: A Duna menti Hollywood (Hollywood by the Danube) – Multimedia Performance About the Life of Ernő Bosnyák (The Baron`s Lover); dir. Károly Vicsek; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Ivo Brešan: Anera (Anera); dir. Dimitar Stankoski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Peter Shaffer: Equus (Hesther Salamon); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Howard Barker: The Castle (Skinner); dir. David Gothard; Népszínház / Narodno Pozorište u Subotici (National Theatre in Subotica); (Serbia); 1986 Friedrich Dürrenmatt: The Visit (First Woman); dir. Radoslav Dorić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1986 István Örkény: Forgatókönyv (Screenplay) (Mrs Littke); dir. Ljubisa Georgievski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1986 István Örkény: Tóték (The Tót Family) (Mrs Tót); dir. Gábor Székely; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Edward Albee: A Delicate Balance (Julia); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Jordan Plevnes: „R” (Katerina); dir. Ljubisa Georgievski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Johann Wolfgang von Goethe: Clavigo (Soffe); dir. Vladimir Milcin; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1988 Samuel Beckett: Happy Days (Winnie); dir. Radoslav Lazić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1988 Henrik Ibsen: An Enemy of the People (Mrs Stockmann); dir. Želimir Orešković; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1989 Ferenc Molnár (Franz Molnar): Liliom (Mrs Muskát); dir. László Babarczy; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1990 Ede Tóth: A falu rossza, avagy a negyedik ablak (The Village Rogue; Or, the Fourth Window) (Mrs Tarisznyás); dir. Hernyák György; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1990 Ottó Tolnai: Paripacitrom (lit. Steed dung) (Krisztina); dir. Péter Tömöry; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Marcel Achard: L`Idiote (A Shot in the Dark) (Chief Inspector`s Wife); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Bertolt Brecht: Mother Courage and Her Children (Mother Courage); dir. Lajos Soltis; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Józsi Jenő Tersánszky: Kakuk Marci (Her Ladyship); dir. Lajos Soltis; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1992 Jean Anouilh: The Orchestra (Cello); dir. Voja Soldatović; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1992 Péter Nádas (text) – László Vidovszky (composer): Találkozás (Encounter) (Mária); dir. András Éry-Kovács; Shure Studio; Budapesti Kamaraszínház (Chamber Theatre in Budapest); (Hungary); 1997 Boris Vian: Vercoquin et le Plancton (Vercoquin and the Plankton) (Léon Charles Miqueut sous-ingénieur principal di CNU / Sub head-engineer at CNU); dir. Róbert Csontos; Kolibri Színház (Kolibri [’Hummingbird’] Theatre); Budapest (Hungary); 1997 Sean O´Casey: Bedtime Story (Landlady); dir. Pál Kanda; Függeten Színpad III társulata (3rd Company of Independent Theatre); Kolibri Pince (Kolibri [’Hummingbird’] Cellar Theatre); Budapest (Hungary); 1998 László Najmányi: Adieu Monsieur Bloom – Cabaret Noire (Nora Barnacle); dir. László Najmányi; Les Fleurs du Mal; `The Thinking Man`s Living Theatre`; Mu Színház (Mu Theatre); Budapest; (Hungary); 2003 László Najmányi: A száműzött Joyce / The Exiled Joyce (Nora Barnacle); dir. László Najmányi; Bloomsday Festival; Szombathely; (Hungary); 2003 Radoslav Zlatan Dorić: Ne daj Bože, da se Srbi slože / Ne adj isten, szerbek egyesülnek (God Forbid That the Serbs Should Agree) (Ruska); dir. Radoslav Zlatan Dorić; Magyarországi Szerb Színház / Srpsko Pozorište u Mađarskoj (Serbian Theatre of Hungary); Budapest; (Hungary); 2004 László Najmányi: Nova Necropola. Cabaret Noire (Nora Barnacle); dir. László Najmányi; Mu Színház (Mu Theatre); Budapest; (Hungary); 2004 László Najmányi: Az igazi Blum (The Real Blum /Bloom/) (Nora Barnacle); dir. László Najmányi; ReJoyce Festival; Szombathely; (Hungary); 2004 György Baráthy: Origami (I Woman); dir. György Baráthy; Artéria Színházi Társaság (Theatre Company “Artéria”); RS9 Studio Theatre; Budapest; (Hungary); 2005 Torkolat/Estuary (Unborn child), dir: Al Farman Petra (Freeszfe), Freeszemle, Király fürdő, Budapest (Hungary), 2022 Szabadkai szecesszió/Art Nouveau in Subotica based on George Tabori’s My Mother’s Courage (Mother), dir: Zlatko Paković, Kosztolányi Dezső Színház. Subotica, 2021 As a director[edit] The Last Chapter by Navjot Randhawa, performed by the‘Theatre of Roots and Wings’ and Punjab Sangeet Natak Akademi in P