Märchengestalten, Fantasie Charaktere, Comic Figuren, Überzeichnungen und surrealistische Wesen. All das gibt die Möglichkeit, Themen anschaulich zu machen. soulful minds - DAZ I Fantasy Vibes return Art beyond traditional norms and imagination can make dreams come true Some things become clearer if you remove them from reality and everyday life and exaggerate them. ...and sometimes you meet beings from other worlds, from another planet (...) High Noon oder die Schlinge zieht sich zu ... Fairys Fantasy Colors of Roots Dereinst in Crefeldensis Anno vor langer Zeit/Once in Crefeldensis Anno long ago Letzte Hoffnung Die Erde brennt Ankans Dreams Anakan - Eine kleine Weihnachtsgeschichte Anakan - Give my 5 Timeless Mermaid oder "Je oller je doller" 🙂 Mermaid Dreams Letzter Ausweg Forbidden Teenage Love Lass mich frei Wild and Free Finde den Regenbogen Begegnungen können ein Licht sein Ein Licht für alle Kreaturen Vom kleinen Lächeln ... Das sehende Herz Eine besondere Begegnung... BLACK BOO - The Bloody Tea Party HALLOWEEN - Vibes CRAZY BABE - SWEET BUT PSYCHO MIKA - DAS EIGENE ICH From another planet - strange worlds How often are we suspicious of other people because they don't look the way we imagine or how we like them. In our eyes, they are behaving strangely, not conforming to the norm. The norm that we have created for ourselves. How much more interesting life could be if we were more curious about each other. See how it is elsewhere, how other people (can) live. Perhaps such an encounter of the 3rd kind would be funny, creative and enriching for our own creativity. Just like the little prince sets out from his star to see how the rest of the world works. Antoine de Saint-Exupéry was a French author and pilot. The story of the little prince, which he illustrated himself, is known around the world. The booklet was first published in French on April 6, 1943 in New York, where Saint-Exupéry lived in exile. The work has since been translated into 382 languages. One of the most important takeaways for me from this story is that you have to know yourself. Only when you have understood who you are, what makes you special and what is really important to you can you approach other people with love and get involved with them. This is the only way to get to know other strangers, or other beings here in my little file, and possibly form an opinion. Because that's the only way to know what you're actually capable of. In the DAZ STUDIO there are what feels like 1001 characters, people and other beings. In this folder, I would like to give all of them the opportunity to meet, get to know one another and interact. Let's see how they deal with it, what they learn and whether one or the other doesn't get along with each other. Quite like a fairy tale in real life ;-) ... weiterlesen Did you like these pictures? Happy to leave onecomment :-). SamaraBlue - Urbexart/ lady-sahmra-photo@gmx.de Further

Streetart I Graffiti I Mural I Dokumentation in Wort und Bild I Documentation in words and Pictures I Streetartphotography I Tiberio Mazzochi Italien I internationale Straßenkunst I Koyote I Hommage an Beuys I Silk City Gallery 2021 I Krefelder Perspektivwechsel I Kultur I Kultur in Krefeld I Kunst I Kuratorin Fredda Wouters I Samara Blue I Seidenweberhaus I aktuelle Situation der amerikanischen Ureinwohner Tiberio Anfang street art - Tiberio Mazzocchi/Italy "Coyote " return youtube Facebook * Instagram Beuys, an Indian, a coyote, more Indians? What might these creatures have in common? Artist info (...) Tiberio Infos Annotation : With this artist, too, one can see that he understood the difficult situation of the people on the theater square and that it depresses him, that he considers a visual representation to be necessary, even essential. The title comes from the artist himself. Artist information Tiberio Mazzoccchi Tiberio: "KOJOTE Street Art work made in KREFELD (Germany) July 2021freehand drawing Beuys' most emotional performance: In 1974 the artist was locked in a cage with a coyote in New York for several days. He only has a felt blanket and a stick, which he describes as "Eurasian". Beuys' goal was to establish a relationship of trust between himself and the animal, a symbol of reconciliation between man and nature, but the work can also be read in a political sense, as a rite of reconciliation between modern-day Americans and their persecuted ancestors and imprisoned on reservations, symbolized by the captive coyote. In my work entitled "COYOTE" I wanted to draw a parallel to Beuys' work and his political message: the marginalization of Native Americans. So I saw that things have not improved to this day.... the people who routinely roam this place called "The Silk Factory" are vagabonds, desperate, drug addicts.... Marginalized and forgotten by society, just like the Native American tribes of North America were persecuted and marginalized." Source: Tiberio Mazzochi FB page/personal * * * Tiberio is a Maestro Madonnaro and musician who studied art and music in Milan. He plays classical guitar and violin and has enchanted audiences with street paintings at festivals in Italy, Germany and the USA. He has won numerous prizes and awards. He received the title of Maestro Madonnaro in Grazie di Curtatone in 2017, after having already won the categories Semplici (Easy Madonnari) in 2013, and Qualificati (Qualified Madonnari) in 2017 with first place. He also won the audience award as the highest award at the International Madonnari Festival Kevelaer in 2019. Source: official information from the city of Krefeld You can find the newspaper report here(... ) Add comment: (...) Did you like this report? Feel free to leave a comment :-). SamaraBlue - MyWayOfArt/lady-sahmra-photo@gmx.de Continue

Graffiti I Streetart I Silk City Gallery 2021 I Seidenweberhaus Krefeld I Martini Pitture I Daniela Lazazzara I Beuys I Lifstye street art - Martino Pitture & Daniele Lazazzara/Italiy return Martino Anfang "Untitled" Martin: Facebook * Instagram Daniele: Facebook * Instagram Already on the stairs to the 1st floor you can see the strong blue tones of the Italian artists Martino Pitture & Daniele Lazazzara from Italy. You can find more information about the images below. (...) Artist information (...) Annotation: In this picture, the fascination for me at first came from the color "blue". This color dominated from day one and I kept scurrying by to see how the work would develop. In addition, two things particularly fascinated me. On the one hand, there were the exaggerated proportions of the two figures on the right. On the other hand, it was the kangaroo that, although it matched the two figures harmoniously with its coloring, was more angular and futuristic in style. However, the powerful image effect only became apparent after the removal of the scaffolding. Where am I looking? What does the rabbit mean? Questions upon questions I asked the two artists after the event. According to the artists themselves, the basic idea for their picture is nature and interpersonal relationships. The complexity of the interaction between nature and man should be presented. Daniele wants to bring people into the cities with his oversized kangaroo. The animals enliven a concrete landscape and Beuys will find (his) place in the kangaroo's belly. So far, Daniele provides his own idea, since the two actually want to encourage the visitor to write their own story. They specify individual elements, such as the rabbit. The rest is up to the viewer's imagination. I catch myself finding new ways of interpreting it the more often I look at the picture in the Seidenweberhaus or on the PC. For me, this picture is a very active picture, not only because I delved deeper into Beuys' life, but also because the two artists spoke very friendly and openly about their pictures. Martinos You can find verbatim explanations of his picture in the short interview below. According to the artists, the picture does not have a title, but it can be seen as a successful homage to Beuys. Short interview Martino & Daniele: Martino Pitture :"Hello Kerstin. The idea of the painting arose on a purely aesthetic level from Beuys' performance in which he showed pictures to a dead rabbit. But the core of my reflections concerns the human tendency to place themselves at the center of every thought. So I wanted to split up the characters by creating two symmetrical characters, the first of which has the live animal's point of view showing the world to a human skull. Then I like to give symbolic references in all my works without explicitly formulating a message, in order to leave room for interpretation. The stories the viewer makes up are often more interesting than those contained in the work." Question: Are the exaggerated proportions a sign of your special style or is the overly long neck of the figure on the right supposed to say something special? Yes, the characters in my oil paintings usually have these proportions. I try to combine aesthetic beauty with wrong proportions. Source: Martino Pitture personally Daniele Lazazzara: "The rabbit and the skull are the work of the great Martino Pitture. My drawing represents a surreal kangaroo, this animal protects the young in nature, in this case the kangaroo protects the structure and therefore the mystery of these spaces in others dimensions" Daniele is also a tattoo artist. The pictures he put onInstagram shows, I really like it :-). Source: Daniele Lazazzara personally * * * Martinos Erklärung mehr lesen Artist information M. Pitture/D. Lazazzara - Italy Martino Pitture is a self-taught street artist. He started painting walls with spray cans in 2000 and switched to painting wood and canvas with oil paints in 2006. In 2008 he started street painting and made a living from his studio and street painting skills in various European cities. With his oil painting and chalk art, he developed two different painting styles over time, which he tries to combine in a balanced way in his murals. For the last ten years he has often teamed up with Camilla Margarito to paint the streets. Source: official information of City of Krefeld Daniele Lazazzara is a self-taught painter, tattoo and graffiti artist. He lives in his native town of Acquaviva near Bari in southern Italy. He started painting murals in 2001, painting on canvas in 2006 and he has also been a tattoo artist since 2016. He enjoys learning and experiencing different techniques and likes to freely combine them. He works with oil and acrylic paints, watercolors, ink, pencil and ballpoint pen on canvas, wood, paper, skin and walls. In his painting he works figuratively, abstractly and surrealistically and likes the free combination here as well. Source: official information ofCity of Krefeld Künstlerinfos You can find the newspaper article here: (... ) Add comment: (...) Did you like this report? Feel free to leave a comment :-). SamaraBlue - MyWayOfArt/lady-sahmra-photo@gmx.de Continue

Urbexart I Besondere Orte I Special Spots I Burgen I Museen I Historie I Geschichte I Fotodokumentation I Vergangenheit I Erinnerungen I Kreative Fotografie I Samara Blue I My Way of Art I Dreamtime Magical places - not only in Krefeld return Museums, monuments and other places steeped in history also offer the opportunity to explore the past, keep track of history and track down dusty beauties. Sometimes I am also asked to photograph and document special places. I am happy to share these vivid photo series if I am given permission to do so. In this way, I learn interesting historical facts first-hand and gain access to places that are not normally accessible to the general public. Please click on the image to view and read. 1. Schlaraffia Crefeldensis 2. Puppenbrunnen Krefeld 3. Wildpferde Dülmen 1. Schlaraffia Crefeldensis I Et Kloeske I Krefeld (...) A look behind the scenes - where women don't normally have access Daten Puppenbrunnen Bitte zu Anschauen und Lesen auf das Bild klicken. 2. Doll's fountain I Krefeld Provisional report The Puppenbrunnen in Krefeld is located at Südwall 30-32, 47798 Krefeld . You can reach it as a pedestrian from the Hansa Center, walking along the pedestrian zone in the direction of Kaufhof. The Puppenbrunnen is located where the pedestrian zone, Neusserstraße, crosses the Südwall. (... ) weiterlesen Puppenbrunnen The puppet fountain is a modern art fountain with six figures that move in different ways and all have a connection to Krefeld. In summer, when the water splashes lively, this is a good opportunity for children to let their companions relax for a while. Depending on how adventurous the kids are, it can be quite a wet and happy affair. For a long time, I couldn't find any direct evidence in my research that this beautiful fountain was the work of Bonifatius Stirnberg, who created a very similar fountain in Aachen at a similar time. Now I am all the more pleased that I was able to find a student of the artist who is still in contact with Mr. Bonifatius Stirnberg. So with his help, with the support of the family and the information I already had, I was able to put the complete history of the doll's fountain in Krefeld on paper. Ok, trust the internet ;-)- So follow me now together with the exceptional artist Bonifatius Stirnberg on a journey through the centuries not only in terms of fashion ... Krefeld im November 2023/Mai 2024 Anker 1 The PUPPENBRUNNEN I KREFELD - Fashion through the centuries Von Samara Blue/Kerstin Ellingenhoven, Krefeld. 02.05.2024 The Puppenbrunnen in Krefeld is a counterpart to the fountain in Aachen and is located at Südwall 30-32, 47798 Krefeld. Pedestrians can reach it from the Hansa Centre by walking along the pedestrian zone in the direction of the former Kaufhof. The Puppenbrunnen is located where the Neusserstraße pedestrian zone crosses the Südwall, slightly offset to the right. It is a modern bronze fountain with six moving figures arranged around a rectangular cuboid. This is slightly larger than the lovingly crafted and detailed figures. The figures and cuboid are located on a round, slightly raised platform made of a kind of concrete, so that viewers can interact with the figures easily. The water drains into a circular depression underneath the fountain, which guarantees that the interacting visitor's shoes are reasonably dry. The name of the company that donated the fountain, Derichs & Konertz, and the dates 1926 and 1976 are apparently also cast in concrete on the side of the platform. It is assumed that 1926 is the year in which the two companies merged. 1976 commemorates the year the fountain was built. Once you have curiously walked around the fountain and taken a look at the various historical figures, you might ask yourself who was immortalised there and for what reason. As I was also very interested in this, I went on a little historical research. Starting with the Internet, which was not really informative about this particular fountain, I became aware of the doll fountain in Aachen. As it is very similar in style to the one in Krefeld, I assumed that it must be by the same artist, Bonifatius Stirnberg. However, I did not find any confirmation of this. But I did come across a gallery that represents the interests of the artist Bonifatius Stirnberg, the builder of the Aachen doll's fountain. I was able to make direct contact with a former pupil of the artist and learnt a lot about this remarkable artist and craftsman in telephone conversations. He confirmed that Mr Bonifatius was also the artist behind the doll's fountain in Krefeld, which took me a long way forward, and sent me a book by the artist. A fascinating book of fountains ... PLAY I CHANGE I UNDERSTAND... The illustrated book ‘Plastiken für die Stadt’ by Aachen artist Bonifatius Stirnberg begins with these interactive verbs. In order to gain a deeper understanding of this beautiful fountain and its significance, I would like to take a closer look at the fascinating artist and craftsman Bonifatius Stirnberg, starting with his biography: *He was born on 20/02/1933 in Freienohl/Sauerland (Meschede). *Only 15 years later, in 1948, he began an apprenticeship as a wood sculptor, which he successfully completed in 1951 with the journeyman's examination. *In 1953, he also completed the subsequent carpentry apprenticeship in the same year with the journeyman's examination. *In 1957, he passed his master craftsman's examination as a wood sculptor in Cologne. From 1953 to 1959, he studied interior design and sculpture at the Werkkunde Schule Aachen. *Even before completing his studies, he worked as a freelance artist from 1958. *From 1962 to 1966, he expanded his repertoire and creative skills by studying at the Düsseldorf Art Academy in the sculpture department under Prof. Josef Beuys. Prof Josef Beuys. *Since 1973 he has been working in his own studio in Aachen, which also includes a separate, well-equipped bronze foundry. All his works of art are produced in this studio, from the initial idea to the final touches. Even now, at the ripe old age of over 90, he can still be found in his workshop in Aachen every day. Stirnberg was obviously very interested in the nature of cities/his city. Houses, building facades, squares, places of interest, green spaces and much more are among the parts of a city that are accessible to all citizens and visitors and that can ultimately also be found on corresponding postcards. However, these cards often present a view that has been embellished with the help of wide-angle lenses and extreme photo editing. Bonifatius Stirnberg obviously has a divergent view of this, which is reflected in many ways in his art. After all, a city is represented by more than just such fair-weather views. Every city has its very own history, starting with its name, which has changed again and again over the centuries, just like its external appearance. We often judge the importance of a city by its appearance. If it is doing well, it is lavishly built and the city flourishes. Evidence of these good times can always be found in buildings and landmarks. Witnesses of the bad times, on the other hand, are often not on public display, but only preserved in special places. You have to explicitly seek them out if you are interested in these topics. It is similar with modern works of art. These, too, are often hidden/carried away in various museums, for which you often have to pay a considerable entrance fee. If you don't want to deal with them, you simply don't go near them. If this modern art then suddenly appears on the outside, e.g. on the walls of buildings, walls or bridges, it is often met with incomprehension. Yet this art could also be a living reminder of past times and historical aspects. Although they will be passed down for a while and told by older people in particular, at some point they too will be forgotten, like the smells of a bakery or the drape of a certain dress tailored according to historical fashion. Dead remains such as walls, stones, etc. often survive for centuries and therefore much longer, but they no longer have a living face. Only old trees can sometimes act as living witnesses to what a person once experienced with them. This is where Balthasar Stirnberg's works of art come in. His figures with lively faces and contemporary clothing are also intended to appeal to visitors with little artistic experience, e.g. children who like to look at, feel and try out the world with unbiased eyes. If public artworks are located in places with a lot of space around them, people often go to these places specifically because they want to see this particular work of art. Stirnberg's artistic fountains, on the other hand, are often found in rather obscure places, at crossroads, narrow alleyways or sometimes on the grounds of nurseries and schools. Inevitably, you come across them again and again in everyday life and they seem to cross people's everyday paths spontaneously. These fountains always have a special connection to the place and/or the city where they can be found. The figures have movable limbs so that the visitor can always move them into different poses and relationships to each other. A voyage of discovery into the past, not just for children, although they are always attracted by the various waterways. So that they don't have to get completely wet after their playful exploration tour, the streams of water in Stirnberg's fountain are designed in such a way that the cheerful water player realises that water is wet and makes them wet if they play too wildly, and can row back a little or flee the danger zone prematurely. Through this unbiased, playful engagement with historical figures, their stories and destinies, young people can often learn more and more easily than in history lessons. This is exactly what art in general, and Balthasar Stirnberg's art in particular, can/should do. The Krefeld Doll Fountain can also be found in the centre of Südwall 30-32, 47798 Krefeld, on the daily footpaths of the people of Krefeld. Although it no longer carries water in the colder seasons, the glittering drops of water quickly cast a spell over visitors hurrying along in the nicer weather. Again and again, someone stops and looks. They feel carefully, then a little more boldly, to see what they can move and how. Usually it doesn't stop with just one spectator. There are several more, so sometimes it wasn't easy to take photos of just the fountain. ‘Fashion through the centuries’ is the title of the Krefeld doll's fountain. A theme that the residents of the velvet and silk city could relate to when it was erected in 1975. It was the intention of the artist and probably also of the donating company Derichs & Konertz that not only the residents could identify with his art in their city, but also that visitors could take something interesting home with them. This fountain is one of Balthasar Stirnberg's earlier works and will be almost 50 years old in 2024. It has already lost a few feathers during this time. Shortly after its construction, a figure was stolen and it was only found again by chance during a police operation almost 20 years later. Unfortunately, there is always some fool who thinks he has to immortalise himself on the work of art by splashing paint on it. In the meantime, the ravages of time are also gnawing away at this work of art and fine moss is spreading here and there. The wooden parts are also not forever immune to wind and weather. But even if Krefeld can unfortunately no longer be regarded as a city of velvet and silk from my point of view, this fountain still stands in its place and demonstrates a piece of immortality, indeed history, with its valuable, basically resistant material. History for the former velvet and silk town on the Lower Rhine and also a piece of artistic history from the life of the exceptional artist and craftsman Bonifatius Stirnberg. Personally, I would be very happy to see the fountain renovated, not least because it is a piece of history for me, but also because the valuable and resistant bronze material used stands for durability and endurance. -Samara Blue/Kerstin Ellinghoven. Krefeld in March 2024 Quellen: Galerie-am-elisengarten.de:Bonifatius Stirnberg - Galerie Petzold - deutsch (galerie-am-elisengarten.de) Plastiken für die Stadt von Bonifatius Stirnberg Emile Paes (ehemaliger Schüler) Krefeld im November 2023/im Mai2024 3. Wildpferdefang 2019 - Dülmen/Merfelder Bruch Continue 3. Wildpferdefang Dülmen About the special honor of being a catcher While looking for 2-3 animal pictures for another project, I stumbled across my folder with almost 900 pictures that were taken in 2019 during a visit to the wild horse capture in Dülmen with my sister. As it's naturally not easy to choose from so many pictures and, as a horse girl since childhood, the wild horses in Dülmen are a particularly magical place for me, these beautiful, wild horses have their own section in my collection of magical places. Enjoy impressions of a wild rodeo around the corner in my native Westphalia. Information about the little horses can be found in the pictures and here (... ) Info Wildpferde weiter lesen Profile: Size: approx. 125 - 135 cm height Origin: Westphalia/Germany Color: Predominantly grey and bay, also black-brown Characteristics: Original pony, frugal, calm, robust Suitability: Riding and carriage pony Use: Children's riding and carriage pony So that the texts do not become too long, I have added further information to the individual pictures. More information Wild horses Dülmen Every year, a spectacular wild horse capture takes place on the wild horse track in Dülmen. Located just west of Dülmen/NRW, wild horses have been living in a herd of around 400 in the wild for what feels like an eternity, without care or human intervention, except for this one day. The day they were caught. The area in which they live is called Mehrfelder Bruch and was first mentioned in a document in 1316. At that time, the habitat covered an area of several thousand hectares, which was continually reduced in size through cultivation and appropriation, so that today, with the Mehrfelder Bruch, they only have around 400 hectares at their disposal. The Duke of Croy's family thus created a reserve which, with around 400 wild horses, is the only one left on the European continent. Even if this sounds small compared to earlier times, it is far more space than is available to the average horse today. Habitat The area, which consists of moorland, heathland, coniferous and oak forests, offers the animals a varied diet all year round, so that they are only fed hay in some places in winter. Otherwise, the wild horses are left to their own devices. They can rely on their instincts, feed themselves appropriately and cope with all weather conditions. They find protection from extreme weather conditions in the forest areas. This way of life means that only the best-adapted animals prevail and can pass on their predispositions/genes to their offspring. This is how the small Dülmen wild horses were able to survive as a healthy and resistant breed through natural selection. Nature reserve wild horse track in the Merfelder Bruch The main purpose of the Merfelder Bruch nature reserve is to preserve nature and the herd living there. Everything necessary is done to ensure the long-term preservation of the herd. The aim is to preserve the habitat in its existing form in the long term, as changes to the biotope would otherwise also change the type of horse through natural selection. The question is repeatedly asked as to why the Dülmen wild horses are being bred rather than conserved. There are two inseparable criteria for successful breeding. People (can) only breed according to measurable and/or visible characteristics. These can include jumping ability, speed, stamina and much more. The second goal is to anchor these traits in the gene pool of the animals so that these traits can be passed on to the offspring as reliably and retrievably as possible. In this way, characteristics such as robust health and natural instinctive behavior can be slowly pushed back from the genetic make-up. In this way, special and valuable original genetic material would be irretrievably lost. This highlights the importance of preserving the original breeds in their natural habitats, as they are subject to ongoing natural selection. These original breeds are called "primitive breeds", which does not imply a negative aspect, but rather refers to the natural value of these species. Since there are only very few herds like these that live almost completely without human contact, behavioral researchers also have a large field of activity here. Appearance and appearance of the horse breed Most of the wild horses are currently bay or brown. They have an eel line running down their backs, which is an indication of the breed's originality. The emerging zebra markings on the legs of some animals also point to their wild origins. At the beginning of the 20th century, wild horses still looked very different. All colors could be found as well as white markings. Due to the small number of individuals, there was a risk of inbreeding and in order to increase the herd as healthily as possible with fresh blood, breeding was continued with various pony breeds. Crossbreeding with Welsh ponies, Mongolian ponies and Polish Koniks expanded the gene pool. No color selection was made here until 1960. It was not until 1984 that care was taken to cross only grey stallions, which led to the fact that most horses today are gray ponies. Theoretically, all colors except grey can still occur today, although the pure chestnut is very rare. The animals have a rectangular body shape, less pronounced withers and sloping shoulders. Their neck is of medium length and slightly curved. The medium-sized head has a broad forehead and small ears and a straight or slightly concave bridge of the nose. Strong hindquarters with small, hard hooves may also be the result of their almost wild lifestyle. In contrast to the Norwegian horses, the Dülmen wild horses have a hanging mane which, like their tails, is very luxuriant. The animals are described as very robust, intelligent and capable of learning. In addition, they have a balanced character and a predominantly good-natured nature if they have a suitable relationship with people, which makes them so valuable for dealing with children. They are rather undemanding in terms of keeping and feeding. They can reach an advanced age of 30-40 if kept in a species-appropriate manner. For these reasons, there are rather few animals of this original horse breed available. Most of them are sold online, even worldwide. Depending on age, pedigree and level of training, these animals can easily cost € 2,500 - 3,000. Another type of purchase are the annual auctions at the Wildpferdefang in Dülmen, where the one-year-old stallions are auctioned off after being caught from the herd. Some information on this can be found in the pictures. Capturing wild horses In order to avoid rivalry with the young stallions, they are caught from the herd every year. This popular event has been held every last Saturday in May since 1907. The exception to this were the years in which social life was practically paralyzed by the coronavirus pandemic. These yearlings are auctioned off at the end of the event. As these robust little horses quickly lose their shyness in front of people and are also known to be smart, good-natured and frugal, they quickly find new owners. Due to their calm character, they are often used as riding horses for children and as carriage horses. Necessity of catching yearling stallions As sexually mature young stallions try to compete with their rivals and form their own herds with the conquered mares, which ultimately also claim their own living space, which is not available in the Merfelder Bruch despite its size, humans must intervene to regulate this. Predators such as wolves and bears no longer exist in our domesticated latitudes and are therefore unable to intervene naturally to regulate the populations. They are driven into the arena with their herd and separated there by hand without any aids in order to keep their first contact with humans as gentle as possible. Although they lose their freedom of the Merfelder Bruch when they are sold, they get used to their new home and their new roommates very quickly if they are kept in a species-appropriate manner. -Samara Blue/Kerstin Ellinghoven Krefeld in April 2024 QueQuellen: Wildpferde im Merfelder Bruch/Herzog von Croy´sche Verwaltung www.ehoreses.de Comment : In 2019, almost 5 years ago, my camera and I were often overwhelmed by the lighting conditions and the fast movements. However, as this day and its images are very close to my heart, I reworked them as best I could. Unfortunately, the quality couldn't always be saved. Krefeld in April 2024 Quellen/Recources: Ein Herz für Tiefe - Dülmener Wildpferde: Dülmener Wildpferd | Alle Infos im Rasseporträt (herz-fuer-tiere.de) Zeitschrift Welt : "Die Herde bedeutet alles" - 25.05.2022 von Andreas Fasel www.hallo24.de Wildpferdefang in Dülmen: Alle Infos für Besucher (hallo24.de) www.die.glocke.de: Wildpferdespektakel: 34 Junghengste gefangen | Die Glocke (die-glocke.de) www.dzonline.de: Wildpferde und Fänger unter sich (dzonline.de) Meine eigenen Eindrücke vor Ort/My own impressions on site Continue "The historian is a reporter who wasn't there wherever something happened." (William Sommerset Maugham ) I'm not a historian, but researching and documenting the history of a place with the means at my disposal is not only a lot of fun for me, it also broadens my horizons immensely. Add comment: (...) Did you like this report? Feel free to leave a comment :-). SamaraBlue - MyWayOfArt/lady-sahmra-photo@gmx.de

Urbexart I Informationen Schlaraffia Crefeldensis I Schlaraffenburg I Krefeld I Männerbund I Humor I Freundschaft I Kreativität I Et Klöske I Kreative Fotografie I Bild Dokumentation I Historie I Geschichte I Samara Blue I Dreamtime Information Schlaraffia Crefeldensis registered association Infos Schlaraffen weiter lesen return Schlaraffenburg in the historic Krefeld Stadtbad This magnificent room used to be the relaxation room for the Roman-Irish bath in the old Krefeld municipal baths. On the left side there were 19 dressing rooms, in the middle of the room there was a long table with chairs, on the right side there were washbasins. The coffered barrel vault gives the room size and presence. After 20 years of slumber, this once magnificent relaxation room of the old Roman-Irish steam bath served as a castle for the Schlaraffia Crefeldensis e*. But nothing lasts forever and so one day the lords had to conquer a new castle. Relocation from the old Krefeld Stadtbad to "Et Klöske" At the beginning of the 2nd millennium there was a plan to establish a noble Italian restaurateur for the relaxation room of the former Roman-Irish bath in order to improve the reputation of the building. That didn't work out in the end, but the creative knights still had to look for a new place to stay, for a new castle. The "Et Klöske" in Krefeld-Uerdingen, which was also getting on in years, was first mentioned in 1403 as the "Zum Sankt Michael" hospital and has since had a varied historystory looking back was apparently looking for a new owner at the time. The city needed money and thanks to good connections, negotiations with the Krefeld men's league could begin. There should be long negotiations at the end of which you can decide on a purchaseleasehold could agree. So the Schlaraffen pay 25 years to the city. The city is still registered in the land register, but Schlaraffia Crefeldensis eV has the status of owner and is responsible for the building. But first of all there was an extensive restoration and consideration of monument protection aspects, which the brave knights managed to do on their own. At that time, the city valued the costs incurred at DM 250,000, of which around DM 130,000 was labor costs. These costs were partly made available by the members. Approximately 70% later waived the complete repayment of the loan. From my point of view, it is a sign of the well-founded, sustainable cohesion of the men's association that it sees itself as a community that cares for each other and not just as a "fun club". More BEING than APPEARING. The skylights of the relaxation room and, after consultation with the monument protection, also the magnificent ceiling chandelier, which the knight's hall in "Et Klösken" at thekinships * certainly appears in a wonderfully warm light and gives a little romantic chivalrous mood in this listed former hospital. Particular attention is paid to the sacco painting in the apse. In order to protect the sensitive painting, Makrolon panels were placed in front of it. The missing parts of the painting were copied as authentically as possible by an artist. The knights of Schlaraffia Crefeldensis have found a new worthy castle, a home, in Uerdingen am Rhein with the historic building of "Et Klöske". Story: In 1859 theater people, artists and writers founded the men's association Schlaraffia in Prague. After the director of the Deutsches Theater, Franz Thomé, tried to introduce a young bass player named Albert Eilers to the Prague artists' association "Arcadia", this request was rejected. Because of his poverty, he was considered a proletarian. Court singers and actors did not belong to higher society at that time. The men's association Schlaraffia was brought into being as a pastiche of the elite men's clubs of the 19th century . They mocked the very authoritarian society with deliberate satire and parody and made fun of it. They shifted their terminology to the 16th century and became knights, squires and squires. Officially there is no connection to the Freemasons, one clearly distinguishes oneself from the carnival associations. The term Schlaraffen is based on the Middle High German word “slur-affe”, which means mischievous prankster/joker (16/17 century) but also carefree connoisseur. In 1859 the first Cockaigne Club was founded in Prague, which at that time still belonged to the Danube Monarchy. The propagation of the Schlaraffen took place by so-calleddaughter reyche * instead of. In the years 1938/39 the clubs in which many Jews were members were banned in Germany and Austria. In Switzerland and overseas continued to be foundkinships * instead of. After the end of the Second World War, the club system revived and there were a few new foundations. According to statements by the gentlemen from Krefeld, the originally high level of educational demands on the members has been put into perspective somewhat over the past 30 years. General: To this day, men of all professions as well as professional artists and arm artisans have access to this association. There are around 270 Schlararaffen clubs worldwideReyche* named, who adhere to the same rules and procedures. The worldwide language is German. The approximately 11,000 members hold friendly values very high, they are extremely tolerant and friendships can be cultivated worldwide. The Schlaraffen speak German all over the world. The whole of the Reyche is thateagle owl * With the Schlaraffen everyone can live out their creative passion and just have fun. Emerging from the ranks of the actors, who mostly had engagements in the winter months, the weekly meetings took place and take place in the winter months (wintering *) (01.10.-30.04. northern hemisphere, 01.04.-30.10. southern hemisphere) instead. In the summer, events also take place with the women and children. The weekly meetings will bekinships * named. Characterized by a medieval-romantic atmosphere, knighthood is parodied and "man" can escape his everyday life for a moment in the game. The Schlaraffenburg is decked out in the style of a knight's hall, and the members dress in knightly fashion during their meetings. eachReych * has its own costume here in its own colors. Black, gold and blue are the colors of the local Cockaigne. The swords are mostly made of wood. They give themselves fancy names, but they are not just made up out of thin air, but always have a charming, sophisticated reference to the person and their idiosyncrasies or preferences. For example, the inner cockerel is called "Ritter Binschon vom bömisch Glase" because he (Rochus von Meyrswalden) already has a real knight's title. The dress code is a "neat" outfit with a tie. The knight's cloak is worn over it. A knightly headgear and a wooden sword complete the outfit. If you look at photos, you can see here and there quite colorful trousers or somewhat more profane shoes. Real daily life is not completely suppressed. As mentioned at the beginning, the aim and motto of the association is:The art of enduring friendship with humor. Politics and religion are in thekinships * deliberately left out. A Schlaraffe approaches his fellow knights with a positive basic attitude and organizes the evenings together with a wink, i.e. not with animal seriousness. So that an order can be maintained, the Oberschlaraffe is considered infallible. The weekly evenings are experienced as a cheerful knightly game and consist of different creative presentations. This can be a musical presentation, a recited poem that does not necessarily have to come from your own pen. A discussion can also be initiated, which does not necessarily have a deeper meaning, but is similar to an exchange of blows according to fixed rules, similar to a duel in a figurative sense. The vivid descriptions ofKnight Binscho n there is a knight who is able to spontaneously lead a heated discussion in rhymes. That was amazing for me, because I went into this interview without any precise ideas or expectations. This is how the statement of theintelligent nonsense , which the knights have written on their flag, for me as an outside woman an easily understandable meaning. One likes to practice the art of beautiful words. The speech duel begins with atit for tat *, you symbolically throw the glove in front of the opponent's stomach. The topic is determined by the Oberschlaraffe and the speech and counter-speech takes their creative, sometimes certainly eloquent course. According to the gentlemen, it can come from "stick to stick" and back again. The main thing is that there are no arguments and that fun and joy in beautiful words and intelligent nonsense are not lost sight of. The winner of the speech duel is determined at the end by the Oberschlaraffen. "The Golden Ball" has to fly, which means that as many cockerels as possible are included in the creative process, be it verbal or musical. The motto "Everyone can, nobody has to" applies. Own works are called fencing*, works by other authors are lectures. Anyone looking for the exacttypical course of a sipping * interested, read here. As a Cockaigne you are a welcome guest in every Reych in the world. Sassen with jobs that involve traveling have contact points in many places and can travel to the local as guest routeskinships * take part. You then ride there and are received by the local warriors with raised swords, the tunnel. I was impressed by the men's statements as to why the meetings and life as a member of a/this men's association is so important to them. Above all, it is the social component that keeps the gentlemen together. Naturally, there is a high proportion of seniors who live in theirReych * experience a community that gives each of them the attention and respect that is so important for humans. Many a widowed or single gentleman finds adequate social contacts here in a protected space. Anyone can present something, but does not have to. At the end of the lecture there is a badge (called "ancestors" in Cockaigne language) and a handshake as recognition. What happens when a cockerel on the rostra (lectern) falls in love with his fencing or lecture too much and runs out of time? Quite simply, he is given a large pair of scissors, beholdpicture series , the word literally “cut off” and he must stop immediately, also must not be offended. That's part of the silly game. The attention of everyone, however, is certain to be given to the speaker, and he is also shown respect and deference. The creative "machinations" certainly encourage the gentlemen to improve their skills in playing the piano, etc., in order to be able to continue to fox*` in a happy atmosphere. Even those who are older don't rest like that for a long time. The gatherings were sorely missed, especially during the pandemic. Since most men should now be vaccinated due to their age, they can, of course, in compliance with the current hygiene ruleskinships * take place again. In my opinion, this shows again that the motto "BEING more than APPEARANCE" applies here and not the other way around, as is often the case with "Appearance than being". Women: If you are wondering why there are no women in this game, you have to keep two reasons in mind. On the one hand, the jousting takes place true to the medieval template. There the women did not play a "role" in the knight games. The second reason can be seen in the value of friendship among men. To put it simply, friendship between men is different, perhaps easier without the female component. The men are not distracted in their game and cannot become rivals for the favor of a fair damsel. You don't have to worry about how your actions might affect the lovely femininity, who might come across better. However, women are not fundamentally excluded from the events. The value of the female environment is definitely seen. Therefore, soon after the founding, it was included in the statutes that in thewintering * a clanship with women of the castle has to take place. Also at many other festivals in thesummer sun G * Not only women, but also families are welcome. During this visit, I saw a very lively, intellectually demanding group of men. An association in which human and social values such as friendship and humour, but also tolerance and respect are lived and upheld. They may appear a little gaudy and whimsical to the casual observer, but I'm sure this club has an appropriate value in our fast-moving world. Schlaraffia Crefeldensis eV celebrated its 100th birthday in 2013. Schlaraffenlatein Schlaraffia - Latin Atzung und Labung = eating and drinking (verbs: atzen and refreshment) source = beer Lethe = wine Schaumlethe = sparkling wine smoke pot = tobacco pipe fuse = cigar lunette = cigarette Sipping = assembly Bangk = rhythmic homage paid to a Cockaigne Retourkutsche = invitation to a duel Pön = fine that is imposed if one behaves improperly or violates mirrors and ceremoniale (verb: pönen; from Latin poena, punishment) Petrol horse = car Gasoline elephant = coach Steam horse = railway baggage = family Burgfrau = wife Burgschreck = mother-in-law Burgwonne = girlfriend, partner Burgknaepplein = son Burgmaid = daughter hibernation = winter half-year Summer = Summer half-year Clavicimbel = piano Zinkenmeister = the one who operates the clavichoke. A "zinc ' was the original instrument on which the accompaniment was initially performed.[8th] sighing wood = violin Kniewinsel = cello minnewood = guitar chatterbox = phone emissary = letter Sendwich = postcard Crystalline = social get-together outside of the clans Vademecum = annual brochure containing all information and event information from the publishing Reyches. Root Role = Directory of Members Armor = helmet and sash, possibly knight's cloak Swallowtail = tailcoat Smoke skirt = tuxedo Reych = local group Fechsungen = own works Uhuversum = totality of all Reyche Annotation: Everything there is to know about the Schlaraffia is extremely extensive. My report is intended to convey a personal impression as an outsider and perhaps arouse curiosity about the values that are represented there. But he is far from treating the subject comprehensively and conclusively. There are enough other sources here to deal comprehensively with the topic. For me, however, it was an exciting experience, above all because I was treated with respect and openness as a completely unknown person. In my opinion, that only speaks for the Schlararaffen! Krefeld, August 2021 Sources: Wikipedia Schlaraffia Augusta Trevirorum WAZ from 03.10.2019 https://www.am-eysenhammer.com/ https://www.schlaraffia- lulucerna.ch/clubdesk/fileservlet?id=1000125 SamaraBlue - MyWayOfArt/lady-sahmra-photo@gmx.de Continue